new now [catalogue]

New York, 17 September 2015

NY_NEW-NOW_SEPT15_NEW-Cover-FINAL.indd 4 20/08/15 17:21

NY_NEW-NOW_SEPT15_IFC+IBC.indd 2 20/08/15 17:21

11. Hugh Scott-Douglas


Phillips welcomes you to the launch of New Now

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129. Neil Raitt


Contemporary Art Department

Head of Sale

Rebekah Bowling +1 212 940 1250

[email protected]

Cataloguers

Katherine Lukacher +1 212 940 1215

[email protected]

Samuel Mansour +1 212 940 1219

[email protected]

Administrator

Annie Dolan +1 212 940 1288

[email protected]

Property Manager

Paul Ste�ens +1 212 940 1376

pste�[email protected]

Auction & Viewing Location

450 Park Avenue New York 10022

Auction

17 September 2015 at 2pm

Viewing

10 – 17 September

Monday – Saturday 10am - 6pm

Sunday 12pm - 6pm

Sale Designation

When sending in written bids or making

enquiries please refer to this sale as NY010615

or New Now.

Absentee and Telephone Bids

tel +1 212 940 1228

fax +1 212 924 1749

[email protected]

New NowNew York, 17 September 2015


450 Park Avenue


Welcome

Phillips is proud to launch the Fall 2015 season in New York

with New Now, our re-energised mid-season contemporary art

sale. New Now focuses on what’s happening right now in the

contemporary art world. Juxtaposing works from a younger

generation with those by established artists, the diverse range

of works in this sale engage established collectors and new-

comers alike.

As a business, Phillips is singularly dedicated to contemporary

art, design and photographs. The level of focus, along with our

expertise, allows us to stand apart in our industry. Not only do

we lead the world in a number of auction categories, but we are

also constantly innovating and evolving to become the world’s

leading platform for buying, selling and discovering contempo-

rary art and design.

We’re proud of our heritage. And even more excited about our

future–we’re looking forward to sharing it with you.

Ed Dolman

Chairman and CEO


1. Math Bass b. 1982

Newz!, 2014

gouache on raw canvas

40 x 38 in. (101.6 x 96.5 cm)

Initialed “MB” along the overlap.

Estimate

$15,000-20,000

Provenance

Private Collection


2. Michael Staniak b. 1982

Untitled, 2013

casting compound, acrylic on board, in artist’s steel

frames, diptych

each 24 x 18 in. (61 x 45.7 cm)

Signed and dated “MICHAEL STANIAK 2013” on the

reverse of each element.

Estimate

$8,000-12,000

Provenance

Acquired directly from the artist

Private Collection


3. Joe Reihsen b. 1979

Destruction probable but not guaranteed, 2014

natural polymers, synthetic polymers on panel, in

artist’s aluminum frame

60 1⁄ 2 x 47 1⁄ 2 in. (153.7 x 120.7 cm)

Signed and dated “Joe Reihsen 2014” on the reverse.

Estimate

$15,000-20,000

Provenance

Private Collection


4. Chris Succo b. 1979

EVERYTHING IN IT’S RIGHT PLACE (BKNP), 2014

oil, lacquer on canvas, in artist’s painted wood frame

67 3⁄4 x 55 5⁄ 8 in. (172.1 x 141.3 cm)

Signed and dated “Chris Succo 2014” on the reverse.

Estimate

$10,000-15,000

Provenance

RH Contemporary, New York

Private Collection

Literature

New York, RH Contemporary, CHRIS SUCCO, BEAUTY

KNOWS NO PAIN, April 18, 2014 - July 12, 2014


5. Dan Rees b. 1982

Artex Painting, 2011

oil on canvas, in artist’s frame

canvas 55 x 39 1⁄4 in. (139.7 x 99.7 cm)

frame 56 1⁄4 x 40 5⁄ 8 in. (142.9 x 103.2 cm)

Signed and dated “Dan Rees 2011” on the reverse.

Estimate

$30,000-40,000

Provenance

Jonathan Viner Gallery, London


6. Artie Vierkant b. 1986

Image Object Tuesday 14 January 2014 7:14 PM, 2014

UV print on Sintra

56 3⁄ 8 x 56 3⁄ 8 in. (143.2 x 143.2 cm)

Signed, titled and dated “Artie Vierkant ’14 IMAGE OBJECT

TUESDAY 14 JANUARY 2014 7:14 PM” on the reverse.

Estimate

$15,000-20,000

Provenance

Higher Pictures, New York


7. Petra Cortright b. 1986

p3240473_v_iRIGHT, 2013

digital print on aluminum, in artist’s frame

36 1⁄4 x 40 1⁄ 2 in. (92.1 x 102.9 cm)

Estimate

$18,000-22,000

Provenance

Steve Turner Contemporary, Los Angeles


8. Ibrahim Mahama b. 1987

Untitled, 2014

jute coal sacks

96 x 48 in. (243.8 x 121.9 cm)

Signed and dated “Ibrahim 2014” along the stretcher.

Estimate

$12,000-18,000

Provenance

Acquired directly from the artist by the present owner


9. Korakrit Arunanondchai b. 1986

My Trip to the White Palace #7, 2013

denim on digital printed canvas with foil stamping

91 x 56 in. (231.1 x 142.2 cm)

Signed and dated “K.A. 2013” on the reverse.

Estimate

$25,000-35,000

Provenance

Bill Brady Gallery, Kansas City

Exhibited

Kansas City, Bill Brady Gallery, Painting with

history in a room �lled with men with funny names,

September 13 - October 19, 2013


10. Christian Rosa b. 1982

From Nada to Prada, 2013

pencil, resin, charcoal, oil stick, oil on canvas

40 1⁄ 8 x 35 3⁄ 8 in. (101.9 x 89.9 cm)

Signed and dated “Christian Rosa 2013” along

the overlap.

Estimate

$25,000-35,000

Provenance

Private Collection


11. Hugh Scott-Douglas b. 1988

Untitled, 2013

cyanotype on linen, in two parts

each 76 7⁄ 8 x 33 5⁄ 8 in. (195.5 x 85.4 cm)

overall 76 7⁄ 8 x 67 1⁄4 in. (195.5 x 170.8 cm)

Signed and dated “Hugh Scott Douglas 2013”

on the stretcher.

Estimate

$30,000-40,000

Provenance

Croy Nielsen, Berlin

Private Collection


12. Alex Hubbard b. 1975

Bodies, the exhibition, the show, 2012

oil, resin, �berglass on canvas

12 x 12 1⁄4 in. (30.5 x 31.1 cm)

Signed, titled and dated “A HUBBARD 2012 ‘BODIES THE

EXHIBITION, THE SHOW’” on the stretcher.

Estimate

$10,000-15,000

Provenance

Blum & Poe, Los Angeles


13. Leo Gabin since 2000

Twerkin While Burger Serving, 2011

gesso, acrylic, spray paint, silkscreen on canvas

116 x 81 in. (294.6 x 205.7 cm)

Signed, titled and dated “Leo Gabin 2011 ‘TWERKIN

WHILE BURGER SERVING’” on the reverse.

Estimate

$15,000-20,000

Provenance

Private Collection, New York


14. Blair Thurman b. 19 61

Spiders from Mars, Prototype / Pink, 20 01

neon, hanging hardware, Plexiglas with transformer

4 0 x 29 1 / 2 x 2 in. ( 101.6 x 74.9 x 5.1 cm)

Estimate

$12,0 0 0 -18,0 0 0

Provenance

Galerie Frank Elbaz, Paris


15. Michiel Ceulers b. 1986

L’art est plagiat ou révolution, ce qui importe est

le lien entre l’expression et la chos, 2012

oil, spray paint on canvas

60 x 48 in. (152.4 x 121.9 cm)

Signed twice, titled and dated “Michiel Ceulers

‘L’art est plagiat ou révolution ce qui importe est

le lien entre l’expression et la chose’ 2012 Michiel

Ceulers” on the reverse.

Estimate

$20,000-30,000

Provenance

Nicodim Gallery, Los Angeles


16. Jonas Lund b. 1984

Flip City 29, 2014

digital painting on canvas, gel medium, GPS tracker

50 x 40 in. (127 x 101.6 cm)

Signed, titled, numbered and dated “FLIP CITY 29 Jonas

Lund” along the stretcher; further numbered “29” on the

GPS tracker a�xed to the stretcher. The buyer of this lot

is obligated to register his/her ownership with the artist

(Jonas Lund) at �ip-city.net and agrees to the terms of

ownership as stamped on the back of this painting.

Estimate

$6,000-8,000

Provenance

Steve Turner Contemporary, Los Angeles

Exhibited

Los Angeles, Steve Turner Contemporary, Flip City,

June 5 - July 3, 2014


17. Hugh Scott-Douglas b. 1988

Panel Painting, 2011

black, white acrylic dispersion polymer on raw canvas

40 x 30 in. (101.6 x 76.2 cm)

Signed and “Hugh Scott-Douglas 2011” along the overlap.

Estimate

$15,000-20,000

Provenance

Jessica Silverman Gallery, San Francisco

Private Collection


18. Kevin Beasley b. 1985

Untitled (Helmet), 2011

foam, spray paint, resin, t-shirt

10 x 19 1⁄ 2 x 13 in. (25.4 x 49.5 x 33 cm)

This work is accompanied by a certi�cate of authenticity

signed by the artist.

Estimate

$6,000-8,000

Provenance

The Butcher’s Daughter Gallery, Detroit

Literature

Fore, exh. cat., The Studio Museum in Harlem, New

York, 2012, pp. 6, 7, 44 (illustrated)


19. Ayan Farah b. 1978

Untitled (Fold), 2013

India ink on cotton polyester

33 1⁄ 2 x 24 3⁄ 8 in. (85.1 x 61.9 cm)

Signed, titled and dated “Untitled (Fold) Ayan Farah

2013” on the reverse.

Estimate

$8,000-12,000

Provenance

Vigo Gallery, London


20. Margo Wolowiec b. 1985

Not One, Not Two, 2014

handwoven polyester, cotton, linen, dye

sublimation ink, fabric dye

38 x 28 in. (96.5 x 71.1 cm)

Signed and dated “Margo Wolowiec 2014”

along the overlap.

Estimate

$10,000-15,000

Provenance

Anat Ebgi, Los Angeles

Exhibited

East Hampton, East Hampton Shed, Margo

Wolowiec + Nik Pence, September 12 - 14, 2014


21. Leif Ritchey b. 1975

Sheer, 2014

acrylic on canvas

86 1⁄ 2 x 70 1⁄ 2 in. (219.7 x 179.1 cm)

Signed, titled and dated “Leif Ritchey

2014 SHEER” on the reverse.

Estimate

$10,000-15,000

Provenance

ltd los angeles, Los Angeles


22. Stefan Brü�eman b. 1975

Puddle Painting 2, 2013

aluminum paint, spray paint on canvas

63 x 45 1⁄4 in. (160 x 114.9 cm)

Signed, inscribed, initialed and dated “SB 2013

BRÜGGEMANN BLACK” on the reverse.

Estimate

$20,000-30,000

Provenance

Jonathan Viner Gallery, London

Exhibited

London, Jonathan Viner Gallery, Stefan Brüggemann: To Be Titled,

October 4 - November 2, 2013


23. Rashid Johnson b. 1977

Soul on Ice, 2010

spray paint on mirror, in artist’s frame

77 1⁄ 2 x 65 1⁄ 2 in. (196.7 x 166.3 cm)

Estimate

$30,000-40,000

Provenance

Massimo di Carlo, London

Private Collection


24. Joe Bradley b. 1975

Nude (Bust), 2007

stretched vinyl over canvas, in 2 parts

overall 62 x 60 in. (157.5 x 152.4 cm)

Signed, titled and dated “NUDE (BUST) Joe Bradley 07” along

the stretcher bar of the lower element, and again along the

overlap of the upper element.

Estimate

$300,000-500,000

Provenance

O�ce Baroque, Brussels

Exhibited

Brussels, O�ce Baroque, DANGLING MAN: JULIEN BISMUTH,

JOE BRADLEY, JEF GEYS, SEAN LYNCH, October 26 -

December 1, 2007

The present lot, Nude (Bust), 2007, depicts

the primitive upper chest and head of a �gure

rendered in blush pink vinyl. Joe Bradley’s

monochromatic panels, in title, reference the

history of painting the female nude. By paring

down the human form into 2 quadrilateral

elements, Bradley has intentionally eliminated

the most seductive component identi�ed with the

history of the female nude: the female gaze. This

seductive femininity has instead been replaced

by Bradley’s choice of color: a pale pink, the color

of so� shapely �esh. Furthermore, slick vinyl

reconstitutes the historical medium of malleable

oil paint, the vinyl having been aptly stretched to

create a taut, glossy surface. Bradley resolves his

choice of vinyl, stating: “I could never really get

the right surface on canvas. And I think I wanted

a surface that has no brush stroke. ..I really

wanted them to kind of read as objects; I didn’t

want whoever was looking at it to be distracted

by the hand in there.” The modular, graphic form

of Bradley’s robot paintings is seen in the present

lot, which alludes to the �at �gures of 80’s

video games and the shaped colorful canvases

produced by the Color�eld, minimalist painters

such as Ellsworth Kelly. As a whole, Nude (Bust),

2007 at once encompasses a study in the history

of art, exploring the boundaries of Minimalism

through disembodied �guration.


50. Tim Gardner


Property FromA Private American Collection


Property From A Private American Collection

25. Ulrich Rückriem b.193 8

The Sleeping Giants, 20 0 8

Dolomite stone wedges in 4 pairs and granite slab

each Dolomite s tone wedge 102 x 42 x 24 in. (2 59.1 x 10 6.7 x 61 cm)

granite slab 165 1 / 4 x 55 x 27 1 / 2 in. (419.7 x 139.7 x 69.9 cm)

Estimate

$ 8 0,0 0 0 -120,0 0 0

Provenance

Donald Young Gallery, Chicago

O ♦



26. Ed Ruscha b. 1937

Selma/Vine, 1998

acrylic on paper

14 x 22 in. (35.6 x 55.9 cm)

Signed and dated “Ed Ruscha ’98” lower right. This work will

be included in a future volume of Edward Ruscha Catalogue

Raisonné of the Works on Paper, edited by Lisa Turvey.

Estimate

$70,000-90,000

Provenance

Gagosian Gallery, Los Angeles

Private Collection

Exhibited

Los Angeles, Gagosian Gallery, Ed Ruscha, November 20, 1998

- January 16, 1999

New York, Whitney Museum of American Art, Cotton Pu�s,

Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha,

June 24 - September 26, 2004, then traveled to Los Angeles,

Museum of Contemporary Art (October 17, 2004 - January 17,

2005), Washington, D.C., National Gallery of Art (February

13 - May 30, 2005)

Literature

Cotton Pu�s, Q-Tips, Smoke and Mirrors: The Drawings of Ed

Ruscha, exh. cat., Whitney Museum of American Art, New

York, 2005, p. 231, pl. 190 (illustrated)

O x��



27. Ed Ruscha b. 1937

Zero, 1996

colored pencil on lithograph

16 1⁄ 8 x 28 in. (41 x 71.1 cm)

Signed and dated “Ed Ruscha 1996” lower right. This

work will be included in a future volume of Edward

Ruscha Catalogue Raisonné of the Works on Paper,

edited by Lisa Turvey.

Estimate

$70,000-90,000

Provenance

Two x Two, Dallas

O x��



29. Olafur Eliasson b. 1967

Blue and grey to yellow movie, 2009

watercolor, pencil on paper

16 x 12 1⁄4 in. (40.6 x 31.1 cm)

Signed and dated “Olafur Eliasson 2009” on the reverse;

further signed “Olafur Eliasson” on a label a�xed to the

reverse of the frame.

Estimate

$12,000-18,000

Provenance

Tanya Bonakdar Gallery, New York

Exhibited

New York, Tanya Bonakdar Gallery, Olafur Eliasson, February

11 - March 20, 2010


28. Olafur Eliasson b. 1967

Grey to yellow movie - yellow to grey movie, 2009

watercolor, pencil on paper, diptych

each 17 x 12 in. (43.2 x 30.5 cm)

Signed “Olafur Eliasson” on a label a�xed to the reverse of

one of the panels.

Estimate

$15,000-20,000

Provenance


Exhibited

New York, Tanya Bonakdar Gallery, Olafur Eliasson, February

11 - March 20, 2010

O x��

O x��



30. Julie Mehretu b. 1970

Untitled (Terminal #5 O’Hare), 1998

ink, oil on Mylar and vellum

24 x 18 in. (61 x 45.7 cm)

Estimate

$30,000-40,000

Provenance

Michael E. Thomas, Inc., Dallas

O x��



32. Robert Beck b. 1959

Three works one lot: (i) Untitled (“Art Therapy: In Theory and Practice”

ed. Elinor Ulman and Penny Dachinger), 1995-2007; (ii) Untitled (“Child

Psychology” by Buford Johnson “Art as healing” by Edward Adamson),

2007; (iii) Untitled (“Psychological Evaluation of Human Figure Drawings

by Middle School Pupils” by Elizabeth M. Koppitz, Ph.D/“Children of

Crisis: A Study in Courage and Fear” by Robert Coles), 2007

acrylic, charcoal, conte crayon, graphite, ink, latent �ngerprint powder,

tape, wax pencil on paper

(i) 12 x 9 in. (30.5 x 22.9 cm); (ii) 13 1⁄4 x 11 in. (33.7 x 27.9 cm);

(iii) 11 1 ⁄ 2 x 9 in. (29.2 x 22.9 cm)

(i) Signed, titled and dated “Robert Beck 2/10/95 6/7/07 ‘Art Therapy’

ed. by Ulman and Dachinger” on the reverse.

(ii) Signed, titled and dated “‘Art as Healing’ by Edward Adamson Robert

Beck 7/12/07” on the reverse.

(iii) Signed, titled and dated “‘Children of Crisis’ by Robert Coles Robert

Beck 1/27/07” on the reverse.

Estimate

$6,000-8,000

Provenance

CRG Gallery, New York



Art Work by Kipland Kinkel For His Parents, Bill and Faith, 2004

silicon, wood, wound �ller, diptych

(i) 4 1⁄4 x 16 3⁄4 x 32 1⁄ 8 in. (10.8 x 42.5 x 81.6 cm)

(ii) 4 1⁄4 x 19 5⁄ 8 x 29 1⁄ 2 in. (10.8 x 49.8 x 74.9 cm)

(i) Signed, titled, numbered, annotated and dated “LEFT 1 of 2 ‘BILL’ R

Beck - 2004 3/3” on the underside of the plinth.

(ii) Signed, titled, numbered, annotated and dated “RIGHT 2 of 2 ‘Faith’

R. Beck - 2004 3/3” on the underside of the plinth.

Estimate

$6,000-8,000

Provenance

Anthony Meier Fine Arts, San Francisco

O x��

O x��




Priest Dust, 2005

oil, pastel on paper

84 x 109 in. (213.4 x 276.9 cm)

Estimate

$6,000-8,000

Provenance


O x��



34. Ross Bleckner b. 1949

Untitled, 1997

oil on canvas

18 x 18 in. (45.7 x 45.7 cm)

Signed and dated “Ross Bleckner 1997”

on the reverse.

Estimate

$12,000-18,000

Provenance

Largeglass.com, Dallas


35. Mark Francis b. 1962

Hyphae (Fuse), 1997-1998

oil on canvas

84 x 84 in. (213.4 x 213.4 cm)

Estimate

$10,000-15,000

Provenance

Interim Art, London

O x��

O x��



36. Philip Taa�e b. 1955

Bardo Triangle, 2009

mixed media on canvas

48 x 64 1⁄4 in. (121.9 x 163.2 cm)

Signed, titled and dated “BARDO TRIANGLE P. Taa�e


Estimate

$50,000-70,000

Provenance

Gagosian Gallery, New York

O x��



37. Terry Winters b. 1949

Free Union, 1983

oil on linen

79 x 104 1⁄4 in. (200.7 x 264.8 cm)

Estimate

$50,000-70,000

Provenance

Collection of Suzanne and Howard Feldman

Matthew Marks Gallery, New York

Exhibited

Los Angeles, Museum of Contemporary Art, Terry Winters,

September 15, 1991 - January 12, 1992, then traveled to New York,

Whitney Museum of American Art (February 13 - May 3, 1992)

New York, Matthew Marks Gallery, Terry Winters 1981-1986,

November 6 - December 24, 2004

Literature

L. Phillips, K. Kertess, Terry Winters, exh. cat., Whitney

Museum of American Art, New York, 1992, p. 51 (illustrated)

Terry Winters 1981-1986, exh. cat., Matthew Marks Gallery,

New York, 2004, pl. 10 (illustrated)

The present lot, Free Union, 1983 represents an early

masterpiece by American painter Terry Winters.

Winters’ pieces from the 1980’s �nd their visual

foundation in biology and the natural world, locating

themselves in direct opposition to the starkness of

the 1970’s Minimalist and Conceptualist movements.

With its delicate and exquisite brushwork, Free Union

depicts Umbrian red and earthy brown modular

structures, which appear to �oat upon a pulsating,

re�ective pond. The artist’s painterly organic shapes

emerge at various stages of formation, slowly making

their way to the surface of the composition. Free

Union, 1983 has been aptly described by curator Lisa

Phillips as “one of Winters’s most striking works

from this period, irregular fan-shaped membranes

�oating like apparitions on a silvery, vaporous ground,

where bits of rudimentary, cellular matter surface and

dissolve. The feeling of genesis is unmistakable here:

the �lmy space of biological lowlife is where identity

begins.”(Lisa Phillips in Terry Winters, Whitney

Museum of American Art, New York, 1991)

O x��



38. Joel Shapiro b. 1941

Untitled, 2001

bronze

16 3⁄4 x 13 x 12 3⁄4 in. (42.5 x 33 x 32.4 cm)

This work is unique.

