New York, 27 February 2019
39.00.Andy Warhol artist
Executives.
Ed Dolman
Cheyenne Westphal
Chief Executive Ofcer +1 212 940 1241 edolman@phillips.com
Chairman +44 20 7318 4044 cwestphal@phillips.com
Š Brigitte Lacombe
20th Century & Contemporary Art.
Jean-Paul Engelen
Robert Manley
Worldwide Co-Head of 20th Century & Contemporary Art, Deputy Chairman +1 212 940 1390 jpengelen@phillips.com
Worldwide Co-Head of 20th Century & Contemporary Art, Deputy Chairman +1 212 940 1358 rmanley@phillips.com
Senior Advisors.
Hugues Jofre
Arnold Lehman
Ken Yeh
Senior Advisor to the CEO +44 207 901 7923 hjofre@phillips.com
Senior Advisor to the CEO +1 212 940 1385 alehman@phillips.com
Senior International Specialist +1 212 940 1257 kyeh@phillips.com
Deputy Chairmen.
Svetlana Marich
Jonathan Crockett
Peter Sumner
Miety Heiden
Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com
Deputy Chairman, Asia, Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com
Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art +44 20 7318 4063 psumner@phillips.com
Deputy Chairman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com
Alexander Payne
Vanessa Hallett
Vivian Pfeifer
Marianne Hoet
Deputy Chairman, Europe, Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com
Deputy Chairman, Americas, Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com
Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com
Deputy Chairman, Europe Senior Specialist, 20th Century & Contemporary Art +32 3257 3026 mhoet@phillips.com
New York.
Scott Nussbaum
Rachel Adler Rosan
Kevie Yang
Amanda Lo Iacono
John McCord
Rebekah Bowling
Sam Mansour
Head of Department +1 212 940 1354 snussbaum@phillips.com
Senior Specialist +1 212 940 1333 radlerrosan@phillips.com
Senior Specialist +1 212 940 1254 kyang@phillips.com
Head of Evening Sale +1 212 940 1278 aloiacono@phillips.com
Head of Day Sale, Morning +1 212 940 1261 jmccord@phillips.com
Head of Day Sale, Afernoon +1 212 940 1250 rbowling@phillips.com
Head of New Now Sale +1 212 940 1219 smansour@phillips.com
Katherine Lukacher
Jeannette van Campenhout
Patrizia Koenig
Annie Dolan
Carolyn Mayer
Maiya Aiba
Avery Semjen
Associate Specialist +1 212 940 1279 pkoenig@phillips.com
Cataloguer +1 212 940 1288 adolan@phillips.com
Cataloguer +1 212 940 1206 cmayer@phillips.com
Cataloguer +1 212 940 1387 maiba@phillips.com
Cataloguer +1 212 940 1207 asemjen@phillips.com
Head of Online Sales +1 212 940 1215 klukacher@phillips.com
Specialist +1 212 940 1391 jvancampenhout@phillips.com
London.
Dina Amin Senior International Specialist +44 20 7318 4025 damin@phillips.com
Nathalie Zaquin-Boulakia International Specialist +44 20 7901 7931 nzaquin-boulakia@ phillips.com
Matt Langton
Henry Highley
Rosanna WidĂŠn
Tamila Kerimova
Kate Bryan
Senior Specialist +44 20 7318 4074 mlangton@phillips.com
Senior Specialist +44 20 7318 4061 hhighley@phillips.com
Senior Specialist +44 20 7318 4060 rwiden@phillips.com
Head of Day Sale +44 20 7318 4065 tkerimova@phillips.com
Head of Evening Sale, October +44 20 7318 4050 kbryan@phillips.com
Simon Tovey
Lisa Stevenson
Charlotte Gibbs
Louise Simpson
Clara Krzentowski
Head of New Now Sale +44 20 7318 4084 stovey@phillips.com
Cataloguer +44 20 7318 4093 lstevenson@phillips.com
Cataloguer +44 20 7901 7993 cgibbs@phillips.com
Cataloguer +44 20 7901 7911 lsimpson@phillips.com
Researcher/Writer +44 20 7318 4064 ckrzentowski@phillips.com
Isaure de Viel Castel
Sandy Ma
Charlotte Raybaud
Danielle So
Delissa Handoko
Head of Department, Asia +852 2318 2025 isauredevielcastel @phillips.com
Head of Evening Sale +852 2318 2025 sma@phillips.com
Head of Day Sale +852 2318 2026 craybaud@phillips.com
Cataloguer +852 2318 2027 dso@phillips.com
Cataloguer +852 2318 2000 dhandoko@phillips.com
Hong Kong.
Business Development. Americas.
Europe.
Vivian Pfeifer
Guy Vesey
Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com
Head of Business Development & Marketing, Europe +44 20 7901 7934 gvesey@phillips.com
Client Advisory. New York. Philae Knight
Jennifer Jones
Liz Grimm
Client Advisory Director +1 212 940 1313 pknight@phillips.com
Director of Trusts, Estates & Valuations +1 212 940 1272 jjones@phillips.com
Business Development Associate +1 212 940 1342 egrimm@phillips.com
Yassaman Ali
Vera Antoshenkova
Client Advisory Director +44 20 7318 4056 yali@phillips.com
Client Advisory Manager +44 20 7901 7992 vantoshenkova@ phillips.com
Giulia Campaner Mendes
Europe.
Asia. Jasmine Yan
Iori Endo
Client Advisory Director +852 2318 2015 jasmineyan@phillips.com
Client Advisory Manager +44 20 7318 4039 iendo@phillips.com
Associate Client Advisory Manager +44 20 7318 4058 gcampaner@phillips.com
Margherita Solaini Business Development Associate +39 02 83642 453 msolaini@phillips.com
International Specialists & Regional Directors. Americas. Cândida SodrÊ
Carol Ehlers
Lauren Peterson
Melyora de Koning
Blake Koh
Valentina Garcia
Regional Director, Consultant, Brazil +55 21 999 817 442 csodre@phillips.com
Regional Director, Specialist, Photographs, Chicago +1 773 230 9192 cehlers@phillips.com
Regional Representative, Chicago +1 310 922 2841 lauren.peterson @phillips.com
Senior Specialist, 20th Century & Contemporary Art, Denver +1 917 657 7193 mdekoning@phillips.com
Regional Director, Los Angeles +1 323 383 3266 bkoh@phillips.com
Specialist, Miami +1 917 583 4983 vgarcia@phillips.com
Cecilia Lafan
Maura Smith
Silvia Coxe Waltner
Regional Director, Consultant, Mexico +52 1 55 5413 9468 crayclafan@phillips.com
Regional Director, Palm Beach +1 508 642 2579 maurasmith@phillips.com
Regional Director, Seattle +1 206 604 6695 scwaltner@phillips.com
Laurence Calmels
Clara Rivollet
Maria Cifuentes
Laurence Barret-Cavy
International Specialist, 20th Century & Contemporary Art, Paris +33 642 09 97 39 crivollet@phillips.com
Specialist, 20th Century & Contemporary Art, France +33 142 78 67 77 mcifuentes@phillips.com
Specialist, 20th Century & Contemporary Art, Paris +33 633 12 32 04 lbarretcavy@phillips.com
Dr. Nathalie Monbaron
Dr. Alice Trier
Regional Director, France +33 686 408 515 lcalmels@phillips.com
Carolina Lanfranchi
Maura Marvao
Kalista Fenina
Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy +39 338 924 1720 clanfranchi@phillips.com
International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain +351 917 564 427 mmarvao@phillips.com
Specialist, 20th Century & Contemporary Art, Moscow +7 905 741 15 15 kfenina@phillips.com
Kyoko Hattori
Jane Yoon
Sujeong Shin
Regional Director, Japan +81 90 2245 6678 khattori@phillips.com
International Specialist, 20th Century & Contemporary Art, Regional Director, Korea +82 10 7389 7714 jyy@phillips.com
Associate Regional Representative, Korea +82 10 7305 0797 sshin@phillips.com
Meiling Lee
Christine Fernando
Europe. Regional Director, Geneva +41 22 317 81 83 nmonbaron@phillips.com
Specialist, 20th Century & Contemporary Art, Germany +49 173 25 111 69 atrier@phillips.com
Wenjia Zhang
Alicia Zhang
Cindy Yen
Regional Director, Shanghai +86 13911651725 wenjiazhang@phillips.com
Associate Regional Representative, Shanghai +86 139 1828 6589 aliciazhang@phillips.com
Senior Specialist, Watches & Jewellery, Taiwan +886 2 2758 5505 cyen@phillips.com
Asia.
International Specialist, Taiwan +886 908 876 669 mlee@phillips.com
Associate Regional Representative, Singapore +65 9128 6277 christinefernando @phillips.com
36. Kehinde Wiley
New Now New York, 27 February 2019 Auction & Viewing Location 450 Park Avenue New York 10022
20th Century & Contemporary Art Department
Auction Wednesday, 27 February 2019, 11am
Head of Sale Sam Mansour +1 212 940 1219 smansour@phillips.com
Viewing 19 – 26 February Tuesday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010119 or New Now. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com
Cataloguer Avery Semjen +1 212 940 1207 asemjen@phillips.com Administrator Flavia Grilli +1 212 940 1227 fgrilli@phillips.com
1. Awol Erizku
b. 1988
Tell Me The Price acrylic and spray paint on panel 42 1/2 x 38 in. (108 x 96.5 cm.) Executed in 2017. Estimate $12,000-18,000 Provenance Night Gallery, Los Angeles Acquired from the above by the present owner
2. Katherine Bernhardt
b. 1975
Cigarette (brown) signed and dated “Katherine Bernhardt 2014” on the reverse acrylic and spray paint on canvas 12 x 36 in. (30.5 x 91.4 cm.) Executed in 2014. Estimate $7,000-10,000 Provenance China Art Objects, Los Angeles Acquired from the above by the present owner in 2014
3. Louisa Gagliardi
b. 1989
8:30 p.m. ink and nail polish on PVC vinyl 65 x 45 1/4 in. (165.1 x 114.9 cm.) Executed in 2016.
Provenance Tomorrow Gallery, New York Acquired from the above by the present owner
Estimate $5,000-7,000
Exhibited New York, Tomorrow Gallery, Louisa Gagliardi: La Belle Heure, February 19 March 20, 2016
4. Alex Da Corte
b. 1981
Elephant Bends enamel, wooden craf sticks, Mitchell Kehe’s Untitled from ZOOKEEPER, American Apparel leggings, duct tape, plastic sheeting, adhesive mirror foil, vinyl, spray adhesive, spray paint, foam and Plexiglas, in artist’s frame 56 x 56 in. (142.2 x 142.2 cm.) Executed in 2013. Estimate $15,000-20,000 Provenance Joe Shefel Gallery, New York Acquired from the above by the present owner
“I’ve always preferred to have the core of the work be focused on [...] things like ‘beauty,’ things that are somehow so inherent to the entire human race, yet remain a very slippery thing to defne.” Petra Cortright
5. Petra Cortright
b. 1986
its youth “fat-free vegan digital painting on aluminum 48 x 91 1/2 in. (121.9 x 232.4 cm.) Executed in 2014. Estimate $25,000-35,000 Provenance Private Collection Acquired from the above by the present owner
6. Petra Cortright
b. 1986
24_Hour_Lightning Dolls digital painting on raw Belgian linen 47 3/4 x 93 1/4 in. (121.3 x 236.9 cm.) Executed in 2015. Estimate $20,000-30,000 Provenance Acquired directly from the artist by the present ownerr
7. David Ostrowski
b. 1981
F (dann lieber nein) signed and dated “David Ostrowski 13” on the overlap acrylic, lacquer and paper on canvas, in artist’s frame 94 7/8 x 75 1/4 in. (241 x 191.1 cm.) Executed in 2013. Estimate $15,000-20,000
Provenance Peres Projects, Berlin Simon Lee, London Acquired from the above by the present owner Exhibited London, Simon Lee, David Ostrowski: Yes or Let’s Say No, November 28, 2013 - January 31, 2014
8. Tomoo Gokita
b. 1969
Mexican Actress signed with the artist’s initials, titled and dated “TG 04 “MEXICAN ACTRESS”” on the reverse charcoal on paper 26 5/8 x 21 1/2 in. (67.6 x 54.6 cm.) Executed in 2004. Estimate $10,000-15,000
Provenance ATM Gallery, New York Acquired from the above by the present owner Exhibited New York, ATM Gallery, Remarkable Hands, July 15 August 26, 2005
9. Tomoo Gokita
b. 1969
Prince signed with the artist’s initials, titled and dated “TG 04 “PRINCE”” on the reverse ink on paper 20 1/4 x 20 1/8 in. (51.4 x 51.1 cm.) Executed in 2004. Estimate $5,000-7,000 Provenance ATM Gallery, New York Acquired from the above by the present owner Exhibited New York, ATM Gallery, Remarkable Hands, July 15 - August 26, 2005
10. Eddie Martinez
b. 1977
Untitled (Matador Series) signed and dated “MARTINEZ - 13” on the reverse oil, spray paint and enamel on panel 24 x 30 in. (61 x 76.2 cm.) Executed in 2013.
Estimate $12,000-18,000 Provenance Acquired directly from the artist by the present owner
11. Caitlin Keogh
b. 1982
Big Names signed, titled and dated “BIG NAMES Caitlin Keogh 2013” on the reverse acrylic and graphite on panel 17 x 12 in. (43.2 x 30.5 cm.) Executed in 2013. Estimate $3,000-5,000 Provenance Leslie Fritz Gallery, New York Acquired from the above by the present owner Exhibited New York, Leslie Fritz Gallery, Caitlin Keogh: Modes, February 24 March 30, 2013
12. Garth Weiser
b. 1979
Drawing #26 signed, titled and dated “Garth Weiser 2011 Drawing #26” on the reverse copper leaf, acrylic and dimensional fabric paint on paper 30 1/4 x 22 in. (76.8 x 55.9 cm.) Executed in 2011. Estimate $5,000-7,000 Provenance Casey Kaplan, New York Acquired from the above by the present owner
13. Matt Connors
b. 1973
King Diamond signed, titled, inscribed and dated “Matt Connors Bukaake / King Diamond 2005” on the reverse acrylic on canvas 30 x 30 in. (76.2 x 76.2 cm.) Painted in 2005. Estimate $7,000-10,000 Provenance Kavi Gupta Gallery, Chicago Acquired from the above by the present owner in 2005
14. Andrew Dadson
b. 1980
Make up signed with the artist’s initials and dated “ADD 2013” on the reverse oil on canvas 75 1/2 x 96 in. (191.8 x 243.8 cm.) Painted in 2013. Estimate $12,000-18,000
Provenance Galleria Franco Noero, Turin Acquired from the above by the present owner Exhibited Turin, Galleria Franco Noero, Andrew Dadson: Suburban Suprematism, September 19 - October 26, 2013
15. Olivier Mosset
b. 1944
Untitled signed and dated “Mosset 2000” on the overlap polyurethane and acrylic on canvas 94 1/2 x 48 1/2 in. (240 x 123.2 cm.) Executed in 2000. Estimate $25,000-35,000
Provenance Galerie Andrea Caratsch, Zurich Leo Koenig Inc., New York Acquired from the above by the present owner
16. Ryan Sullivan
b. 1983
Untitled oil, latex, enamel, synthetic polymer paint, and lacquer on canvas 96 x 84 in. (243.8 x 213.4 cm.) Executed in 2014. Estimate $15,000-20,000
Provenance Maccarone, New York Acquired from the above by the present owner in 2015
17. Christian Rosa
b. 1982
Untitled oil and oilstick on canvas 71 x 79 in. (180.3 x 200.7 cm.) Painted in 2018. Estimate $15,000-20,000 Provenance Acquired directly from the artist by the present owner
18. Oscar Murillo
b. 1986
Contemporary Takeaway #2 dirt, oil, cement dye and oilstick on canvas 78 1/2 x 65 1/2 in. (199.4 x 166.4 cm.) Executed in 2012. Estimate $75,000-100,000 Provenance Acquired directly from the artist by the present owner
Produced in 2012, on the verge of his breakthrough to
the very edge of the canvas, pointing outside of its
becoming one of the decade’s most celebrated artists,
surface to the broader feld of artistic practice for
Contemporary Takeaway #2 energetically displays
which the canvas serves as index.
each of the elements that characterize Oscar Murillo as the art world’s favorite enfant terrible.
