Modern & Contemporary Art Day Sale, Afternoon Session [catalogue]

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

Sale Interest: 143 Lots

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Modern

& Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

Sale Interest: 143 Lots

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AuctionAuction16 May 2024 2pm EDT

ViewingViewing 4 - 15 May 2024

432 Park Avenue, New York, NY, United States, 10022

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When sending in written bids or making enquiries please refer to this sale as NY010524 or Modern & Contemporary Art Day Sale, Afternoon Session.

Absentee and TAbsenteeTelephelephoneBidsoneBids tel +1 212 940 1228 bidsnewyork@phillips.com

20th Century & Contemporary Art Department

Patrizia Koenig Specialist, Head of Sale, Afternoon Session, New York +1 212 940 1279 pkoenig@phillips.com

Modern & Contemporary Art Day Sale, Afternoon Session

Interest: 143 Lots

Rawles

Alfie Caine

Tammy Nguyen

Northeast Storm and the Young … EstimateEstimate$15,000 — 20,000

Jenna Gribbon

My

EstimateEstimate$50,000 — 70,000

Formulation of Worlds, Selves a…

— 35,000

Jenna Gribbon

Homework in the cafeteria wres… EstimateEstimate$60,000 — 80,000

Jamea Richmond-Edw…

Blue feather and orb

— 30,000

Wynnie Mynerva Story of Revenge 2 EstimateEstimate$20,000 — 30,000

Giovanelli

— 90,000

— 30,000

Julie Curtiss

D'après l'Origine du monde

Kincaid

Modern & Contemporary Art Day Sale, Afternoon Session

Kaphar

Walker

Henni Alftan

Mulleady

Marina Perez Simão

Gomes

Shara Hughes

Marina Perez Simão

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm

Study for the Bada Bing

— 60,000

Uh oh, Together Again

— 180,000

— 30,000

— 45,000

— 80,000

— 450,000

Issy Wood

Hun Kyu Kim

Tomokazu Matsuyama

Savdie

Marco Pariani

Lauren Halsey

Ebecho Muslimova Fatebe Heirloom

Vaughn Spann

Bradford

Modern & Contemporary Art Day Sale, Afternoon Session

Kruger

Kapoor

Fischl

Hollowell

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm

George Condo

Cheng Untitled

Henry Taylor

Daniella Stienfeld

— 18,000

Henry Taylor

Portrait of Cassi Amanda Gibso… EstimateEstimate$80,000 — 120,000

Jammie Holmes

My Grandmother was an Usher

— 120,000

Fordjour

Untitled (No. 92)

Labinjo At the Circus

— 50,000

— 60,000

Genesis Tramaine

Brother Abinadab

EstimateEstimate$80,000 — 120,000

Jeff Sonhouse

Gifted the Enabler's Dexterity EstimateEstimate$70,000 — 100,000

Amoako Boafo

Modern & Contemporary Art Day Sale, Afternoon Session

McCarthy

Colen

Rashid Johnson

Modern & Contemporary Art Day Sale, Afternoon Session

Khedoori

Modern & Contemporary Art Day Sale, Afternoon Session

Waring

Whiteford

Josephs

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

Sam McKinniss

Prince (Under the Cherry Moon)

EstimateEstimate$15,000 — 20,000

Wise Which Lake Do I Prefer

— 70,000

Korakrit Arunanondchai

Untitled (History Painting)

EstimateEstimate$70,000 — 100,000

Ivy Haldeman

Full Figure, Finger to Eye, Hand …

— 70,000

— 40,000

Lauren Quin Hook for Helianthus

EstimateEstimate$50,000 — 70,000

Tabouret

Murillo

Modern & Contemporary Art Day Sale, Afternoon Session

Kilimnik

Tiravanija

New York Auction / 15 May 2024 / 2pm EDT

Kara Walker

Cover of My Negro Novella

EstimateEstimate$70,000 — 100,000

Marlene Dumas

Little Red Riding Hood (double-…

EstimateEstimate$5,000 — 7,000

Christina Quarles

Untitled (Dissonant Bodies)

— 40,000

Elizabeth Peyton

Untitled (Elizabeth)

— 18,000

Marlene Dumas

Little Red Riding Hood EstimateEstimate$25,000 — 35,000

George Condo

Figure with Pearls EstimateEstimate$30,000 — 50,000

Marlene Dumas

Little Red Riding Hood

EstimateEstimate$15,000 — 20,000

Raymond Pettibon

No Title (Never letting us...) EstimateEstimate$12,000 — 18,000

Marlene Dumas

Little Red Riding Hood

EstimateEstimate$10,000 — 15,000

Shara Hughes

Little Dances

EstimateEstimate$12,000 — 18,000

Modern & Contemporary Art Day Sale, Afternoon Session

Yanai

Modern & Contemporary Art Day Sale, Afternoon Session

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

Black Star Press

EstimateEstimate$40,000 — 60,000

LIFE, January 12, 1962 (rust)

EstimateEstimate$10,000 — 15,000

Once, A Long Time Ago (11/17/13)

EstimateEstimate$5,000 — 7,000

Kelley Walker

Matthew Day Jackson

Andrew Kuo

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

301

Calida Rawles

Pillar

signed and dated "Calida Rawles 2018" on the reverse

acrylic on canvas

16 x 12 in. (40.6 x 30.5 cm)

Painted in 2018.

EstimateEstimate

$20,000 — 30,000

Water is the dominant force in Calida Rawles’ paintings, charging her fictional spaces with vital energy symbolic of spiritual healing. Pillar, 2018, comes from Rawles’ iconic WaterDancerseries, which responds to being Black, female and American while envisioning an otherworldly, liberated space within the water. The element represents a life force connotative of virtue and purity; formally it adds mystery, exaggerating the effect of Rawles’ hyperreal painting style. “What I love about water is what it does to the body, of abstracting the form,” Rawles explains.i

In Pillar,the aqueous foreground seamlessly dissipates into the infinitely starry night sky. A female figure stands chest-deep, glowing in the nighttime reflection while balancing a jug on her head and holding a concentrated, forward-looking gaze. The water refracts her right leg at a dramatic angle while her left hand dazzles with an otherworldly glow. The enigmatic figure loosely references the figure Lilith, the folkloric first wife of Adam who refused to submit to him, whom Rawles identifies as a champion for equality who countered expectations.

Rawles bases her work on photographs she stages herself, placing friends and relatives in pools. On setting her works within water, she elaborates, “I love the duality of water and how it can serve as a metaphor for life… It’s beautiful and healing, and I feel weightless and unburdened in it. But at the same time, it can be dangerous as well as restorative: historically, black people have always had a complicated relationship with water,” referencing the transatlantic Middle Passage of the slave trade and America’s history of segregated swimming pools.ii Rawles is amongst a cohort ofartists representing Black figures in water in gestures of tranquility and healing, ranging from Derrick Adams’ festive Floaterseries to a scene in the opening act of Barry Jenkins’ film Moonlight where an adolescent boy is tenderly taught to swim. In Pillar, Rawles’ piercing, ethereal figure exudes confidence in the water, claiming the space as her own.

CCollector’ollector’sDigestsDigest

• Pillaris the first work by Calida Rawles to come to auction.

•The Perez Art Museum Miami will open a major solo exhibition of Calida Rawles’ work in June of this year.

•The artist is currently the subject of a solo exhibition at The Delaware Contemporary, on view through August.

•Rawles work was featured on the cover of Ta-Nehisi Coates’ debut novel TheWater Dancerin 2019.

i Calida Rawles in Suyin Haynes, “The painter submerging viewers into hyperrealistic water worlds,” CNN, November 13, 2023, online

ii Calida Rawles in Enuma Okoro, “Calida Rawles: ‘I use soft colours people wouldn’t associate with black men,’” FinancialTimes, September 3, 2021, online

PrProovvenanceenance

Various Small Fires, Los Angeles

Acquired from the above by the present owner

ExhibitedExhibited

Los Angeles, Various Small Fires, CalidaRawles:ADreamforMyLilith, February 12–March 18, 2020

LiteraturLiteraturee

"Getting Very (Hyper)Real: Calida Rawles "A Dream for My Lilith" @ Various Small Fires, Los Angeles," Juxtapoz, February 11, 2020, online (illustrated)

Enuma Okoro, "How Three Artists Are Exploring Mythology and Race," TheNewYorkTimes, September 10, 2020, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

302

Jesse Mockrin

Weary from the chase

signed and dated "J Mockrin 2017" on the reverse oil on linen

58 x 40 in. (147.3 x 101.6 cm) Painted in 2017.

EstimateEstimate

$40,000 — 60,000

“The work is always kind of about this time travel. Bringing things from the past to the current moment.” —Jesse Mockrin

Jesse Mockrin is known for her luminous paintings that reappraise art history and its representations of gender and power. With distinctive compositions that break from her historic precedents, Mockrin reimagines iconic stories and subjects with her distinctive, crisply defined figures. Wearyfromthechase, 2017, evidences Jesse Mockrin’s interest in Renaissance and Baroque artists who emphasized line, such as Bronzino and Peter Paul Rubens, with its luminescent figures set in a darkened landscape. The subjects’ attenuated limbs and fingers also exemplify the Mannerist character in the artist’s work.

Wearyfromthechasespotlights gesture, with one figure massaging her heel while the other releases the collar from a canine companion in a moment of repose. The stunningly composed work is anchored at its corners, providing mere glimpses at its subjects, rooting it firmly in the contemporary. The subject and title of the enigmatic Wearyfromthechasereminds of Diana, the Roman goddess of the hunt, and her empowered art historical representations in the story of Diana and Actaeon. While Diana is typically depicted bathing with female companions and hunting hounds, Wearyfromthechaseprovides a refreshed take on these familiar motifs.

PrProovvenanceenance

Night Gallery, Los Angeles

Acquired from the above by the present owner

Cesari Bernardino, DianaandActaeon, 1601–1613

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

303

Ambera Wellmann

YTBT

signed and dated "Ambera 2018" on the reverse oil on linen

36 1/4 x 38 in. (92.1 x 96.5 cm) Painted in 2018.

EstimateEstimate

$40,000 — 60,000

“I’ve always loved the grotesque. I learned recently that “esque” refers to a spiritual essence. I think that’s one of the things that differentiates the grotesque from the abject; the abject is guttural, it’s bodily; the grotesque points to these things, too, but it also points upwards. A quality I look for in painting – to point to something beyond itself.” —Ambera Wellmann

PrProovvenanceenance

Lulu, Mexico City

Private Collection

Acquired from the above by the present owner

ExhibitedExhibited

Brussels, Office Baroque, VirginiaOverton,JonPestoni,RezivanLankveld,AmberaWellmann:

AbovetheTreeline, September 6–October 22, 2018

LiteraturLiteraturee

Sky Goodden, ""In the Round of Her Need": An Interview with Ambera Wellmann," Momus, November 13, 2018, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

304

Francesca Mollett Sancreed

oil and acrylic on canvas

47 1/4 x 39 3/8 in. (120 x 100 cm)

Painted in 2020.