Estimate

$50,000-70,000

Provenance

PaceWildenstein, New York

Exhibited

New York, PaceWildenstein, Joel Shapiro: Recent

Sculptures and Works on Paper, April 27 - May 26, 2001

O x��




Untitled #7, 2000

oil pigment on paper

15 3⁄4 x 37 1⁄ 2 in. (40 x 95.3 cm)

Signed and dated “P. Taa�e 2000” on the reverse.

Estimate

$8,000-12,000

Provenance




Untitled #5, 2000

oil pigment on paper

16 3⁄4 x 39 3⁄ 8 in. (42.5 x 100 cm)

Signed and dated “P. Taa�e 2000” on the reverse.

Estimate

$8,000-12,000

Provenance


O x�� O x��



41. Tom Orr b. 1950

Shell, 1999

steel

diameter 120 in. (304.8 cm)

smallest 12 x 12 in. (30.5 x 30.5 cm);

largest 120 x 120 in. (304.8 x 304.8 cm)

Estimate

$6,000-8,000

Provenance

Turner & Runyon, Dallas

O x��



42. Rebecca Purdum b. 1959

Marble 413, 1995-96

oil on canvas

60 x 60 in. (152.4 x 152.4 cm)

Signed, titled and dated “Rebecca Purdum Marble 413 12-95”

along the overlap.

Estimate

$6,000-8,000

Provenance

Jack Tilton Gallery, New York

O x��



44. Gary Gissler b. 1955

Come Out, 1999

graphite, varnish on gessoed panel

8 x 8 in. (20.3 x 20.3 cm)

Signed, titled and dated “‘come out’ 1999 Gary Gissler”

on the reverse.

Estimate

$1,000-1,500

Provenance

Thomas McCormick Gallery, Chicago

Michael E. Thomas Inc., Dallas


43. Joseph Havel b. 1954

Veil 2, 2000

oil, graphite on paper

40 1⁄4 x 26 1⁄4 in. (102.2 x 66.7 cm)

Signed and dated “Havel 00” lower le�.

Estimate

$2,000-3,000

Provenance

Dunn and Brown Contemporary, Dallas

O x��

O x��



46. Bill Jensen b. 1945

Drunken Brush #29, 2002

ink, tempura on handmade British paper

11 x 9 in. (27.9 x 22.9 cm)

Signed, titled and dated “Drunken Brush #29 2002

Bill Jensen” on the reverse.

Estimate

$1,000-1,500

Provenance

Danese Gallery, New York


45. Adam Helms b. 1974

Untitled Portrait (Diptych), 2008

ink on Mylar, dipytch

each 44 x 33 in. (111.8 x 83.8 cm)

overall 44 x 66 in. (111.8 x 167.6 cm)

Estimate

$5,000-7,000

Provenance

Marianne Boesky Gallery, New York

O x��

O x��



47. Aleksandra Mir b. 1967

Tra�c Island, 2006

�ber-tipped pen on paper

94 x 106 in. (238.8 x 269.2 cm)

Signed, titled and dated “Aleksandra Mir

‘Tra�c Island’ 2006” lower right.

Estimate

$10,000-15,000

Provenance

greengrassi, London

Exhibited

Zurich, Kunsthaus Zurich, Aleksandra Mir: Switzerland

and Other Islands, August 18 - October 8, 2006

Literature

A. Jasper, “Aleksandra Mir. Kunsthaus Zurich,

Switzerland,” Frieze Magazine, London, December, 2006

V. Sansone, “Aleksandra Mir,” Flashart, no. 206, Milan,

October, 2006

H. Schmidt, “Switzerland and Other Islands,” Vernissage

TV, Zurich, August, 2006

O x��



49. John Pomara b. 1952

Flat File No. 1, 2002

oil, enamel on aluminum panel

72 x 48 in. (182.9 x 121.9 cm)

Signed, titled and dated “Flat-�le 1 John Pomara 2002” on

the reverse.

Estimate

$4,000-6,000

Provenance

Barry Whistler Gallery, Dallas



48. Gretchen Faust b. 1961

Three works: (i) Untitled (GF-026); (ii) Untitled (GF-027);

(iii) Untitled (GF-028), 2007

cut mulberry paper on blue card, in artist’s frame

(i) 12 5⁄ 8 x 9 7⁄ 8 in. (32 x 25 cm)

(ii) 16 7⁄ 8 x 10 3⁄ 8 in. (43 x 26.5 cm)

(iii) 16 7⁄ 8 x 10 3⁄ 8 in. (43 x 26.5 cm)

Initialed and dated “gf07” on the reverse of each sheet.

Estimate

$2,000-3,000

Provenance

greengrassi, London

Exhibited

London, greengrassi, Gretchen Faust, January 18 - March 3, 2007

Literature

B. Schwabsky, “Gretchen Faust: Greengrassi,” Artforum,

December, 2003, p. 157

S. O’Reilly, “Gretchen Faust: Greengrassi,”Time Out London,

September 24 - October 1, 2003, p. 59

O x��

O x��



50. Tim Gardner b. 1973

Untitled (Blue Dawn), 2006

pastel on paper

17 x 21 in. (43.2 x 53.3 cm)

Signed and dated “Tim Gardner 2006” on the reverse

of the mount.

Estimate

$4,000-6,000

Provenance

Modern Art, London

Exhibited

London, Modern Art, Tim Gardner: You could feel the

sky, June 8 - July 9, 2006

51. No Lot

O x��



53. Pamela Pecchio b. 1974

Habitation (Co�ee), 2008

chromogenic print, Diasec mounted

29 x 36 1⁄4 in. (73.7 x 92.3 cm)

Signed, titled, numbered and dated “Pamela Pecchio

habitation (co�ee) 2008 1/7” on a label a�xed to the

reverse of the sheet. This work is number 1 from an

edition of 7.

Estimate

$2,000-3,000

Provenance

Daniel Cooney Fine Art, New York


52. James Welling b. 1951

G13QW, 2012

archival inkjet print

image 52 x 40 in. (132.1 x 101.6 cm)

sheet 60 x 48 in. (152.4 x 121.9 cm)

This work is number 1 from an edition of 5.

Estimate

$10,000-15,000

Provenance

David Zwirner Gallery, New York

Exhibited

New York, David Zwirner Gallery, James Welling:

Over�ow, September 7 - October 27, 2012

O x��

O x��



54. Thomas Demand b. 1964

Heldenorgel, 2009


94 1⁄ 2 x 149 1⁄ 2 in. (240 x 379.7 cm)

Signed, numbered and dated “Thomas Demand 2009

6/6” on the reverse. This work is number 6 from an

edition of 6.

Estimate

$80,000-120,000

Provenance

Matthew Marks Gallery, New York

Exhibited

Berlin, Neue Nationalgalerie, Thomas Demand:

Nationalgalerie, September 18, 2009 - January 17, 2010,

then traveled to Rotterdam, Museum Boijmans van

Beuningen (May 29 - August 22, 2010) (another example

exhibited)

Seoul, PKM Gallery, Thomas Demand, November 24, 2011 -

January 10, 2012 (another example exhibited)

Literature

U. Kittelman, Thomas Demand, Neue Nationalgalerie,

Berlin, 2009, pl. 21 (illustrated)

L. Davies, “Thomas Demand: One I made Earlier,” The

Telegraph, March 15, 2011

O x��



56. Pamela Pecchio b. 1974

Habitation (Trees), 2005


36 1⁄ 2 x 29 in. (92.7 x 73.7 cm)

Signed, titled, numbered and dated “Pamela Pecchio

habitation (trees) 2005 2/7” on a label a�xed to the

reverse. This work is number 2 from an edition of 7.

Estimate

$2,000-3,000

Provenance

Daniel Cooney Fine Art, New York


55. Tokihiro Sato b. 1957

#149, 1992

black and white transparency over light panel

45 x 54 x 6 in. (114.3 x 137.2 x 15.2 cm)

This work is number 1 from an edition of 12. This work

is accompanied by a certi�cate of authenticity signed

by the artist.

Estimate

$1,000-2,000

Provenance

Haines Gallery, San Francisco

O x��

O x��



58. Hitoshi Nomura b. 1945

The Earth Rotation, November 19th, 1979, 14:16 - 14:46, 1979

chromogenic print

image 35 1⁄ 2 x 35 1⁄ 2 in. (90.2 x 90.2 cm)

sheet 43 1⁄ 2 x 43 1⁄ 2 in. (110.5 x 110.5 cm)


Estimate

$3,000-5,000

Provenance

McCa�rey Fine Art, New York

Exhibited

New York, McCa�rey Fine Art, Koji Enokura, Hitoshi Nomura,

Jiro Takamatsu: Photographs 1968-1979, August 11 -

September 26, 2009 (another example exhibited)


57. John Gerrard b. 1974

Oil Stick Work (Angelo Martinez, Rich�eld, Kansas), 2008

realtime 3-D video, plasma screen, artist’s Corian frame on artist’s

Corian console table

overall 60 x 46 x 21 1⁄ 8 in. (152.4 x 116.8 x 53.7 cm)

Signed, numbered and dated “John Gerrard 2008 5/6” on a label

a�xed to the inside of monitor box; further signed, titled and dated

“John Gerrard Oil Stick Work (Angelo Martinez, Rich�eld, Kansas)

5/6 + 2 a/p 2008” on gallery card inside artist’s box. This work

is number 5 from an edition of 6 plus 2 artist’s proofs. This work

is accompanied by a certi�cate of authenticity and installation

instructions.

Estimate

$8,000-12,000

Provenance

Simon Preston Gallery, New York

Exhibited

New York, Simon Preston Gallery, Oil Stick Work, January 10 -

March 8, 2009 (another example exhibited)

Venice, 53rd International Art Exhibition, La Biennale di Venezia,

John Gerrard: Animated Scene, June 7 - September 30, 2009

(another example exhibited)

London, Art on the Underground, Canary Wharf Station, May 14,

2010 - May 14, 2011 (another example exhibited)

Sydney, Museum of Contemporary Art, Marking Time, March 29 -

June 3, 2012 (another example exhibited)

Raleigh, North Carolina Museum of Art, 0 to 60: The Experience

of Time Through Contemporary Art, March 24 - August 11, 2013


Literature

R. Smith, “Art in Review: John Gerrard,” The New York Times,

February 20, 2009

J. Wolin, “John Gerrard, Oil Stick Work - Knoedler Project,” Time

Out New York, February, 2009

D. Velasco, “John Gerrard Simon Preston Gallery/Knoedler Project

Space,” Artforum, March, 2009

M. Antonini, “John Gerrard, Simon Preston Gallery,” Flash Art,

March-April, 2009

T. Coburn, “John Gerrard,” Art Review, April, 2009

A. Landi, “John Gerrad: Simon Preston - Knoedler Project

Space,” ARTnews, April, 2009

E. Baker, “John Gerrard: Knoedler Project Space and Simon

Preston,” Art in America, May 4, 2009

S. Tonchi, “Venice | Slowly But Surely,” The New York Times T

Magazine, June 9, 2009

B. Gopnik, “A Most ‘Animated’ Eco-Critique,” The Washington

Post, June 9, 2009

K. Donoghue, “John Gerrard: Animated Scene,” Whitewall, July

2, 2009

B. Appleyard, “A Portrait of Human Folly,” Culture Magazine,

March, 2010

B. Street, “Letter from London: Barnstormer,” blog.art21.org,

May 17, 2010

O x��

O x��



60. Liz Larner b. 1960

2001, 2001

�berglass, paint, stainless steel

144 x 144 x 144 in. (365.8 x 365.8 x 365.8 cm)

This work is number 3 from an edition of 3 plus 1

artist’s proof, each unique in color.

This work may be installed inside or out of doors.

Estimate

$80,000-120,000

Provenance

Regen Projects, Los Angeles

Exhibited

Chicago, Museum of Contemporary Art Chicago, Liz

Larner, May 1 - September 8, 2002 (another example

exhibited)

Los Angeles, Museum of Contemporary Art, Liz

Larner, December 2, 2001 - April 7, 2002 (another

example exhibited)

Graz, Austria, Kunsthaus Graz, The Perception in

Art, October 25, 2003 - January 18, 2004 (another

example exhibited)

Bu�alo, The Albright-Knox Art Gallery, Extreme

Abstraction, July 15 - October 2, 2005 (another

example exhibited)

New York, Public Art Fund, Doris C. Freedman Plaza in

Central Park, Liz Larner, ‘2001,’ November 29, 2006 -

May 1, 2007 (another example exhibited)

San Francisco, University of California San Francisco,

Arthur and Toni Rembe Rock Hall, Liz Larner 2001,

permanent installation (another example exhibited)

Literature

J. Dickson, “Liz Larner, BOMB --- Artists in

Conversation,” BOMB Magazine, no. 96, Summer,

2006 (illustrated)


59. Eva Rothschild b. 1972

Meera, 2007

powder coated aluminum

98 3⁄ 8 x 35 3⁄ 8 x 35 3⁄ 8 in. (250 x 90 x 90 cm)


artist’s proof.

Estimate

$18,000-22,000

Provenance

Modern Art, London

O x��

O x��


(another variant illustrated)

Liz Larner’s monumental magnum opus, 2001, from 2001

superbly elucidates and illuminates many of the technical

and theoretical challenges that she has confronted

throughout her sculptural practice. Having worked with

the “cubic” form for some time prior to 2001, Larner

was well versed in its literal-physical and also poetic-

interpretive connotations and readings. The balance,

solidity, symmetricality and stability are all elements of

the form to which Larner has felt immeasurably drawn.

Here, however, she subverts and manipulates these exact

components to such a degree that the work is no longer

cubic but rather more spherical. Her aim is not to represent

the cube but to use the cube as an in�ection point from

which she can then posit new, shi�ing realities. Larner

achieves this with the coupled aids of technology and

color. Larner developed the hybrid sphere-cube form

with advanced animation technology, blending the

two geometries to create a highly original and complex

amalgamation of the two. The pearlescent chameleon

auto-body paint, which is actually a layering of �ve

di�erent colors and reads di�erently depending on the

view-point of the observer, serves to reinforce her aim

of subverting and challenging the preconceived notions

of what the cube represents and how it is understood

in our current reality. Masterfully destabilizing a

foundational form, 2001 is not only a crowning work

of the artist’s within her own oeuvre, but certainly also

within that of three-dimensional work throughout time.



62. Matthew Ritchie b. 1964

You are the Weather (Gravity High) for R.H., 2005

ink on Denril

12 x 9 in. (30.5 x 22.9 cm)

Titled “You Are The Weather (Gravity High)” lower le�.

Estimate

$2,000-3,000

Provenance

Andrea Rosen Gallery, New York


61. Paul Booker b. 1970

Blue Rectangles: Wave Form, 2004

ink, Mylar, steel pins

27 x 16 x 6 in. (68.6 x 40.6 x 15.2 cm)

Estimate

$1,000-1,500

Provenance


O x��

O x��



63. Linda Ridgway b. 1947

Mapping, 1997

bronze

25 1⁄ 2 x 21 in. (64.8 x 53.3 cm)


Estimate

$3,000-5,000

Provenance


Exhibited

Austin, Women in their Work, Linda Ridgway, Poetry of Line,

April 4 - June 9, 1998

O x��



65. Ted Kincaid b. 1966

Untitled, 2001

toned black and white photograph

24 x 20 in. (61 x 50.8 cm)

Signed and dated “T. Kincaid 2001” on the

reverse of the mount.

Estimate

$1,000-2,000

Provenance



64. Dave Muller b. 1964

White Noise (diptych), 2004

acrylic on paper, diptych

each 87 x 39 in. (221 x 99.1 cm)

This work is accompanied by installation

instructions.

Estimate

$6,000-8,000

Provenance

Blum & Poe, Los Angeles

Exhibited

Los Angeles, Blum & Poe, Dave Muller: I Like

Your Music, September 11 - December 4, 2004

Lyon, 8e Biennale d’Art Contemporain de

Lyon, The Beginning of the Middle, The Middle

of the Middle, and the End of the Middle,

September 14 - December 31, 2005

León, Museo de Arte Contemporáneo de

Castilla y León, I Like Your Music I Love Your

Music, January 26 - May 4, 2008

Literature

8e Biennale d’Art Contemporain de Lyon, exh.

cat., Lyon, 2005, p. 206

O x��

O x��



66. Rachel Whiteread b. 1963

Untitled, 2005

gouache, pencil, collage on paper

16 1⁄ 2 x 11 3⁄4 in. (42 x 30 cm)

Signed and dated “R. Whiteread 2005” on the reverse.

Estimate

$10,000-15,000

Provenance

Gagosian Gallery, London

Exhibited

London, Gagosian Gallery, Rachel Whiteread:

Sculpture, October 19 - December 3, 2005

Dallas, Nasher Sculpture Center, Rachel Whiteread

Drawings, May 22 - August 15, 2010

Literature

Rachel Whiteread: Sculpture, exh. cat., Gagosian

Gallery, London, 2005, p. 83 (illustrated)


67. Linda Ridgway b. 1947

Two works: (i) Three Score and Ten; (ii) Leaf Lets, 2000

graphite, natural juices on paper

each 29 1⁄ 2 x 22 1⁄ 2 in. (74.9 x 57.2 cm)

Signed and dated “Ridgway 00” lower right; each

further titled “Three Score and Ten” and “Leaf Lets”

respectively on the reverse.

Estimate

$3,000-4,000

Provenance


O x��

O x��



69. Joseph Glasco 1925-1996

Untitled, 1982

ink on paper

18 x 12 in. (45.7 x 30.5 cm)

Initialed and dated “J.G. 82” lower le�.

Estimate

$1,000-2,000

Provenance

Michael E. Thomas, Inc., Dallas


68. Helen Altman b. 1958

Cardinal, 1998

torch drawing on paper

13 x 10 1⁄4 in. (33 x 26 cm)

Signed, titled and dated “CARDINAL H. Altman ‘98”

along the lower edge.

Estimate

$1,000-2,000

Provenance


O x��

O x��



70. Alan Rath b. 1959

Wall Eye I, 1997

aluminum, electronics, so�ware, computer, CRT monitor

16 1⁄ 2 x 11 x 14 in. (41.9 x 27.9 x 35.6 cm)

Signed, titled, numbered and dated “Wall Eye 5/5 ©

Raths ‘97” on the reverse. This work is number 5 from an

edition of 5

Estimate

$6,000-8,000

Provenance

Haines Gallery, San Francisco

O x��



72. Joseph Havel b. 1954

Bedsheet, 2001

sandblasted fabric, epoxy, paint

102 x 16 x 14 in. (259.1 x 40.6 x 35.6 cm)


Estimate

$6,000-8,000

Provenance

Hiram Butler Gallery, Houston


71. Tim Hawkinson b. 1960

Study for Veil, 2006

photo collage, urethane foam on wood panel

12 x 18 1⁄ 2 in. (30.5 x 47 cm)

Signed and dated “Tim Hawkinson 2006” on

the reverse.

Estimate

$2,000-3,000

Provenance

PaceWildenstein, New York

Exhibited

New York, PaceWildenstein, Tim Hawkinson:

How Man is Knit, May 3 - June 9, 2007

O x��

O x��



73. Katja Strunz b. 1970

WHITE SPIRITUS (BACKVIEW), 2005

wood, white paint

103 1⁄ 8 x 63 3⁄4 x 9 1⁄ 2 in. (261.9 x 161.9 x 24.1 cm)

Signed and dated “K. Strunz 2005” on the reverse.

Estimate

$12,000-18,000

Provenance

Gavin Brown’s Enterprise, New York

Exhibited

Dallas, Dallas Museum of Art, Di�erence?, October 19,

2012 - March 17, 2013

O x��



74. Michael Wetzel b. 1966

Five works: (i) Blown; (ii) Chip; (iii) Jackie’s Bunker;

(iv) Chandelier; (v) Bunker Buster, 2005

(i, iii, iv, v) oil, egg tempera on linen

(ii) oil, egg tempera on panel

(i) 28 x 22 in. (71.1 x 55.9 cm)

(ii) 11 x 14 in. (27.9 x 35.6 cm)

(iii) 32 1⁄4 x 44 1⁄4 in. (81.9 x 112.4 cm)

(iv) 22 x 28 in. (55.9 x 71.1 cm)

(v) 18 x 15 1⁄4 in. (45.7 x 38.7 cm)

Signed and dated “Michael Wetzel ‘05” on the reverse of each.

Estimate

$3,000-4,000

Provenance

John Connelly Presents, New York

O x��



75. Magnus Plessen b. 1965

Untitled, 2010

oil on canvas

82 3⁄ 8 x 72 1⁄ 8 in. (209.2 x 183.2 cm)

Signed and dated “Plessen 2010” along the overlap.

Estimate

$25,000-35,000

Provenance

Gladstone Gallery, New York

Exhibited

New York, Gladstone Gallery, Magnus Plessen, February 15 -

March 15, 2012

O x��


“ It doesn’t matter what the art looks like but how it’s used.”

Franz West


77. Franz West 1947-2012

Ottoman (Die Otomane), 1997

steel, linen, foam, carpet

18 1⁄4 x 32 1⁄ 2 x 32 1⁄ 2 in. (46.4 x 82.6 x 82.6 cm)

Estimate

$20,000-30,000

Provenance

ARNDT, Berlin

76. Franz West 1947-2012

Divan with Pillows, 1997

steel, foam, linen, wood

40 3⁄4 x 85 3⁄4 x 35 1⁄ 2 in. (103.5 x 217.8 x 90.2 cm)

Estimate

$70,000-100,000

Provenance

ARNDT, Berlin


79. Franz West 1947-2012

Untitled (Lamp), 1989

welded iron, electrical �ttings

74 x 14 x 14 in. (188 x 35.6 x 35.6 cm)

Published by Meta Memphis, Milan.