Covered in dirt and other debris from the studio, the upper section of the work boldly fulflls
The fractured surface of the work is a microcosm of
Murillo’s goal of using canvas to register the
Murillo’s artistic process. In a small rectangular section
space it inhabits. The presence of footprints in
to the lower lef, his signature frenetic scribbles are
red paint foreshadow the artist’s groundbreaking
severed from a larger piece of canvas. The abrupt
installations, where canvases would be displayed
disruption of the fuid lines enhances their expansive
on the foor. Blurring material hierarchies is
potential by allowing the viewer to mentally establish
Murillo’s irreverent response to the hefy tradition
their continuation. The black monochrome in the lower
of painting in art history. The use of the self-aware
right, created with cement dye, expresses a perennial
“Contemporary” in the work’s title also hints at
concern with human labor through the incorporation
its relation to art history. While the laying of the
of construction materials. Immersed in the shattered
canvas on the foor and the fuid strokes evoke
abstract composition, the green arrow oscillates
abstract expressionism, his use of abstraction is in
between symbol and pure geometry, adding to the
fact closer to post-minimalism, where pure form
work’s dynamic energy and serving as its driving force.
gives way to a process that embodies personal and
The most discernible shape in the work, it stretches to
social concerns.
19. Carol Bove
b. 1971
Sand Dollar Sculpture sand dollar and brass 12 5/8 x 3 x 3 in. (32.1 x 7.6 x 7.6 cm.) Executed in 2008, this work is unique. Estimate $8,000-12,000 Provenance Galerie Dennis Kimmerich, Dusseldorf Private Collection, Germany (acquired from the above in 2008) Kimmerich Gallery, New York Acquired from the above by the present owner in 2012 Exhibited Dusseldorf, Galerie Dennis Kimmerich, Carol Bove: Bronze Peanut, September 19 October 31, 2008
20. The Haas Brothers
b. 1984
Two works: (i) Accretion vase; (ii) Father Accretion vase each stamped with the artists’ name and date “THE HAAS BROTHERS 2014” on the underside glazed porcelain (i) 5 x 4 1/2 in. (12.7 x 11.4 cm.) (ii) 10 1/4 x 13 in. (26 x 33 cm.) Executed in 2014, these works are unique. Estimate $10,000-15,000
Provenance R & Company, New York Acquired from the above by the present owner Exhibited New York, R & Company, The Haas Brothers: Cool World, November 4, 2014 January 10, 2015
21. Nicolas Party
b. 1980
Blakam’s stone (watermelon) signed, inscribed and dated “Nicolas Party 2013 Bonn” on the underside acrylic on stone 11 1/2 x 11 7/8 x 5 in. (29.2 x 30.2 x 12.7 cm.) Executed in 2013. Estimate $8,000-12,000 Provenance Bonner Kunstverein, Bonn Acquired from the above by the present owner
Exhibited Bonn, Bonner Kunstverein, Ihre Geschichte(n): Monika Baer & Monika Baer, Rita McBride & Marlene Dumas, Melissa Gordon, Petra Maitz, Anne Pöhlmann, Spartacus Chetwynd & Katharina Sieverding, Christian Falsnaes & Marianne Wex, Diango Hernandez & Friederike Tebbe, Nicolas Party & Miriam Cahn, Suse Weber & Charlotte Salomon, May 25 - August 25, 2013
22. Ken Price
1935-2012
Interior with Sculpture signed and dated “PRICE ‘90” lower right acrylic and ink on paper 18 x 24 in. (45.7 x 61 cm.) Executed in 1990. Estimate $25,000-35,000 Provenance Matthew Marks Gallery, Los Angeles Acquired from the above by the present owner
Exhibited Los Angeles, Matthew Marks Gallery, Ken Price Drawings, July 9 - September 17, 2016, p. 30 (illustrated) Literature Catherine Wagley, “5 Free Art Shows to See in L.A. This Week”, LA Weekly, September 7, 2016 (illustrated, online)
23. Angel Otero
b. 1981
Frozen Patios signed, titled and dated ““Frozen Patios” Angel Otero 2014” on the reverse oil and oil paint skins on canvas 84 1/2 x 60 1/2 in. (214.6 x 153.7 cm.) Executed in 2014. Estimate $15,000-20,000
Provenance Lehmann Maupin and Susanne Vielmetter Los Angeles Projects Acquired from the above by the present owner Exhibited Susanne Vielmetter Los Angeles Projects, Angel Otero: Anachronic, November 1 December 20, 2014
24. Sterling Ruby
“I hope it is always true that each piece has a life of its own. I want the work to be schizophrenic, to defy and contradict how it is read, to shift in meaning, both inside and outside of the studio.” Sterling Ruby
b. 1972
Gator incised with the artist’s initials “SR” on the underside glazed ceramic 17 x 17 3/8 x 19 5/8 in. (43.2 x 44.1 x 49.8 cm.) Executed in 2010. Estimate $25,000-35,000 Provenance Pace Gallery, New York Acquired from the above by the present owner
25. Sterling Ruby
b. 1972
VAMPIRE 24 fabric and fber fll 86 x 27 x 6 in. (218.4 x 68.6 x 15.2 cm.) Executed in 2011. Estimate $18,000-25,000 Provenance Pace Gallery, New York Acquired from the above by the present owner
26. Sterling Ruby
b. 1972
Monument Stalagmite/Pink Plague PVC pipe, foam, urethane, wood, spray paint and Formica 219 x 38 x 61 in. (556.3 x 96.5 x 154.9 cm.) Executed in 2010. Estimate $60,000-80,000 Provenance Acquired directly from the artist by the present owner
Photograph by Robert Wedemeyer, courtesy of Sterling Ruby Studio
27. Rob Pruitt
b. 1964
Midnight Snack (Panda) acrylic, enamel and glitter on canvas, in 9 parts 41 1/4 x 33 in. (104.8 x 83.8 cm.) Executed in 2016. Estimate $30,000-40,000
Provenance Massimo De Carlo, Hong Kong Acquired from the above by the present owner Exhibited Hong Kong, Massimo De Carlo, Rob Pruitt: Hong Kong Panda, September 8 October 31, 2016
28. Peter Halley
b. 1953
Three Prisons signed and dated “Peter Halley Peter Halley 2009” on the reverse acrylic, DayGlo acrylic and Roll-A-Tex on canvas, in 3 parts 60 1/4 x 60 1/4 in. (153 x 153 cm.) Executed in 2009. Estimate $60,000-80,000
Provenance Baldwin Gallery, Aspen Acquired from the above by the present owner Exhibited Aspen, Baldwin Gallery, Peter Halley: New Paintings, June 26 - July 26, 2009
“You open [Photoshop] up and there’s this paint bucket. If you click and hold it you get the gradient tool. Then you click up here and get to pick these diferent options. You drag it and it goes like this!” Cory Arcangel
29. Cory Arcangel
b. 1978
Photoshop CS: 84 by 50 inches, 300 DPI, RGB, square pixels, default gradient “Spectrum”, mousedown y=2000 x=1000, mouseup y=2000 x=14000; tool “Wand”, select y=14000 x=8720, tolerance=40, contiguous= of; default gradient “Spectrum”, mousedown y=24000 x=1 chromogenic print, in artist’s frame 84 x 50 in. (213.4 x 127 cm.) Executed in 2014. Estimate $100,000-150,000
Co-mingling the current generation’s obsession with technology and creation, Cory Arcangel’s Photoshop CS brings computer programming and video games to the forefront of contemporary art. Executed in 2014, the present lot is part of the series Photoshop Gradient Demonstrations, which defned Arcangel as a ground-breaking artist intent on dissecting and commenting on contemporary visual pop culture. In these works, the artist utilizes modern technology to manipulate a digitized abstraction from a computer generated color gradient in Photoshop. As technology constantly advances to ft people’s individual needs, Arcangel categorizes his
Provenance Team Gallery, New York Acquired from the above by the present owner
unique works as both paintings and sculptures, challenging the idea of traditional art mediums and imagery. Operating within the lineage of appropriation, the artist uses found imagery from the media and illuminates these ordinary aspects of daily life as an expression of society. As such, Photoshop CS represents the artistic process of designing graphics to address media production integral to today’s society. Printed boldly on photographic paper, the colors move energetically as they fade from blue to pink to green across the large-scale print and envelope its viewers into a digital sphere.
30. Gary Simmons
b. 1964
Saturday Night Live signed and dated “Gary Simmons 2015” on the reverse mixed media on panel 48 x 48 in. (121.9 x 121.9 cm.) Executed in 2015. Estimate $8,000-12,000 Provenance Simon Lee, London Acquired from the above by the present owner
31. Richard Prince
b. 1949
Untitled (Joke) signed and dated “Richard Prince ’86” on the reverse ink on paper 7 1/2 x 11 1/2 in. (19.1 x 29.2 cm.) Executed in 1986. Estimate $8,000-12,000 Provenance Harper’s Books, East Hampton Acquired from the above by the present owner
32. Jack Pierson
b. 1960
Bobby signed, titled and dated “JACK PIERSON BOBBY, 2006” on the reverse of part (i) in 5 parts: (i) wood (ii)-(v) painted wood installed 27 x 46 1/2 x 2 3/4 in. (68.6 x 118 x 7 cm.) Executed in 2006. Estimate $30,000-40,000 Provenance Cheim and Read, New York Private Collection Acquired from the above by the present owner
33. Allora & Calzadilla
b. 1974/1971
Intermission (Halloween Iraq): Portrait III woodcut print on muslin overlaid on canvas 72 1/4 x 96 1/4 in. (183.5 x 244.5 cm.) Executed in 2010, this work is number 3 from an edition of 3 plus 1 artist’s proof. Estimate $30,000-40,000 Provenance Gladstone Gallery, New York Private Collection Acquired from the above by the present owner
34. Michael Krebber
b. 1954
Untitled (42) signed with the artist’s initials and dated “MK 07” on the reverse acrylic and lacquer on canvas 41 3/4 x 29 1/2 in. (106 x 74.9 cm.) Executed in 2007. Estimate $40,000-60,000
Provenance Galerie Chantal Crousel, Paris Acquired from the above by the present owner Exhibited Paris, Galerie Chantal Crousel, Michael Krebber: Je suis la chaise, October 27 December 8, 2007
“I have a restlessness with the way a photograph captures time. The static quality of the ‘frozen’ image or ‘decisive moment’ is not enough. I would like to smash a photograph, open it and see what’s inside.” Doug Aitken
35. Doug Aitken
b. 1968
the handle comes up, the hammer comes down LED lit lightbox 36 3/4 x 132 1/8 x 7 3/4 in. (93.3 x 335.6 x 19.7 cm.) Executed in 2009, this work is from an edition of 4. Estimate $75,000-100,000
Doug Aitken explores the complex themes of time and space in his work the handle comes up, the hammer comes down. Created in 2009, this work was included in the artist’s debut exhibition on the West Coast at Regen Projects, which showcased a body of work that contemplated the haunting truths of migration and industrialization. With a conceptual focus on the present, combined with a futuristic aesthetic, the exhibition consisted of imposing wall
Provenance Regen Projects, Los Angeles Private Collection, Los Angeles Acquired from the above by the present owner
installations, such as the present lot, that create
Exhibited Los Angeles, Regen Projects, Doug Aitken, September 11 - October 16, 2009 (another example exhibited)
viewers, drawing their attention. Once engaged
a narrative encouraging viewers to experience their own individual story. Initially, the LED-lit word “FATE” speaks loudly and directly to its with the work, one will focus more intimately on the displayed landscape of a sunset over a lifeless parking lot. In his work, Aitken utilizes fragments of information drawing from disparate experiences that he then pieces together to create a unique perspective. The present work allows the viewer to peer into the depicted landscape only through a narrow viewing space. Unable to see the landscape in totality, the viewer flls in the blanks according to their own life experiences and their interpretations of the present moment. In the handle comes up, the hammer comes down, Aitken comments on the endless opportunities and limitations of the cinematic gaze as the audience forms a relationship with his multidimensional content.
36. Kehinde Wiley
b. 1977
By positing his subjects into a feld of power, he engages, questions, and undermines the
Untitled (The World Stage: Brazil) signed and dated “Kehinde Wiley 2012” on the reverse oil on canvas, in artist’s frame 107 x 83 in. (271.8 x 210.8 cm.) Painted in 2012.
vernacular modes of representation that dictate
Estimate $120,000-180,000
realistic style set against and contrasted with
the signifcation of heroic masculinity. A trademark of Wiley’s singular practice, the present lot captures two subjects, wearing contemporary urban attire, rendered in a photoa decorative foral background. By extracting these poses and de-contextualizing them from
Provenance Acquired directly from the artist by the present owner
their sources, Wiley prompts his audience to consider the portrayal of power and stereotypes of black masculinity as part of a socially constructed lexicon of visual codes. Collapsing
Celebrated for his masterful reinterpretations
history and style, the present lot conjures both
of conventional European portraiture, Kehinde
a tension between the fgures who seem out
Wiley made history in 2018 as the frst African
of place against their backdrop, while also
American artist to paint the ofcial presidential
manifesting a sense of harmony that connects
portrait of Barack Obama for the Smithsonian
the overall composition.
National Portrait Gallery in Washington, D.C. Wiley’s subjects typically derive, however,
The present lot exemplifes Wiley’s unmatched
from “street casting” people he encounters
compositional instinct and ability to deliver
in Harlem. Culling from a wide range of art
layers of visual and conceptual gravity that
historical sources, Wiley captures these young
simultaneously coalesce and collide. Whether
African American men assuming poses that
caught on the perplexing ambiguity or seduced
connote the canonical works of Holbein, Titian,
by the radiating fuency of these paintings,
Velázquez, David, and Ingres. Wiley inserts
Wiley’s audience remains fascinated. Proving
these brilliantly rendered compositions within
his unwavering ability to present his audience
a lineage of traditional portraiture while also
with perplexing ambiguities and challenging
drawing attention to the absence of African
questions, this work asserts Wiley’s canonical
Americans from cultural and historical narratives.
presence within the lineage of portraiture.
37. Kehinde Wiley
b. 1977
Portrait of Garrett Gray oil on panel, in artist’s frame 46 1/2 x 37 in. (118.1 x 94 cm.) Painted in 2017, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $40,000-60,000 Provenance Stephen Friedman Gallery, London Acquired from the above by the present owner
38. Tom Wesselmann
1931-2004
Nude Painting Print signed, numbered and dated “38/50 Wesselmann 80” lower right oil on canvas 24 x 25 1/2 in. (61 x 64.8 cm.) Painted in 1980, this work is number 38 from a series of 50 identical paintings of which only 41 were executed. Estimate $30,000-50,000
Provenance The Estate of the Tom Wesselmann Private Collection, Munich NY Projects, New York Acquired from the above by the present owner
39. Andy Warhol
1928-1987
Rollover Mouse from the series Toy Paintings signed and dated “Andy Warhol 83” on the overlap synthetic polymer and silkscreen ink on canvas 8 x 10 in. (20.3 x 25.4 cm.) Executed in 1983. Estimate $100,000-150,000 Provenance Bruno Bischoferger Gallery, Zurich and Fabian Carlsson Gallery, London Private Collection, Gothenburg Acquired from the above by the present owner
Andy Warhol’s Rollover Mouse from the series
the viewers’ attention. Additionally, the cropped
Toy Paintings is an outstanding example of the
and diagonal orientation of the print manifests an
artist’s preoccupation with commercialism and
energy and dynamism that defnes Warhol’s Pop-
animation. Created in 1983, this painting is part
Art style and brings the mouse to life.
of the artist’s later body of work that witnessed a resurgence of his energetic and colorful canvases.
