NOW of Phillips de Pury by oscar estrada

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NOW is what counts. In a life where we have a tendency to obsess over our future or to dwell in our past, the ultimate talent is to put all our energy, enthusiasm and focus on now. It we succeed in that, the quality of both our future and our past will improve dramatically. At Phillips de Pury & Company we pride ourselves on being the company that is consistently showing the best of what is happening in contemporary culture around the world. In order to be even better equipped to do so in the future, we have decided to add at least seventeen new theme sales to our regular schedule of ‘classic’ sales through the end of 2010. These sales will be presented in a new type of catalog that will include editorial content and will evolve into a cross between a catalog and a magazine. At the same time we are substantially increasing the distribution of these catalogs, which are being printed on environmentally-friendly (TCF) paper. We are happy to inaugurate this new series of sales with NOW. The brief we gave to our colleagues was that this sale should only include works produced between 2000 and 2009. Since many of the best artists have the foresight like mediums to predict our future, they help us to figure out what tomorrow’s NOW will consist of. Am particularly happy that we were able for this first new type of catalog, to include in-depth analyses of two figures of seminal importance in the contemporary art world. Ever since I saw the magic exhibition that a 24-year-old Hans Ulrich Obrist had devoted to Gerhard Richter in the Nietzsche House in Sils Maria, Switzerland, I have been impressed by his profound knowledge and his insatiable hunger for the best work being created around the globe in art, architecture, music, literature, film, photography and design. When the history of art of our times will be written, his role will have to be recognized as major. Obrist, not unlike his compatriot, the late Harald Szeemann, has done before him, allows us to have an overall view of what is artistically relevant today. My first physical contact with the work of Keith Tyson occurred at the 2001 Venice Biennale. I was instantly mesmerized and intrigued by it. His artistic evolution since then has been more than impressive. Like only the greatest artists manage to achieve, his work is getting consistently better and better. We are grateful to him for having allowed us to visit and photograph him in his Sussex studio. And now let’s focus on NOW!

SIMON de PURY ChaIRMaN, PhIllIPS de PURY & COMPaNY 11

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Hans ulricH obrist art for all interview Karen wright | PhotograPhy tim gutt

KAREN WRIGHT i want to talk to you about noW, not last year or the year before. recently i have felt that art is hard work and that means there’s something wrong. HANS ULRICH OBRIST i think it was Karl Valentin, the munich comedian, a visionary who has his own museum in munich, and who inﬂuenced Duchamp, who said, ‘Art is beautiful but makes a lot of work’. i think it’s always been a lot of work!

The firsT impression on meeting hans Ulrich obrist, Co-Director of exhibitions and programmes and Director of international projects at the serpentine, is his irrepressible energy and curiosity. Growing up in switzerland (obrist was born in Zurich in may 1968), he became interested in the arts at an early age, although his family was not art oriented. he recalls, aged fourteen or ﬁfteen, meeting the playwright

KW Could you describe how you got started as a curator? HUO i started to curate at the very beginning of the nineties. i did The Kitchen Show in 1991, and because of The Kitchen Show i got a grant at the Cartier foundation, which at that time was in Jouy-en-Josas, on the outskirts of paris. They had little houses where curators and artists were in residence. i was twenty-three, and i had an encyclopaedic knowledge of the art of the West but no idea about any art beyond the West. i was in a residency there for three months and in the studio on my left hand side the then-unknown huang Yong ping was working. he had just participated in Les magiciens de la Terre. on the right hand side was the young, emerging Absolon, who tragically died. so there was a great sculptor from israel and a great installation artist from China. over those three months it became clear to me that the twenty-ﬁrst century would be more about the polyphony of centres.

eugene ionesco, pioneer of the Theatre of the Absurd. he also met the italian conceptual artist Alighiero Boetti, who became a mentor, while still in school. obrist himself credits two early mentors, suzanne paget and Kasper König, ‘from whom i really learnt on the job. i did my ﬁrst book with König, my ﬁrst large show with paget.’ prior to joining the serpentine in April 2006, he was Curator of the musée d’Art moderne de la Ville de paris alongside paget. he has curated and co-curated over 200 solo and group exhibitions internationally since 1991. These include Take Me, I’m Yours; do it; Manifesta 1; Cities on the Move; Live/Life; Nuit Blanche; the

KW has this polyphony been around a long time? HUO The polyphony of centres gained strength in the nineties. When i started to be in the art world as a teenager in the eighties, it was the moment of Westkunst (1981) as Kasper König called his visionary exhibition, which really was the most important show – gathering Western art after World War Two, from Jackson pollock to the young, emerging franz West. in the late eighties, early nineties, we suddenly started to be aware of what there is beyond the West and that there are all these incredible centres.

ﬁrst Berlin Biennale (1998); Utopia Station; Guangzhou Triennale 2005; Dakar Biennale 2004; the ﬁrst and second moscow Biennales (2005 and 2007); Uncertain States of America; Lyon Biennale 2007; and Yokohama Triennale 2008. obrist may be best remembered however for his wide-ranging conversations with practitioners – artists, architects and others – as he emulates ‘studs Terkel, the great master and obviously my hero for

KW There was a lot of criticism this summer for Daniel Birnbaum’s Biennale and its lack of inclusion of centres outside of the traditional ones. HUO i found other centres to be present. There were several really exciting indian artists. There was nikhil Chopra. he was also one of the protagonists of Indian Highway the show we had at the serpentine and as part of his performance at the Gallery he lived here in a tent in the park. he is certainly a great voice and he has this desire for non-mediated experience. he is an artist who has emerged over the last couple of years from the indian context. he is also part of this incredible new generation of artists who work with time based art, which is something which i can see all over the place.

conversations.’ it seemed the time to turn the tables. here, the interviewer became the interviewee.

KW Which curator do you initially credit with this understanding of other places? 12

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Hans Ulrich Obrist photographed at the Serpentine, London, July 24, 2009

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«MigHt aMnesia be tHe core of tHe digital age?»

HUO it was harald szeemann who opened the Biennale by bringing in China so strongly. i think it was his second biennale. in every biennale since then the art world has no longer been the same and we now have this transformation, and fortunately i believe it has been present in all the biennales. it is something which is going to accompany us throughout the twenty-ﬁrst century. museum collections are starting now to be more than Western art and take account of the polyphony of centres and it’s all going to change more and more.

actually having been there. But there is memory and oral history too, and scores. sometimes things can be redone! KW so does this mean that object-led art is more rewarding? HUO i think there are lots of different ways art can travel. Art can travel through an object, through a quasi-object and through a non-object. it is easiest in some ways because an object is an object and the object will always be the object, but the object might disintegrate and have to be ﬁxed. That also happens because nothing lasts forever.

KW When did you ﬁrst get more involved in non mediated work? HUO for me it was a very interesting moment three or four years ago when matthew Barney told me he felt a desire for non-mediated experience. having done the Cremaster movies throughout the nineties, it is intriguing that all his recent work is focusing on a non-mediated experience. ever since 2000 philippe parreno and i have had years and years of discussions reﬂecting on how we could do a group show where artists would be given time and not space, and that happened in Il Tempo del Postino at the manchester international festival in 2007. Two years later, in 2009, it was re-actualised for the Art fair in Basel, which was co-directed by Anri sala and rikrit Tiravanija.

KW Yes, but it’s still an object. HUO But once you leave the realm of the object it is a fact that throughout the twentieth century there have been a lot of very important experiences and experiments which are not objects. A lot of art functions with objects. it’s just that i believe it’s not the full story, there are a lot of other things to be told. A big part of art history is the history of objects. how can we make our art history more complex and also take into account the things which are not objects? more and more the medium for artists is exhibitions. The history of art has become a history of exhibitions, of temporary ‘constellations.’ This is the topic of my new book A Brief History of Curating, and i think it is one of the burning topics at the moment. particularly also given the resources of the planet now, intuitively a lot of younger, emerging artists feel it’s not necessary to add huge new objects.

KW how do you control these events as a curator? These evenings could go on forever if you wanted to give them their due. how would you respond to that? HUO it’s a very interesting question. i think each time there are different rules to the game. With Il Tempo del Postino it’s just an evening-ﬁlling programme; if you went to an opera or to the theatre, you would arrive there at 8pm and it would last until or 10.30pm or 11pm with an intermission, so we thought that’s the amount of time visitors would spend in a theatre or an opera, so let’s make the exhibition the same length. We used that format; we gave every artist about ﬁfteen minutes, we included a break and that seemed to work very well.

KW so which do you prefer: the object-led art or the non-mediated experience kind of work? HUO i don’t believe in the dichotomy, which very often there is in the art world, between people who are interested in objects and people who are interested in non-objects. i happen to be interested in both. i think Jeff Koons’ Popeye Series show at the serpentine Gallery is an interesting example.

KW i feel one of the main problems we have now is how you document events like Il Tempo del Postino. if you think about Vito Acconci, for instance, you could say that Seedbed was a very seminal work and you can still look at it on YouTube. has Il Tempo del Postino been documented? HUO it was videoed and photographed, and we plan to publish the score. m/m have also designed an album.

KW Very object. HUO Very object. it has been a truly exciting experience for Julia peyton-Jones and i to work on this exhibition with him. i would say it was one of the great experiences of installing a solo show with an artist. The exhibition chose works from the Popeye series that Koons started in 2002. The character of popeye was conceived eighty years ago this year, during the Depression, and in the current period of economic recession we thought it would be a ﬁtting time to rediscover him. And then it’s interesting that Tino sehgal told me that whenever a curator or gallerist visits his studio and wants him to participate in a project he does the Koons test.

KW so it is possible to revisit this. But isn’t this the problem with this unmediated work? is rirkrit Tiravanija’s piece that interesting in hindsight when you can’t actually eat the Thai food? i saw an amazing piece by stuart Brisley at the Whitechapel a few years ago but i feel that these experiences are often very empty for the viewer if you’re not there on the night. how do you deal with that, as a curator? HUO You do see Vito Acconci now on YouTube. Luckily there is this document so we can imagine how it was, yet it will never replace the experience of

KW [Laughs] HUO Tino sehgal asks curators who come to see him if they like Jeff Koons. if 14

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«protesting against forgetting is a key defense» they say they don’t like Koons he doesn’t do the show. it’s the Koons test.