Estimate

$6,000-8,000

Provenance

ARNDT, Berlin

78. Franz West 1947-2012

Divan, 1997

steel, linen, foam, fabric cover

36 3⁄4 x 67 3⁄4 x 33 3⁄4 in. (93.3 x 172.1 x 85.7 cm)

Estimate

$60,000-80,000

Provenance

Private Collection


80. Tom Wesselmann 1931-2004

Bedroom Nude (Frontal), 1985

enamel on cut-out aluminum

66 7⁄ 8 x 96 1⁄ 8 in. (170 x 244 cm)

Inscribed, titled and dated “TOM WESSELMANN 1985

NUDE (FRONTAL)” on the reverse.

Estimate

$300,000-500,000

Provenance

Sidney Janis Gallery, New York

Private Collection

Galerie Thomas Modern, Munich

Private Collection

Exhibited

New York, Sidney Janis Gallery, Exhibition of New Work

by Tom Wesselmann, November 16 - December 14, 1985

Literature

Exhibition of New Work by Tom Wesselmann, exh. cat.,

Sidney Janis Gallery, New York, 1985, n.p.

Tom Wesselmann’s Bedroom Nude (Frontal)

from 1985 is a classic Pop twist on the art

historical genre of female portraiture and the

nude. Recalling his seminal Great American

Nude series, Bedroom Nude (Frontal) is a

reinvention in cut aluminum coated in lush

enamel color. While his style remained distinct

and immediately recognizable, Wesselmann

mastered many di�erent media and methods

of production throughout his career. Works on

paper, prints, paintings, and lastly, and maybe

most impressively, the works in cut metal

are all testament to his skillful artistry. Here,

Wesselmann has depicted a seductive, blonde

nude, chest bared and lips pouted staring straight

out of the composition and into the realm of the

viewer. The playfulness of space is heightened

by the slight depth of the medium, even while

rendered in a mostly two-dimensional fashion.

The work itself may be physically �at, but the

interaction between its negative space and the

�uidity of its line, coupled with the captivating

subject matter, lend a fullness to the work that is

pervasive throughout Wesselmann’s oeuvre.


81. Tom Wesselmann 1931-2004

Beautiful Kate (Variable Edition) AP2, 1981

pencil, thinned Liquitex on ragboard

3 3⁄4 x 9 in. (9.5 x 22.9 cm)

Titled and dated “Beautiful Kate ap 2 1981” on the reverse;

further signed and dated “#51 Wesselmann 81” lower le�. This

work is artist’s proof 2 from a stencil-drawn, hand-painted

edition of 47 unique works, erroneously numbered by the

artist to 57 (1-26, 37-57).

Estimate

$25,000-35,000

Provenance

Private Collection

Carl Solway Gallery, Cincinnati

Exhibited

Cincinnati, Carl Solway Gallery, Tom Wesselmann: Steel

Drawings & Prints, September 19 - December 20, 2014


82. Julian Opie b. 1958

Female nude kneeling hands in front, 2000

vinyl

51 1⁄ 2 x 40 3⁄4 in. (130.8 x 103.5 cm)

Signed “Julian Opie” along the overlap.

Estimate

$20,000-25,000

Provenance

Barbara Krakow Gallery, Boston


“ My goal is that LOVE should cover the world.”

Robert Indiana

83. Robert Indiana b. 1928

LOVE, 1966-1998

polychrome aluminum

18 x 18 x 9 in. (45.7 x 45.7 x 22.9 cm)

Stamped with the artist’s signature, numbered and dated “©

1966-1998 R INDIANA AP 2/4” on the lower interior edge of

the V. This work is artist’s proof 2 from an edition of 8 plus 4

artist’s proofs.

Estimate

$250,000-350,000

Provenance

Paul Kasmin Gallery, New York

Private Collection, Connecticut


This Lot Is Sold With No Reserve

84. Anselm Reyle b. 1970

Untitled, 2005

neon tubes, power cable, metal chains, transformer

39 3 / 8 x 78 3 / 4 x 19 5 / 8 in. ( 10 0 x 20 0 x 5 0 cm)

Estimate

$20,0 0 0 -30,0 0 0 •

Provenance

Galerie Almine Rech, Paris

Literature

U. Grosenick, The Art of Anselm Reyle, Cologne: DuMont,

2009, pp. 125-126 (illustrated)

B. Ruf, Anselm Reyle – ARS NOVA., exh. cat., Kunsthalle

Zürich, 2006, pp. 70-71 (illustrated)


85. Jenny Holzer b. 195 0

Blue Infammatory Essays, 20 0 8

curved electronic LED sign with blue Osram

diodes, A/C adaptor

21 x 2 x 4 3 / 4 in. (53. 3 x 5.1 x 12.1 cm)

Signed “Jenny Holzer” on a label afxed to the

reverse. This work is artist’s proof 2 from an

edition of 20 plus 5 artist’s proofs.

Estimate

$20,0 0 0 -30,0 0 0

Provenance

Private Collection


86. Claire Fontaine est. 2004

Capitalism Kills, 2008

neon, transformer

5 3⁄4 x 59 1⁄ 2 x 4 in. (14.6 x 151.1 x 10.2 cm)

Estimate

$15,000-20,000

Provenance

Regina Gallery, Moscow

Exhibited

Moscow, Regina Gallery, Claire Fontaine: Destroy and

Rejuvenate, January 30 - March 21, 2009

87. Gary Simmons b. 1964

Double Cylinder, 2007

pigment, oil paint, cold wax on canvas

102 1⁄ 2 x 84 1⁄4 in. (260.4 x 214 cm)

Estimate

$15,000-20,000

Provenance

SAKS Gallery, Geneva

Private Collection


88. Glenn Ligon b. 1960

Negro Sunshine #74, 2011

oil stick, coal dust, gesso on paper

12 x 9 in. (30.5 x 22.9 cm)

Signed, titled and dated “Glenn Ligon Negro

Sunshine #74 2011” on the reverse.

Estimate

$20,000-30,000

Provenance



“ I use action and counteraction, like in music, all the time. Action and counteraction.

It was always a relationship – my speaking to the wood and the wood speaking back to me.”

Louise Nevelson, 1982

89. Louise Nevelson 1899-1988

Untitled, 1976-78

painted wood

82 1⁄4 x 45 1⁄ 2 x 6 in. (208.9 x 115.6 x 15.2 cm)

Estimate

$120,000-180,000

Provenance

Pace Gallery, New York


90. Y. Z. Kami b. 1966

Self-Portrait as a Child, 1989

oil, graphite on panel, in 4 parts

each 80 x 30 in. (203.2 x 76.2 cm)

overall 80 x 120 in. (203.2 x 304.8 cm)

Signed and dated “KAMI 1989” on the reverse of the

second panel.

Estimate

$100,000-150,000

Provenance

Leila-Taghinia-Milani, Inc., New York

Private Collection

Christie’s, New York, First Open, September 21, 2011, lot 322

Acquired at the above sale by the present owner

Deeply contemplative while disquietingly

poignant, the present lot embodies the spiritual

immediacy and private truths unearthed in Y.Z.

Kami’s revered portraiture. Born in 1956 to a Shia

family in Iran, the artist’s thematic underpinnings

of spirituality and religion are made accessible

in the repurposed personal photographs from

his childhood in Tehran. In Self-Portrait as a

Child, Kami’s younger self shares a piercing

gaze with us, as he is �anked by a window into

a highly impersonal genre scene which tempers

any familial warmth. The profound dichotomy

of these two elements, depicted across four

panels, indicate Kami’s acute understanding of

the shortcomings inherent to portraiture—yet

its towering scale unequivocally implores us to

re�ect upon the unseen dimensions of our lives.


91. Anish Kapoor b. 1954

Untitled, 2008

acrylic, gouache on paper

26 3⁄ 8 x 39 3⁄4 in. (67 x 101 cm)

Signed and dated “A Kapoor 2008” on the reverse.

Estimate

$40,000-60,000

Provenance



92. Julian Schnabel b. 1951

Licaboles, 2000-01

oil, resin on canvas, in artist’s frame

81 x 68 1⁄ 2 x 5 in. (205.7 x 174 x 12.7 cm)

Estimate

$80,000-120,000

Provenance

Private Collection

“ I see paintings everywhere. I look at stu� and it looks like painting to me.

Making a painting is like playing the saxophone. You hit the note and it comes out.”

Julian Schnabel, 2013


93. Wangechi Mutu b. 1972

The Dreamer, 2003

acrylic, gouache, watercolor, glitter, collage on paper

30 1⁄ 2 x 23 in. (77.5 x 58.4 cm)

Estimate

$30,000-50,000

Provenance

Harris Lieberman Gallery, New York

94. Carroll Dunham b. 1949

Untitled (12/6/08), 2008

watercolor, colored pencil, graphite on paper

11 1⁄4 x 15 in. (28.6 x 38.1 cm)

Initialed and dated “12/6/08 C.D.” upper le�, further

inscribed “Rome” on the reverse.

Estimate

$8,000-12,000

Provenance



95. Mark Grotjahn b. 1968

Untitled, 1996-98

marker on paper

11 x 8 1⁄ 2 in. (27.9 x 21.6 cm)



Estimate

$40,000-60,000

Provenance


The present lot, Untitled, 1996-98 by Mark Grotjahn is a stunning,

early example of a color and perspective study executed in teal

marker on paper. Grotjahn moved to Los Angeles in 1996, the year

in which the drawing was begun, by the time of the drawing’s

completion in 1998 Grotjahn had his �rst show at Blum & Poe

Gallery in Los Angeles. Untitled, serves as a starting point for

Grotjahn’s continued examination of perspectival coloration

through heavily worked pencil drawings and later oil paint. The

present lot is comprised of a monochromatic teal colored marker

on paper. Originating at a single focal point at the center of the

composition the teal bands of color radiate outward, the carefully

worked sections of hand coloring overlap creating darker sections

of the composition that waver throughout the paper at systematic

yet variable intervals. Untitled, 1996-98 is an early composition

which encompasses all aspects of Grotjahn’s investigative practice

into color, perspective and line, which would later become his

artistic signi�ers within the contemporary art world.


96. Peter Co�n b. 1972

Untitled (Un�nished Hand), 2006

wood, wire mesh, �ttings

106 1⁄4 x 78 3⁄4 x 39 3⁄ 8 in. (270 x 200 x 100 cm)

Estimate

$25,000-35,000

Provenance

Herald St, London

Acquired from the above by the present owner, 2007

Exhibited

London, Saatchi Gallery, Abstract America: New Painting

and Sculpture, May 29, 2009 - January 17, 2010

Literature

J. Cape, Abstract America: New Paintings and Sculpture,

exh. cat., Saatchi Gallery, London, 2008, n.p. (illustrated)

J. Cape, Shape of Things to Come: New Sculpture,

exh. cat., Saatchi Gallery, London, 2009, pp. 254-255

(illustrated)


97. Julie Mehretu b. 1970

Drawing for Andy #4, 2007

ink, watercolor on watercolor paper

10 x 15 in. (25.4 x 38.1 cm)

Signed, titled and dated “drawing for Andy #4 Julie

Mehretu 2007” on the reverse; further inscribed

“ANDY” center right.

Estimate

$20,000-30,000

Provenance

Donated by the artist to the Andrew Golkin Memorial

Scholarship Fund Auction, December 2007

Acquired from the above by the present owner


“ the whole sports theme is just a vehicle for practicing portraiture.”

Jonas Wood


98. Jonas Wood b. 1977

Backward Bol (Color), 2008

gouache, colored pencil, collage on paper

60 x 28 3⁄4 in. (152.4 x 73 cm)

Initialed, titled and dated “BACKWARD BOL

(COLOR) JBRW 2008” on the reverse.

Estimate

$60,000-80,000

Provenance

Anton Kern Gallery, New York


100. Mike Goldby b. 1991

Stretch (Big Red), 2014

activewear jerseys, acrylic, wood

48 x 36 in. (121.9 x 91.4 cm)

Initialed and dated “MG 2014” along

the stretcher.

Estimate

$5,000-7,000

Provenance

Tomorrow Gallery, New York

99. Nina Beier b. 1975

Fatigues, 2012

furniture fabric, dye, ink, stain, pigment, bleach,

in artist’s frame

52 1⁄ 2 x 40 1⁄ 2 in. (133.4 x 102.9 cm)

Estimate

$10,000-15,000

Provenance

Laura Bartlett Gallery, London


101. Jonas Wood b. 1977

Crossword Master, 2007

colored pencil, gouache on paper

15 1⁄4 x 12 1⁄ 2 in. (38.7 x 31.8 cm)

Signed, initialed, titled and dated “JONAS WOOD

CROSSWORD MASTER JBRW 2007” on the reverse.

Estimate

$30,000-40,000

Provenance

Anton Kern Gallery, New York


102. Sergej Jensen b. 1973

Werewolf, 2003

oil paint, sa�ron on linen

74 7⁄ 8 x 471⁄4 in. (190.2 x 299.1 cm)

Estimate

$40,000-60,000

Provenance

Galerie Neu, Berlin

Private Collection, Boston

Phillips de Pury & Company, New York, Under the In�uence,

March 31, 2008, lot 16


Private Collection, Miami


103. Mark Flood b. 1957

Libretto, 2002

acrylic on canvas

61 1⁄ 2 x 108 in. (156.2 x 274.3 cm)

Signed, titled and dated “Mark Flood 8 or 9/2002

‘Libretto’” along the overlap.

Estimate

$40,000-60,000

Provenance

Gi� from the artist to the present owner


105. Sam Falls b. 1984

Untitled, 2012

pastel on paper

25 x 19 in. (63.5 x 48.3 cm)

Signed and dated “Sam Falls 2012”

on the reverse.

Estimate

$4,000-6,000

Provenance


104. Alex Olson b. 1978

Untitled, 2013

oil on gessoed paper

17 x 14 in. (43.2 x 35.6 cm)

Signed and dated “Alex Olson 2013”

on the reverse.

Estimate

$4,000-6,000

Provenance


Private Collection


106. Ida Ekblad b. 1980

Untitled, 2011

oil on canvas

15 3⁄4 x 11 3⁄4 in. (40 x 29.8 cm)

Initialed “I.E” lower right.

Estimate

$4,000-6,000

Provenance

Karma International, Zurich


107. Christian Rosa b. 1982

Untitled, 2014

oil stick, oil paint, pencil, charcoal,

oil on canvas

79 x 110 in. (200.7 x 279.4 cm)

Estimate

$40,000-60,000

Provenance

Acquired directly from the artist by

the present owner



Mudhole, 2014

acrylic on canvas

72 x 48 in. (182.9 x 121.9 cm)

Signed, titled and dated “Mark Flood

1-1-2014 ‘MUDHOLE’” along the overlap.

Estimate

$40,000-60,000

Provenance

Peres Project, Berlin


110. Mark Hagen b. 1972

To Be Titled, 2013

acrylic, iron oxide on burlap, laid on board, in

artist’s metal frame

17 3⁄4 x 13 3⁄4 in. (45.1 x 34.9 cm)

Signed and dated “Mark Hagen 2013” on the

reverse of the board.

Estimate

$8,000-12,000

Provenance

China Art Objects Galleries, Los Angeles

109. Travess Smalley b. 1986

Composition in Clay #27, 2013

chromogenic print

46 x 33 in. (116.8 x 83.8 cm)

Signed and dated “Travess Smalley 2012” on the

reverse. This work is unique.

Estimate

$7,000-9,000

Provenance

Higher Pictures, New York


111. Trudy Benson b. 1985

Scratchpad, 2014

oil, acrylic, enamel, spray paint on canvas

76 x 54 in. (193 x 137.2 cm)

Signed, titled and dated “Trudy Benson 2014

‘Scratchpad’” on the reverse.

Estimate

$12,000-18,000

Provenance

Horton Gallery, New York



112. Tobias Madison

Hospitality, 2012

plywood, silkscreen on neoprene and seatbelt webbing

120 1⁄4 x 24 1⁄4 x 20 1⁄4 in. (305.5 x 61.5 x 51.5 cm)



Estimate

$10,000-15,000

Provenance

Karma International, Zurich

Exhibited

Berlin, Sammlung Haubrok, Fatuma Osman & Tobias

Madison, January 14 – March 17, 2012


113. Cory Arcangel b. 1978

Untitled Translation Exercise, 2006

single channel video

video length 1:41:53

dimensions variable, based on location of installation

This work is number 5 from an edition of 5 and is

accompanied by a certi�cate of authenticity signed by

the artist. This work was made in collaboration with

Ben Jones.

Estimate

$10,000-15,000

Provenance

Team Gallery, New York

Exhibited

New York, Team Gallery, subtractions, modi�cations,

addenda, and other recent contributions to

participatory culture, September 26 - November 4,

2006 (another example exhibited)

Amsterdam, Netherlands Media Art Institute,

Depreciated, August 29 - November 14, 2009 (another

example exhibited)

London, Lisson Gallery, Lisson Presents 7, Curated by

Cory Arcangel, November 25, 2009 – January 16, 2010


North Miami, The Museum of Contemporary Art,

The Sharper Image, March 11 - May 9, 2010 (another

example exhibited)

Pittsburgh, Carnegie Museum of Art, Masters,

November 3, 2012 - January 27, 2013 (another example

exhibited)

Montreal, DHC/ART Foundation, Power Points, June 21

- November 24, 2013 (another example exhibite


114. Nick Farhi b. 1987

TBD, 2014

oil, charcoal on canvas

diameter 36 in. (91.4 cm)

Initialed and dated “NF 2014”

on the reverse.

Estimate

$5,000-7,000

Provenance

Acquired directly from the artist by

the present owner

115. Michelle Grabner b. 1962

Untitled, 2008

silver, gesso on paper

27 5⁄ 8 x 27 5⁄ 8 in. (70.2 x 70.2 cm)

Initialed and dated “MG 2008”

on the reverse.

Estimate

$6,000-8,000

Provenance

Private Collection


116. Ryan Estep b. 1980

Stretcher Series #1, 2013

acrylic, lidocaine gel on canvas

55 x 40 in. (139.7 x 101.6 cm)

Signed and dated “R Estep 2013”

on the reverse.

Estimate

$10,000-15,000

Provenance

Private Collection, Los Angeles


117. Sebastian Black b.1985

Untitled, 2011

oil on canvas

12 x 9 in. (30.5 x 22.9 cm)

Signed, titled and dated “UNTITLED SEBASTIAN

BLACK 2011” on the reverse.

Estimate

$6,000-8,000

Provenance

Seth Carmichael, New York


118. Brent Wadden b.1979

Untitled, 2011

oil on canvas, in artist’s frame

25 x 19 in. (63.5 x 48.3 cm)

Signed and dated “Brent Wadden 2011”

along the overlap.

Estimate

$18,000-22,000

Provenance

Private Collection


119. Nina Beier b. 1975

Portrait Mode, 2011

found garments, in artist’s frame

49 1⁄ 2 x 58 1⁄ 2 in. (125.7 x 148.6 cm)

Estimate

$8,000-12,000

Provenance



120. Fredrik Værslev b. 1979

Landscape: Gold #2, 2013

spray paint on frosted acrylic glass, wooden

support, light bulb, steel

26 1⁄4 x 37 1⁄ 2 x 6 1⁄ 2 in. (66.7 x 95.3 x 16.5 cm)

Estimate

$20,000-30,000

Provenance

Johan Berggren Gallery, Malmö


121. Brendan Lynch b. 1985

Girl Piss, 2013

posters, aluminum leaf, paint on wood panel

60 x 48 in. (152.4 x 121.9 cm)

Signed, titled and dated “Brendan Lynch ’13 ‘Girl Piss’”

on the reverse.

Estimate

$8,000-12,000

Provenance

Private Collection



GLIMPSE, 2013

acrylic, spray paint on digitally printed canvas

108 x 108 in. (274.3 x 274.3 cm)

Signed and dated “Mark Flood 11-2013” along

the overlap.

Estimate

$40,000-60,000

Provenance

Peres Projects, Berlin


123. Dan Colen and Harmony Korine b. 1979 / 1973

Untitled (from “Train Yourself to Lose”), 2013

�owers on paper, ink

11 x 8 3⁄ 8 in. (27.9 x 21.3 cm)

Signed “Harmony Korine” on the reverse of

the sheet.

Estimate

$10,000-15,000

Provenance

Karma, New York

LEADAPRON, Los Angeles

Literature

I SEE POETRY IN EVERYTHING, EVEN YOU,

DAN COLEN & HARMONY KORINE, TRAIN

YOURSELF TO LOSE, Karma, New York, 2013,

n.p. (illustrated)

124. Nick Darmstaedter b. 1988

Izzy, 2013

oxidized copper on canvas

24 x 18 in. (61 x 45.7 cm)

Signed, titled and dated “Nick 2013 ‘IZZY’”

along the overlap.

Estimate

$3,000-5,000

Provenance

The Still House Group, New York


125. Dan Rees b. 1982

Untitled, 2011

plasticine on wood, in artist’s frame

56 x 83 5⁄ 8 in. (142.2 x 212.4 cm)

Signed and dated “Dan Rees 2011” on the reverse.