EstimateEstimate

$40,000 — 60,000

Francesca Mollett

PrProovvenanceenance

GRIMM, London

Private Collection

Acquired from the above by present owner

ExhibitedExhibited

Henley-on-Thames, Informality, FrancescaMollett:WildShade, 29 April-12 June 2021

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

305

Alfie Caine

Hastings Old Town

signed and dated "Alfie Caine 2020" lower right

acrylic on board

40 x 29 in. (101.6 x 73.7 cm)

Painted in 2020.

EstimateEstimate

$20,000 — 30,000

“I found myself trying to translate these moments, feelings of quiet relaxation and mediation through my work to try to hold onto them, prolong them, and to share their solace with those that looking at my paintings. I want to offer an escape, a place to sit, to stand, to rest and observe to take the place of the missing inhabitants.”

—Alfie Caine

PrProovvenanceenance

Acquired directly from the artist by the present owner

New York Auction / 15 May 2024 / 2pm EDT

306

Salvo

Al mattino

signed and titled ""Al mattino" Salvo" on the reverse oil on canvas

39 3/8 x 51 1/8 in. (100 x 130 cm)

Painted in 2004, this work is registered in the Archivio Salvo, Turin, under the number S2004-65 and is accompanied by a certificate of authenticity issued by the Archivio Salvo, Turin.

EstimateEstimate

$100,000 — 150,000

Salvo’s Almattino,2004, encapsulates the artist’s obsession with light and the passage of time. Rendering a fantastical sunrise and its gradient atmospheric effect, Salvo captures a village undergoing a metamorphosis. While the rising sun is outside the pictorial plane, the landscape shows dawn’s long shadows and dappled yellow light over the landscape. Like Monet, Salvo treats light as an expressive medium. However, while Monet was fascinated by the science of optics and perception, Salvo’s observations of space are more interested in nostalgia and recollection, offering visual meditations on the psychological encounter with place. Salvo imbues his idyllic landscapes with the radiance of memory—they are remembered places, perfectly tranquil in nature. As he writes “For me painting soon acquired a relation with reality, though always filtered by memory.”i

Salvo (née Salvatore Mangione) was born in 1947 in Leonforte, a small Sicilian commune. He began his artistic career in Turin as an Italian Modernist, participating in the Arte Povera movement throughout the 1960s and encountering artists such as Alighieri Boetti and Gilberto Zorio. Figures in the movement placed increasing emphasis on creating art without the limitations and historical weight of traditional practices and materials. Salvo’s experience with avant-garde sculpture and photography colored his return to figurative painting in 1973, with his oeuvre maintaining a strong conceptual valence.His paintings are influenced by Giorgio de Chirico, who began the Metaphysical art movement and advocated for a return to figurative art. De Chirico sought to combine reality with unexpected elements to elicit psychological responses, such as nostalgia and estrangement, employing lightness and colorism.ii

Louise and Walter Arensberg Collection, 1950, 1950-134-38, Artwork: © 2024 Artists Rights Society (ARS), New York / SIAE, Rome

In 1976, Salvo began his series of wonderfully bright and colorful landscapes. His compositions use a painterly mannerism, employing simplified geometric forms and heightened colors to capture the appearance of a dreamlike memory. Almattinois characteristically surreal in its fantastical elements: the perfectly planar edifices bear neither doors nor windows, the foliage and mountains are dramatically candy-colored, and the clouds appear in intense pastel hues. With its expressive light and artificial color,Almattinois not a recreation of nature but rather a mental image. The scene unfolds with the sublimity of a fond memory. The affection the artist conveys for the setting is palpable in the aureate glow which suffuses the painting—a glow which permeates the forms that seemingly emit an inner radiance. Just as the sun illumines the physical environment, the mind bestows a warm glow over the inner psychological landscape. Part-real and part-idealized, the painted landscape occupies that specific juncture between past and present, between night and day, where the effects of light and memory awash the world in a magical luminescence.

i Salvo in Luca Cerizza, “Salvo Autogrill, 2020” Galerie Mehdi Chouakri, March 2020, online

Giorgio de Chirico, TheSoothsayer’sRecompense, 1913, Philadelphia Museum of Art. Image: Philadelphia Museum of Art, The

ii Renato Barilli, “Italian Art in the 1920s and 1970s: Affinities and Differences,” Center for Italian Art, July 14, 2020, online

PrProovvenanceenance

Mazzoleni Gallery, Turin

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

307

Kehinde Wiley

After Memling's Portrait of Jacob Obrecht oil on panel, in artist's designed hand fabricated frame with 22K gold leaf gilding panel 21 1/4 x 13 7/8 in. (54 x 35.2 cm) overall 32 x 35 1/2 in. (81.3 x 90.2 cm) Executed in 2013.

EstimateEstimate

$80,000 — 120,000

A rare example by Kehinde Wiley to come to auction, AfterMemling'sPortraitofJacobObrechtis one of only eight intimately-scaled wood panel portraits comprising the artist’s acclaimed Memling series. Executed in 2013, it was among the works unveiled at the Phoenix Art Museum that same year and has since been exhibited across the globe, notably at The National Gallery in London in 2021-22.

“TheMemlingseries is startingly quiet and immediate…The painting’s size requires close inspection and engagement…Direct and uncompromising, these works represent Wiley’s most emphatic statement about race, culture and history to date.” —Sara

Cochran

Wiley’s meticulously painted portraits draw inspiration from the 15th century Flemish painter Hans Memling, who was among the first to paint portraits of the merchant class and not of royalty or clergy. Subverting the Northern Renaissance triptych structure, Wiley replaces the historic sitters with young men of color dressed in contemporary attire–here paying homage to Jacob Obrecht, the most famous musician of his day.

The series takes a key place within Wiley’s oeuvre, representing a distinct departure from the characteristically monumental scale of his paintings. It also importantly marks the first time Wiley included his sitters’ names within the paintings (here, subtly inscribed in the dark wood doors).

Taking Memling’s formal structure as a point of departure, Wiley imparts his subjects with a sense of agency absent from his art historical forebears’ portraits: as evidenced in AfterMemling's PortraitofJacobObrecht,the young man returns the viewer’s gaze. “The viewer is eye to eye with the sitters. We are conscious of looking at individuals, not statistics,” Sara Cochran notes. “The Memling series takes the historical and makes it equally personal. The onus is on the viewers to extend their sense of history and share more broadly in the here and now.”i

iSara Cochran, “The MemlingSeries” in KehindeWiley:ANewRepublic, exh. cat., Brooklyn Museum, New York, 2015, p. 15

ExhibitedExhibited

Phoenix Art Museum; Cincinnati, Taft Museum of Art, KehindeWiley:Memling, February 20, 2013–October 5, 2014, pp. 16, 36–37, 59 (illustrated, pp. 36, 59; detail illustrated, p. 37; Phoenix Art Museum, 2013 installation view illustrated, p. 16)

Bruges, Musea Brugge, Museum Sint-Janshospitaal, MemlingNow:HansMemlingin ContemporaryArt, October 1, 2020–February 1, 2021, pp. 70, 78 (illustrated, p. 70; Phoenix Art Museum, 2013 installation view illustrated, p. 78)

London, The National Gallery, KehindeWileyattheNationalGallery:ThePrelude, December 10, 2021-April 18, 2022, p. 106 (illustrated)

LiteraturLiteraturee

KehindeWiley:ANewRepublic, exh. cat., Brooklyn Museum, New York, 2015, p. 154–155, 157, 190 (illustrated, pp. 154–155)

PrProovvenanceenance

Roberts & Tilton Gallery, Los Angeles

Acquired from the above by the present owner in 2013

New York Auction / 15 May 2024 / 2pm EDT

308

Henry Taylor

Untitled

signed, inscribed and dated "Bye, Henry Taylor 2007" on the reverse

acrylic and cardboard collage on panel

29 x 26 1/2 in. (73.7 x 67.3 cm)

Executed in 2007.

EstimateEstimate

$70,000 — 100,000

“Taylor’s portraits and tableaux display flashes of familiarity in the seemingly brash compositions, but linger with uncanny detail and an abundance of empathy for human diversity and tribulation.” —Johanna Burton

PrProovvenanceenance

Andrew Kreps Gallery, New York

Zidoun-Bossuyt Gallery, Luxembourg

Acquired from the above by the present owner

ExhibitedExhibited

New York, MoMA PS1, HenryTaylor, January 29–April 9, 2012, pp. 31, 37, 108 (illustrated, p. 31; installation view illustrated, p. 37)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

309

Jeffrey Gibson (Choctaw/Cherokee)

MAKE ME FEEL IT

signed and dated "Jeffrey Gibson 2015" on the reverse glass beads, steel and brass studs, quartz crystals, wire, wool, wood and artificial sinew 21 1/2 x 41 in. (54.6 x 104.1 cm) Executed in 2015.

EstimateEstimate

$40,000 — 60,000

Jeffrey Gibson (Choctaw/Cherokee)

JeffrJeffreey Gibson in His Own Vy Gibson in Own Voiceoice

Video: https://www.youtube.com/watch?v=l7bKeGcpqXQ

CCollector’ollector’sDigestsDigest

•Jeffrey Gibson is currently representing the United States at the 60th Venice Biennale. He is the first Indigenous American artist to receive the honor.

•Gibson is the recipient of the Metropolitan Museum of Art’s Façade Commission for 2025–2026. He will create four figurative sculptures for the niches in the museum’s iconic Fifth Avenue exterior.

•Gibson has been the subject of solo exhibitions at the New Museum in 2019, the Brooklyn Museum in 2020–2021 and the Crystal Bridges Museum of American Art in 2021.

•In 2019 Gibson was awarded the prestigious MacArthur “Genius” Fellowship.

PrProovvenanceenance

Marc Straus, New York

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

310

Raven Halfmoon

stoneware and glaze

36 x 16 x 14 in. (91.4 x 40.6 x 35.6 cm)

Executed in 2020.

EstimateEstimate

$10,000 — 15,000

OKLA HOMMA OHOYO

“My sculptures are true to what I know as a 21st-century Native American female artist making work. I want my sculptures to speak to this…I want to make artwork that honors the powerful women who influenced me and raised my parents and their parents.” —Raven Halfmoon

PrProovvenanceenance

Ross+Kramer, New York

Acquired from the above by the present owner

ExhibitedExhibited

New York, Ross+Kramer, RavenHalfmoon:OklaHommatoManahatta, January 19–February 13, 2021, no. 6, pp. 48–53, 151 (illustrated)

LiteraturLiteraturee

Keith Estiler, "Raven Halfmoon Breaks Native American Stereotypes in "Halfmoon" Exhibition," Hypebeast, January 8, 2021, online (illustrated)

Christian Allaire, "Indigenous Artist Raven Halfmoon on Interpreting History Through Contemporary Sculpture," Vogue, January 9, 2021, online (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

311

Tammy Nguyen

Northeast Storm and the Young King watercolor, vinyl paint, pastel and metal leaf on paper over panel

30 x 24 in. (76.2 x 61 cm)

Executed in 2022, this work is accompanied by a certificate of authenticity signed by the artist.

