CONTEMPORARY ART DAY SALE [CATALOGUE]

CoNtemporarY art new York DaY sale 15 maY 2015

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CONTEMPORARY ART Sale information NEw YoRK DAY SALE 15 MAY 2015

AuCtiOn & Viewing LOCAtiOn 450 Park Avenue New York 10022 AuCtiOn 15 May 2015 at 11am Viewing 9 – 14 May Monday – Saturday 10am – 6pm Sunday 12pm – 6pm SALe DeSignAtiOn when sending in written bids or making enquiries please refer to this sale as NY010415 or Contemporary Art Day Sale.

ABSentee AnD teLephOne BiDS tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

COntempOrAry Art DepArtment heAD OF SALe Kate Bryan +1 212 940 1267 kbryan@phillips.com reSeArCherS Katherine Lukacher +1 212 940 1215 klukacher@phillips.com Samuel Mansour +1 212 940 1219 smansour@phillips.com ADminiStrAtOr Paula Campolieto +1 212 940 1255 pcampolieto@phillips.com regiStrAr Lane LaColla +1 212 940 1369 llacolla@phillips.com

Front Cover John Chamberlain, Untitled, 1961, lot 126 © 2015 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York Opposite Thomas Demand, Yellowcake, 2007, lot 142 (detail of Embassy VIIa) © 2015 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Back Cover Carol Bove, Untitled, 2009, lot 124 (detail) © Carol Bove, Courtesy Maccarone, New York and David Zwirner, New York/London

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Contemporary art New York Day Sale 15 May 2015 at 11 am Lots 101-338

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101 Harold ancart b. 1980 Untitled, 2012 oil stick, pencil on paper 51 3/4 x 33 1/2 in. (131.5 x 85 cm) Signed and dated “Harold Ancart 2012� on the reverse.

Estimate $30,000-40,000 provenance Xavier Hufens, Brussels Private Collection, Paris

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102 Sam moyer b. 1983 Untitled, 2012 ink on canvas mounted to wood panel 24 x 18 in. (61 x 45.7 cm) Signed and dated “Sam Moyer 2012� on the reverse.

Estimate $8,000-12,000 provenance Galerie Rodolphe Janssen, Brussels

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103 Tony Lewis b. 1986 no, 2013 pencil, graphite powder on paper 84 x 60 in. (213.4 x 152.4 cm) Estimate $30,000-50,000 provenance Private Collection

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104 AnAliA SAbAn b. 1980 Painting (with Brush), 2012 acrylic on canvas, plastic brush canvas 60 x 90 in. (152.4 x 228.6 cm) overall 74 1/2 x 90 x 2 in. (189.2 x 228.6 x 5.1 cm) Estimate $30,000-40,000 provenance Tanya Bonakdar Gallery, New York

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105 N. Dash b. 1980 W/1.W.C., 2013 acrylic, canvas, jute, string, adobe, wood support 47 1/2 x 93 in. (120.7 x 236.2 cm) Signed, titled, inscribed and dated “W/1.W.C. 102030 N.DASH 2013” on the reverse of the canvas element; further titled and inscribed “W/1.W.C. 102030” on the reverse of wood support.

Estimate $12,000-18,000 provenance Private Collection

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106 Grear Patterson b. 1988 Popeye, 2013 tarpaulin, canvas tarpaulin, laid on board, in 3 parts 54 x 54 in. (137.2 x 137.2 cm) Initialed and titled “GP Popeye” on the reverse of the mouth element; further initialed “GP” on the reverse of each element.

Estimate $10,000-15,000 provenance Acquired directly from the artist

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107 Brent Wadden b.1979 Alignment #11, 2013 handwoven fbers, wool, cotton, acrylic on canvas, in artist’s frame 79 x 83 in. (200.7 x 210.8 cm) Signed, titled and dated “ALIGNMENT #11 Brent Wadden 2013” on the reverse.

Estimate $30,000-50,000 provenance Private Collection

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108 Fredrik VærsleV b. 1979 Untitled #02, 2012 primer, spray paint, corrosion protective spray, white spirit on cotton canvas 88 5/8 x 86 5/8 in. (225 x 220 cm) Signed and dated “Fredrik Vaerslev 2012” along the overlap.

Estimate $120,000-180,000 provenance Campoli Presti, Paris exhibited Rome, Indipendenza Studio, FREDRIK VÆRSLEV, SUNNY SIDE UP, May 25 - September 8, 2012

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109

110

Chris suCCo b. 1979 Bitemark to the Chin, 2014 oil, lacquer on canvas, in artist’s frame 79 1/2 x 59 3/4 in. (201.9 x 151.8 cm) Signed “Chris Succo 2014” on the reverse.

Dan rees b. 1982 Untitled, 2012 plasticine on wood, in artist’s frame 63 1/2 x 48 in. (161.3 x 121.9 cm) Signed and dated “Dan Rees 2012” on the reverse.

Estimate $10,000-15,000

Estimate $30,000-40,000

provenance Private Collection

provenance Albert Baronian, Brussels

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112

SebaStian black b.1985 Chess Sickness, 2013 oil on linen 48 x 36 in. (121.9 x 91.4 cm) Signed and dated “SEBASTIAN BLACK 2013” on the reverse.

HugH Scott-DouglaS b. 1988 Chopped Bill, 2014 dye sublimation on linen 120 x 60 in. (304.8 x 152.4 cm) Signed and dated “Hugh Scott Douglas 2014” along the stretcher bar.

Estimate $20,000-30,000

Estimate $40,000-60,000

provenance CLEARING, New York

provenance Private Collection

exhibited New York, CLEARING, Sebastian Black, Unique Newark, November 22, 2013 - February 16, 2014

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113 Jonas Wood b. 1977 Yellow Plant Interior (Study), 2011 gouache, colored pencil on paper 19 1/4 x 15 1/4 in. (48.9 x 38.7 cm) Signed, titled and dated “YELLOW PLANT INTERIOR (STUDY) Jonas 2011” on the reverse.

Estimate $20,000-30,000 provenance Private Collection

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114 Nick DarmstaeDter b. 1988 Sof and Contemporary, 2012 magnets on galvanized steel panel 36 x 48 x 3 1/2 in. (91.4 x 121.9 x 8.9 cm) Initialed and dated “ND S&C� on the reverse.

Estimate $20,000-30,000 provenance The Still House Group, New York exhibited Miami, Bridge House, Banana Hammock, December 6 - December 9, 2012

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115 Guyton\Walker b. 1972/1969 Untitled #3, 2009 silkscreen, inkjet and acrylic on canvas laid on board 68 7/8 x 52 in. (175 x 132.1 cm) Estimate $150,000-250,000 provenance Private Collection exhibited Venice, 53rd International Art Exhibition, La Biennale di Venezia, Making Worlds, June 2 - November 22, 2009

Guyton\Walker, the artistic partnership of Wade Guyton and Kelley Walker since 2004, has borne one of the most prolifc collaborations in contemporary art of recent memory. In melding both artists’ distinctive practices of appropriation and image manipulation through analog and digital means, Guyton\Walker further develop their interrogation of authorship, authenticity, and the authority of the artist’s hand. The duo liberally borrows motifs from art and design to create their ofen brightly colored, pop-infected digital compositions, which are then silkscreened and inkjet-printed onto canvases, drywall, paint cans formica tables,

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plastic glassware, and mattresses. The use of utilitarian materials is no mere whimsical touch but further blurs the lines between art and design, art and commodity. The present lot comes from one of Guyton\Walker’s most lauded shows at the 53rd Venice Biennale in 2009 when they were included in the exhibition Making Worlds, curated by Daniel Birnbaum who served as the director of the Biennale that year. The union of their two hands, eyes, and minds indeed results in a “new world” of creative possibility – the conglomeration of these two independently successful and talented artists working in tandem as one.

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116 Gabriele de SantiS b. 1983 Nobody Beats the Wiz, 2014 acrylic on marble 48 x 36 in. (121.9 x 91.4 cm) Estimate $15,000-20,000 provenance Acquired directly from the artist Private Collection

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117 Rob PRuitt b. 1964 Power of the Panda (Ancient Chinese Panda), 2000 enamel paint, glitter on canvas 54 1/8 x 42 1/4 in. (137.5 x 107.3 cm) Estimate $60,000-80,000 provenance Cabinet Gallery, London Private Collection, London

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118

119

PetrA Cortright b. 1986 access easter eggs, 2013 digital painting on aluminum 36 x 48 in. (91.4 x 121.9 cm)

Cory ArCAngel b. 1978 Photoshop CS: 84 by 66 inches. 300DPI, RGB, square pixels, default gradient “Blue, Red, Yellow�, mousedown y=2300x=8600, mouseup y=2600x=8600, 2011 chromogenic print, diasec mounted 84 x 66 in. (213.4 x 167.6 cm) This work is unique and accompanied by a certifcate of authenticity signed by the artist.

Estimate $15,000-20,000 provenance Steve Turner Contemporary, Los Angeles

Estimate $30,000-50,000 provenance Lisson Gallery, New York exhibited London, Lisson Gallery, Speakers Going Hammer, October 12 November 12, 2011

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120 Dan Rees b. 1982 Gravel Master, 2014 oil, pebble dash on canvas 58 x 79 1/2 in. (147.3 x 201.9 cm) Signed and dated “Dan Rees 2014” on the reverse.

Estimate $25,000-35,000 provenance Private Collection

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121 Israel lund b. 1980 Untitled, 2012 acrylic on raw canvas, in 4 parts each 11 x 8.5 in. (27.9 x 21.6 cm) overall 23 x 18 in. (58.4 x 45.7 cm) Each signed twice and dated “ISRAEL LUND Israel Lund 2012” along the overlap.

Estimate $40,000-60,000 provenance Roberts & Tilton, Los Angeles

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122 Jacob Kassay b. 1984 Untitled, 2009 acrylic and silver deposit on canvas 48 x 36 in. (121.9 x 91.4 cm) Signed and dated “Jacob Kassay 2009” on the reverse.

Estimate $100,000-150,000 provenance Eleven Rivington, New York

“The surface of the work moves into attention and recedes from it, always oscillating. It ofen reminds me of the autofocus of a digital camera, which doesn’t know what to do with a silver painting’s surface when I’m trying to document the work. It goes in and out, unable to separate the painting’s present surroundings from the object itself.”

Jacob KaSSaY, 2013

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123 R.H. Quaytman b. 1961 Exhibition Guide, Chapter 15 [Jagged Edge Painting In Model], 2009 oil, silkscreen, gesso on wood 20 1/8 x 32 3/8 in. (51 x 82.3 cm) Estimate $80,000-120,000 provenance Miguel Abreu, New York exhibited Boston, The Institute of Contemporary Art, Momentum 15: R H Quaytman, November 18, 2009 - March 28, 2010

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124 Carol Bove b. 1971 Untitled, 2009 peacock feathers on linen, laid on board, in Plexiglas frame 38 1/2 x 24 1/2 x 5 in. (97.8 x 62.2 x 12.7 cm) Estimate $100,000-150,000 provenance Galerie Dennis Kimmerich, Düsseldorf

“I would never want to have something just be equivalent, like a one to one relationship. It’s always going to be rambling or dispersed. The peacock feathers—I feel like they have all these diferent points in history where they have a certain moment...”

Carol Bove, 2006

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property from

a private american collec tion Embodying the qualities of timelessness, conceptual rigor and enduring beauty, the Private American Collection exemplifes a precise curatorial vision that defly weds contemporary sensibilities to classical values. The result is a seminal group of works which is to be both distinctly of the now and everlasting in its resonance. Spanning the disciplines of painting, sculpture and photography, the collection was assembled with an unerring and discerning eye, a sincere refection of the collectors’ sophisticated tastes and generous values.

Grounding the following selection is a group of John Chamberlain works ranging from an important Untitled, 1961 cut-paper collage to an intimately scaled, but monumentally expressive, later metal sculpture, Tonk #10-83. The power and relevancy of these works is no less prevalent today than they were upon the works conception and creation. The texture of these pieces make them irresistibly tactile and approachable. In equal but opposite ways to the smooth perfection of Anish Kapoor’s Untitled acrylic cube, Tony Cragg’s ROUND THE BLOCK oscillates in the space it

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occupies through its malleable forms and sof tin patina. Obfuscating the boundary between sculpture and photography, paper drop (blue) by Wolfgang Tillmans, one of four examples ofered in this selection, is a beautiful example of the artist’s ability to redefne the parameters of the medium of photography. Elegantly depicting the simplest of found forms, paper drop (blue) exudes an immediate and surreal beauty, dissolving the boundary between thought and feeling, viewer and object.

An attentive curatorial eye for superlative and important examples by singular artists is a testament to the care that was given to establishing a true and illuminating dialogue between painting, sculpture and photography. This Private American Collection has, at its core, a deep and profound respect for the art and artists who have continued to push the boundaries of what culture is able to accomplish and afect in its production and appreciation. The collectors’ attention to the zeitgeist is indicative of the desire to support the artists working in their time. Such is the mentality of a true collector and connoisseur of the new.

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125 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

John Chamberlain 1927-2011 Tonk #10-83, 1983 painted steel 7 1/2 x 7 x 4 1/4 in. (19.1 x 17.8 x 10.8 cm) Signed “John Chamberlain” lower edge. This work has been recorded in the archives of the John Chamberlain studio.

Estimate $150,000-200,000 provenance Collection of the artist Xavier Fourcade, Inc., New York Sotheby’s, New York, Contemporary Art, February 15, 1989, lot 257 Private Collection, Europe Anthony Meier Fine Arts, San Francisco exhibited Amsterdam, Galerie Helen van der Meij, John Chamberlain: Tonks, April 21 - May 24, 1984 New York, Solomon R. Guggenheim Museum, John Chamberlain: Choices, February 24 - May 13, 2012 literature J. Sylvester, John Chamberlain: A Catalogue Raisonné of the Sculpture 1954 - 1985, New York: Hudson Hills Press, 1986, p. 204, cat. no. 743 S. Davidson, et al., John Chamberlain: Choices, exh. cat., Solomon R. Guggenheim Museum, New York, 2012, p. 147, no. 74 (illustrated)

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126 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

John Chamberlain 1927-2011 Untitled, 1961 printed paper, painted paper, cardboard, cellophane collage stapled on painted pressboard 15 x 12 in. (38.1 x 30.5 cm) Signed and dated “Chamberlain ’61” on the reverse. This work has been recorded in the archives of the John Chamberlain studio.

Estimate $150,000-200,000 provenance Walter Hopps Collection, Houston James Corcoran Gallery, Los Angeles Anthony Meier Fine Arts, San Francisco exhibited Houston, Rice University Art Gallery, long-term loan Paris, École des Beaux-Arts, 50 Years of American Drawings 1930 1980, May 3 - July 13, 1985, then traveled to Frankfurt, Stadel Museum (November 27, 1985 - January 26, 1986) literature 50 Years of American Drawings 1930 - 1980, exh. cat., Menil Foundation, Houston, 1985, pp. 110-111, pl. 53 (illustrated)

Kurt Schwitters, Opened by Customs, 1937-38, paper, printed paper, oil, graphite on paper, 13 x 9 7/8 in. (33.1 x 25.3 cm), Tate Gallery, London © ARS Artists Rights Society (ARS), New York

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127 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

John Chamberlain 1927-2011 Untitled, circa 1973 aluminum foil, acrylic lacquer, polyester resin 12 x 12 x 11 in. (30.5 x 30.5 x 27.9 cm) This work has been recorded in the archives of the John Chamberlain studio.

Estimate $40,000-60,000 provenance O.K. Harris, New York Christie’s, New York, Post-War and Contemporary Art, March 15, 2005, lot 169 Private Collection, Europe Anthony Meier Fine Arts, San Francisco

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128 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

John Chamberlain 1927-2011 Hano, 1970 mineral-coated synthetic polymer resin 26 x 42 x 36 in. (66 x 106.7 x 91.4 cm) This work has been recorded in the archives of the John Chamberlain studio.

Estimate $100,000-150,000 provenance Leo Castelli Gallery, New York Giuseppe Agrati, Rome The New Museum of Contemporary Art, New York Sotheby’s, New York, Contemporary Art, February 16, 1989, lot 247A Private Collection Leo Castelli Gallery, New York Phillips de Pury & Company, New York, Contemporary Art Part II, November 11, 2005, lot 272 Acquired at the above sale by the present owner

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exhibited New York, Leo Castelli Gallery, John Chamberlain, April 17 - May 8, 1971 New York, Solomon R. Guggenheim Museum, John Chamberlain: A Retrospective Exhibition, December 23, 1971 - February 20, 1972 New York, Solomon R. Guggenheim Museum, John Chamberlain: Choices, February 24 - May 13, 2012 literature John Chamberlain: A Retrospective Exhibition, exh. cat., Solomon R. Guggenheim Museum, New York, 1971, p. 88, no. 101 (illustrated) “From Various Exhibitions of Last Season”, Art International, vol. 15, no. 8, October, 1971, p. 33 (illustrated) J. Sylvester, John Chamberlain: A Catalogue Raisonné of the Sculpture 1954 - 1985, New York: Hudson Hills Press, 1986, p. 117, cat. no. 391 (illustrated) M. Stockebrand. John Chamberlain: The Foam Sculptures, Texas: The Chinati Foundation, 2007, p. 11 (illustrated) S. Davidson, et al., John Chamberlain: Choices, exh. cat., Solomon R. Guggenheim Museum, New York, 2011, p. 124, no. 57 (illustrated)

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129 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

John Chamberlain 1927-2011 Untitled, 1969 brown paper, silver foil, brown and green resin 6 x 5 1/2 x 5 in. (15.2 x 14 x 12.7 cm) This work has been recorded in the archives of the John Chamberlain studio.

Estimate $15,000-20,000 provenance Mizuno Gallery, Los Angeles Fred Hofman Fine Art, Santa Monica Anthony Meier Fine Arts, San Francisco exhibited Los Angeles, Mizuno Gallery, John Chamberlain, October, 1969

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130 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

John Chamberlain 1927-2011 Untitled, 1969 brown paper, dark brown resin 5 1/2 x 7 x 6 in. (14 x 17.8 x 15.2 cm) This work has been recorded in the archives of the John Chamberlain studio.

Estimate $15,000-20,000 provenance Mizuno Gallery, Los Angeles Fred Hofman Fine Art, Santa Monica Anthony Meier Fine Art, San Francisco exhibited Los Angeles, Mizuno Gallery, John Chamberlain, October, 1969

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131 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

John Chamberlain 1927-2011 Untitled, 1969 urethane foam, cord 5 x 6 x 5 in. (12.7 x 15.2 x 12.7 cm) This work has been recorded in the archives of the John Chamberlain studio.

Estimate $8,000-12,000 provenance Collection of the artist Galerie Heiner Friedrich, Munich Georg Baselitz, Munich Galerie Daniel Blau, Munich Anthony Meier Fine Arts, San Francisco exhibited Marfa, The Chinati Foundation, John Chamberlain - Foam Sculptures 19661981, October 5, 2005 - June 1, 2006 literature M. Stockebrand, John Chamberlain: The Foam Sculptures, Texas: The Chinati Foundation, 2007, p. 145 (illustrated)

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132 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

John Chamberlain 1927-2011 Untitled, 1969 brown paper, brown resin, pennies 7 1/2 x 7 x 6 in. (19.1 x 17.8 x 15.2 cm) This work has been recorded in the archives of the John Chamberlain studio.

Estimate $15,000-20,000 provenance Mizuno Gallery, Los Angeles Fred Hofman Fine Arts, Santa Monica Anthony Meier Fine Arts, San Francisco

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133 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

James Lee Byars 1932-1997 Untitled, circa 1958 Japanese ink on Japanese rice paper 36 x 36 in. (91.4 x 91.4 cm) Estimate $40,000-60,000 provenance Dorothy Miller, New York Calvert Coggeshall, Maine Michael Werner Gallery, New York

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“To Japan, where I belong, my life and paintings both seem to belong there, where the simple essence of existence has a daily meaning.”

JaMes Lee BYars, 1960

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134 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

James Lee Byars 1932-1997 Eros, 1993 gold pencil on black Japanese paper 26 3/4 x 66 7/8 in. (68 x 170 cm) Estimate $80,000-120,000

James Lee Byars, Eros, 1992, Thassos marble, 2 pieces each 13 1/2 x 70 7/8 x 13 3/4 in.

(34.3 x 180 x 34.9 cm) overall 27 x 70 7/8 x 13 3/4 in. (68.6 x 180 x 34.9 cm) © The estate of James Lee Byars, courtesy Michael Werner Gallery, New York and London

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provenance Michael Werner Gallery, New York

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135 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Ed Ruscha b. 1937 Whiskers, Splinters, 1972 gunpowder on paper 11 1/2 x 29 in. (29.2 x 73.7 cm) Signed and dated “E. Ruscha 1972” lower lef; further titled “’WHISKERS SPLINTERS’” on the reverse.

Estimate $150,000-200,000 provenance Leo Castelli Gallery, New York Stephen Mazoh & Co., New York Christie’s, New York, Contemporary Art Part II, November 2, 1984, lot 193 Collection of the artist Anthony d’Ofay Gallery, London James R. Hedges, IV CRG Gallery, New York exhibited New York, Leo Castelli Gallery, Ed Ruscha: Drawings, February 3 - 17, 1973 San Francisco, San Francisco Museum of Modern Art, The Works of Edward Ruscha, March 25 - May 23, 1982, then traveled to New York, Whitney Museum of American Art (July 8 - September 5, 1982), Vancouver, Vancouver Art Gallery (October 4 - November 28, 1982), San Antonio, San Antonio Museum of Art (December 27, 1982 - February 20, 1983), Los Angeles, Los Angeles County Museum of Art (March 17 - April 17, 1983) London, Anthony d’Ofay Gallery, Ed Ruscha: New Paintings and a Retrospective of Works on Paper, June 26 - July 30, 1998 Aspen, Aspen Art Museum, Powder, February 25 - April 11, 1999

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literature E. Ruscha, Guacamole Airlines and Other Drawings by Edward Ruscha, New York: Abrams, 1980, pl. 29 (illustrated) P. Plagens, D. Hickey, The Works of Edward Ruscha, exh. cat., San Francisco Museum of Modern Art, San Francisco, 1982, pl. 62 (illustrated) N. Wakefeld, D. Hickey, Ed Ruscha: New Paintings and a Retrospective of Works on Paper, exh. cat., Anthony d’Ofay Gallery, London, 1998, p. 31 (illustrated) F. Bonami, Powder, exh. cat., Aspen Art Museum, Aspen, 1999, p. 39 (illustrated) R.D. Marshall, Ed Ruscha, London: Phaidon, 2003, p. 146 (illustrated) L. Turvey, Edward Ruscha: Catalogue Raisonné of the Works on Paper, Volume 1: 1956-1976, Gagosian Gallery, New York & Yale University Press, New Haven, 2014, p. 320, no. D1972.45 (illustrated)

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136 PROPERTY FROM A PRIVATE AMERICAN COLLECTION Fred Sandback 1943-2003 Untitled, 1972 red elastic cord 92 x 132 x 6 in. (233.7 x 335.3 x 15.2 cm) This work is unique and is accompanied by a letter of authenticity provided by the Estate, registered under Fred Sandback Estate Number 2078. This work is accompanied by installation instructions.