Estimate

$30,000-40,000

Provenance

Tanya Leighton Gallery, Berlin


127. Alex Hubbard b. 1975

Untitled, 2010

oil, acrylic, resin, �berglass on canvas, in 2 parts

23 x 15 1⁄ 2 in. (58.4 x 39.4 cm)

Signed, titled and dated “HUBBARD 2010 ‘UNTITLED’”

along the overlap.

Estimate

$15,000-20,000

Provenance

Shane Campbell Gallery, Chicago

126. Michael Manning b. 1985

Sheryl Crow Pandora Painting, 2014

acrylic over digital painting on canvas

71 7⁄ 8 x 48 1⁄ 8 in. (182.6 x 122.2 cm)

Signed and dated “Michael Manning 2014”

along the overlap.

Estimate

$12,000-18,000

Provenance

Private Collection


128. Jean-Baptiste Bernadet b. 1978

Untitled (Screensaver), 2013

acrylic on canvas

81 x 114 1⁄4 in. (205.7 x 290.2 cm)

Signed, titled and dated “Jean-Baptiste Bernadet 2013

UNTITLED (SCREENSAVOUR)” along the overlap.

Estimate

$40,000-60,000

Provenance

Ricou Gallery, Brussels

Exhibited

Brussels, Ricou Gallery, Jean Degottex & Jean-Baptiste

Bernadet, Travess Smalley, Keith J. Varadi, September 7 -

October 26, 2013


130. Andy Boot b. 1987

Plum, 2014

sticker, acrylic paint on canvas

63 x 51 1⁄4 in. (160 x 130.2 cm)

Initialed, titled and dated “AB Plum, 2014”

along the overlap.

Estimate

$5,000-7,000

Provenance

Galerie Emanuel Layr, Vienna

129. Neil Raitt b. 1986

Fade (Alpine), 2014

oil on canvas

20 x 16 in. (50.8 x 40.6 cm)

Signed and dated “Neil Raitt ’14” along the overlap.

Estimate

$5,000-7,000

Provenance



131. Jean-Baptiste Bernadet b. 1978

Grotto, 2011

oil on canvas

39 3⁄ 8 x 33 1⁄ 2 in. (100 x 85.1 cm)

Signed, titled and dated “GROTTO NY Jean-Baptiste

BERNADET 2011 NY” on the reverse.

Estimate

$10,000-15,000

Provenance

SAKS Gallery, Geneva


132. Grear Patterson b. 1988

Sammy Sacer Sosa, 2014

acrylic on canvas

54 x 72 in. (137.2 x 182.9 cm)

Initialed, titled and dated “Sammy Sacer Sosa GP 2014”

on the stretcher.

Estimate

$8,000-12,000

Provenance

Private Collection


133. Nicholas Pilato b. 1986

Untitled, 2014

oil, concrete on canvas

68 x 58 in. (172.7 x 147.3 cm)

Signed and dated “N. PILATO 2014” along the overlap.

Estimate

$10,000-15,000

Provenance

Private Collection, California

Private Collection


135. Lucas Ajemian b. 1975

Laundered Painting (20 x 16) III, 2014

painting on linen

20 x 16 in. (50.8 x 40.6 cm)

Signed and dated “Lucas Ajemian 2014” on the reverse.

Estimate

$5,000-7,000

Provenance

ltd los angeles, Los Angeles

134. Emanuel Röhss b. 1985

Mother Sweden, 2014

acrylic, alkyd enamel on canvas

102 1⁄ 2 x 70 3⁄4 in. (260.4 x 179.7 cm)

Signed, titled and dated “Emanuel Röhss 2014 ‘Mother

Sweden’” on the reverse

Estimate

$5,000-7,000

Provenance

Private Collection


136. Grear Patterson b. 1988

An Unexpected Stair, 2014

dirt on canvas and tarpaulin, laid on board, in 3 parts

overall 54 x 54 in. (137.2 x 137.2 cm)

Initialed “GP” on the reverse of each element; further

titled “AN UNEXPECTED STAIR” on the reverse of the

striped element.

Estimate

$10,000-15,000

Provenance

Private Collection, Los Angeles


138. Andy Coolquitt b. 1964

American Growth, 2008

wood, carpet, light bulbs, wire, standard

two-prong plug, standard light sockets,

splitters

120 x 14 1⁄ 2 x 2 1⁄ 2 in.

(304.8 x 36.8 x 6.4 cm)

Initialed and dated “AC 08” at bottom.

Estimate

$7,000-9,000

Provenance

Lisa Cooley, New York

137. Amie Dicke b. 1978

Leg, 2013

sandpaper abrasion, chromogenic print

22 x 16 1⁄ 2 in. (55.9 x 41.9 cm)

Estimate

$5,000-7,000

Provenance



139. Lucien Smith b. 1989

She sells seashells by the seashore. The shells she sells

are surely seashells/So if she sells shells on the seashore,

I’m sure she sells seashore shells., 2013

newspaper, papier-mâché, polymer varnish on canvas

108 x 84 in. (274.3 x 213.4 cm)

Estimate

$20,000-30,000

Provenance

OHWOW, Los Angeles


141. No Lot

140. Lucien Smith b. 1989

Untitled, 2012

acrylic on unprimed canvas

24 x 20 in. (61 x 50.8 cm)

Signed “Lucien Smith” along the overlap.

Estimate

$12,000-18,000

Provenance

Private Collection


142. Parker Ito b. 1986

Inkjet Painting #21, 2013

inkjet on silk

64 x 44 in. (162.56 x 111.76 cm)

Estimate

$12,000-18,000

Provenance



144. Leon Polk Smith 1906-1996

Untitled, 1955

oil on paper

13 1⁄ 2 x 10 1⁄ 2 in. (34.3 x 26.7 cm)

Signed and dated “Leon Polk Smith ’55” lower right.

Estimate

$3,000-5,000

Provenance

Jason McCoy Inc., New York

143. Joe Bradley b. 1975

Study for running twins, 2005

acrylic on paper

10 1⁄ 2 x 7 1⁄ 2 in. (26.7 x 19.1 cm)

Signed, titled and dated “Joe Bradley 2005

Study for running twins” on the reverse.

Estimate

$5,000-7,000

Provenance

CANADA, New York


145. Paul McCarthy b. 1945

Soup Bowl, 1990

felt-tip pen on paper

18 7⁄ 8 x 23 7⁄ 8 in. (47.9 x 60.6 cm)

Signed and dated “Paul McCarthy 1990”

on the reverse.

Estimate

$7,000-10,000

Provenance

Studio Guenzani, Milan

146. George Condo b. 1957

Untitled, 1988

pastel on paper

13 1⁄4 x 9 1⁄4 in. (33.7 x 23.5 cm)

Signed and dated “Condo 88” upper le�; further

initialed “GC” lower right.

Estimate

$3,000-5,000

Provenance

Acquired directly from the artist by the

present owner


147. Gedi Sibony b. 1973

A Sense of The, 2006

sticks, plywood, wood glue, wood �ller

72 x 45 x 27 in. (182.9 x 114.3 x 68.6 cm)

Estimate

$10,000-15,000

Provenance

303 Gallery, New York


Exhibited

New York, 303 Gallery, A Broken Arm, July 20 -

August 18, 2006


148. Ugo Rondinone b. 1964

Wednesday, October 7, 2009, 2009

gesso, collage, graphite on linen

9 1⁄ 2 x 12 3⁄ 8 in. (24.1 x 31.4 cm)

Signed “Ugo Rondinone” on the reverse.

Estimate

$10,000-15,000

Provenance

Sadie Coles HQ, London


149. Joanne Greenbaum b. 1953

Workbook, 2006

oil on canvas

77 7⁄ 8 x 77 7⁄ 8 in. (198.1 x 198.1 cm)

Estimate

$8,000-12,000

Provenance

D’Amelio Terras, New York


Exhibited

New York, D’Amelio Terras, JOANNE GREENBAUM: 1612,

October 15 - November 12, 2011

Literature

J. Cape, Abstract America: New Paintings from the U.S.,


(illustrated)


150. Mary Heilmann b. 1940

Verde 2, 1992

oil on canvas

19 x 12 in. (48.3 x 30.5 cm)

Signed, dated and dedicated “for SUZANNE and Brian

Love Mary Heilmann 1992” on the reverse; further titled

“‘VERDE 2’” along the stretcher.

Estimate

$12,000-18,000

Provenance

Private Collection, acquired directly from the artist



151. Karin Davie b. 1965

Untitled (Curves) #7, 2000

oil on linen

34 x 54 in. (86.4 x 137.2 cm)

Signed, titled and dated “UNTITLED

(CURVES) #7 Karin Davie 2000”

on the reverse.

Estimate

$15,000-20,000

Provenance

Wetterling Gallery, Stockholm


152. Ross Bleckner b. 1949

Sky Flowers, 2004

oil on canvas

30 x 30 in. (76.2 x 76.2 cm)

Signed, titled and dated “Ross Bleckner

Sky Flowers 2004” on the reverse.

Estimate

$15,000-20,000

Provenance

Scott White Contemporary Art, San Diego


154. Allison Schulnik b. 1978

Small Clown Head, 2010

oil on canvas, laid on wood panel

16 1⁄4 x 12 1⁄4 x 3 in. (41.3 x 31.1 x 7.6 cm)

Signed, titled and dated “SMALL CLOWN

HEAD AL SCHULNIK 10” along the overlap.

Estimate

$4,000-6,000

Provenance

Mark Moore Gallery, Culver City

153. Adam Fuss b. 1961

Untitled (A�er Anna Atkins), 1988

Cibachrome photogram, mounted on Plexiglas

sheet 10 x 8 in. (25.4 x 20.3 cm)

mount 14 3⁄4 x 12 3⁄4 in. (37.5 x 32.4 cm)

Signed, titled and dated “AFuss June 1988

AFTER ANNA ATKINS” on the reverse.

Estimate

$6,000-8,000

Provenance


Phillips de Pury & Company, New York,

Photographs, April 23/24, 2004, lot 223



155. Julie He�ernan b. 1956

Self-Portrait as Decoy, 2006-10

oil on canvas

67 x 52 in. (170.2 x 132.1 cm)

Signed, titled and dated “J. He�ernan © 2006-10

Self-Portrait as Decoy” on the reverse.

Estimate

$30,000-40,000

Provenance

Catharine Clark Gallery, San Francisco

P·P·O·W Gallery, New York

Mark Moore Gallery, Culver City


157. Michael Williams b. 1978

Untitled, 2010

graphite, ink, oil stick on paper

8 1⁄ 2 x 5 1⁄ 2 in. (21.6 x 14 cm)

Signed and dated “Michael Williams 2010”

on the reverse.

Estimate

$2,000-3,000

Provenance

Private Collection

156. Michael Williams b. 1978

Untitled, 2010

ink, colored pencil on paper collage on paper

12 x 9 in. (30.5 x 22.9 cm)

Signed and dated “Michael Williams 2010”

on the reverse.

Estimate

$4,000-6,000

Provenance

Private Collection


158. André Butzer b. 1973

Ohne Titel, 2009

oil on canvas

67 x 94 3⁄4 in. (170.2 x 240.7 cm)

Signed “A. Butzer” lower right; further signed

and dated “A. Butzer ’09” on the reverse.

Estimate

$25,000-35,000

Provenance

Galerie Guido W. Baudbach, Berlin


160. Scott Reeder b. 1970

Three works: (i) Cute Communists - Castro, (ii) Cute

Communists - Stalin, (iii) Cute Communists - Mao, 2007

oil on canvas

each 20 x 15 7⁄ 8 in. (50.8 x 40.6 cm)

Estimate

$4,000-6,000

Provenance

Daniel Reich Gallery, New York


Literature

J. Cape, Abstract America: New Paintings from the U.S.,


(illustrated)

159. Michael Bauer b. 1973

Pott, 2006

oil on canvas

23 1⁄ 2 x 19 3⁄4 in. (59.7 x 50.2 cm)

Signed, titled and dated “M. Bauer Pott 2006” on

the reverse.

Estimate

$4,000-6,000

Provenance

HOTEL Gallery, London

i) ii) iii)


161. Håvard Homstved b. 1976

Tattered Edgings, 2008

oil pastel, charcoal, acrylic with collage on Arches Cover

Black paper

44 x 30 in. (111.8 x 76.2 cm)

Signed and dated “Håvard H 08” on the reverse.

Estimate

$5,000-7,000

Provenance

Marc Jancou Contemporary, New York

162. Jon Pestoni b. 1969

Untitled, 2010

gouache on paper

15 x 11 1 ⁄4 in. (38.1 x 28.6 cm)

Signed and dated “Jon Pestoni 2010” on the reverse.

Estimate

$3,000-4,000

Provenance



163. Tala Madani b. 1981

Fork in a Tattoo, 2006

oil on canvas

12 1⁄4 x 9 in. (31 x 23 cm)

Estimate

$7,000-9,000

Provenance

Lombard Freid Projects, New York


Exhibited

New York, Lombard Freid Projects, Smoke and Mirrors,

February 23 - April 7, 2007

London, Saatchi Gallery, Unveiled: New Art from the

Middle East, January 30 - May 9, 2009

Literature

Unveiled: New Art from the Middle East, exh. cat.,

Saatchi Gallery, London, 2009, p. 87 (illustrated)

E. Booth-Clibborn, The History of the Saatchi

Gallery, London: Booth-Clibborn Editions, 2011, p. 751

(illustrated)

164. John Bock b. 1965

Untitled, 2009

collage on cardboard

25 1⁄ 2 x 20 1⁄ 2 in. (64.8 x 52.1 cm)

Initialed and dated “J-B 071109” center right.

Estimate

$2,000-3,000

Provenance

Eleni Koroneou Gallery, Athens


166. Cullen Washington Jr. b. 1972

Untitled #4, 2013

canvas, paper, tape, found materials

90 1⁄ 8 x 83 7⁄ 8 in. (229 x 213 cm)

Estimate

$8,000-12,000

Provenance

Jack Bell Gallery, London


Exhibited

London, Jack Bell Gallery, Cullen Washington Jr.: Black

Moon Rising, January 24 - February 21, 2014

London, Saatchi Gallery, Abstract America Today, May

28 - September 9, 2014

Literature

Abstract America Today, exh. cat., Saatchi Gallery,

London, 2014, n.p. (illustrated)

165. Baker Overstreet b. 1981

Dirty Piller’s Beauty Bumps, 2006-2007

acrylic on canvas

77 1⁄4 x 66 1⁄4 in. (196.2 x 168.3 cm)

Estimate

$8,000-12,000

Provenance

Fredericks & Freiser, New York


Exhibited

London, Saatchi Gallery, Abstract America: New Painting

and Sculpture, May 29, 2009 - January 17, 2010

New York, Fredericks & Freiser, Baker Overstreet: New

Paintings, February 15 - March 17, 2007

Literature

J. Cape, Abstract America: New Painting and Sculpture,


(illustrated)


167. Tim Gardner b. 1973

Untitled (Clouds III), 2006

watercolor on paper

5 1⁄4 x 9 in. (13.3 x 22.9 cm)

Estimate

$5,000-7,000

Provenance

Modern Art, London

168. Brad Kahlhamer b. 1956

Frank #5, 1998

graphite, ink, watercolor on paper

7 1⁄ 2 x 5 3⁄4 in. (19.1 x 14.6 cm)

Signed “Kahlhamer” upper le�, further titled

“Frank #5” lower le�.

Estimate

$3,000-4,000

Provenance

Produced for the Guggenheim Artist’s Ball

Auction, 2007



169. Kehinde Wiley b. 1977

St. John the Baptist (a�er Francesco del Cossa’s

San Petronio Altarpiece), 2005

graphite, gouache on paper

62 3⁄4 x 48 5⁄ 8 in. (159.4 x 123.5 cm)

Signed and dated “Kehinde Wiley 05” lower right.

Estimate

$15,000-20,000

Provenance

Conner Contemporary Art, Washington D.C.

Private Collection

Christie’s, New York, First Open Post-War and

Contemporary Art, March 11, 2010, lot 77


Exhibited

Washington D.C., Conner Contemporary Art,

White, May 7 - June 11, 2005


Sold To Bene�t Artadia: The Fund For Art & Dialogue

171. Kerstin Brätsch b. 1969

She’s Back, 2010

spray paint on newsprint, in artist’s Plexiglas frame with

metal industrial clamps

25 x 16 1⁄ 2 x 2 1⁄ 2 in. (63.5 x 41.9 x 6.4 cm)

Estimate

$3,000-4,000

Provenance

Andrew Kreps Gallery, New York

170. Jacob Kassay b. 1984

Untitled, 2010

pencil, silver tape on paper, in 2 parts

each 11 x 14 in. (27.9 x 35.6 cm)

Signed, inscribed and dated “1.43 Kassay 10” and “1.44

Kassay 10” on the reverse of each element respectively.

Estimate

$5,000-7,000

Provenance

Eleven Rivington, New York


172. Aaron Young b. 1972

SS-5, 2010

burnt rubber on brass panel, diptych

each 96 1⁄4 x 39 1⁄ 2 in. (244.5 x 100.3 cm)

Titled “SS-5” on the reverse.

Estimate

$30,000-40,000

Provenance

Private Collection


173. Paul Kopkau

Untitled, n.d.

watercolor, ink, paper collage on paper

30 x 22 1⁄4 in. (76.2 x 56.5 cm)

Signed “Paul Kopkau” on the reverse.

Estimate

$3,000-5,000

Provenance

Private Collection

174. Danica Phelps b. 1971

December 2003, 2003

watercolor on recycled currency

11 3⁄4 x 11 in. (29.8 x 27.9 cm.)

Inscribed and dated “December 2003 +$7,340.00 /

-$4,304.00” along the lower margin.

Estimate

$3,000-5,000

Provenance

Zach Feuer Gallery, New York



175. Cyprien Gaillard b. 1980

Field of Rest, 2011

Polaroid, silkscreen in artist’s aluminum frame

each 28 3⁄ 8 x 40 1⁄ 8 in. (72.1 x 101.9 cm)

Each work is unique.

Estimate

$10,000-15,000

Provenance

Galerie Bugada & Cargnel, Paris


176. Marcel Dzama b. 1974

Two works: Untitled, 2006

ink, watercolor on paper

14 x 11 in. (35.6 x 27.9 cm)

(i) Signed “Marcel Dzama” lower right; further dated

“2006 Aug” on the reverse.

(ii) Initialed and dated “2006 MD” on the reverse.

Estimate

$3,000-5,000

Provenance

David Zwirner, New York

i)

ii)


177. Hiroshi Sugito b. 1970

Untitled, 1997

acrylic and graphite on canvas

8 x 10 in. (20.3 x 25.4 cm)

Signed and dated “HIROSHI SUGITO


Estimate

$5,000-7,000

Provenance

Arndt & Partners, Berlin

178. Avner Ben-Gal b. 1966

Orthodox tune, 2006

acrylic, marker on paper

27 1⁄ 2 x 39 1⁄4 in. (69.9 x 99.7 cm)

Signed and dated “Avner Ben-Gal


Estimate

$3,000-4,000

Provenance

Bortolami Dayan, New York


179. Nedko Solakov b. 1957

Two works: (i) Insigni�cant Stories #12;

(ii) Insigni�cant Stories #16, 2002

ink, gouache on paper

(i) 7 1⁄ 2 x 11 1 ⁄ 2 in. (19.1 x 29.2 cm)

(ii) 7 1⁄ 2 x 11 1 ⁄ 2 in. (19.1 x 29.2 cm)

(i) Signed in Cyrillic and dated “СОЛАКОВ

2001” lower right; further titled “From

‘Insigni�cant Stories 12’” upper right.

(ii) Signed in Cyrillic and dated

“СОЛАКОВ 2001” lower right, further

titled “From ‘Insigni�cant Stories 16’”

upper right.

Estimate

$4,000-6,000

Provenance

Arndt & Partners, Berlin

180. Ilya Kabakov b. 1933

Four works: Untitled, 1994 -1995

ink, colored pencill on paper, in 4 parts

(i) sheet 8 1⁄4 x 11 3⁄4 in. (21 x 29.8 cm)

frame 10 7⁄ 8 x 14 1⁄ 2 in. (27.6 x 36.8 cm)

(ii) sheet 8 1⁄4 x 11 1 ⁄ 8 in. (21 x 28.3 cm)

frame 10 7⁄ 8 x 13 7⁄ 8 in. (27.6 x 35.2 cm)

(iii) sheet 7 1⁄ 8 x 10 3⁄ 8 in. (18.1 x 26.4 cm)

frame 9 7⁄ 8 x 13 1⁄ 8 in. (25.1 x 33.3 cm)

(iv) sheet 7 1⁄ 8 x 10 3⁄ 8 in. (18.1 x 26.4 cm)

frame 9 7⁄ 8 x 13 1⁄ 8 in. (25.1 x 33.3 cm)

(i),(ii) Signed and dated “I. Kabakov 95”

lower right.

(iii) Signed, titled and dated “[illegible

text/ title] I. Kabakov 94” lower

surface edge.

(iv) Signed and dated “I. Kabakov 94”

lower right.

Estimate

$6,000-8,000

Provenance

Private Collection

i)

ii)

i)

iii)

ii)

iv)


181. Karl Haendel b. 1976

The Plebian Group: (i) Headlines #7; (ii) Abstract (fuzzy

diagonal #3) [Negative]; (iii) Trapeze #2, 2007, in 3 parts

(i) graphite on paper

(ii) unique chromogenic print

(iii) graphite on paper

(i) 45 x 67 1⁄ 2 in. (114.3 x 171.5 cm)

(ii) 36 3⁄4 x 44 3⁄4 in. (93.3 x 113.7 cm)

(iii) 30 1⁄4 x 22 3⁄4 in. (76.8 x 57.8 cm)

(i) Signed, titled and dated “Headlines #7, 07 Haendel


(ii) Signed, titled and dated “Abstract (fuzzy diagonal #3)

[Negative], 07 Haendel 2007” on the reverse.