The standout Zurich gallerist and friend of Warhol, Bruno Bischoferger, who hosted one of the most
Serving as a more child-oriented expression
signifcant Pop-Art shows in Europe in 1965, later
of Warhol’s acclaimed advertising motifs of
requested a series of work conducive for children
Brillo and Mott’s boxes from the 1960s, his Toy
and bought the resulting 100-work compilation
Paintings series embodies the same consumerist
with London gallerist Fabian Carlsson. These
spirit. His ecstatically painted silkscreen canvases
works were then displayed in Bischoferger’s
consist of popular children’s toys that are now
gallery, hung at children’s eye level in an
collector’s items. Rollover Mouse was modeled
installation that resembled a shiny and whimsical
afer a Japanese wind-up toy mouse, contained
toy store. Fascinated by the universality of toys
in a simple rectangular cardboard box displaying
and their ability to transcend age and nationality,
playful pictures of the toy in action. Appropriating
Warhol explained, ‘’Lots of international toys
this model, Warhol fattens the imagery,
[were] included because a lot of them are the
simplifes and brightens the colors and removes
cutest of any I’ve seen’’ (Andy Warhol, quoted
the brand name. The radiant red pigment paired
in Seth S. King, “Art: An Andy Warhol Show, For
with simple yet artful graphics and animated
Children’s Eyes”, The New York Times, August 25,
characteristics jump of the canvas, captivating
1985, p. 70).
40. Jenny Holzer
b. 1950
from an anonymous and universal perspective, the artist’s Truisms poetically reveal one’s most
Truisms: All things are delicately interconnected... Royal Danby marble bench 17 x 54 x 25 in. (43.2 x 137.2 x 63.5 cm.) Executed in 1987, this work is number 1 from an edition of 3.
intimate, and at times irreverent, thoughts.
Estimate $250,000-350,000
white posters, the artist’s Truisms were initially
By design, the organization and clarity of Holzer’s work invites personal refection and comprehension by its viewers without requiring art historical expertise. Originating as black and presented as everyday objects to engage the wandering eye of a passer-by. Holzer’s
Provenance Hofman Borman Gallery, Los Angeles Acquired from the above by the present owner in 1989
phrases are viewed as powerful and assertive, physically breaking the barriers of a traditional art setting. Several editions of her benches have been shown in public outdoor exhibitions and
Exhibited Los Angeles, Hofman Borman Gallery, Jenny Holzer, March 11 - April 9, 1988 New York, Doris C. Freedman Plaza, Jenny Holzer: Benches, June 1, 1989 - January 31, 1990 (another example exhibited) New York, Skarstedt Gallery, Jenny Holzer: Retro, November 4 - December 18, 2010, no. 13, p. 61 (another example exhibited and illustrated, cover and pp. 32-33) New York, City Hall Park, Common Ground, May 24 - November 30, 2012 (another example exhibited) Massachusetts Museum of Contemporary Art, Jenny Holzer, May 28, 2017 - present (another example exhibited)
commingle with the surrounding environment, further reinforcing the direct engagement with the viewer that has been a central tenet of her practice since the beginning. Holzer’s stone benches are at once intimidatingly stoic, while also readily welcoming. The present lot features a selection of Truisms that cover the entirety of the object allowing viewers to meander around and absorb the piece in its unique totality. Holzer imbues equal signifcance with her chosen media as she does with her content. The sleek marble of the present lot resembles a commemorative monument, and thus lends her engraved words a particular gravitas.
Standing authoritatively and honestly, Truisms:
Whether substantial or nonsensical, Holzer’s
All things are delicately interconnected..., 1987,
Truisms are presented with authority and
expertly embodies Jenny Holzer’s artistic practice.
permanence. Assertions such as “disgust is
Shortly afer moving to New York City, Holzer
the appropriate response to most situations”
worked nearly exclusively on her acclaimed
may resonate with particular spectators,
Truisms series from 1977-1979, marking a turning
while others may chuckle at its perturbed
point in the artist’s career. This body of work is a
cynicism. Uniting playful language with
conglomeration of blunt stream-of-consciousness
enduring material, and personal truths with an
declarations that touch upon an array of
impersonal presentation, Truisms: All things are
provocative themes such as feminism, violence,
delicately interconnected... speaks genuinely
oppression, and vulnerability. Candidly professed
to Jenny Holzer’s creative ambitions as an artist.
41. Mary Weatherford
b. 1963
Truxtun signed, inscribed and dated “MKWeatherfoRD 2012 Made IN BakeRsfeld TRuxtoN” on the overlap Flashe and neon on linen 93 x 79 x 4 in. (236.2 x 200.7 x 10.2 cm.) installation dimensions variable Executed in 2012.
stretch across the canvas and beam above the color feld with an eye-catching illumination that adds depth and vigor. Further highlighting this element, Weatherford showcases the transformer and power cords as an essential part of the piece. She rejects hiding these elements for aesthetic purposes and rather drapes them elegantly over the canvas as an intentional compositional element.
Estimate $250,000-350,000
Truxtun showcases Weatherford’s intimate experience within the diverse environs of Bakersfeld.
Provenance Brennan & Grifn, New York Acquired from the above by the present owner
The bright white and warm yellow glow of the neon
Exhibited California State University Bakersfeld, Todd Madigan Gallery, Mary Weatherford: The Bakersfeld Project, February 9 March 10, 2012
particular dichotomy of nature and industry in
Literature Robert Faggen, ed., Mary Weatherford: The Neon Paintings, New York, 2016, p. 204 (illustrated, pp. 6, 28-29)
contrasts with the cool airy blue in a seamless combination reminiscent of the peculiar and Bakersfeld. Weatherford’s artful tubes romanticize the dilapidated neon signs that stand starkly erect over the placid Bakersfeld sky. So striking are they that they draw the viewer’s attention back and forth from the wash of color that lies below. The artist believes that “you can’t look at the painting and look at the light at the same time…there’s a perceptual oddity when you are looking straight at it” (Mary Weatherford, quoted in “From the Mountain to the Sea: A Conversation”, in The Neon Paintings: Mary
Arresting and color-driven, Truxtun, belongs to
Weatherford, Munich, 2016, p. 202).
Mary Weatherford’s most celebrated series of neon paintings inspired by her experiences within
Weatherford’s work focuses on conjuring emotions
the uniqueness of city landscapes. Executed in
similar to those felt when repeatedly driving the
2012, this work is part of The Bakersfeld Project
same road and passing by familiar city lights. She
series and is one of the frst to feature the neon
refects, “I started getting interested in roads and
rods that were a career-altering experimentation
how roads make my life, and everybody’s. We
for the artist and have been featured in her work
travel on these roads that have been made, and
ever since.
then there’s a pattern. […] What if the 10 Freeway were someplace else? Then you’d have a diferent
Throughout this series, Weatherford utilized
life” (Mary Weatherford, quoted in “From the
diluted Flashe paint to create a translucent
Mountain to the Sea: A Conversation”, in The Neon
efect that forms a gradient of richness in hue.
Paintings: Mary Weatherford, Munich, 2016, p. 203).
Inspired by Helen Frankenthaler’s techniques,
Weatherford draws from her personal experiences
Weatherford integrates her mixed media to
with landscape and brings them to the surface
create a harmonization of color. Elevating this
through her evocative compositions, as perfectly
subdued aesthetic, two delicate bands of neon
embodied in Truxtun.
“I’ve discovered that the city is light. Without light we don’t have a city.” Mary Weatherford
42. Jim Dine
b. 1935
Work, Christian, Work! (afer Creeley) signed, titled, inscribed and dated “Panel 3 Work, Christian, Work! (afer Creeley) Panel 2 ② Work, Christian Work! (afer Creeley) Work, Christian, Work! (afer Creeley) Jim Dine 1987 Summer Washington panel 1” on the reverse oil on canvas, in 3 parts 85 x 182 in. (215.9 x 462.3 cm.) Painted in 1987. Estimate $100,000-150,000 Provenance Acquired directly from the artist by the present owner Exhibited New York, The Pace Gallery, Jim Dine: New Paintings, February 5 - March 5, 1988, n.p. (illustrated) For additional information, please refer to phillips.com.
43. Milton Resnick
1917-2004
Untitled signed and dated “Resnick 1975” on the reverse oil on paper 30 x 22 in. (76.2 x 55.9 cm.) Executed in 1975. Estimate $10,000-15,000 Provenance Gifed by the artist to the present owner
Property from an Important East Coast Collection
44. Sol LeWitt
1928-2007
Wavy Vertical Brushstrokes signed and dated “LeWitt 94” lower right gouache on paper 22 3/8 x 15 in. (56.8 x 38.1 cm.) Executed in 1994. Estimate $15,000-20,000
Provenance Private Collection (acquired directly from the artist) Christie’s, New York, September 9, 2008, lot 104 [misidentifed as Untitled, 2000] Obelisk Gallery, Boston Acquired from the above by the present owner
45. David Smith
1906-1965
Untitled signed with the artist’s Greek initials and dated “ΔΣ 11/5/54” lower right; further stamped by The Estate of David Smith on the reverse tempera, egg ink and oil on paper 15 5/8 x 20 in. (39.7 x 50.8 cm.) Executed in 1954. Estimate $20,000-30,000 Provenance The Estate of David Smith Sid Deutsch Gallery, New York Acquired from the above by the present owner
Property from an Important East Coast Collection
46. David Smith
1906-1965
ΔΣ 87-12-57 titled “ΔΣ 87-12-57” lower center; further stamped by The Estate of David Smith on the reverse ink and gouache on paper 17 1/2 x 22 1/2 in. (44.5 x 57.2 cm.) Executed in 1957. Estimate $20,000-30,000 Provenance The Estate of David Smith Private Collection Acquired from the above by the present owner
Exhibited Munich, American Contemporary Art Gallery, A Selection from the Estate: David Smith, Works on Paper 1952 1960, September 12, 2003 - January 31, 2004, p. 39 (illustrated) Modena, Foro Boario, Action Painting, Arte americana 1940-1970: dal disegno all’opera (organized by Peggy Guggenheim in collaboration with American Contemporary Art Gallery, Monaco), November 21, 2004–February 27, 2005, no. 51 (illustrated, p. 143) Nice, Musée d’Art Moderne et d’Art Contemporain, École de New York: Expressionnisme Abstrait, Oeuvres sur papier, December 8, 2005 - March 5, 2006, p. 78 (illustrated, p. 70)
47. Theodoros Stamos
1922-1997
Granite Shore signed, inscribed and dated “T. Σtamos ’46 N.Y.C” lower lef; further signed, titled and dated ““Granite Shore” 1946 Stamos” on the reverse oil on masonite 38 x 18 in. (96.5 x 45.7 cm.) Painted in 1946. Estimate $18,000-25,000 Provenance Betty Parsons Gallery, New York ACA Galleries, New York Private Collection, New York PTE Fine Arts, New York Acquired from the above by the present owner Exhibited London, Crane Kalman Gallery, Theodoros Stamos, May 24 - July 16, 2005, no. 5, (illustrated, n.p.) New York, Debra Force Fine Art, Ethnos/ Techne: Theodoros Stamos and Michael Michaeledes, February 2 – March 23, 2012, p. 9 (illustrated) New York, Hollis Taggart Galleries, Theodoros Stamos: Contemplations on the Universal, January 26 - March 4, 2017
Property from an Important East Coast Collection
48. Herbert Ferber
1906-1991
Richmond I incised with the artist’s signature and date “Ferber 74” on a steel plaque afxed to the sculpture copper 8 3/4 x 17 x 12 in. (22.2 x 43.2 x 30.5 cm.) Executed in 1974. Estimate $10,000-15,000 Provenance Hacket Mill, San Francisco Acquired from the above by the present owner in 2012
49. Richard Pousette-Dart
1916 - 1992
Within the Room signed and dated “June 78 R Pousette-Dart” on the reverse oil and sand on linen 14 x 21 in. (35.6 x 53.3 cm.) Executed in 1948-1978. Estimate $30,000-40,000 Provenance Collection of the artist Evelyn Pousette-Dart, New York Acquired from the above by the present owner in 1995
50. John Chamberlain
1927-2011
Untitled mineral-coated synthetic polymer resin 9 1/2 x 17 1/2 x 15 1/2 in. (24.1 x 44.5 x 39.4 cm.) Executed in 1970. Estimate $30,000-50,000 Provenance Private Collection, New York (acquired directly from the artist) Christie’s, New York, September 10, 2007, lot 307 Acquired at the above sale by the present owner Literature Julie Sylvester, John Chamberlain: A Catalogue Raisonné of the Sculpture: 1954-1985, New York, 1986, no. 411 (illustrated, p. 122)
Property from an Important East Coast Collection
51. Mark di Suvero
b. 1933
Rumpus stainless steel 25 x 16 x 22 in. (63.5 x 40.6 x 55.9 cm.) Executed in 2011. Estimate $40,000-60,000 Provenance John Berggruen Gallery, San Francisco Acquired from the above by the present owner in 2012
Property from an Important East Coast Collection
52. Friedel Dzubas
1915-1994
Flowering II titled “Flowering II” on the stretcher oil on canvas 33 1/2 x 33 1/2 in. (85.1 x 85.1 cm.) Painted in 1963. Estimate $25,000-35,000 Provenance Robert Elkon Gallery, Inc., New York Loretta Howard Gallery, New York Acquired from the above by the present owner in 2010
Exhibited New York, The Elkon Gallery, Inc., Friedel Dzubas: Early Works, January 10 February 9, 1984 New York, The Elkon Gallery, Inc., Friedel Dzubas: The Early Years, October 18 December 3, 1993, p. 10 (illustrated) New York, The Elkon Gallery, Inc., Peter Alexander, Jack Bush, Tony Delap, Friedel Dzubas, John McCracken, October 17 December 16, 2005 New York, Jacobson Howard Gallery, Friedel Dzubas: Paintings from the 1960s, September 8 - October 8, 2006
53. Norman Bluhm
1921–1999
Untitled (X) signed, inscribed and dated “bluhm ’64 ⊗” on the reverse oil on canvas 39 1/4 x 25 1/2 in. (99.7 x 64.8 cm.) Painted in 1964. Estimate $25,000-35,000
Provenance Vincent Melzac, Washington, D.C. Estate of the above Private Collection, New York Acquired from the above by the present owner
Property from an Important East Coast Collection
54. Theodoros Stamos
1922-1997
Classic Yellow Sun-Box signed, titled and dated ““CLASSIC YELLOW SUN-BOX” 1968 STAMOS” on the overlap acrylic on canvas 36 x 48 in. (91.4 x 121.9 cm.) Painted in 1968. Estimate $30,000-40,000
Provenance André Emmerich Gallery, New York Turske & Turske Gallery, Zurich Knoedler Gallery, Zurich Private Collection, Europe Hollis Taggart Galleries, New York Acquired from the above by the present owner in 2014 Exhibited New York, Hollis Taggart Galleries, Theodoros Stamos: A Communion with Nature, May 13 June 19, 2010, no. 18, p. 102 (illustrated, p. 74) Literature Daniel Grant, “The Case of Theodoros Stamos”, Artnet Magazine, May 25, 2010, (illustrated, online)
Property from an Important East Coast Collection
55. Frank Stella
b. 1936
Steller’s Albatross signed, titled and dated “Steller’s albatross F. Stella ’77” on the reverse glitter, acrylic and oilstick on Tycore 21 3/8 x 28 1/2 x 3 1/2 in. (54.3 x 72.4 x 8.9 cm.) Executed in 1977.