Ballard once told me that the curator is a junction-maker; he makes bridges.

KW [Laughs] HUO i think that’s a funny anecdote to show how the question of object versus non-object is more complicated in some ways. in fact, i think we must experiment with ways beyond objects, by detaching art from its physical manifestation and going into other realms. As Koons told us, ‘What’s more important isn’t this object that we’re looking at. That object communicates the information that you want the viewer to have a dialogue with. The art takes place within the viewer, and so what i’m trying to do is control that experience. i really don’t care about objects, what i care about is letting the viewer know that they are what’s important.’

KW Bridges between the artist and the curator? HUO it involves not only bridges between the curator and the artist and between the artist and the institution, but also bridges to the public. That’s why curating is much more than enabling. enabling would mean the curator just walks away, and i don’t think that would be responsible because the curator has the responsibility to carry it further, to the public, and not only to one homogenous public, but to many, many passerelles, so it's not just one bridge. i think the curator is also a sparring partner to push the artist to do the very best he or she can do at the given moment in time. That i think is my key role. it is not only enabling but it’s also being a sparring partner and pushing things further and further. i think to some extent that has to do also with a dialogue, to give an artist feedback in conversations and, to answer your question before, not just to give the artist ﬁfteen minutes in Il Tempo del Postino and then walk away and come to the opening to follow it very closely.

KW so is the desire for non-mediated art coming out of our digital age, the YouTube phenomenon? HUO There are many different reasons for the desire for non-mediated experience, including resistance to the virtual. Jean-françois Lyotard, the philosopher, curated Les Immatériaux, an exhibition that was so important for me and for many artists. This was in the eighties and it was really the ﬁrst exhibition which anticipated the impact of the internet. After Les Immatériaux Lyotard wanted to do a show about resistance to communication which leads us to an artist like paul Chan and his delinking.

KW Yes. so how can you help do this? HUO The ﬁeld of art is structured by a very limited number of possibilities. There are the solo shows in museums, the group shows. Then there are the biennales, there are the public commissions, and there are the gallery shows. That is something Alighiero Boetti pointed out to me when i visited him for the very ﬁrst time when i was 18. he said as an artist he was always invited to do the same things; of gallery shows, some Kunsthalle shows, a couple of museum shows, group shows, theme shows and then sometimes a biennale, and a couple of times to do a public commission, perhaps one per cent of their output. he said there were other things he wanted to do, but nobody invited him so these ideas could not happen within these limited structures. new structures are offered if we empty a whole museum, as we did in manchester, with marina Abromovic and maria Balshaw at the Whitworth museum, or if we offer time to an artist in Il Tempo del Postino, or when each october Julia peyton-Jones and i invite artists to participate in a marathon in the serpentine Gallery pavilion. These are proposals the artist doesn't get every day. They are unusual and from that point of view, if they are motivating enough, they produce work or situations which are, for the artists and for us, exciting.

KW Are there other trends around at the moment that you see in the art schools – is there also a resistance to the non-mediated experience? HUO i think a lot of what is happening right now – and one can see it in art schools also – is that there is not only this desire for non-mediated experience and the whole performance thing, it is also a moment when drawing is an incredibly fertile zone. i see a lot of stunning drawing and that’s obviously another form of resistance to the disappearance of handwriting, and everything happening in computers. so to answer your previous questions, these are maybe two reasons why: resistance to everything happening on the computer and the idea of not adding any more objects. KW how do you as a curator respond to these new challenges? Are you a Kaiser or an enabler? HUO i always believe in a very close dialogue with artists and that is certainly at the core of my practice. i have always thought enabling is an important element in the sense that the curator should not stand in the way. so first and foremost certainly the enabler definition suits me better than the Kaiser definition. i think that the curator, however, is much more than an enabler. Curating has to do with finding possibilities to make things happen which otherwise wouldn’t happen, so that’s maybe an extension of enabling, finding production contexts or situations where reality can be produced. The late J. G.

KW is that what you are doing in october? HUO Yes. This autumn in our poetry marathon (18-19 october), artists will be invited to collaborate with a poet or do a reading with a poet or a project with a poet or present their own poems. it's not routine. KW Are there any other parameters to running a contemporary institution? You are showing artists that have been overlooked or are in danger of being forgotten – maria Lassnig, Anthony mcCall or Derek Jarman for example. 15

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«art is beautiful but Makes a lot of work»

HUO Besides the idea of performance and drawing (drawing is really key right now), one other thing which is vital at the moment, is what eric hobsbawm calls, a ‘protest against forgetting.’ i think memory is absolutely key. At the moment, when the internet produces extraordinary research tools which we embrace, i think it’s quite difﬁcult to imagine how one curated a show or wrote a text before Google, because it’s a tool we use on such a daily basis. i think it was rem Koolhaas who once said that maybe amnesia is at the core of the digital age and i’m not sure if the answer is yes or no but it’s at least a very valid question. ’ The fact that we produce more and more archive and that the data grows exponentially , doesn’t necessarily mean that humanity as such produces more memory. i think at the moment there is a very interesting resistance in the art world. The art world is very strong at that- stronger at that than any other world - the idea of resisting amnesia. i think that’s a great quality of the art world and something i have always felt is part of my duty to support and push; protesting against forgetting is a key agenda. Look, for example, at Gustav metzger.

looks at these maps of Öyvind fahlström, they are completely twenty-first century, they are visionary. Because of certain difficulties the work hasn’t been shown, and then suddenly we see a room of only fahlström in the Biennale and it makes so much sense for the twenty-first century. KW i know you always ask about people’s unrealised projects – what are yours? HUO my biggest project is to do, ironically, a big exhibition on unrealised projects. my dream is to do a large-scale show of thousands of square metres, a really big exhibition, about all the great unrealised ideas of art and even other disciplines. Another unrealised project is to invent a salon for the twenty-first century and to invent a new Black mountain College. KW Absolutely. HUO With film makers there are all these movies that don’t happen because they just don’t fit in and very often they are the most interesting projects. The same thing is true for scientists, the same thing is true for architects. it’s also what i learnt from the field of architecture: this whole obsession with the unrealised project came because that is what the field of curating has always been about for me. it’s difficult for me to verbalise this because it is something intuitive, but when i grew up in switzerland, as a teenager i saw a Joseph Beuys work. harald szeemann brought him into Der Hang zum Gesamtkunstwerk (The Tendency towards the Total Work of Art, Zurich, 1983), yet at the same time Beuys also gave lectures at Lake Constance, where i grew up, as part of the Green party, on the whole idea of social sculpture. for me to listen to Beuys as an adolescent was really important. i felt he had completely expanded the notion of art. he called it Erweiterung des Kunstbegriffs, as he also expanded art. in a similar way Warhol had done the opposite in America. When i started in the art field there were, for me, these two poles: Beuys and Warhol. in the last ten years that has gone away a little bit because Beuys has been less present, but is now more important again.

KW i was just thinking of him. HUO metzger is such an incredibly important artist for all the young artists and students i know. still, Gustav metzger has never had a big solo show in London. he has never had an institutional exhibition in London, nor has he, after having lived in the UK for seventy years, ever had a permanent piece here. i feel it is now unbelievably urgent. now, through the manchester international festival, the monument is Flailing Trees, which is a memento mori of trees. it’s like a little temple in front of the town hall. metzger’s big exhibition which will happen at the serpentine Gallery in september, which will be his first solo show in a London institution ever, is a show of five decades of his work. This protest against forgetting can happen through exhibitions, but it can also happen through interviews. KW Tell me more about the conversations you do. HUO i think the interview project, the conversation project, is another attempt to protest against forgetting by speaking to people. it is something i did in the nineties a lot. so far i have 2000 hours of filmed recordings, of which some have been published as books.

KW Tell me what you think a successful institution should be doing noW? HUO it has to be a time store and a laboratory to invent the future. i think a successful art institution of the twenty-first century needs to look beyond the West. it needs to build many bridges. it is not only visitor figures, although visitor figures are, of course, key. We have over 800,000 people a year at the serpentine and that is very important for us, but it’s not only a matter of figures. it’s also the ability to connect to many different communities and have many different bridges with which to bring people to art, not just the people who go to art shows anyhow, but to bring many people who otherwise would not come to see art because it might actually change their lives. KW so how do you do this? HUO it's so important that the serpentine Gallery has free admission. Julia

KW i think there was much in Daniel Birnbaum’s Biennale that was a protest against amnesia, the Gutai room and the inclusion of Lygia pape. HUO There were other examples in Venice which i found very interesting in relation to that, for example Öyvind fahlström – extraordinary! KW Absolutely. HUO if one thinks about the current ecological apocalyptic perspectives, if one thinks about the current world order in terms of the political frame and one 16

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and i ﬁrmly believe in the idea of art for all, as Gilbert and George call it. Gilbert and George have a lot of wonderful quotes; ‘To be with art is all we ask’, is a great quote, but also ‘Art for all’. or ‘Architecture for all.’

between. You can say artists have come to Berlin because of that. residencies are key. KW We have leapt around a great deal, the future, the past do you agree? HUO i think it was panofsky, the great art historian, who once said when we invent the future we don’t invent it ex nihilo, but we invent the future from fragments of the past.

KW i feel the energy has seeped out of London recently. Do you feel that too? HUO i feel there is a new London with many connections, to China, india, the middle east. my big show about London was Live! Live!, which we did in 1996 in paris at the musée d'Art moderne de la Ville de paris with [curator] Laurence Bossé, a mapping of London of the nineties, of the energy London produced in the nineties. We realised, spending a year in London at that time and going to many studios, and also to other english cities, that actually the driving force of the english art scene were the artist-run spaces, City racing, Bank, Transmission in Glasgow, and that basically most of the artists we now know who emerged in the nineties had their beginnings in one of these artist-run spaces or were even committee members, you know. Last year i took a copy of Time Out and compared it with our own mapping of all these artist-run spaces from ‘96. Almost all these artist-run spaces had gone.