(iii) Signed, titled and dated “Haendel 2007 Trapeze #2”

on the reverse.

Estimate

$6,000-8,000

Provenance

Anna Helwing Gallery, Los Angeles


i)

ii)

iii)


183. Guillem Nadal

Untitled, 1993

oil, metal and paper on canvas

13 x 16 1⁄4 in. (33 x 41.3 cm)

Signed, titled, numbered and dated

“GUILLEM NADAL ‘S.T.’ 1993 No 3”

on the reverse.

Estimate

$5,000-7,000

Provenance

Gallery Reckermann, Berlin

182. Pae White b. 1963

Web #11, 2005

spiderweb, silkscreen ink on paper

17 1⁄ 2 x 16 1⁄ 8 in. (44.5 x 41 cm)

Estimate

$5,000-7,000

Provenance

greengrassi, London


185. Huang Yong Ping b. 1954

Best Before 1 July 1997 (Mini

Caramel Eggs), 1997

gelatin silver print, string, wax

30 x 33 1⁄ 2 in. (76.2 x 85.1 cm)

Signed in Chinese characters and

dated “1997” upper right.

Estimate

$6,000-8,000

Provenance

Art & Public, Geneva

Private Collection

Phillips de Pury & Company, New

York, Contemporary Art Part II,

November 17, 2006, lot 295

Acquired at the above sale by the

present owner

184. G.B. Trudeau b. 1948

Doonesbury, 1994

pencil, India ink, color correcting

�uid on Arches paper

16 x 23 in. (40.6 x 58.4 cm)

Signed “GB Trudeau” on a collaged

element lower center. This work is

unique.

Estimate

$20,000-25,000

Provenance

Spike Gallery, New York



186. Piotr Uklański b. 1968

Untitled (Starlit Water), 1997

chromogenic print

35 x 27 1⁄ 8 in. (88.9 x 68.9 cm)

Signed, inscribed, numbered and dated “Uklański, ’97 2/5 ‘UNTITLED’ -

STARLIT SKY.” on the reverse.

This work is artist’s proof 1 from an edition of 5 plus 1 printer’s proof.

Estimate

$20,000-30,000

Provenance

Gavin Brown’s Enterprise, New York

Galerie Voges + Deisen, Frankfurt

Phillips, New York, Contemporary Art Day, November 12, 2013, lot 136


Exhibited

Frankfurt, Galerie Voges + Deisen, Joy of Photography,

October 23, 1997 - January 29, 1998

Basel, Kunsthalle Basel, Piotr Uklański, June 17 - August

22, 2004 (another example exhibited)

Venice, Venice Biennale, Dreams and Con�icts, the

Dictatorship of the Viewer: 50th International Art

Exhibition, June 15 - November 2, 2003 (another

example exhibited

Literature

P. Uklański and R. Biuro, eds., Piotr Uklański: Earth, Wind

and Fire, Ost�ldern: Hatje Cantz Verlag, 2004,

p. 203 (illustrated)


187. Marilyn Minter b. 1948

Deluge, 2011

chromogenic print, face mounted to Plexiglas,

mounted on metal, in artist’s wood frame

86 x 60 in. (218.4 x 152.4 cm)

Signed “M. Minter” on a label a�xed to the reverse

of the mount. This work is number 2 from an edition

of 3 plus 2 artist’s proofs.

Estimate

$20,000-30,000

Provenance

Salon 94, New York


188. Vik Muniz b. 1961

The Origin of the World, a�er Courbet (from Pictures of Soil),

1999

gelatin silver print, in artist’s frame

image 46 x 57 1⁄ 2 in. (116.8 x 146.1 cm)

frame 56 1⁄ 2 x 68 1⁄4 in. (143.5 x 173.4 cm)

This work is from an edition of 10.

Estimate

$20,000-30,000

Provenance

Private Collection

Exhibited

Santiago de Composetela, Centro Galego de Arte Contemporánea, Vik

Muniz, December 18, 2003 - March 7, 2004, then traveled to Dublin,

Irish Museum of Modern Art (March 31 - June 13, 2004), Madrid,

Fundación Telefónica (November 17, 2004 - January 9, 2005) (another

example exhibited)

Literature

Vik Muniz, exh. cat., Centro Galego de Arte Contemporánea, 2003,

p. 129 (illustrated)

P. Corrêa do Lago, Vik Muniz, Obra Completa, 1987 - 2009, 2009, p. 284

(illustrated)



The Kiss (from Pictures of Junk), 2010

chromogenic print, in artist’s frame

43 1⁄ 2 x 54 in. (110.5 x 137.2 cm)

Signed and dated “Vik Muniz 2010” on a label a�xed

to the reverse of the mount. This work is artist’s proof 2

from an edition of 6 plus 4 artist’s proofs.

Estimate

$30,000-40,000

Provenance

Sikkema Jenkins & Co., New York


190. Sharon Lockhart b. 1964

Mike Dicky, Tinsmith, 2008

chromogenic prints, in 2 parts

sheet 24 x 36 in. (61 x 91.4 cm)

frame 24 3⁄4 x 36 3⁄4 in. (62.9 x 93.3 cm)

Signed, titled and dated “Sharon Lockhart 2/6 2008”

on a label a�xed to the reverse of the �rst element.


artist’s proofs.

Estimate

$10,000-15,000

Provenance


Exhibited

Los Angeles, Blum & Poe, Sharon Lockhart: Lunch

Break, November 21, 2009 - January 9, 2010 (another

example exhibited)

New York, Gladstone Gallery, Sharon Lockhart,

December 11, 2009 - January 30, 2010 (another

example exhibited)

St. Louis, Mildred Lane Kemper Art Museum at the

Sam Fox School of Design & Visual Arts at Washington

University, Sharon Lockhart: Lunch Break, February

5 - April 19, 2010, then travelled to Waterville, Colby

College Museum of Art (July 10 - October 17, 2010), San

Francisco, San Francisco Museum of Modern Art (May

21 -September 6, 2011) (another example exhibited)

Milan, GioMarconi, Lunch Break, February 3 - March

26, 2011 (another example exhibited)

Literature

J.E. Neidhardt (ed.), Sharon Lockhart - Lunch Break,

exh. cat., Mildred Lane Kemper Art Museum, St. Louis,

2010, pp. 66-67 (illustrated)


191. Purple Portfolio: Richard Prince, Jack Pierson, Richard Kern, Terry Richardson and Juergen Teller b. 1964, b. 1954, b. 1960, b. 1965 and b. 1949

Five works: i) Hannah C; ii) Portrait of Brad Pitt; iii) Lara’s

Panties; iv) Service Please; v) Pasolini’s Dog, all , 2008

chromogenic prints, in a stamped cloth-covered portfolio

(i, ii, iii) 20 x 16 in. (50.8 x 40.6 cm)

(iv, v) 16 x 20 in. (40.6 x 50.8 cm)

i) Signed, numbered and dated “Prince 2008 1/10” on

the reverse.

ii) Signed, titled, numbered and dated “1/10 BRAD PITT,

1999 JACK PIERSON - 2008” on the reverse.

iii) Signed, titled, numbered and dated “LARA’S PANTIES

Richard Kern 1/10 1997” on the reverse.

iv) Signed and numbered “Terry Richardson 1/10” on the

reverse.

v) Signed and numbered “Juergen Teller 1/10” on the

reverse.

This portfolio is number 1 from an edition of 10 plus 5

artist’s proofs.

Estimate

$12,000-18,000

Provenance

John McWhinnie @ Glenn Horowitz Bookseller, New York

ii)

iii)

iv)

v)

i)


192. Vanessa Beecroft b. 1969

vb35.377 Performance, Solomon R. Guggenheim Museum,

NY - USA, 1998

chromogenic print

image 16 3⁄4 x 22 7⁄ 8 in. (42.5 x 58.1 cm)

sheet 20 x 24 in. (50.8 x 61 cm)

Initialed “VB” on a label a�xed to the reverse of the frame;

further signed and numbered “Mario Sorrenti 7/10” by the

photographer. This work is number 7 from an edition of 10.

Estimate

$6,000-8,000

Provenance

Yvonne Force Inc., New York



193. Robin Rhode b. 1976

Bench Press, 2001

chromogenic prints face-mounted to Plexiglas on

aluminum, in 9 parts

each 8 x 10 1⁄ 2 in. (20.3 x 26.7 cm)

This work is numbered 3 from an edition of 3 plus 2

artist’s proofs.

Estimate

$25,000-35,000

Provenance

Carlier Gebauer, Berlin

Perry Rubenstein Gallery, Los Angeles


194. Je� Wall b. 1946

Passenger, 2008

inkjet print

image 10 1⁄ 2 x 7 3⁄4 in. (26.7 x 19.7 cm)

sheet 19 x 13 in. (48.3 x 33 cm)

Signed, numbered and dated “Je� Wall 08 13/50”

on the reverse. This work is number 13 from an

edition of 50 plus 12 artist’s proofs.

Estimate

$4,000-6,000

Provenance

Ink Tree Editions, Uster

195. Katy Grannan b. 1969

Michael and Evan, Redhook NY, 2003

silver gelatin print

image 20 1⁄4 x 16 in. (51.4 x 40.6 cm)

sheet 20 3⁄4 x 16 1⁄ 2 in. (52.7 x 41.9 cm)

Signed and dated “Katy Grannan 2003” on a label

a�xed to the reverse. This work is number 1

from an edition of 6.

Estimate

$3,000-5,000

Provenance

Artemis Greenberg Van Doren Gallery, New York


196. Dan Graham b. 1942

Two works: (i) ‘Neo-Colonial’ Style Warehouse, West�eld, N.J.,

1979; (ii) World War II Housing Project, Vancouver, Canada, 1979

2 chromogenic prints, mounted on board

(i) 8 7⁄ 7 x 13 7⁄ 8 in. (22.9 x 35.2 cm)

(ii) 10 5⁄ 8 x 14 3⁄4 in. (27 x 37.5 cm)

overall 20 1⁄4 x 14 3⁄4 in. (51.4 x 37.5 cm)

Signed, titled and dated “Top: ‘Neo-Colonial’ Style Warehouse,

West�eld, N.J. 1979 Bottom: World War II Housing Project,

Vancouver, Canada 1979 Dan Graham” along the lower edge.

Estimate

$8,000-12,000

Provenance

Galerie Pierre Huber, Geneva


197. Andy Warhol 1928-1987

Torso, 1977

polaroid

4 1⁄4 x 3 3⁄ 8 in. (10.8 x 8.6 cm)

Stamped by the Estate of Andy Warhol and the

Andy Warhol Foundation for the Visual Arts, Inc. and

numbered “FA 16.01713” on the reverse.

Estimate

$5,000-7,000

Provenance

Salon 94, New York


Study for Mao, 1999


sheet 20 x 16 in. (50.8 x 40.6 cm)

frame 29 1⁄4 x 25 in. (74.3 x 63.5 cm)

Signed, titled, numbered and dated “‘Study for MAO’

A�er Andy Warhol Vik Muniz 1999 3/10” on the reverse

of the sheet. This work is number 3 from an edition of 10

plus 5 artist’s proofs.

Estimate

$8,000-12,000

Provenance

Brent Sikkema, New York

Literature

V. Muniz and P. Corrêa do Lago, Vik Muniz: Complete

Works, 1987-2009: Catalogue Raisonné, Rio de Janeiro,

2009, p. 473 (illustrated)


200. Valérie Belin b. 1964

Série Mannequins (Sans Titre 03 01 04 05), 2003


sheet 61 x 49 1⁄4 in. (154.9 x 125.1 cm)

frame 63 1⁄4 x 50 5⁄ 8 in. (160.7 x 128.6 cm)

Signed and dated “Valérie Belin 01/01/2003” on a label a�xed to the

reverse of the mount. This work is artist’s proof 2 from an edition of 3

plus 2 artist’s proofs.

Estimate

$8,000-12,000

Provenance

Galerie Xippas, Paris

Exhibited

Salem, Peabody Essex Museum, Valérie Belin: Made Up, October 17,

2009 - April 4, 2010 (another example exhibited)

Paris, Maison Européenne de La Photographie, Valérie Belin: Photographies,

1996 - 2006, April 9 - June 8, 2008 (another example exhibited)

Salamanca, Domus Artium 2002, Valérie Belin: Fotografías 1997 - 2004,

August 11 - October 3, 2004 (another example exhibited)

Donostia-San Sebastian, Koldo Mitxelena Kulturunea, Valérie Belin,

October 28, 2003, - January 17, 2004 (another example exhibited)

199. Arnold Odermatt b. 1925

Three works: (i) Heigisweil, 1972; (ii) Heigisweil, 1964;

(iii) Oberdorf, 1964

(i), (ii) black and white photograph

(iii) chromogenic print

(i) 11 5⁄ 8 x 11 5⁄ 8 in. (29.5 x 29.5 cm)

(ii) 11 5⁄ 8 x 14 5⁄ 8 in. (29.5 x 37.1 cm)

(iii) 19 5⁄ 8 x 19 5⁄ 8 in. (49.8 x 49.8 cm)

(i) Signed, titled, numbered and dated “Arnold Odermatt Heigisweil,

1972 3/8” on the reverse. This work is number 3 from an edition of 8.

(ii) Signed, titled, numbered and dated “Arnold Odermatt Heigisweil

1964 8/8” on the reverse. This work is number 8 from an edition of 8.

(iii) This work is number 12 from an edition of 15.

Estimate

$8,000-12,000

Provenance

Paul Morris Gallery, New York


202. Tracy Rose b. 1974

Maqe II, 2001

Lambda print

47 3⁄4 x 47 3⁄4 in. (121.3 x 121.3 cm)


Estimate

$2,000-3,000

Provenance

The Project, New York

Yoshii Gallery, New York

Phillips de Pury & Company, New York, Under The

In�uence, March 14, 2006, lot 238


201. Gavin Bond b. 1970

Backstage: Volume I (Pom Poms), 2007


60 x 40 in. (152.4 x 101.6 cm)

This work is artist’s proof 1 from an edition of 1 plus

1 artist’s proof.

Estimate

$7,000-9,000

Provenance

Guy Hepner, Los Angeles


205. David LaChapelle b. 1963

Maidenform, 2006

chromogenic print, mounted to Plexiglas,

in artist’s frame

image 17 3⁄ 8 x 23 1⁄4 in. (44.1 x 59.1 cm)

frame 20 x 25 3⁄4 in. (50.8 x 65.4 cm)

Signed “David LaChapelle” on a label

a�xed to the reverse of the mount. This

work is number 5 from an edition of 10.

Estimate

$6,000-8,000

Provenance

Tony Shafrazi Gallery, New York


Drew Barrymore: A Waitress, 1995

chromogenic print, mounted on Plexiglas, in artist’s frame

image 23 1⁄4 x 17 1⁄ 8 in. (59.1 x 43.5 cm)

frame 25 3⁄4 x 19 3⁄4 in. (65.4 x 50.2 cm)

Signed “David LaChapelle” on a label a�xed to the reverse

of the mount. This work is number 4 from an edition of 25.

Estimate

$6,000-8,000

Provenance



Leonardo DiCaprio: Coming of Age, 1995

chromogenic print, mounted on Plexiglas,

in artist’s frame

image 17 1⁄4 x 23 1⁄4 in. (43.8 x 59.1 cm)

frame 20 x 25 3⁄4 in. (50.8 x 65.4 cm)

Signed “David LaChapelle” on a label a�xed

to the reverse. This work is number 1 from an

edition of 10.

Estimate

$6,000-8,000

Provenance



207. Stuart Hawkins b. 1969

Untitled (from Deluxe series), 2008

chromogenic print

60 x 30 in. (152.4 x 76.2 cm)

Signed “Stuart Hawkins” on a label a�xed to the reverse.


Estimate

$2,000-3,000

Provenance


Exhibited

New York, Zach Feuer Gallery, Stuart Hawkins: Deluxe, May

8 - June 7, 2008 (another example exhibited)

206. Stuart Hawkins b. 1969

Untitled (from Deluxe series), 2008

chromogenic print

45 3⁄4 x 55 3⁄ 8 in. (116.2 x 140.7 cm)

Signed “Stuart Hawkins” on a label a�xed to the reverse.


Estimate

$2,000-3,000

Provenance


Exhibited

New York, Zach Feuer Gallery, Stuart Hawkins: Deluxe, May

8 - June 7, 2008



209. Noriko Furunishi b. 1966

Untitled (Crater), 2005

chromogenic print

82 1⁄ 2 x 48 in. (209.6 x 121.9 cm)

Signed “Noriko Furunishi” on a label a�xed to the

reverse. This work is number 4 from an edition of 5.

Another example from this edition is in the permanent

collection of the San Francisco Museum of Modern Art,

San Francisco, and in the permanent collection of the

Palm Springs Art Museum, Palm Springs.

Estimate

$3,000-5,000 •

Provenance

Murray Guy Gallery, New York

Exhibited

New York, Murray Guy Gallery, Landscapes,


Ketchum, Idaho, Sun Valley Center for the Arts, Whose

Nature? What’s Nature?, October 27, 2006 - January 5,

2007 (another example exhibited)

Palm Springs, Palm Springs Art Museum, Distinct

Impressions: Photographs from the Permanent

Collection, February 6 - December 12, 2007 (another

example exhibited)

San Francisco, San Francisco Museum of Modern Art,

Picturing Modernity: The Photography Collection, May

12 - December 31, 2007 (another example exhibited)

Minneapolis, Institute of the Arts, New Pictures: Noriko

Furunishi, September 18, 2009 - January 30, 2010


Boca Raton, Florida Atlantic University, Schmidt

Center Gallery, Altarations: Built, Blended, Processed,

November 21, 2014 - February 28, 2015, then traveled

to Boca Raton, Florida Atlantic University, Ritter

Art Gallery, January 15 - February 28, 2015 (another

example exhibited)

208. Shinique Smith b. 1972

Untitled (Rodeo Beach Bundle), 2007

chromogenic print

40 x 30 in. (101.6 x 76.2 cm)


Estimate

$2,000-3,000

Provenance

Private Collection

Exhibited

North Miami, Museum of Contemporary Art, Shinique

Smith: Menagerie, September 16 - November 19,

2010, then traveled to Madison, Madison Museum of

Contemporary Art (January 22 - May 8, 2011) (another

example exhibited)



0469, 2009

chromogenic print

image 9 x 13 1⁄ 2 in. (22.9 x 34.3 cm)

sheet 11 x 17 in. (27.9 x 43.2 cm)

Signed, numbered and dated “James Welling 2009,

20/25” on the reverse. This work is number 20 from

an edition of 25.

Estimate

$5,000-7,000

Provenance

Glass House Editions, New Canaan

Exhibited

Los Angeles, Regen Projects, James Welling: Glass

House, January 25 - March 5, 2010 (another example

exhibited)

New York, David Zwirner, James Welling: Glass House,

March 24 - April 24, 2010 (another example exhibited)

Cincinnati, Cincinnati Art Museum, James Welling:

Monograph, February 2 - May 5, 2013, then traveled

to Los Angeles, Hammer Museum (September 29,

2013 - January 12, 2014) (another example exhibited)


0467, 2008

chromogenic print

image 9 x 13 1⁄ 2 in. (22.9 x 34.3 cm)

sheet 11 x 17 in. (27.9 x 43.2 cm)

Signed, numbered and dated “James Welling 2009

25/25” on the reverse. This work is number 25 from

an edition of 25.

Estimate

$5,000-7,000

Provenance

Glass House Editions, New Canaan

Exhibited

New York, David Zwirner, James Welling: Glass House,

March 24 - April 24, 2010 (another example exhibited)

Literature

A. Ou, “James Welling: 500 Words”, Artforum,

January 26, 2010 (illustrated)


213. Marnie Weber b. 1959

External Friends, 2005

chromogenic print with collage

40 x 50 in. (101.6 x 127 cm)

Signed, titled and dated “Marnie

Weber ‘External Friends’ 2005” on

the reverse.

Estimate

$5,000-7,000

Provenance

Rosamund Felsen Gallery, Santa

Monica

212. Stephen G. Rhodes b. 1977

Excerpt (Castle Drapery), 2006

chromogenic print, spray paint, in

artist’s frame

24 x 30 in. (61 x 76.2 cm)

Signed “Stephen Rhodes” on a label

a�xed to the reverse of the frame.

This work is number 4 from an edition

of 5 plus 2 artist’s proofs.

Estimate

$4,000-6,000

Provenance

Guild & Greyshkul, New York



Dickinson, 2006

chromogenic print

image 31 1⁄ 2 x 25 in. (80 x 63.5 cm)

frame 40 1⁄4 x 33 1⁄ 2 in. (102.2 x 85.1 cm)


Estimate

$2,000-3,000

Provenance

David Zwirner, New York

Exhibited

New York, David Zwirner, James Welling,

March 21 - May 5, 2007

London, Maureen Paley, James Welling, April

19 - May 20, 2007 (another example exhibited)

Los Angeles, Regen Projects, James Welling,

February 29 - April 4, 2008 (another example

exhibited)

214. Anthony Pearson b. 1969

Untitled (Tablet), 2012

bronze with silver nitrate patina

12 1⁄4 x 6 1⁄ 8 x 2 1⁄ 8 in. (31.1 x 15.6 x 5.4 cm)

Estimate

$5,000-7,000

Provenance

Marianne Boesky Gallery, New York


216. Hannah Collins

Open and Revolving, 1987

black and white photo mounted on canvas

63 x 120 in. (160 x 304.8 cm)

Estimate

$5,000-7,000

Provenance

Private Collection

217. Tigran Tsitoghdzyan b. 1976

White Mirror II, 2014

oil on canvas

75 x 50 in. (190.5 x 127 cm)

Signed, titled and dated “Tigran Tsitoghdzyan

White Mirror II 2014” on the reverse.