EstimateEstimate

$15,000 — 20,000

In Tammy Nguyen’s NortheastStormandtheYoungKing, 2022, the artist deftly weaves themes of colonialism, environmentalismand spirituality with Vietnam's historyof geopolitical struggle. The titular young king is engulfed in a verdant, tropical environment, divinely floating amongst a mélange of palms and birds. Scattered throughout the composition are helicopters travelling west, so reduced in scale that they blend with lilac winged insects, while red weather indicator flags signal a northeast storm and hurricane. The maelstrom of seemingly opposing forces is an apt metaphor for the complex histories of the region, perfectly encapsulated in Nguyen’s expert compositional rendering.

Jean Pucelle, TheHoursofJeanned'Evreux,QueenofFrance, Folios 68v-69r, The Crucifixion / The Adoration of the Magi, c. 1324-28, The Metropolitan Museum of Art, New York. Image: © The Metropolitan Museum of Art, New York, The Cloisters Collection, 1954, 54.1.2

NortheastStormandtheYoungKingwas the highlight work of Nguyen’s exhibition TheGaleat nichido contemporary art in Tokyo in 2022 and is part of aseries in whicheach work draws visual reference to specific Catholic illuminated manuscripts. Nguyen’s reinvention, in her own words, creates “a world of Catholicism cannibalized by the tropics.”i The intricately painted, gold leafadorned Medieval illustrations provide not only an overabundant visual language to quote from, but also a fertile ground for considering the global influence of Catholicism, particularly in Nguyen’s parents’ native Vietnam. She describes the religion’s proselytization across the Global South as “a colonial campaign so powerful, it can withstand not only nature, but also modern

geopolitical campaigns of conquest.”ii

“I’m excited by smashing different moments in time together, different threads in history, and making them more confusing, more ambiguous.” —Tammy Nguyen

Nguyen recalls visiting the small island of Galang in Indonesia and coming across statues of Jesus languishing beneath overgrowing vegetation. The sight symbolized so much of the area’s history— the introduction of Roman Catholicism by the French, Galang’s position as a refuge for devotees fleeing Communist Vietnam in the 1970s, and the ever-present backdrop of dense tropical flora. These histories alternatively entangle in TheNortheastStormandtheYoungKingwith Nguyen’s reinterpretation of a ‘Man versus Nature’ narrative.

In 2007, Nguyen travelled to Ho Chi Minh City on a Fulbright fellowship to study lacquer painting and to establish a firsthand relationship with the country. In NortheastStormandtheYoungKing there is influence from the flatness of the traditional technique and its characteristic use of a color ground. Of her works’ stylization, Nguyen has stated, “I [want] to find a way to make it seem like my images were coming from within the panel.”iii Gold leaf, importantly, counters this viewing experience, contributing a sense of depth that deceives the planar surface. There is an alchemical experience to viewing NortheastStormandtheYoungKing,as the flat painting produces a stunning effect of depth as one moves around it

CCollector'sDigestollector'sDigest

•Tammy Nguyen was the subject of an acclaimed solo show at the ICA, Boston in 2023.

•She was featured in the Venice Biennale in 2022 and MoMA PS1’s GreaterNewYork quinquennial in 2021.

•Phillips set the auction record for the artist in 2023 with DustSeason, 2020.

i Tammy Nguyen in TheGalepress release, nichido contemporary art, online

ii Ibid.

iii NYTimes, Tammy Nguyen, a Maximalist at Play, at the ICA Boston - The New York Times (nytimes.com)

PrProovvenanceenance

nichido contemporary art, Toyko Acquired from the above by the present owner

ExhibitedExhibited

Tokyo, nichido contemporary art, TammyNguyen:TheGale, September 2–October 15, 2022

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

312

Basil Kincaid

Formulation of Worlds, Selves and Bodies

embroidered with the artist's signature "Basil Kincaid" lower right quilt hand-woven Ghanian kente, wax block print cotton fabric, donated clothes, clothes from the artist, Ghanian embroidered fabrics, embroidery and wool

123 1/2 x 64 in. (313.7 x 162.6 cm)

Executed in 2020–2022.

EstimateEstimate

$25,000 — 35,000

A seventh-generation quilter, Basil Kincaid expands the visual idiom of their ancestral craft with vibrant works incorporating Ghanian Kente and other clothing fabrics. In FormulationofWords, BodiesandSelves, 2020–2022, Kincaid honors traditional practices while addressing ideas of belonging, memory, rest and spirituality. Kincaid further nods to quilting’s historical spirit of resourcefulness by working with found and donated materials. Considering themself a PostDisciplinary artist, Kincaid is at the forefront of contemporary artists working with textiles. Their work was notably included in Hauser & Wirth’s 2022 exhibition TheNewBendcurated by Legacy Russell and they were selected as the 2023 artist-in-residence at the Rubell Museum. In 2021 they were a United States Artist Fellow and their work was acquired by the Smithsonian American Art Museum in Washington, D.C.

Against the patterned background of FormulationofWords,BodiesandSelvesa stylized Black figure rises above a hilly landscape made of brocade fabric. Kincaid explains, “The Black figures that are present throughout the figurative work are representative of the eternal part of my being that endures beyond and throughout physical form.”i The being is thus a self-referential symbol of the artist’s spiritual nature: its depiction in the act of creating worlds, selves, and bodies—represented by the three glowing orbs parallels the act of artistic creation. As the artist states about their work, “I didn’t even do this, God did this. I’m just hands. That’s why a lot of time in the work you’ll see these glowing orbs in the hands. You just have to sometimes let yourself be hands, let the spirit move through you.”ii The figure in the quilt, with its exaggeratedly large hands and fluid outlines embroidered in white, appears like an amorphous deity starkly contrasted against the patterned background. Between the figure’s hands, the fabric is softly variegated in hue, imbuing the scene with a radiant energy.

“This family tradition, among others, has provided a compass towards selfreclamation in the face of contemporary expectations… It’s a way to honor my predecessors while addressing the questions and concerns of where I am—we are—today.” —Basil Kincaid

Kincaid is based in both Saint Louis and Ghana. They incorporate found and donated fabrics spanning from Saint Louis to East Africa. Motivated by keeping “traditional art forms alive and then amplifying them to meet contemporary needs,” Kincaid, like Ringgold, uses fabric as medium for storytelling, transmitting otherwise marginalized narratives.iii Working from both continents, Kincaid reflects on the experience of being a Black American in Africa, describing a simultaneous connection and unfamiliarity with the place their ancestors left: “My quilts address that gradient sensation of belonging. To paraphrase James Baldwin, a place where you will belong won’t exist until you create it.”iv Their interest in quilting also stems from a desire to sustain ancestral knowledge as well as to elevate found, used, and donated materials imbued with the emotional and spiritual content of their past lives. Kincaid reflects: "The quilt to me, is symbolic of prioritizing rest;” it is a site for leisure and relaxation, “a reminder to take time for yourself to heal and

experience life.”v

i Basil Kincaid in Folasade OlogunduduI, ed., TheRollingFieldstoMyHouse, exh. cat., Galleria Poggiali, Milan, 2021

ii Basil Kincaid in Makeda Easter, “How artist Basil Kincaid made their most ambitious and transformative work yet,” TheArtRebellion, March 27, 2023, online

iii Ibid.

iv Basil Kincaid in “Artists: Basil Kincaid,” Kavi Gupta, online

v Basil Kincaid in Julie Schneider, “Art in Focus: The Symbolic Nature of Basil Kincaid’s Quilt-Based Work,” TheCenterMagazine, April 26, 2023, online

PrProovvenanceenance

Private Collection (acquired directly from the artist) Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

313

Jamea Richmond-Edwards

Blue feather and orb

ink, graphite, glitter and mixed media collage on 2 attached canvases

54 1/4 x 48 in. (137.8 x 121.9 cm)

Executed in 2019.

EstimateEstimate

$20,000 — 30,000

PrProovvenanceenance

Galerie Droste, Wuppertal

Acquired from the above by the present owner

ExhibitedExhibited

Wuppertal, Galerie Droste, Chronicles2, February 22–April 4, 2020

New York Auction / 15 May 2024 / 2pm EDT

314

Wynnie Mynerva

Story of Revenge 2

signed and dated "Wynnie Mynerva 21" on the reverse oil on canvas

78 3/4 x 118 1/8 in. (200 x 300 cm)

Painted in 2021.

EstimateEstimate

$20,000 — 30,000

Wynnie Mynerva

Wynnie Mynerva’s monumental StoryofRevenge2, 2021, expresses empowerment and sexual liberation. A protest of the sexual violence Mynerva witnessed and experienced in their home country of Peru, the painting is semi-autobiographical, representing the artist in their current, empowered position. The present example is one of three mural-sized works from Mynerva’s series of the same title, first exhibited at LatchKey Gallery, New York in the artist’s solo show SweetCastrator.

“This project has made me gain strength. It’s been a form of release, freedom, helping meheal.” —Wynnie Mynerva

Painted in a lush pastel palette, StoryofRevenge2is ignited by the tension between violence and dreamlike liberation. A sense of freedom and command is palpable in the artist’s energetic application of paint, which they have described as a cathartic release of past traumas. In the composition, three loosely defined figures form a cluster of entangled limbs set before towering legs wearing bold platform heels. The artist’s gestural style deliberately creates an obstacle to passively consuming the female forms in a manner analogous to the vivid, multifocal paintings of Cecily Brown.

Mynerva’s boundary-pushing painting and performance has garnered critical and institutional recognition, including their solo show TheOriginalRiotat the New Museum, New York last year. Phillips successfully introduced the artist to auction with their 2022 work Bailomiritmo,perono medetengo. Mynerva will present a solo show at Fondazione Memmo, Rome later this year.

PrProovvenanceenance

LatchKey Gallery, New York

Acquired from the above by the present owner.

ExhibitedExhibited New York, LatchKey Gallery, WynnieMynerva:SweetCastrator, May 7–June 19, 2021

LiteraturLiteraturee

Robert R. Shane, "Wynnie Mynerva: Sweet Castrator at LatchKey Gallery," WhitehotMagazine, online, June 2021 (LatchKey Gallery, New York, 2021 installation view illustrated) "Sweet Castrator. Primera Individual de Wynnie Mynerva en Nueva York," Artishock, May 21, 2021, online (LatchKey Gallery, New York, 2021 installation view illustrated)

New York Auction / 15 May 2024 / 2pm EDT

315

Alex Gardner

Be the Best Number Two

signed with the artist's initials and dated "AG 21" on the strainer oil on canvas

48 x 48 in. (121.9 x 121.9 cm) Painted in 2021.

EstimateEstimate

$40,000 — 60,000

PrProovvenanceenance

Loyal Gallery, Stockholm

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

316

Jenna Gribbon

My place beside her in bed signed and dated "Jenna Gribbon 2019" on the overlap oil on linen

16 x 12 in. (40.6 x 30.5 cm) Painted in 2019.