Provenance M. Knoedler & Co., Inc., New York Hokin Gallery, Inc., Palm Beach William Pall Gallery, New York Vivian Horan Fine Art, New York Acquired from the above by the present owner
Estimate $40,000-60,000
Exhibited New York, Vivian Horan Fine Art, Deconstructed Geometry, November 8, 2007 January 17, 2008
“The expansion of surfaces available to abstraction is what has kept me going.” Frank Stella
Property from an Important East Coast Collection
56. Frank Stella
b. 1936
K. 32 stainless steel tubing and spray paint on nylon RPT 18 x 17 x 12 1/2 in. (45.7 x 43.2 x 31.8 cm.) Executed in 2006. Estimate $30,000-40,000
Provenance Jacobson Howard Gallery, New York Acquired from the above by the present owner in 2010 Exhibited New York, Jacobson Howard Gallery, Frank Stella: K Series, April 17 May 17, 2008
Property from an Important East Coast Collection
57. Larry Poons
b. 1937
Handmaiden signed, titled and dated “L Poons 2007 © LARRY POONS 2007 © © HANDMAIDEN” on the reverse acrylic on canvas 63 x 68 1/2 in. (160 x 174 cm.) Painted in 2007. This work will be included in the forthcoming Catalogue Raisonné of Paintings currently being prepared by the Larry Poons Studio.
Estimate $25,000-35,000 Provenance Danese Gallery, New York Acquired from the above by the present owner
58. Sam Gilliam
b. 1933
So They Can signed, titled and dated “So They CaN, “66” Sam Gilliam” on the stretcher acrylic on canvas 36 x 36 in. (91.4 x 91.4 cm.) Painted in 1966. Estimate $120,000-180,000 Provenance Hom Gallery, Washington, D.C. Acquired from the above by the present owner in 1989
As the rhythm of jazz music sways the listener, Gilliam’s composition fuidly guides its spectators throughout the work. The pools of luminous jewel tones of dark blue and deep orange catch the viewers’ eye, creating a tension between the corners of the canvas as they act dynamically to draw the viewers into the work. Associated with the Washington Color School but even more of a maverick, Gilliam pursued a deeply personal and more radical aesthetic. Directly related to, Light Fan, 1966, held in the permanent collection of the Smithsonian
Sam Gilliams’s So They Can, is a stellar example
American Art Museum, Washington, D.C.,
of the artist’s celebrated color-feld paintings.
So They Can similarly displays the seminal
Painted in 1966, this work marks a turning point
transition from strict geometry to a more organic
in the development of the artist’s technique,
compositional structure. This shif towards a
in which he moved away from a strict linearity
non-hierarchical composition of color and form
and towards a freer compositional structure.
became Gilliam’s signature style and culminated
Treating his acrylic like watercolor and his canvas
in his drape paintings, which abandon structure
like paper, the materials coalesce into a united
and line altogether. At a time when artists,
expressive element. Being recognized for his
particularly artists of color, were more or less
unparalleled depiction of abstract forms, Gilliam
expected to create politically oriented material,
was honored a year later by The Phillips Collection
Gilliam consciously rejected to conform. He
in Washington, D.C., with his frst solo exhibition,
instead praised the idea that “art is at least as
signifying the breakout of his career.
important as politics when it comes to creating new ways of thinking about society and moving
Displaying a full range of hues, So They Can
it forward” (Johnathan P. Binstock, Sam Gilliam:
exemplifes Gilliam’s adoration of color and
a retrospective, exhibition catalogue, Corcoran
ability to synchronize seemingly disparate
Gallery of Art, Washington, D.C., 2005, p. 11). By
pigments. The bright blues and vibrant yellows
committing to radical abstract art and avoiding
of the composition bleed together in the center
political content, Gilliam believed that he could
to form a radiant green. This application of
have a more compelling role in society. Embodied
paint simultaneously exhibits both an efortless
in the expressive manifestation of its abstract
randomness and a refned control that conjures a
aesthetic, So They Can carries limitless potential
sense of immediate action from within the canvas.
for conceptual experiences and interpretations.
“Before painting, there was jazz. I mean cool jazz. Coltrane. Ornette Coleman, the Ayler brothers, Miles Davis. It’s something that was important to my work, it was a constant. You listened while you were painting. It made you think that being young wasn’t so bad.” Sam Gilliam
59. Sam Francis
1923-1994
Untitled indistinctly signed and inscribed “A dialogue david H. and sAm F.” lower lef acrylic and silkscreen ink on paper 124 1/4 x 102 1/2 in. (315.6 x 260.4 cm.) Executed circa 1990.
A culmination of the artist’s illustrious career, Sam Francis’s Untitled, circa 1990, showcases the artist’s unmatched ability as a colorist and abstract painter. Rendered in monumental scale, Untitled embodies the key tenets of Francis’s practice and creative development. As drips of paint are fung
This work is identifed with the interim identifcation number of SF90-365 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.
and poured across the vast surface, the dynamism
Estimate $150,000-200,000
Untitled communicates the varied infuences
Provenance Private Collection Private Collection Private Collection, Europe Private Collection Private Collection Acquired from the above by the present owner
of the implied action beautifully juxtaposes the serenity of the central green rectangle. Calligraphic lines enliven the composition, referencing Francis’s own exuberance and joie-de-vivre felt while bringing paint to life.
on Francis’s practice, ranging from Abstract Expressionism, Impressionism and PostImpressionism, as well as Asian art and philosophy. While the painterly drips and splashes recall his artistic forebears such as Jackson Pollock, they equally evidence the artist’s study of haboku, traditional Japanese fung-ink painting. Throughout his career, Francis traveled and studied extensively, maintaining studios in Bern, Paris, Tokyo, Mexico City, New York and Northern and Southern California. Constant travels, with time to gaze out of plane windows, provided Francis with creative inspiration, as he was deeply fascinated by light, air, and space. Untitled exemplifes what William Agee defnes as the core of Francis’s practice: “Paint used generously and put in the service of color and its energy and power to convey deep feelings is the hallmark, from beginning to end, of Francis’s art.” (William C. Agee, Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings 1946-1994, Berkeley, 2011, pp. 12-13)
Property from an Important East Coast Collection
60. Jules Olitski
1922-2007
Zeno’s Half signed, titled and dated “Zeno’s Half Jules Olitski 1971” on the reverse acrylic on canvas 93 1/2 x 135 1/4 in. (237.5 x 343.5 cm.) Painted in 1971. Estimate $60,000-80,000 Provenance Lawrence Rubin Gallery, New York Christie’s, New York, May 4, 1988, lot 158 Private Collection Obelisk Gallery, Boston Acquired from the above by the present owner
“Color in color is felt at any and every place of the pictorial organization; in its immediacy— its particularity. Color must be felt throughout.” Jules Olitski
Property from an Important East Coast Collection
61. Nabil Nahas
b. 1949
Untitled signed and dated “NABIL R. NAHAS 2006” on the reverse acrylic and pumice on canvas 60 x 48 in. (152.4 x 121.9 cm.) Executed in 2006. Estimate $70,000-90,000 Provenance Acquired directly from the artist by the present owner
62. Caio Fonseca
b. 1959
Pietrasanta Painting C98.20 signed “CAIO” lower right; further signed, partially titled and dated “Caio Fonseca 1998 CAIO FONSECA C98.20” on the reverse acrylic on canvas 14 x 18 in. (35.6 x 45.7 cm.) Painted in 1998. Estimate $7,000-10,000 Provenance Paul Kasmin Gallery, New York Acquired from the above by the present owner
63. Bernard Aubertin
1934 - 2015
Tableau Clous signed and dated “Bernard Aubertin 1969” on the reverse acrylic and nails on wood panel 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm.) Executed in 1969, this work is unique and accompanied by a certifcate of authenticity provided by the Archivio Opere Bernard Aubertin and is registered under the archive number TCLR96-1000205623. Estimate $7,000-10,000 Provenance Private Collection, Monaco Acquired from the above by the present owner
64. Paul Jenkins
1923-2012
Phenomena Compass Star signed, titled, inscribed and dated “Paul Jenkins “Phenomena Compass Star” New York 1979” on the stretcher acrylic on canvas 62 x 39 in. (157.5 x 99.1 cm.) Painted in 1979. Estimate $15,000-20,000 Provenance Private Collection, Toronto Acquired from the above by the present owner
65. Wang Yigang
b. 1961
Abstract H4 signed [in Chinese], signed with the artist’s initials and dated “2016 WYG” lower right oil on canvas 63 1/4 x 94 3/4 in. (160.7 x 240.7 cm.) Painted in 2016. Estimate $25,000-35,000 Provenance Martinelli Gallery, Lodi Acquired from the above by the present owner Literature Absolute Art Modern & Contemporary, Wang Yigang: Through Color II Edition, Lugano, 2018, p. 140 (illustrated, p. 82)
66. Max Cole
b. 1937
Seneca signed, titled and dated “MAX COLE SENECA 1979” on the reverse oil on canvas 52 x 62 in. (132.1 x 157.5 cm.) Painted in 1979. Estimate $8,000-12,000 Provenance L.A. Louver, Los Angeles Private Collection, Los Angeles (acquired from the above in 1987) Thence by descent to the present owner
67. Max Cole
b. 1937
Havasu II signed, titled and dated “MAX COLE HAVASU II 1986” on the reverse acrylic on canvas 52 x 62 in. (132.1 x 157.5 cm.) Painted in 1986. Estimate $8,000-12,000 Provenance L.A. Louver, Los Angeles Private Collection, Los Angeles (acquired from the above in 1986) Thence by descent to the present owner
68. Thomas Schütte
b. 1954
Plate glazed ceramic 3 5/8 x 16 3/8 x 16 3/8 in. (9.2 x 41.6 x 41.6 cm.) Executed in 2005, this work is number 3 from an edition of 12. This work is accompanied by a certifcate of authenticity signed by the artist. Estimate $15,000-20,000 Provenance Marian Goodman Gallery, New York Acquired from the above by the present owner Exhibited New York, Marian Goodman Gallery, Thomas Schütte: One Man Houses, May 12 - July 2, 2005 (another example exhibited) Nouveau Musée National de Monaco; Kunstmuseum Luzern, Thomas Schütte: Houses, July 7, 2012 - February 16, 2014, p. 112 (another example exhibited and illustrated)
Alternate view of lot 68
68.
70.
69. Thomas Schütte
b. 1954
Pantry wood, Plexiglas and steel 55 x 38 x 19 1/4 in. (139.7 x 96.5 x 48.9 cm.) Executed in 2005, this work is number 1 from an edition of 12. This work is accompanied by a certifcate of authenticity signed by the artist. Estimate $8,000-12,000 Provenance Marian Goodman Gallery, New York Acquired from the above by the present owner Exhibited New York, Marian Goodman Gallery, Thomas Schütte: One Man Houses, May 12 - July 2, 2005 (another example exhibited) Nouveau Musée National de Monaco; Kunstmuseum Luzern, Thomas Schütte: Houses, July 7, 2012 - February 16, 2014, p. 172 (another example exhibited and illustrated, pp. 112-113, 117)
69.
70. Thomas Schütte
b. 1954
Table and Benches wood, in 4 parts table 31 1/8 x 70 7/8 x 38 5/8 in. (79.1 x 180 x 98.1 cm.) each short bench 17 7/8 x 32 3/4 x 15 3/4 in. (45.4 x 83.2 x 40 cm.) long bench 17 7/8 x 65 1/2 x 15 1/2 in. (45.4 x 166.4 x 39.4 cm.) Executed in 2005, this work is number 1 from an edition of 12. This work is accompanied by a certifcate of authenticity signed by the artist. Estimate $10,000-15,000
Provenance Marian Goodman Gallery, New York Acquired from the above by the present owner Exhibited New York, Marian Goodman Gallery, Thomas Schütte: One Man Houses, May 12 - July 2, 2005 (another example exhibited and illustrated) Nouveau Musée National de Monaco; Kunstmuseum Luzern, Thomas Schütte: Houses, July 7, 2012 - February 16, 2014, p.172 (another example exhibited and illustrated, pp. 112-113)
71. José Dávila
b. 1974
Untitled metal base, smoked glass, eye bolt and ratchet strap 74 3/4 x 51 1/8 x 14 7/8 in. (189.9 x 129.9 x 37.8 cm.) Executed in 2017. Estimate $15,000-20,000 Provenance Galeria OMR, New York Acquired from the above by the present owner
72. Ernesto Neto
b. 1964
Topologic fuency on a structural camp for high density point lead spheres, stockings, copper tubes, lycra cloth and lead ball dimensions variable approximately 59 x 158 x 240 in. (149.9 x 401.3 x 609.6 cm.) Executed in 1992. Estimate $30,000-40,000 Provenance Galeria Camargo Vilaça, São Paulo Acquired from the above by the present owner
73. Los Carpinteros
b. 1969/1970/1971
Urbanización fotante titled “Urbanización fotante” lower center and signed, inscribed and dated “Los Carpinteros, Madrid 2012” lower right watercolor and graphite on paper 44 1/2 x 80 7/8 in. (113 x 205.4 cm.) Executed in 2012. Estimate $20,000-30,000
Provenance Galería Habana, Havana Acquired from the above by the present owner in 2014 Exhibited London, Parasol unit foundation for contemporary art, Los Carpinteros, March 25 - May 24, 2015
74. Fernando Botero
b. 1932
La Diva (La flle du régiment) signed with the artist’s initials “F.B.” lower right oil and graphite on canvas, double-sided 17 x 12 3/4 in. (43.2 x 32.4 cm.) Executed in 1996, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $60,000-80,000 Provenance Didier Imbert Fine Art, Geneva Private Collection, France Cornette de Saint-Cyr, Paris, October 25, 2016, lot 55 Acquired at the above sale by the present owner verso
75. Omar Rayo
1928-2010
Tucano signed, titled, inscribed and dated “OMAR RAYO NEW YORK 1970 “TUCANO”” on the reverse acrylic on canvas 26 x 26 in. (66 x 66 cm.) Painted in 1970, this work is accompanied by a certifcate of authenticity signed by Agueda Pizarro Rayo, Museo Rayo. Estimate $20,000-30,000 Provenance Private Collection, Bogota Acquired from the above by the present owner
76. Adriana Lara
b. 1978
Symbol Face #5 (Colored) oil and screenprint ink on plastic 67 1/2 x 47 3/4 in. (171.5 x 121.3 cm.) Executed in 2012. Estimate $6,000-8,000 Provenance Algus Greenspon, New York Private Collection Acquired from the above by the present owner Exhibited New York, Algus Greenspon, Adriana Lara: NY - USA, November 17, 2012 January 19, 2013 London, Dairy Art Centre, Smoking Kills: A Selection of Works by Adriana Lara, August 6 - September 7, 2014
77. Los Carpinteros b. 1969/1970/1971
Rayos X signed, titled, inscribed and dated “Rayos X Los Carpinteros La Habana 1998” lower right graphite and watercolor on paper 29 3/4 x 44 in. (75.6 x 111.8 cm.) Executed in 1998. Estimate $10,000-15,000 Provenance Christina Vives, Havana Acquired from the above by the present owner
78. Alex Katz
b. 1927
Two works: (i) Beach Encounter; (ii) Vincent (i) signed “Alex Katz” lower right (ii) signed “Alex Katz” lower lef graphite on paper (i) 15 x 22 in. (38.1 x 55.9 cm.) (ii) 15 1/2 x 22 3/8 in. (39.4 x 56.8 cm.) (i) Executed in 1990. (ii) Executed in 1984. (i)
Estimate $10,000-15,000 Provenance PaceWildenstein, New York Acquired from the above by the present owner
79. Alex Katz
(ii)
b. 1927
Two works: (i) Ann; (ii) Croile (i) signed and dated “Alex Katz 83” lower lef (ii) signed “Alex Katz” lower right graphite on paper (i) 15 x 22 in. (38.1 x 55.9 cm.) (ii) 22 x 15 in. (55.9 x 38.1 cm.) (i–ii) Executed in 1983. Estimate $10,000-15,000 Provenance PaceWildenstein, New York Acquired from the above by the present owner
(ii)
(i)
Property from an Important East Coast Collection
80. Willem de Kooning
1904-1997