Estimate $200,000-300,000 provenance Estate of Fred Sandback, New York Zwirner & Wirth, New York exhibited Cologne, Galerie Reckermann, Fred Sandback: Neue Arbeiten, December 15, 1972 - January 18, 1973

“One way to act is to defne a boundary and to move toward the center implied by it. I’m doing the opposite, defning a center and moving outward toward the boundaries.”

FRED SANDBACk, 1975

A simple red elastic cord allows Fred Sandback to draw in space.

Comparing a piece of sting to the line of number 2 pencil, he strives for the purest of forms, an innocent geometric shape. The present lot, Untitled, 1972 hinges out from the wall, drawing an open topped box; defning depth where there is none. Within the present lot, Sandback continues his quest to create “a strong, immediate, and beautiful situation.” (Fred Sandback, 1975) Untitled, 1972 expresses no uncertainty or hesitance, it stands with clarity, having eliminated the decorative materiality of sculpture, making space its medium. By rejecting the notion of mark

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making, Sandback has made the act of isolating space his fnal creation.

The artist explains his wish to “get hold of things in the everyday way,” to approach the limitations of defnite depth. For Sandback, “surfaces seem to imply that what’s interesting is either in front of them or behind them. Interiors are elusive. You can’t ever see an interior. Like eating an artichoke, you keep peeling away exteriors until there’s nothing lef, looking for the essence of something.” Untitled, 1972 reveals that essence with resounding beauty and graceful specifcity.

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137 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Joel Shapiro b. 1941 Untitled, 2001-02 bronze, plaster, in 2 parts bronze 16 1/2 x 48 x 23 in. (41.9 x 121.9 x 58.4 cm) plaster 25 3/4 x 26 3/4 x 30 in. (65.4 x 67.9 x 76.2 cm) overall 52 1/2 x 48 x 30 in. (133.4 x 121.9 x 76.2 cm) This work is number 2 from an edition of 2 plus 1 artist’s proof.

Estimate $100,000-150,000 provenance PaceWildenstein, New York exhibited New York, PaceWildenstein, Joel Shapiro: Recent Sculpture, May 2 - July 31, 2003 (another example exhibited) Los Angeles, LA Louver, Joel Shapiro: Recent Sculpture, January 16 - February 21, 2004 Chicago, Russell Bowman Art Advisory, Joel Shapiro: Sculpture and Drawings, October 21 - December 3, 2005 Paris, Galerie Karsten Greve, Joel Shapiro: Wood Plaster Paint, May 3 - August 23, 2014 (another example exhibited) literature Joel Shapiro: Recent Sculpture, exh. cat., PaceWildenstein, New York, p. 13 (illustrated) D. Kuspit, “Joel Shapiro | PaceWildenstein”, Artforum, September, 2003, p. 226 M. Amy, “Joel Shapiro | PaceWildenstein”, Art in America, October, 2003, p. 125

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138 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Anish KApoor b. 1954 Untitled (Void Cube), 2005 acrylic 31 x 34 x 30 in. (78.7 x 86.4 x 76.2 cm) Estimate $180,000-250,000 provenance Gladstone Gallery, New York

(detail of the present lot)

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139 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Tony Cragg b. 1949 ROUND THE BLOCK, 2003 bronze, tin 55 1/2 x 90 x 58 1/2 in. (141 x 228.6 x 148.6 cm) Incised with the artist’s signature, numbered and foundry stamped “Tony Cragg 1/5 SCHMAKE DUSSELDORF” on the lower side. This work is number 1 from an edition of 5 plus 1 artist’s proof.

Estimate $200,000-300,000 provenance Marian Goodman Gallery, New York exhibited New York, Marian Goodman Gallery, Tony Cragg, December 2, 2003 January 17, 2004 (another example exhibited)

(detail of the present lot)

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140 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Ulrich rückriem b.1938 Steinrohlinge (Raw Stones) A) horizontal in der Mitte geschnitten (cut horizontally down the middle) B) vertikal in der Mitte geschnitten (cut vertically down the middle), 1969-70 Aachen blue stone, in 2 parts A) 19 x 46 x 19 in. (48.3 x 116.8 x 48.3 cm) B) 21 x 35 x 41 in. (53.3 x 88.9 x 104.1 cm) This work is accompanied by installation instructions.

Estimate $40,000-60,000 provenance Collection of Helga and Walther Laufs David Zwirner Gallery, New York exhibited Krefeld, Museum Haus Lange, Ulrich Rückriem: Stein und Eisen, November 15, 1970 - January 1, 1971 Krefeld, Kaiser Wilhelm Museum, on long-term loan, 1970 - 2008 New York, David Zwirner Gallery, Minimal and Conceptual Art in Europe from the Collection of Helga and Walther Laufs, November 5 – December 23, 2008 literature Ulrich Rückriem: Stein und Eisen, exh. cat., Museum Haus Lange, Krefeld, 1971, pl. 3a, 3b (illustrated) G. Storck, et. al., Sammlung Helga und Walther Laufs im Kaiser Wilhelm Museum Krefeld. Amerikanishce und europäische Kunst der sechziger und siebziger Jahre, Krefeld: Krefelder Kunstmuseen, 1983, no. 327, p. 185 (illustrated)

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141 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Olafur EliassOn b. 1967 The Domadalur daylight series (south), 2006 chromogenic prints, in 42 parts each 12 x 17 in. (30.5 x 43.2 cm) overall 82 3/4 x 137 3/4 in. (210.2 x 349.9 cm) Signed “Olafur Eliasson” on a label afxed to the reverse of the frst element. This work is number 1 from an edition of 6.

Estimate $120,000-180,000 provenance Tanya Bonakdar Gallery, New York exhibited Copenhagen, GL Strand, Lavaland: Olafur Eliasson and Jóhannes Kjarval, February 10 - April 29, 2007 (another example exhibited) San Francisco, San Francisco Museum of Modern Art, Take Your Time: Olafur Eliasson, September 8, 2007 - February 24, 2008, then traveled to Dallas, Dallas Museum of Art (November 9, 2008 - March 19, 2009), Sydney, Museum of Contemporary Art (December 10, 2009 - April 11, 2010) (another example exhibited) Goslar, Mönchehaus Museum Goslar, Olafur Eliasson: Eine Feier, elf Räume und ein gelber Korridor, October 11, 2013 - January 26, 2014 (another example exhibited)

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literature Lavaland: Olafur Eliasson and Jóhannes Kjarval, exh. cat., GL Strand, Copenhagen, 2007, pp. 86-87 (illustrated) Take Your Time: Olafur Eliasson, exh. cat., San Francisco Museum of Modern Art, 2007, p. 255 Olafur Eliasson: Eine Feier, elf Räume und ein gelber Korridor, exh. cat., Mönchehaus Museum Goslar, pp. 56-57 (illustrated)

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142 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Thomas DemanD b. 1964

I

Yellowcake (Embassy I,II, III, IV, IV.a, V, VI, VII, VII.a), 2007 chromogenic prints, Diasec mounted, in 9 parts Embassy I: 66 x 80 in. (167.6 x 203.2 cm) Embassy II: 89 3/4 x 126 in. (228 x 320 cm) Embassy III: 29 x 35 1/2 in. (73.7 x 90.2 cm) Embassy IV: 78 x 78 in. (198.1 x 198.1 cm) Embassy IVa: 34 1/2 x 39 1/2 in. (87.6 x 100.3 cm) Embassy V: 88 x 64 1/2 in. (223.5 x 163.8 cm) Embassy VI: 71 x 91 in. (180.3 x 231.1 cm) Embassy VII: 71 x 99 in. (180.3 x 251.5 cm) Embassy VIIa: 20 x 21 in. (50.8 x 53.3 cm) (i) Signed, titled, numbered and dated “part I of VII Thomas Demand 4/6 2007” on the reverse.(iii, iv, iva, v, vi, vii, viia) Titled and numbered “part III - VIIa of VII Ed. 4/6” respectively on the reverse. This work is number 4 from an edition of 6. This work is accompanied by installation instructions.

Estimate $250,000-350,000 provenance 303 Gallery, New York exhibited Venice, Fondazione Prada at Fondazione Giorgio Cini, Thomas Demand: Yellowcake, June 7 - July 7, 2007 (another example exhibited) Montreal, DHC/Art Foundation, Thomas Demand: Animations, January 19 - May 12, 2013

IV

literature Thomas Demand: Yellowcake, exh. cat., Venice: Fondazione Prada, 2007, pp. 49, 53, 55, 59, 61, 63, 67, 69, 71 (illustrated)

VI

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III

II

IVa

V

VIIa

VII

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143 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Wolfgang Tillmans b. 1968 Freischwimmer 23, 2003 chromogenic print 72 x 96 in. (182.9 x 243.8 cm) Signed “Wolfgang Tillmans” on an accompanying label. This work is number 1 from an edition of 1 plus 1 artist’s proof.

Estimate $60,000-80,000 provenance Andrea Rosen Gallery, New York

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144 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Wolfgang Tillmans b. 1968 paper drop (blue), 2007 chromogenic print 57 x 84 in. (144.8 x 213.4 cm) Signed “Wolfgang Tillmans” on a label afxed to the reverse of the frame.

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

Estimate $50,000-70,000 provenance Andrea Rosen Gallery, New York literature Wolfgang Tillmans: Lighter, exh. cat., Nationalgalerie Staatliche Museen zu Berlin, Berlin, 2008, p. 341 (illustrated)

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145 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Wolfgang Tillmans b. 1968 CLC1100, 2007 inkjet print 82 x 54 1/2 in. (208.3 x 138.4 cm) This work is number 1 from an edition of 1 plus 1 artist’s proof.

Estimate $40,000-60,000 provenance Andrea Rosen Gallery, New York exhibited New York, Andrea Rosen Gallery, Wolfgang Tillmans, January 30 - March 13, 2010 London, Serpentine Gallery, Wolfgang Tillmans, June 26 - September 19, 2010

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146 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Wolfgang Tillmans b. 1968 Berlin Woods, 2005 chromogenic print 94 1/8 x 74 1/4 in. (239.1 x 188.6 cm) Signed, titled, numbered and dated “Berlin Woods 2005 1/1+1 Wolfgang Tillmans” on the reverse of the frame. This work is number 1 from an edition of 1 plus 1 artist’s proof.

Estimate $40,000-60,000 provenance Andrea Rosen Gallery, New York

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147 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Terry WinTers b. 1949 Untitled, 1999 oil on linen 82 5/8 x 116 3/16 in. (209.9 x 295.1 cm) Signed and dated “Terry Winters 1999” on the reverse.

Estimate $60,000-80,000 provenance Matthew Marks Gallery, New York exhibited Basel, Kunsthalle Basel, Terry Winters, April 8 - June 6, 2000

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148 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Ross BleckneR b. 1949 Cage, 1986 oil on canvas 108 x 72 in. (274.3 x 182.9 cm) Signed, titled and dated “Ross Bleckner o/c 1986 ‘CAGE’” on the reverse.

Estimate $60,000-80,000 provenance Mary Boone Gallery, New York Vera G. List, New York Sotheby’s, New York, Contemporary Art Day Sale, November 13, 2003, lot 149 Acquired at the above sale by the present owner exhibited New York, Mary Boone Gallery, Ross Bleckner, February 7 - 28, 1987 Ridgefeld, Aldrich Museum of Contemporary Art, Post-Abstract Abstraction, May 31 - September 6, 1987 Milwaukee, Milwaukee Art Museum, Currents 14: Ross Bleckner, March 17 - May 21, 1989, then traveled to Houston, Contemporary Arts Museum Houston (July 29 - September 24, 1989), Pittsburgh, Carnegie Museum of Art (November 11, 1989 - January 14, 1990), Toronto, Art Gallery of Ontario (February 9 - April 1, 1990), Saskatoon, Mendel Art Gallery and Museum (April 20 - June 3, 1990) Providence, David Winton Bell Gallery, List Art Center, Brown University, Reprise: The Vera G. List Collection, A Twentieth Anniversary Exhibition, October - November 1991

Painted at a pivotal moment in his career, Ross Bleckner’s Cage of 1986 is emblematic of many of the themes and painterly issues with which the artist was grappling at the time. Emblazoned with hauntingly beautiful green, white and blue stripes of varying saturation and density, Cage plays with the materiality of light as both progenitor of and respondent to the visual world as well as its metaphorical connotations of liberation and freedom. The humming birds, scattered throughout the composition, similarly embody this metaphoric gravity trapped as they are above and behind these bands but also within the picture plane – beings constantly in motion yet simultaneously hovering, still and immobile.

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literature Ross Bleckner, exh. cat., Mary Boone Gallery, New York, 1987, n.p. (illustrated) A. Rankin, “Ross Bleckner”, Bomb, April, 1987, p. 27 (illustrated) G. Mantegna, “The Ellipse of Reality, Ross Bleckner”, Tema Celeste, May, 1987, p. 36 (illustrated) P. Steir, “Where the Birds Fly, What the Lines Whisper”, ArtForum, May, 1987, p. 109 (illustrated) S. Caley, “Ross Bleckner”, Flash Art, May, 1987, p. 86 (illustrated) S. Morgan, “Strange Days”, Artscribe, March, 1988, p. 49 (illustrated) C. Smith, “Ross Bleckner”, Splash, April, 1988, p. 41 (illustrated) M. Rantanen, “Minulle Maalaus Aina Kuvastaa Vastakohtian”, Taide, May, 1988, p. 32 (illustrated) T. Collins, R. Milaazzo, “Ross Bleckner”, Galleries Magazine, October, 1988, p. 120 (illustrated) R. Storr, “Ross Bleckner-Crepuscules du Neon”, Art Press, December, 1988, p. 41 (illustrated) Currents 14: Ross Bleckner, exh. cat., Milwaukee Art Museum, Milwaukee, 1989, cat. no. 9, p. 24 (illustrated) D. Bacigalupi, “Ross Bleckner”, Contemporanea, December, 1989, p. 31 (illustrated) Reprise: The Vera G. List Collection, A Twentieth Anniversary Exhibition, exh. cat., David Winton Bell Gallery, Providence, 1991, p. 15 (illustrated) D. Wheeler, Art Since Mid-Century: 1945 to the Present, The Vendome Press: New York, 1991, p. 331 (illustrated) J. Napack, “The Man Who Wanted to be Loved”, New York, February 20, 1995, p. 51 (illustrated) Ross Blecker, exh. cat., Solomon R. Guggenheim Museum, New York, 1995, p. 29 (illustrated)

Even as the work clearly elucidates many of the theoretical concerns of paintings being discussed in the mid-1980s, Cage additionally directly tackles the politicization of the arts, and of the artist’s practice, with the ascendant realization of the severity and trauma of the AIDS crisis at the time. No longer seeing ft to paint purely abstract pictures of their own accord, Bleckner realized and began to incorporate a greater consideration of how his practice and his art were afected by and could comment on the most pertinent issue of the day. As such, Cage is the embodiment of this infection point in Bleckner’s career and a seminal work by the artist, recognized by no less a socially aware philanthropist and collector as Vera List, in whose collection this work resided for many years.

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149 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Matthew Ritchie b. 1964 Manifold Atlas, 2009 oil, ink on linen 100 x 84 1/8 in. (254 x 213.7 cm) Estimate $60,000-80,000 provenance Andrea Rosen Gallery, New York exhibited New York, Andrea Rosen Gallery, Matthew Ritchie: Line Shot, October 23 December 2, 2009

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150 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

PhiliP Taaffe b. 1955 CHARTERHOUSE, 1993-94 mixed media on canvas 109 3/4 x 109 3/4 in. (278.8 x 278.8 cm) Signed, titled and dated “P Taafe 1993-94 CHARTERHOUSE” on the reverse.

Estimate $70,000-100,000 provenance Gagosian Gallery, New York Cheim & Read, New York exhibited New York, Gagosian Gallery, Philip Taafe, April 9 - May 14, 1994

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151 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Peter Doig b. 1959 Untitled, 2002 oil on cut paper 25 1/2 x 19 3/4 in. (64.8 x 50.2 cm) Signed and dated “Doig 02” lower right.

Estimate $70,000-100,000 provenance Michael Werner Gallery, New York exhibited New York, Michael Werner Gallery, Peter Doig: Works on Paper, November 6, 2002 - January 18, 2003 Dallas, Dallas Museum of Art, Peter Doig: Works on Paper, September 12 November 20, 2005, then traveled to Vero Beach, The Gallery at Windsor (December 4, 2005 - March 1, 2006), Toronto, The Art Gallery of Ontario (March 22 - June 18, 2006) London, Tate Britain, Peter Doig, February 5 - April 27, 2008, then traveled to Paris, Musee d’Art Moderne de la Ville de Paris (May 29 - September 7, 2008), Frankfurt, Schirn Kunsthalle Frankfurt (October 9, 2008 - January 4, 2009) Dallas, Dallas Museum of Art, Peter Doig, October 18, 2009 - March 28, 2010 Edinburgh, Scottish National Gallery, Peter Doig: No Foreign Lands, August 3 - November 3, 2013

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literature Peter Doig: Works on Paper, exh. cat., Michael Werner Gallery, New York, 2002 Peter Doig: Works on Paper, exh. cat., Dallas Museum of Art, Dallas, 2005, pl. 107 (illustrated) C. Grenier, K. Scott, A. Searle, Peter Doig, New York: Phaidon Press Inc., 2007, p. 87 (illustrated) Peter Doig, exh. cat., Tate Britain, London, 2008, p. 141 (illustrated) Peter Doig: No Foreign Lands, exh. cat., Scottish National Gallery, Edinburgh, 2013, p. 162 (illustrated)

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152 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Peter Doig b. 1959 Gasthof, 2002 oil on paper 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm) Signed, titled and dated “GASTHOF Peter Doig 02” lower right.

Estimate $50,000-70,000 provenance Michael Werner Gallery, New York exhibited New York, Michael Werner Gallery, Peter Doig: Works on Paper, November 6, 2002 - January 18, 2003 Dallas, Dallas Museum of Art, Peter Doig: Works on Paper, September 12 November 20, 2005, then traveled to Vero Beach, The Gallery at Windsor (December 4, 2005 - March 1, 2006), Toronto, The Art Gallery of Ontario (March 22 - June 18, 2006) Dallas, Dallas Museum of Art, Peter Doig, October 18, 2009 - March 28, 2010 Edinburgh, Scottish National Gallery, Peter Doig: No Foreign Lands, August 3 - November 3, 2013

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literature Peter Doig: Works on Paper, exh. cat., Michael Werner Gallery, New York, 2002 Peter Doig: Works on Paper, exh. cat., Dallas Museum of Art, Dallas, 2005, pl. 108 (illustrated) Peter Doig: No Foreign Lands, exh. cat., Scottish National Gallery, Edinburgh, 2013, p. 165 (illustrated)

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153 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Louise Bourgeois 1911-2010 Untitled, 1998 ink, pencil on paper 9 x 12 in. (22.9 x 30.5 cm) Initialed “LB” lower right.

Estimate $20,000-30,000 provenance Cheim & Read, New York

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154 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Julie Mehretu b. 1970 Untitled (Court), 1998 ink, oil on Mylar and vellum 24 x 18 in. (61 x 45.7 cm) Estimate $30,000-40,000 provenance Michael E. Thomas, Inc., Dallas

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155 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Doug Aitken b. 1968 Digital, 2005 chromogenic print 60 x 48 in. (152.4 x 121.9 cm) Signed “Doug Aitken” on a label afxed to the reverse.

This work is number 4 from an edition of 6.

Estimate $15,000-20,000 provenance 303 Gallery, New York exhibited Dallas, Dallas Museum of Art, Big New Field: Artists in the Cowboys Stadium Art Program, December 5, 2010 February 20, 2011

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156 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Doug Aitken b. 1968 connecting, 2006 chromogenic print, mounted on aluminum 48 x 60 in. (121.9 x 152.4 cm) Signed “Doug Aitken” on a label afxed to the reverse.

This work is number 3 from an edition of 6.

Estimate $12,000-18,000 provenance 303 Gallery, New York exhibited Zurich, Galerie Eva Presenhuber, 99¢ dreams, June 2 August 2, 2008 (another example exhibited) literature H. Jackobson, Doug Aitken: 99¢ Dreams, Aspen: Aspen Art Press, 2008, p. 13 (illustrated)

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157 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Thomas DemanD b. 1964 Laboratory (Labor), 2000 chromogenic print, Diasec mounted 71 x 105 1/2 in. (180.3 x 268 cm) Signed, numbered and dated “Thomas Demand 3/6 2000” on the reverse.

This work is number 3 from an edition of 6.

Estimate $80,000-120,000 provenance 303 Gallery, New York exhibited Paris, Fondation Cartier pour l’art contemporain, Thomas Demand, November 24, 2000 - February 4, 2001 (another example exhibited) Bregenz, Kunsthaus Bregenz, Thomas Demand: Phototrophy, September 12 - November 7, 2004 (another example exhibited) New York, Museum of Modern Art, Thomas Demand, March 4 - May 30, 2005 (another example exhibited) Berlin, Neue Nationalgalerie, Thomas Demand: Nationalgalerie, September 18, 2009 - January 17, 2010, then traveled to Rotterdam, Museum Boijmans van Beuningen (May 29 - August 22, 2010) (another example exhibited) Tokyo, Museum of Contemporary Art Tokyo, Thomas Demand, May 19 July 8, 2012 (another example exhibited)

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literature Thomas Demand, exh. cat., Fondation Cartier pour l’art contemporain, 2000, p. 95 (gatefold, illustrated), cover (illustrated) Thomas Demand: Phototrophy, exh. cat., Kunsthaus Bregenz, Bregenz, 2004, p. 54 (illustrated) Thomas Demand, exh. cat., Museum of Modern Art, New York, 2005, pp.

23, 87 (illustrated) Thomas Demand: Nationalgalerie, exh. cat., Neue Nationalgalerie, Berlin, 2009, n.p. (illustrated)

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158 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Darren almonD b. 1971 INFINITE BETWEENS: Reality Between - Phase 2, 2007 chromogenic print 88 7/8 x 71 1/2 in. (225.6 x 181.6 cm) This work is number 1 from an edition of 6.