EstimateEstimate

$50,000 — 70,000

PrProovvenanceenance

Fredericks & Freiser, New York

Acquired from the above by the present owner

LiteraturLiteraturee

JennaGribbon, Berlin, 2021, pp. 132–133, 338 (illustrated, p. 133)

Shaquille Heath, "Jenna Gribbon: The Pleasure of Looking," Juxtapoz, July 19, 2021, online (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

317

Jenna Gribbon

Homework in the cafeteria wrestlers

later signed and dated "Jenna Gribbon 2020" on the overlap

oil on linen

16 x 12 in. (40.6 x 30.5 cm)

Painted in 2019.

EstimateEstimate

$60,000 — 80,000

The present work illustrated on the cover of JennaGribbon, Berlin, 2021.

PrProovvenanceenance

Fredericks & Freiser, New York

Private Collection (acquired from the above)

Acquired from the above by the present owner

LiteraturLiteraturee

JennaGribbon, Berlin, 2021, pp. 148–149, 339 (illustrated, p. 149, front cover)

New York Auction / 15 May 2024 / 2pm EDT

318

Hernan Bas

Things Fly About

signed with the artist's initials and dated "HB 06" lower right oil and mixed media on panel 10 x 12 in. (25.4 x 30.5 cm) Executed in 2006.

EstimateEstimate

$60,000 — 90,000

PrProovvenanceenance

Lehmann Maupin, New York

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

319

Louise Giovanelli

Billyo V

signed "Louise Giovanelli" on the reverse oil on canvas

31 3/4 x 19 3/4 in. (80.6 x 50.2 cm)

Painted in 2019.

EstimateEstimate

$20,000 — 30,000

Giovanelli

PrProovvenanceenance

GRIMM, New York

Private Collection

Acquired from the above by the present owner

ExhibitedExhibited

Manchester Art Gallery, LouiseGiovanelli, June 6, 2019–April 19, 2020

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

320

Julie Curtiss

D'après l'Origine du monde

signed, titled and dated "Julie Curtiss 2016 "D'après l'Origine du Monde"" on the reverse acrylic and oil on canvas 23 x 28 in. (58.4 x 71.1 cm)

Painted in 2016.

EstimateEstimate

$120,000 — 180,000

A seminal example from Julie Curtiss, D'aprèsl'Originedumonde, 2016, represents a crux in the artist’s practice in which the braided hair motif for which she is now known became more stylistically defined. The present example is a masterpiece that represents the motif’s fullest expression, dominating the composition and merging with the figure. It marks a point in which the artist found her painterly voice and made the shift to her mature, recognizable style. At this ambitious point in Curtiss’ career, she turned her focus to a fittingly ambitious subject in Gustav Courbet’s famed L'Originedumonde, 1866. In D'aprèsl'Originedumonde, Curtiss replaces the verisimilar fleshiness that polarized nineteenth-century viewers with her signature hair, directly taking on the legacy of a fellow French artist and commenting on his perspective of the female body.

Curtiss’ is wonderfully absurdist. Body hair now replaces the flesh of the body, denying the male gaze that is inseparable from Courbet’s original. Taking on one of the most recognizable paintings from art history, Curtiss breaks away from past representations of woman as object, reimbuing her subject with power. Hair is used for rebellion and resistance to social norms, placed in tension with the suggestive pose of the legs-spread figure. D'aprèsl'Originedumondeleads viewers to consider the seductive and repulsive potentials of hair and how this is crucially defined by where the hair is located on the body.

“Hair itself is amorphous, but you can shape it; it's inert and alive at once. On women's heads it's a sexual asset, but on her body, it's considered ‘abject.’” —Julie

Curtiss

Curtiss adheres to Courbet’s 1866 composition, importantly omitting the figure’s head and site of the more conventionally attractive location for hair. Of painting partial figures she explains, “I didn’t feel like giving into that satisfaction,” continuing, “I felt that I could allude to my characters’ feelings or personalities by dropping visual clues here and there, and I leave it to the viewer to piece the image back together.”i This fragmentation adds the uncanny, surrealist quality celebrated in Curtiss’ works. It is a standout example of the artist’s work that has put her at the forefront of contemporary surrealism alongside artists including Emily Mae Smith and Loie Hollowell. It is also a painting that by design denies an easy read, requiring viewers to grapple with its contradictions.

D'aprèsl'Originedumondeis part of a body of work in which Curtiss revisited famed French paintings such as Georges Seurat’s LaGrandeJette, 1884–86, and Édouard Manet’s Olympia, 1863. As a French woman who grew up in Paris, she was exposed from an early age to the visual language of these artists. Directly referencing the paintings of Courbet, Seurat and Manet within her own work, Curtiss confronts a sort of cultural and art historical father complex. Courbet’s philosophically titled painting, which at one point belonged to the psychoanalyst Jacques Lacan, inevitably sparks questions relating to the psyche. Curtiss’ reinterpretation of the woman in unending braids of hair further adds to psychological implications, ruminating on the inner conflicts of contemporary femininity. As she explains, “The hair motif is connected to something deeply personal, but it’s also tied to universal symbols. Hair evokes something primordial, it’s a part of our body that grows relentlessly and that we can cut off without pain. It refers to something animalistic, like fur. My work deals with ideas of the wild and the tame; nature and culture in the female psyche.”ii

i Julie Curtiss in “Julie Curtiss: Wild Women and Dark Humour,” Elephant, July 13, 2019, online

ii Julie Curtiss in “Julie Curtiss: Wild Women and Dark Humour”

Swirls of umber locks construct the figure's breasts, stomach and genitals, splayed out on a lilactinted sheet. While Courbet's look at the female pubis is imbued with a self-serious reverence,

Gustav Courbet, L'Originedumonde, 1866, Musee d'Orsay, Paris, France. Image: Photo Josse/Scala, Florence

Julie Curtiss

PrProovvenanceenance

Private Collection

ExhibitedExhibited

New York, Spring/Break Art Show, JulieTuyetCurtiss:Reflections, February 28–March 6, 2017

LiteraturLiteraturee

Brigitte Mulholland, "Brigitte Mulholland with Julie Curtiss," PaintingisDead, November 2, 2017, online (illustrated)

Claire Milbrath, "Unsettling Energies with Julie Curtiss," TheEditorialMagazine, September 17, 2019, online (illustrated)

JulieCurtiss,MonadsandDyads, exh. cat., White Cube, London, 2021, pl. 59, pp. 108, 123 (illustrated, p. 108)

Emma Gontier, "Décryptage – La ré-interprétation de tableaux célèbres par des artistes femmes," ArtistikRezo, January 10, 2022, online (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

321

Titus Kaphar

Pushing Back the Light

signed and dated "Kaphar 12" lower right oil and tar on canvas

107 x 77 x 6 1/2 in. (271.8 x 195.6 x 16.5 cm)

Executed in 2012.

EstimateEstimate

$120,000 — 180,000

In PushingBacktheLight, 2012, Titus Kaphar references Claude Monet’s WomanwithaParasol–MadameMonetandHerSon, 1875, a luminous example from the peak of the Impressionist’s career. Kaphar’s reinterpretation retains the original’s windswept figures but strips back it’s hillside setting, quite literally pushing aside the canvas to reveal a dramatic backdrop of black tar. Kaphar translates the bucolic scene into something more opaqueand ambiguous in a commentary on the shortcomings of Impressionism, most notably its absence of Black figures and its outward disinterest in racial injustices of the time. His addition of tar blackens the work and adds weight, both metaphoric and physical, while the pushed back canvas evidences the artist’s labor, making clear his process of rejection and reworking.

Mellon, 1983.1.29

PushingBacktheLightwas exhibited in the Phillips Collection’s 2020 exhibition Riffsand Relations, which highlighted Modern and Contemporary Black American artists who have engaged with, redefined, and interrogated European Modernism. The present example was exhibited alongside the works of Romare Bearden, Norman Lewis, Faith Ringgold and Hank Willis Thomas, amongst others, in addition to Monet’s original WomanwithaParasolitself. The context of the exhibition, particularly the unique opportunity to pair PushingBacktheLightwith its reference, underscored Kaphar’s reverent but also critical approach to the Impressionist master.

“Kaphar’s interference in color, texture, and framing questions the idyllic projections of each scene as if to ask: What else was going on in the late nineteenth century that would tell another story?” —Bridget R. Cooks

The curator of RiffsandRelations, Adrienne L. Childs, notes “the erupting tar nearly engulfs the scene… suggesting a clash of cultures that are nonetheless organically intertwined.”i Kaphar’s work draws attention to the shortcomings of a European-focused art historical canon while also tacitly acknowledging the irrefutable lineage from the early-Modern art historical movement tothe present day. Kaphar states, “I take historical paintings and address them in modernist ways [sic],” noting the historical precedence of re-working existing images, while also reflecting on the simultaneous socio-political events globally concurrent to Impressionism in the 1880s.ii On the present example Kaphar explains, “WithPushingBacktheLightI wanted to do something that felt as though it was a gesture of peeling back this idea of “Impressionism as pretty picture” to reveal something else underneath, to reveal some of the kindof guttural nature of what was happening across the pond and other places as well.”iii

i RiffsandRelations:AfricanAmericanArtistsandtheEuropeanModernistTradition, exh. cat., The Phillips Collection, Washington, D.C., 2020, p. 14

ii Titus Kaphar in RiffsandRelations, p. 17

iii Ibid.

Claude Monet, WomanwithaParasol–MadameMonetandHerSon, 1875, National Gallery of Art, Washington, D.C. Image: © National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul

PrProovvenanceenance

Maruani Mercier Gallery, Knokke

Acquired from the above by the present owner

ExhibitedExhibited

Knokke, Maruani Mercier, TitusKaphar:Survey, August 3–September 7, 2019, n.p. (illustrated) Washington, D.C., The Phillips Collection, RiffsandRelations:AfricanAmericanArtistsandthe EuropeanModernistTradition, February 29, 2020–January 3, 2021, pl. 2, pp. 14, 16–17, 197 (illustrated, p. 16)

LiteraturLiteraturee

Philip Kennicott, “African American artists embraced modernism. But the art world didn’t embrace them.” TheWashingtonPost, March 12, 2020, online (illustrated)

Caroline Goldstein, “An Eye-Opening Exhibition Looks at How Black Artists Have Dissected and Rearranged the History of European Modernism—See It Here,” ArtnetNews, March 24, 2020, online (illustrated)

Anna O. Marley, “Riffs and Relations: African American Artists and the European Modernist Tradition,” Panorama:JournaloftheAssociationofHistoriansofAmericanArt, vol. 6, no. 2, Fall 2020, online

Reginald Dwayne Betts and Titus Kaphar, Redaction, New York, 2023, pp. 91, 194 (illustrated, p. 91)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

322

Caroline Walker

Washing Line, Early Morning, May

signed, titled and dated "WASHING LINE, EARLY MORNING, MAY Caroline Walker 2020" on the reverse oil on linen

78 3/4 x 104 3/8 in. (200 x 265 cm)

Painted in 2020.

EstimateEstimate

$150,000 — 200,000

Go to Lot

WashingLine,EarlyMorning,May, 2020, comes from Caroline Walker’s most personal series, Janet, named for the artist’s mother. The works depict Janet engaged in a variety of domestic tasks, capturing her private world in the artist’s childhood home, honoring the invisible labor performed by women. Rendered in exquisite detail, Walker elevates women’s domestic work through painting. The artist has long been interested in the theme of oft-overlooked female labor, inspired to paint the uncelebrated roles of working women, from cleaners to nail technicians.