Untitled signed “de Kooning” lower right charcoal and pastel on vellum 11 x 8 1/2 in. (27.9 x 21.6 cm.) n.d. Estimate $20,000-30,000
Provenance Private Collection, Florida (acquired directly from the artist) Private Collection, New York Acquired from the above by the present owner
81. Saul Steinberg
1914-1999
Untitled signed and dated “STEINBERG 1950” center right graphite, ink, gouache, paper collage, correction fuid and pen on paper 15 3/4 x 13 3/8 in. (40 x 34 cm.) Executed in 1950. Estimate $5,000-7,000 Provenance Private Collection, United Kingdom Private Collection, United Kingdom (acquired thence by descent) Acquired from the above by the present owner
82. Mel Ramos
1935–2018
Leta and the Swan signed and dated “Mel Ramos 73” lower right graphite on paper 15 1/8 x 15 1/4 in. (38.4 x 38.7 cm.) Executed in 1973. Estimate $8,000-12,000 Provenance Louis K. Meisel Gallery, New York Private Collection Acquired from the above by the present owner
83. Eric Fischl
b. 1948
Untitled signed and dated “Fischl ‘94” lower right oil on paper 19 x 14 in. (48.3 x 35.6 cm.) Executed in 1994. Estimate $8,000-12,000 Provenance Mary Boone Gallery, New York Acquired from the above by the present owner in 2000
84. Haim Steinbach
b. 1944
Untitled (Jamaican head, Möbius strip) signed and dated “Haim Steinbach 2014” on the reverse of the shelf plastic laminated wood shelf, wood Jamaica head sculpture and wood Möbius strip sculpture 29 1/2 x 35 7/8 x 17 in. (74.9 x 91.1 x 43.2 cm.) Executed in 2014. Estimate $20,000-30,000 Provenance Tanya Bonakdar Gallery, New York Acquired from the above by the present owner in 2014
85. Sanford Bigers
b. 1970
BAM (for Philando) incised with the artist’s signature and date “Biggers 2016” on the underside of the sculpture bronze with black patina and HD video with total runtime of 1:15 minutes 30 x 9 x 8 3/4 in. (76.2 x 22.9 x 22.2 cm.) Executed in 2016, this work is from a series of 3 unique variants. Estimate $12,000-18,000 Provenance Marianne Boesky Gallery, New York and Aspen Acquired from the above by the present owner
86. Thomas Houseago
b. 1972
Oxford Mask incised with the artist’s signature, foundry mark and number “Houseago 17/21” on the lef edge bronze 19 x 14 1/2 x 3 1/2 in. (48.3 x 36.8 x 8.9 cm.) Executed in 2010, this work is number 17 from an edition of 21 plus 5 artist’s proofs. Estimate $25,000-35,000
Provenance Acquired directly from the artist by the present owner Exhibited Modern Art Oxford; Oxford, Ashmolean Museum of Art and Archaeology, Thomas Houseago: What Went Down, December 11, 2010 - February 20, 2011, p. 237 (another example exhibited and illustrated, p. 207)
87. David Kim Whittaker
b. 1964
Gender Reversals signed, signed with the artist’s initials, titled and dated ““GENDER REVERSALS,” Whittaker DKW 2017,” on the reverse of the frame oil, acrylic and graphite on panel, in artist’s frame 45 3/4 x 45 3/4 in. (116.2 x 116.2 cm.) Executed in 2017. Estimate $25,000-35,000
Provenance Opera Gallery, London Acquired from the above by the present owner Exhibited London, Opera Gallery, David Kim Whittaker: The Flesh to The Frame (Part 1: In The Existence), October 3 - October 15, 2017, p. 74 (illustrated)
88. Gelitin
est. 1978
Untitled signed and dated “Gelitin 2009” on the reverse Plasticine on panel 40 1/2 x 49 5/8 x 5 7/8 in. (102.9 x 126 x 14.9 cm.) Executed in 2009. Estimate $7,000-10,000 Provenance Massimo De Carlo, Milan Acquired from the above by the present owner
89. Tala Madani
b. 1981
Sunglasses oil on canvas 11 7/8 x 9 1/2 in. (30.2 x 24.1 cm.) Painted in 2008. Estimate $4,000-6,000 Provenance Lombard-Freid Projects, New York Acquired from the above by the present owner
90. Paul McCarthy
b. 1945
Dwarf Head (chocolate) platinum-based silicone and wood crate head 15 1/2 x 17 x 19 1/4 in. (39.4 x 43.2 x 48.9 cm.) crate 24 1/4 x 20 5/8 x 21 1/2 in. (61.6 x 52.4 x 54.6 cm.) overall 39 3/4 x 20 5/8 x 21 1/2 in. (101 x 52.4 x 54.6 cm.) Executed in 2000, this work is from a series of 7 uniquely colored variants plus 2 artist’s proofs. Estimate $25,000-50,000 Provenance Hauser & Wirth, Zurich NYEHAUS, New York Patrick Painter, Los Angeles Private Collection, New York Acquired from the above by the present owner
Exhibited Des Moines Art Center; New York, The Brooklyn Museum of Art; Cincinnati, The Contemporary Arts Center; Tampa Museum of Art; Chicago Cultural Center; Akron Art Museum; West Palm Beach, Norton Museum of Art; Tacoma, Museum of Glass: International Center for Contemporary Art; The Huntsville Museum of Art, My Reality: Contemporary Art and the Culture of Japanese Animation, February 2001 - January 4, 2004, p. 71 (another example exhibited) New York, NYEHAUS, Paul McCarthy: Between Beauty and the Beast, Sculptures, Drawings and Photographs, October 28 - December 30, 2006, no. 14 (another example exhibited and illustrated, p. 14)
91. Erin Shirref
b. 1975
Catalogue, 16 parts hydrostone, pigment, graphite and steel, in 17 parts overall 26 1/4 x 60 x 20 in. (66.7 x 152.4 x 50.8 cm.) Executed in 2013, this work is unique. Estimate $10,000-15,000 Provenance Lisa Cooley, New York Acquired from the above by the present owner
92. Cyprien Gaillard
b. 1980
Untitled (rim structure) steel, paint, 2 tire rims and synthetic tire cover 80 x 137 1/2 x 21 1/2 in. (203.2 x 349.3 x 54.6 cm.) Executed in 2011, this work is unique. Estimate $20,000-30,000 Provenance Sprßth Magers, Berlin Acquired from the above by the present owner Exhibited Paris, Centre Pompidou, Cyprien Gaillard: Prix Marcel Duchamp, September 21, 2011 January 9, 2012
93. Olafur Eliasson
b. 1967
Shadow Lamp translucent acrylic glass, stainless steel, halogen bulb, motor and tripod 77 1/2 x 31 1/2 x 29 in. (196.9 x 80 x 73.7 cm.) Executed in 2005, this work is number 5 from an edition of 14 plus 2 artist’s proofs. This work is accompanied by a certifcate of authenticity signed by the artist. Estimate $20,000-30,000 Provenance Tanya Bonakdar Gallery, New York Acquired from the above by the present owner Exhibited Lund Konsthall, The light setup, September 10, 2005 - January 22, 2006, p. 3 (another example exhibited and illustrated, p. 222) Tokyo, Hara Museum of Contemporary Art, Your light shadow, November 17, 2005 March 5, 2006, p. 3 (another example exhibited and illustrated, p. 222) Berlin, Aedes am Pfeferberg, A Laboratory of Mediating Space, June 2 July 20, 2006 (another example exhibited) Puerto Rico, Espacio 1414, Light in Contemporary Art: Selection of Works from the Berezdivin Collection, June 1 – October 1, 2006 (another example exhibited)
94. Lori Hersberger
b. 1964
Intergalactic Totem XIV signed, titled and dated ““Intergalactic Totem” XIV / ⑭ Lori Hersberger 2012” on the reverse chromed steel, silver and mirror 31 1/2 x 23 1/2 x 8 in. (80 x 59.7 x 20.3 cm.) Executed in 2012. Estimate $25,000-35,000 Provenance Galerie Thaddaeus Ropac, Salzburg Acquired from the above by the present owner
95. Tracey Emin
b. 1963
Only God Knows I’m Good signed and dated “Tracey Emin 09” lower right embroidered thread on cotton 20 x 26 1/2 in. (50.8 x 67.3 cm.) Executed in 2009. Estimate $15,000-20,000 Provenance Lehmann Maupin, New York Acquired from the above by the present owner in 2009 Exhibited New York, Lehmann Maupin, Tracey Emin: Only God Knows I’m Good, November 5 - December 19, 2009
96. Jef Koons
b. 1955
Three works: (i) Balloon Swan (Yellow); (ii) Balloon Rabbit (Red); (iii) Balloon Monkey (Blue) each impressed with the artist’s signature, respective title, number and date “JK 432/999 ’17 [Balloon Swan (Yellow), Balloon Rabbit (Red), Balloon Monkey (Blue)]” on the underside mirror-polished stainless steel with transparent color coating (i) 9 1/2 x 6 1/2 x 8 1/4 in. (24.1 x 16.5 x 21 cm.) (ii) 11 1/2 x 5 3/8 x 8 1/4 in. (29.2 x 13.9 x 21 cm.) (iii) 9 3/4 x 8 1/4 x 15 3/8 in. (24.8 x 21 x 39.1 cm.) Executed in 2017, these works are number 432 from an edition of 999, published by Bernardaud, Limoges, France (with their stamp on the underside).
(iii) (i)
Estimate $25,000-35,000 Provenance Museum of Contemporary Art, Los Angeles Acquired from the above by the present owner
(ii)
Provenance Contemporary Fine Arts, Berlin Acquired from the above by the present owner
97. Jonathan Meese
b. 1970
DER KÄMPFER de LARGE (Der Zeushagen von Troja de NEUTRAL) incised with the artist’s initials and date “JM 08” and stamped with the foundry mark on the lef leg; further incised with the inscription “ZEUS” on the sword bronze 104 3/4 x 51 1/8 x 82 5/8 in. (266.1 x 129.9 x 209.9 cm.) Executed in 2008, this work is number 1 from an edition of 3 plus 1 artist’s proof. Estimate $30,000-40,000
Exhibited Salzburg, Galerie Thaddaeus Ropac, Jonathan Meese: Metabolism. No Zen in the Bronxen, You Atomic Human Toy, November 22, 2008 January 17, 2009 (another example exhibited) Remagen, Arp Museum, Jonathan Meese: Erzstaat Atlantisis, May 1 - August 30, 2009, no. 47 (another example exhibited and illustrated, pp. 175, 182) Miami, Museum of Contemporary Art, Jonathan Meese: Sculpture - Knight Exhibition Series, December 1, 2010 - February 13, 2011, p. 88 (illustrated, p. 73) Artzuid: Internationale Sculptuurroute Amsterdam, May 22 - September 22, 2013 (another example exhibited) Literature David Galloway, “Angst Management”, artnet news, Summer 2009, pp. 108-109 (another example illustrated)
98. A.R. Penck
1939-2017
Willst Du oder willst Du nicht (Do you want to or not) signed “ar. penck” lower right acrylic and silkscreen ink on canvas 51 x 63 in. (129.5 x 160 cm.) Executed in 1990.
Provenance Private Collection Grisebach GmbH, Berlin, November 29, 2013, lot 794 Acquired at the above sale by the present owner
Estimate $15,000-20,000
Literature Frank Hänel, ed., A.R. Penck: Menschen und Tiere nach der Öfnung Übermalungen 1989-91, Wiesbaden, 2003, pp. 220, 224 (illustrated, pp. 221, 225)
“You’ve got to remember that in the 70s and 80s, there were not a lot of people collecting works on paper. Basically, if you went out to get something, you could get it. I wanted to put a wonderful collection together which I think I’ve accomplished.” Howard Karshan
Interior of Linda and Howard’s London home
Property from the Estate of Howard Karshan
The Karshan Collection
The Karshan Collection encapsulates an exceptional
described it, when he was assigned to work for CBS
odyssey of collecting, one that spans over 50 years
in Paris in 1962. Guided by a close friend with a
and two continents. Living between London and New
background in art, Howard spent much of his time
York, Howard Karshan together with his wife Linda—
in Paris going to museums, meeting dealers and
the distinguished artist—assembled one of the most
learning more about art history. He met his wife
signifcant collections of modern and post-war works
Linda for the frst time travelling from England to
on paper today. A true ode to the intimacy and
New York on the transatlantic ocean liner SS
unique sensibility of drawing, the works within this
France; she caught his attention partially because
collection perfectly encapsulate the transatlantic life
she was reading a Henri Matisse catalogue.
led by Howard and his wife Linda, including examples by some of the greatest European and American
A fne art and art history student at the time, Linda
masters known today; from Pablo Picasso and Henri
was crucial in guiding Howard in his journey of
Matisse, Jackson Pollock and Sam Francis, to
studying and collecting art. From his initial love of
Gerhard Richter and Sigmar Polke.
the great modern French masters his tastes grew to encompass a range of periods and styles. Following
Born in Brooklyn, New York in 1933, Howard Karshan
frst acquisitions of a work by Alberto Giacometti
studied philosophy and law at New York University
and a Cycladic idol sculpture, Howard built with
before embarking upon a successful career as a flm
great care, passion and study a renowned collection
rights negotiator at CBS, Viacom, MGM and Turner.
of modern and post-war works on paper that was
It was in the early 1960s that he discovered his true
not only of art historical importance, but also one
passion, catching the “bug for collecting”, as he
that shaped the family’s life.
Howard at his home in New York, April 8, 2014. © Daniel Blau, Munich.
A Tale of Two Cities
Demonstrating great acumen, Howard recognized
a pair of outstretched hands fnds an intriguing
the potential of focusing largely on works on paper
pendant in Richter’s Busch, 1985, where the artist
when very few collectors were doing so in the 1970s
abstracted one of his signature blurred landscapes
and 1980s. This opportunity coupled with
with abstract gestural marks. There is a similar
extraordinary connoisseurship enabled him to amass
push and pull between fguration and abstraction
a collection of the fnest works by 20th century
throughout the collection—the immediacy and
artists. While very much engaged with the past,
expressiveness of the act of drawing functioning as
Howard demonstrated a keen appreciation for the
an anchor; indeed this is one of recuring
art of the present. The works he carefully acquired
characteristics that defne this collection. Works
over the years convey his innate understanding of
such as Pollock’s Untitled, 1951, and Twombly’s,
the historical trajectory of the modern art canon, as
Sperlonga drawing, 1959, convey the abstract
well as his insatiable curiosity in chronicling the art of
potential of drawing, while works such as Picasso’s
his own time and place—all the while guided by a
Nu couché et homme écrivant, 1969, de Kooning’s
deep appreciation of the hand of the artist and the
Untitled (Group of 8 Drawings), 1965–1980, and
immediacy of drawing.
Baselitz’s Jäger mit Hund, 1967, celebrate its ability of distilling the human fgure to its most
In many ways, the Karshan Collection is a tale of two
elemental form.
cities. Living between New York City and London, Howard became intimately acquainted with the art
A labor of love, the Karshan Collection was not just
scene on both sides of the Atlantic. A true
one to be lived with, but also one to be shared with
connoisseur with a curatorial sensibility, Howard
a wider public by way of exhibition loans and
pursued an in-depth approach to collecting that
generous gifs to institutions such as the British
focused on acquiring work by select artists from their
Museum, London, The Morgan Library & Museum,
best periods. On the one hand, he built a superb
New York, and the Museum of Modern Art, New
collection of post-war European art, specifcally
York, among others. A true philanthropist, Howard
German, which includes works by Joseph Beuys,
also pursued his commitment and passion for art on
Gerhard Richter, Sigmar Polke, Georg Baselitz,
an institutional level. He notably held the position
Palermo, as well as Lucio Fontana and Jean Dubufet.
of the Head of Patrons of New Art at Tate, London,
On the other hand, he acquired representative works
in which function he crucially initiated the
by some of the most signifcant American artists of
Acquisitions Committee and was also selected to be
the time, such as Agnes Martin, Dan Flavin, Carl
on the Jury for the Turner Prize in 1992.
Andre, Robert Smithson, Raymond Pettibon, and Wayne Thiebaud.
Howard Karshan’s formidable legacy continues to live on in the selection of works brought together
At the very heart of the collection is above all a deep
here, standing as a beacon of true connoisseurship,
appreciation of the hand of the artist and mark
love for art and the exceptional vision of one of the
making, as evidenced perhaps nowhere as succinctly
most signifcant collectors and philanthropists of
in Richter’s Hände, 1963. This early photo-painting of
the past century.