Estimate $15,000-20,000 provenance White Cube, London exhibited London, White Cube, Darren Almond: Moons of the Iapetus Ocean, January 18 - February 23, 2008

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159 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Rivane neuenschwandeR b. 1967 A place not far from here, 2009 chromogenic prints, in 14 parts (i, ii, iii) 8 1/4 x 12 3/8 in. (21 x 31.4 cm) (iv) 10 7/8 x 8 1/4 in. (27.5 x 21 cm) (v) 17 1/8 x 14 7/8 in. (43.5 x 38 cm) (vi) 7 1/4 x 8 1/4 in. (18.3 x 21 cm) (vii, viii, ix, x) 16 1/2 x 11 1/8 in. (42 x 28.1 cm) (xi) 12 3/4 x 11 1/8 in. (32.3 x 28.1 cm) (xii) 15 1/8 x 11 1/8 in. (38.4 x 28.1 cm) (xiii, xiv) 16 1/2 x 24 3/4 in. (42 x 62.8 cm) overall 80 3/4 x 142 1/2 in. (205.1 x 362 cm) This work is number 2 from an edition of 8 plus 2 artist’s proofs. This work is accompanied by a certifcate of authenticity and installation instructions.

Estimate $30,000-50,000 provenance Galeria Fortes Vilaça, São Paulo

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(B)

(C)

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161

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Mona HatouM b. 1952 Routes III, 2002 pen, pencil on printed maps, in 4 parts (A) 9 3/4 x 8 1/4 in. (24.8 x 21 cm) (B) 11 x 16 1/8 in. (27.9 x 41 cm) (C) 10 3/4 x 15 3/4 in. (27.3 x 40 cm) (D) 10 1/2 x 8 in. (26.7 x 20.3 cm)

olafur Eliasson b. 1967 Color experiment No. 3, 2009 oil on canvas, laid on board 43 1/4 x 43 1/4 x 1 3/4 in. (109.9 x 109.9 x 4.4 cm) Signed, titled and dated “Olafur Eliasson 2009 Color experiment No. 3” on the reverse.

Estimate $15,000-20,000 provenance Galerie Nordenhake, Stockholm

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Estimate $100,000-150,000 provenance Tanya Bonakdar Gallery, New York exhibited New York, Tanya Bonakdar Gallery, Olafur Eliasson, February 11 March 20, 2010

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162 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Nigel Cooke b. 1973 Siren, 2011 oil on linen backed with sailcloth 86 5/8 x 145 5/8 in. (220 x 369.9 cm) Estimate $80,000-120,000 provenance Modern Art, London exhibited Dallas, The Goss-Michael Foundation, Nigel Cooke, October 21, 2011 February 18, 2012

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163 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Tara Donovan b. 1969 Untitled (Pins), 2004 size #17 straight pins 51 x 51 x 51 in. (129.5 x 129.5 x 129.5 cm) This work is accompanied by a certifcate of authenticity signed by the artist; this work is accompanied by installation instructions.

Estimate $70,000-90,000 provenance PaceWildenstein, New York

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164 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

RobeRt beck b. 1959 Hidden Pictures (Rising), 2005 graphite on paper 91 1/4 x 63 5/8 in. (231.8 x 161.6 cm) Estimate $6,000-8,000 provenance Anthony Meier Fine Arts, San Francisco

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165 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Josh smith b. 1976 Untitled (JS0794), 2007 acrylic on canvas 60 x 48 in. (152.4 x 121.9 cm) Signed and dated “Josh Smith 2007” on the reverse; further titled “JS0794” along the overlap.

Estimate $12,000-18,000 provenance Luhring Augustine, New York

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166 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

tom FRiedman b. 1965 Outdoor Open Box, 2007 outdoor oil paint, steel 168 1/2 x 168 1/2 x 168 1/2 in. (428 x 428 x 428 cm) This work is number 1 from an edition of 3. This work is accompanied by a certifcate of authenticity signed by the artist.

Estimate $150,000-250,000 provenance Stephen Friedman Fine Art, London literature A. Danto, R. Rugof, Tom Friedman, New Haven: Yale University Press, 2008, p. 257 (illustrated)

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167 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Eva Rothschild b. 1972 Mr. Messy, 2007 armature wire, plastic, painted steel 71 1/4 x 22 x 20 1/2 in. (181 x 56 x 52 cm) Estimate $15,000-20,000 provenance Modern Art, London exhibited London, South London Gallery, Eva Rothschild, August 13 - November 4, 2007 Dallas, Dallas Museum of Art, Big New Field: Artists in the Cowboys Stadium Art Program, December 5, 2010 - February 20, 2011

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168 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Magnus von Plessen b. 1965 Front/Side/Back, 2009 oil on canvas, diptych lef panel 74 x 85 in. (188 x 215.9 cm) right panel 55 3/4 x 38 in. (141.6 x 96.5 cm) overall 114 x 128 in. (289.6 x 325.1 cm) Signed, titled and dated “front/side/back Plessen, 2009” along the overlap of the lef element.

Estimate $30,000-40,000 provenance Gladstone Gallery, New York exhibited New York, Gladstone Gallery, Magnus Plessen, September 10 October 24, 2009

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169 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Brian Fridge b. 1969 Six Works: (i) Vault Sequence No. 1, 1997; (ii) Vault Sequence No. 2, 1998; (iii) Vault Sequence No. 3, 1998; (iv) Vault Sequence No. 4-5, 2002; (v) Vault Sequence No. 6-7, 2002; (vi) Vault Sequence No. 10, 2000 black and white video, silent (i) 6 min.; (ii) 5 min.; (iii) 3:30 min.; (iv) 2 min.; (v) 2:30 min.; (vi) 4 min.

Signed “Brian Fridge” on a label afxed to each master DVD. (i) This work is artist’s proof 1. (ii) This work is number 1 from an edition of 3. (iii) This work is number 2 from an edition of 3. (iv) This work is number 1 from an edition of 3. (v) This work is number 1 from an edition of 3. (vi) This work is number 1 from an edition of 5.

Estimate $10,000-15,000 provenance Dunn and Brown Contemporary, Dallas

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170 PROPERTY FROM A PRIVATE AMERICAN COLLECTION

Dave Muller b. 1964 Rolling Stone Magazine, October 14, 2004 Reviews Star, 2005-06 acrylic on paper, in 7 parts overall 140 x 108 in. (355.6 x 274.3 cm) smallest 9 3/4 x 18 1/2 in. (24.8 x 47 cm) largest 9 3/4 x 66 in. (24.8 x 167.6 cm) Signed, titled, annotated and dated “Rolling Stone Magazine, October 14 2004 Reviews Star Dave Muller 05-06 1-7 of 7” respectively on the reverse of each sheet.

Estimate $10,000-15,000 provenance Blum & Poe, Los Angeles Gladstone Gallery, New York

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171 Sterling ruby b. 1972 Ashtray 198, 2011 glazed ceramic 13 x 17 x 2 in. (33 x 43.2 x 5.1 cm) Initialed and dated “SR 11� on the underside.

Estimate $15,000-20,000 provenance The artist Private Collection

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172 Ugo Rondinone b. 1964 Ersterjunizweitausendundvierzehn, 2014 acrylic on canvas 31 1/2 x 31 1/2 in. (80 x 80 cm) Signed and dated “u rondinone 2014� on the reverse.

Estimate $80,000-120,000 provenance Gladstone Gallery, New York

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173 Kelley WalKer b. 1969 Untitled, 2006 gold leaf and digital image on laser-cut steel diameter 57 7/8 in. (147 cm) Estimate $150,000-200,000 provenance Galerie Catherine Bastide, Brussels

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174 Mark Grotjahn b. 1968 Untitled (Colored Butterfy White Background 2 Wings), 2006 color pencil on paper 24 x 18 in. (61 x 45.7 cm) Signed, titled, inscribed and dated “UNTITLED #612 (COLORED BUTTERFLY WHITE BACKGROUND 2 WINGS) BETH iS REAL M. Grotjahn 2006 MARK GROTJAHN NEW YORK CITY MARCH MADE IN NEW YORK CITY” on the reverse.

Estimate $200,000-300,000 provenance Blum & Poe, Los Angeles

(verso of the present lot)

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175 Mark Bradford b. 1961 Untitled, 2001 scorched permanent wave end papers, blonde hair dye on canvas 96 x 96 in. (243.8 x 243.8 cm) Estimate $350,000-450,000 provenance Acquired directly from the artist by the present owner

“I started working with paper right at the beginning and I just started adding diferent types of paper that I found in the world or that I printed myself. I realized I was building up this very dense map. Like the layers of the diferent cities of Rome that keep getting built on top of each other throughout history.�

MArk BrAdford, 2012

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176 RichaRd PRince b. 1949 Untitled (Pens), 1979 Ektacolor photographs, in 4 parts 20 x 24 in. (50.8 x 61 cm) Estimate $180,000-250,000 provenance Gladstone Gallery, New York Private Collection, London Skarstedt Fine Art, New York exhibited New York, Skarstedt Fine Art, Richard Prince: Early Photographs 19771979, February 21 - April 20, 2001 Basel, Museum für Gegenwartskunst, Richard Prince: Photographs, December 8, 2001 - February 24, 2002 New York, Solomon R. Guggenheim Museum, Richard Prince: Spiritual America, September 28, 2007 - January 9, 2008, then traveled to Minneapolis, Walker Art Center (March 22 - June 15, 2008), London, Serpentine Gallery (June 26 - September 27, 2008) Paris, Bibliothèque nationale de France, Richard Prince: American Prayer, March 29 - June 26, 2011

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literature Richard Prince: Early Photographs 1977-1979, exh. cat., Skarstedt Fine Art, New York, 2001, pp. 4-5 (illustrated) Richard Prince: Photographs, exh. cat., Museum für Gegenwartskunst, Basel, 2001, pp. 11-13, no. 12 (illustrated) R. Brooks, J. Rian, Richard Prince, New York: Phaidon, 2003, pp. 100-01 (illustrated) Richard Prince: Spiritual America, exh. cat., Solomon R. Guggenheim Museum, New York, 2008, pp. 62-63 (illustrated) Richard Prince: American Prayer, exh. cat., Bibliothèque nationale de France, Paris, 2011, p. 106 (illustrated)

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177 Jacob Kassay b. 1984 Untitled, 2010 acrylic on canvas, in artist’s frame, diptych lef 49 1/8 x 49 1/2 in. (124.8 x 125.7 cm) right 49 1/8 x 54 in. (124.8 x 137.2 cm) Signed “Jacob Kassay” on a label afxed to the reverse of each stretcher.

Estimate $50,000-70,000 provenance L & M Arts, Los Angeles

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178 PROPERTY FROM THE LOCKSLEY SHEA GALLERY

Josef Albers 1888-1976 Study for Homage to the Square: “Dimmed Center”, 1961 oil on masonite 18 x 18 in. (45.7 x 45.7 cm) Initialed and dated “A61” lower right; further signed, titled and dated “Study for Homage to the Square: ‘Dimmed Center’ Albers’ 1961” on the reverse; further signed by the Executive Director of the Albers Foundation on certifcation label afxed to the reverse.

Estimate $150,000-200,000 provenance William Zierler Inc., New York Private Collection Christie’s, London, Post War and Contemporary Art Day, 15 October, 2010, lot 277 Acquired at the above sale by the present owner

“We are able to hear a single tone. But we almost never (that is without special devices) see a single color unrelated to changing neighbors and changing conditions.”

JOSEF ALbErS, 1971

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179 DonalD JuDD 1928-1994 Untitled (89-26), 1989 painted aluminum 11 3/4 x 23 5/8 x 11 3/4 in. (30 x 60 x 30 cm) Stamped and numbered “DONALD JUDD 89-26 LASCAUX MATERIALS LTD. BROOKLYN, NY” on the reverse.

Estimate $200,000-300,000 provenance Donald Young Gallery, Chicago Christie’s, New York, Contemporary Art Part II, November 19, 1997, lot 412 Private Collection Christie’s, London, Post-War & Contemporary Art, June 23, 2006, lot 137 Acquired at the above sale by the present owner exhibited Chicago, Donald Young Gallery, Donald Judd, June 2 - June 24, 1989

The bold, ordered, and strikingly simple sculptures of Donald Judd were believed by the artist to be “products of creative imagination just as much as classical sculptures and fgurative bronzes” causing him to reject the term minimalist (A. Hamilton, “Space odyssey: Donald Judd –space, light and sculptures that take on a life of their own”, The Independent, August 13, 2013). In the early 1960s, Judd turned towards creating free standing, three-dimensional objects afer having abandoned painting. With an interest in repetition and simplicity, which would become hallmarks of his work, Judd separated himself from conventional categories of art. In his text, Specifc Objects (published in 1965), Judd discussed how his works existed outside the realms of traditional sculpture and painting, refuting archaic defnitions and paving the way for a new manner of discussing and examining objects.

Throughout his practice, Judd was increasingly aware of, and focused on, the inherent power and quality of color. Beginning in 1983, Judd created

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horizontal, aluminum wall sculptures where color reasserted its centrality within his oeuvre and his ideas on art more generally. Untitled (89-26), 1989, hails from Judd’s critically acclaimed Swiss Box series. Begun in 1983, the series witnessed Judd’s new-found exuberance as a colorist.

With such works as the present lot, Judd started incorporating the brilliant hues of industrial paints in his sculptures treating color formally as an object. Untitled (89-26) is a classic intimate Judd volumetric wall piece.

As the viewer moves across the work, subtle elements of the work begin to emerge. Judd creates a void where space, light and object play and intertwine to create an internal pool of colors. Throughout the 1970s and 1980s, Judd produced radical works that eschewed the classical European ideals of representational sculpture and has continued to inspire succeeding generations of artists and designers. The present work is an excellent example of Judd’s deep respect for his materials and ideas but also the manner in which those elements are assembled into a discrete object of interminable beauty and attraction.

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180 Kenneth noland 1924-2010 Greenbriar, 1966 acrylic on canvas 94 1/2 x 23 5/8 in. (240 x 60 cm) Signed, titled and dated “GREENBRIAR Kenneth Noland 1966” on the reverse.

Estimate $120,000-180,000 provenance Helander Gallery, Palm Beach exhibited Palm Beach, Helander Gallery, Kenneth Noland: An Important Exhibition of Paintings from 1959 to 1989, February 7 - March 3, 1990

“We tend to discount a lot of meaning that goes on in life that’s non-verbal. Color can convey a total range of mood and expression, of one’s experiences in life, without having to give it descriptive or literary qualities.”

KENNEtH NolANd, 1977

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181 Kenneth noland 1924-2010 In the Curl, 1967 acrylic on canvas 96 1/8 x 23 5/8 in. (244 x 60 cm) Signed, titled and dated “IN THE CURL 1967 Kenneth Noland� on the reverse.

Estimate $120,000-180,000 provenance Acquavella Contemporary Art, New York Helander Gallery, Palm Beach exhibited Palm Beach, Helander Gallery, Kenneth Noland: An Important Exhibition of Paintings from 1959 to 1989, February 7 - March 3, 1990

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182 RobeRt RauschenbeRg 1925-2008 Untitled, 1978 solvent transfer on fabric collage on paper 28 x 40 in. (71.1 x 101.6 cm) Signed and dated “Rauschenberg 78” along the lower edge.

Estimate $40,000-50,000 provenance Leo Castelli Gallery, New York Renate & Sidney Shapiro Collection, New York Private Collection, New York

183 ImI Knoebel b. 1940 Portrait, 1994 acrylic on wood 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm) Initialed and dated “IK 94” on the reverse.

Estimate $15,000-20,000 provenance Art & Public, Geneva

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184 DonalD JuDD 1928-1994 Untitled, 1982 unpainted wood 16 x 26 in. (40.6 x 66 cm) Stamped “JUDD 81-84 3R 4.82 C.K.” on the reverse.

Estimate $50,000-70,000 provenance The artist Margo Leavin Gallery, Los Angeles Private Collection, Los Angeles

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185 HisasHi indo 1925-2009 Work 65.3.23A, 1965 oil on canvas 63 3/4 x 51 1/8 in. (162 x 130 cm) Estimate $25,000-35,000 provenance Private Collection, Tokyo exhibited Tokyo, Ichibankan Gallery, Hisashi Indo, January 23 - February 1, 1967

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186 Moriyuki kuwabara b. 1942 Re-variant of Concurrence, 1980-3 acrylic on canvas 51 1/8 x 51 1/8 in. (130 x 130 cm) Estimate $20,000-30,000 provenance Gallery A-Cube, Tokyo exhibited Tokyo, Gallery Ueda, KUWABARA, November 17 - November 29, 1980

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187 RobeRt MotheRwell 1915-1991 Untitled, 1978 pasted papers, ink, lithograph on paper image 19 3/4 x 15 3/4 in. (50.2 x 40 cm) sheet 29 3/4 x 21 3/4 in. (75.6 x 55.2 cm) Initialed and dated “RM 78” lower right.

Estimate $40,000-60,000 provenance ACA Galleries, New York Private Collection, 1978 Julian Weissman Fine Art, New York Private Collection literature J. Flam, K. Rogers & T. Cliford, Robert Motherwell: A Catalogue Raisonné, 1941-1991, vol. 3, Collages and Paintings on Paper and Paperboard, New Haven: Yale University Press, 2012, cat. no C624, p. 293 (illustrated)

188 Antoni tàpies 1923-2012 Untitled, 1988 oil on cardboard 29 1/2 x 44 3/4 in. (74.9 x 113.7 cm) Signed “Antoni Tàpies” lower right.

Estimate $40,000-60,000 provenance Galerie Kornfeld, Berlin

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189 Willem de Kooning 1904-1997 Untitled (39), 1950-53 graphite on paper 11 11/16 x 8 7/8 in. (29.7 x 22.5 cm) Signed “de Kooning” lower lef; further numbered “39” upper lef.

Estimate $80,000-100,000 provenance The artist Lisa de Kooning Private collection, gif from the above

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190 Cy Twombly 1928-2011 Allusion (Bay of Napoli, Part II), 1975 collage, oil, crayon, pencil, on two sheets of drawing paper laid over paper 27 3/8 x 78 1/2 in. (69.5 x 199.4 cm) Titled, “‘Allusion’ (Bay of Napoli part II)” lower lef; further annotated, “Orpheus (brings order and beauty) to Dionysus” on the right sheet; further signed on the reverse.

Estimate $200,000-300,000 provenance The artist Galeria Lucio Amelio, Naples Private collection exhibited Naples, Modern Art Agency, Cy Twombly, Allusions (Bay of Naples), February 21 – March 21, 1975 literature Y. Lambert (ed.), Cy Twombly: Catalogue raisonne des Oeuvres sur papier, volume VI: 1973 - 1976 . Milan: Multhipla, 1991, cat. no. 152, p. 140 (illustrated)

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Allusion (Bay of Napoli, Part II) is one of fve drawings of similar composition that Cy Twombly made in January and February of 1975 while staying at the famous Hotel Excelsior in Naples. The lef part of the diptych is inscribed “2:30” and shows the afernoon light refected on the bay of Naples looking out to Mt. Vesuvius and the island of Capri. The inscription “Orpheus brings order and beauty to Dionysus” is taken from Rainer Maria Rilke’s late metaphysical poem, Sonnets to Orpheus.

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191 Cy Twombly 1928-2011 Dionysus, 1979 collage, tempera, crayon, and graphite on paper, on two sheets 39 x 29 1/2 in. (99 x 75 cm) Initialed, annotated and dated “MAENADS CT.79” at upper right; further initialed, annotated and dated “MAENADS CT.79” on the reverse; further titled “DIONYSUS” at the center of the composition.

Estimate $150,000-200,000 provenance The artist Heiner Bastian, Berlin Marx Collection, Berlin Private Collection exhibited Berlin, Sammlung Marx, Beuys, Rauschenberg, Twombly, Warhol – Sammlung Marx, March 2 – April 12, 1982, then traveled to Mönchengladbach, Städtisches Museum Abteiberg (May 6 – September 30, 1982) literature H. Bastian (ed.), Beuys, Rauschenberg, Twombly, Warhol - Sammlung Marx. Berlin: Nationalgalerie, Staatliche Museen Preussischer Kulturbesitz, and Prestel Verlag, 1982, cat. no. 96, ill. in color Y. Lambert (ed.), Cy Twombly: Catalogue raisonne des Oeuvres sur papier, volume VII: 1977 - 1982, Milan: Multhipla, 1991, cat. no. 69, p. 72 (illustrated)

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192 Tom Wesselmann 1931-2004 Study for Bedroom Blonde with Green Wallpaper, 1985 pencil, liquitex, on paperboard 11 5/8 x 12 7/8 in. (29.5 x 32.6 cm) Signed and dated “Wesselmann 85” lower right.

Estimate $50,000-70,000 provenance Janis Gallery, New York, 1990 Galerie Joachim Becker, Paris Private Collection, France Sotheby’s, Paris, Art Contemporain, December 8, 2010, lot 185 Private Collection

193 andy Warhol 1928-1987 Dollar Sign, 1981 graphite on HMP paper 31 5/8 x 23 7/8 in. (80.3 x 60.6 cm) Stamped twice by the Andy Warhol Foundation and The Estate of Andy Warhol on the reverse of the sheet.

Estimate $40,000-60,000 provenance Private Collection exhibited Beverly Hills, Gagosian Galley, Andy Warhol $, November 1 - November 29, 1997 New York, Tony Shafrazi Gallery, Andy Warhol Drawings, February 16 - March 30, 2002

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194 Tom Wesselmann 1931-2004 From Smoker #7, 1976 pencil, Liquitex on 100% rag paper image 9 x 9 3/8 in. (22.9 x 23.8 cm) sheet 13 1/4 x 12 in. (33.7 x 30.5 cm) Signed and annotated “For Wendy and Carrol Tom Wesselmann� lower edge.

Estimate $70,000-100,000 provenance Gif from the artist to Carroll Janis and Wendy Worth Acquired from the above by the present owner

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exhibited David Janis Gallery, New York, Tom Wesselmann: Paintings, Steel Drawings, Works on Paper and Maquettes, February 27 - April 24, 2010

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195 Roy Lichtenstein 1923-1997 Red Apple (Study), 1980 graphite, painted paper collage on paper 28 1/2 x 21 3/4 in. (72.4 x 55.2 cm) Signed and dated “R Lichtenstein 80” lower right.