KW Yes. HUO it is difficult for me to think about the big vision for the institution of the twenty-first century without thinking about Cedric price and the fun palace. many of the things we have been discussing and which i have been trying to do over the last couple of years, the trans-disciplinary serpentine marathons, Il Tempo del Postino, Marina Abramovic Presents, these are all projects which could have happened in a fun palace. it also leads us back to me talking about Gustav metzger and to you talking about stuart Brisley. i think there is an incredible reservoir of ideas in what happened here in england in the fifties, sixties and seventies from the beginning of pop art and the extraordinary vision of richard hamilton, who we are going to show at the serpentine.

KW sad. HUO Because these were only possibilities that could come about when there was hardly any rent to pay and space was very cheap.

KW When is that? HUO 2010. There will be metzger and there will be Konstantin Grcic, who is the visionary industrial designer from Germany who will curate a design show for us. Then after that there will be richard hamilton

KW it wasn’t because the art wasn’t worth anything. it seems that as soon as art is worth more it is taken out of the realm of the artist. HUO But i have the feeling that now, over the last six months, more of these initiatives are starting to pop up in London. it is to be seen if there will be more. it could very well happen.

KW i think hamilton is one of those unsung heroes. HUO Totally. even if these artists are very well known here it is extremely important that they are set in a global context. if these artists had lived in the United states, might they be as famous as Warhol or Liechtenstein today? one of the great visionaries i have met is richard hamilton. he and his wife rita insisted that i visited Cedric price. Cedric price had inspired the whole mutation of urban cities. his texts had already been translated into Japanese in the sixties. This great visionary, whom i then became friends with in a similar way to Boetti ten years earlier, became my mentor in the late nineties. it was at the beginning of the time when i became obsessed by architecture, so i needed mentors who would introduce me to architecture.

KW outside the institution what else can be done to regain this energy? You started with a residency at the Cartier foundation all those years ago. Are more residencies the answer? HUO A lot of artists have stopped teaching over the last few years, or don’t teach at the moment in europe. KW They don’t need to. That’s part of the problem. HUO i think a key question is how to create situations again in the twenty-ﬁrst century where artists have a desire to teach. As you have mentioned the idea of residency, one of the most successful models of residency in europe remains the DAAD [Deutsche Akademischer Austausch Dienst/German Academic exchange service], if you think about the sustainability of that model, how long it has lasted, whom it brought to Berlin. When i was at high school i met ed Kienholz in Berlin for coffee and he told me he had come there because of the DAAD and just couldn’t leave. You can say from George rickey and ed Kienholz to Tacita Dean, is a very wide range of generations and worlds

KW We have talked about Cedric price and Boetti as mentors of yours. Was there a defining moment when you realised this is what you wanted to do? HUO my life was changed as a kid when i saw harald szeemann’s first show. i didn’t come from a family where art was on the menu, my parents didn’t find art particularly interesting, so i didn’t have a background from my family of going to art shows. i suddenly saw the harald szeemann show and it was like a shockwave. my whole life turned around, so i still believe that can happen. ■ 17

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2 pm 26 SEpTEmBER 2009 London

PhOtOgraPhs LOts 1 - 82

AbrAr, A. & Hoving, A. 74 AllcHurcH, E. 58 AntAr, Z. 66 Arnold, c. 67

HAAs, A. 27 HAyWood, t. 53, 54 HEtflAisZ, H. 49 HoldsWortH, d. 13

bAsElgiA, g. 41 bEllAmy, r. 19 bErry, m. 62, 63 blAufuks, d. 4, 5 bodiAm, m. 20 brinEr, t. 75 büHlEr-rosE, m. 79

JiménEZ, J. 14 JordAn, c. 60

sAbEllA, s. 50 scHulZ, J. 2 simmons, t. 12 stEElE-PErkins, c. 48 stEin, A. 78 stEPPAn, H. 23, 24 sussmAn, E. 6, 7, 8

källström, k. & fäldt, t. (kk + tf) 16 krusE, c. 35 kurlAnd, J. 57

tAlmor, d. 26 tEicHmAnn, E. 34 tEttAmAnti, J. 9

lAcHAPEllE, d. 29, 30 lAitAnEn, J. 33 lAmson, W. 69 lEvEnE, l. 65

vAHAlA, s. 68 vitAli, m. 42

cArtAgEnA, A. 77 clAnEt, c. 73 cHAn, l. 10 cHristEn, f. 3 coEkin, c. 17, 18 cortEs, J. P. 28 dAviEs, l. 61 dAvis, t. 64 dE rosA, y. 44, 45 d’orAZio, s. 31 du PrEEZ, W. & tHornton JonEs, n. 37 EnErotH, J. 1 Esid, o. 59

mAnn, J. 70 mArtins, E. 32 mclAugHlin, n. 43 mosEid, g. 25 murrAy, b. 46, 51, 52

WAddEll, s. 11 WiEslAndEr, E. 76 WolbErgEr, o. 80 yAss, c. 40 yoon, J. 72

nordquist, J. 47 norfolk, s. 21, 22 o’briEn o’connEll, b. 81 PEtErsEn, r. 71

gAo brotHErs 36 gill, s. 55 grîmbErt, b. 15 gross, y. 82 gütscHoW, b. 56

rEiscH, m. 39 rollAnd, v. 38

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1 JoAkim EnErotH b. 1969 Swedish Red–Comfortably Secure 014, 2007. Digital colour coupler print, printed 2009. 100 x 133 cm. (39 3/8 x 52 3/8 in). Signed, titled, dated and numbered 8/8 in ink on a label affixed to the reverse of the flush-mount. One from an edition of 8 plus 2 artist’s proofs. pRovEnancE Acquired directly from the artist ExhiBiTEd Swedish Red–Joakim Eneroth Photographs, School Gallery, Paris, 26 February – 22 March 2008; Swedish Red–Comfortably Secure, Arbetets Museum, Norrköping, Sweden, 6 June – 6 September 2009 (each another example exhibited) LiTERaTuRE Steidl, J. Eneroth, Swedish Red, 2009, p. 37 Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 31

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2 JOSEF SCHULZ b. 1966 Hall blue #3, 2001. Colour coupler print, Diasec mounted. 100 x 130 cm. (39 3/8 x 51 1/8 in). Signed, dated and numbered 5/6 in ink on the reverse of the flush-mount. One from an edition of 6 plus 2 artist’s proofs. Provenance Galerie Haus Schneider, Ettlingen/Karlsruhe Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠‡

3 FRANCK CHRISTEN b. 1971 Caddie, Beyrouth, 2004. Colour coupler print. 60 x 61 cm. (23 5/8 x 24 in). Signed in ink on a label affixed to the reverse of the frame. Number 2 from an edition of 6. Provenance Private Collection, Germany Literature Galerie Tanit, Franck Christen: Fotografien, exh. cat., 2005, p. 24 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ♠

4 DANIEL BLAUFUKS b. 1963 Untitled (Glass) from Motel, 2005. Digital colour coupler print, flush-mounted. 80 x 80 cm. (31 1/2 x 31 1/2 in). Signed and annotated ‘AP’ in ink on the reverse of the frame. One from an edition of 5 plus 1 artist’s proof. Provenance Acquired directly from the artist exhibited Losing my Religion, Ermida, Lisbon, 31 January - 15 March 2009 (another example exhibited) Literature Galeria Carlos Carvalho, Daniel Blaufuks, exh. cat., 2006, n.p. Estimate £ 4 , 5 0 0 - 5 , 5 0 0 $ 7, 5 0 0 - 9 ,1 0 0 € 5 , 2 0 0 - 6 , 4 0 0 †

5 DANIEL BLAUFUKS b. 1963 Untitled (Patio) from Hiato, 2006. Digital colour coupler print, flush-mounted. 79.5 x 79.5 cm. (31 1/4 x 31 1/4 in). Signed and numbered 5/5 in ink on the reverse of the frame. Provenance Acquired directly from the artist Literature Galeria Carlos Carvalho, Daniel Blaufuks, exh. cat., 2006, n.p. Estimate £ 4 , 0 0 0 - 5 , 0 0 0 $ 6 , 6 0 0 - 8 , 3 0 0 € 4 , 6 0 0 - 5 , 8 0 0 †

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6 EvE sussmAn b. 1961 Girls at the Pool (photographic still from The Rape of the Sabine Women), 2005. Digital colour coupler print, mounted. 99.7 x 121.9 cm. (39 1/4 x 48 in). Accompanied by a signed Certificate of Authenticity. Number 2 from an edition of 10 plus 2 artist’s proofs. pRovEnancE Roebling Hall, New York ExhiBiTEd Eve Sussman & The Rufus Corporation, Louisiana Museum of Modern Art, Humlebæk, 8 November 2008 – 15 February 2009 (another example exhbited) Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0 ♠‡

7 EvE sussmAn b. 1961 Women in the S-Bahn (photographic still from The Rape of the Sabine Women), 2005. Digital colour coupler print, mounted. 97.8 x 120.7 cm. (38 1/2 x 47 1/2 in). Accompanied by a signed Certificate of Authenticity. Number 8 from an edition of 10 plus 2 artist’s proofs. pRovEnancE Roebling Hall, New York Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ♠‡

8 EvE sussmAn b. 1961 Serving the Milk, from 89 Seconds at Alcázar, 2004. DVD, flat screen LCD monitor. 25.7 x 40 cm. (10 1/8 x 15 3/4 in). Accompanied by a signed Certificate of Authenticity. Number 5 from an edition of 5 plus 1 artist’s proof. pRovEnancE Roebling Hall, New York ExhiBiTEd Eve Sussman and the Rufus Corporation: 89 Seconds at Alcázar, Museo Nacional de Arte Reina Sofia, 9 May – 16 July 2006. (another example exhibited) Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9, 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠Ω

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9 JOËL TETTAMANTI b. 1977 Untitled Images (Archive n° 7688 and 7689) from Ilulissat, Greenland, 2008. Two Lambda prints. Each 128.3 x 156.2 cm. (50 1/2 x 61 1/2 in). Each accompanied by a label: signed, printed title, date and number AP 1/2. Each AP from an edition of 3 plus 2 artist’s proofs. Provenance Acquired directly from the artist exhibited Local Studies, Swiss Foundation of Photography, Winterthur, 28 February – 17 May 2009 (another example exhibited) Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ‡

11 STEPHEN WADDELL b. 1968 Bathers in Spring, 2008. Archival inkjet print, Diasec mounted. 70 x 85 cm. (27 1/2 x 33 1/2 in). Signed in ink on a label affixed to the reverse of the frame. Number 1 from an edition of 5. Provenance Private Collection, Germany Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 12 TIM SIMMONS b. 1955 Intervention Rockpool #6 from Intervention, 2008. Digital colour coupler print, flush-mounted. 90 x 132 cm. (35 7/16 x 52 in). Accompanied by a signed Certificate of Authenticity. Number 1 from and edition of 6 plus 2 artist’s proofs. Provenance Acquired directly from the artist Literature Alaska, Issue 02 Spring Summer 2009, p. 120-121 Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 †

10 LEONORA CHAN b. 1977 Pepeekeo 1, 2008. Colour coupler print. 75.3 x 94.3 cm. (29 5/8 x 37 1/8 in). Signed, dated and numbered 1/3 in ink on a label affixed to the reverse of the flushmount. Provenance Acquired directly from the artist Estimate £1, 2 0 0 -1, 8 0 0 $ 2 , 0 0 0 - 3 , 0 0 0 € 1, 4 0 0 - 2 ,1 0 0 34

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13 DAN HOLDSWORTH b. 1974 Black Mountains (triptych) from The World In Itself, 2001. Three colour coupler prints, printed 2003. Each 179.1 x 229.9 cm. (70 1/2 x 90 1/2 in). Each signed and numbered 2/3 in ink on the reverse of the flush-mount. Provenance Acquired directly from the artist exhibited Dan Holdsworth, The New Art Gallery, Walsall, 3 October – 16 November 2003; Consuming Nature, The Museum of Contemporary Photography, Columbia College, Chicago, 11 December 2003 – 19 February 2004 (each another example exhibited) Literature Steidl Verlag, Dan Holdsworth: Photoworks Monograph, 2005, p. 75-77; Thames & Hudson, Art Photography Now, 2006, p. 68 Estimate £1 8 , 0 0 0 - 2 2 , 0 0 0 $ 2 9 , 8 0 0 - 3 6 , 4 0 0 € 2 0 , 9 0 0 - 2 5 , 6 0 0 †

14 JESÚS JIMÉNEZ b. 1978 Selected Images from Agora, 2005. Ten digital colour coupler prints, printed 2009. Each 20.3 x 30.5 cm. (8 x 12 in); sheet 27.9 x 35.6 cm. (11 x 14 in). Each signed in ink in the margin; each signed in ink and edition stamp on the verso. Colophon signed and numbered 1/10 in ink with a copyright credit reproduction limitation stamp. Each number 1 from an edition of 10 plus 2 artist’s proofs. Contained in an acrylic portfolio box. Provenance Acquired directly from the artist exhibited Instante, Museo de Arte de Zapopan, Jalisco, Mexico, 7 September – 1 October 2006 Literature Alaska, Issue 01 Spring Summer 2008, p. 192-7 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ‡

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15 bEnoît grimbErt b. 1969 Untitled no. 20, 23, 25 and 38 from Verso, 2001-2003. Four digital inkjet prints, printed 2006. Each 49.8 x 49.8 cm. (19 5/8 x 19 5/8 in). Each signed in ink, printed title, date and number 1/8 on a label affixed to the reverse of each flush-mount. One from an edition of 8 plus 2 artist’s proofs. pRovEnancE Acquired directly from the artist ExhiBiTEd Benoît Grimbert, Photographies, 1999-2003, Galerie de l’Ardi, Caen, October 2006 – January 2007 (another example exhibited) Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 †

16 kk+tf: klArA källström And tHobiAs fäldt b. 1978 and b. 1984 Year One #67, 2008.; Gingerbread Monument #13, 2008. Two digital colour coupler prints. Each 70 x 70 cm. (27 1/2 x 27 1/2 in). Each signed, dated, numbered 1/5 in pencil on the reverse of each flushmount. Each one from an edition of 5 plus 2 artist’s proofs. pRovEnancE Acquired directly from the artists ExhiBiTEd (ii) New Nordic Photography, Hasselblad Center, Gothenburg, 5 June – 23 August 2009 (another example exhibited) LiTERaTuRE (i) Steidl Verlag, Thobias Fäldt/Year One, 2009, p. 67; (ii) Klara Källström: Gingerbread Monument, 2008, p. 13 Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0 † 36

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17 cHris coEkin b. 1967 The Altogether #1, 2008. Unique archival pigment print. 76.2 x 101.6 cm. (30 x 40 in). Signed, titled, dated and numbered 1/1 AP in ink on the reverse of the flush-mount. pRovEnancE Acquired directly from the artist Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0

18 cHris coEkin b. 1967 The Altogether #2, 2008. Unique archival pigment print. 76.2 x 101.6 cm. (30 x 40 in). Signed, titled, dated and numbered 1/1 AP in ink on the reverse of the flush-mount. pRovEnancE Acquired directly from the artist Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0

19 robErt bEllAmy b. 1980 23:30 St.Meinrad, Zugerland, 2003. Digital colour coupler print, printed 2009. 64.5 x 83.8 cm. (25 3/8 x 33 in). Signed, dated and numbered 1/5 in pencil on the verso. One from an edition of 5 plus 1 artist’s proof. pRovEnancE Acquired directly from the artist ExhiBiTEd Zugerland, The Special Photographers Gallery, London, 21 January – 21 February 2004 (another example exhibited) Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

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20 micHAEl bodiAm b. 1981 Untitled # 1 (Red); Untitled # 2 (Yellow); Untitled # 3 (Orange), 2003. Three colour coupler prints. Each 73.7 x 92.7 cm. (29 x 36 1/2 in). Each signed in ink, printed title, date and number 1/1 on a label affixed to the reverse of each frame. pRovEnancE Acquired directly from the artist Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0

21 simon norfolk b. 1963 The nitrogen fire suppression system, Commissariat à l’Energie Atomique, Bruyers-le-Chalet near Paris from The Super Computers: “I’m sorry Dave, I’m afraid I can’t do that”, 2005. Digital colour coupler print, Diasec mounted. 101.6 x 127 cm. (40 x 50 in). Accompanied by a signed Certificate of Authenticity. Number 1 from an edition of 10. pRovEnancE The Photographers’ Gallery, London Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7, 5 0 0 € 4 ,1 0 0 - 5 , 2 0 0 ♠

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22 simon norfolk b. 1963 Old aisle TERA-1, Commissariat à l’Energie Atomique, Bruyers-le-Chalet near Paris, from The Super Computers: “I’m sorry Dave, I’m afraid I can’t do that”, 2005. Digital colour coupler print, Diasec mounted. 101.6 x 127 cm. (40 x 50 in). Accompanied by a signed Certificate of Authenticity. Number 1 from an edition of 10. pRovEnancE The Photographers’ Gallery, London Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7, 5 0 0 € 4 ,10 0 - 5 , 2 0 0 ♠

23 HElgA stEPPAn b. 1976 All my things, /black/ from See Through, 2004. Colour coupler print, flush-mounted. 75.6 x 92.7 cm. (29 3/4 x 36 1/2 in). Accompanied by a signed Certificate of Authenticity. Number 9 from an edition of 10 plus 2 artist’s proofs pRovEnancE Man&Eve, London ExhiBiTEd Flash Forward, Kathleen Cullen Fine Art, New York, 29 November – 22 December 2007 (another example exhibited) LiTERaTuRE The Magenta Foundation, Flash Forward, exh.cat., 2007 Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

24 HElgA stEPPAn b. 1976 All my things, /white/ from See Through, 2004. Colour coupler print, flush-mounted. 75.6 x 92.7 cm. (29 3/4 x 36 1/2 in). Accompanied by a signed Certificate of Authenticity. Number 9 from an edition of 10 plus 2 artist’s proofs. pRovEnancE Man&Eve, London ExhiBiTEd Flash Forward, Kathleen Cullen Fine Art, New York, 29 November – 22 December 2007 (another example exhibited) LiTERaTuRE The Magenta Foundation, Flash Forward, exh.cat., 2007 Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

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25 GEIR MOSEID b. 1978 From the series Plucked (Lying figure 1), 2008. Colour coupler print. 76.2 x 101.6 cm. (30 x 40 in). Signed in ink, printed title, date and number 2/5 on a label affixed to the reverse of the flush-mount. One from an edition of 5 plus 2 artist’s proofs. Provenance Flowers, London exhibited Geir Moseid: Plucked, Flowers, London, 19 September – 18 October 2008 (another example exhibited) Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,10 0 ♠

26 DAFNA TALMOR b. 1974 Untitled from Obstructed Views, 2007. Colour coupler print. 43 x 58.5 cm. (16 7/8 x 23 in). Signed, titled, dated and numbered 4/10 in ink in the margin, verso and on the reverse of the frame. One from an edition of 10 plus 1 artist’s proof. Provenance Acquired directly from the artist Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

27 ALEX HAAS b. 1963 Lola, Madrid, 2004. Colour coupler print, printed 2009. 26.2 x 41 cm. (10 5/16 x 16 1/8 in). Signed, titled, dated and numbered 2/5 in ink on the verso. Provenance Acquired directly from the artist Estimate £1, 0 0 0 - 2 , 0 0 0 $ 1,7 0 0 - 3 , 3 0 0 € 1, 2 0 0 - 2 , 3 0 0