Property from the Estate of Howard Karshan
(i)
(iii)
(ii)
○
(iv)
99. Carroll Dunham
b. 1949
Four Works: (i) Untitled (11/7/82); (ii) Untitled (11/13/82); (iii) Untitled (12/24/82); (iv) Untitled (7/7/83) (i) signed with the artist’s initials and dated “CD 11/7/82” upper right (ii) dated “11/13/82” upper right (iii) dated “12/24/82” upper right (iv) signed with the artist’s initials and dated “7/7/83 CD” lower right (i) casein, pencil and ballpoint pen on wood paper (ii-iv) pencil on paper (i) 9 7/8 x 7 5/8 in. (25 x 19.5 cm.) (ii) 9 x 7 1/8 in. (23 x 18 cm.) (iii) 8 1/4 x 5 1/2 in. (21 x 14 cm.) (iv) 11 x 8 5/8 in. (28 x 22 cm.) (i-iii) Executed in 1982. (iv) Executed in 1983. Estimate $8,000-12,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1988
A Tale of Two Cities
Exhibited Munich, Galerie Fred Jahn, Carroll Dunham: Drawings 1982-1983, 1988, pp. 51, 80, 86, 90 (illustrated)
○
100. Carroll Dunham
b. 1949
Untitled signed and dated “3/14/88 C. Dunham” lower right crayon and graphite on paper 12 3/8 x 16 1/2 in. (31.4 x 41.9 cm.) Executed in 1988. Estimate $6,000-8,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner
○
101. Raymond Pettibon
b. 1957
Untitled (Raising a Hand to the Clouds...) signed and dated “Raymond Pettibon 93” on the reverse ink on paper 12 x 16 3/4 in. (30.5 x 42.5 cm.) Executed in 1993. Estimate $6,000-8,000 Provenance Galerie Krinzinger, Vienna Acquired from the above by the late owner in 1999
○
102. William Nelson Copley
1919-1996
Untitled signed and dated “CPLY 64” lower lef ink on paper 24 x 18 in. (61 x 45.7 cm.) Executed in 1964. Estimate $4,000-6,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner Property from the Estate of Howard Karshan
○
103. William Nelson Copley 1919-1996
Untitled signed and dated “CPLY 64” lef edge ink on paper 24 x 19 in. (61 x 48.3 cm.) Executed in 1964. Estimate $3,000-5,000 Provenance Sir Roland Penrose The Mayor Gallery, London Acquired from the above by the late owner in 1991
○
104. Eric Fischl
b. 1948
Untitled signed and dated “Fischl 83” upper lef oil on printed paper 14 x 11 1/2 in. (35.6 x 29.2 cm.) Executed in 1983. Estimate $5,000-7,000 Provenance Lorence Monk Gallery, New York Acquired from the above by the late owner Exhibited New York, Lorence Monk Gallery, Drawings, April 4 - 27, 1985
A Tale of Two Cities
○
105. Richard Tuttle
b. 1941
Untitled #34 signed, titled and dated “#34 Richard Tuttle 1980” on the reverse watercolor on paper, in artist’s frame 11 x 9 1/8 in. (27.9 x 23.2 cm.) Executed in 1980. Estimate $6,000-8,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1988
○
106. Silvia Bächli
b. 1956
Untitled signed with the artist’s initials and dated “S.B. 08” on the reverse; further signed with the artist’s initials and dated “S.B. 08” on a label afxed to the reverse gouache on paper 17 3/8 x 24 3/8 in. (44.1 x 61.9 cm.) Executed in 2008. Estimate $3,000-5,000 Provenance Peter Freeman, Inc., New York Acquired from the above by the late owner in 2009
Property from the Estate of Howard Karshan
○
107. Silvia Bächli
b. 1956
Untitled signed with the artist’s initials and dated “S.B. 2015” on the reverse gouache on paper, in artist’s frame 12 1/4 x 8 5/8 in. (31.1 x 21.9 cm.) Executed in 2015. Estimate $2,000-3,000 Provenance Peter Freeman, Inc., New York Acquired from the above by the late owner in 2016
○
108. Barry Le Va
b. 1941
(Blown Chalk Studies 1969) London Ex. signed, titled and dated “(blown chalk Studies 1969) London Ex. 1971 B Le Va” lower right wax crayon, tape and enamel paint on paper collage on card 19 5/8 x 25 5/8 in. (49.8 x 65.1 cm.) Executed in 1971. Estimate $5,000-7,000 Provenance Galerie Jahn und Fusban, Munich Acquired from the above by the late owner
A Tale of Two Cities
(iii)
(ii)
○
109. Barry Le Va
b. 1941
Three works: (i) Double Drawing; (ii) Untitled (feld & glas); (iii) Sheets to Strips to Particles (i) signed and dated “B. Le Va 1969” lower right (ii) signed with the artist’s initials and dated “BL 1967-90” lower right (iii) signed with the artist’s initials, titled, inscribed and dated “sheets to strips to particles they felt B L 1967” lower edge (i-ii) ink and graphite on paper (iii) ink and charcoal on paper (i) 24 x 19 in. (61 x 48.3 cm.) (ii) 7 3/4 x 10 in. (19.7 x 25.4 cm.) (iii) 8 1/2 x 10 7/8 in. (21.6 x 27.6 cm.) (i) Executed in 1969. (ii) Executed in 1967-1990. (iii) Executed in 1967. Estimate $10,000-15,000 Provenance (i) Galerie Jahn und Fusbach, Munich Acquired from the above by the late owner (ii) Galerie Fred Jahn, Munich Acquired from the above by the late owner in 2015 (iii) Galerie Fred Jahn, Munich Acquired from the above by the late owner
(i)
Property from the Estate of Howard Karshan
(i)
(ii)
110. Barry Le Va
○
b. 1941
Three works: (i) Particles; (ii) Corner Sections (Separately Projected); (iii) Partition Sections (3 Perspectives) (i) signed and dated “Barry Le Va 1968” lower right (ii) signed, titled and dated “Corner Sections (Separately Projected) B. Le Va 1977” lower right (iii) signed, titled and dated “Partition Sections (3 Perspectives) B Le Va 1981” lower right (i) ink on paper; (ii) pencil, ink, tape and collage on graph paper; (iii) ink, pencil and printed paper collage on card (i) 18 1/2 x 23 1/2 in. (47 x 59.7 cm.); (ii) 17 x 22 in. (43.2 x 56 cm.); (iii) 22 1/2 x 17 3/4 in. (57 x 45 cm.) (i) Executed in 1968.; (ii) Executed in 1977.; (iii) Executed in 1981. Estimate $12,000-18,000 Provenance (i) Sonnabend Gallery, New York David Nolan Gallery, New York Acquired from the above by the late owner in 1990 (ii-iii) Galerie Jahn und Fusban, Munich Acquired from the above by the late owner
(iii)
○
111. William Anastasi
b. 1933
Untitled (Subway Drawing) signed and dated “W. Anastasi 9.14.68” lower right graphite on paper 7 1/2 x 11 3/8 in. (19.1 x 28.9 cm.) Executed in 1968. Estimate $4,000-6,000
A Tale of Two Cities
Provenance Björn Ressle Fine Art, New York Acquired from the above by the late owner in 2007
(i)
○
112. Barry Le Va
b. 1941
Two works: (i) Maroon Felt; (ii) Untitled (i) signed, titled and dated “Maroon Felt B. Le Va 1968” lower right (ii) signed, inscribed and dated “Galerie Ricke . Cologne black & red iron oxide B Le Va 1969” lower right (i) ink, charcoal, tape and paper collage on paper (ii) ink, crayon and felt tip pen on paper (i) 11 3/4 x 17 3/4 in. (30 x 45.1 cm.) (ii) 10 7/8 x 8 1/2 in. (27.6 x 21.6 cm.) (i) Executed in 1968. (ii) Executed in 1969. Estimate $5,000-7,000 Provenance (i) Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1989 (ii) Galerie Jahn und Fusban, Munich Acquired from the above by the late owner
(ii)
Property from the Estate of Howard Karshan
○
113. Joel Shapiro
b. 1941
Untitled signed and dated “SHAPIRO 77” on the reverse charcoal on paper 23 3/4 x 21 in. (60.3 x 53.3 cm.) Executed in 1977. Estimate $15,000-20,000 Provenance Thomas Segal Gallery, Boston Paula Cooper Gallery, New York Acquired from the above by the late owner Exhibited Amsterdam, Stedelijk Museum; Kunstmuseum Düsseldorf; Staatliche Kunsthalle BadenBaden, Joel Shapiro, September 6, 1985 - March 31, 1986, no. 49 (illustrated, dated 1979, n.p.) Miami, Center for the Fine Arts, Joel Shapiro: Selected Drawings 1968-1990, April 6 - June 2, 1991, fg. 3 (illustrated, dated 1979, p. 11)
○
114. Robert Barry
b. 1936
Untitled graphite and press type on paper 23 x 23 in. (58.4 x 58.4 cm.) Executed in 1976. Estimate $5,000-7,000 Provenance Holly Solomon Gallery, New York Acquired from the above by the late owner in 1990
A Tale of Two Cities
(i)
○
(iii)
(ii)
115. Terry Winters
b. 1949
○
Three works: (i) Genova; (ii) Untitled #10; (iii) Untitled #12 (i) signed and dated “Terry Winters 1988” on the reverse (ii) signed, titled and dated “#10 Terry Winters 11/87” on the reverse (iii) signed, titled and dated “#12 Terry Winters 11/87” on the reverse gouache and watercolor on paper (i) 14 1/2 x 11 in. (36.8 x 27.9 cm.) (ii) 12 1/4 x 8 3/4 in. (31.1 x 22.2 cm.) (iii) 12 x 8 1/2 in. (30.5 x 21.5 cm.) (i) Executed in 1988. (ii-iii) Executed in 1987. Estimate $10,000-15,000
116. Ross Bleckner
b. 1949
Untitled signed “Ross Bleckner” on the reverse oil on paper 23 x 28 7/8 in. (58.4 x 73.3 cm.) Executed in 1981. Estimate $3,000-4,000 Provenance Hirschl & Adler Modern, New York Acquired from the above by the late owner Exhibited New York, Hirschl & Adler Modern, Intuitive Line, December 6, 1986 - January 3, 1987
Provenance (i-ii) Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1989 (iii) Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1988
Property from the Estate of Howard Karshan
○
117. Dan Flavin
1933-1996
Untitled (best wishes to Gisela, Köln 11 16 70) signed with the artist’s initials, dedicated and dated “best wishes Dan (to Gisela) Koln 11 16 70 DNF” lower right ballpoint pen on stationery 11 5/8 x 8 1/2 in. (29.5 x 21.6 cm.) Executed in 1970. Estimate $6,000-8,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner Exhibited New York, The Morgan Library & Museum; Kunsthalle Bielefeld, Dan Flavin: Drawing, February 17, 2012 - March 3, 2013, no. 80 (illustrated, p. 136)
○
118. Richard Serra
b. 1938
Balanced signed, titled and dated “Balanced Serra 70” on the reverse graphite on paper 13 7/8 x 17 1/8 in. (35.5 x 43.5 cm.) Executed in 1970. Estimate $2,000-3,000 Provenance Maria Colao, Rome Christie’s, London, June 29, 1999, lot 108 Acquired at the above sale by the late owner
A Tale of Two Cities
(i)
○
119. Fred Sandback
1943-2003
Three Works: (i) No. 70; (ii) No. 83; (iii) No. 128 (i) signed, titled and dated “No. 70 Sandback 69” lower right (ii) signed, titled and dated “No. 83 Sandback 69” lower right (iii) signed, titled and dated “No. 128 Sandback 69” lower right (i-ii) graphite and felt tip pen on paper (iii) graphite, felt tip pen and colored pencil on paper each 5 1/8 x 7 7/8 in. (13 x 20 cm.) Executed in 1969.
(ii)
(iii)
Estimate $8,000-12,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner Exhibited Cambridge, Kettle’s Yard Gallery, Fred Sandback, May 7 June 26, 2005 Property from the Estate of Howard Karshan
○
120. Sam Francis
1923-1994
○
121. Sam Francis
1923-1994
Untitled signed, inscribed and dated “Sam Francis 1950 Paris”, numbered “SF50-010” and stamped by the Sam Francis Estate on the reverse ink on paper 30 7/8 x 22 3/4 in. (78.4 x 57.8 cm.) Executed in 1950.
Untitled signed and dated “Sam Francis 1950”, numbered “SF50-076” and stamped by the Sam Francis Estate on the reverse ink on paper 21 1/2 x 17 in. (54.6 x 43.2 cm.) Executed in 1950.
This work is identifed with the interim identifcation number of SF50-009 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.
This work is identifed with the interim identifcation number of SF50-076 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.
Estimate $8,000-12,000 Provenance Estate of Sam Francis, California (1994) Gallery Delaive, Amsterdam (acquired from the above in 1997) Acquired from the above by the late owner in 2000
Estimate $4,000-6,000 Provenance Estate of Sam Francis, California (1994) Gallery Delaive, Amsterdam (acquired from the above in 1997) Acquired from the above by the late owner in 2003 For additional information, please refer to phillips.com.