Estimate $250,000-350,000 provenance Gifed by the artist to the present owner

Red Apple (Study), 1980, is a two-fold allusion and evidence of Lichtenstein’s disparate pictorial vocabulary. The work quotes the artist’s pervasive apple motif which is superimposed upon a salute to the bravura brushstroke of the Abstract Expressionists. The result is a stylized pop-art parody of two hallmarks of traditional painting: the still life as subject matter and the brushstroke as a window into the artist’s soul. Lichtenstein had pursued the apple motif in his mature work as early as 1972 and would continue to investigate the nature of the still-life throughout his career.

Commenting on his use of allusions and the nature of drawing, Lichtenstein wrote, “Generally artists, when they draw, are not really seeing nature as it is. They are projecting on nature with their familiarity with other people’s art.” (R. Lichtenstein as quoted by J.F.March, Roy Lichtenstein Beginning to

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End, Madrid: Fundacion Juan March, 2007, p. 62) Taking as his subject a fruit, Lichtenstein draws directly from the familiar and natural, stylizing it to the point of abstraction and making it his own.

Lichtenstein’s brushstrokes, dating from about 1965-1966, have a distinctive history as parody of the subconscious expression of ideas through the artist’s hand so central to Abstract Expressionism. The brushstrokes were made with calculation and care; the very mechanical methods and aids he employed functioning as the antithesis to all romantic ideas attached to the artist’s gesture and stroke. The coupling of the apple motif and the brushstroke is a perfect parody of the canon of western painting and a similarly perfect manifestation of all of Lichtenstein’s painting prowess.

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196 Andy WArhol 1928-1987 Still-Life (Hammer & Sickle), 1977 graphite, ink wash on ivory wove paper 40 3/4 x 27 3/4 in. (103.5 x 70.5 cm) Signed “Andy Warhol” lower right; further stamped twice by The Estate of Andy Warhol and the Andy Warhol Foundation and numbered “31.048” on the reverse.

Estimate $100,000-150,000 provenance C & M Arts, New York L & M Arts, New York Haunch of Venison, London

Andy Warhol, Lenin, circa 1986, acrylic, silkscreen on canvas 22 x 16 in. (55.9 x 40.6 cm) The Andy Warhol Museum, Pittsburgh © 2015 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

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197 Mel RaMos b. 1935 Miss Martini, 2008 resin, glass, metal and Plexiglas 31 x 22 1/2 x 13 3/4 in. (80 x 56 x 35 cm) Signed and numbered “Mel Ramos 3/8” on the reverse; further inscribed “Mel Ramos” on the glass. This work is number 3 from an edition of 8 plus 4 artist’s proofs.

Estimate $100,000-150,000 provenance Galerie Patrice Trigano, Paris

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198 Mel RaMos b. 1935 Miss Kiss #2, 2012 oil on canvas 48 x 24 in. (121.9 x 61 cm) Signed and dated “Mel Ramos 2012” on the reverse.

Estimate $120,000-180,000 provenance Gallery Sho, Tokyo Christie’s, New York, Post-War and Contemporary Morning Session, November 13, 2013, lot 288 Acquired at the above sale by the present owner

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199 RichaRd Pettibone b. 1938 Andy Warhol, ‘Sixteen Jackies’, 1964, 1996 acrylic, silkscreen on canvas, in artist’s frame 10 3/8 x 8 3/8 in. (26.4 x 21.3 cm) Signed, titled, numbered and dated “Andy Warhol ‘Sixteen Jackies’ 1964’” Richard Pettibone 1996 #12/12. This work is number 12 from an edition of 12.

Estimate $120,000-180,000 provenance Leo Castelli Gallery, New York

Andy Warhol, Sixteen Jackies, 1964, silkscreen on canvas, 80 x 64 in. (203.2 x 162.6 cm), Collection Walker Art Center, Minneapolis © 2015 The Andy Warhol Foundation for the Visual Arts, Inc., Artists Rights Society (ARS), New York

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200 StuRtevant 1926-2014 Untitled, 1997 photo and laser copy on paper collage on paper 20 3/4 x 15 3/4 in. (52.7 x 40 cm) Signed and dated “Sturtevant 97” lower right; further signed, titled and dated “Sturtevant UNTITLED 97” on the reverse.

Estimate $25,000-35,000 provenance Galerie Thaddaeus Ropac, Paris

201 RichaRd Pettibone b. 1938 Piet Mondrian, ‘Composition with Yellow, Red, Black, Blue and Gray,’ 1920, 1996 oil on canvas, in artist’s frame 7 x 8 1/8 in. (17.8 x 20.6 cm) Signed, titled and dated “88 Piet Mondrian, Composition w Yellow Red Black Blue Grey 1920 Richard Pettibon 1996” along the overlap.

Estimate $25,000-35,000 provenance Curt Marcus Gallery, New York

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202 Claes Oldenburg b. 1929 Inverted Q, 1976 painted plaster 17 7/8 x 18 1/8 x 14 5/8 in. (45.6 x 46 x 37 cm) This work is unique.

Estimate $30,000-50,000 provenance James Corcoran Gallery, Los Angeles Private Collection Christies, New York, 20th Century Art Day Sale, May 10, 2000, lot 689 Acquired at the above sale by the present owner

exhibited Minneapolis, Walker Art Center, Claes Oldenburg: In the Studio, August 1992-February 1993 (another example exhibited).

Akron Art Institute, Oldenburg/The Inverted Q, October-December 1977 (another example exhibited).

New York, Leo Castelli Gallery, Claes Oldenburg, November 1976 (another example exhibited).

Cleveland, BP Art Collection, Larger than Life: Monument Proposals by Claes Oldenburg and Large-Scale Outdoor Sculpture by Claes Oldenburg and Coosje van Bruggen, November 1991-January 1992 (another example exhibited). literature N. Foote, “Oldenburg’s Monuments to the Sixties,” Artforum, January, 1977, p. 55 (other examples illustrated)

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203 Keith haring 1958-1990 Untitled, 1984 Sumi ink on paper 22 7/8 x 28 7/8 in. (58.1 x 73.3 cm) Signed and dated “K. Haring Oct. 30 1984” on the reverse. This work is accompanied by a certifcate of authenticity issued by the Estate of Keith Haring.

Estimate $120,000-180,000 provenance Private Collection Sotheby’s, Amsterdam, Modern and Contemporary Art, November 26, 2002, lot 247 Acquired at the above sale by the present owner

My contribution to the world is my ability to draw. I will draw as much as I can for as many people as I can for as long as I can. Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic.

KEITH HArINg

Keith Haring became a prominent fgure in New York’s East Village art scene of the 1970s and 1980s afer receiving attention for the bold and energetic drawings and patterns he drew on the streets of the city and in the subways. The present lot, Untitled from 1984, is an excellent example of how Haring translated his earlier style, honed on the streets of the city, into stunning works on paper and canvas. He reduced his forms and ideas to the simplest primary element: a thick black line boldly outlining his subject matter. Foreshadowing his battle with AIDS, Haring explored darker themes throughout his oeuvre including serpents, monsters,

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fallen angels, and cannibals. Ostensibly smiling, the multi-ocular creature depicted here seemingly waves at the viewer using tentacle eyeballs with an unbroken gaze. What possible threat this fgure represents is impossible to determine for sure, and rendered as it is in Haring’s quick, bold line, the impression it leaves is one of both interested wonder and cautious concern. Haring’s inimitable style is immediately apparent and lends the work an imprimatur and impressionability that is as captivating as the bizarre subject itself.

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204 Jean-Michel Basquiat 1960-1988 Untitled, 1983 oil stick on paper 30 x 22 1/4 in. (76.2 x 56.5 cm) Estimate $250,000-350,000 provenance Galerie Yvon Lambert, Paris Sotheby’s, London, Contemporary Art, March 25, 1999, lot 17 Private Collection Sotheby’s, London, Contemporary Art Day Auction, February 13, 2013, lot 216 Acquired at the above sale by the present owner

Jean-Michel Basquiat began his career as a grafti artist under the pseudonym SAMO, in the Lower East Side of Manhattan. His grafti background is apparent in the raw, graphic and fresh lines of this Untitled, 1983. For Basquiat, drawing was an equal medium to painting. Uniquely able to articulate the energy of the artist in the immediacy of putting pen to paper, drawing had an equal potential for powerful expression.

He frst applied this immediacy of thought and action to writing grafti, which requires a quick hand. In the present work, the graphic style of street art is fused with experiments in semiotics, and refects the artist’s inner thoughts and feelings. Employing imagery culled from his social and cultural milieu of the 1980s downtown New York scene, he has created a composition full of power symbols– the full meanings of which are not immediately comprehensible.

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For Basquiat, symbols represented the world at its most basic level. As an ensemble, they generate an intellectual equation made even more mysterious by their pointed lack of clear explanation or translation.

Although they may be equations, they are not meant to be solved or deciphered through any linear formula. In creating and destroying, in scribbling and crossing out, Basquiat deters a defnitive decoding of his work, leaving it open to infnite permutations and interpretative possibilities. In this way, he created “a calculated incoherence, calibrating the mystery of what such apparently meaning-laden pictures might ultimately mean.” (M. Meyer, “Basquiat in History”, Basquiat, exh. cat., Brooklyn Museum of Art, 2005, p. 51) Untitled from 1983 is a poignant example of this enigmatic artist and the powerful, yet elusive, oeuvre with which he has indelibly infuenced the trajectory of contemporary western art far into the twenty-frst century.

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205 Julian Schnabel b. 1951 Grand Cayman to Haiti Including Jamaica, 2010 oil on navigational maps, laid on linen 108 1/2 x 106 1/2 in. (275.6 x 270.5 cm) Estimate $80,000-120,000 provenance Private Collection

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206 DaviD Salle b. 1938 Stephanie, 2005 oil on linen 72 x 108 in. (182.9 x 274.3 cm) Estimate $100,000-150,000 provenance David Zwirner, New York

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207 FROM AN IMPORTANT WEST COAST COLLECTION

Takashi MurakaMi b. 1962 Chaos, 1998 acrylic on canvas, mounted on board 15 7/8 x 15 7/8 in. (40.3 x 40.3 cm) Signed, annotated and dated “Kentaro (NY) 98 Takashi” on the reverse.

Estimate $150,000-200,000 provenance Blum & Poe, Santa Monica Marianne Boesky, New York exhibited Los Angeles, MOCA, Super Flat, January 14 - May 6, 2001 Tokyo, Museum of Contemporary Art, Takashi Murakami: Summon Monsters? Open the Door? Heal? Destroy?, August 25 - November 4, 2001 Los Angeles, The Museum of Contemporary Art, © Murakami, October 29, 2007 - February 11, 2008, then traveled to Brooklyn, Brooklyn Museum of Art (April 4 - July 13, 2008), Frankfurt, Museum für Moderne Kunst (September 27, 2008 - January 4, 2009), Bilbao, Guggenheim Bilbao (February 16 - May 31, 2009) literature Takashi Murakami: Summon Monsters? Open the Door? Heal? Destroy?, exh. cat., Museum of Contemporary Art Tokyo, 2001, n.p. (illustrated) Brutus, September, 2001, p. 69 (illustrated) © Murakami, exh. cat., The Museum of Contemporary Art, Los Angeles, 2007, n.p. (illustrated)

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208 Damien Hirst b. 1965 The McLean, 2006 oil on canvas, in artist’s frame canvas 48 x 36 in. (121.9 x 91.4 cm) frame 55 5/8 x 43 1/4 in. (141.3 x 109.9 cm) Signed, titled and dated “’The McLean’ 2006 Damien Hirst” on the reverse; further signed “D Hirst” along the stretcher; further stamped twice by the artist’s studio along the stretcher and lower overlap.

Estimate $300,000-500,000 provenance Gagosian Gallery, London

Damien Hirst, For the Love of God, 2007, platinum, diamonds, human teeth, 6 ¾ x 5 x 7 ½ in. (17.1 x 12.7 x 19 cm) © Damien Hirst and Science Ltd. All rights reserved/DACS, London/ARS, New York 2015

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209 Gary Hume b. 1962 Baby Snowman Black, 2002 gloss enamel on cast resin 39 x 23 x 23 in. (99.1 x 58.4 x 58.4 cm) This work is numbered 2 from an edition of 5.

Estimate $60,000-80,000 provenance Private Collection

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210 Gavin Turk b. 1967 Trash, 2006 painted bronze 17 x 19 x 19 in. (43.2 x 48.3 x 48.3 cm) Signed, titled, numbered and dated “TRASH 2/8 Gavin Turk 2006� on the underside. This work is numbered 2 from an edition of 8.

Estimate $70,000-100,000 provenance Private Collection

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211 Damien Hirst b. 1965 Love Sweetness, 2003 butterfies, household gloss on canvas 16 3/4 x 100 3/4 in. (42.5 x 256 cm) Signed twice, dated and annotated “Damien Hirst 2003 Damien Hirst This painting can go any way up Damien Hirst� on the reverse.

Estimate $200,000-300,000 provenance Science Ltd., London

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212 Lisa Yuskavage b. 1963 Scout, 2012 oil on linen 77 x 60 in. (195.6 x 152.4 cm) Signed and dated “Yuskavage 2013” along the overlap.

Estimate $300,000-400,000 provenance Greengrassi, London exhibited London, greengrassi, Lisa Yuskavage, April 18 - June 15, 2013

Over the past two decades, Lisa Yuskavage has created a unique oeuvre that portrays young women from multiple and simultaneous perspectives – at once vulgar and angelic, erotic and elegant, cartoonish and meditative.

She sets out to examine and play with the relationship of sof-focus pornography of the 1970s and the traditional ideals of female beauty found in the canvases of old masters. In what at frst glance appears to be kitsch, Yuskavage’s paintings focus on contemporary culture and the manner in which it afects both the self-perception and the external judgments of these young people.

In Scout, Yuskavage creates a fantastically luminous moment set against an ambiguous landscape that shows color is of great importance to the artist. Yuskavage depicts a young naïf standing centrally upon a knoll.

Behind her, the setting sun glows richly, casting her in shadow even as it illuminates the rich emerald sky, streaked through with bizarre and slightly menacingly thin, sharp clouds. The streaming light turns her thin camisole nearly transparent as it billows up, blown by a gentle breeze, exposing her ever so slightly. She stands demurely, arms clasped behind her back with her eyes turned skyward, reverent in their gaze. Yuskavage seems to be alluding to the numerous Greek myths in which Zeus assumes a natural form in order to indulge in various indiscretions with mortals. Indeed, Scout is a canvas with a particularly alluring ambiguity and tragic beauty.

The artist does not cast blame or make any attacks on the cultural, historical or social constructs that inform her paintings. She merely draws on her own experiences and observations. In a conversation with Chuck Close, Yuskavage commented, “I have no interest in pointing the fnger anywhere but at myself … I am interested in making work about how things are rather than how they should be. I exploit what’s dangerous and what scares me about myself. (Yuskavage, in “Interview: Chuck Close Talks with Lisa Yuskavage”, Lisa Yuskavage, New York, 1996, pp. 20-31) Scout is a fantastic example of how the artist is able to transform these vulnerabilities into wonderfully absorbing pictorial allusions.

Caspar David Friedrich, Wanderer above the Sea of Fog, 1818, 37 3/8 x 29 1/2 in.

(94.8 x 74.8 cm.). Collection of Kunsthalle Hamburg, on permanent loan from the Foundation for Promotion of Hamburg Art Collection. Photo: Elke Walford © bpk, Berlin/(Hamburger Kunstalle)/Elke Walford/Art Resource, NY

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213 Sue WilliamS b. 1954 Aqua Ecetera, 2001 oil on acrylic on canvas 72 x 108 1/4 x 1 5/8 in. (183 x 275 x 4 cm) Estimate $30,000-40,000 provenance Bernier Eliades Gallery, Athens

214 mary Heilmann b. 1940 Untitled, 1992 oil on canvas 19 x 12 in. (48.3 x 30.5 cm) Signed, dated and dedicated “for SUZANNE and Brian Love Mary Heilmann 1992� on the reverse.

Estimate $20,000-30,000 provenance Private Collection, acquired directly from the artist Private Collection, New York

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215 Sarah MorriS b. 1967 Pools - Ritz Carlton Coconut Grove [Miami], 2002 household gloss paint on canvas 84 1/4 x 84 1/4 in. (214.1 x 214.1 cm) Signed, titled and dated “ ‘POOLS – RITZ CARLTON COCOUNT GROVE [MIAMI]’ S Morris 2002” along the overlap.

Estimate $50,000-70,000 provenance White Cube, London

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216 Jacqueline HumpHries b. 1960 95%, 1990 oil on linen 80 x 80 in. (203.2 x 203.2 cm) Signed, titled and dated “J.Humphries 1990 ‘95%’” on the reverse.

Estimate $20,000-30,000 provenance John Good Gallery, New York Private Collection Christie’s East, New York, Contemporary Paintings, Drawings and Sculpture, May 3, 1994, lot 186 Acquired at the above sale by the present owner

217 Jacqueline HumpHries b. 1960 Four Corners, 1989 oil on linen 72 x 72 in. (182.9 x 182.9 cm) Signed, titled and dated “J. Humphries ‘FOUR CORNERS’ 1989” on the reverse.

Estimate $15,000-20,000 provenance John Good Gallery, New York Private Collection Wright, Chicago, Modern and Contemporary Art, June 1, 2003, lot 348 Acquired at the above sale by the present owner

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218 Pat Steir b. 1938 The Austria Group No. 3, 1991 pencil, ink, dispersion on paper, laid on board paper 60 3/4 x 60 3/4 in. (154.3 x 154.3 cm) frame 65 1/2 x 65 1/2 in. (166.4 x 166.4 cm) Initialed and dated “PS 91” lower right.

Estimate $100,000-150,000 provenance Galerie Thaddaeus Ropac, Salzburg

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219 Louise NeveLsoN 1899-1988 Diminishing Refection X, 1964 painted wood, in Plexiglas box work 18 1/2 x 12 3/4 x 2 1/2 in. (47 x 32.4 x 6.4 cm) frame 25 1/2 x 19 1/2 x 3 1/2 in. (64.8 x 49.5 x 8.9 cm) Estimate $35,000-45,000 provenance Pace Gallery, New York The Collection of Larry Aldrich Sotheby’s, New York, Contemporary Art Part II, November 18, 1999, lot 356 Acquired at the above sale by the present owner

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220 YaYoi Kusama b. 1929 Bird, 1986 wood, canvas, mesh, silver spray paint, synthetic fber, feathers 11 3/4 x 11 3/4 x 6 1/8 in. (30 x 30 x 15.5 cm) Signed, titled and dated “BIRD YAYOI KUSAMA 1996” on edge of the box. This work has been registered in the Yayoi Kusama archives under registration number 0396.

Estimate $50,000-70,000 provenance Private Collection, Tokyo Private Collection Sotheby’s, New York, Contemporary Art, September 27, 2010, lot 32 Acquired at the above sale by the present owner

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221 FROM AN IMPORTANT WEST COAST COLLECTION

Anthony CAro 1924-2013 Upon Avon, 2009 steel 58 x 34 x 22 in. (147.3 x 86.4 x 55.9 cm) Estimate $25,000-35,000 provenance Mitchell-Innes & Nash, New York

222 JonAthAn Meese b. 1970 Napoleon II, 2006 bronze, on artist’s wooden plinth with marble sculpture 28 1/2 x 18 1/4 x 12 1/2 in. (72.4 x 46.4 x 31.8 cm) plinth 39 1/2 x 13 3/4 x 15 3/4 in. (100.3 x 34.9 x 40 cm) Signed, titled, numbered and dated “JM 06 NAPOLEON 1/3” lower lef of fgure; further stamped by the foundry “H. Noack Berlin” lower lef of fgure. This work is number 1 from an edition of 3.

Estimate $15,000-20,000 provenance Galerie Daniel Blau, Munich

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223 Antony Gormley b. 1950 MEME LXI, 2009 cast iron 4 x 12 x 3 1/2 in. (10.2 x 30.5 x 8.9 cm) Signed and numbered “AG 1005” on the underside of the fgure.

This work is unique.

Estimate $80,000-120,000 provenance Sean Kelly Gallery, New York

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224 Karel appel 1921-2006 Untitled, 1951 oil on panel 23 1/2 x 31 1/2 in. (59.7 x 80 cm) Signed “Appel” lower right.

Estimate $50,000-70,000 provenance Private Collection Phillips de Pury & Company, New York, Contemporary Art II, May 13, 2005, lot 338 Acquired at the above sale by the present owner

225 Fritz Bultman 1919-1985 Good News, 1963 oil on canvas, diptych each 96 x 48 in. (243.8 x 121.9 cm) overall 96 x 96 in. (243.8 x 243.3 cm) Each signed and titled “BULTMAN GOOD NEWS” along the stretcher.

Estimate $20,000-30,000 provenance Private Collection

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226 Mario Merz 1925-2003 Eyes with Numbers, 1970 gouache, spray paint on paper 39 1/4 x 27 1/2 in. (99.7 x 69.9 cm) Signed “Mario Metz 1970” lower right.

Estimate $50,000-70,000 provenance Galleria Antonio Tucci Russo, Turin Renate & Sidney Shapiro Collection, New York Private Collection, New York

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227 PROPERTY FROM A PRIVATE COLLECTION, MINNNESOTA

MiMMo Rotella 1918-2006 All’Auditorium, 1962 decollage on canvas 24 x 38 1/2 in. (61 x 97.8 cm) Signed and dated “Rotella 62” lower lef; further signed, titled and dated “1962 ‘ALL’AUDITORIUM’ Rotella” on the reverse.

Estimate $150,000-200,000 provenance Private Collection, acquired directly from the artist Sotheby’s, London, 20th Century Italian Art, October 15, 2007, lot 51 Acquired at the above sale by the present owner exhibited New York, Armand Bartos Fine Art, SIGN/AGE: Signs Signs Everywhere a Sign, September 26 - October 24, 2008 Fort Lauderdale, Museum of Art Fort Lauderdale, With You I Want to Live: The Gordon Locksley and Dr. George T. Shea Collection, March 23, 2009 March 22, 2010 literature T. Trini, Rotella, Milan: Giampaolo PREARO Editore, 1974, n.p. (illustrated)

“The act of ripping that I perform in the streets when the posters appear to me as a crucial moment in nature is totally diferent from the ripping that I later perform in my studio when, by following my vision, I create something that, like the ‘ready-made’, is a metaphor of the world.”

MIMMO ROTELLA, 1961

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228 ChaRles aRnoldi b. 1946 Untitled, 1973 oil on wood 20 x 26 1/4 in. (50.8 x 66.7 cm) Signed and dated “ARNOLDI 1973” on the reverse.

Estimate $12,000-18,000 provenance Private Collection

229 Ronald davis b. 1937 Untitled, 1972 pigmented polyester resin on card stock 8 1/4 x 20 in. (21 x 50.8 cm) Signed and dated “Ronald Davis 1972” lower right.