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28 JOSÉ PEDRO CORTES b. 1976 Untitled (girl) from Like an empty yard, 2007. Digital inkjet print. 125 x 90 cm. (49 1/4 x 35 7/16 in). Signed, titled, dated and numbered 2/5 in ink on a label affixed to the reverse of the flush-mount. One from an edition of 5 plus 1 artist’s proof. Provenance White Space Gallery, London exhibited Like an empty yard, Galeria Modulo, Lisbon, 5-30 July 2008 (another example exhibited) Estimate £1, 2 0 0 -1, 8 0 0 $ 2 , 0 0 0 - 3 , 0 0 0 € 1, 4 0 0 - 2 ,1 0 0 †

29 DAVID LACHAPELLE b. 1964 Rize (Cover), 2004. Fujicolour Crystal Archive print. 96.8 x 76.8 cm. (38 1/8 x 30 1/4 in). Signed in ink, printed title, date and number on an artist’s label affixed the reverse of the flush-mount. One from an edition of 7. Provenance Private Collection, Europe Estimate £ 7, 0 0 0 - 9 , 0 0 0 $ 11, 6 0 0 -14 , 9 0 0 € 8 ,1 0 0 -1 0 , 5 0 0

SANTE D’ORAZIO b. 1956 Gisele on couch, New York City, 2006. Colour coupler print. 46.4 x 58.4 cm (18 1/4 x 23in). Signed in ink and copyright credit stamp on a label affixed to the reverse of the flush-mount. Number 5 from an edition of 25. Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 0 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

∆ 31

30 DAVID LACHAPELLE b. 1964 Krumped House, 2004. Fujicolour Crystal Archive print. 68.6 x 101 cm. (27 x 39 3/4 in). Signed in ink, printed title, date and number on an artist’s label affixed the reverse of the flush-mount. One from an edition of 7. Provenance Private Collection, Europe estimate £ 7, 0 0 0 - 9 , 0 0 0 $ 11, 6 0 0 -14 , 9 0 0 € 8 ,1 0 0 -1 0 , 5 0 0 41

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32 EDGAR MARTINS b. 1977 Untitled from The Rehearsal of Space, 2005; Untitled from The Accidental Theorist, 20052006. Two colour coupler prints, each flush-mounted to aluminium. (i) 99.1 x 77.5 cm. (39 x 30 1/2 in); (ii) 102.6 x 81.6 cm. (40 3/8 x 32 1/8 in). Each accompanied by a signed Certificate of Authenticity. Each number 1 from an edition of 5. Provenance The Photographers’ Gallery, London Literature Aperture, Edgar Martins: Topologies, 2008 Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠

33 JOHANNA LAITANEN b. 1976 A Spectacle of Nature #03, 2005. Colour coupler print, printed 2009 and flush-mounted. 73.7 x 73 cm. (29 x 28 3/4 in). Signed in ink, printed title, date and number 2/7 on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist Literature University of Arts London, RE-STAGE, exh. cat., 2006, n.p.; Alaska, Issue 01 Spring Summer 2008, p. 164 Estimate £1, 5 0 0 - 2 , 5 0 0 $ 2 , 5 0 0 - 4 ,1 0 0 € 1,7 0 0 - 2 , 9 0 0

34 ESTHER TEICHMANN b. 1980 Untitled from Mythologies, 2006. Colour coupler print, printed 2009 and flush-mounted. 78.7 x 101 cm. (31 x 39 3/4 in). Signed and dated in ink on the reverse of the frame. Accompanied by a signed Certificate of Authenticity. Number 4 from an edition of 5. Provenance Man&Eve, London Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,10 0 ♠

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35 CHRISTINA KRUSE b. 1975 L.I.A.R., 2003. Archival pigment print, printed 2009. 76.2 x 101.6 cm. (30 x 40 in). Signed and dated in pencil on the verso. Number 4 from an edition of 5 plus 2 artist’s proofs. Provenance Acquired directly from the artist Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ‡

36 GAO BROTHERS b. 1956 & b. 1962 Mao Spirit in the Crystal Coffin, 2000. Four digital prints, each flush-mounted. Each 71.1 x 99.7 cm. (28 x 39 1/4 in). One signed, dated and numbered 2/5 in ink in the margin. Provenance Acquired directly from the artist Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ‡

37 WARREN DU PREEZ AND NICK THORNTON JONES b. 1966 and b. 1971 Myf Sheppard in Alexander McQueen, 2009. Digital print. 80 x 59.7 cm. (31 1/2 x 23 1/2 in). Signed, annotated ‘Myf’, dated and numbered 1/1 in ink in the margin. Provenance Blank Art Ltd., London Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ♠

38 VERONIQUE ROLLAND b. 1973 Jay-Paris, 2000. Digital colour coupler print, printed 2007. 119.1 x 99.7 cm. (46 7/8 x 39 1/4 in). Signed, titled, dated and numbered 1/3 in ink on a label affixed to the reverse of the flush-mount. One from an edition of 3 plus 2 artist’s proofs. Provenance Acquired directly from the artist exhibited John Kobal Photographic Portrait Award 1999, National Portrait Gallery, London, 12 September 2000 – 4 February 2001 Literature National Portrait Gallery, John Kobal Photographic Portrait Award 1999, exh. cat., 2000 Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 43

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39 MICHAEL REISCH b. 1964 “Landschaft”, 7/016, 2008. Digital colour coupler print, Diasec mounted. 180 x 285 cm. (70 7/8 x 112 1/4 in). Signed, titled, dated and numbered 7/8 in ink on the reverse of the flush-mount. One from an edition of 8 plus 2 artist’s proofs. Provenance Private Collection, Europe exhibited Sammlung XXL, Kunstraum Alexander Bürkle, Freiburg, 22 March – 21 June 2009 (another example exhibited) Literature Bibliothek der Provinz, Longing Nature: Landscapes in Europe, 2009, p. 91 Estimate £8,000-12,000 $13,200-19,900 €9,300-13,900 ♠

40 CATHERINE YASS b.1963 Descent: HQ2: 1/2s, 18°, 0mm, 5mph, north, 2002. Ilfochrome transparency in light box. 72 x 91 x 12.5 cm. (28 3/8 x 35 7/8 x 4 7/8 in). Signed, titled and dated 2003 in ink on the reverse of the lightbox. Provenance Alison Jacques Gallery, London Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ♠

41 GUIDO BASELGIA b. 1953 HOCHLAND X, Val d’Uina, Il Quar, 2001. Gelatin silver print on Baryte paper. 57.2 x 74 cm. (22 1/2 x 29 1/8 in). Signed, titled, dated and numbered 6/7 in ink on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist exhibited Guido Baselgia – Hochland, Kunsthalle Erfurt, Germany, 15 December 2002 – 19 January 2003; In den Alpen, Kunsthaus Zürich, Switzerland, 6 October 2006 – 2 January 2007 (each another example exhibited) Literature Hatje Cantz Verlag, Guido Baselgia – Hochland, 2001, p.10; Kunsthaus Zürich, In den Alpen, 2006, p.31 Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ‡

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42 MASSIMO VITALI b. 1944 A Portfolio of Landscapes with Figures Fifty-two colour offset lithographs, printed by Steidl 2006. Each approximately 66 x 85.1 cm. (26 x 33 1/2 in) or the reverse; sheet 70 x 90 cm. (27 9/16 x 35 7/16 in). Each numbered sequentially 1-52 in ink in an unidentified hand, credit and edition stamp 101/120 on the verso. Title page signed and numbered 101/120 in ink. Contained in a linen clamshell case. One from an edition of 120 plus 20 artist’s proofs. Provenance Private Collection, Europe Estimate £ 8 , 0 0 0 -1 2 , 0 0 0 $ 1 3 , 2 0 0 -1 9 , 9 0 0 € 9 , 3 0 0 -1 3 , 9 0 0 ♠

43 NOEL MCLAUGHLIN b. 1978 House no. 2; House no. 3; House no. 4; House no. 5 from American Gothic, 2008. Four archival pigment prints. Three 20.3 x 25.4 cm. (8 x 10 in), one 20.3 x 30.5 cm. (8 x 12 in). Each signed, titled, dated and numbered 1/1 in pencil in the margin. One from an edition of 1 plus 1 artist’s proof. Provenance Acquired directly from the artist Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0 †

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44 YVONNE DE ROSA b. 1975 Untitled (Blue Corridor) from Crazy God, 2005. Digital colour coupler print, printed 2007. 50.8 x 76.2 cm. (20 x 30 in). Signed in ink on the verso. Accompanied by a signed Certificate of Authenticity. Number 2 from an edition of 3. Provenance Diemar/Noble Photography, London Literature Damiani Editore, Yvonne De Rosa: Crazy God, 2008, p. 72 Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

46 BETHANY MURRAY b. 1971 Untitled 6 from Avoided Spaces – Colour Polaroids, 2007. Unique colour polaroid. 7.3 x 9.5 cm. (2 7/8 x 3 3/4 in). Signed, titled and dated in ink on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 47 JENNY NORDQUIST b. 1977 Untitled #2, #3, #4 and #6 from Alminde Series, 2007. Four digital colour coupler prints, each printed 2009 and flush-mounted. Each 47.6 x 60.3 cm. (18 3/4 x 23 3/4 in). Each signed, titled, dated and numbered 1/5 in ink on a label affixed to the reverse of the frame. Each one from an edition of 5 plus 1 artist’s proof. Provenance Acquired directly from the artist Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 †

45 YVONNE DE ROSA b. 1975 Untitled (Blue and White Staircase) from Crazy God, 2005. Digital colour coupler print, printed 2007. 50.8 x 76.2 cm. (20 x 30 in). Signed in ink on the verso. Accompanied by a signed Certificate of Authenticity. Number 1 from an edition of 3. Provenance Diemar/Noble Photography, London Literature Damiani Editore, Yvonne De Rosa: Crazy God, 2008, p. 22 Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠ 46

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48 CHRIS STEELE-PERKINS b. 1947 Tokyo Love Hello, 2007. Archival pigment print. 50.2 x 192.1 cm. (19 3/4 x 75 5/8 in). Signed and numbered 1/5 in ink in the margin. Number 1 from an edition of 5 plus 1 artist’s proof. Provenance Host Gallery, London exhibited Tokyo Seen by Magnum Photographers, Tokyo Metropolitan Museum of Photography, 10 March – 6 May 2007 (another example exhibited) Literature Editions Intervalles, Chris Steele-Perkins: Tokyo Love Hello, 2007, all illustrated pages; Magnum Photos, Tokyo Seen by Magnum Photographers, 2007 Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0