For additional information, please refer to phillips.com. A Tale of Two Cities
Property from the Estate of Howard Karshan
122. Walead Beshty
b. 1976
Selected Works (2009-2010 / March 20, 2010-November 15, 2010) color photographic paper, black and white fber based photographic paper and archival inkjet papers, in artist’s frame 90 x 50 in. (228.6 x 127 cm.) Executed in 2011. Estimate $25,000-35,000 Provenance Wallspace Gallery, New York Acquired from the above by the present owner Exhibited Malmo Kunsthalle; Madrid, Centro de Arte Dos de Mayo, Walead Beshty: A Diagram of Forces, February 19 May 1, 2011
123. No Lot
124. Ralph Goings
1928-2016
Salt Shaker signed and dated “Goings 88” lower right watercolor on foamcore image 4 3/4 x 3 in. (12.1 x 7.6 cm.) overall 7 x 5 in. (17.8 x 12.7 cm.) Executed in 1988. Estimate $6,000-8,000 Provenance The Estate of Ralph Goings Acquired from the above by the present owner
125. Tom Blackwell
b. 1938
Parked Harley - Third St. Naples signed, titled and dated ““PARKED HARLEY” THIRD ST., NAPLES Tom Blackwell © 2010” on the reverse oil on canvas 11 x 13 in. (27.9 x 33 cm.) Painted in 2010. Estimate $7,000-10,000 Provenance Acquired directly from the artist by the present owner Literature Louis K. Meisel, Photorealism in the Digital Age, New York, 2013, no. 112 (illustrated, p. 67) Linda Chase, Tom Blackwell: The Complete Paintings 1970-2014, New York, 2015, no. 159 (illustrated, p. 167)
126. John Baeder
b. 1938
Pappy’s Place, Nashville, TN signed, titled and dated “PAPPY’S PLACE NASHVILLE, TN. Baeder ’85” on the stretcher oil on canvas 30 x 48 in. (76.2 x 121.9 cm.) Painted in 1985. Estimate $20,000-30,000 Provenance OK Harris Works of Art, New York Hooks-Epstein Galleries, Inc., Houston Acquired from the above by the present owner
Exhibited Krakow, National Museum, American Dream, July 1 - October 4, 2009, p. 48-49 (illustrated) Kunsthalle Tubingen; Madrid, Museum Thyssen-Bornemisza; Saarbrucken, Saarland Museum; Birmingham Museum & Art Gallery; Bilbao, Museo de Bellas Artes; Tallinn, Kumu Art Musuem of Estonia; Brussels, Museé d’Ixelles; Osthaus Museum in Hagen; Kunsthal Rotterdam; Tampa Museum of Art, Photorealism: 50 Years of Hyperrealistic Painting, December 8, 2012 - October 22, 2017 Literature Louis K. Meisel, Photorealism Since 1980, New York, 1993, no. 26 (illustrated, p. 24) Joseph Jacobs, “The Two Sides of Photorealism”, Art and Antiques, April 2008, p. 73 (illustrated) Magelena Czubińska, ed., American Photorealism, Kraków, 2009, p. 44 (illustrated, p. 45)
Property from an Important East Coast Collection
127. John Chamberlain
(i)
(ii)
1927-2011
Four Works: (i-iv) Untitled (i-ii) signed and numbered “John Chamberlain 1/9” lower right; further stamped with a blindstamp in the margin (iii) signed and numbered “John Chamberlain 3/9” lower right; further stamped with a blindstamp in the margin (iv) signed and numbered “John Chamberlain 4/9” lower right; further stamped with a blindstamp in the margin chromogenic print each 20 x 24 in. (50.8 x 61 cm.) (i) Executed in 2001, this work is number 1 from an edition of 9. (ii) Executed in 2002, this work is number 1 from an edition of 9. (iii) Executed in 2001, this work is number 3 from an edition of 9. (iv) Executed in 1989, this work is number 4 from an edition of 9. Estimate $5,000-7,000
(iii)
(iv)
Provenance Xavier Hufens, Brussels Acquired from the above by the present owner
128. Roe Ethridge
b. 1969
Liberty Square, Liberty NY signed, titled and dated “Liberty Square, Liberty NY 2005 Roe Ethridge” on the reverse chromogenic print 40 x 57 1/4 in. (101.6 x 145.4 cm.) Executed in 2005, this work is number 4 from an edition of 5 plus 2 artist’s proofs. Estimate $7,000-10,000 Provenance greengrassi, London Acquired from the above by the present owner Exhibited New York, Whitney Museum of American Art, Two Years, October 17, 2007 – February 17, 2008 (another example exhibited)
129. Roe Ethridge
b. 1969
Ceaderhurst Mall Sign chromogenic print 50 x 40 in. (127 x 101.6 cm.) Executed in 2004, this work is number 3 from an edition of 5 plus 2 artist’s proofs. Estimate $7,000-10,000 Provenance greengrassi, London Acquired from the above by the present owner Exhibited Boston, Institute of Contemporary Art, Momentum 4, May 18 – September 5, 2005, n.p. (another example exhibited and illustrated) London, greengrassi, Roe Ethridge: County Line, May 24 - June 25, 2005, n.p. (another example exhibited and illustrated) New York, Andrew Kreps Gallery, County Line Plus Town and Country, November 19 December 17, 2005, n.p. (another example exhibited and illustrated) London, Pace Gallery, Group Exhibition: Today’s Specials, July 31 - September 6, 2014 (another example exhibited)
130. Pierre et Gilles
b. 1950/1953
L’Innocence signed, titled, inscribed and dated “L’innocence alice 2003 pierre gilles” on the reverse of the frame acrylic on chromogenic print, in artist’s frame 59 x 47 1/2 in. (149.9 x 120.7 cm.) Executed in 2003, this work is unique. Estimate $10,000-15,000 Provenance Galerie Jérôme de Noirmont, Paris Acquired from the above by the present owner in 2005 Exhibited Paris, Galerie Jérôme de Noirmont, Pierre et Gilles: Le Grand Amour, September 24 - November 18, 2004, p. 108 (illustrated, p. 41)
131. Douglas Gordon
b. 1966
Self Portrait of You + Me (Bob Dylan 01) signed “Douglas Gordon” on a studio label accompanying the work burnt gelatin silver print and ash on mirror, in artist’s frame 48 x 40 3/8 in. (121.9 x 102.6 cm.) Executed in 2001. Estimate $15,000-20,000 Provenance Private Collection Acquired from the above by the present owner
132. Matthew Barney
b. 1967
CREMASTER 3: Pediment signed, stamped with the artist’s crest and dated “Matthew Barney 02” on the reverse of the lef element chromogenic print, in artist’s frame, in 2 parts each 45 1/2 x 33 1/2 in. (115.6 x 85.1 cm.) Executed in 2002, this work is number 3 from an edition of 3 plus 1 artist’s proof. Estimate $18,000-22,000
Provenance Barbara Gladstone Gallery, New York Acquired from the above by the present owner Exhibited Cologne, Museum Ludwig; Musée d’Art Moderne de la Ville de Paris; New York, Solomon R. Guggenheim Museum, Matthew Barney: The Cremaster Cycle, June 6, 2002 - June 4, 2003, p. 512 (another example exhibited)
133. Josh Kline
b. 1979
Dress Jeans signed “J Kline” on a label afxed to the reverse chromogenic print 30 x 20 in. (76.2 x 50.8 cm.) Executed in 2011, this work is number 2 from an edition of 3. Estimate $3,000-5,000
Provenance 47 Canal, New York Acquired from the above by the present owner Exhibited New York, 47 Canal, Josh Kline: Dignity and Self-Respect, November 4 - December 18, 2011 (another example exhibited)
134. Wolfgang Tillmans
b. 1968
Diamantring signed, titled, numbered and dated “Diamantring 98 2/3 + 1 Wolfgang Tillmans” on the reverse chromogenic print 24 x 20 in. (61 x 50.8 cm.) Executed in 1998, this work is number 2 from an edition of 3 plus 1 artist’s proof. Estimate $8,000-12,000
Provenance Galerie Buchholz, Cologne Acquired from the above by the present owner Exhibited Karlsruhe, ZKM | Museum für Neue Kunst, Extended: Works from the Landesbank Baden-Württemberg Collection, May 21 – October 18, 2009, p. 305 (another example exhibited and illustrated, p. 252)
Property of an Important East Coast Collector
135. Elad Lassry
b. 1977
Dachshunds, Poodles chromogenic print, in artist’s frame 14 1/2 x 11 1/2 x 1 1/2 in. (36.8 x 29.2 x 3.8 cm.) Executed in 2012, this work is number 5 from an edition of 5 plus 2 artist’s proofs. Estimate $4,000-6,000 Provenance David Kordansky Gallery, Los Angeles Acquired from the above by the present owner
Property of an Important East Coast Collector
136. Elad Lassry
b. 1977
Property of an Important East Coast Collector
137. Elad Lassry
b. 1977
Ghost, Scarecrow chromogenic print, in artist’s frame 14 1/2 x 11 1/2 x 1 1/2 in. (36.8 x 29.2 x 3.8 cm.) Executed in 2011, this work is number 3 from an edition of 5 plus 2 artist’s proofs.
Woman (Painting) chromogenic print, in artist’s frame 14 1/2 x 11 1/2 x 1 1/2 in. (36.8 x 29.2 x 3.8 cm.) Executed in 2010, this work is number 4 from an edition of 5 plus 2 artist’s proofs.
Estimate $4,000-6,000
Estimate $4,000-6,000
Provenance David Kordansky Gallery, Los Angeles Acquired from the above by the present owner
Provenance Luhring Augustine, New York Acquired from the above by the present owner Exhibited New York, Luhring Augustine, Elad Lassry, October 30 - December 18, 2010, p. 10 (another example exhibited and illustrated, p. 11)
138. Jonathan Horowitz
b. 1966
Coke / Pepsi (594 CANS) acrylic on vinyl 115 1/8 x 81 1/8 x 1 5/8 in. (292.4 x 206.1 x 4.1 cm.) Executed in 2011, this work is unique. Estimate $20,000-30,000
Provenance Sadie Coles HQ, London Acquired from the above by the present owner
139. Nate Lowman
b. 1979
Untitiled (Ceiling painting for Steven) signed and dated “Nate Lowman 2015” on the overlap latex on linen 66 x 90 in. (167.6 x 228.6 cm.) Executed in 2015.
Estimate $30,000-40,000 Provenance Maccarone, New York Acquired from the above by the present owner
140. Cheyney Thompson
b. 1975
1998 signed, titled and dated ““1998” Cheyney Thompson 2004” on the overlap acrylic on linen 33 7/8 x 32 in. (86 x 81.3 cm.) Painted in 2004. Estimate $10,000-15,000 Provenance Andrew Kreps Gallery, New York Acquired from the above by the present owner Exhibited New York, Andrew Kreps Gallery, Cheyney Thompson: 1998, March 13 April 10, 2004
141. Rosson Crow
b. 1982
Canyons of Heroes signed and dated “Rosson Crow 2011” on the reverse acrylic and oil on canvas 108 x 75 in. (274.3 x 190.5 cm.) Painted in 2011. Estimate $5,000-7,000 Provenance Honor Fraser, Los Angeles Acquired from the above by the present owner
142. Garth Weiser
b. 1979
Monochrome #1 signed and dated “Garth Weiser 2014” on the reverse oil on canvas 60 x 48 in. (152.4 x 121.9 cm.) Painted in 2014. Estimate $20,000-30,000 Provenance Casey Kaplan, New York Acquired from the above by the present owner
143. Mark Hagen
b. 1972
To Be Titled (Additive Painting #29) signed and dated “MARK HAGEN 4/2011 MARK HAGEN 4/2011” on the overlap acrylic on burlap mounted on canvas 86 1/2 x 119 in. (219.7 x 302.3 cm.) Executed in 2011. Estimate $15,000-20,000
Provenance China Art Objects, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, China Art Objects, Mark Hagen: TBA, May 21 - June 25, 2011
144. Hugh Scott-Douglas
b. 1988
Untitled (Torn Cheque) each signed and dated “Hugh ScottDouglas 2013” on a label afxed to the stretcher laser cut gessoed linen, in 2 parts each 80 x 40 in. (203.2 x 101.6 cm.) overall 80 x 84 in. (203.2 x 213.4 cm.) Executed in 2013. Estimate $12,000-18,000 Provenance Blum & Poe, Los Angeles Acquired from the above by the present owner
145. Chris Succo
b. 1979
Edge of Seventeen signed and dated “Chris Succo 2015” on the reverse oil and lacquer on linen 90 1/2 x 67 7/8 in. (229.9 x 172.4 cm.) Executed in 2015. Estimate $8,000-12,000 Provenance Almine Rech, Brussels Acquired from the above by the present owner Exhibited Brussels, Almine Rech, Chris Succo: Language of Elbow, April 23 May 23, 2015
146. Alex Hubbard
b. 1975
Calavera signed and dated “A HUBBARD 2010” on the overlap oil, resin and fberglass on canvas 52 x 46 in. (132.1 x 116.8 cm.) Executed in 2010. Estimate $10,000-15,000 Provenance Greene Nafali, New York Acquired from the above by present owner
147. Louise Fishman
b. 1939
Untitled signed and dated “Louise Fishman 1985” on the reverse charcoal on paper 61 x 41 in. (154.9 x 104.1 cm.) Executed in 1985. Estimate $5,000-7,000 Provenance Berry Campbell, New York Acquired from the above by the present owner
148. Analia Saban
b. 1980
Decant (Black and White Pigments) #2 encaustic on linen 24 x 20 in. (61 x 50.8 cm.) Executed in 2011. Estimate $5,000-7,000 Provenance Thomas Solomon Gallery, Los Angeles Acquired from the above by the present owner
149. Analia Saban
b. 1980
Ink on Paper, Ofset: Grid #2 ink on laser-cut paper 25 x 19 in. (63.5 x 48.3 cm.) Executed in 2010. Estimate $4,000-6,000 Provenance Thomas Solomon Gallery, Los Angeles Acquired from the above by the present owner
150. Gardar Eide Einarsson
b. 1976
Los Angeles (The Insurrection) signed, titled and dated ““LOS ANGELES (THE INSURRECTION)” Einarsson 2007” on the stretcher acrylic on canvas and painted wooden blocks installed 64 x 48 x 10 in. (162.6 x 121.9 x 25.4 cm.) Executed in 2007. Estimate $4,000-6,000 Provenance Gifed by the artist to the present owner
151. Adam McEwen
b. 1965
Untitled Text Msg (Teddy) signed with the artist’s initials and dated “AM 2008” lower right graphite on graph paper, in artist’s frame 12 x 10 in. (30.5 x 25.4 cm.) Executed in 2008. Estimate $6,000-8,000 Provenance Glenn Horowitz, East Hampton Acquired from the above by the present owner
152. Djordje Ozbolt
b. 1967
Ambush signed and dated “Djordje Ozbolt 2007” on the reverse acrylic on panel 16 x 12 in. (40.6 x 30.5 cm.) Painted in 2007. Estimate $3,000-5,000 Provenance Herald St., London Acquired from the above by the present owner
This lot is sold with No Reserve
153. Barnaby Furnas
b. 1973
Untitled signed, titled and dated “UNTITLED APRIL 2004 Barnaby Furnas” on the reverse watercolor on paper 7 x 10 in. (17.8 x 25.4 cm.) Executed in 2004. Estimate $2,000-3,000 • Provenance Private Collection, New York Christie’s, New York, November 16, 2006, lot 301 Acquired at the above sale by the present owner
Property from an Important East Coast Collection
154. William Baziotes
1912-1963
Untitled watercolor and graphite on paper 11 7/8 x 9 in. (30.2 x 22.9 cm.) Executed in 1934-1936, this work is stamped by The William Baziotes Estate. This work will be included in the forthcoming catalogue raisonnĂŠ being prepared by The William Baziotes Estate. Estimate $10,000-15,000
Provenance The William Baziotes Estate Private Collection, New York Hollis Taggart Galleries, New York Acquired from the above by the present owner in 2010
Property from an Important East Coast Collection
155. Jack Tworkov
1900-1982
Study for Nausica watercolor and graphite on paper 15 3/4 x 13 in. (40 x 33 cm.) Executed in 1952, this work is accompanied by a letter of authenticity signed by Hermine Ford. Estimate $4,000-6,000 Provenance The Estate of Jack Tworkov American Contemporary Art Gallery, Munich Acquired from the above by the present owner
156. Joe Bradley
b. 1975
Untitled signed and dated “Joe Bradley 13” on the reverse charcoal on paper 23 1/2 x 17 3/4 in. (59.7 x 45.1 cm.) Executed in 2013. Estimate $4,000-6,000 Provenance Gavin Brown’s enterprise, New York Acquired from the above by the present owner
157. Jakub Julian Ziołkowski Untitled signed and dated “JAKUB JULIAN ZIOŁKOWSKI 2006” on the reverse oil on canvas 27 1/2 x 23 5/8 in. (69.9 x 60 cm.) Painted in 2006. Estimate $5,000-7,000 Provenance Foksal Gallery, Warsaw Acquired from the above by the present owner in 2006
b. 1980
158. Eddie Peake
b. 1981
Molten Lava Death signed and dated “Eddie Peake 2013” on the reverse lacquered spray paint on polished stainless steel 39 1/2 x 27 1/2 x 2 in. (100.3 x 69.9 x 5.1 cm.) Executed in 2013. Estimate $7,000-10,000
Provenance White Cube, London Acquired from the above by the present owner Exhibited São Paulo, White Cube, Eddie Peake: Caustic Community (Masks And Mirrors), November 20, 2013 - February 8, 2014
159. Eddie Peake
b. 1981
Smiling Bacchante 1 signed, inscribed and dated “Eddie Peake 2011 Los Angeles” on the overlap spray paint on canvas 79 x 79 in. (200.7 x 200.7 cm.) Executed in 2011. Estimate $10,000-15,000
Provenance Mihai Nicodim Gallery, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Mihai Nicodim Gallery, Eddie Peake: Boydem, December 17, 2011 - February 3, 2012
160. Scott Olson
b. 1976
Untitled signed and dated “Scott Olson 2013” on the reverse of the frame oil and marble dust on panel, in artist’s frame 23 x 17 1/2 in. (58.4 x 44.5 cm.) Executed in 2013. Estimate $4,000-6,000 Provenance Overduin and Kite, Los Angeles Acquired from the above by the present owner
161. Jean-Baptiste Bernadet
b. 1978
Study for Sunset - 28 (Afer Frederic Church) signed, titled and dated “JB BERNADET STUDY FOR SUNSET - 28 (AFTER F. CHURCH) 2014” on the overlap oil on canvas 36 x 42 in. (91.4 x 106.7 cm.) Painted in 2014. Estimate $3,000-5,000 Provenance Retrospective Gallery, Hudson Acquired from the above by the present owner Exhibited Hudson, Retrospective Gallery, JeanBaptiste Bernadet: Studies for Sunsets, September 27 - November 9, 2014 Literature Alex Bacon, Jean-Baptiste Bernadet: Studies for Sunsets, New York, 2014, p. 90 (illustrated, p. 91)
162. Louis Eisner
b. 1988
Congo Rothko I signed “Louis E” on the reverse oil on canvas 72 x 100 in. (182.9 x 254 cm.) Painted in 2015. Estimate $12,000-18,000 Provenance The Still House Group, New York Acquired from the above by the present owner
163. Dean Levin
b. 1988
Untitled signed “Dean Levin” on the stretcher oil and pigment on canvas 40 3/4 x 30 5/8 in. (103.5 x 77.8 cm.) Executed in 2014. Estimate $3,000-5,000 Provenance Robert Blumenthal Gallery, New York Carmichael Gallery, New York Acquired from the above by the present owner
164. Joe Reihsen
b. 1979
Into Me signed and dated “Joe Reihsen 2013” on the reverse acrylic on panel, in artist’s frame 25 x 20 in. (63.5 x 50.8 cm.) Painted in 2013. Estimate $2,000-3,000 Provenance Anat Ebgi, Los Angeles Acquired from the above by the present owner in 2013
165. Hiroshi Sugito
b. 1970
Table 3 signed, titled and dated “table 3 HIROSHI SUGITO 2013” on the reverse acrylic and graphite on canvas 31 1/2 x 39 1/4 in. (80 x 99.7 cm.) Executed in 2013. Estimate $6,000-8,000 Provenance Marc Foxx Gallery, Los Angeles Acquired from the above by the present owner
Property from an Important East Coast Collection
166. Jan Dibbets
b. 1941
Colour Studies each consecutively numbered “I-X” lower lef and signed and numbered “Jan Dibbets 2/40” lower right chromogenic print, in 10 parts 23 1/2 x 23 1/2 in. (59.7 x 59.7 cm.) Photographed in 1973-1976 and printed in 2007, this work is number 2 from an edition of 40 plus 5 artist’s proofs. Estimate $4,000-6,000 Provenance Alan Cristea Gallery, London Acquired from the above by the present owner Exhibited London, Alan Cristea Gallery, Jan Dibbets: Land Sea Colour, March 21 - April 20, 2013, no. 14, n.p, (another example exhibited and illustrated, n.p.)