Estimate

$30,000-40,000

Provenance

Private Collection


218. Ryan McGinness b. 1972

Untitled, 2003

silkscreen on panel

15 x 15 in. (38.1 x 38.1 cm)

Signed and dated “Ryan McGinness 2003”

on the reverse.

Estimate

$6,000-8,000

Provenance

222 Gallery, Philadelphia

219. Matthias Meyer b. 1969

Rig, 2006

oil on canvas

78 3⁄4 x 63 in. (200 x 160 cm)

Signed, titled and dated “Matthias

Meyer Rig 2006” on the reverse.

Estimate

$8,000-12,000

Provenance

Galerie Andreas Binder, Munich


220. Moon Beom b. 1955

Slow, Same #261, 1996

pigment, oil on linen, lead, varnish

27 3⁄4 x 67 x 8 in. (70.5 x 170.2 x 20.3 cm)

Signed, titled and dated “MOON BEOM

SLOW, SAME. #261 1996” on the reverse;

further signed and dated “MOON BEOM

1996” on the reverse lower panel.

Estimate

$20,000-30,000

Provenance

Generous Miracles Gallery, NY


221. Stanley Casselman b. 1963

IR-31-2, 2013

acrylic on canvas

79 x 63 in. (200.7 x 160 cm)

Signed, titled and dated “Stanley Casselman ‘IR-31-2’ 2013”

on the reverse.

Estimate

$25,000-35,000

Provenance

Scott White Contemporary Art, San Diego

Private Collection


222. Jason Martin b. 1970

Tzion, 2011

pure pigment on panel

26 x 22 x 5 in. (66 x 55.9 x 12.7 cm)

Estimate

$20,000-25,000

Provenance

L.A. Louver, Venice

Gallery Art, Aventura

Exhibited

Venice, L.A. Louver, Jason Martin: Near by Far, July 21 -

August 27, 2011


223. Koen van den Broek b. 1973

Garage, 2002

oil on canvas

68 1⁄ 2 x 66 3⁄4 in. (174 x 169.5 cm)

Signed, titled and dated “‘Garage’ Koen van den Broek 2002”

on the reverse.

Estimate

$15,000-20,000

Provenance

White Cube, London

Exhibited

London, White Cube, Koen van den Broek,

Threshold, December 11, 2003 – January 17, 20


224. Marius Bercea b. 1979

Perfume, Pollen and Hysteria, 2010

oil on canvas

39 1⁄ 2 x 57 1⁄ 2 in. (100.3 x 146.1 cm)

Signed, titled and dated “‘Perfume, pollen, hysteria’ M

Bercea 2010” on the reverse.

Estimate

$18,000-22,000

Provenance

François Ghebaly Gallery, Los Angeles

Exhibited

Los Angeles, François Ghebaly Gallery, Qui Vivra Verra,




225. Sophie von Hellermann b. 1975

Wittgenstein, 2007

acrylic on canvas

50 x 35 1⁄ 2 in. (127 x 90.2 cm)

Signed and dated “Sophie von Hellerman 2007”

on the reverse.

Estimate

$2,000-4,000 •

Provenance

Vilma Gold, London

226. Varda Caivano b. 1971

Two works: (i) Untitled, 2005 (ii) Untitled, 2007

(i) acrylic on canvas, (ii) oil, mixed media on

unprimed canvas

(i) 11 3⁄4 x 15 3⁄4 in. (29.8 x 40 cm)

(ii) 14 x 18 in. (35.6 x 45.7 cm)

(i) Signed and dated “VARDA 2005” on the reverse.

Estimate

$4,000-6,000

Provenance

(i) Victoria Miro Gallery, London

(ii) Thomas Dane Gallery, London

Exhibited

(ii) London, Thomas Dane Gallery, Very Abstract and

Hyper Figurative, March 15 - April 14, 2000

ii)i)


227. Lester Johnson b. 1919

Silver Beach 2, 1972

oil on canvas

68 x 68 in. (172.7 x 172.7 cm)

Signed and dated “Lester Johnson

72” lower right.

Estimate

$10,000-15,000

Provenance

Martha Jackson Gallery, New York

228. Sandra Scolnik b. 1968

Untitled, 2000

oil on panel

5 3⁄4 x 9 1⁄4 in. (14.6 x 23.5 cm)

Signed and dated “Sandra Scolnik


Estimate

$3,000-5,000

Provenance




229. Kiki Lamers b. 1964

Happy Girl, 2001

oil on canvas

47 1⁄4 x 39 1⁄4 in. (120 x 99.7 cm)

Signed and dated “Kiki Lamers 2001” on the reverse.

Estimate

$5,000-7,000 •

Provenance

Annet Gelink Gallery, Amsterdam

Literature

D. Cameron and A. Tilroe, Kiki Lamers: Tender Age,

Artimo Foundation, Amsterdam, 2002, n.p. (illustrated)

230. Je� Sonhouse b. 1968

In�nite, 2013

acrylic, spray paint, paper collage on paper

17 1⁄ 2 x 12 in. (44.5 x 30.5 cm)

Signed, titled and dated “‘In�nite’ Je� Sonhouse


Estimate

$4,000-6,000

Provenance

Jack Tilton Gallery, New York


232. Alison Elizabeth Taylor b. 1973

5:17, 2007

marquetry, shellac

36 x 28 in. (91.4 x 71.1 cm)

Estimate

$2,000-3,000

Provenance

James Cohan Gallery, New York

231. Natalie Frank b. 1980

Study for One Train May Hide Another, 2006

gouache, pastel on paper

22 1⁄ 2 x 14 1⁄ 2 in. (57.2 x 36.8 cm)

Signed, titled and dated “Natalie Frank Study for One Train

May Hide Another” on the reverse.

Estimate

$6,000-8,000

Provenance

Mitchell-Innes & Nash, New York


233. Ester Partegàs b. 1972

Barricades (Tourists of our own Existence), 2006

enamel, acrylic on Mylar and vinyl, paper

95 x 52 in. (241.3 x 132.1 cm)

Estimate

$4,000-6,000

Provenance

Foxy Production, New York

234. Gavin Turk b. 1967

Divine Insulation, 2003

painted bronze, ink

3 3⁄ 8 x 2 7⁄ 8 x 2 7⁄ 8 in. (8.6 x 7.3 x 7.3 cm)

Signed, titled and dated “‘Divine Insulation’ Gavin Turk

2003” on the underside.

Estimate

$7,000-9,000

Provenance

Sean Kelly Gallery, New York


236. Shinique Smith b. 1972

Enchanted Place, 2007

fabric, string, pillows, foam, rug, lace, plaster swan

50 x 34 x 24 in. (127 x 86.4 x 61 cm)

Estimate

$5,000-7,000

Provenance

Private Collection

235. Jessica Stockholder b. 1959

Multiple Products, 1995

galvanized metal, plastic, yarn and paper mâché

44 3⁄4 x 25 1⁄ 2 x 24 in. (113.7 x 64.8 x 61 cm)


Estimate

$5,000-7,000

Provenance



237. Elmgreen & Dragset b. 1961 / 1969

Tanya! Tanya! Tanya!, 2004

wood, paint, wax, human hair, clothing, shoes,

Styrofoam packing peanuts

52 1⁄ 2 x 24 3⁄4 x 40 1⁄ 2 in. (133.4 x 62.9 x 102.9 cm)


Estimate

$20,000-30,000

Provenance



238. Bertrand Lavier b. 1949

Indesit, 1986

oil, acrylic on refrigerator

49 x 22 x 25 in. (124.5 x 55.9 x 63.5 cm)

Estimate

$15,000-20,000

Provenance

Private Collection


239. Saint Clair Cemin b. 1951

Guarded Closet, 1987

oak, aluminum, pine

45 1⁄ 2 x 25 x 25 in. (115.6 x 63.5 x 63.5 cm)


Estimate

$10,000-15,000

Provenance

Private Collection


240. Bill Woodrow

Round the Kitchen Table, 1987

wooden table, 3 metal lockers, enamel

107 x 69 x 69 in. (271.8 x 175.3 x 175.3 cm)

Estimate

$20,000-30,000

Provenance

Lisson Gallery, London

Exhibited

London, Lisson Gallery, Bill Woodrow, May 27 -

June 20, 1987


242. Alan Rath b. 1959

Little Running Man, 2001

glass, aluminum, PVC, rubber, custom electronics,

so�ware and LCD monitor

11 1⁄ 2 x 6 x 6 in. (29.2 x 15.2 x 15.2 cm)

Signed, titled, numbered and dated “Little Running

Man 4/5 © Rath 2001” on the underside. This work

is numbered 4 from an edition of 5.

Estimate

$5,000-7,000

Provenance

David Breskin, San Francisco

241. Ryan McGinness b. 1972

Button Dress, 2007

various buttons printed with archival ink on paper

pinned to a silk Chloé dres

35 x 22 in. (88.9 x 55.9 cm)

Signed and dated “Ryan McGinness 2007” on the

reverse. This work is unique.

Estimate

$6,000-8,000

Provenance

Produced for the Guggenheim Artist’s Ball

Auction, 2007



244. James Hopkins

Melting Mickey, 2006

colored acrylic

18 1⁄4 x 29 3⁄4 x 29 3⁄4 in. (46.4 x 75.6 x 75.6 cm)

Estimate

$3,000-5,000

Provenance

Max Wigram Gallery, London

243. Je� Koons b. 1955

Balloon Dog (Red), 1995

porcelain with metallic glaze

10 1⁄4 x 10 1⁄4 in. (26 x 26 cm)

Numbered “1535/2300” on the underside,

published by the Museum of Contemporary

Art, Los Angeles. This work is number 1535

from an edition of 2300 and is accompanied

by the original plastic stand.

Estimate

$8,000-12,000

Provenance

Published by the Museum of Contemporary

Art, Los Angeles


245. Kristin Baker b. 1975

Dirty Orange Cone #11, 2005

acrylic, mixed media on mylar

66 1⁄ 2 x 54 in. (168.9 x 137.2 cm)

Signed “K BAKER 05” lower right.

Estimate

$10,000-15,000

Provenance

ACME., Los Angeles


Exhibited

Los Angeles, ACME., Fall Out, March 19 - April 23, 2005


247. Jorge Pardo b. 1963

Untitled Canvas #20, 2006

alkyd paint on canvas

8 1⁄4 x 10 1⁄ 2 in. (21 x 26.7 cm)

Signed, titled and dated “Pardo

2006 20” on the reverse.

Estimate

$5,000-7,000

Provenance

Galerie Neu, Berlin

246. David Reed b. 1946

#371, 1997

oil, alkyd on panel

32 x 48 in. (81.3 x 121.9 cm)

Signed, titled and dated “#371 1997

David Reed” on the reverse.

Estimate

$15,000-20,000

Provenance

Galerie Rolf Ricke, Cologne


248. Julian Opie b. 1958

U, 1988

glass, aluminum, stainless steel, foam, PVC, wood

34 1⁄4 x 44 3⁄4 x 9 1⁄ 2 in. (87 x 113.7 x 24.1 cm

Estimate

$10,000-15,000

Provenance

Lisson Gallery, London

249. Matthew Day Jackson b. 1974

From The Dymaxion Series: Bucky (ROY GBIV), 2007

intaglio, screenprint

23 1⁄ 2 x 17 1⁄ 2 in. (59.7 x 44.5 cm)

Signed, titled, numbered and dated “21/35 BUCKY

(ROY GBIV) MATTHEW DAY JACKSON 2009” on the

reverse of the sheet, further numbered “Ed # 21/35”

on the reverse of the mount. This work is number 21

from an edition of 35.

Estimate

$3,000-5,000

Provenance

Peter Blum Gallery, New York


250. Lisa Ruyter b. 1968

International House, 2004

acrylic on canvas

48 x 48 in. (121.9 x 121.9 cm)

Signed and dated “Lisa Ruyter 2004” on

the reverse.

Estimate

$12,000-15,000

Provenance

Galerie Thaddaeus Ropac, Paris

251. Peter Stauss b. 1966

Performance, 1999

oil on canvas

98 1⁄ 2 x 78 3⁄4 in. (250.2 x 200 cm)

Signed, titled and dated “Stauss 99

‘Performance’” on the reverse.

Estimate

$8,000-12,000

Provenance

Galerie Aurel Scheibler, Cologne


252. Phil Frost b. 1973

Folor Cuda Malsorals, 2006

mixed media on barn door

78 3⁄4 x 24 3⁄4 x 14 1⁄ 8 in. (200 x 62.9 x 35.9 cm)

Signed, titled and dated “© FROST 2006 FOLOR CUDA

MALSORALS” on the reverse

Estimate

$10,000-15,000

Provenance

Elm Lester Gallery, London


253. Domingo Zapata b. 1974

Make Love Not War, 2011

acrylic, collage on canvas

72 x 48 in. (182.9 x 121.9 cm)

Signed “D. Zapata” lower le�.

Estimate

$8,000-12,000

Provenance



255. Invader b. 1969

Alias MIA_47, 2012

ceramic tiles on panel

12 1⁄4 x 16 3⁄4 in. (31.1 x 42.5 cm)

Etch-tagged, titled and dated “MIA_47 2012” on the

reverse of the mount. This work is accompanied by a

photo-certi�cate of authenticity tagged and dated by

the artist.

Estimate

$8,000-12,000

Provenance

Jonathan LeVine Gallery, New York

254. Retna b. 1979

Untitled (La Virgen), 2000

mixed media on canvas

36 x 24 in. (91.4 x 61 cm)

Estimate

$10,000-15,000

Provenance

Acquired directly from the artist

Private Collection


256. KAWS b. 1974

Untitled (Jalouse), 1999

acrylic on existing advertising poster

68 x 48 in. (172.7 x 121.9 cm)

Signed and dated “KAWS ‘99” lower right.

Estimate

$30,000-40,000

Provenance


Literature

I. Luna, KAWS, New York: Skira Rizzoli; Aldrich

Contemporary Art Museum, 2010, pp. 9, 79 (illustrated)


20. Margo Wolowiec


Ajemian, L. 135

Altman, H. 68

Arcangel, C. 113

Arunanondchai, K. 9

Baker, K. 245

Bass, M. 1

Bauer, M. 159

Beasley, K. 18

Beck, R. 31, 32, 33

Beecroft, V. 192

Beier, N. 99, 119

Belin, V. 200

Ben-Gal, A. 178

Benson, T. 111

Beom, M. 220

Bercea, M. 224

Bernadet, J.-B. 128, 131

Black, S. 117

Bleckner, R. 34, 152

Bock, J. 164

Bond, G. 201

Booker, P. 61

Boot, A. 130

Bradley, J. 24, 143

Brätsch, K. 171

van den Broek, K. 223

Brüggemann, S. 22

Butzer, A. 158

Caivano, V. 226

Casselman, S. 221

Cemin, S. C. 239

Ceulers, M. 15

Coffin, P. 96

Colen, D. & Korine, H. 123

Collins, H. 216

Condo, G. 146

Coolquitt, A. 138

Cortright, P. 7

Darmstaedter, N. 124

Davie, K. 151

Demand, T. 54

Dicke, A. 137

Dunham, C. 94

Dzama, M. 176

Ekblad, I. 106

Eliasson, O. 28, 29

Elmgreen & Dragset 237

Estep, R. 116

Falls, S. 105

Farah, A. 19

Farhi, N. 114

Faust, G. 48

Flood, M. 103, 108, 122

Fontaine, C. 86

Francis, M. 35

Frank, N. 231

Frost, P. 252

Furunishi, N. 209

Fuss, A. 153

Gaillard, C. 175

Gardner, T. 50, 167

Gerrard, J. 57

Gissler, G. 44

Glasco, J. 69

Goldby, M. 100

Grabner, M. 115

Graham, D. 196

Grannan, K. 195

Greenbaum, J. 149

Grotjahn, M. 95

Haendel, K. 181

Hagen, M. 110

Havel, J. 43, 72

Hawkins, S. 206, 207

Hawkinson, T. 71

Heffernan, J. 155

Heilmann, M. 150

von Hellerman, S. 225

Helms, A. 45

Holzer, J. 85

Homstvedt, H. 161

Hopkins, J. 244

Huang Yong Ping 185

Hubbard, A. 12, 127

Indiana, R. 83

Invader 255

Ito, P. 142

Jackson, M.D. 249

Jensen, B. 46

Jensen, S. 102

Johnson, L. 227

Johnson, R. 23

Kabakov, I. 180

Kahlhamer, B. 168

Kami, Y.Z. 90

Kapoor, A. 91

Kassay, J. 170

KAWS 256

Kincaid, T. 65

Koons, J. 243

Kopkau, P. 173

LaChapelle, D. 203, 204, 205

Lamers, K. 229

Larner, L. 60

Lavier, B. 238

Leo Gabin 13

Ligon, G. 88

Lockhart, S. 190

Lund, J. 16

Lynch, B. 121

I N D E X

Madani, T. 163

Madison, T. 112

Mahama, I. 8

Manning, M. 126

Martin, J. 222

McCarthy, P. 145

McGinness, R. 218, 241

Mehretu, J. 30, 97

Meyer, M. 219

Minter, M. 187

Mir, A. 47

Muller, D. 64

Muniz, V. 188, 189, 198

Mutu, W. 93

Nadal, G. 183

Nevelson, L. 89

Nomura, H. 58

Odermatt, A. 199

Olson, A. 104

Opie, J. 82, 248

Orr, T. 41

Overstreet, B. 165

Pardo, J. 247

Partegàs, E. 233

Patterson, G. 132, 136

Pearson, A. 214

Pecchio, P. 53, 56

Pestoni, J. 162

Phelps, D. 174

Pilato, N. 133

Plessen, M. 75

Polk Smith, L. 144

Pomara, J. 49

Prince, R., Pierson, J., Kern, R.,

Richardson, T. & Teller, J. 191

Purdum, R. 42

Raitt, N. 129

Rath, A. 70, 242

Reed, D. 246

Reeder, S. 160

Rees, D. 5, 125

Reihsen, J. 3

Retna 254

Reyle, A. 84

Rhode, R. 193

Rhodes, S.G. 212

Ridgway, L. 63, 67

Ritchey, L. 21

Ritchie, M. 62

Röhss, E. 134

Rondinone, U. 148

Rosa, C. 10, 107

Rose, T. 202

Rothschild, E. 59

Rückriem, U. 25

Ruscha, E. 26, 27

Ruyter, L. 250

Sato, T. 55

Schnabel, J. 92

Schulnik, A. 154

Scolnik, S. 228

Scott-Douglas, H. 11, 17

Shapiro, J. 38

Sibony, G. 147

Simmons, G. 87

Smalley, T. 109

Smith, L. 139, 140

Smith, S. 208, 236

Solakov, N. 179

Sonhouse, J. 230

Staniak, M. 2

Stauss, P. 251

Stockholder, J. 235

Strunz, K. 73

Succo, C. 4

Sugito, H. 177

Taaffe, P. 36, 39, 40

Taylor, A.E. 232

Thurman, B. 14

Trudeau, G.B. 184

Tsitoghdzyan, T. 217

Turk, G. 234

Uklański, P. 186

Værslev, F. 120

Vierkant, A. 6

Wadden, B. 118

Wall, J. 194

Warhol, A. 197

Washington Jr., C. 166

Weber, M. 213

Welling, J. 52, 210, 211, 215

Wesselmann, T. 80, 81

West, F. 76, 77, 78, 79

Wetzel, M. 74

White, P. 182

Whiteread, R. 66

Wiley, K. 169

Williams, M. 156, 157

Winters, T. 37

Wolowiec, M. 20

Wood, J. 98, 101

Woodrow, B. 240

Young, A. 172

Zapata, D. 253


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Buying at Auction

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8QOHVV�LQGLFDWHG�E\�D�ɘ��DOO�ORWV�LQ�WKLV�FDWDORJXH�DUH�Rդ�HUHG�VXEMHFW�WR�D�UHVHUYH��

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2 Bidding in the Sale

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Sterling Ruby

Double Vampire V, 2011

Estimate £40,000-60,000

Collectable Contemporary Art

London Auction, 9 December 2015

Newcomers welcome

New Now showcases the best of what’s

happening right now in contemporary art

—all in one place. These diverse lots are

equally seductive to savvy collectors and

auction-curious newcomers.

If you think our New Now sale might be

the right ft for a work in your collection,

get in touch. We’ll have an expert on hand

to help you get your work to the right

auction in the right place at the right time.

Enquiries and valuations

Tamila Kerimova +44 20 7318 4065

[email protected]


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$3,000 to $5,000 by $200s, 500, 800 (i.e., $4,200, 4,500, 4,800)

$5,000 to $10,000 by $500s

$10,000 to $20,000 by $1,000s

$20,000 to $30,000 by $2,000s

$30,000 to $50,000 by $2,000s, 5,000, 8,000

$50,000 to $100,000 by $5,000s

$100,000 to $200,000 by $10,000s

above $200,000 auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or

her own discretion.

3 The Auction

Conditions of Sale

As noted above, the auction is governed by the Conditions of Sale and Authorship

Warranty. All prospective bidders should read them carefully. They may be

amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement

In situations where a person allowed to bid on a lot has a direct or indirect interest in

such lot, such as the bene� ciary or executor of an estate selling the lot, a joint owner

of the lot or a party providing or participating in a guarantee on the lot, Phillips will

make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding; No Reserve Lots

The auctioneer may open the bidding on any lot by placing a bid on behalf of the

seller. The auctioneer may further bid on behalf of the seller up to the amount

of the reserve by placing consecutive bids or bids in response to other bidders.