Estimate $8,000-12,000 provenance Private Collection

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230 Frank Stella b. 1936 Puerto Rican Blue Pigeon, 1980 ground glass, oil, crayon, collage on Tycore board 62 1/4 x 86 1/4 in. (158.1 x 219.1 cm) Signed and dated “F. Stella ’80” upper right.

Estimate $60,000-80,000 provenance M. Knoedler & Co., Inc, New York Pace Gallery, New York

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231 Jim Dine b. 1935 Anderson and Shepard, 2008 oil, acrylic on canvas 50 x 98 in. (127 x 249 cm) Estimate $120,000-180,000 provenance Jonathan Novak, Los Angeles

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The motif of the present lot was initially adopted by Jim Dine in the early 1960’s afer the artist came across an advert for bathrobes in the New York Times Magazine. For Dine, the robe represented a self-portrait; the outline of the garment echoing his physical presence and yet the banality of a nondescript everyday item gave cause to an emotive personal portrayal.

Dine has consistently revisited this theme throughout his career. The present example, which features two crimson colored gowns set amid bright fecks of color, layers this autobiographical insight with a vibrancy that plays contrast to the vacant bathrobes. The solitary fgure outlines embedded in their busy colorful surroundings contemplate the juxtaposition of the artist’s interior life with the public consumption of his creative output.

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Born in Ohio, 1935, Dine’s work is ofen associated with the American pop art movement, having shared countless shows with contemporaries such as Roy Lichtenstien and Andy Warhol. His diverse artistic output in a variety of media, which also includes print-making, sculpture and performance art, has forged a highly prolifc career and seen the artist stage approximately 300 solo exhibitions worldwide. The present lot exemplifes this oeuvre with one of his most recognizable subjects and encompasses the artists unwavering analysis of self-expression.

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232

233

Gene Davis 1920-1985 Swimming Pool, 1977 acrylic on canvas 68 x 94 in. (172.7 x 238.8 cm)

Gene Davis 1920-1985 Candy Stick, 1963 acrylic on canvas 94 1/4 x 87 3/4 in. (239.4 x 222.9 cm) Signed, titled and dated “Candy Stick (1963) Gene Davis” on the stretcher.

Estimate $30,000-50,000 provenance Ameringer McEnery Yohe, New York

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Estimate $80,000-120,000 provenance Poindexter Gallery, New York Fischbach Gallery, New York Charles Cowles Gallery, Inc., New York

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234 Sam Gilliam b. 1933 Shop I, 1980 collaged canvas on fabric substrate, with metal, acrylic and spray paint 36 1/4 x 41 3/4 in. (92.1 x 106 cm) Signed and titled “SHOP I Sam Gilliam” on the reverse; further dedicated “To Bob” on the reverse strainer.

Estimate $10,000-15,000 provenance Acquired directly from the artist Private Collection

235 Sam Gilliam b. 1933 Untitled, 1980 collaged canvas with acrylic paint 37 x 33 in. (94 x 83.8 cm) Signed and dated “Sam Gilliam 1980” on the reverse.

Estimate $10,000-15,000 provenance Acquired directly from the artist Private Collection

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236 Paul Jenkins 1923-2012 Phenomena Carib Sun Spot, 1979 acrylic on canvas 38 x 51 in. (96.5 x 129.5 cm) Signed “Paul Jenkins” at lower right; further signed, titled and dated “Paul Jenkins Phenomena Carib Sun Spot 1979” along the overlap.

Estimate $20,000-30,000 provenance Galerie Karl Flinker, Paris

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237 Joseph Marioni b. 1943 Yellow Painting #10, 1994 acrylic on linen 55 x 51 in. (139.7 x 129.5 cm) Signed and dated twice and titled “JOSEPH MARIONI PAINTER 1994 #10 YELLOW PAINTING Joseph Marioni 94” along the overlap.

Estimate $15,000-20,000 provenance Galerie S65, Aalst exhibited Aalst, Galerie S65, Joseph Marioni: Eight Paintings, 1994

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238 Ron GoRchov b. 1930 Diotima, 2006 oil on canvas 60 x 80 x 13 in. (152.4 x 203.2 x 33 cm) Signed, titled and dated “DIOTIMA MMVI Rob Gorchov” on the reverse stretcher bar.

Estimate $40,000-60,000 provenance Nicholas Robinson, New York

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239 Gerhard richter b. 1932 Abstraktes Bild (454-4), 1980 oil on canvas 17 3/4 x 13 3/4 in. (45 x 35 cm) Signed, numbered and dated “454/4 Richter, 80” on the reverse. This work is listed in the Richter Catalogue Raisonné under number: 454-4.

Estimate $350,000-450,000 provenance Hauser & Wirth, Zurich exhibited Bielefeld, Kunsthalle Bielefeld, Gerhard Richter: Abstract Paintings 1976 to 1981, January 10 – February 21, 1982, then traveled to Mannheim, Mannheimer Kunstverein, (April 18 – May 16, 1982) literature J. Harten et al, Gerhard Richter Bilder = Paintings 1962 - 1985, Cologne: Dumont, 1986, p. 391, 229 (illustrated) Gerhard Richter: Paintings, exh. cat., Marian Goodman Gallery / Sperone Westwater, New York, 1987, p.6

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PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION Lots 240-244 A seminal artist of his generation, Martin Kippenberger’s genre-busting practice, brash yet keen critical intellect, and bombastic lifestyle continues to fascinate, challenge and inspire 18 years afer his untimely death. As a post war artist following on from Abstract Expressionism, Pop, Minimalism and Conceptualism, Kippenberger felt the artist faced an increasing struggle to retain originality and authenticity. With characteristic verve, he tackled this challenge head on—taking on the history of art, the notion of the artist hero, the hallowed status of painting—and gifed us with a diverse body of work spanning paintings, drawings, sculptures and photographs in his short but prolifc career. No fgure or idea was safe from Kippenberger’s caustic critical eye, and no material too sacred or lowbrow for deployment.

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The following group comprised of sculpture, collage and drawings, pulsate with originality and the manic energy of this singular talent. They include early examples of his Hotel drawings, made on hotel stationary, a series which Kippenberger continued until his death. These drawings include studies for his iconic Peter sculptures. In addition to these works, Opel Manta Sculpture, Kippenberger’s wooden dashboards, fashioned from the interior of the popular German car marque, demonstrate the artist’s wry sense of humor having been conceived through the joke“ What goes through the head of an Opel Manta driver when he drives into a tree?”

Amongst the aforementioned are also his collage pieces which touch upon the artist’s multi-faceted approach to his art- combining various materials to produce works which are visually rich in texture. The featured group of works, which have originated from an important European collection, epitomize the radical nature of Kippenberger’s legacy.

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240 Martin Kippenberger 1953-1997 Three works: (i) Opel Manta Armaturenbrett; (ii) Opel Manta Armaturenbrett: (iii) Opel Manta Armaturenbrett, 1992 wood each 13 x 52 x 12 in. (33 x 132.1 x 30.5 cm) Each work is a unique variant from an edition of 10 diferently colored examples plus 1 artist’s proof.

Estimate $80,000-120,000 provenance Private Collection, Europe exhibited Graz, Galerie Bleich Rossi, Fallen und fallen lassen – Merlin Carpenter, Ulrich Strothjohann, Martin Kippenberger, Michael Krebber, October 5 October, 171991 (another example exhibited) literature exh.cat.,Roberto Ohrt, Martin Kippenberger in Tirol: Sammlung Widauer, Cologne: Walther König, pp. 76–79, 95 exh.cat.,Karola Grässlin, Kippenberger Multiples, Graz: Kunstverein Braunschweig, 2003, p. 113 (another example illustrated) exh.cat., Elisabeth Fiedler, Martin Kippenberger - 25 Jahre Galerie BleichRossi, Wien: Galerie Bleich- Rossi, 1997

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241 Martin Kippenberger 1953-1997 Untitled (Frieda fur alle), 1985 mixed media, collage 11 1/4 x 15 1/8 in. (28.6 x 38.5 cm) Initialed and dated “K 85� lower right.

Estimate $20,000-30,000 provenance Private Collection, Europe literature Martin Kippenberger - 25 Jahre Galerie Bleich- Rossi, exh. cat., Galerie Bleich-Rossi, Vienna, 1997

Martin Kippenberger, Gabriella and Alexander Bleich-Rossi, Innsbruck, 1991

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242 Martin Kippenberger 1953-1997 Untitled (YPS), 1985 mixed media, collage 9 7/8 x 21 1/4 in. (25 x 54 cm) Initialed and dated “K 85” lower lef; further incised “K 85” lower right.

Estimate $25,000-35,000 provenance Private Collection, Europe literature Martin Kippenberger - 25 Jahre Galerie Bleich- Rossi, exh. cat., Galerie Bleich-Rossi, Vienna, 1997

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243 Martin Kippenberger 1953-1997 Ich halt mich verschlossen, 1988 mixed media on hotel stationery 11 5/8 x 8 1/4 in. (29.5 x 21 cm) Initialed and dated “K. 88” lower right.

Estimate $20,000-30,000 provenance Private Collection, Europe literature Martin Kippenberger - 25 Jahre Galerie Bleich- Rossi, exh. cat., Galerie Bleich- Rossi, Vienna, 1997

244 Martin Kippenberger 1953-1997 Umzug, 1987 mixed media on hotel stationary 11 5/8 x 8 1/4 in. (29.6 x 21 cm) Initialed and dated “K. 87” lower right; further titled and numbered “Umzug VI” lower lef.

Estimate $15,000-20,000 provenance Private Collectin, Europe literature Martin Kippenberger - 25 Jahre Galerie Bleich- Rossi, exh. cat., Galerie Bleich- Rossi, Vienna, 1997

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245 Michael Krebber b. 1954 Vampire?, 2000 paint on canvas 51 1/4 x 45 1/4 in. (130.2 x 114.9 cm) Signed and dated “Michael Krebber 02” on the reverse.

Estimate $30,000-40,000 provenance Galerie Christian Nagel, Cologne

246 Marcel broodthaers 1924-1976 Le Drapeau Noir (The Black Flag), 1968 acrylic on stamped plastic plate 33 1/8 x 47 1/4 in. (84 x 120 cm) Estimate $20,000-30,000 provenance Private Collection exhibited Vienna, Georg Kargl Gallery, Re-Produktion 2, January 30 - March 29, 2003 Vienna, Secession, AUTORSCHAFT ALS GENRE: curated

by Helmut Draxler, February 22 – April 15, 2007 literature exh. cat., Galerie Nationale du Jeu de Paume; Madrid, Museo Reina Sofa, Marcel Broodthaers, 1991-92, p. 134 (illustration of another example in color) exh. cat., Kunstraum, Marcel Broodthaers. 1924-1976.

Objekte, Druckgraphik, Zeichnungen, Bücher, 1992, p. 20 (illustration of another example) Benjamin Buchloh, Neo-Avantgarde and Culture History: Essays on European and American Art from 1955 to 1975, Cambridge, 2003 (illustration of another example in color, on the front cover) exh. cat., Secession, AUTORSCHAFT ALS GENRE: curated

by Helmut Draxler, Vice Versa: Vienna, 2007 (illustrated in color)

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247 André Butzer b. 1973 Obstgarten Edvard Munch, 2006 oil on canvas 102 3/8 x 78 3/4 in. (260 x 200 cm) Signed “A. Butzer” lower right. Further signed and dated “A. Butzer 06” on the reverse.

Estimate $30,000-50,000 provenance Gary Tatintsian Gallery, Moscow Private Collection Phillips de Pury and Company, New York, Contemporary Art Day Sale, May 11, 2012, lot 245 Acquired at the above sale by the present owner literature Germania, exh. cat., Saatchi Gallery, London, pp. 228-229 (illustrated)

248 André Butzer b. 1973 Gruss aus Pomm-Pomm, 2003 oil on canvas, in a painted wood artist’s frame 102 3/8 x 86 5/8 in. (260 x 220 cm) Signed “A. Butzer” lower right; further signed, titled and dated “Gruß aus ‘Pomm-Pomm’ A. Butzer ‘03” on the reverse.

Estimate $30,000-50,000 provenance Private Collection literature André Butzer - The End of the Peace Siemens People dream, exh. cat., Kunstverein Heilbronn Snoek Verlag, 2004, n.p. (illustrated)

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249 Hernan Bas b. 1978 The Haunting of that Hill House (MacKintosh), 2010 acrylic, airbrush, househould gloss, block print on linen 60 x 48 (152.5 x 122 cm.)

Initialed and dated “HB 10” lower right; further initialed, titled and dated “HB 2010 the haunting of that Hill House (macKintosh)” on the reverse.

Estimate $50,000-70,000 provenance Private Collection

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250 LLeweLLyn Xavier b. 1945 Blue Chip Versailles, 2014 oil on canvas 40 x 30 1/4 in. (101.6 x 76.8 cm) Signed and dated “Llewellyn Xavier 2014” on the reverse; further titled “Blue Chip V” along the upper turnover edge.

Estimate $80,000-120,000 provenance Acquired directly from the artist

The career of Llewellyn Xavier inevitably raises the issue of a “Caribbean,” “Antillean,” even “St. Lucian” sensibility in the visual arts. Current dialogues about art in the Caribbean revolve around the notion that the Caribbean is as much a state of mind as it is a marker of locale. If the destiny of island citizens is to migrate, circumnavigate, emigrate and immigrate, their lives and careers—and in this case art production— embody fux, change and mutation. Xavier himself lef St. Lucia for Barbados, before going on to London and then the United States, and fnally returning to his native island to settle and work.[...]

Xavier’s own response to what Edward Lucie Smith describes as “the threats to the fragile ecology of the island,” is indeed the reaction of a son returning to his native land in the spirit of [Wifredo] Lam, [Aimé] Césaire and [Alejo] Carpentier, true pioneers in the cultural and political emancipation of the Caribbean. As the unique aspects of the St. Lucian environment continue to guide and impact the evolution of his imagery, then, Xavier stands as a vital force in the on-going dialogue of globalism and locality, cultural tourism and cultural sovereignty in the art of the Caribbean.

Dr. Lowery Stokes Sims, 2006

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251 Ugo Rondinone b. 1964 Wednesday, October 7, 2009, 2009 gesso, collage and graphite on linen 9 1/2 x 12 3/8 in. (24.1 x 31.4 cm) Signed “Ugo Rondinone� on the reverse.

Estimate $15,000-20,000 provenance Sadie Coles HQ, London

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252 Bruce NaumaN b. 1941 The Negative Shape of the Right Half of my Body Carved into a Living Tree, 1966-67 ink, watercolor on paper 18 3/4 x 23 3/4 in. (47.6 x 60.3 cm) Titled “The negative shape of the right half of my body carved into a living tree� at center.

Estimate $80,000-120,000 provenance Estate of Eugenia and James Butler, California Bonhams & Butterfelds, Los Angeles, Modern and Contemporary Art/ Made in California, May 22, 2007, lot 221 Private Collection Phillips, New York, Contemporary Art Day Sale, November 12, 2013, lot 168 Acquired at the above sale by the present owner

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literature C. van Bruggen, ed., Bruce Nauman: Drawings, Zeichnungen 1965-1986, Basel: Museum fur Gegenwartkunst, 1986, #18 C. van Bruggen, Bruce Nauman, New York: Rizzoli, 1991, p. 165 (illustrated)

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253 GeorGe Condo b. 1957 Untitled, 1984 Sumi ink on canvas 16 1/4 x 24 1/8 in. (41.4 x 61.4 cm) Signed and dated “George Condo ‘84” lower right.

Estimate $12,000-18,000 provenance Private Collection Bonhams, Los Angeles, Period Art & Design including Jewelry, February 12, 2012 lot 7072 Acquired at the above sale by the present owner

254 Sol leWitt 1928-2007 Waving Lines, 1999 gouache on paper 14 1/2 x 14 1/2 in. (36.8 x 36.8 cm) Signed and dated “S. Lewitt 99” lower right.

Estimate $8,000-12,000 provenance Private Collection, New York

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255 Jim Shaw b. 1952 Silhouette Drawing, 2006 spray paint on paper 80 x 51 1/4 in. (203.2 x 130.2 cm) Signed and dated “Jim Shaw 2006� on the reverse.

Estimate $30,000-50,000 provenance Bernier/Eliades, Athens exhibited Athens, Bernier/Eliades, Jim Shaw, April 13 - May 19, 2006

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256 HirosHi sugimoto b. 1948 Bay of Sagami, Atami, 1997 gelatin silver print image 16 1/2 x 21 1/4 in. (42 x 54 cm) sheet 18 1/2 x 22 3/4 in. (47 x 58 cm) Blindstamped, titled, dated, and numbered “BAY OF SAGAMI ATAMI 1997 9/25 483” in the margin. Further signed “Hiroshi Sugimoto” in pencil on the paper mount.

This work is number 9 from an edition of 25.

Estimate $18,000-22,000 provenance Pace Gallery, New York exhibited Bonn, Kunstmuseum Bonn, Through the Looking Brain: A Swiss Collection of Conceptual Photography, June 23 - September 25, 2011 (another example exhibited), then traveled to St. Gallen, Kunstmuseum St. Gallen (October 15, 2011 - January 22, 2012) London, Pace Gallery, Rothko/Sugimoto: Dark Paintings and Seascapes, October 4 - November 17, 2012 (another example exhibited) literature Through the Looking Brain: A Swiss Collection of Conceptual Photography, exh. cat., Kunstmuseum Bonn, Bonn, 2011, p. 229 Rothko/Sugimoto: Dark Paintings and Seascapes, exh. cat., Pace Gallery, London, 2012, p. 33

257 HirosHi sugimoto b. 1948 Bass Strait, Table Cape, 1997 gelatin silver print image 16 1/2 x 21 1/4 in. (41.9 x 54 cm) sheet 18 3/4 x 22 3/4 in. (47.6 x 57.8 cm) Blindstamped, titled, dated, and numbered “BASS STRAIT TABLE CAPE 1997 16/25 479” in the margin. Further signed ‘Hiroshi Sugimoto’ in pencil on the paper mount. This work is number 16 from an edition of 25.

Estimate $18,000-22,000 provenance Pace Gallery, New York literature Hiroshi Sugimoto: Architecture of Time, unpaginated; Hiroshi Sugimoto/Hirshhorn, p. 143 (illustrated)

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(i)

(ii)

258 Sherrie Levine b. 1947 Two works: (i) black mirror:12, 2004 (ii): silver mirror: 10, 2010 (i) mirrored glass in mahogany frame (ii) frosted mirror in maple frame (i) 21 1/8 by 17 1/8 in. (53.6 by 43.4 cm) (ii) 21 1/8 by 16 7/8 in. (53.6 by 43 cm) (i) Initialed and numbered “SML 12” on the reverse. (ii) Initialed, titled and dated “SILVER MIRROR 10 SML 2010” on the reverse.

Estimate $30,000-40,000 provenance Paula Cooper Gallery, New York

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259 Christopher Williams b. 1956 Linhof Technika V fabricated in Munich, Germany. Salon Studio Stand fabricated in Florence, Italy. Dual cable release. Prontor shutter. Symars lens 150mmm/f 5.6 Schneider kreuznach. Sinar fresnel lens placed with black tape on the ground glass. (Yellow) Dirk Sharper Studio, Berlin, June 19, 2007, 2008 chromogenic print image 17 1/2 x 13 3/4 in. (44.5 x 34.9 cm) sheet 20 x 16 in. (50.8 x 40.6 cm) This work is number 10 from an edition of 10 plus 4 artist’s proofs.

Estimate $20,000-30,000 provenance David Zwirner, New York exhibited New York, David Zwirner, For Example: Dix Huits Leçons Sur La Société Industrielle (Revision 7), February 14 March 29, 2008 (another example exhibited)

260 sam taylor-Wood b. 1967 Soliloquy IV, 1998 chromogenic print, artist’s frame, in 2 parts 87 3/8 x 101 3/16 in. (221.9 x 257 cm) This work is number 6 from an edition of 6.

Estimate $20,000-30,000 provenance The artist Matthew Marks Gallery, New York Private collection exhibited Milan, Fondazione Prada, Sam Taylor-Wood, November 19, 1998 - January 6, 1999 (another example exhibited) New York, Matthew Marks Gallery, Sam Taylor-Wood: Soliloquy, January 22 - February 26, 2000 literature Bracewell, Michael, Celant, Germano, Ferguson, Bruce W. and Nancy Spector. Sam Taylor-Wood. Milan: Fondazione Prada, 1998, pp. 290-292, ill. in color.

Bracewell, Michael, Millar, Jeremy and Clare Carolin. Sam Taylor-Wood. Göttingen: Steidl, 2002, n.p., ill. in color.

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261 Marilyn Minter b. 1948 Streak, 2010 chromogenic print 60 x 42 3/4 in. (152.4 x 108.6 cm) Signed “M. Minter” on a label afxed to the reverse.

This work is number 1 from an edition of 5 plus 2 artist’s proofs.

Estimate $25,000-35,000 provenance Salon 94, New York Private Collection

262 Marilyn Minter b. 1948 Climber, 2005 chromogenic print image 40 x 27 in. (101.6 x 68.6 cm) sheet 50 x 37 in. (127 x 94 cm) Signed, titled, numbered and dated “’CLIMBER’ M. MINTER 2005 5/5” on the reverse of the mount.

This work is number 5 from an edition of 5.

Estimate $20,000-30,000 provenance Private Collection

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263 ElgEr EssEr b. 1967 Saone, France, 2000 chromogenic print, Diasec mounted, in artist’s frame image 54 x 75 1/2 in. (137.2 x 191.8 cm) overall 72 1/2 x 93 in. (184.2 x 236.2 cm) Signed “Elger Esser” on label afxed to reverse of frame.

This work is number 1 from an edition of 7.

Estimate $30,000-40,000 provenance Sonnabend Gallery, New York

264 Paul PfEiffEr b. 1966 Untitled, 2000-08 chromogenic print 10 x 8 in. (25.4 x 20.3 cm) Estimate $8,000-12,000 provenance Christian Hayes Gallery, New York

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265 Vik Muniz b. 1961 Still Life with Three Puppies, afer Gauguin (From Pictures of Magazines), 2004 chromogenic print, in artist’s frame sheet 59 3/4 x 40 in. (151.9 x 101.6 cm) frame 63 1/2 x 43 1/2 in. (161.3 x 110.5 cm) Signed “Vik Muniz” on label afxed to reverse of frame. This work is number 4 from an edition of 6 plus 4 artist’s proofs.