167. Lionel Estève
b. 1967
Sans Titre acrylic paper and self-adhesive tablets, in artist’s frame 62 3/4 x 47 1/4 in. (159.4 x 120 cm.) Executed in 2012. Estimate $6,000-8,000 Provenance Baronian_Francey, Brussels Acquired from the above by present owner
168. Deborah Kass
b. 1952
Six Red Barbras from the series Jewish Jackie signed, titled and dated “6 RED BARBRAS (JEWISH JACKIE series) D KASS 92” on the reverse acrylic and silkscreen ink on canvas 30 1/4 x 24 in. (76.8 x 61 cm.) Executed in 1992. Estimate $5,000-7,000 Provenance Marsha Fogel Gallery, East Hampton Acquired from the above by the present owner in 1992
This lot is sold with No Reserve
169. Kiki Seror
b. 1970
Not of Her Body, Her Thoughts Can Kill, Dulcinea signed, titled, numbered and dated “Kiki SEROR 2002 4/5 “Not of HER Body, her thoughts can kill, Dulcinea”” on the reverse digital duratran, plastic and neon diameter 48 in. (121.9 cm) Executed in 2002, this work is number 4 from an edition of 5. Estimate $4,000-6,000 • Provenance I-20, New York Acquired from the above by the present owner in 2004
Exhibited Athens, The Deste Foundation for Contemporary Art, Fusion Cuisine, June 20 - October 30, 2002, p. 157 (another example exhibited and illustrated, p. 143) New York, International Center of Photography, Strangers: The First ICP Triennial of Photography and Video, September 12 - November 30, 2003, pp. 220-221 (another example exhibited and illustrated) SITE Santa Fe, Kiki Seror: Ms. Survey, February 12 - May 1, 2005 (another example exhibited)
Property from an Important East Coast Collection
170. Dimitri Hadzi
1921–2006
Centaur bronze and marble 31 1/2 x 15 x 11 in. (80 x 38.1 x 27.9 cm.) Executed in 1958. Estimate $6,000-8,000 Provenance Danese Gallery, New York Acquired from the above by the present owner
Property from an Important East Coast Collection
171. Jon Isherwood
b. 1960
Singer of Tales I granite 56 x 50 x 51 in. (142.2 x 127 x 129.5 cm.) Executed in 2010. Estimate $20,000-30,000 Provenance Acquired directly from the artist by the present owner
Property from an Important East Coast Collection
172. Alain Kirili
b. 1946
Plastiras stamped with the artist’s initials “A.K.” on the base acrylic on forged iron 26 1/2 x 23 7/8 x 15 in. (67.3 x 60.6 x 38.1 cm.) Executed in 2003. Estimate $10,000-15,000 Provenance Danese Gallery, New York Acquired from the above by the present owner
173. Egor Zigura
b. 1984
Kore that Awakening incised with the number and date “10/15 2016” on the base bronze 69 x 17 x 15 1/4 in. (175.3 x 43.2 x 38.7 cm.) Executed in 2016, this work is number 10 from an edition of 15. Estimate $8,000-10,000 Provenance New Now Gallery, Kiev Acquired from the above by the present owner
NY Guide for Prospective Buyers Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty. All prospective bidders should read these sections carefully. They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneer’s announcement during the auction. The complete Conditions of Sale and Authorship Warranty applicable to this auction (Version October 18, 2018) are found online at phillips. com, along with detailed information on each lot. Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. All Lots are Subject to ‘Buyer’s Premium’ Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s 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 $300,000, 20% of the portion of the hammer price above $300,000 up to and including $4,000,000 and 12.5% of the portion of the hammer price above $4,000,000. Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot. Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect all lots at our pre-sale exhibitions, and contact our staff with any questions. Bidding at Auction You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend registering at least 24 hours prior to sale to ensure that you can bid. Good luck!
Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. Alternatively, we will either provide packing, handling and shipping services or coordinate with shipping agents in order to facilitate such services for property purchased at Phillips. In the event that the property is collected in New York by the buyer or the buyer’s designee (including any private carrier) for subsequent transport out of state, Phillips may be required by law to collect New York sales tax, regardless of the lot’s ultimate destination. Please refer to Paragraph 17 of the Conditions of Sale for more information. Some lots are sold under special conditions. Phillips uses the following symbols to designate these lots: O Guaranteed Property Lots designated with the symbol [O] are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the fnancial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be signifcant Phillips may choose to share the burden of that fnancial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the third party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fxed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated. Disclosure of fnancial interest by third parties Phillips requires third party guarantors to disclose their fnancial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confrm whether or not they have a fnancial interest in the lot.
Ready to go digital? Sign up. Phillips is investing in new digital services so you can explore and experience our auctions when and how you want. Create an online account today and see what’s new. Visit phillips.com/godigital to get started.
Bid anywhere. Participating in our auctions is easier than ever. Browse upcoming sales, track lots, watch our live auctions and place bids from your phone. Now available for iOS and Android. Download the app today to get started.
∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. •No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot will not exceed the low pre-sale estimate. Σ Regulated Species Items made of or incorporating certain designated plant or animal material, including but not limited to coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, (irrespective of age, percentage, or value), may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We recommend that prospective bidders check with their own local restrictions regarding such requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. 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. Privacy Our Privacy Policy is available at www.phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. Phillips premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third party websites and applications. Your communications with Phillips, including by phone and online (e.g. phone and on-line bidding) may be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy.
Photographs 4 April 2019, New York Public Viewing 27 March-3 April at 450 Park Avenue Enquiries photographs@phillips.com +1 212 940 1245 Ahmet Ertug The Library of Trinity College, ‘The Long Room’, Dublin, 2008
Visit us at phillips.com
Sale Information Auction & Viewing Location 450 Park Avenue New York 10022
Auction License 2013224
20th Century & Contemporary Art Department
Auction Wednesday, 27 February 2019, 11am
Auctioneers Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Adam Clay - 2039323 Jonathan Crockett - 2056239 Kaeli Deane - 2058810 Samuel Mansour - 2059023 Rebecca Tooby-Desmond - 2058901 Susan Abeles - 2074459
Head of Sale Sam Mansour +1 212 940 1219 smansour@phillips.com
Viewing 19 – 26 February Tuesday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010119 or New Now. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com
Catalogues catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200
Front cover Mary Weatherford, Truxtun, 2012, lot 41 © Mary Weatherford Inside front cover Andy Warhol, Rollover Mouse from the series Toy Paintings, 1983, lot 39 (detail) © 2019 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York Frontispiece Kehinde Wiley, Untitled, 2012, lot 36 (detail) © 2019 Kehinde Wiley Lots 7 & 30 Courtesy of the artist and Simon Lee Gallery Opposite Peter Halley, Three Prisons, 2009, lot 28 (detail) © Peter Halley Opposite index Sam Gilliam, So They Can, 1966, lot 58 (detail) © 2019 Sam Gilliam/Artists Rights Society (ARS), New York Inside back cover Sam Francis, Untitled, circa 1990, lot 59 (detail) © 2019 Sam Francis/Artists Rights Society (ARS), New York Back cover Jenny Holzer, Truisms: All things are delicately interconnected..., 1987, lot 40 © 2019 Jenny Holzer, member Artists Rights Society (ARS), New York
Shipping Anaar Desai +1 212 940 1320 Daren Khan +1 212 940 1335 Photographers Kent Pell Matthew Kroening Jean Bourbon Marta Zagozdzon
Cataloguer Avery Semjen +1 212 940 1207 asemjen@phillips.com Administrator Flavia Grilli +1 212 940 1227 fgrilli@phillips.com Property Manager Mark Staford +1 212 940 1357 mstaford@phillips.com
28. Peter Halley
450 Park Avenue New York 10022 phillips.com +1 212 940 1200 bidsnewyork@phillips.com Please return this form by email to bidsnewyork@phillips.com at least 24 hours before the sale. 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): Paddle Number
In-person Absentee Bidding Telephone Bidding
• Company purchases: 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. • Conditions of Sale: 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.
Please indicate in what capacity you will be bidding (please select one):
As a private individual On behalf of a company
• If you cannot attend the sale, we can execute bids confidentially on your behalf.
Sale Title Title
• Private purchases: Proof of identity in the form of government-issued identification will be required.
Sale Number First Name
Sale Date
Surname Account Number
Company (if applicable) Address
• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s 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 $300,000, 20% of the portion of the hammer price above $300,000 up to and including $4,000,000 and 12.5% of the portion of the hammer price above $4,000,000 on each lot sold. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.
City
• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable sales or use tax. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve 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.
State/Country
Zip Code Phone
Mobile
Fax
• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.
Phone (for Phone Bidding only) Phone number to call at the time of sale (for Phone Bidding only) 1.
• If we receive identical bids, the first bid received will take precedence.
2.
Please complete the following section for telephone and absentee bids only Lot Number
Brief Description
In Consecutive Order
US $ Limit* Absentee Bids Only
• Arranging absentee and telephone bids is a free service 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. • Please submit your bids to the Bid Department by email to bidsnewyork@phillips.com or by fax at +1 212 924 1749 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +1 212 940 1228. • Absent prior payment arrangements, please provide a bank reference. Payment can be made by cash (up to $10,000), credit card (up to $50,000), money order, wire transfer, bank check or personal check with identification. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com. • 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.
* Excluding Buyer’s Premium and sales or use taxes
Signature
Date
By checking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.
Please check this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.
NewNow London, 11 April 2019
Public Viewing 4 – 10 April 2019, at 30 Berkeley Square, London W1J 6EX Enquiries contemporaryartlondon@phillips.com +44 20 7318 4082
Ugo Rondinone b. 1964 achtundzwanzigsterjulizweitausendundelf acrylic and glitter on polyester with accompanying silkscreen on Plexiglas plaque 200 x 500 cm (78 3/4 x 196 7/8 in.) Executed in 2011.
Visit us at phillips.com
Index Aitken, D. 35
Einarsson, G. E. 150
Lara, A. 76
Saban, A. 148, 149
Allora & Calzadilla 33
Eisner, L. 162
Lassry, E. 135–137
Sandback, F. 119
Anastasi, W. 111
Eliasson, O. 93
Le Va, B. 108–110, 112
Schütte, T. 68-70
Arcangel, C. 29
Emin, T. 95
Levin, D. 163
Scott-Douglas, H. 144
Aubertin, B. 63
Erizku, A. 1
LeWitt, S. 44
Seror, K. 169
Estève, L. 167
Lowman, N. 139
Serra, R. 118
Bächli, S. 106, 107
Shapiro, J. 113
Ethridge, R. 128, 129
Baeder, J. 126
Madani, T. 89
Shirref, E. 91
Barney, M. 132
Ferber, H. 48
Martinez, E. 10
Simmons, G. 30
Barry, R. 114
Fischl, E. 83, 104
McCarthy, P. 90
Smith, D. 45, 46
Baziotes, W. 154
Fishman, L. 147
McEwen, A. 151
Stamos, T. 47, 54
Bernadet, J.-B. 161
Flavin, D. 117
Meese, J. 97
Steinbach, H. 84
Bernhardt, K. 2
Fonseca, C. 62
Mosset, O. 15
Steinberg, S. 81
Beshty, W. 122
Francis, S. 59, 120, 121
Muniz, V. 123
Stella, F. 55, 56
Biggers, S. 85
Furnas, B. 153
Murillo, O. 18
Succo, C. 145
Bleckner, R. 116
Gagliardi, L. 3
Nahas, N. 61
Bluhm, N. 53
Gaillard, C. 92
Neto, E. 72
Botero, F. 74
Gelitin 88
Bove, C. 19
Gilliam, S. 58
Olitski, J. 60
Thompson, C. 140
Bradley, J. 156
Goings, R. 124
Olson, S. 160
Tillmans, W. 134
Gokita, T. 8, 9
Ostrowski, D. 7
Tuttle, R. 105
Gordon, D. 131
Otero, A. 23
Tworkov, J. 155
Sugito, H. 165
Blackwell, T. 125
Carpinteros, L. 73, 77
Sullivan, R. 16 The Haas Brothers 20
Ozbolt, D. 152
Chamberlain, J. 50, 127
Warhol, A. 39
Cole, M. 66, 67
Hadzi, D. 170
Connors, M. 13
Hagen, M. 143
Party, N. 21
Weatherford, M. 41
Copley, W. 102, 103
Halley, P. 28
Peake, E. 158, 159
Weiser, G. 12, 142
Cortright, P. 5, 6
Hersberger, L. 94
Penck, A.R. 98
Wesselmann, T. 38
Crow, R. 141
Holzer, J. 40
Pettibon, R. 101
Whittaker, D. K. 87
Horowitz, J. 138
Pierre et Gilles 130
Wiley, K. 36, 37
Da Corte, A. 4
Houseago, T. 86
Pierson, J. 32
Winters, T. 115
Dadson, A. 14
Hubbard, A. 146
Poons, L. 57 Pousette-Dart, R. 49
Dávila, J. 71 de Kooning, W. 80
Isherwood, J. 171
Yigang, W. 65
Price, K. 22 Prince, R. 31
Zigura, E. 173
Jenkins, P. 64
Pruitt, R. 27
Ziolkowski, J. J. 157
Dunham, C. 99, 100
Kass, D. 168
Ramos, M. 82
Dzubas, F. 52
Katz, A. 78, 79
Rayo, O. 75
Keogh, C. 11
Reihsen, J. 164
Kirili, A. 172
Resnick, M. 43
Kline, J. 133
Rosa, C. 17
Koons, J. 96
Ruby, S. 24-26
di Suvero, M. 51 Dibbets, J. 166 Dine, J. 42
Krebber, M. 34
58. Sam Gilliam
00. artist
59. Sam Francis
phillips.com