The Janetseries represents a more personal connection to the subject and increased access into this world: for a year, Walker took hundreds of photographs of her mother, which she used as the basis for the series. The works were painted during Britain’s stay-at-home orders in 2020, a time when the artist couldn’t physically be with her mother, so the paintings represent an alternative form of connection between mother and daughter during a time of separation. Walker describes working on this series as “one of the most pleasurable periods of working I’ve ever had.”i She dedicates her monograph for the series to her mother, expressing: “Mum, I’ve thoroughly enjoyed spending so much time with you in the studio, especially when many of these paintings were made in a period where it wasn’t possible to be with you in person.”ii

In WashingLine,EarlyMorning,May, Janet spreads a pristine wide white linen sheet on the washing line. The scene is captured with the high level of detail typically reserved for history paintings. In such a light, the task becomes heroic, the painting an act of ennobling the routine of hanging laundry. Walker’s interest in representing people living their daily lives follows in the tradition of artist’s like Mary Cassatt, who was fascinated by the private lives of women, and Dutch Golden Age masters like Johannes Vermeer, whose domestic interiors captured household maintenance. In the present example Walker depicts a moment with such specificity—from the movement of the sheets to the gesture and posture of the artist’s mother—that the viewer feels an acute awareness of the scene as a vivid moment in time.

i Caroline Walker in Janet, exh. cat., Ingleby Gallery, Edinburgh, 2020, n.p.

ii Ibid.

PrProovvenanceenance

Ingelby Gallery, Edinburgh

Acquired from the above by the present owner

ExhibitedExhibited

Edinburgh, Ingleby Gallery, CarolineWalker:Janet, October 3–December 19, 2020, pp. 104–107 (illustrated)

LiteraturLiteraturee

"In the studio with... Caroline Walker," Apollo, April 15, 2021, online (studio view illustrated in preliminary state)

Caroline Walker

New York Auction / 15 May 2024 / 2pm EDT

323

Henni Alftan

Still Water

signed, titled and dated "Still Water 2017 Henni Alftan" on the reverse oil on canvas

51 1/2 x 76 3/4 in. (130.8 x 194.9 cm)

Painted in 2017.

EstimateEstimate

$60,000 — 80,000

Alftan

PrProovvenanceenance

Gifted by the artist to the present owner

ExhibitedExhibited

Vancouver, Z Gallery Arts, HenniAlftan:ShadowsintheMirror, April 6–May 8, 2017, pp. 10–11

LiteraturLiteraturee

Kris Mcdermott, "'Shadows in the Mirror' reflects an anxious Henni Alftan," VancouverCourrier, April 20, 2017, online (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

PROPERTY

FROM A PRIVATE COLLECTION, BEVERLY HILLS

324

Julien Nguyen

Point Break

oil on panel

41 1/4 x 59 in. (105 x 150 cm)

Painted in 2016.

EstimateEstimate

$40,000 — 60,000

PrProovvenanceenance

Neue Alte Brücke, Frankfurt

Acquired from the above by the present owner in 2016

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

325

Jill Mulleady

A thousand natural shocks oil on canvas

48 x 36 in. (121.9 x 91.4 cm)

Painted in 2017.

EstimateEstimate

$70,000 — 100,000

PrProovvenanceenance

Freedman Fitzpatrick, Los Angeles

Acquired from the above by the present owner

ExhibitedExhibited

Los Angeles, Freedman Fitzpatrick, JillMulleady:ThisMortalCoil, January 15, 2017–February 25, 2017

Berlin, Kunsthalle Bern, JillMulleady:AngstvorAngst, May 20–July 23, 2017, p. 67 (illustrated)

LiteraturLiteraturee

Kristen Osborne-Bartucca, “Jill Mulleady,” ArtilleryMagazine, March–April 2017, p. 55

Hana Cohn, “Jill Mulleady,” Frieze, no. 186, April 2017, p. 152

Ciara Moloney, "Nightmares in Oil," FlashArt, no. 314, vol. 50, May 2017, p. 54–56 (illustrated, p. 54)

Maurin Dietrich, “Jill Mulleady,” CuraMagazine, no. 25, Summer 2017, p. 179 (illustrated)

"Qui est Jill Mulleady, la cinéaste de la peinture et héritière d'Edvard Munch," Número, December 28, 2023, online (illustrated)

Éric Troncy, “Jill Mulleady’s paintings make sparks fly,” ArtBasel, January 18, 2024, online (illustrated)

Jill Mulleady

New York Auction / 15 May 2024 / 2pm EDT

326

Marina Perez Simão Untitled

signed and dated "MARINA Perez Simão 14. 8. 20" on the reverse oil on canvas

57 x 52 3/4 in. (144.8 x 134 cm) Painted in 2020.

EstimateEstimate

$100,000 — 150,000

PrProovvenanceenance

Mendes Wood DM, New York

Private Collection

Acquired from the above by the present owner

Marina Perez Simão

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

327

Sonia Gomes

Raízes series #1

tree trunk, fabric, mirror and nylon thread

62 5/8 x 36 5/8 x 13 3/8 in. (159 x 93 x 34 cm)

Executed in 2020, this work is accompanied by a certificate of authenticity.

EstimateEstimate

$140,000 — 180,000

In Sonia Gomes’ Untitled, 2020, a fragment of wood lies upon the floor, cocooned in cloth on one end. A tall white pole extends upwards from the wood, ending in a bundle of fabrics of various hues and textures. Standing at over five feet tall, this mixed media sculpture is a commanding presence, and an excellent example of Gomes’ longstanding interest in using found materials to craft intricate, organic installations.

“Brazilian people are very used to working with what they already have. I work with what I have and with things that arrive to me. I feel there is an ancestral heritage behind what I do and that my work touches on elements of our African heritage as Brazilians.” —Sonia Gomes

The wood used in Untitledis made from the roots of trees swept away by a landslide in Mariana, Brazil in 2015. The Mariana dam disaster occurred when a dam at the Germano iron ore mine near Gomes’ home state of Mariana, Minas Gerais, Brazil, suffered a catastrophic failure, resulting in flooding that devastated downstream villages. Having been born and raised in nearby, this catastrophe held a personal resonance for the artist. As Gomes has said, “Not everything is art, but art can be anything.”i Gomes reclaims this wood from the site of the incident, transforming something from a devastating ecological context into a healing art object.

Gomes was born in Caetanópolis, a onetime textile hub, in the state of Minas Gerais in 1948. It is no wonder then that textiles would become a preoccupation throughout her artistic development. With her mother having passed away when the artist was only three years old, Gomes was raised by her maternal grandmother, a shaman, who made rodilhas(cloth turbans) and gris-gris(Voodoo amulets). Through her relationship with her grandmother, Gomes was exposed to handicraft and spirituality at an early age. The sensibility of folk cures is imbued within her oeuvre and exemplified in Untitled

While Gomes would go on to pursue a career in law well into her forties, she ultimately found her way back to textile art in the 1990s. Featuring found objects and gifted fabrics, Gomes'work has become known for its assemblages thatweave together disparate cultures and memories. As a largely self-taught artist who began her art career mid-life, Gomes is an inspirational story. In 2018, Gomes becamethe first living Afro-Brazilian woman to have a monographic show at the São Paulo Museum of Art (MASP). Her work was included in the 56th Venice Biennale, curated by Okwui Enwezor, in 2015 and will again be featured at the Biennale this summer in the pavilion of The Holy See.

iJill Langlois, “Fabrics With Powerful Stories to Tell,” TheNewYorkTimes, August 28, 2020, online

PrProovvenanceenance

Mendes Wood DM, São Paulo

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

328

Shara Hughes

Magic Hour

signed, titled, inscribed and dated ""Magic Hour"

Shara Hughes NYC 2016" on the reverse oil, acrylic, spray paint and dye on canvas

60 x 52 in. (152.4 x 132.1 cm)

Executed in 2016.

EstimateEstimate

$180,000 — 250,000

In Shara Hughes’ MagicHour, 2016, the artist creates a series of frames within the canvas, akin to Russian nesting dolls, each one leading the eye further into the work and acting as portals into increasingly abstract spaces. Operating between abstraction and representation, the present example exemplifies the artist’s practice of “painting intuitively from her subconscious.”i In the foreground, Hughes constructs a frame out of twinned symmetrical trees. A layer deeper, a border of kaleidoscopic colors frames a striated band reminiscent of curving blades of grass. The scene within takes up the largest portion of the canvas: a vibrant mountain rage with expressionistic strokes bisected by a molten river. This image is itself a frame for a portrait-like silhouette filled withmysterious cloudy skies and a wave-filled body of water, suggesting an inner, imaginative reality.

“I

want to live inside them.” —Shara Hughes

Hughes began painting her psychedelic landscapes in 2014. Previously, she had painted interiors with representations of real objects from her life. The transition represented the introduction of the unconscious mind into her work. Mia Locks reflected on the artist’s improvisatory method: “she starts by making aimless marks on a blank canvas, without any preconceived notion of what they will become. Pouring, splashing, spraying, dripping, churning, or scraping-there are innumerable physical actions Hughes might use as she negotiates form through paint. Her initial mindset is open; she lets herself play.”ii Her use of materials—oil, acrylic, spray paint and dye—blend to create a dazzlingenergy. The artist’s spirit of play imbues the work with a vivacity that recalls the Fauvists and her use of warm yellow light evokes the Post-Impressionism of Vincent Van Gogh andPaul Cézanne. Hughes’ flamboyantworks abound with creative energy and offer insight into the potentials of imagination.

i “Shara Hughes: Compelling landscapes of nowhere,” Two Coats of Paint, October 4, 2023, online

ii Mia Locks, “Working Tension: On Shara Hughes’s Landscapes,”Shara Hughes / Landscapes, New York, 2019, p. 9.

PrProovvenanceenance

Rachel Uffner Gallery, New York

Acquired from the above by the present owner in 2016

New York Auction / 15 May 2024 / 2pm EDT

329

Marina Perez Simão Untitled

signed and dated "Simão 21" on the reverse watercolor on paper

16 1/8 x 12 1/4 in. (41 x 31.1 cm)

Executed in 2021.

EstimateEstimate

$18,000 — 22,000

PrProovvenanceenance

Mendes Wood DM, New York

Private Collection

Acquired from the above by the present owner

Marina Perez Simão

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

330

Issy Wood

Actual car 2

signed and dated "Issy Wood 2019" on the stretcher oil on velvet

60 7/8 x 43 3/8 in. (154.6 x 110.2 cm)

Executed in 2019.

EstimateEstimate

$150,000 — 200,000

In a seductive black-on-black, Issy Wood paints a vintage convertible with the tactile allure characteristic of her “intoxicating interplay of desire, luxury and degradation.”i Extracting her source material from online auction archives and catalogues, her grandmother’s heirlooms and her own photographs, the London-based artist transforms images of cars, leather jackets, armor and porcelain with an uncanny sensibility. In Actualcar2, 2019, Wood paints an aerial view of the 1950s Mercedes Benz 300 SL that differs from traditional catalogue photographs, presenting an allencompassing aerial view of the car that accentuates its curves. Showcasing Wood’s signature technique of painting on velvet, the present work exemplifies the artist’s investigations on the relationships between consciousness and commodity, masculinity and femininity, and glamor and tragedy.