If a lot is o� ered without reserve, unless there are already competing absentee

bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-

sale estimate. In the absence of a bid at that level, the auctioneer will proceed

backwards at his or her discretion until a bid is recognized and will then advance

the bidding from that amount. Absentee bids on no reserve lots will, in the absence

of a higher bid, be executed at approximately 50% of the low pre-sale estimate or

at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there

is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

4 A� er the Auction

Payment

Buyers are required to pay for purchases immediately following the auction

unless other arrangements are agreed with Phillips in writing in advance of the

sale. Payment 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 will accept American Express, Visa and

Mastercard to pay for invoices of $100,000 or less. A processing fee will apply.

Collection

It is our policy to request proof of identity on collection of a lot. A lot will be

released to the buyer or the buyer’s authorized representative when Phillips has

received full and cleared payment and we are not owed any other amount by the

buyer. Promptly a� er 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 Park Avenue, 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 accepts liability for loss or damage to lots for a

maximum of seven days following the auction.

Transport and Shipping

As a free service for buyers, Phillips 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. 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, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective

of age, percentage or value, may require a license or certi� cate prior to exportation

and additional licenses or certi� cates upon importation to any foreign country.

Please note that the ability to obtain an export license or certi� cate does not

ensure the ability to obtain an import license or certi� cate 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 certi� cates

as well as any other required documentation. Please note that lots containing

potentially regulated plant or animal material are marked as a convenience to our

clients, but Phillips does not accept liability for errors or for failing to mark lots

containing protected or regulated species.


©Eggleston Artistic Trust. Courtesy Cheim Read, New York

William Eggleston

Memphis, 1969–1970 (detail)

Estimate $250,000-350,000

William Eggleston

Innovators of Photography:

A Private East Coast Collection

& Photographs Auctions

10am & 2pm, 8 October 2015, New York

Visit our public viewing from 26 September-

7 October at 450 Park Avenue

or at phillips.com

Enquiries [email protected]

“I am at war with the obvious.”


Conditions of Sale

The Conditions of Sale and Authorship Warranty set forth below govern the

relationship between bidders and buyers, on the one hand, and Phillips and sellers,

on the other hand. All prospective buyers should read these Conditions of Sale and

Authorship Warranty carefully before bidding.

1 Introduction

Each lot in this catalogue is o� ered for sale and sold subject to: (a) the Conditions

of Sale and Authorship Warranty; (b) additional notices and terms printed in

other places in this catalogue, including the Guide for Prospective Buyers, and (c)

supplements to this catalogue or other written material posted by Phillips in the

saleroom, in each case as amended by any addendum or announcement by the

auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid,

by telephone bid or other means, bidders and buyers agree to be bound by these

Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship

Warranty contain all the terms on which Phillips and the seller contract with the

buyer.

2 Phillips as Agent

Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue

or at the time of auction. On occasion, Phillips may own a lot directly, in which

case we will act in a principal capacity as a consignor, or a company a� liated with

Phillips may own a lot, in which case we will act as agent for that company, or

Phillips or an a� liated company may have a legal, bene� cial or � nancial interest in

a lot as a secured creditor or otherwise.

3 Catalogue Descriptions and Condition of Property

Lots are sold subject to the Authorship Warranty, as described in the catalogue

(unless such description is changed or supplemented, as provided in Paragraph 1

above) and in the condition that they are in at the time of the sale on the following

basis.

(a) The knowledge of Phillips in relation to each lot is partially dependent

on information provided to us by the seller, and Phillips is not able to and

does not carry out exhaustive due diligence on each lot. Prospective buyers

acknowledge this fact and accept responsibility for carrying out inspections and

investigations to satisfy themselves as to the lots in which they may be interested.

Notwithstanding the foregoing, we shall exercise such reasonable care when

making express statements in catalogue descriptions or condition reports as

is consistent with our role as auctioneer of lots in this sale and in light of (i) the

information provided to us by the seller, (ii) scholarship and technical knowledge

and (iii) the generally accepted opinions of relevant experts, in each case at the

time any such express statement is made.

(b) Each lot o� ered for sale at Phillips is available for inspection by prospective

buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders

(and independent experts on their behalf, to the extent appropriate given the

nature and value of the lot and the bidder’s own expertise) have fully inspected the

lot prior to bidding and have satis� ed themselves as to both the condition of the lot

and the accuracy of its description.

(c) Prospective buyers acknowledge that many lots are of an age and type which

means that they are not in perfect condition. As a courtesy to clients, Phillips may

prepare and provide condition reports to assist prospective buyers when they are

inspecting lots. Catalogue descriptions and condition reports may make reference

to particular imperfections of a lot, but bidders should note that lots may have

other faults not expressly referred to in the catalogue or condition report. All

dimensions are approximate. Illustrations are for identi� cation purposes only and

cannot be used as precise indications of size or to convey full information as to the

actual condition of lots.

(d) Information provided to prospective buyers in respect of any lot, including

any pre-sale estimate, whether written or oral, and information in any catalogue,

condition or other report, commentary or valuation, is not a representation of

fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may

not be relied on as a prediction of the selling price or value of the lot and may be

revised from time to time by Phillips in our absolute discretion. Neither Phillips nor

any of our a� liated companies shall be liable for any di� erence between the pre-

sale estimates for any lot and the actual price achieved at auction or upon resale.

4 Bidding at Auction

(a) Phillips has absolute discretion to refuse admission to the auction or

participation in the sale. All bidders must register for a paddle prior to bidding,

supplying such information and references as required by Phillips.

(b) As a convenience to bidders who cannot attend the auction in person, Phillips

may, if so instructed by the bidder, execute written absentee bids on a bidder’s

behalf. Absentee bidders are required to submit bids on the Absentee Bid Form,

a copy of which is printed in this catalogue or otherwise available from Phillips.

Bids must be placed in the currency of the sale. The bidder must clearly indicate

the maximum amount he or she intends to bid, excluding the buyer’s premium

and any applicable sales or use taxes. The auctioneer will not accept an instruction

to execute an absentee bid which does not indicate such maximum bid. Our sta�

will attempt to execute an absentee bid at the lowest possible price taking into

account the reserve and other bidders. Any absentee bid must be received at

least 24 hours in advance of the sale. In the event of identical bids, the earliest bid

received will take precedence.

(c) Telephone bidders are required to submit bids on the Telephone Bid Form,

a copy of which is printed in this catalogue or otherwise available from Phillips.

Telephone bidding is available for lots whose low pre-sale estimate is at least

$1,000. Phillips reserves the right to require written con� rmation of a successful

bid from a telephone bidder by fax or otherwise immediately a� er such bid is

accepted by the auctioneer. Telephone bids may be recorded and, by bidding on

the telephone, a bidder consents to the recording of the conversation.

(d) Bidders may participate in an auction by bidding online through Phillips’s online

live bidding platform available on our website at www.phillips.com. To bid online,

bidders must register online at least 24 hours before the start of the auction.

Online bidding is subject to approval by Phillips’s bid department in our sole

discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to

inspect prior to the auction any lot(s) on which they may bid, and condition reports

are available upon request. Bidding in a live auction can progress quickly. To

ensure that online bidders are not placed at a disadvantage when bidding against

bidders in the room or on the telephone, the procedure for placing bids through

Phillips’s online bidding platform is a one-step process. By clicking the bid button

on the computer screen, a bidder submits a bid. Online bidders acknowledge and

agree that bids so submitted are � nal and may not under any circumstances be

amended or retracted. During a live auction, when bids other than online bids are

placed, they will be displayed on the online bidder’s computer screen as ‘� oor’

bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In

the event that an online bid and a ‘� oor’ or ‘phone’ bid are identical, the ‘� oor’ bid

may take precedence at the auctioneer’s discretion. The next bidding increment

is shown for the convenience of online bidders in the bid button. The bidding

increment available to online bidders may vary from the next bid actually taken by

the auctioneer, as the auctioneer may deviate from Phillips’s standard increments

at any time at his or her discretion, but an online bidder may only place a bid in a

whole bidding increment. Phillips’s bidding increments are published in the Guide

for Prospective Buyers.

(e) When making a bid, whether in person, by absentee bid, on the telephone or

online, a bidder accepts personal liability to pay the purchase price, as described

more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has

been explicitly agreed in writing with Phillips before the commencement of the

auction that the bidder is acting as agent on behalf of an identi� ed third party

acceptable to Phillips and that we will only look to the principal for such payment.

(f) By participating in the auction, whether in person, by absentee bid, on the

telephone or online, each prospective buyer represents and warrants that any

bids placed by such person, or on such person’s behalf, are not the product of any

collusive or other anti-competitive agreement and are otherwise consistent with

federal and state antitrust law.

(g) Arranging absentee, telephone and online bids is a free service provided by

Phillips to prospective buyers. While we undertake to exercise reasonable care in


undertaking such activity, we cannot accept liability for failure to execute such

bids except where such failure is caused by our willful misconduct.

(h) Employees of Phillips and our a� liated companies, including the auctioneer,

may bid at the auction by placing absentee bids so long as they do not know

the reserve when submitting their absentee bids and otherwise comply with our

employee bidding procedures.

5 Conduct of the Auction

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which is the con� dential minimum selling price agreed by Phillips with the seller. The

reserve will not exceed the low pre-sale estimate at the time of the auction.

(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot,

re-o� er a lot for sale (including a� er the fall of the hammer) if he or she believes

there may be error or dispute and take such other action as he or she deems

reasonably appropriate. Phillips shall have no liability whatsoever for any such

action taken by the auctioneer. If any dispute arises a� er the sale, our sale record

is conclusive. The auctioneer may accept bids made by a company a� liated with

Phillips provided that the bidder does not know the reserve placed on the lot.

(c) The auctioneer will commence and advance the bidding at levels and in

increments he or she considers appropriate. In order to protect the reserve on

any lot, the auctioneer may place one or more bids on behalf of the seller up to

the reserve without indicating he or she is doing so, either by placing consecutive

bids or bids in response to other bidders. If a lot is o� ered without reserve, unless

there are already competing absentee bids, the auctioneer will generally open the

bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that

level, the auctioneer will proceed backwards at his or her discretion until a bid is

recognized and will then advance the bidding from that amount. Absentee bids on

no reserve lots will, in the absence of a higher bid, be executed at approximately

50% of the low pre-sale estimate or at the amount of the bid if it is less than 50%

of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the

auctioneer may deem such lot unsold.

(d) The sale will be conducted in US dollars and payment is due in US dollars. For

the bene� t of international clients, pre-sale estimates in the auction catalogue

may be shown in pounds sterling and/or euros and, if so, will re� ect approximate

exchange rates. Accordingly, estimates in pounds sterling or euros should be

treated only as a guide. If a currency converter is operated during the sale, it is

done so as a courtesy to bidders, but Phillips accepts no responsibility for any

errors in currency conversion calculation.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted

by the auctioneer will be the buyer and the striking of the hammer marks the

acceptance of the highest bid and the conclusion of a contract for sale between

the seller and the buyer. Risk and responsibility for the lot passes to the buyer as

set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,”

“withdrawn,” “returned to owner” or “bought-in.”

(g) Any post-auction sale of lots o� ered at auction shall incorporate these

Conditions of Sale and Authorship Warranty as if sold in the auction.

6 Purchase Price and Payment

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the

buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s

premium is 25% of the hammer price up to and including $100,000, 20% of the

portion of the hammer price above $100,000 up to and including $2,000,000 and

12% of the portion of the hammer price above $2,000,000. Phillips reserves the

right to pay from our compensation an introductory commission to one or more

third parties for assisting in the sale of property o� ered and sold at auction.

(b) Sales tax, use tax and excise and other taxes are payable in accordance with

applicable law. All prices, fees, charges and expenses set out in these Conditions of

Sale are quoted exclusive of applicable taxes. Phillips will only accept valid resale

certi� cates from US dealers as proof of exemption from sales tax. All foreign

buyers should contact the Client Accounting Department about tax matters.

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

following the auction regardless of any intention to obtain an export or import license

or other permit for such lot. Payments must be made by the invoiced party in US

dollars either by cash, check drawn on a US bank or wire transfer, as follows:

(i) Phillips will accept payment in cash provided that the total amount paid in

cash or cash equivalents does not exceed US$10,000. Buyers paying in cash

should do so in person at our Client Accounting Desk at 450 Park Avenue during

regular weekday business hours.

(ii) Personal checks and banker’s dra� s are accepted if drawn on a US bank and

the buyer provides to us acceptable government issued identi� cation. Checks

and banker’s dra� s should be made payable to “Phillips.” If payment is sent

by mail, please send the check or banker’s dra� to the attention of the Client

Accounting Department at 450 Park Avenue, New York, NY 10022 and make sure

that the sale and lot number is written on the check. Checks or banker’s dra� s

drawn by third parties will not be accepted.

(iii) Payment by wire transfer may be sent directly to Phillips. Bank transfer details:

Citibank

322 West 23rd Street, New York, NY 10011

SWIFT Code: CITIUS33

ABA Routing: 021 000 089

For the account of Phillips

Account no.: 58347736

Please reference the relevant sale and lot number.

(d) As a courtesy to clients, Phillips will accept American Express, Visa and

Mastercard to pay for invoices of $100,000 or less. A processing fee of 3.5% will apply.

(e) Title in a purchased lot will not pass until Phillips has received the Purchase

Price for that lot in cleared funds. Phillips is not obliged to release a lot to the

buyer until title in the lot has passed and appropriate identi� cation has been

provided, and any earlier release does not a� ect the passing of title or the buyer’s

unconditional obligation to pay the Purchase Price.

7 Collection of Property

(a) Phillips will not release a lot to the buyer until we have received payment of its

Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts

due to Phillips or any of our a� liated companies, including any charges payable

pursuant to Paragraph 8 (a) below, and the buyer has satis� ed such other terms

as we in our sole discretion shall require, including completing any anti-money

laundering or anti-terrorism � nancing checks. As soon as a buyer has satis� ed all

of the foregoing conditions, he or she should contact our Shipping Department at

+1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property.

(b) The buyer must arrange for collection of a purchased lot within seven days of

the date of the auction. Promptly a� er 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, Phillips will upon request transfer on a bi-

weekly basis purchased lots suitable for hand-carry back to our premises at 450 Park

Avenue, New York, New York for collection within 30 days following the date of

the auction. Purchased lots are at the buyer’s risk, including the responsibility for

insurance, from the earlier to occur of (i) the date of collection or (ii) seven days

a� er the auction. Until risk passes, Phillips will compensate the buyer for any loss or

damage to a purchased lot up to a maximum of the Purchase Price paid, subject to

our usual exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for

hand-carry only. We will, at the buyer’s expense, either provide packing, handling,

insurance and shipping services or coordinate with shipping agents instructed by

the buyer in order to facilitate such services for property bought at Phillips. Any such

instruction, whether or not made at our recommendation, is entirely at the buyer’s risk

and responsibility, and we will not be liable for acts or omissions of third party packers or

shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax

at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup.


(d) Phillips will require presentation of government issued identi� cation prior to

release of a lot to the buyer or the buyer’s authorized representative.

8 Failure to Collect Purchases

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30

days of the auction, the buyer will incur a late collection fee of $10 per day for each

uncollected lot. Additional charges may apply to oversized lots. We will not release

purchased lots to the buyer until all such charges have been paid in full.

(b) If a purchased lot is paid for but not collected within six months of the auction,

the buyer authorizes Phillips, upon notice, to arrange a resale of the item by

auction or private sale, with estimates and a reserve set at Phillips’s reasonable

discretion. The proceeds of such sale will be applied to pay for storage charges

and any other outstanding costs and expenses owed by the buyer to Phillips or our

a� liated companies and the remainder will be forfeited unless collected by the

buyer within two years of the original auction.

9 Remedies for Non-Payment

(a) Without prejudice to any rights the seller may have, if the buyer without prior

agreement fails to make payment of the Purchase Price for a lot in cleared funds

within seven days of the auction, Phillips may in our sole discretion exercise one or

more of the following remedies: (i) store the lot at Phillips’s premises or elsewhere

at the buyer’s sole risk and expense at the same rates as set forth in Paragraph

8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the

Purchase Price as liquidated damages; (iii) reject future bids from the buyer or

render such bids subject to payment of a deposit; (iv) charge interest at 12% per

annum from the date payment became due until the date the Purchase Price is

received in cleared funds; (v) subject to noti� cation of the buyer, exercise a lien

over any of the buyer’s property which is in the possession of Phillips and instruct

our a� liated companies to exercise a lien over any of the buyer’s property which is

in their possession and, in each case, no earlier than 30 days from the date of such

notice, arrange the sale of such property and apply the proceeds to the amount

owed to Phillips or any of our a� liated companies a� er the deduction from sale

proceeds of our standard vendor’s commission and all sale-related expenses; (vi)

resell the lot by auction or private sale, with estimates and a reserve set at Phillips

reasonable discretion, it being understood that in the event such resale is for less

than the original hammer price and buyer’s premium for that lot, the buyer will

remain liable for the shortfall together with all costs incurred in such resale; (vii)

commence legal proceedings to recover the hammer price and buyer’s premium

for that lot, together with interest and the costs of such proceedings; (viii) set

o� the outstanding amount remaining unpaid by the buyer against any amounts

which we or any of our a� liated companies may owe the buyer in any other

transactions; (ix) release the name and address of the buyer to the seller to enable

the seller to commence legal proceedings to recover the amounts due and legal

costs or (x) take such other action as we deem necessary or appropriate.

(b) As security to us for full payment by the buyer of all outstanding amounts due

to Phillips and our a� liated companies, Phillips retains, and the buyer grants

to us, a security interest in each lot purchased at auction by the buyer and in

any other property or money of the buyer in, or coming into, our possession or

the possession of one of our a� liated companies. We may apply such money or

deal with such property as the Uniform Commercial Code or other applicable 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 a� liated companies,

we will so notify the buyer. Our security interest in any individual lot will terminate

upon actual delivery of the lot to the buyer or the buyer’s agent.

(c) In the event the buyer is in default of payment to any of our a� liated

companies, the buyer also irrevocably authorizes Phillips to pledge the buyer’s

property in our possession by actual or constructive delivery to our a� liated

company as security for the payment of any outstanding amount due. Phillips will

notify the buyer if the buyer’s property has been delivered to an a� liated company

by way of pledge.

10 Rescission by Phillips

Phillips shall have the right, but not the obligation, to rescind a sale without notice

to the buyer if we reasonably believe that there is a material breach of the seller’s

representations and warranties or the Authorship Warranty or an adverse claim

is made by a third party. Upon notice of Phillips’s election to rescind the sale, the

buyer will promptly return the lot to Phillips, and we will then refund the Purchase

Price paid to us. As described more fully in Paragraph 13 below, the refund shall

constitute the sole remedy and recourse of the buyer against Phillips and the seller

with respect to such rescinded sale.

11 Export, Import and Endangered Species Licenses and Permits

Before bidding for any property, prospective buyers are advised to make their

own inquiries as to whether a license is required to export a lot from the US or

to import it into another country. Prospective buyers are advised that some

countries prohibit the import of property made of or incorporating plant or animal

material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros

horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior

to bidding, prospective buyers considering export of purchased lots should

familiarize themselves with relevant export and import regulations of the

countries concerned. It is solely the buyer’s responsibility to comply with these

laws and to obtain any necessary export, import and endangered species licenses

or permits. Failure to obtain a license or permit or delay in so doing will not justify

the cancellation of the sale or any delay in making full payment for the lot. As a

courtesy to clients, Phillips has marked in the catalogue lots containing potentially

regulated plant or animal material, but we do not accept liability for errors or for

failing to mark lots containing protected or regulated species.

12 Data Protection

(a) In connection with the supply of auction and related services, or as required

by law, Phillips may ask clients to provide personal data. Phillips may take and

retain a copy of government-issued identi� cation such as a passport or driver’s

license. We will use your personal data (i) to provide auction and related services;

(ii) to enforce these Conditions of Sale; (iii) to carry out identity and credit checks;

(iv) to implement and improve the management and operations of our business

and (v) for other purposes set out in our Privacy Policy published on the Phillips

website at www.phillips.com (the ‘Privacy Policy’) and available on request by

emailing [email protected]. By agreeing to these Conditions of Sale,

you consent to our use of your personal data, including sensitive personal data, in

accordance with the Privacy Policy. The personal data we may collect and process

is listed, and sensitive personal data is de� ned, in our Privacy Policy. Phillips may

also, from time to time, send you promotional and marketing materials about us

and our services. If you would prefer not to receive such information, please email

us at [email protected]. Please also email us at this address to receive

information about your personal data or to advise us if the personal data we hold

about you is inaccurate or out of date.

(b) In order to provide our services, we may disclose your personal data to third

parties, including professional advisors, shippers and credit agencies. We will

disclose, share with and transfer your personal data to Phillips’s a� liated persons

(natural or legal) for administration, sale and auction related purposes. You

expressly consent to such transfer of your personal data. We will not sell, rent or

otherwise transfer any of your personal data to third parties except as otherwise

expressly provided in this Paragraph 12.

(c) Phillips’s premises may be subject to video surveillance and recording.

Telephone calls (e.g., telephone bidding) may also be recorded. We may process

that information in accordance with our Privacy Policy.