Estimate $30,000-40,000 provenance Brent Sikkema, New York literature V. Muniz and P. Corrêa do Lago, Vik Muniz: Complete Works, 1987-2009: Catalogue Raisonné, Rio de Janeiro, 2009, p. 473 (illustrated)

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266 Robin Rhode b. 1976 Untitled (Anchor), 2005 chromogenic print, diasec mounted, in 9 parts each 12 x 18 in. (30.5 x 45.7 cm) Each signed “Robin Rhode” on the reverse mount; each further numbered “Ed. 4/5 + 1AP” on the reverse; further annotated “1-9 of 9” respectively on the reverse gallery label.

Estimate $30,000-50,000 provenance Perry Rubenstein Gallery, New York

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267 RobeRt Wilson b. 1941 Salma Hayek (VOOM Portraits), 2006 video with sound, on artist’s viewing monitor duration: 53 seconds, on continuous loop monitor: 22 1/2 x 38 1/2 in. (57.2 x 97.8 cm) Estimate $60,000-80,000 provenance Private Collection

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268 Callum Innes b. 1962 Exposed Painting Paynes Grey, Black Oxide, 2000 oil on canvas 83 3/4 x 81 3/4 in. (212.7 x 207.6 cm) Signed and dated “CALLUM INNES 2000” along the overlap.

Estimate $30,000-40,000 provenance Sean Kelly Gallery, New York

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269 Jason Martin b. 1970 Untitled, 2009 oil on aluminum 22 7/8 x 82 5/8 x 3 7/8 in. (58 x 210 x 10 cm) Estimate $40,000-60,000 provenance Lisson Gallery, New York

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270 Glenn liGon b. 1960 Slept Awoke, 2008 oil stick, gesso on paper sheet 12 x 9 in. (30.5 x 22.9 cm) Numbered “#17” on the reverse matboard.

Estimate $20,000-30,000 provenance Regen Projects, Los Angeles

271 Glenn liGon b. 1960 Study for Negro Sunshine #76, 2011 oilstick, coaldust, gesso on paper 12 x 9 in. (30.5 x 22.9 cm) Signed, titled and dated “Study for Negro Sunshine #76 2011 Glenn Ligon” on the reverse.

Estimate $20,000-30,000 provenance Salon 94, New York

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272 Joseph Kosuth b. 1945 #II49. (On Color/Multi #3), 1991 neon, transformer 5 1/2 x 157 1/2 in. (14 x 400 cm) Estimate $100,000-150,000 provenance Almine Rech, Brussels

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273 Tauba auerbach b. 1981 Numeral Insides, 2006 acrylic on wood panel 40 x 28 in. (101.6 x 71.1 cm) Estimate $120,000-180,000 provenance Private Collection

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274 Mike kelley 1954-2012 Prenatal Mutual Recognition of Betty and Barney Hill, 1995 acrylic and wood panel on wood panel 64 1/8 x 46 7/8 in. (163 x 119 cm) Signed and dated “M. Kelley 1995” on the reverse.

Estimate $200,000-300,000 provenance Metro Pictures, New York exhibited New York, Metro Pictures, toward a utopian arts complex, October 21 November 26, 1995 Washington D.C., Hirschhorn Museum and Sculpture Garden, Distemper: Dissonant Themes in the Arts of the 1990s, June 20 - September 15, 1996 Barcelona, Museu d’Art Contemporani de Barcelona, MIKE KELLEY 19851996, January 24 - March 31, 1997, then traveled to Malmö, Rooseum Center for Contemporary Art (April 25 - June 15, 1997), Eindhoven, Stedelijk Van Abbemuseum (July 5 - August 31, 1997) Brussels, WIELS Center d’Art Contemporain, Mike Kelley: Educational Complex Onwards 1995-2008, April 12 - July 27, 2008, then traveled to Bolzano, Museion (January 17 - April 19, 2009) literature MIKE KELLEY 1985-1996, exh. cat., Museu d’Art Contemporani de Barcelona, 1996, p. 113, cat. no. 32 (illustrated) J. Welchman, “Mike Kelley écrits / Mike Kelley’s Writings,” Artpress, (June 2013), p.49 (illustrated on cover) M.Kelley, “L’immonde idéal: réfections sur la caricature” Artpress, (June 2013), p.54 (illustrated and illustrated on cover)

Mike Kelley’s oeuvre is punctuated by a critical investigation of the darker side of youth and the process of “growing up.” His career long examination of adolescent repression and the psychoanalytic reconsideration of childhood memories has produced a body of work that is both enlightening and deeply troubling. Interested in the communication of fractured and fabricated narratives, much of Kelley’s assumed biography and childhood trauma is in fact invented by the artist and assumes a sort of universality for the very history upon which he is commenting – the Middle American suburban ideal.

Prenatal Mutual Recognition of Betty and Barney Hill, 1995 is from a series entitled Timeless Paintings which were originally exhibited in the artist’s seminal show at Metro Pictures in New York, 1995. Comprised of these paintings exhibited around architectural models of every school the artist attended, the show was an exercise in psychoanalytic determination.

The present work depicts two young children, mouths agape in a sexually suggestive fashion, on an irregularly shaped canvas. Aside from their two faces, the composition is largely abstract with two large Hofmann-esque blocks of color obscuring whatever other narrative component may be included beneath. An allusion to the sort of painting he was taught in art school, the panels serve to illustrate the artist’s belief that abstract art itself is repressive in the sense that it distorts and obscures narrative structure. Intriguing and mesmerizing, Prenatal Mutual Recognition of Betty and Barney Hill is rife with analytical allusion and playful artistry.

Adult reinterpretations of childhood and childhood memories have become an important subject for many of this generation’s most infuential contemporary artists. Ranging from Jef Koons’s playful Popples, 1988, to Urs Fischer’s monumental sculpture Untitled (Lamp/Bear), 2005-2006, artists have appropriated images taken from childhood as a way of drawing the viewer into the work. Kelley’s fxation on the subject has made works like Prenatal Mutual Recognition of Betty and Barney Hill among the most polarizing and lauded objects to tackle this delicate subject matter.

Film still from Kids, 1995 Courtesy Shining Excalibur/Independent Pictures/Kobal/Art Resource

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275 KoraKrit arunanondchai b. 1986 My trip to the White Temple #9, 2013 denim on digital printed canvas with foil stamping 93 1/2 x 56 in. (237.5 x 142.2 cm) Initialed and dated “KA 2013� on the reverse.

Estimate $40,000-60,000 provenance Bill Brady Gallery, Kansas City exhibited Kansas City, Bill Brady Gallery, Painting with history in a room flled with men with funny names, September 13 - October 19, 2013

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276 Lucien Smith b. 1989 Love me when I deserve it least, as that is when I’ll need it most, 2012 acrylic on unprimed canvas 96 x 72 in. (243.8 x 182.9 cm) Signed “Lucien Smith” on the reverse overlap.

Estimate $50,000-70,000 provenance OHWOW Gallery, Los Angeles

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277 R.H. Quaytman b. 1961 Chapter 12: iamb/Captions, 2008 oil on wood 12 3/8 x 20 1/8 in. (31.5 x 51 cm) Estimate $30,000-40,000 provenance Vilma Gold, London exhibited London, Vilma Gold, Joseph Strau and R.H. Quaytman, December 11, 2007 - January 25, 2008 Neuberger Museum of Art, R.H. Quaytman: Paintings, December 1, 2010 - March 20, 2011

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278

279

Ida Ekblad b. 1980 Night Ocean Return Without and Without Hesitate, 2010 mixed media, concrete 56 3/4 x 48 3/8 in. (144 x 123 cm)

kaarI Upson b. 1972 Crib (Clean), 2013 silicone 52 x 28 x 5 1/2 in. (132.1 x 71.1 x 14 cm)

Estimate $15,000-20,000

Estimate $20,000-30,000

provenance Galerie Giti Nourbakhsch, Germany

provenance Massimo de Carlo, London

exhibited London, Saatchi Gallery, Gesamtkunstwerk: New Art from Germany, 2011-2012 literature Gesamtkunstwerk: New Art from Germany, exh. cat., Saatchi Gallery, London, 2011, p. 35 Ida Ekblad Poem Commission, exh. cat., Bergen Kunsthalle, Bergen, 2010, p. 43

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280 NiNa Beier b. 1975 Portrait Mode, 2011 found garments, in artist’s frame 96 1/8 x 56 3/4 in. (244 x 144 cm) Estimate $20,000-25,000 provenance Private Collection

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281 Alex HubbArd b. 1975 Coastal Blues #5, 2010 acrylic, silkscreen ink on canvas 72 x 50 in. (182.9 x 127 cm) Estimate $40,000-60,000 provenance Maccarone, New York

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282 Louis EisnEr b. 1988 Congo (A), 2013 ink on canvas, in artist’s frame 21 1/2 x 17 1/2 in. (54.6 x 44.5 cm) Signed and dated “Louis Eisner 2013” along the overlap.

This work is accompanied by a certifcate of authenticity signed by the artist.

Estimate $10,000-15,000 provenance Ritter/Zamet, London

283 WadE Guyton b. 1972 Untitled (icloud), 2012 Epson DURABrite inkjet on book page 11 3/4 x 8 1/4 in. (29.8 x 21 cm) Printed “W. GUYTON 2012” on the reverse of the sheet.

Estimate $8,000-12,000 provenance Private Collection

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284 Ethan Cook b. 1983 Untitled, 2013 hand woven cotton canvas, in artist’s frame 80 3/8 x 60 3/8 in. (204.2 x 153.4 cm) Signed and dated “E. Cook 2013” along the overlap.

Estimate $20,000-30,000 provenance Acquired directly from the artist by the present owner

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285

286

Ryan EstEp b. 1980 No. 1 from Drywall Mud & Charcoal Series, 2014 lidocaine, black pigment on canvas 73 x 48 in. (185.4 x 121.9 cm) Signed and dated “ESTEP 2014” along the overlap.

analia saban b. 1980 Study for erosion, 2013 laser-sculpted acrylic on canvas 18 x 24 in. (45.7 x 61 cm)

Estimate $10,000-15,000 provenance Thierry Goldberg Gallery, New York Blum & Poe, Los Angeles

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Estimate $20,000-30,000 provenance Private Collection

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287 Michael Staniak b. 1982 Untitled, 2014 casting compound, acrylic on board, in artist’s steel frame, diptych each 48 x 36 in. (121.9 x 91.4 cm) Signed and dated ‘MICHAEL STANIAK 2014’ on the reverse of each element.

Estimate $15,000-20,000 provenance Private Collection

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288 Michael Manning b. 1985 Spicy Carnitas Samosa, 2014 digital print, acrylic on canvas 96 x 72 in. (243.8 x 182.9 cm) Signed “Michael Manning� along the overlap.

Estimate $18,000-22,000 provenance Retrospective Gallery, New York

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289

290

Leo Gabin since 2000 Twerkin While Burger Serving, 2011 gesso, acrylic, spray paint, silkscreen on canvas 116 x 81 in. (294.6 x 205.7 cm) Signed, titled and dated “Leo Gabin 2011 ‘TWERKIN WHILE BURGER SERVING’” on the reverse.

Mark FLood b. 1957 Blind Eye, 2012 acrylic on canvas 50 1/4 x 34 in. (127.6 x 86.4 cm) Signed, titled and dated “‘Blind Eye’ Mark Flood 11-10-12” along the overlap.

Estimate $15,000-20,000

Estimate $30,000-40,000

provenance Private Collection, New York

provenance Zach Feuer, New York Private Collection

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291 EddiE MartinEz b. 1977 In This Headspace, Sam Is The Ocean, 2011 spray paint, charcoal and collage on canvas 60 x 84 in. (152.4 x 213.4 cm) Signed and dated “Martinez 11” lower lef; further signed and dated “Martinez 11” on the reverse; further initialed and dated “EM 11” on the stretcher.

Estimate $18,000-25,000 provenance Peres Project, Berlin

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292 Tala Madani b. 1981 Pink Cake, 2008 oil on canvas 15 3/4 x 11 3/4 in. (40 x 30 cm) Estimate $8,000-12,000 provenance Lombard Freid Projects, New York exhibited London, Saatchi Gallery, Unveiled: New Art from the Middle East, 2009 literature Unveiled: New Art from the Middle East, Saatchi Gallery, exh. cat., Saatchi Gallery, London, 2009, p. 86

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293 Justin AdiAn b. 1976 Big Fish, 2012 oil enamel, spray paint on ester foam and canvas 27 x 37 x 10 in. (68.6 x 94 x 25.4 cm) Signed, titled and dated “Justin Aidan 2012 BIG FINISH” on the reverse.

Estimate $12,000-18,000 provenance The National Exemplar Gallery, New York

294 sAm FAlls b. 1984 Untitled (Block Rubbing 28), 2012 colored pencil on paper 41 3/4 x 29 3/4 in. (106 x 75.6 cm) Signed and dated “Sam Falls 2012” on the reverse.

Estimate $6,000-8,000 provenance Marlborough Gallery, New York

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16/04/15 11.04

295 Dan Rees b. 1982 Vacuum Painting, 2012 oil on canvas, plastic, glass 51 1/8 x 43 1/4 x 9 7/8 in. (130 x 110 x 25 cm) Estimate $20,000-30,000 provenance Tanya Leighton, Berlin

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16/04/15 11.05

296 aaron Young b. 1972 Untitled (R3XS), 2011 silkscreen on linen 36 1/4 x 60 1/4 x 5 3/4 in. (92.1 x 153.1 x 14.6 cm) Estimate $15,000-20,000 provenance Carlson Ltd., London

297 Dean Levin b. 1988 A Conversation Piece (Black & White), 2014 fberglass reinforced plaster, oil on cotton, diptych each 22 x 20 in. (55.9 x 50.8 cm) Signed, titled, inscribed and dated “Dean Levin B+W Convex #1 1/2” on the reverse of the lef panel; further titled and numbered “Black + White Convex #1 2/2” on the reverse of the right panel.

Estimate $10,000-15,000 provenance Acquired directly from the artist by the present owner

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16/04/15 11.06

298 Nick DarmstaeDter b. 1988 Happy, 2013 oxidized copper on canvas 72 x 60 in. (182.9 x 152.4 cm) Signed and dated “Nick 2013” along the overlap.

Estimate $30,000-40,000 provenance Ritter/Zamet, London

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16/04/15 11.06

299 Jean-Baptiste Bernadet b. 1978 Untitled, 2012 oil on canvas 59 x 55 in. (149.9 x 139.7 cm) Signed, titled and dated “’UNTITLED’ Jean Baptiste BERNADET 2012” on the reverse.

Estimate $30,000-40,000 provenance Private Collection

300 Wangechi Mutu b. 1972 Bat Nose, 2010 mixed media, ink, collage, beads, glitter, spray paint on Mylar 23 7/8 x 19 in. (60.8 x 48.4 cm) Signed and dated “Wangechi Mutu 2010” lower right.

Estimate $30,000-40,000 provenance Gladstone Gallery, New York

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16/04/15 11.07

301 The Bruce high QualiTy FoundaTion since 2001 Father, Son, and Holy Ghost, 2012 silkscreen on canvas, triptych each 60 x 60 in. (152.4 x 152.4 cm) overall 60 x 180 in. (152.4 x 457.2 cm) Each signed and dated “THE BRUCE HIGH QUALITY FOUNDATION 2012” along the overlap.

Estimate $80,000-120,000 provenance Private Collection

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17/04/15 16.18

302 Rashid Johnson b. 1977 Green Belt, 2009 spray enamel on lambda print, in artist’s frame image 60 x 46 1/2 in. (152.4 x 118.1 cm) frame 65 x 51 1/2 in. (165.1 x 130.8 cm) This work is 1 from an edition of 5 unique variants plus 2 artist’s proofs.

Estimate $20,000-30,000 provenance Galerie Guido W. Baubach, Berlin Private Collection, Switzerland exhibited Chicago, Museum of Contemporary Art Chicago, Rashid Johnson: Message to Our Folks, April 14 - August 5, 2012, then traveled to Miami, Miami Art Museum (September 6 - November 18, 2012), Atlanta, High Museum of Art (June 8 - September 8, 2013) literature Rashid Johnson: Message to Our Folks, exh. cat., Museum of Contemporary Art Chicago, Chicago, 2012, p. 47 (illustrated)

303 RichaRd Wathen b. 1971 Greta, 2006 oil on linen, laid on aluminum 62 1/2 x 44 1/2 in. (158.8 x 113 cm) Signed and dated “Richard 2006” on the reverse.

Estimate $30,000-40,000 provenance Max Wigram Gallery, London exhibited London, Max Wigram Gallery, Richard Wathen, May 25 July 1, 2006

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16/04/15 11.08

304 Vanessa Beecroft b. 1969 Untitled, 2008 chromogenic print, Diasec mounted 70 x 89 in. (177.8 x 226.1 cm) This work is number 6 from an edition of 6.

Estimate $25,000-35,000 provenance Private Collection

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17/04/15 16.18

305 RinEkE dijkstRa b. 1959 Dubrovnik, Croatia, July 13, 1996, 1996 chromogenic print sheet 16 5/8 x 11 7/8 in. (42.2 x 30.2 cm) frame 20 1/4 x 17 1/4 in. (51.4 x 43.8 cm) Signed, titled and dated “Dubrovnik, Kroatia July 13, 1996 Rineke Dijkstra” on the reverse. This work is from an edition of 15.

Estimate $30,000-50,000 provenance Galerie Bob van Orsouw, Zurich exhibited London, The Photographers’ Gallery, Rineke Dijkstra, November 29, 1997 - January 10, 1998 (another example exhibited) Boston, Institute of Contemporary Art, Rineke Dijkstra: Portraits, April 17 - July 1, 2001 (another example exhibited) Paris, Jeu de Paume, Rineke Dijkstra, December 14, 2004 - February 28, 2005 (another example exhibited), then traveled to Winterthur, Fotomuseum Winterthur (March 12 - May 22, 2005), Barcelona, Fundació La Caixa d’Estalvis i Pensions de Barcelona (June 9 - August 21, 2005), Amsterdam, Stedelijk Museum (November 4, 2005 - February 26, 2006) San Francisco, San Francisco Museum of Modern Art, Rineke Dijkstra: A Retrospective, February 18 - May 28, 2012 (another example exhibited), then traveled to New York, Solomon R. Guggenheim Museum (June 29 October 8, 2012) literature Rineke Dijkstra, exh. cat., The Photographers’ Gallery, London, 1997, n.p., (illustrated) Rineke Dijkstra: Portraits, exh. cat., Institute of Contemporary Art, Boston, 2001, p. 49 (illustrated) C. Ehlers, J. Rondeau, Rineke Dijkstra: Beach Portraits, New York: D.A.P., 2002, n.p. (illustrated) Rineke Dijkstra, exh. cat., Jeu de Paume, Paris, 2004, pp. 34-35 (illustrated)

306 Ruud van EmpEl b. 1958 World # 11, 2005 chromogenic print, Diasec mounted 47 x 33 in. (119.4 x 83.8 cm) Signed “Ruud van Empel” on a label afxed to the reverse. This work is number 9 from an edition of 9 plus 2 artist’s proofs.

Estimate $15,000-20,000 provenance Stefan Stux Gallery, New York

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16/04/15 11.09

307 Mickalene ThoMas b. 1971 A-E-I-O-U and Sometimes Y, 2009 rhinestones, acrylic, enamel on panel, in 4 parts 24 x 20 in. (61 x 50.8 cm) Signed, titled and dated “A E I O U (and Sometimes) Y, 2009 M. Thomas” on the reverse.

Estimate $60,000-80,000 provenance Lehmann Maupin, New York, NY exhibited New York, Lehmann Maupin, She’s Come UnDone!, March 26 - May 2, 2009

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16/04/15 11.09

308 Yinka Shonibare b. 1962 masks from Un Ballo in Maschera, 2004 fabric masks, velvet on wood and metal mold, velvet head covers, each in 5 parts, all in artist’s Plexiglas case each head 11 1/2 x 6 1/4 x 7 in. (29.2 x 15.9 x 17.8 cm) Plexiglas case 27 1/2 x 43 1/2 x 12 in. (69.9 x 110.5 x 30.5 cm) Estimate $30,000-50,000 provenance Private Collection

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16/04/15 11.10

309 Marc Quinn b. 1964 Ganesh Temple Steps, 2010 oil on canvas 66 1/2 x 100 3/8 in. (169 x 255 cm) Signed, titled and dated on the reverse.

Estimate $120,000-180,000 provenance Acquired directly from the artist

NY_CTA_DAY_MAY15_184-241_BL.indd 237

16/04/15 11.10

310 Anish KApoor b. 1954 Harbour, 2008 gouache on paper 20 x 26 1/3 in. (50.8 x 66.9 cm) Signed and dated “Anish Kapoor 2008” on the reverse.

Estimate $40,000-60,000 provenance Gladstone Gallery, New York

NY_CTA_DAY_MAY15_184-241_BL.indd 238

16/04/15 11.11

311 Anish KApoor b. 1954 Harbour, 2008 gouache on paper 20 x 26 1/3 in. (50.8 x 66.9 cm) Signed and dated “Anish Kapoor 2008” on the reverse.

Estimate $40,000-60,000 provenance Gladstone Gallery, New York

NY_CTA_DAY_MAY15_184-241_BL.indd 239

16/04/15 11.11

312 Erwin wurm b. 1954 Huf, 2012 bronze 16 1/2 x 28 1/2 x 62 3/4 in. (41.9 x 72.4 x 159.4 cm) Incised with signature, date and number “Erwin Wurm 3/5 2012” on the underside. This work is number 3 from an edition of 5 plus 1 artist’s proof.

Estimate $40,000-60,000 provenance Xavier Hufens, Brussels

NY_CTA_DAY_MAY15_184-241_BL.indd 240

16/04/15 11.11

313 Erwin wurm b. 1954 Orange Hoody, 2012 acrylic on plaster 30 x 9 3/4 x 8 1/2 in. (76.2 x 24.8 x 21.6 cm) Signed and dated “ E. Wurm 2012” on the underside of the right foot.

This work is number 4 from an edition of 7 plus 2 artist’s proofs.

Estimate $30,000-40,000 provenance Galerie Thaddaeus Ropac, Paris

NY_CTA_DAY_MAY15_184-241_BL.indd 241

16/04/15 11.11

314 Nick VaN Woert b. 1979 Untitled, 2013 fberglass statue, polyurethane, steel 86 x 34 x 11 in. (218.4 x 86.4 x 27.9 cm) Inscribed with signature and date “NICK VAN WOERT 2013” lower edge of the sculpture; further signed, dated and annotated “NICK VAN WOERT 2013 (BLACK)” on the pedestal.