“So you can't climb Everest, you can't have Monroe, and you're not likely ever to ride a rocket to the moon. But you can, if you're properly heeled, achieve an experience that's in the same ultimate class—you can get yourself a Mercedes-Benz 300SL. And if you really respond to machinery, the effect is the same.” —Griff Borgeson,Sports Cars Illustrated, April 1956

In her car works, Wood weaves notions of gender and desire that permeate her work by playing with the slippery distinctions between object and objectification. While the artist’s paintings of leather jackets “represent a kind of woman," she explains that she "[thinks] of the cars as quite a masculine environment.”Wood continues, “the car is an escape for a man, it’s where one can experience a kind of freedom—or at least that’s how advertising sells a car...It’s fun to try that on for size, to see what it would be like to be a man for whom this is a desirable object.”ii By painting a car, Wood inevitably engages with its role as a status symbol and metaphor for a sort of conquering, with mastery over machine being comparable to athletic and romantic feats. Wood further addresses this notion of desire in her writings, where she quotes Roland Barthes’ statement in her observation of the hallowed and erotic aura that surrounds sports cars in modern culture. In Actualcar2, the convertible is presented like a divine object as the interplay of light and shadow sensually highlights its body.

“Cars today are almost the exact equivalent of the great Gothic cathedrals: I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object.” —Roland Barthes

Actualcar2rhymes with the 300 SL’s historical place as the first supercar and first sportscar to feature luxury refinements on par with its technical capabilities, highlighting the intentional appeal of the exterior. The 300 SL Coupé was uncoincidentally also depicted by Andy Warhol in 1986—a work that went on to win him a commission by the automaker that became his unfinished Cars

series. The Carsworks play up the glamour and commercial appeal of the machines in contrast to the cars featured in his earlier SaturdayDisasterworks. Wood’s work occupies an impressive middle ground; not simply highlighting the car’s commercial status or questioning the spectacle of automobile crashes, it lingers in the car’s in the sultry, oblique appeal.

In a 2019 interview, the artist revealed that works such as Actualcar2mark a new development in her car series by making the color of her subject the same as that of the respective velvet support. By painting directly on velvet, Wood at once explores the visual and tactile through her painterly process, revealing the power of materiality to convey mood and meaning. Here, the rich black velvet and matched palette engenders the dark and eerie tenor pervading the composition, evoking the black-hole silence of the background and barren seats. In the Western art historical canon, velvet paintings originated as a sanctified medium reserved for portraying religious icons and, by the 20th century, became kitsch statements of anti-art eventually elevated into the realm of “high art” by artists such as Julian Schnabel. The present work thus situates itself within the charged history of the velvet medium as Max Hollein observed, while also alluding to a timeless fabric that—like modern luxury cars—symbolize power, desire, and wealth. In this way, Actualcar

Andy Warhol, Mercedes-Benz300SLCoupé(1954), 1986, Mercedes-Benz Art Collection.Artwork: © 2024 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

2captures the striking dialogue between representation and materiality, past and present, with which Wood engages in expressing the “seductive artificiality” and “angst” of glamor.iii

i Rosanna Mclaughlin, “Issy Wood,” MixingitUp:PaintingToday, exh. cat., Hayward Gallery, London, 2021, p. 1121

ii Issy Wood, quoted in “Issy Wood in Conversation with Sarah McCrory,” Luncheon, no. 8, 2019, p. 61

iii Philomena Epps and Issy Wood, quoted in “Issy Wood Talks Painting the Tragedy and Ambivalence Lurking in Luxury,” Garage, March 18, 2019, online

PrProovvenanceenance

Carlos/Ishikawa, London

John Wolf Fine Art, Los Angeles (acquired from the above)

Private Collection (acquired from the above)

Phillips, New York, May 18, 2022, lot 20 Acquired at the above sale by the present owner

New York Auction / 15 May 2024 / 2pm EDT

331

Issy Wood

Study for the Bada Bing signed and dated "Issy Wood 2021" on the reverse oil on linen

61 x 85 in. (154.9 x 215.9 cm) Painted in 2021.

EstimateEstimate

$120,000 — 150,000

StudyfortheBadaBing, 2021, comes from a small group of works Issy Wood made featuring scenes inspired by the television series TheSopranos. The title references the fictional BadaBing! strip club that served as a key location throughout the series and popularized the phrase in the general lexicon. While Wood typically paints inanimate objects of desire—cars, antiques, coats—she here turns to figures engaged in a sensual act, marking an important evolution of her work’s themes of allure and fetishization.

Wood’s uncanny work frames her central figures with four antique objects: three porcelain statuettes of young boys and an Art Deco clock. Floating in the corners of the composition, these elements add a Surrealist bent to the work and prevent a purely sexual read of the women’s image. With close cropping Wood removes her figures from context, providing only seemingly unconnected objects that disrupt any straightforward narrative. Her choice of items introduces themes of consumption, innocence and time. Wood, who is also a prolific musician, featured a similar clock in the painting that served as cover art to her 2022 album MyBodyYourChoice. Since 2021, the clock has become a frequent motif in Wood’s work, often anchoring a corner of her compositions in a prominent mementomori

“What does ‘from life’ even

mean in this day and age?” —Issy Wood

StudyfortheBadaBingalso astutely comments on impulses for consumption, be it buying trinkets, bingeing television or engaging in sexual acts. The distinguishing haziness with which Wood renders her painting adds to the subjects’ aura while also preventing their tangibility. This additionally relates to how Wood sources her painting’s imagery, which comes from secondary sources like auction catalogues or, in the present case, television scenes. The simulated texture is reminiscent of the artist’s earlier works on velvet and the result is a remembered, dreamlike quality that prevents viewers from clearly grasping at the subjects—a quality Barry Schwabsky now-famously coined “perverted realism” writing about the artist in Artforum i Rendering perhaps familiar people and objects just strangely enough, Wood amplifies the oddity of the mundane.

i Barry Schwabsky, “Issy Wood,” Artforum, April 2020, online

PrProovvenanceenance

Carlos/Ishikawa, London

Acquired from the above by the present owner

LiteraturLiteraturee

Daisy Woodward, "The Best Things to See at Frieze London 2021," AnOtherMagazine, October 15, 2021, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

332

Hun Kyu Kim

Castle Breakers

signed, titled and dated ""Castle Breakers" 2020 Hun Kyu Kim Hun Kyu Kim [in Korean]" on labels affixed to the stretcher pigment on silk

53 1/4 x 39 1/2 in. (135.3 x 100.3 cm) Executed in 2020.

EstimateEstimate

$40,000 — 60,000

PrProovvenanceenance

High Art, Arles

Acquired from the above by the present owner

ExhibitedExhibited

Arles, High Art, Egress, March 13–April 24, 2021

New York Auction / 15 May 2024 / 2pm EDT

Tomokazu Matsuyama

Uh oh, Together Again

signed, titled, inscribed and dated ""Uh oh, Together Again" 8. 2018 NYC Tomokazu Matsuyama Tomokazu Matsuyama [in Kanji]" on the reverse acrylic and mixed media on canvas 100 x 60 in. (254 x 152.4 cm) Executed in 2018.

EstimateEstimate

$120,000 — 180,000

PrProovvenanceenance

Zidoun-Bossuyt Gallery, Luxembourg

Acquired from the above by the present owner

ExhibitedExhibited

Luxembourg, Zidoun-Bossuyt Gallery, TomokazuMatsuyama:NoPlaceLikeHome, September 21–October 27, 2018, pp. 52–55 (illustrated, p. 53; detail illustrated, pp. 54–55)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

334

Ilana Savdie

Under questionable jurisdiction oil, acrylic and beeswax on canvas over panel 16 x 12 in. (40.6 x 30.5 cm) Executed in 2020.

EstimateEstimate

$20,000 — 30,000

PrProovvenanceenance

Acquired directly from the artist by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

335

Marco Pariani

Devil Side

signed, titled, inscribed and dated "Marco Pariani 2018

TITLE: DEVIL SIDE YEAR: 2018 (31.10.18)" on the reverse

oil, acrylic and enamel on canvas

79 3/4 x 61 7/8 in. (202.6 x 157.2 cm)

Executed in 2018.

EstimateEstimate

$35,000 — 45,000

PrProovvenanceenance

The Journal Gallery, New York

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

336

Lauren Halsey

banana split / the real deal

acrylic, enamel and gold and silver leaf on wood

66 7/8 x 35 7/8 x 24 in. (170 x 91 x 61 cm)

Executed in 2022.

EstimateEstimate

$25,000 — 35,000

PrProovvenanceenance

David Kordansky Gallery, Los Angeles

Private Collection, United States

Acquired from the above by the present owner

Halsey

New York Auction / 15 May 2024 / 2pm EDT

337

Ebecho Muslimova

Fatebe Heirloom

enamel and oil on Dibond

96 x 48 in. (243.8 x 121.9 cm)

Executed in 2020, this work is accompanied by a certificate of authenticity signed by the artist.

EstimateEstimate

$60,000 — 80,000

PrProovvenanceenance

Bernheim, Zurich

Acquired from the above by the present owner

ExhibitedExhibited

New York, The Drawing Center, EbechoMuslimova:ScenesintheSublevel, February 5–May 23, 2021

LiteraturLiteraturee

Anthony Hawley, “Ebecho Muslimova’s Alter-Ego Devours the Patriarchy,” Frieze, no. 220, April 21, 2021, online

“What to see in the US Now Frieze Week’s Over,” Frieze, May 14, 2021, online (illustrated)

Molly Cranston, “Ebecho Muslimova’s Scenes in the Sublevel,” TheEditorialMagazine, June 20, 2021, online (illustrated; The Drawing Center, New York, 2021 partial installation view illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

338

Vaughn Spann

Gambit

signed, titled, inscribed and dated "Vaughn Spann

2020 "GAMBIT" (MARKED MAN)" on the reverse mixed media on wood panel

60 x 48 in. (152.4 x 121.9 cm) Executed in 2020.

EstimateEstimate

$80,000 — 120,000

PrProovvenanceenance

Acquired directly from the artist by the present owner

New York Auction / 15 May 2024 / 2pm EDT

Gary Simmons

Study for Hollywood

oil and pigment on gessoed paper, in 6 parts

each sheet 29 1/8 x 29 1/8 in. (74 x 74 cm)

each framed 29 7/8 x 29 7/8 in. (75.9 x 75.9 cm)

overall 59 3/4 x 89 3/4 in. (151.8 x 228 cm)

Executed in 2008.

EstimateEstimate

$60,000 — 80,000

PrProovvenanceenance

Metro Pictures, New York

Private Collection (acquired from the above)

Sotheby's New York, October 10, 2020, lot 540

Acquired at the above sale by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

340

Mark Bradford

Starin' Through My Rear View

signed with the artist's initial, titled and dated "Starin' Through My Rear View m 2006" on the reverse acrylic, paper collage and wax resin on canvas

44 7/8 x 63 1/4 in. (114 x 160.7 cm) Executed in 2006.