13 Limitation of Liability

(a) Subject to subparagraph (e) below, the total liability of Phillips, our a� liated

companies and the seller to the buyer in connection with the sale of a lot shall be

limited to the Purchase Price actually paid by the buyer for the lot.

(b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our

a� liated companies or the seller (i) is liable for any errors or omissions, whether

orally or in writing, in information provided to prospective buyers by Phillips or any

of our a� liated companies or (ii) accepts responsibility to any bidder in respect

of acts or omissions, whether negligent or otherwise, by Phillips or any of our

a� liated companies in connection with the conduct of the auction or for any other

matter relating to the sale of any lot.

(c) All warranties other than the Authorship Warranty, express or implied,

including any warranty of satisfactory quality and � tness for purpose, are


speci� cally excluded by Phillips, our a� liated companies and the seller to the

fullest extent permitted by law.

(d) Subject to subparagraph (e) below, none of Phillips, any of our a� liated

companies or the seller shall be liable to the buyer for any loss or damage beyond

the refund of the Purchase Price referred to in subparagraph (a) above, whether

such loss or damage is characterized as direct, indirect, special, incidental or

consequential, or for the payment of interest on the Purchase Price to the fullest

extent permitted by law.

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the

liability of Phillips or any of our a� liated companies to the buyer in respect of any

fraud or fraudulent misrepresentation made by any of us or in respect of death or

personal injury caused by our negligent acts or omissions.

14 Copyright

The copyright in all images, illustrations and written materials produced by or

for Phillips relating to a lot, including the contents of this catalogue, is and shall

remain at all times the property of Phillips and such images and materials may not

be used by the buyer or any other party without our prior written consent. Phillips

and the seller make no representations or warranties that the buyer of a lot will

acquire any copyright or other reproduction rights in it.

15 General

(a) These Conditions of Sale, as changed or supplemented as provided in

Paragraph 1 above, and Authorship Warranty set out the entire agreement

between the parties with respect to the transactions contemplated herein and

supersede all prior and contemporaneous written, oral or implied understandings,

representations and agreements.

(b) Notices to Phillips shall be in writing and addressed to the department in

charge of the sale, quoting the reference number speci� ed at the beginning of the

sale catalogue. Notices to clients shall be addressed to the last address noti� ed by

them in writing to Phillips.

(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 e� ect. 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) The rights and obligations of the parties with respect to these Conditions of

Sale and Authorship Warranty, the conduct of the auction and any matters related

to any of the foregoing shall be governed by and interpreted in accordance with

laws of the State of New York, excluding its con� icts of law rules.

(b) Phillips, 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.

Authorship Warranty

Phillips warrants the authorship of property in this auction catalogue described in

headings in bold or CAPITALIZED type for a period of � ve years from date of sale

by Phillips, subject to the exclusions and limitations set forth below.

(a) Phillips 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 gi� from the original buyer, heirs, successors, bene� ciaries

and assigns; (ii) property where the description in the catalogue states that there

is a con� ict of opinion on the authorship of the property; (iii) property where our

attribution of authorship was on the date of sale consistent with the generally

accepted opinions of specialists, scholars or other experts; (iv) property whose

description or dating is proved inaccurate by means of scienti� c 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 or

likely in our reasonable opinion to have caused damage or loss in value to the lot or

(v) property where there has been no material loss in value from the value of the

lot had it been as described in the heading of the catalogue entry.

(b) In any claim for breach of the Authorship Warranty, Phillips 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. 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 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

noti� ed Phillips 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 to the saleroom in which it was purchased 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 a� er the date of the auction.

Phillips has discretion to waive any of the foregoing requirements set forth in this

subparagraph (c) or subparagraph (b) above.

(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, any of our a� liated companies and the seller and is

in lieu of any other remedy available as a matter of law or equity. This means that

none of Phillips, any of our a� liated companies or the seller shall be liable for loss

or damage beyond the remedy expressly provided in this Authorship Warranty,

whether such loss or damage is characterized as direct, indirect, special, incidental

or consequential, or for the payment of interest on the original Purchase Price.


Berlin Martin Klosterfelde

Director and International Specialist, Contemporary Art

+49 177 628 4110

Brussels Olivier Vrankenne

Co-Head Contemporary Art, Europe +32 486 43 43 44

Denver Melyora de Koning

Senior Specialist, Contemporary Art +1 917 657 7193

Geneva Oksana Katchaluba

Specialist, Contemporary Art +41 22 906 80 00

Hong Kong Adrienne Hines

Specialist, Watches +852 2318 2030

Istanbul Deniz Atac

Consultant +90 533 374 1198

London Svetlana Marich

Co-Head Contemporary Art, Europe +44 20 7318 4010

Paris Maria Cifuentes Caruncho

Specialist +33 142 78 67 77

Portugal Maura Marvão

Consultant, Contemporary Art +351 917 564 427

Zurich Niklaus Kuenzler

Specialist, Contemporary Art +41 79 533 90 00

Deputy Chairman

Svetlana Marich

Deputy Chairmen,

Europe & Asia

Matt Carey-Williams

Finn Schouenborg

Dombernowsky

Senior Advisor

Arnold Lehman

Chief Counsel

Richard Aydon

Senior Directors

David Georgiades

Vanessa Hallett

Alexander Payne

August O. Uribe

Olivier Vrankrenne

Directors

Henry Allsopp

Alex Heminway

Nazgol Jahan

Martin Klosterfelde

Cary Leibowitz

Zach Miner

Jean-Michel Placent

Peter Sumner

Kelly Troester

International Business

Director

Bart Van Son

Managing Director,

Geneva

Myriam Christinaz

London

30 Berkeley Square

London W1J 6EX, United Kingdom

tel +44 20 7318 4010

fax +44 20 7318 4011

Berlin

Kurfürstendamm 193

10707 Berlin, Germany

tel +49 30 887 297 44

Brussels

rue Jean Baptiste Colyns 72

1050 Brussels, Belgium

tel +32 486 43 43 44

Geneva

23 quai des Bergues

1201 Geneva, Switzerland

tel +41 22 906 80 00

fax +41 22 906 80 01

15 quai del’ Ile

1204 Geneva, Switzerland

fax +41 22 317 81 80

Hong Kong

Room 1301-13/F, York House,

The Landmark Building,

15 Queen’s Road Central, Hong Kong

tel +852 2318 2000

fax +852 2318 2002

New York

450 Park Avenue

New York, NY 10022, USA

tel +1 212 940 1200

fax +1 212 940 1378

Istanbul

Meclisi Mebusan Caddesi

Deniz Apartmani No. 79/8

Beyoglu 34427, Istanbul, Turkey

tel +90 533 374 1198

Moscow

Nikolskaya Str 19–21, 5th � oor,

109012 Moscow, Russia

tel +7 495 225 88 22

fax +7 495 225 88 87

Paris

46 rue du Bac,

75007 Paris, France

tel +33 1 42 78 67 77

fax +33 1 42 78 23 07

Zurich

Restelbergstrasse 89,

8044 Zurich, Switzerland

tel +41 79 533 90 00

Chief of Sta�

Lisa King

Chief Operations O� cer

Sean Cleary

Chief Operations O� cer,

UK Europe & Asia

Frank Lasry

Chief Operations O� cer,

Asia

Juliana Cheung

Chairman & CEO

Edward Dolman

President

Michael McGinnis

Executive Management

International Specialists Worldwide O� ces

Chief Financial O� cer

Annette Schwaer

Chief Information O� cer

Ben Carey

Chief People O� cer

Irina Shifrin

Chief Creative O� cer

Damien Whitmore


Design

Alexander Payne, Senior Director +44 20 7318 4052

and Worldwide Head, Design

New York

Alex Heminway, New York Director +1 212 940 1268

Meaghan Roddy +1 212 940 1266

Cordelia Lembo +1 212 940 1265

London

Domenico Raimondo +44 20 7318 4016

Marine Hartogs +44 20 7901 7913

Marta De Roia +44 20 7318 4096

Sofia Sayn-Wittgenstein +44 20 7318 4023

Madalena Horta e Costa +44 20 7318 4019

Photographs

Vanessa Hallett, Senior Director +1 212 940 1243

and Worldwide Head, Photographs

New York

Sarah Krueger, Head of Sale +1 212 940 1225

Caroline Deck +1 212 940 1247

Rachel Peart +1 212 940 1246

Kelly Van Ingen +1 212 940 1245

London

Lou Proud, Head of Photographs, London +44 20 7318 4018

Yuka Yamaji +44 20 7318 4098

Alexandra Bibby +44 20 7318 4087

Sophie Busby +44 20 7318 4092

Chicago

Carol Ehlers +1 773 230 9192

Jewels

Nazgol Jahan, Worldwide Director +1 212 940 1283

New York

Kristen Dowling +1 212 940 1302

Christina Alford +1 212 940 1365

London

Lane Clements McLean +44 20 7318 4010

Watches in Association with Bacs & Russo

Geneva

Aurel Bacs +41 22 317 81 85

Livia Russo +41 22 317 81 86

Dr. Nathalie Monbaron +41 22 317 81 83

Virginie Liatard Roessli +41 22 317 81 82

Diana Ortega +41 22 317 8187

Justine Séchaud +41 22 317 8188

New York

Paul Boutros +1 212 940 1293

Leigh Zagoory +1 212 940 1285

London

Paul David Maudsley +44 20 7901 7916

Kate Lacey +44 20 7901 2907

Hong Kong

Jill Chen +852 9133 0819

Iman Cheung +852 2318 2005

Joey Luk +852 2318 2032

Angel Ho +852 2318 2031

Virginia Ng +852 2318 2021

Contemporary Art

David Georgiades, Worldwide Co-Head Contemporary Art +1 212 940 1280

August O. Uribe, Worldwide Co-Head Contemporary Art +1 212 940 1208

New York

Kate Bryan, Head of Evening Sale +1 212 940 1267

John McCord, Head of Day Sale +1 212 940 1261

Rebekah Bowling, Head of New Now Sale +1 212 940 1250

Jean-Michel Placent +1 212 940 1263

Zach Miner +1 212 940 1256

Kyla Sullivan +1 212 940 1204

Karen Garka-Prince +1 212 940 1219

Katherine Lukacher +1 212 940 1215


Courtney Raterman +1 212 940 1392

Paula Campolieto +1 212 940 1255

Annie Dolan +1 212 940 1288

London

Peter Sumner, Head of Contemporary Art, London +44 20 7318 4063

Henry Highley, Head of Day Sale +44 20 7318 4061

Tamila Kerimova, Head of New Now Sale +44 20 7318 4065

Matt Langton +44 20 7318 4074

Iori Endo +44 20 7318 4039

Simon Tovey +44 20 7318 4084

Hannah Tjaden +44 20 7318 4093

Alex Dolman +44 20 7901 7911

Ava Carleton-Williams +44 20 7901 7904

Chiara Panarello +44 20 7318 4073

Latin American Art

Henry Allsopp, Worldwide Head +44 20 7318 4060

Kaeli Deane, Head of Sale +1 212 940 1401

Natalia C. Zuluaga +1 305 776 4439

Carolina Scarborough +1 212 940 1289

Isabel Suarez +1 212 940 1227

Modern and Contemporary Editions

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

New York

Jannah Greenblatt +1 212 940 1332

Audrey Lindsey +1 212 940 1322

Jeffrey Kang +1 212 940 1238

London

Robert Kennan, Head of Sale +44 20 7318 4075

Anne Schneider-Wilson +44 20 7318 4042

Ross Thomas +44 20 7318 4077

Rebecca Tooby-Desmond +44 20 7318 4079

Exhibitions

Brittany Lopez Slater +1 212 940 1299

Edwin Pennicott +44 20 7901 2909

Private Sales

Susanna Brockman +44 20 7318 4041

Specialists and Departments


2ե��FH�RI�WKH�&KDLUPDQ�DQG�&KLHI�([HFXWLYH�2ե��FHU�

0DULDQJHOD�5HQVKDZ +1 212 940 1455, +44 20 7318 4029

2IILFH�RI�WKH�3UHVLGHQW

Elizabeth Anne Wallace +1 212 940 1303

3URMHFWV�'LUHFWRU

3DXO�GH�%RQR +44 20 7318 4070

$VVRFLDWH�*HQHUDO�&RXQVHO

Jonathan Illari +1 212 940 1331

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New York

Philae Knight +1 212 940 1313

Sara Tayeb-Khalifa +1 212 940 1383

London

'DZQ�=KX +44 20 7318 4017

Adam Clay +44 20 7318 4048

/LO\�$WKHUWRQ�+DQEXU\ +44 20 7318 4040

)LRQD�0��0F*RYHUQ +44 20 7318 4010

&OLHQW�'HYHORSPHQW�

Isadora Tharin +44 20 7318 4024

/LQGD�3\NH +44 20 7901 2908

Amy Sheldon +1 212 940 1264

Specialists and Departments

6SRQVRUVKLSV

/DXUHQ�6KDGIRUG +1 212 940 1257

Cecilia Wolfson +1 212 940 1258

&RPPXQLFDWLRQV�DQG�0DUNHWLQJ�

.LPEHUO\�)UHQFK��:RUOGZLGH�+HDG�RI�&RPPXQLFDWLRQV��35 +1 212 940 1229

Trish Walsh, Marketing Manager +1 212 940 1224

(PPD�0LOOHU�*HOEHUJ��0DUNHWLQJ�DQG�&DWDORJXH�&RRUGLQDWRU +1 212 940 1240

$OH[�*RGZLQ�%URZQ��+HDG�RI�3UHVV�DQG�(YHQWV��(XURSH +44 20 7318 4036

*HRUJLD�7URWWHU��(YHQWV�0DQDJHU +44 20 7318 4085

$UW�DQG�3URGXFWLRQ�

$QGUHD�.RURQNLHZLF]��'LUHFWRU�RI�&UHDWLYH�6HUYLFHV +1 212 940 1326

2UODQQ�&DSD]RULR��'LUHFWRU�RI�3URGXFWLRQ +1 212 940 1281

New York

Je� Velazquez, Production Artist +1 212 940 1211

&KULVWLQH�.QRUU��*UDSKLF�'HVLJQHU +1 212 940 1325

-DPHV�5HHGHU��*UDSKLF�'HVLJQHU +1 212 940 1296

London

Eve Campbell, Tra� c/Production Manager +44 20 7901 7919

0RLUD�*LO��*UDSKLF�'HVLJQHU +44 20 7901 7917

/DXULH�$QQ�:DUG��*UDSKLF�'HVLJQHU +44 20 7901 7918

1HZ�1RZ�

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17 September 2015 at 2pm

9LHZLQJ

10 – 17 September

Monday – Saturday 10am – 6pm

Sunday 12pm – 6pm

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When sending in written bids or making

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fax +1 212 924 1749

[email protected]

Sale Information

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+HDG�RI�6DOH

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[email protected]

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[email protected]


[email protected]

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[email protected]

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Paul Ste�ens +1 212 940 1376

pste�[email protected]

3KRWRJUDSK\

Kent Pell

Matt Kroenig

-HDQ�%RXUERQ

Marta Zagozdzon

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[email protected]

$35/€25/£22 at the gallery

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[email protected]

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Buyer Accounts

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Seller Accounts

Carolina Swan +1 212 940 1253

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450 Park Avenue +1 212 940 1200

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Carol Mangan +1 212 940 1320

Sarah Polefka +1 212 940 1373

)URQW�&RYHU�-RH�%UDGOH\��Nude (Bust)��ORW��k-RH�%UDGOH\

,QVLGH�)URQW�&RYHU�+XJK�6FRWW�'RXJODV��Untitled��ORW��GHWDLO��k�+XJK�6FRWW�'RXJODV

7LWOH�3DJH�1HLO�5DLWW��Fade (Alpine), 2014, lot 129 (detail)

2SSRVLWH�WKH�,QGH[ Margo Wolowiec, Not One, Not Two, 2014, lot 20 (detail)

'HWDLO�)ROORZLQJ�WKH�%LG�)RUP�7UXG\�%HQVRQ��Scratchpad, 2014, lot 111 (detail)

%DFN�,QVLGH�&RYHU�0DWK�%DVV��Newz!, 2014, lot 1 (detail)

%DFN�&RYHU Jonas Wood, Backward Bol (Color)��ORW��GHWDLO��k��-RQDV�:RRG


ɘ��3ULYDWH�SXUFKDVHV� Proof of identity in the form of

government-issued identification will be required.

ɘ��&RPSDQ\�SXUFKDVHV� If you are buying under a business

entity we require a copy of government-issued identification

(such as a resale certificate, corporate bank information

or the certificate of incorporation) to verify the status of

the company.

ɘ��&RQGLWLRQV�RI�6DOH� All bids are placed and executed, and all

lots are sold and purchased, subject to the Conditions of Sale

printed in the catalogue. Please read them carefully before

placing a bid. Your attention is drawn to Paragraph 4 of the

Conditions of Sale.

ɘ��,I�\RX�FDQQRW�DWWHQG�WKH�VDOH��ZH�FDQ�H[HFXWH�ELGV�

confidentially on your behalf.

ɘ��3KLOOLSV�FKDUJHV�WKH�VXFFHVVIXO�ELGGHU�D�FRPPLVVLRQ��RU�EX\HUɑV�

SUHPLXP��RQ�WKH�KDPPHU�SULFH�RI�HDFK�ORW�VROG��7KH�EX\HUɑV�

premium is payable by the buyer as part of the total purchase

price at the following rates: 25% of the hammer price up to and

including $100,000, 20% of the portion of the hammer price

above $100,000 up to and including $2,000,000 and 12% of

the portion of the hammer price above $2,000,000 on each

lot sold.

ɘ��ɓ%X\ɔ�RU�XQOLPLWHG�ELGV�ZLOO�QRW�EH�DFFHSWHG��$OWHUQDWLYH�ELGV�

FDQ�EH�SODFHG�E\�XVLQJ�WKH�ZRUG�ɓ25ɔ�EHWZHHQ�ORW�QXPEHUV�

ɘ��)RU�DEVHQWHH�ELGV��LQGLFDWH�\RXU�PD[LPXP�OLPLW�IRU�HDFK�ORW��

H[FOXGLQJ�WKH�EX\HUɑV�SUHPLXP�DQG�DQ\�DSSOLFDEOH�VDOHV�RU�

use tax. Your bid will be executed at the lowest price taking

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lots, in the absence of other bids, your bid will be executed

at approximately 50% of the low pre-sale estimate or at the

amount specified, if less than 50% of the low estimate.

ɘ��<RXU�ELG�PXVW�EH�VXEPLWWHG�LQ�WKH�FXUUHQF\�RI�WKH�VDOH�DQG�ZLOO�

be rounded down to the nearest amount consistent with the

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ɘ��,I�ZH�UHFHLYH�LGHQWLFDO�ELGV��WKH�ILUVW�ELG�UHFHLYHG�ZLOO�WDNH�

precedence.

ɘ��$UUDQJLQJ�DEVHQWHH�DQG�WHOHSKRQH�ELGV�LV�D�IUHH�VHUYLFH�

provided by us to prospective buyers. While we will exercise

reasonable care in undertaking such activity, we cannot

accept liability for errors relating to execution of your bids

except in cases of willful misconduct. Agreement to bid by

telephone must be confirmed by you promptly in writing or by

fax. Telephone bid lines may be recorded.

ɘ��3OHDVH�VXEPLW�\RXU�ELGV�WR�WKH�%LG�'HSDUWPHQW�E\�ID[�DW�

+1 212 924 1749 or scan and email to bidsnewyork@phillips.

com at least 24 hours before the sale. You will receive

confirmation by email within one business day. To reach the

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ɘ��$EVHQW�SULRU�SD\PHQW�DUUDQJHPHQWV��SOHDVH�SURYLGH�D�EDQN�

reference. Payment can be made by cash (up to $10,000),

credit card (up to $100,000), money order, wire transfer, bank

check or personal check with identification. Please note that

credit cards are subject to a surcharge.

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charges have been paid.

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personal data, including sensitive personal data, in accordance

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phillips.com or available on request by emailing

[email protected]. We may send you materials about

us and our services or other information which we think you may

� nd interesting. If you would prefer not to receive such

information, please email us at [email protected].

ɘ��3KLOOLSVɑV�SUHPLVHV�PD\�EH�VXEMHFW�WR�YLGHR�VXUYHLOODQFH�DQG�

recording. Telephone calls (e.g., telephone bidding) may also be

recorded. We may process that information in accordance with

our Privacy Policy.

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Address

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you may be contacted to provide a bank reference:

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I hereby authorize the above references to release information to 3+,//,36. Please bid on my behalf up to the limits shown for

the indicated lots without legal obligations to 3+,//,36, its sta� or agents; and subject to the Conditions of Sale and Authorship

Warranty printed in the catalogue, additional notices or terms printed in the catalogue and supplements to the catalogue posted

in the salesroom, and in accordance with the above statements and conditions.

/RW�1XPEHU� %ULHI�'HVFULSWLRQ� 86��/LPLW ,Q�&RQVHFXWLYH�2UGHU� � $EVHQWHH�%LGV�2QO\

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450 Park Avenue New York 10022

phillips.com +1 212 940 1200

[email protected]

�3OHDVH�UHWXUQ�WKLV�IRUP�E\�ID[�WR��RU�HPDLO�LW�WR�ELGVQHZ\RUN#SKLOOLSV�FRP�DW�OHDVW�

��KRXUV�EHIRUH�WKH�VDOH. Please read carefully the information in the right column and note that it

is important that you indicate whether you are applying as an individual or on behalf of a company.

Please select the type of bid you wish to make with this form (please select one):

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111. Trudy Benson


1. Math Bass


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NY_NEW-NOW_SEPT15_NEW-Cover-FINAL.indd 2 20/08/15 17:20

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