49 HENRYK HETFLAISZ b. 1978 Boulder, 2004. Digital colour coupler print, mounted. 99.7 x 79.7 cm. (39 1/4 x 31 3/8 in). Signed in ink, printed title, date and number 1/1 on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

50 STEVE SABELLA b. 1975 In Exile, 2008. Lambda print. 125 x 136 cm. (49 1/4 x 53 1/2 in). Signed, titled, dated and numbered 2/6 in ink on the reverse of the flush-mount. Provenance Acquired directly from the artist exhibited The Gates of Mediterranean, Palazzo Piozzo, Turin, 23 April – 28 September 2008; Palestine: La Création Dans Tous Ses Etats, L’Institut du Monde Arabe, Paris, 23 June – 22 November 2009 (each another example exhibited) Literature Thames & Hudson, New Vision: Contemporary Arab Art in the New Century, 2009, p. 250 Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0

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51 BETHANY MURRAY b. 1971 Untitled 1 from Avoided Spaces, 2007. Light jet print. 157.8 x 121.9 cm. (62 1/8 x 48 in). Signed, dated and numbered 1/3 in ink on a label affixed to the reverse of the flush-mount. One from an edition of 3 plus 2 artist’s proofs. Provenance Acquired directly from the artist Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

52 BETHANY MURRAY b. 1971 Untitled 2 from Avoided Spaces, 2007. Light jet print. 157.8 x 121.9 cm. (62 1/8 x 48 in). Signed, dated and numbered 1/3 in ink on a label affixed to the reverse of the flush-mount. One from an edition of 3 plus 2 artist’s proofs. Provenance Acquired directly from the artist Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

53 THOMAS HAYWOOD b. 1972 Grete, Ian and Guri from Family, 2005. Colour coupler print, printed 2008 and flush-mounted. 91 x 91 cm. (35 7/8 x 35 7/8 in). Accompanied by a signed Certificate of Authenticity. Number 1 from an edition of 5 plus 2 artist’s proof. Provenance Acquired directly from the artist exhibited Survey, Standpoint Gallery, London, 16 January – 14 February 2009 (another example exhibited) Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

54 THOMAS HAYWOOD b. 1972 Island (Horse) from Island, 2007. Lambda print, printed 2008 and flush-mounted. 76 x 92 cm. (30 x 36 1/4 in). Accompanied by a signed Certificate of Authenticity. Number 5 from an edition of 7 plus 1 artist’s proof. Provenance Acquired directly from the artist exhibited SHOW, Royal College of Art, London, 30 May – 8 June 2008 (another example exhibited) Literature Source Magazine, Issue 55 Summer 2009 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 48

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55 STEPHEN GILL b. 1971 Billboard Series, 2002-2004. Twenty colour coupler prints, printed 2004 and 2009. Each 37.8 x 46.8 cm. (14 7/8 x 18 7/16 in), sheet 40.6 x 50.8 cm. (16 x 20 in). Each signed, titled and numbered 6/10 in ink on the verso. Each one from an edition of 10 plus 2 artist’s proofs. Contained in an archival print box. Provenance Acquired directly from the artist exhibited Field Studies, The State Centre of Architecture, Moscow, September 2004 (another example exhibited) Literature Chris Boot Ltd., A Book of Field Studies, 2004, cover and various pages Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0 †

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56 BEATE GÜTSCHOW b. 1970 LS#14, 2003. Lambda print, printed 2004. 49.8 x 80.6 cm. (19 5/8 x 31 3/4 in). Signed in ink, printed title, date and number 3/10 on a label affixed to the reverse of the flush-mount. Provenance Acquired directly from the artist Literature Aperture, Beate Gütschow – LS / S, 2007, similar works from the series illustrated p. 7-35 Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠

57 JUSTINE KURLAND b. 1969 Buses on the Farm, 2003. Colour coupler print, mounted. 45.1 x 57.2 cm. (17 3/4 x 22 1/2 in). Signed in ink, printed title, date and number 7/8 on a label affixed to the reverse of the frame. One from an edition of 8 plus 2 artist’s proofs. Provenance Gorney Bravin + Lee, New York Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ‡

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44551

58 EMILY ALLCHURCH b. 1974 Urban Chiaroscuro 3: Rome (after Piranesi), 2006. Transparency in lightbox. 81.5 x 116.4 cm. (32 1/8 x 45 7/8 in). Signed in ink, printed title, date and number 1/4 on a label affixed to the reverse of the lightbox. Provenance Diemar/Noble Photography, London Literature Frost & Reed, Emily Allchurch: Urban Chiaroscuro, exh. cat., cover and p. 9-11 Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ♠

59 OSAMA ESID b. 1970 The girl with the silver shoes, 2006. Digital inkjet print. 101.6 x 79.4 cm. (40 x 31 1/4 in). Signed, titled, dated and numbered 2/5 in ink in the margin. Provenance Acquired directly from the artist Estimate £1, 8 0 0 - 2 , 2 0 0 $ 3 , 0 0 0 - 3 , 6 0 0 € 2 ,1 0 0 - 2 , 6 0 0 61 LOTTIE DAVIES b. 1971 The Red Devil from Memories and Nightmares, 2008. Digital colour coupler print. 73 x 96.5 cm. (28 3/4 x 38 in). Signed, titled and numbered 1/10 in ink in the margin. Provenance Acquired directly from the artist Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠

60 CHRIS JORDAN b. 1963 Recycling Yard #5, Seattle from Intolerable Beauty: Portraits of American Mass Consumption, 2003. Ultrachrome pigment print, printed 2005. 111.4 x 133.5 cm. (43 7/8 x 52 9/16 in). Signed, titled, dated and numbered 2/9 on a label affixed to the reverse of the flush-mount. One from an edition of 9 plus 2 artist’s proofs. Provenance Paul Kopeikin Gallery, Los Angeles Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ‡ 51

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66 62 MAEVE BERRY Untitled from Incandescence, 2008. Digital colour coupler print, printed 2009 and Diasec mounted. 61 x 76.2 cm. (24 x 30 in). Signed, numbered 1/15 in pencil and printed title on a copyright credit limitation stamped label affixed to the reverse of the flushmount. Provenance Diemar/Noble Photography, London Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

63 MAEVE BERRY Untitled from Incandescence, 2008. Digital colour coupler print, printed 2009 and Diasec mounted. 61 x 76.2 cm. (24 x 30 in). Signed, numbered 1/15 in pencil and printed title on a copyright credit limitation stamped label affixed to the reverse of the flushmount. Provenance Diemar/Noble Photography, London Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

64 TIM DAVIS b. 1969 One People, One Nation, One Taco, One Destiny from My Life in Politics, 2002-2006. Colour coupler print. 122 x 155 cm. (48 x 61 in). Signed, annotated ‘One People, One Nation…’ and numbered 2/6 in ink on the reverse of the flush-mount. Provenance Greenberg Van Doren Gallery, New York Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

65 LUCY LEVENE b. 1978 Timmy Green from Marrying In (Please God by You), 2001. Colour coupler print, printed 2007. 101.6 x 101.6 cm. (40 x 40 in). Signed and numbered in ink on the reverse of the flush-mount. One from an edition of 8 plus 3 artist’s proofs. Provenance Acquired directly from the artist exhibited ReGeneration – 50 Photographers of Tomorrow, including: Musée de l’Elysée, Lausanne, 23 June – 25 September 2005 and Aperture Fondation, New York, 7 April – 22 June 2006 (each another example exhibited) Literature Thames & Hudson, ReGeneration – 50 Photographers of Tomorrow, 2005, p. 123; Skira Ltd, In Our World, New Photography in Britain, 2008, n.p. Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

66 ZIAD ANTAR b. 1978 Chair; Soldier Food; Tricycle from Products of War, 2006. Three ultrachrome inkjet prints, printed 2009. Each 49 x 73. 5 cm. (19 1/4 x 28 3/4 in) or the reverse. Each accompanied by a signed Certificate of Authenticity. Each number 1 from an edition of 6 plus 1 artist’s proof. Provenance Acquired directly from the artist. exhibited Art Now In Lebanon, Darat Al Funun, Amman, Jordan, 4 March – 29 May 2008 (another example exhibited) Literature Galerie Enrico Navarra, In the Arab World Now, 2008 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ‡ 52

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Humble ARts foundAtion

emerging art photographers currently face a unique breed of challenges. Shifting trends

and influences, accelerated ideas via online venues, and the proliferation of MFa photography programmes have forced a highly competitive art market; one that is limited in print resources which are specifically focused on informing collectors while connecting the early-career photographer to pivotal figures in the established art world. as a not-for-profit organization working to advance the careers of contemporary art photographers, humble arts Foundation responded to the challenges of today’s art market with the recent publication of The Collector’s Guide to Emerging Art Photography. the guide culls the work of 163 of the industry’s most talented new photographers whose aesthetic and international exposure affirms the intellectual integrity of their work. humble’s partnership with Phillips de Pury & company on its upcoming sale and catalogue Now: Art of the 21st Century enables the foundation to continue to encourage seasoned collectors, gallerists and other art world professionals to seriously consider the work of some of the most talented emerging and under represented photographers working today. Phillips de Pury selected 16 photographers from The Collector’s Guide, whose work is a snapshot of the strongest and most innovative and challenging new work in art photography. amani olu and Jon Fenstein Founders of humble arts Foundation

67 COREY ARNOLD b. 1976 Kitty and Horse Fisherman from Fish-Work, 2006. Colour coupler print, printed 2009. 50.8 x 68.6 cm. (20 x 27 in). Signed, titled, dated and numbered in ink on a label affixed to the reverse of the flush-mount. Provenance Sara Tecchia Roma New York exhibited Fish-Work, Sarah Tecchia Roma New York, 19 February – 4 April 2009 (another example exhibited) Estimate £ 8 0 0 -1, 2 0 0 $ 1, 3 0 0 - 2 , 0 0 0 € 9 5 0 -1, 4 0 0 ‡ 53