EstimateEstimate

$350,000 — 450,000

Iwillneverunderstandthissociety

Firsttheytrytomurdermethentheylietome

Productofadyingbreed

Allmyhomiestryingweed

Nowthelittlebaby'scrazedraisedoffHennessy

Tellme,willmyenemiesfleewhentheyseeme?

Believeme,eventhugsgottalearntotakeiteasy

—2pac

With Starin’ThroughMyRearView, 2006, Mark Bradford puts forth an electrifying composition that takes detritus found on the streets of Los Angeles to subtly reflect on the history, social structures and lived experiences of the artist’s urban environment. Domestically scaled, Starin’ ThroughMyRearView, is distinct within Bradford’s oeuvre for its sandal at center, which comes from a lineage of shoe motifs used in select works from 2004–2005. Whereas most of Bradford’s works in the intervening years teeter towards abstraction, the present example powerfully links to the artist’s recent embrace of figurative compositions since 2022.

Bradford works with layers of printed matter in a manner more like painting than traditional collage. With sheets upon sheets of meticulously laid paper that has been torn, sanded and submersed in water, Starin’ThroughMyRearViewis a masterwork of bricolage, inherently linked to ideas of memory, place and time through its use of found materials. The title of the present example importantly references the 1996 Tupac (2pac) Shakur song of the same name, which was recorded in the last year of Shakur’s brief life for the film GangRelated, in which he also starred.

Starin’ThroughMyRearViewdates to a key moment in Bradford’s practice that precipitated his rise to becoming one of the most significant contemporary American artists. In 2006 Bradford won the Whitney Museum of American Art’s prestigious Buscksbaum Award, which was followed by an acclaimed solo exhibition at the museum in 2007, and was included in important group exhibitions at the Los Angeles County Museum of Art and Royal Academy of Arts, London, as well as the Whitney Biennial.

“He has developed an idiom that is both abstract and representational, aloof and immediate, urgently political and at the same time secretive, beautiful, obscure.”

—Sebastian Smee

With the title Starin’ThroughMyRearViewBradford pays homage to the late rapper, a profoundly

influential voice who is remembered for both his music and activism. It is characteristic of what the artist has coined ‘social abstraction’: abstract compositions “with a social or political context clinging to the edges.”i The song Starin’ThroughMyRearViewpoetically laments gun violence and has taken on a cruel irony considering Shakur’s death mere months later in a drive-by shooting. The song’s lyrics, such as “Iwonderwhentheworldstoppedcaring/Lastnighttwokids shotwhilethewholeblockstaring,” call attention to the bizarre mundaneness of gun violence. In Bradford’s posthumous nod to the artist, we of course remember how Shakur’s death was nationally mourned. The title lyric goes on to represent a message of optimism and determination: “WhileI'mstaringattheworldthroughmyrearview/ See,I'mseeingnothin'butmydreams comingtrue.”

“My paintings are made up of tearing… To me it represents a process that is more of a reality than laying down a perfect line of paint. It’s raw, and a little violent, but it still comes together.” —Mark Bradford

In 2004 Bradford began working with print media such as informal street advertisements, merchant posters and notices culled from neighborhoods near his South Central Los Angeles studio. His works from this period feature layers of fragmented papers meticulously worked to form complex compositions. Bradford’s process is as much one of excavation as it is one of collecting and compiling: he soaks his materials, tears through layers and selectively sands away strata to shape his composition. Papers come to his studio in pre-exiting stacks as he gathers layers of posters that organically accumulate in public spaces. Bradford poetically reflects on his source material: “Since the weather does not change much in Southern California, urban imagery, whether formal or informal, has a longer shelf life on the streets and in the Sky. … Consequently, the weather and the fact that city workers do not routinely clean the rubbish as frequently in this part of the city allows the material to cling to the fences and buildings, until the last pitiful breath has been exhumed from the paper.”ii

Mark Bradford

Ed Ruscha,EveryBuildingontheSunsetStrip, 1966, National Gallery of Art, Washington, D.C. Image: National Gallery of Art, Washington, D.C., Corcoran Collection (Gift of Philip Brookman and Amy Brookman), 2015.19.5295, Artwork: © Ed Ruscha

Bradford’s early works are inextricably connected to Los Angeles from their use of material sourced from the city’s streets. In some ways his work is like an excavation of the streetscape, culling its ephemeral material culture. Boulevards, sprawl and roadway text have been an essential source for fellow Angeleno Ed Ruscha, whose works similarly explore the built urban landscape although via a markedly different visual language. Whereas Ruscha took on a structuralist approach to documenting Los Angeles’ streetscape, Bradford’s work reflects the organic, citizenmade landscape in continuous flux, built piece by piece and characterized by neighborhood businesses like his mother’s beauty shop. As Robert Storr describes, “Bradford’s work cuts to the chase by teasing an indigenous West Coast way of making an allover picture out of the everyday alloverness of the City of Angels, or more accurately the City of Fallen Angels.”iii Further explaining his approach, Bradford states, "The tools of civilization, how we build and destroy ourselves, are the materials that I'm really interested in.”

TTupac Shakur: Starin’ ThrupacThrough My Rear ViewoughView

Video: https://www.youtube.com/watch?v=9JzDCFfbenA

CCollector’ollector’sDigestsDigest

•2006, the year Starin’ThroughMyRearViewwas created, Bradford was the recipient of the Whitney Museum’s Bucksbaum Award. He mounted his first major institutional solo exhibition at the museum in 2007 entitled NeitherNewNorCorrect.

•Bradford represented United States in 2017 Venice Biennale with the exhibition TomorrowIsAnotherDay

•His monumental, site-specific installation Pickett’sChargeis currently on view at the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

iMark Bradford quoted in Calvin Tomkins, “What Else Can Art Do?,” TheNewYorker, June 22, 2015, online

iiMark Bradford in NeitherNewNorCorrect:NewWorkbyMarkBradford, exh. cat., Whitney Museum of American Art, New York, 2007, p. 9

iiiRobert Storr in MarkBradford, exh. cat., Wexner Center for the Arts, Columbus, 2010, p. 4

PrProovvenanceenance

Sikkema Jenkins & Co., New York

The Cap Collection (acquired from the above)

Sotheby’s, New York, March 7, 2014, lot 209

Private Collection (acquired at the above sale)

Thence by descent to the present owner

Mark Bradford

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

341

Barbara Kruger

Untitled (Money Talks)

photographic silkscreen on vinyl

60 x 84 in. (152.4 x 213.4 cm)

Executed in 2011.

EstimateEstimate

$250,000 — 350,000

Barbara Kruger

Barbara Kruger’s Untitled(MoneyTalks), 2011, is emblematic of the artist’s work from 2011–2012 in which she pared back her compositions to focus exclusively on text rendered at large scale. These works crucially emerged in the aftermath of the worldwide economic recession, a context substantially different from the frothy mid-1980s that formed the backdrop for her early works with text. First exhibited at L&M Arts in Los Angeles in 2011, the present example was shown amongst other works at immersive scale with phrases like “MONEY MAKES MONEY” and “TALK IS CHEAP.” Another work from this exhibition, TheGlobeShrinks, 2010, was acquired by The Hammer Museum.

Kruger’s fine art practice grew out of her career as a graphic designer at Condé Nast Publications, where she learned the effects that different combinations of images and typefaces could have on a reader. Her time in commercial graphic design was “the biggest influence on my work,” she recalled, as her waged work “became, with a few adjustments, my ‘work’ as an artist.”i Kruger’s work with text also evolves from her association with the Pictures Generation, a loosely aligned group of artists that included Jenny Holzer and Cindy Sherman, amongst others, whose work directly engaged the role of television, film, advertising and news media on the popular American consciousness.Kruger’s caustic commentary speaks to the roles of power, value and commodification in contemporary society.

“My work has always been about power and control and bodies and money.”

—Barbara

Kruger

Capitalized white text starkly contrasts with the solid black background. At seven feet wide, the present example confronts viewers with the bold text: MONEY TALKS. Isolated, these words unfold with new resonances beyond the traditional definition of the idiom, obliquely referencing gossip and ostentation. At the same time, the phrase is a platitude—the same text is the title for both a 1997 comedy film starring a fictional con man and a weekly podcast from TheEconomist about global financial markets. Kruger has variously been called the “poet laureate of the age of spectacle,” isolating phrases with profound social and political implications.ii Rendered in strong, sans serif type and at monumental scale, the words also read like an ambiguous directive: is Kruger lamenting political corruption, demanding payment, or acerbically observing the ways of the world?

i Barbara Kruger, “Artist Bio,” TheBroad,accessed Oct. 2023, online.

ii Catherine Wagley, “Looking at Los Angeles | Barbara Kruger, Shafted and Shining,” Art21 Magazine, June 9, 2011, online

PrProovvenanceenance

L&M Arts, Los Angeles

Private Collection (acquired from the above)

Christie's, New York, May 12, 2015, lot 190

Acquired at the above sale by the present owner

ExhibitedExhibited

Los Angeles, L&M Arts, BarbaraKruger, May 14–July 9, 2011

LiteraturLiteraturee

Eugene Kan, "Barbara Kruger @ L&M Arts Exhibition Recap," Hypebeast, May 16, 2011, online

(L&M Arts, Los Angeles, 2011 installation view illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

342

Wade Guyton

Untitled

signed and dated "Wade Guyton 09" on the overlap

Epson UltraChrome inkjet on linen 84 x 69 in. (213.4 x 175.3 cm)

Executed in 2009, this work is accompanied by a certificate of authenticity signed by the artist.

EstimateEstimate

$250,000 — 350,000

Go

Wade Guyton’s Untitled, 2009, possesses the penumbral gray, delicate shading and subtle tonal variation of a charcoal drawing, yet the work is the product of an Epson UltraChrome inkjet printer. Characteristic of Guyton’s artistic lexicon, Untitledcombines digital printing and manual intervention as the artist disrupts the calibrated printing process to create mechanical errors. These disruptions imbue the piece with material traces of Guyton’s presence. Untitledwas created as part of a series of monochromes initially exhibited at Museum Dhondt-Dhaenens in Deurle, Belgium. This set of monochromes was produced using ink with exactly fifty-percent black saturation, resulting in soft grays and diaphanous inky strata. Scott Rothkopf goes as far to refer to these works as “more delicate and fragile than any in Guyton’s oeuvre.”i

Guyton chose the cloudy shade of gray to mirror the gallery’s floor, creating parallels between his work and the late 1960s modernist interior. The thin ink exposes the texture of the painting ground, emphasizing the linen surface’s rough quality. Guyton switched from canvas to primed linen in 2005, as he felt the canvas possessed “romantic connotations”—the linen ground is thus a distancing from painterliness.ii Though the work possesses the soft haze of a watercolor painting, it is visibly bifurcated by a central seam indicative of the process of its making in which the same rectangle is printed twice. In this manner, the work is the sum of both technological production and human intervention, capitalizing on the seeming perfection of the mechanical process and the imperfection of the human one. The work’s nuanced hues and gradients, as well as its margins of empty space, are imposed by the artist, introducing elements of chance and unpredictability.