Estimate $20,000-30,000 provenance L&M Arts, Los Angeles

NY_CTA_DAY_MAY15_242-283_BL.indd 242

16/04/15 11.13

315 Jim Shaw b. 1952 Dream Object (Vise Head), 2006 bronze, wood and steel 47 x 54 x 35 1/2 in. (119.4 x 137.2 x 90.2 cm) Signed, numbered and dated “Jim Shaw 2006 AP 1/2� from an edition of 5 on the underside.

Estimate $50,000-70,000 provenance Patrick Painter Editions, Vancouver

(detail of the present lot)

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16/04/15 11.13

316 FROM AN IMPORTANT WEST COAST COLLECTION

Christian Boltanski b. 1944 Monument, 1985 photographs in metal frames, light bulbs, electrical wires 61 x 31 x 5 in. (155 x 78.7 x 12.7 cm) Estimate $30,000-40,000 provenance Galerie Ghislaine Hussenot, Paris

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16/04/15 11.14

317 Jake and Dinos Chapman b. 1966/1962 I wanted to say “I’ve missed you”, 2008 painted bronze 48 7/8 x 27 1/2 x 20 1/8 in. (124.1 x 69.9 x 51.1 cm) This work is unique.

Estimate $40,000-60,000 provenance Acquired directly from the artists White Cube, London exhibited New York, L&M Arts, Jake & Dinos Chapman: Little Death Machines, May 9 - July 3, 2008

NY_CTA_DAY_MAY15_242-283_BL.indd 245

16/04/15 11.14

318 Josiah McElhEny b. 1966 The Development of Social Critique (The Designs of Jacopo Ligozzi), 1996-1998 wood shelf, blown glass, drawing on paper, text display shelf 14 1/4 x 24 x 10 in. (36.2 x 61 x 25.4 cm) drawing 21 x 17 3/4 in. (53.3 x 45.1 cm) text panel 6 x 12 in. (15.2 x 30.5 cm) installed dimensions variable Estimate $20,000-30,000 provenance Donald Young Gallery, Chicago AC Project Room, New York Acquired from the above by the present owner exhibited Seattle, Donald Young Gallery, Josiah McElheny: Three Alter Egos, December 14, 1996 - February 22, 1997 Boston, The Isabella Stewart Gardner Museum, The Story of Glass, January 22 - April 25, 1999

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literature R. Updike, “Looking Through The Glass At Art History And Authority”, Seattle Times, 1996 D. Hickey and J. R. Gross, Josiah McElheny, Isabella Stewart Gardner Museum, Boston, 1999, pp. 28-29 (illustrated)

16/04/15 11.15

319 FROM AN IMPORTANT WEST COAST COLLECTION

Annette MessAger b. 1943 Mes Petites Efgies, 1988-89 plush toys, gelatin silver prints under glass, colored pencil on wall largest 19 x 10 x 3 in. (48.3 x 25.4 x 7.6 cm) smallest 4 1/2 x 4 x 2 3/4 in. (11.4 x 10.2 x 7 cm) Estimate $20,000-30,000 provenance Galerie Crousel Robelin, Paris exhibited New York, The Museum of Modern Art, Annette Messager, October 12, 1995 - January 16, 1996 Art Institute of Chicago, Annette Messager, February 17 May 19, 1996 Los Angeles County Museum of Art, Annette Messager, May 22, 1995 - May 15, 1996

NY_CTA_DAY_MAY15_242-283_BL.indd 247

16/04/15 11.15

320 Franz West 1947-2012 Four works: (i) Untitled, (ii) Untitled, (iii) Untitled, (iv) Untitled, 2001-02 Steel, wood, foam, linen, silk each 34 1/4 x 18 1/4 x 19 3/4 in. (87 x 46.5 x 50 cm) Estimate $30,000-40,000 provenance Galerie Bärbel Grässlin, Frankfurt Private Collection exhibited Frankfurt, Galerie Bärbel Grässlin, Alpenglühn, February 20 - March 31, 2001 literature Alpenglühn, exh. cat., Galerie Bärbel Grässlin, Frankfurt, 2001 (illustrated)

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16/04/15 17.49

321 Anselm Reyle and FRAnz West b. 1970/1947-2012 Caruso, 2011 steel, pressed chipboard, acrylic, mixed media 38 1/4 x 25 5/8 x 25 5/8 in. (97 x 65 x 65 cm) This work is accompanied by a certifcate of authenticity signed by the artists.

Estimate $20,000-30,000 provenance Galerie Almine Rech, Paris

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16/04/15 17.49

322

323

Tony RosenThal 1914-2009 Cube, 2007 black enamel on aluminum 21 x 16 x 16 in. (53.3 x 40.6 x 40.6 cm) Signed “Tony Rosenthal” on the underside of the base. This work is unique.

Bosco sodi b. 1970 Organic Blue, 2010 sawdust, glue, pure organic pigment, rose on canvas 43 x 36 in. (109.2 x 91.4 cm) Signed and dated “Bosco 2010” on the reverse.

Estimate $25,000-35,000

Estimate $20,000-30,000

provenance Private Collection

provenance Joseph Nahmad Contemporary, New York

exhibited E. Albee, S. Hunter, Tony Rosenthal, New York: Rizzoli, 1999, pp. 24-27 (illustrated)

NY_CTA_DAY_MAY15_242-283_BL.indd 250

16/04/15 11.16

NY_CTA_DAY_MAY15_242-283_BL.indd 251

16/04/15 11.16

fpo 87937

324

325

sHaHzia sikander b. 1969 Land Escape 10, 2006 acrylic on archival vinyl over digital printing 40 x 60 in. (101.6 x 152.4 cm)

patrick HugHes b. 1939 Ins and Outs, 2007 oil on board construction 30 1/2 x 56 1/4 x 9 1/4 in. (77.5 x 142.9 x 23.5 cm) Signed, titled and dated “Patrick Hughes Ins and Outs 2007� on the reverse.

Estimate $15,000-20,000 provenance Sikkema Jenkins, New York

Estimate $15,000-20,000 provenance Private Collection, San Francisco exhibited San Francisco, Scott Richards Contemporary Art, Patrick Hughes, Deceptivespective, September 4 - September 28, 2013

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16/04/15 11.17

326 Enoc PérEz b. 1967 Racquet Club Hotel, 2005 watercolor on paper 18 x 24 in. (45.7 x 61 cm) Signed, titled and dated “Enoc Pérez ‘Racquet Club Hotel Isla Verde, P.R.’ 2005” on the reverse.

Estimate $20,000-30,000 provenance Private Collection

327 Fyodor Pavlov-andrEEvich b. 1976 Temporary Monument N1, 2015 UV print, acrylic 45 5/8 x 25 1/4 in. (116 x 64 cm) This work is from an edition of 5 plus 1 artist’s proof.

Estimate $8,000-12,000 provenance Acquired directly from the artist Private Collection

NY_CTA_DAY_MAY15_242-283_BL.indd 253

16/04/15 11.17

328 Peter Halley b. 1953 Pink Cell, 2000 acrylic, pearlescent acrylic, fuorescent acrylic, Roll-a-Tex on two joined canvases 44 1/4 x 40 in. (112.4 x 101.6 cm) Signed twice and dated “Peter Halley Peter Halley 2000” on the reverse.

Estimate $30,000-50,000 provenance Galerie Thaddaeus Ropac, Vienna

NY_CTA_DAY_MAY15_242-283_BL.indd 254

16/04/15 11.18

329 FROM AN IMPORTANT WEST COAST COLLECTION

Leon PoLk Smith 1906-1996 Beyond Blue, 1981 oil on canvas, diptych overall 97 x 185 in. (246.4 x 469.9 cm) Estimate $70,000-100,000 provenance Burnett Miller Gallery, Los Angeles Private Collection Christie’s East, New York, Contemporary Art including Ceramics and Glass, February 34, 1990, lot 708 Acquired at the above sale by the present owner

NY_CTA_DAY_MAY15_242-283_BL.indd 255

16/04/15 11.18

330 Sean LanderS b. 1962 Untitled, 2003 oil on canvas 86 5/8 x 62 7/8 in. (220 x 160 cm) Signed and dated “SEAN LANDERS 2003” lower right.

Estimate $20,000-30,000 provenance Private Collection

331 donaLd BaechLer b. 1956 Small Red Line Drawings, 1991 acrylic, pencil, mixed media, collage on paper 26 1/2 x 20 1/4 in. (67.3 x 51.4 cm) Initialed and dated “DB91” lower right.

Estimate $8,000-12,000 provenance Galerie Gisela Capitain, Cologne

NY_CTA_DAY_MAY15_242-283_BL.indd 256

16/04/15 11.19

332 DonalD Baechler b. 1956 Globe, 2007 acrylic and fabric collage on canvas 50 x 96 in. (127 x 243.8 cm) Initialed, titled and dated “GLOBE DB ’07” on the reverse; further signed “BAECHLER” along the overlap.

Estimate $50,000-70,000 provenance Private Collection, New York

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16/04/15 11.19

333 Ryan McGinness b. 1972 May I Have a Large Cup of Cofee?, 2005 acrylic and urethane enamel on wood panel diameter 48 in. (121.9 cm) Signed, titled and dated “MAY i HAVE A LARGE CUP OF COFFEE? Ryan McGinness 2005” on the reverse.

Estimate $25,000-35,000 provenance Deitch Projects, New York

334 This loT is sold wiTh no reserve

RichMond BuRton b. 1960 Three, 1989-90 oil on linen 96 x 48 in. (243.8 x 121.9 cm) Signed, titled, dated and inscribed “THREE / RICHMOND BURTON / Richmond Burton /OIL ON LINEN / 1990” on the reverse.

Estimate $6,000-8,000

•

provenance The artist Matthew Marks Gallery, New York Froehlich Collection, Stuttgart Private Collection

334

exhibited Zurich, Haus für konstuktive und konkrete Kunst, Richmond Burton: Paintings, Works on Paper and Sketchbooks 1987 - 1992, November 6, 1992 - January 10, 1993 literature Richmond Burton: Paintings, Works on Paper and Sketchbooks 1987 - 1992. exh. cat., Haus für konstruktive und konkrete Kunst, Zurich, 1992, p. 39 (illustrated)

335 335

This loT is sold wiTh no reserve

RichMond BuRton b. 1960 Thought Plane 24, 1990 oil on canvas with wood 87 x 63 in. (221 x 160 cm) Signed, titled and dated “THOUGHT PLANE 24 RICHARD BURTON 1990” on the reverse.

Estimate $6,000-8,000

•

provenance The artist Matthew Marks Gallery, New York Froehlich Collection, Stuttgart Private Collection exhibited Zurich, Haus für konstuktive und konkrete Kunst, Richmond Burton: Paintings, Works on Paper and Sketchbooks 1987 - 1992, November 6, 1992 - January 10, 1993 literature Richmond Burton: Paintings, Works on Paper and Sketchbooks 1987 - 1992. exh. cat., Haus für konstruktive und konkrete Kunst, Zurich, 1992, p. 37 (illustrated)

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16/04/15 11.20

336 Chiho AoshimA b. 1974 The Fountain of the Skull, 2007 chromogenic print, Diasec mounted 61 1/4 x 66 3/4 in. (155.6 x 169.5 cm) Numbered “AP 1/6 + 2AP” on the reverse label. This work is number 1 from an edition of 6 plus 2 artist’s proofs.

Estimate $10,000-15,000 provenance Galerie Emmanuel Perrotin, Paris Private Collection

337 AlexAnder ross b. 1960 Untitled, 2004 oil on canvas 96 x 85 in. (243.8 x 215.9 cm) Signed and dated “Ross 2004” along the overlap.

Estimate $15,000-20,000 provenance Feature Inc., New York Private Collection, New York exhibited New York, Whitney Museum of American Art, Remote Viewing: Invented Worlds in Painting and Drawing, June 2 - October 9, 2005

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16/04/15 11.19

338 Kehinde Wiley b. 1977 Eastern Realness #1, 2002 oil on canvas, in artist’s gilded frame 121 x 121 in. (307.3 x 307.3 cm) Signed and dated “Kehinde Wiley 02” on the reverse.

Estimate $40,000-60,000 provenance Rhona Hofman Gallery, Chicago Private collection, Los Angeles

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16/04/15 11.21

Index Adian, J. 293

Halley, P. 328

Quaytman, R.H. 123, 277

Aitken, D. 155, 156

Haring, K. 203

Quinn, M. 309

Albers, J. 178

Hatoum, M. 160

Almond, D. 158

Heilmann, M. 214

Ramos, M. 197, 198

Ancart, H. 101

Hirst, D. 208, 211

Rauschenberg, R. 182

Aoshima, C. 336

Hubbard, A. 281

Rees, D. 110, 120, 295

Appel, K. 224

Hughes, P. 325

Reyle, A. & West, F. 321

Arcangel, C. 119

Hume, G. 209

Rhode, R. 266

Arnoldi, C. 228

Humphries, J. 216, 217

Richter, G. 239

Arunanondchai, K. 275 Auerbach, T. 273

Ritchie, M. 149 Indo, H. 185

Rondinone, U. 172, 251

Innes, C. 268

Rosenthal, T. 322

Baechler, D. 331, 332

Ross, A. 337

Bas, H. 249

Jenkins, P. 236

Rotella, M. 227

Basquiat, J. - M. 204

Johnson, R. 302

Rothschild, E. 167

Beck, R. 164

Judd, D. 179, 184

Ruby, S. 171

Beecroft, V. 304

Rückriem, U. 140

Beier, N. 280

Kapoor, A. 138, 310, 311

Bernadet, J. - B. 299

Kassay, J. 122, 177

Black, S. 299

Kelley, M. 274

Saban, A. 104, 286

Bleckner, R. 148

Kippenberger, M. 240, 241, 242, 243, 244

Salle, D. 206

Boltanski, C. 316

Knoebel, I. 183

Sandback, F. 136

Bourgeois, L. 153

Kosuth, J. 272

Schnabel, J. 205

Bove, C. 124

Krebber, M. 245

Scott-Douglas, H. 112

Bradford, M. 175

Kusama, Y. 220

Shapiro, J. 137

Broodthaers, M. 246

Kuwabara, M. 186

Shaw, J. 255, 315

Bruce High Quality Foundation 301

Ruscha, E. 135

Shonibare, Y. 308

Bultman, F. 225

Landers, S. 330

Sikander, S. 324

Burton, R. 334, 335

Leo Gabin 289

Smith, J. 165

Butzer, A. 247, 248

Levin, D. 297

Smith, L. 276

Byars, J. L. 133, 134

Levine, S. 258

Sodi, B. 323

Lewis, T. 103

Staniak, M. 287

Caro, A. 221

LeWitt, S. 254

Steir, P. 218

Chamberlain, J. 125, 126, 127, 128, 129, 130, 131, 132

Lichtenstein, R. 195

Stella, F. 230

Chapman, J. & D. 317

Ligon, G. 270, 271

Strachan, T. 289

Condo, G. 253

Lund, I. 121

Sturtevant 200

Cook, E. 284

Succo, C. 109

Cooke, N. 162

Madani, T. 292

Cortright, P. 118

Manning, M. 288

Cragg, T. 139

Marioni, J. 237

Taaffe, P. 150

Martin, J. 269

Tàpies, A. 188

Darmstaedter, N. 114, 298

Martinez, E. 291

Taylor-Wood, S. 260

Davis, G. 232, 233

McElheny, J. 318

Thomas, M. 307

Davis, R. 229

McGinness, R. 333

Tillmans, W. 143, 144, 145, 146

de Kooning, W. 189

Meese, J. 222

Turk, G. 210

De Santis, G. 116

Mehretu, J. 154

Twombly, C. 190, 191

Demand, T. 142, 157

Merz, M. 226

Dijkstra, R. 305

Messager, A. 319

Dine, J. 231

Minter, M. 261, 262

Doig, P. 151, 152

Morris, S. 215

Værslev, F. 108

Donovan, T. 163

Motherwell, R. 187

van Empel, R. 306

Moyer, S. 102

van Woert, N. 314

Sugimoto, H. 256, 257

Upson, K. 279

Eisner, L. 282

Muller, D. 170

Ekblad, I. 278

Muniz, V. 265

Wadden, B. 107

Eliasson, O. 141, 161

Murakami, T. 207

Walker, K. 173

Esser, E. 263

Mutu, W. 300

Warhol, A. 193, 196

Estep, R. 285

Wathen, R. 303 N. Dash 105

Wesselmann, T. 192, 194

Falls, S. 294

Nauman, B. 252

West, F. 320

Flood, M. 290

Neuenschwander, R. 159

Wiley, K. 338

Fridge, B. 169

Nevelson, L. 219

Williams, C. 259

Friedman, T. 166

Noland, K. 180, 181

Williams, S. 213

Gilliam, S. 234, 235

Oldenburg, C. 202

Wilson, R. 267 Gorchov, R. 238

Winters, T. 147 Wood, J. 113

Gormley, A. 223

Patterson, G. 106

Grotjahn, M. 174

Pavlov-Andreevich, F. 327

Guyton, W. 283

Perez, E. 326

Guyton/Walker 115

Pettibone, R. 199, 201

Wurm, E. 312, 313 Xavier, L. 250

Pfeiffer, P. 264

Young, A. 296

von Plessen, M. 168

Yuskavage, L. 212

Polk Smith, L. 329 Prince, R. 176 Pruitt, R. 117

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Edward Dolman chairman and chief executive officer

Michael McGinnis president

WorldWide contemporary art department

David Georgiades Senior director, Worldwide co-Head contemporary art

August O. Uribe Senior director, Worldwide co-Head contemporary art

Svetlana Marich deputy chairman, co-Head contemporary art, europe

Olivier Vrankenne Senior director, co-Head contemporary art, europe

Matt Carey-Williams deputy chairman, europe and asia

neW york

Jean-Michel Placent director, Senior Specialist

Zach Miner Senior Specialist

Amanda Stoffel Head of evening Sale, Specialist

Benjamin Godsill Specialist

Kate Bryan Head of day Sale, Specialist

Kaeli Deane Specialist, latin america

london

Peter Sumner director, Head of contemporary art

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Henry Allsopp director, Senior Specialist

Henry Highley Head of day Sale, Specialist

Tamila Kerimova Head of Under the influence Sale, Specialist

Matt Langton Specialist

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InternatIonal

Martin Klosterfelde Director, International Specialist, Berlin

Melyora de Koning Specialist, Denver

Maya McLaughlin Specialist, los angeles

Niklaus Kuenzler International Specialist, Zurich

Maria Cifuentes Caruncho Specialist, Paris

Oksana Katchaluba Specialist, Geneva

Deniz Atac Consultant, Istanbul

Maura Marvao International Specialist, Portugal

PrIVate ClIent SerVICeS lonDon

Finn Schouenborg Dombernowsky Senior Director, International Head, Private Clients

Dawn Zhu Private Client Services

Adam Clay Private Client Services

Anna Lin Poulsen Private Client Services

Sara Tayeb-Khalifa Private Client Services

Lily Atherton Hanbury Private Client Services

neW YorK

Philae Knight Private Client Services

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GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to ofer you information on how to buy at auction at Phillips. Our staf will be happy to assist you.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller.

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 $100,000, 20% of the portion of the hammer price above $100,000 up to and including $2,000,000 and 12% of the portion of the hammer price above $2,000,000.

Symbol Key The following key explains the symbols you may see inside this catalogue.

O ♦ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ♦. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated accordingly. The compensation will be a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the remuneration may be netted against the fnal purchase price. If the lot is not sold, the third party may incur a loss. Where Phillips has guaranteed a minimum price on every lot in the catalogue, Phillips will not designate each lot with the symbol(s) for the guaranteed property but will state our fnancial interest at the front of the catalogue.

1 PRIOR TO AUCTION

∆ 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.

Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

•

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.

∑ Endangered Species

Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only.

2 BIDDING IN THE SALE

Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications.

While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition.

The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staf are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of signifcant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verifed and approved by a qualifed electrician.

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No Reserve Unless indicated by a •, all lots in this catalogue are ofered subject to a reserve. A reserve is the confdential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

Lots with this symbol have been identifed at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import.

Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale.

Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government issued identifcation will be required, as will an original signature. We may also require that you furnish us with a bank reference.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufcient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staf member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staf members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com (Flash plugin is required). You must pre-register by clicking on ‘Buy’ in the drop-down menu under the ‘Buy and Sell’ button on the Home Page, then click on ‘pre-register’ under ‘ONLINE LIVE BIDDING.’ You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate frewalls may cause difculties for online bidders.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confdential. Bids must be placed in the currency of the sale. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

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photographs with

Ultimate Contemporary

auctions 21 may 2015 30 Berkeley sqUare london viewing 15-21 may enqUiries +44 207 318 4092 photographslondon@phillips.com barry frydlender Smoking, Sinai, 2004 estimate ÂŁ30,000-40,000

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Employee Bidding Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e., $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the benefciary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction.

Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certifcate prior to exportation and additional licenses or certifcates upon importation to any foreign country. Please note that the ability to obtain an export license or certifcate does not ensure the ability to obtain an import license or certifcate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certifcates 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.

Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.

The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips in writing in advance of the sale. Payment must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000.

Credit Cards As a courtesy to clients, Phillips will accept American Express, Visa and Mastercard to pay for invoices of $100,000 or less. A processing fee will apply.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. Promptly afer the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 Park Avenue, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots.

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latin america auction 26 may 2015 450 PaRK aVEnuE nEW yoRK ViEWing 20-26 may EnquiRiEs +1 212 940 1352 kdeane@phillips.com WiFREDo Lam Présages, 1947 Estimate $2,000,000-3,000,000

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CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand.

All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding.

1 INTRODUCTION Each lot in this catalogue is ofered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer.

2 PHILLIPS AS AGENT Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company afliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an afliated company may have a legal, benefcial or fnancial interest in a lot as a secured creditor or otherwise.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot ofered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfed themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identifcation purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time

by Phillips in our absolute discretion. Neither Phillips nor any of our afliated companies shall be liable for any diference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 BIDDING AT AUCTION (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the Absentee Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency

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of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips reserves the right to require written confrmation of a successful bid from a telephone bidder by fax or otherwise immediately afer such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request.

Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid.

Online bidders acknowledge and agree that bids so submitted are fnal and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘foor,’ ‘phone’ or ‘paddle no’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘foor’ or ‘phone’ bid are identical, the ‘foor’ or ‘phone’ bid will take precedence. The next bidding increment is shown for the convenience of online bidders under the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment.

Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identifed third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anticompetitive agreement and are otherwise consistent with federal and state antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (h) Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

5 CONDUCT OF THE AUCTION (a) Unless otherwise indicated by the symbol •, each lot is ofered subject to a reserve, which is the confdential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-ofer a lot for sale (including afer the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate.

Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises afer the sale, our sale record is conclusive. The auctioneer may accept bids made by a company afliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders.

If a lot is ofered without reserve, unless there are already competing absentee bids,

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design

INCLUDING PROPERTY FROM A PRIVATE NEW YORK COLLECTION AUCTION 9 JUne 2015 450 PARK AVenUe neW YORK SERGE MOUILLE “Vrillée” table, circa 1962

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the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate.

In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount.

Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the beneft of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will refect approximate exchange rates.

Accordingly, estimates in pounds sterling or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer.

Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots ofered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $100,000, 20% of the portion of the hammer price above $100,000 up to and including $2,000,000 and 12% of the portion of the hammer price above $2,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property ofered and sold at auction. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips will only accept valid resale certifcates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 Park Avenue during regular weekday business hours. (ii) Personal checks and banker’s drafs are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identifcation. Checks and banker’s drafs should be made payable to “Phillips.” If payment is sent by mail, please send the check or banker’s draf to the attention of the Client Accounting Department at 450 Park Avenue, New York, NY 10022 and make sure that the sale and lot number is written on the check. Checks or banker’s drafs drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips Account no.: 58347736 Please reference the relevant sale and lot number. (d) As a courtesy to clients, Phillips will accept American Express, Visa and Mastercard to pay for invoices of $100,000 or less. A processing fee of 3.5% will apply.

7 COLLECTION OF PROPERTY (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our afliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfed such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism fnancing checks. As soon as a buyer has satisfed all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. Promptly afer the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips will upon request transfer on a bi-weekly basis purchased lots suitable for hand-carry back to our premises at 450 Park Avenue, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) seven days afer the auction. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for handcarry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips will require presentation of government issued identifcation prior to release of a lot to the buyer or the buyer’s authorized representative.

8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $10 per day for each uncollected lot.

Additional charges may apply to oversized lots. We will not release purchased lots to the buyer until all such charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our afliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notifcation of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our afliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set of the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our afliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs or (x) take such other action as we deem necessary or appropriate.

(e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identifcation has been provided, and any earlier release does not afect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

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evening & day editions auctions 11 june 2015 30 berkeley square london viewing 3-11 june enquiries robert kennan +44 207 318 4075 editionslondon@phillips.com RoBERt inDiana Book of Love, 1996 Estimate ÂŁ30,000-50,000

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(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips and our afliated companies, Phillips retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our afliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our afliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our afliated companies, the buyer also irrevocably authorizes Phillips to pledge the buyer’s property in our possession by actual or constructive delivery to our afliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an afliated company by way of pledge.

10 RESCISSION BY PHILLIPS Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips’s election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the US or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species.

12 DATA PROTECTION (a) In connection with the supply of auction and related services, or as required by law, Phillips may ask clients to provide personal data. Phillips may take and retain a copy of government-issued identifcation such as a passport or driver’s license. We will use your personal data (i) to provide auction and related services; (ii) to enforce these Conditions of Sale; (iii) to carry out identity and credit checks; (iv) to implement and improve the management and operations of our business and (v) for other purposes set out in our Privacy Policy published on the Phillips website at www.phillips.com (the ‘Privacy Policy’) and available on request by emailing dataprotection@phillips.com. By agreeing to these Conditions of Sale, you consent to our use of your personal data, including sensitive personal data, in accordance with the Privacy Policy. The personal data we may collect and process is listed, and sensitive personal data is defned, in our Privacy Policy. Phillips may also, from time to time, send you promotional and marketing materials about us and our services. If you would prefer not to receive such information, please email us at dataprotection@phillips.com. Please also email us at this address to receive information about your personal data or to advise us if the personal data we hold about you is inaccurate or out of date. (b) In order to provide our services, we may disclose your personal data to third parties, including professional advisors, shippers and credit agencies. We will disclose, share with and transfer your personal data to Phillips’s afliated persons (natural or legal) for administration, sale and auction related purposes. You expressly consent to such transfer of your personal data. We will not sell, rent or otherwise transfer any of your personal data to third parties except as otherwise expressly provided in this Paragraph 12. (c) Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

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13 LIMITATION OF LIABILITY (a) Subject to subparagraph (e) below, the total liability of Phillips, our afliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our afliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our afliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our afliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and ftness for purpose, are specifcally excluded by Phillips, our afliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips, any of our afliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our afliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

14 COPYRIGHT The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specifed at the beginning of the sale catalogue.

Notices to clients shall be addressed to the last address notifed by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and efect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

16 LAW AND JURISDICTION (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conficts of law rules. (b) Phillips, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips.

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AUTHORSHIP WARRANTY Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of fve years from date of sale by Phillips, subject to the exclusions and limitations set forth below. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gif from the original buyer, heirs, successors, benefciaries and assigns; (ii) property where the description in the catalogue states that there is a confict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientifc methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notifed Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising afer the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our afliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our afliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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EXECUTIVE MANAGEMENT

CHAIRMAN & CEO Edward Dolman PRESIDENT Michael McGinnis DEPUTY CHAIRMAN &

DIRECTORS

CHIEF OF STAFF

GENERAL COUNSEL

Henry Allsopp

Lisa King

Patty Hambrecht

Alex Heminway

DEPUTY CHAIRMAN Svetlana Marich DEPUTY CHAIRMAN, EUROPE & ASIA Matt Carey-Williams

CHIEF OPERATIONS OFFICER

Nazgol Jahan Martin Klosterfelde Cary Leibowitz Jean-Michel Placent Peter Sumner

Finn S-Dombernowsky

CHIEF INFORMATION OFFICER

David Georgiades

Ben Carey CHIEF PEOPLE OFFICER

Alexander Payne

Irina Shifrin

August O Uribe

CREATIVE DIRECTOR

Olivier Vrankrenne

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EUROPE & ASIA Frank Lasry

Annette Schwaer

Vanessa Hallett

WORLDWIDE OFFICES

CHIEF OPERATIONS OFFICER UK

CHIEF FINANCIAL OFFICER

Kelly Troester

SENIOR DIRECTORS

INTERNATIONAL SPECIALISTS

Sean Cleary

Damien Whitmore

BERLIN Martin Klosterfelde, Director and International Specialist, Contemporary Art

+49 177 628 4110

BRUSSELS Olivier Vrankenne, Co-Head Contemporary Art, Europe

+32 486 43 43 44

DENVER Melyora de Koning, Senior Specialist, Contemporary Art

+1 917 657 7193

GENEVA Oksana Katchaluba, Specialist, Contemporary Art

+41 22 906 80 00

ISTANBUL Deniz Atac, Consultant

+90 533 374 1198

LONDON Svetlana Marich, Co-Head Contemporary Art, Europe

+44 20 7318 4010

LOS ANGELES Maya McLaughlin, Specialist, Contemporary Art

+1 323 791 1771

MOSCOW Mila Bazeva, Chief Operating Officer, Russia

+7 495 225 88 22

PARIS Maria Cifuentes Caruncho, Specialist

+33 142 78 67 77

PORTUGAL Maura Marvão, Consultant, Contemporary Art

+351 917 564 427

ZURICH Niklaus Kuenzler, Specialist, Contemporary Art

+41 79 533 90 00

LONDON 30 Berkeley Square, London W1J 6EX, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011

NEW YORK 450 Park Avenue, New York, NY 10022, USA tel +1 212 940 1200 fax +1 212 940 1378

BERLIN Kurfürstendamm 193, 10707 Berlin, Germany tel +49 30 887 297 44

LOS ANGELES 7285 Woodrow Wilson, Los Angeles, CA 90068, USA tel +1 323 791 1771

BRUSSELS rue Jean Baptiste Colyns 72, 1050 Brussels, Belgium tel +32 486 43 43 44

MOSCOW Nikolskaya Str 19–21, 5th foor, 109012 Moscow, Russia tel +7 495 225 88 22 fax +7 495 225 88 87

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

PARIS 46 rue du Bac, 75007 Paris, France tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

ISTANBUL Meclisi Mebusan Caddesi, Deniz Apartmani No. 79/8 Beyoglu 34427, Istanbul, Turkey tel +90 533 374 1198

ZURICH Restelbergstrasse 89, 8044 Zurich, Switzerland tel +41 79 533 90 00

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SPECIALISTS AND DEPARTMENTS CONTEMPORARY ART David Georgiades, Worldwide Co-Head Contemporary Art August O. Uribe, Worldwide Co-Head Contemporary Art

+1 212 940 1280 +1 212 940 1208

NEW YORK Amanda Stoffel, Head of Evening Sale Kate Bryan, Head of Day Sale Rebekah Bowling, Head of Under the Influence Sale

+1 212 940 1261 +1 212 940 1267 +1 212 940 1250

Jean-Michel Placent Zach Miner Benjamin Godsill

+1 212 940 1263 +1 212 940 1256 +1 212 940 1333

Kyla Sullivan

+1 212 940 1204

Katherine Lukacher Samuel Mansour Courtney Raterman Paula Campolieto

+1 212 940 1215 +1 212 940 1219 +1 212 940 1392 +1 212 940 1255

LONDON Peter Sumner, Head of Contemporary Art, London Henry Highley, Head of Day Sale Tamila Kerimova, Head of Under the Influence Sale

+44 20 7318 4063 +44 20 7318 4061 +44 20 7318 4065

Matt Langton Iori Endo

+44 20 7318 4074 +44 20 7318 4039

Simon Tovey Hannah Tjaden Ava Carleton-Williams Chiara Panarello

+44 20 7318 4084 +44 20 7318 4093 +44 20 7901 7904 +44 20 7318 4073

LATIN AMERICAN ART Henry Allsopp, Worldwide Head Kaeli Deane, Head of Sale Carolina Scarborough

+44 20 7318 4060 +1 212 940 1401 +1 212 940 1289

Isabel Suarez

+1 212 940 1227

MODERN AND CONTEMPORARY EDITIONS Cary Leibowitz, Worldwide Co-Director Kelly Troester, Worldwide Co-Director

+1 212 940 1222 +1 212 940 1221

NEW YORK Jannah Greenblatt Jeffrey Kang

+1 212 940 1332 +1 212 940 1238

LONDON Robert Kennan, Head of Sale Anne Schneider-Wilson Ross Thomas Rebecca Tooby-Desmond

+44 20 7318 4075 +44 20 7318 4042 +44 20 7318 4077 +44 20 7318 4079

EXHIBITIONS Brittany Lopez Slater Fiona M. McGovern Milda Steinboka

+1 212 940 1299 +44 207 901 7901 +44 207 901 7901

PRIVATE SALES Susanna Brockman

+44 20 7318 4052

NEW YORK Alex Heminway, New York Director Meaghan Roddy, Head of Sale

+1 212 940 1268 +1 212 940 1266

Cordelia Lembo

+1 212 940 1265

Bradley Goad

+1 212 940 1268

LONDON Domenico Raimondo Marcus McDonald

+44 20 7318 4016 +44 20 7318 4095

Marta De Roia Sofia Sayn-Wittgenstein Madalena Horta e Costa

+44 20 7318 4096 +44 20 7318 4023 +44 20 7318 4019

PHOTOGRAPHS Vanessa Hallett, Senior Director and Worldwide Head, Photographs

+1 212 940 1243

NEW YORK Caroline Deck Sarah Krueger, Head of Sale

+1 212 940 1247 +1 212 940 1225

Kelly Van Ingen

+1 212 940 1245

LONDON Lou Proud, Head of Photographs, London Yuka Yamaji Alexandra Bibby

+44 20 7318 4018 +44 20 7318 4098 +44 20 7318 4087

Sophie Busby

+44 20 7318 4092

CHICAGO Carol Ehlers

+1 773 230 9192

JEWELS Nazgol Jahan, Worldwide Director

+1 212 940 1283

NEW YORK Kristen Dowling Christina Alford

+1 212 940 1302 +1 212 940 1365

LONDON Lane Clements McLean

+44 20 7318 4010

WATCHES GENEVA Aurel Bacs Livia Russo Dr. Nathalie Monbaron Virginie Liatard Roessli

+41 22 317 81 85 +41 22 317 81 86 +41 22 317 81 83 +41 22 317 81 82

Diana Ortega

+41 22 317 81 87

NEW YORK Paul Boutros

+1 212 940 1293

+44 20 7318 4041

OFFICE OF THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER Mariangela Renshaw +1 212 940 1455, +44 20 7318 4029 OFFICE OF THE PRESIDENT Elizabeth Anne Wallace Lucinda Newman

+1 212 940 1303 +44 20 7318 4099

PROJECTS DIRECTOR Paul de Bono

+44 20 7318 4070

PRIVATE CLIENT SERVICES Finn Schouenborg Dombernowsky, International Head

+44 20 7318 4010

LONDON Dawn Zhu Adam Clay Lily Atherton Hanbury

+44 20 7318 4017 +44 20 7318 4048 +44 20 7318 4040

NEW YORK Philae Knight Anna Lin Poulson Sara Tayeb-Khalifa

+1 212 940 1313 +1 212 940 1361 +1 212 940 1383

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DESIGN Alexander Payne, Senior Director and Worldwide Head, Design

CLIENT DEVELOPMENT Isadora Tharin Linda Pyke Amy Sheldon

+44 20 7318 4024 +44 20 7901 2908 +1 212 940 1264

MUSEUM SERVICES DEPARTMENT Lauren Shadford Cecilia Wolfson

+1 212 940 1257 +1 212 940 1258

COMMUNICATIONS AND MARKETING Trish Walsh, Marketing Manager Alex Godwin-Brown, Head of Press and Events, Europe Georgia Trotter, Press & Events Assistant

+1 212 940 1224 +44 20 7318 4036 +44 20 7318 4085

ART AND PRODUCTION Andrea Koronkiewicz, Director of Creative Services Orlann Capazorio, Director of Production Jef Velazquez, Production Artist Christine Knorr, Graphic Designer James Reeder, Graphic Designer Justin Waldstein, Graphic Designer

+1 212 940 1326 +1 212 940 1281 +1 212 940 1211 +1 212 940 1325 +1 212 940 1296 +1 212 940 1390

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Sale InformatIon Contemporary art Day Sale

auctIon & VIewIng locatIon 450 park avenue new york 10022 auctIon 15 may at 11am VIewIng 9 – 14 may monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale DeSIgnatIon When sending in written bids or making enquiries please refer to this sale as ny010415 or Contemporary art Day Sale. abSentee anD telephone bIDS tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

auctIoneerS alexander Gilkes - 1308958 august Uribe - 0926461 Sarah Krueger - 1460468 Henry Highley - 2008889 catalogueS emma miller +1 212 940 1240 catalogues@phillips.com $35/€25/£22 at the gallery abSentee anD telephone bIDS main +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com clIent accountIng Sylvia leitao +1 212 940 1231 buyer accounts nathan yermiyayev +1 212 940 1338 Seller accounts Barbara Doupal +1 212 940 1232

contemporary art Department

clIent SerVIceS 450 park avenue +1 212 940 1300

heaD of Sale Kate Bryan +1 212 940 1267 kbryan@phillips.com

ShIppIng Carol mangan +1 212 940 1320

reSearcherS Katherine lukacher +1 212 940 1215 klukacher@phillips.com Samuel mansour +1 212 940 1219 smansour@phillips.com

photography Kent pell matt Kroening Hayley Giles Byron Slater Jean Bourbon

aDmInIStrator paula Campolieto +1 212 940 1255 pcampolieto@phillips.com regIStrar lane laColla +1 212 940 1369 llacolla@phillips.com Special thanks to Simon tovey

front cover John Chamberlain, Untitled, 1961, lot 126 © 2015 Fairweather & Fairweather ltD / artists rights Society (arS), new york Inside front cover mark Grotjahn, Untitled (Colored Butterfly White Background 2 Wings), 2006, lot 174 (detail) © mark Grotjahn 2015 Jonas Wood, Yellow Plant Interior (Study), 2011, lot 113 (detail) © 2015 Jonas Wood Guyton\Walker, Untitled #3, 2009, lot 115 (detail) © Guyton\Walker tom Wesselmann, From Smoker #7, 1976, lot 194 (detail) art © estate of tom Wesselmann/licensed by VaGa, new york, ny martin Kippenberger, Untitled (YPS), 1985, lot 242 (detail) © 2015 estate martin Kippenberger, Galerie Gisela Capitain, Cologne title page thomas Demand, Yellowcake, 2007, lot 142 (detail of embassy VIIa) © 2015 artists rights Society (arS), new york / VG Bild-Kunst, Bonn Introduction Gerhard richter, Abstraktes Bild (454-4), 1980, lot 239 (detail) © Gerhard richter, 2015 opposite registration form lisa yuskavage Scout, 2012 lot 212 (detail) Josef albers, Study for Homage to the Square: “Dimmed Center”, 1961, lot 178 (detail) © 2015 the Josef and anni albers Foundation / artists rights Society (arS), new york llewellyn Xavier, Blue Chip Versailles, 2014, lot 250 (detail) Inside back cover Damien Hirst, Love Sweetness, 2003, lot 211 (detail) © Damien Hirst and Science ltd. all rights reserved / DaCS, london / arS, ny 2014 back cover Carol Bove, Untitled, 2009, lot 124 (detail) © Carol Bove, Courtesy maccarone, new york and David Zwirner, new york/london

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450 Park Avenue New York 10022 PHILLIPS.COM +1 212 940 1200 bidsnew york@phillips.com

TELEPHONE AND ABSENTEE BID FORM PLEASE RETURN THIS FORM BY FAX TO +1 212 924 1749 OR EMAIL IT 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):

ABSENTEE BID FORM TELEPHONE BID FORM

AS A PRIVATE INDIVIDUAL ON BEHALF OF A COMPANY

Title

• If you cannot attend the sale, we can execute bids confidentially on your behalf.

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable) Address

City

State/Country

Phone

Mobile

Email

Fax

• 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.

Phone (for Phone Bidding only) Brief Description

US $ Limit*

In Consecutive Order

• 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 $100,000, 20% of the portion of the hammer price above $100,000 up to and including $2,000,000 and 12% of the portion of the hammer price above $2,000,000 on each lot sold.

• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

Zip Code

Lot Number

• 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):

Sale Title

• PRIVATE PURCHASES: Proof of identity in the form of government-issued identification will be required.

Absentee Bids Only

• 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.

• If we receive identical bids, the first bid received will take precedence.

• 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 fax at +1 212 924 1749 or scan and email to bidsnewyork@phillips. com at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +1 212 940 1228.

* Excluding Buyer’s Premium and sales or use taxes

FINANCIAL INFORMATION For your bid to be accepted, we require the following information for our reference only. Please note that you may be contacted to provide a bank reference: Credit Card Type

Expiration Date

Credit Card Number For anyone wishing to bid on lots with a low pre-sale estimate above $10,000, please provide the following information (for reference only) Bank Name

Contact

Telephone / Fax

Account Number

Please note that you may be contacted to provide additional bank references.

I hereby authorize the above references to release information to PHILLIPS. Please bid on my behalf up to the limits shown for the indicated lots without legal obligations to PHILLIPS, its staf or agents; and subject to the Conditions of Sale and Authorship Warranty printed in the catalogue, additional notices or terms printed in the catalogue and supplements to the catalogue posted in the salesroom, and in accordance with the above statements and conditions.

Signature

• Absent prior payment arrangements, please provide a bank reference. Payment can be made by cash (up to $10,000), credit card (up to $100,000), money order, wire transfer, bank check or personal check with identification.

Please note that credit cards are subject to a surcharge.

• Lots cannot be collected until payment has cleared and all charges have been paid.

• By signing this Bid Form, you consent to our use of your personal data, including sensitive personal data, in accordance with Phillips’s Privacy Policy published on our website at www.phillips.com or available on request by emailing dataprotection@phillips.com. We may send you materials about us and our services or other information which we think you may fnd interesting. If you would prefer not to receive such information, please email us at 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.

Date

I ACCEPT THE CONDITIONS OF SALE OF PHILLIPS AS STATED IN OUR CATALOGUES AND ON OUR WEBSITE.

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450 Park Avenue New York 10022 PHILLIPS.COM +1 212 940 1200 bidsnew york@phillips.com

IN-PERSON REGISTRATION FORM TO BID IN PERSON PLEASE SUBMIT THIS FORM BY EMAIL TO BIDSNEWYORK@PHILLIPS.COM OR FAX AT +1 212 924 1749 FOR PRE-REGISTRATION OR BRING IT TO THE AUCTION FOR REGISTRATION AT 450 PARK AVENUE, NEW YORK, NY 10022

Paddle Number

Please indicate in what capacity you will be bidding (please select one):

AS A PRIVATE INDIVIDUAL ON BEHALF OF A COMPANY

Sale Title Title

• PRIVATE PURCHASES: Proof of identity in the form of government-issued identification will be required.

Number First Name

Company (if applicable)

Date

Surname Account Number

• 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.

State/Country

• 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 $100,000, 20% of the portion of the hammer price above $100,000 up to and including $2,000,000 and 12% of the portion of the hammer price above $2,000,000 on each lot sold.

Address

City Post Code Phone

Mobile

Email

Fax

FINANCIAL INFORMATION For your bid to be accepted, we require the following information for our reference only.

Please note that you may be contacted to provide a bank reference: Credit Card Type

Expiration Date

For anyone wishing to bid on lots with a low pre-sale estimate above $10,000, please provide the following information (for reference only) Bank Name

Contact

Telephone / Fax

Account Number

• Absent prior payment arrangements, please provide a bank reference. Payment can be made by cash (up to $10,000), credit card (up to $100,000), money order, wire transfer, bank check or personal check with identification.

Please note that credit cards are subject to a surcharge.

• Lots cannot be collected until payment has cleared and all charges have been paid.

Credit Card Number

Please note that you may be contacted to provide additional bank references.

I hereby authorize the above references to release information to PHILLIPS. I agree that all bids and purchases are subject to the Conditions of Sale and Authorship Warranty printed in the catalogue, additional notices or terms printed in the catalogue and supplements to the catalogue posted in the salesroom, and in accordance with the above statements and conditions. I assume all responsibility for payment for the goods purchased under the assigned paddle. If I am acting as an agent, I agree to be personally responsible for all purchases made on behalf of my client(s), unless other arrangements are confrmed in writing prior to each auction.

Signature

• 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.

• By signing this Bid Form, you consent to our use of your personal data, including sensitive personal data, in accordance with Phillips’s Privacy Policy published on our website at www.phillips.com or available on request by emailing dataprotection@phillips.com. We may send you materials about us and our services or other information which we think you may fnd interesting. If you would prefer not to receive such information, please email us at 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.

Date

I ACCEPT THE CONDITIONS OF SALE OF PHILLIPS AS STATED IN OUR CATALOGUES AND ON OUR WEBSITE.

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