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68 SIMON VAHALA b. 1978 Untitled, 2008. Colour coupler print, Diasec mounted. 65 x 65 cm. (25 5/8 x 25 5/8 in). Signed, titled, dated and numbered 1/1 in ink on the reverse of the flushmount. Provenance Acquired directly from the artist Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

69 WILLIAM LAMSON b. 1977 Intervention 02/20/08. Archival pigment print. 43.8 x 29.5 cm. (17 1/4 x 11 5/8). Signed and numbered 2/10 in ink on the verso. Provenance Acquired directly from the artist/ Pierogi Gallery, Brooklyn exhibited William Lamson: Actions, Marty Walker Gallery, Dallas, 6 September – 11 October 2008 (another example exhibited) Estimate £ 5 0 0 -7 0 0 $ 8 5 0 -1, 2 0 0 € 6 0 0 - 8 0 0 ‡

70 JOHN MANN b. 1972 Untitled (Libya) from Folded in Place, 2007. Digital colour coupler print. 61 x 76.2 cm. (24 x 30 in). Signed, titled, dated and numbered 2/10 in ink on the reverse of the flush-mount. Provenance Acquired directly from the artist exhibited Pause, to Begin, Gallery Kunstler, Rochester, 2-30 January 2009 (another example exhibited) Estimate £ 5 0 0 -7 0 0 $ 8 5 0 -1, 2 0 0 € 6 0 0 - 8 0 0 ‡

71 REGINE PETERSEN b. 1976 Ladybug from The Hair, 2006. Colour coupler print. 69.5 x 54.9 cm. (27 3/8 x 21 5/8 in). Signed in pencil on the reverse of the flush-mount; signed in pencil, printed title, date and number 1/6 on a label affixed to the reverse of the frame. One from an edition of 6 plus 2 artist’s proofs. Provenance Acquired directly from the artist exhibited Gute Aussichten—New German Photography, including Forum für Fotografie, Cologne, 9 November 2006 – 14 January 2007, Stuttgart, VHS-Photogalerie, Stuttgart, 14 March – 29 April (each another example exhibited) Estimate £ 8 0 0 -1, 2 0 0 $ 1, 3 0 0 - 2 , 0 0 0 € 9 5 0 -1, 4 0 0 ♠ 54

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72 JEONGMEE YOON b. 1969 Seohyun and Her Pink Things from The Pink Project, 2007. Light jet print, flush-mounted. 142 x 142 cm. (55 7/8 x 55 7/8 in). Signed, titled, dated and numbered 3/5 in ink on the verso; signed, printed title, date and number 3/5 on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist exhibited ‘The 5th Daum Prize Solo Show’– The Pink and Blue Project, Kumho Museum, Seoul, South Korea, 14 - 24 June 2007 (another example exhibited) Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0 ‡ 74 ANOUSH ABRAR & AIMÉE HOVING b. 1976 and b. 1978 Pinceau á la bouche, 2006. Digital colour coupler print. 70 x 51.7 cm. (27 1/2 x 20 3/8). Signed in ink, printed title, date and number 2/7 on a label affixed to the reverse of the flush-mount. Accompanied by a signed Certificate of Authenticity. Provenance Acquired directly from the artists exhibited Photographic Portrait Prize 2006, National Portrait Gallery, London, 8 November 2006 – 18 February 2007 (another example exhibited) Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠‡

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73 CÉLINE CLANET b. 1977 Les rennes de Jon (Jon’s Herd) from Máze, 2005. Lambda print, printed 2009 and flush-mounted. 47.3 x 47.3 cm. (18 5/8 x 18 5/8 in). Signed and dated in ink, printed title, date and number 1/15 on an artist’s label affixed to the reverse of the frame. Provenance Acquired directly from the artist exhibited Fotohuset, Kristiansand, Norway, 27 August – 1 November 2009 (another example exhibited) Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0 ♠ 75 TIMOTHY BRINER b. 1981 Nathan, Boonville, North Carolina from Boonville, 2007. Gelatin silver print. 50.8 x 40.6 cm. (20 x 16 in). Signed, titled, dated and numbered 2/7 in pencil on a label affixed to the reverse of the flush-mount. Provenance Acquired directly from the artist/ Daniel Cooney Fine Art, New York Estimate £ 5 0 0 -7 0 0 $ 8 5 0 -1, 2 0 0 € 6 0 0 - 8 0 0 ‡

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76 EMMA WIESLANDER b. 1979 Ullswater from Black Mirror, 2006. Colour coupler print, facemounted to glass together with a walnut shelf. Diameter 30 cm. (11 13/16 in). Signed, titled, dated and numbered 1/5 in ink on the verso. Accompanied by a Certificate of Authenticity. One from an edition of 5 plus 2 artist’s proofs. Provenance Acquired directly from the artist Estimate £ 6 0 0 - 8 0 0 $ 1, 0 0 0 -1, 3 0 0 € 7 0 0 - 9 5 0 ♠

77 ALEJANDRO CARTAGENA b. 1977 Rio No.10 from Lost Rivers/Suburbia Mexicana, 2007. Archival inkjet print. 45 x 54.8 cm. (17 3/4 x 21 5/8 in). Signed, titled, dated and numbered 1/3 in ink on the reverse of the flush-mount. Provenance Acquired directly from the artist exhibited Pause, to Begin, Gallery Kunstler, Rochester, 2-30 January 2009 (another example exhibited) Estimate £ 7 0 0 - 9 0 0 $ 1, 2 0 0 -1, 5 0 0 € 8 0 0 -1, 0 0 0 ‡

78 AMY STEIN b. 1970 Nursery from Domesticated, 2007. Digital colour coupler print. 61 x 76.2 cm. (24 x 30 in). Signed, titled, dated and numbered 7/10 in ink on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist/ Pool Gallery, Berlin exhibited Beyond the Backyard, Museum of Contemporary Photography, Chicago, 1 July – 19 August 2008 (another example exhibited) Literature Photlucida, Amy Stein: Domesticated, 2008, n.p. Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0

79 MICHAEL BÜHLER-ROSE b. 1980 The Conversation, Alachua, FL. from Constructing the Exotic, 2006. Colour coupler print. 101.6 x 127 cm. (40 x 50 in). Signed, titled, dated and numbered 2/5 in ink and a copyright credit reproduction limitation stamp on a label affixed to the reverse of the flush-mount. One from an edition of 5 plus 2 artist’s proofs. Provenance Acquired directly from the artist/ Brancolini Grimaldi, Roma exhibited Contemporary Portrait, SK Stiftung Kultur/ Die Photographische Sammlung, Cologne, 18-22 April 2007 (another example exhibited) Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 56

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80 OFER WOLBERGER James Dean’s Last Stop, Lost Hills, CA from Life with Maggie, 2008. Colour coupler print, flushmounted. 101.6 x 127 cm. (40 x 50 in). Signed, dated and numbered 1/3 in ink on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist/ Michael Hoppen Gallery, London exhibited Masks, Dong-gang Museum of Photography, Gangwon-do, Korea, 24 July – 30 September 2009 (another example exhibited) Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

81 BORU O’BRIEN O’CONNELL b. 1979 Marks of the Genuine Man from Mavericks and Daydreamers, 2008. Digital colour coupler print, flush-mounted. 48.3 x 60.5 cm. (19 x 23 13/16 in). Accompanied by a signed Certificate of Authenticity. Number 2 from an edition of 4 plus 1 artist’s proof. Provenance LaMontagne Gallery, Boston exhibited Mavericks and Daydreamers, LaMontagne Gallery, 4 April – 2 May 2009 (another example exhibited) Estimate £ 6 0 0 - 8 0 0 $ 1, 0 0 0 -1, 3 0 0 € 7 0 0 - 9 5 0

82 YANN GROSS b. 1981 Avalanche 3 from Lavina, 2006. Lamda print, flush-mounted. 125 x 100 cm. (49 1/4 x 39 3/8 in). Signed in ink, printed title, date and number 2/9 on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist/ World’s End Contemporary Gallery, London exhibited Best of ECAL, Contemporary Art Space, Lausanne, 10 October – 21 December 2007 Literature NZZ Libro, Worlds of rock and ice: Alpine Photography in Switzerland—History and Present, 2009, p. 324 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

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PHOTOGRAPHS LOTS 1 - 82

1 JOAKIM ENEROTH

2 JOSEF SCHULZ

3 FRANCK CHRISTEN

4 DANIEL BLAUFUKS

5 DANIEL BLAUFUKS

6 EVE SUSSMAN

7 EVE SUSSMAN

8 EVE SUSSMAN

9 JOËL TETTAMANTI

10 LEONORA CHAN

11 STEPHEN WADDELL

12 TIM SIMMONS

13 DAN HOLDSWORTH

14 JESÚS JIMÉNEZ

15 BENOîT GRIMBERT

16 KK+TF: KLARA KÄLLSTRÖM AND THOBIAS FÄLDT

17 CHRIS COEKIN

18 CHRIS COEKIN

19 ROBERT BELLAMY

20 MICHAEL BODIAM

21 SIMON NORFOLK

22 SIMON NORFOLK

23 HELGA STEPPAN

24 HELGA STEPPAN

25 GEIR MOSEID

26 DAFNA TALMOR

27 ALE X HAAS

28 JOSÉ PEDRO CORTES

29 DAVID LACHAPELLE

30 DAVID LACHAPELLE

31 SANTE D’ORAZIO

32 EDGAR MARTINS

33 JOHANNA LAITANEN

34 ESTHER TEICHMANN

35 CHRISTINA KRUSE

36 GAO BROTHERS

37 WARREN DU PREEZ AND NICK THORNTON JONES

38 VERONIQUE ROLLAND

39 MICHAEL REISCH

40 CATHERINE YASS

41 GUIDO BASELGIA

42 MASSIMO VITALI

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PHOTOGRAPHS LOTS 1 - 82

43 NOEL MCLAUGHLIN

4 4 YVONNE DE ROSA

45 YVONNE DE ROSA

46 BETHANY MURRAY

47 JENNY NORDQUIST

48 CHRIS STEELE-PERKINS

49 HENRYK HETFLAISZ

50 STEVE SABELLA

51 BETHANY MURRAY

52 BETHANY MURRAY

53 THOMAS HAYWOOD

54 THOMAS HAYWOOD

55 STEPHEN GILL

56 BEATE GÜTSCHOW

57 JUSTINE KURLAND

58 EMILY ALLCHURCH

59 OSAMA ESID

60 CHRIS JORDAN

61 LOTTIE DAVIES

62 MAEVE BERRY

63 MAEVE BERRY

64 TIM DAVIS

65 LUCY LEVENE

66 ZIAD ANTAR

67 COREY ARNOLD

68 SIMON VAHALA

69 WILLIAM LAMSON

70 JOHN MANN

71 REGINE PETERSEN

72 JEONGMEE YOON

73 CÉLINE CLANET

74 ANOUSH ABRAR & AIMÉE HOVING

75 TIMOTHY BRINER

76 EMMA WIESLANDER

77 ALEJANDRO CARTAGENA

78 AMY STEIN

MICHAEL BÜHLER-ROSE

OFER WOLBERGER

BORU O’BRIEN O’CONNELL

YANN GROSS

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reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon. 10 rescission By PhilliPs de Pury & comPany Phillips de Pury & Company 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 de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. 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(c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated 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 de Pury & Company or any of our affiliated 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 de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company 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 de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

(iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that none of Phillips de Pury & Company, any of our affiliated 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.

(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer. 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 English law. (b) For the beneﬁt of Phillips de Pury & Company, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction 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. All parties agree that Phillips de Pury & Company shall retain the right to bring proceedings in any court other than the Courts of England. (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 English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips de Pury & Company.

authorshiP warranty Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; 157

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PhilliPs de Pury & comPany

senior Partners Michael McGinnis Dr. Michaela Neumeister

chairman Simon de Pury chief executive ofﬁcer Bernd Runge

advisory Board Maria Bell Janna Bullock Lisa Eisner Lapo Elkann Ben Elliot Lady Elena Foster H.I.H. Francesca von Habsburg Marc Jacobs Malcolm McLaren Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria vonThurn undTaxis Jean Michel Wilmotte Anita Zabludowicz

Partners Aileen Agopian Sean Cleary Alexander Payne Rodman Primack Olivier Vrankenne Tiffany Wood

worldwide offices NEW YORK 450 West 15 Street NewYork NY 10011 USA +1 212 940 1200 +1 212 924 5403 fax

PARIS 28, rue Michel Le Comte 75003 Paris France +33 1 42 78 67 77 +33 1 42 78 23 07 fax

BERLIN Auguststrasse 19 10117 Berlin Germany +49 30 880 018 42 +49 30 880 018 43 fax

LONDON Howick Place London SW1P 1BB United Kingdom +44 20 7318 4010 +44 20 7318 4011 fax

MUNICH Maximiliansplatz 12a 80333 Munich Germany +49 89 238 88 48 0 +49 89 238 88 48 15 fax

GENEVA 23, quai des Bergues 1201 Geneva Switzerland +41 22 906 80 00 +41 22 906 80 01 fax

sPecialist and serVice dePartments

modern and contemPorary editions NEW YORK Kelly Troester, Worldwide Co-Director +1 212 940 1221 Cary Leibowitz, Worldwide Co-Director +1 212 940 1222 Jannah Greenblatt +1 212 940 1332 Joy Deibert +1 212 940 1333

contemPorary art LONDON Anthony McNerney, Head of Evening Sale, London +44 20 7318 4067 Peter Sumner, Head of Day Sale, London +44 20 7318 4063 Laetitia Catoir +44 20 7318 4064 Silke Taprogge +44 20 7318 4012 Ivgenia Naiman +44 20 7318 4071 Fiona Biberstein +44 20 7318 4013 Siobhan O’Connor +44 20 7318 4093 Catherine Higgs +44 20 7318 4089 Raphael Lepine +44 20 7318 4078 Tanya Tikhnenko +44 20 7318 4065 Sarah Buchwald +44 20 7318 4085 Phillippa Willison +44 20 7318 4070 NEW YORK Michael McGinnis, Worldwide Director +1 212 940 1254 Aileen Agopian, New York Director +1 212 940 1255 Jean-Michel Placent +1 212 940 1263 Timothy Malyk +1 212 940 1258 Chin-Chin Yap +1 212 940 1250 Sarah Mudge, Head of Part II, New York +1 212 940 1259 Roxana Bruno +1 212 940 1229 Sara Davidson +1 212 940 1262 Maria Bueno +1 212 940 1261 Peter Flores +1 212 940 1223 (Uli) Zhiheng Huang +1 212 940 1288 Eugenia Ballvé +1 212 940 1303

Jewelry NEW YORK Nazgol Jahan, Worldwide Director +1 212 940 1283 Carmela Manoli +1 212 940 1302 Heather Zises +1 212 940 1290 GENEVA Carolin Bulgari +41 22 906 80 00 Veronica Lota +41 22 906 80 05 LONDON Lane McLean +44 20 7318 4032 theme sales Tiffany Wood, Worldwide Director +49 30 880 018 42 LONDON Tobias Sirtl, London Manager +44 20 7318 4095 Arianna Jacobs +44 20 7318 4054 George O’Dell +44 20 7318 4040 NEW YORK Corey Barr, New York Manager +1 212 940 1234 Anne Huntington +1 212 940 1210 Steve Agin, Consultant +1 908 475 1796

design LONDON Alexander Payne, Worldwide Director +44 20 7318 4052 Ben Williams +44 20 7318 4027 Domenico Raimondo +44 20 7318 4016 Ellen Stelter +44 20 7318 4021 Marcus McDonald +44 20 7318 4014 NEW YORK Alex Heminway, New York Director +1 212 940 1269 Marcus Tremonto +1 212 940 1268 Tara DeWitt +1 212 940 1265 Meaghan Roddy +1 212 940 1266 Stephanie Abraitis +1 212 940 1268

chairman london Rodman Primack +44 20 7318 4017 managing directors Finn Dombernowsky, London +44 20 7318 4034 Charlie Horne, New York +1 212 940 1292 PriVate sales Christina Scheublein +1 212 940 1248

international sPecialists and rePresentatiVes Berlin & munich Dr. Michaela Neumeister Brussels & Paris Olivier Vrankenne Paris Leonie Moschner Paris & london Tamara Corm london Ivgenia Naiman Brooke de Ocampo los angeles Mimi Won Techentin Maya McLaughlin milan Laura Garbarino Eugenia Bertelè moscow Svetlana Marich shanghai/Beijing Jeremy Wingﬁeld

PhotograPhs LONDON Louise Proud +44 20 7318 4018 Sebastien Montabonel +44 20 7318 4025 Alexandra Bibby +44 20 7318 4087 Helen Hayman +44 20 7318 4092 NEW YORK Vanessa Kramer, New York Director +1 212 940 1243 Caroline Shea +1 212 940 1247 Sarah Krueger +1 212 940 1245

+49 89 238 88 48 10 +32 486 43 43 44 +33 6 85 53 92 03 +33 6 75 07 04 71 +44 20 7318 4071 +44 777 551 7060 +1 310 600 9192 +1 323 791 1771 +39 339 478 9671 +39 02 3669 5895 +7 495 225 88 22 +86 135 0118 2804

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sale information auction Saturday 26 September 2009 at 2pm Viewing Saturday 19 September, 10am - 6pm Sunday 20 September, 12pm - 6pm Monday 21 September, 10am -6pm Tuesday 22 September, 10am - 6pm Wednesday 23 September, 10am - 6pm Thursday 24 September, 10am - 6pm Friday 25 September, 10am - 6pm Viewing & auction location Howick Place London SW1P 1BB sale designation In sending written bids or making inquiries please refer to this sale as UK000209 or NOW. theme sales Tiffany Wood, Worldwide Director +49 30 880 018 42 london Tobias Sirtl, Manager +44 20 7318 4095 Arianna Jacobs, Cataloguer +44 20 7318 4054 George O’Dell, Administrator +44 20 7318 4040 new york Corey Barr, Manager +1 212 940 1234 Anne Huntington, Cataloguer +1 212 940 1210 consultant Steve Agin, Toy Art +1 908 475 1796 sPecialists contemporary art Peter Sumner +44 20 7318 4063 design Ellen Stelter +44 20 7318 4021 Photographs Louise Proud +44 20 7318 4018 Sebastian Montebonel +44 20 7318 4025 catalogues Allyson Melchor +44 20 7318 4039 +1 212 940 1240 catalogues@phillipsdepury.com aBsentee and telePhone Bids Anna Ho +44 20 7318 4045 +44 20 7318 4035 fax bids@phillipsdepury.com Buyers accounts Carolyn Whitehead +44 20 7318 4020 seller accounts Elliot Depree +44 20 7318 4072 client serVices Lauren Holowesko +44 20 7318 4010 shiPPing Kate Spalding +44 20 7318 4081 Andrew Ballaro +44 20 7318 4082 Clare Simpson +44 20 7318 4026 ProPerty manager Sam Martin +44 20 7318 4010 PrinciPal auctioneer Simon de Pury 0874341 auctioneers AileenAgopian 1199037 Sarah Mudge 1301805 Alexander Gilkes 1308958 Ellen Stelter UK Rodman Primack UK

now editor Karen Wright PhotograPhy Byron Slater and Peter Hepplewhite

e-mail addresses All Phillips de Pury & Company e-mails are ﬁrst initial and last name @phillipsdepury.com (e.g. twood@phillipsdepury.com) www.phillipsdepury.com Please note that all lots are offered and sold subject to (i) the StandardTerms and Conditions, and (ii) Special Terms and Conditions applicable to this sale as described within this sale catalogue. The Standard Terms and Conditions and Special Terms and Conditions should be fully read and understood prior to bidding at the auction. All lots are sold “AS-IS.” All lots are offered subject to a reserve unless otherwise indicated.

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