“Despite their mechanical facture, these paintings feel more delicate and fragile than any in Guyton's oeuvre.” —Scott Rothkopf

Since 2007, Guyton has produced his monochromes using a file of a black rectangle created in Photoshop. The black monochrome is a veritable icon of modern art. Famously, Kazimir Malevich claimed his 1915 BlackSquarewas the first non-representational work and the culmination of the Modernist movement. A component of Malevich’s work was its transparency in terms of process, a strand which Guyton continues in his monochrome works. His process is self-evident in the discrepancies between the source image—a solid black rectangle—and the printed image riddled with flaws. His intentional misdirection, jamming and manipulation of the printer are evidence of the artist’s hand. Coupled with the random technical errors, his process is both aleatory and composed.

“Paintings are too hard. The things I want to show are mechanical. Machines have less problems.” —Andy Warhol

Guyton’s employment of seriality and machines calls attention to the processes of photoreproduction. While, traditionally, machines are used to achieve a precise and accurate

result, the printed image is vulnerable to imperfection. By rejecting the antiseptic immaculateness of digital aesthetics, Guyton posits these defects as valuable transmutations that show the value of fallibility in art. The works elucidate the physical and visual properties of craft: tangible blemishes animate the work, insisting human fragility can endow a computational image with the frisson of art.

i Scott Rothkopf, WadeGuytonOS,New York,2012, p.35

ii Wade Guyton in WadeGuytonOS, p. 21.

PrProovvenanceenance

Friedrich Petzel Gallery, New York

Acquired from the above by the present owner

ExhibitedExhibited

Deurle, Museum Dhondt-Dhaenens, WadeGuyton, March 15–May 31, 2009

LiteraturLiteraturee

Scott Rothkopf, WadeGuytonOS, New York, 2012, no. 56b, p. 142 (Museum Dhondt-Dhaenens, Deurle, 2009 installation view illustrated)

Yilmaz Dziewior, ed., WadeGuyton,Guyton\Walker,KelleyWalker, exh. cat., Kunsthaus Bregenz, 2013, p. 25 (Museum Dhondt-Dhaenens, Deurle, 2009 installation view illustrated)

New York Auction / 15 May 2024 / 2pm EDT

343

Anish Kapoor

Random Triangle Mirror

signed and dated "Anish Kapoor 2016" on the reverse

stainless steel and resin

70 x 70 x 10 1/2 in. (177.8 x 177.8 x 26.7 cm)

Executed in 2016.

EstimateEstimate

$400,000 — 600,000

RandomTriangleMirror, 2016, is a prime example of Kapoor’s ability to craft a transcendent experience from simple geometric forms. In a shimmering array, hundreds of triangular planes coalesce into a concave mirror that mesmerizingly refracts light to kaleidoscopic effect. With pristine constituents that ingeniously build to form something greater than the sum of its parts, the present example represents the culmination of Kapoor’s investigation into the formal and metaphysical possibilities of the mirrored surface. Kapoor’s faceted concave sculptures occupy a principal position in the artist’s oeuvre, with similar examples in the collections of the Metropolitan Museum of Art in New York and the High Museum of Art in Atlanta.

“A void object is not an empty object; its potential for generative possibility is ever present.” —Anish Kapoor

RandomTriangleMirrordemonstrates Kapoor’s interest in the notion of fractals as multiples equaling a whole. Multiplying spatial illusion, the work iterates Kapoor’s long-held engagement with geometry as a formal language through which we can explore the relationship between ourselves and objects. Within the concave mirror Kapoor finds a new sublime defined by sensation, physical presence in time and space, self-awareness and cognition. This new sublime is not an aspect of depth and cannot be found by looking deeply into the surface of the work, but rather is, in the artist’s words, “about present space.”i The experience of Kapoor’s work is about the phenomenological act of viewing instead of the traditional image plane.

In this way, RandomTriangleMirrorrecalls the experiential qualities of Light and Space works, such as James Turrell’s architectural interventions. There is a spiritual, sensorial experience viewing Turrell’s work as one relinquishes the innate desire to understand its physicality and accepts the work’s immateriality. Similar can be said of the present example, as the physical spaces of the work and viewer collapse into one. The concave shape even creates a unique sonic effect that amplifies and distorts sound when standing in its proximity, altering the viewer’s perceived relationship with the room. This is the intended effect of the artist, as he states: “when the thing that you look at is uncertain, your body demands a kind of readjustment, it demands certainty."ii

“If the traditional sublime is in deep space, then this [the mirrored object] is proposing that the contemporary sublime is in front of the picture plane, not beyond it. I continue to make these works because I feel this is a whole new spatial adventure” —Anish Kapoor

Kapoor began creating concave mirrors in the mid-1990s, fascinated by the objects' propensities to oscillate between sensual beauty and uncanny dematerialization. The pixelated surface of Random TriangleMirrorintroduces an entropic disruption to the space between subject and object, where wholeness is shattered in the multiplicity of distortion the object presents. Kapoor draws upon the

mirror’s inextricable relationship to the light and objects it encounters to then subvert its mimetic effect by breaking it up into pixels. Relying on the mirror but refuting its image, Kapoor stresses immateriality over materiality. By employing experience and space as constituents of his work, Kapoor deconstructs empirical space into a virtual realm.

i Anish Kapoor in conversation with Nicholas Baume in AnishKapoor:PastPresentFuture, exh. cat., Institute of Contemporary Art Boston, 2008, p. 52

ii Anish Kapoor in conversation with Marcello Dantas in Ascension, Sao Paulo, 2006

PrProovvenanceenance

Gladstone Gallery, New York

Acquired from the above by the present owner in 2016

New York Auction / 15 May 2024 / 2pm EDT

344

Tony Cragg

Red Figure

lacquered wood

90 5/8 x 77 5/8 x 31 1/8 in. (230.2 x 197.2 x 79.1 cm)

Executed in 2014.

EstimateEstimate

$200,000 — 300,000

Executed in 2014, RedFigureis a distinct example of Tony Cragg’s iconic RationalBeingseries that catapulted him to critical acclaim in the 1990s. Soaring over seven feet high, the monumental red lacquered wood sculpture is a totem to Cragg’s unique visual language that has pushed the medium of sculpture to a new realm of expression. Moving beyond representation, Cragg crucially synthesizes the figurative and the abstract, infusing his seemingly inert materials with an undeniable sense of movement. With its soaring, biomorphic zig zag form, RedFigureis captured as if in a state of metamorphosis— striding forward in a manner reminiscent to Italian Futurist Umberto Boccioni’s famous sculpture UniqueFormsofContinuityinSpace, 1913/50, while equally eluding concrete grasp. A testament to Cragg’s visionary sculptural idiom, another wood example from the RedFigureseries was notably shown alongside the 17th and 18th century sculpture masterpieces at the Cour Marly and Cour Puget at the Louvre Museum in 2011.

“[Cragg’s works] remind us that all is ultimately moving, seething and active in the world and that nothing is really static.” —Jon Wood

RedFigurereflects Cragg’s interest in the relationship between the natural and the manmade worlds, a theme that he pursued early on in his sculpture but has increasingly formalized in recent work. Appearing as if growing and swerving within and around itself, RedFigureis at once otherworldly and distinctly organic. It evokes a moment of transformation frozen amidst its flux.“The creation of objects and images that don’t exist in the natural or functional world but that are able to reflect and transmit information and sensations about the world and its very existence,” as Cragg states, is a crucial guiding philosophy of his practice.i RedFigureequally evokes plush drifts of snow, milky-smooth stalagmites and jagged walls of shale stone. Geology and paleontology have been particular influences for Cragg, who recalls reading sculptural forms within the fossils collected during his youth in the South of England.

“We have gone beyond the stage where we can just represent things in sculpture. We have to find new means of expression, a new visual language. ” —Tony Cragg

Cragg came to prominence as a key member of the New British Sculpture movement in the 1980s, where, alongside artists like Antony Gormley, Anish Kapoor and Richard Deacon, his work was seen as a counterreaction to the previous generation’s embrace of minimalism and conceptualism. While abstract, his sculpture represented a departure from the prevailing aesthetic with its inspiration in organic structures. Cragg’s interest in the geometries of organic forms like bone structures, cells and molecules recalls the biomorphism of fellow Brits Henry Moore and Barbara Hepworth. The undeniable sense of movement in his sculpture also bespeaks the influence of artists such as Umberto Boccioni and Constantin Brancusi.

“I believe in thinking with material. ” —Tony Cragg

Now based in Wuppertal, Germany, Cragg builds his works by stacking layers upon layers of circular and elliptical plywood discs, composing them into surprising curves. The rugged edges of the individual discs are then sanded down until a smooth, biomorphic form emerges. Transcendent metamorphosis of an unassuming material is part of the artist’s objective. As he explains: “The reason I am so interested in plywood is that it’s a man-made material. Man-made materials are always inferior, so I try to give them another value, another quality.”ii Describing himself as a ‘radical materialist,’ Cragg relishes in the physical properties of the materials he works with and constantly expands the mediums in his working repertoire. The artist even considers how molecular-level properties influence the final sculptural form. Elaborating on his reverence to the materials he works with, Cragg rhetorically questions: “The word material originates from the Latin word mater, mother, so why wouldn’t material be something that we love and respect and hold in high regard[?]”iii

TTonony Cragg: In the Studioy Cragg: In Studio

Video: https://www.youtube.com/watch?v=Y9cS3hPpCco

iTony Cragg in Roderick Conway Morris, “Inventing a ‘New Visual Language,’” TheNewYorkTimes, October 13, 2010, online

iiTony Cragg in Alexia Antsakli Vardinoyanni, “Tony Cragg: Master of Materials,” ArtFlyer, online

iiiIbid.

PrProovvenanceenance

Thaddaeus Ropac, Paris

Acquired from the above by the present owner

LiteraturLiteraturee

Olivier Lalanne and Hugo Compain, “Vogue Hommes à la FIAC 2014,” VogueFrance, October 25, 2014, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

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345

George Condo

Untitled

signed and dated "George Condo 2000" on the reverse oil on clayboard

10 x 8 in. (25.4 x 20.3 cm) Painted in 2000.

EstimateEstimate

$50,000 — 70,000

PrProovvenanceenance

Private Collection (acquired directly from the artist)

Sotheby's, London, February 11, 2016, lot 199

Acquired at the above sale by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

Eric Fischl

Motel

signed, titled and dated "MOTEL Left Panel Eric Fischl 1984" on the reverse of the left panel; signed, titled, inscribed and dated "MOTEL RIGHT PANEL Eric Fischl 1984" on the reverse of the right panel oil on canvas, in 2 parts each panel 36 x 42 in. (91.4 x 106.7 cm) overall 36 x 84 in. (91.4 x 213.4 cm) Painted in 1984.

EstimateEstimate

$300,000 — 500,000

With its ambiguous narrative and figures captured unawares, Motel, 1984, is a brilliant two-part composition feauturing a couple embracing on a motel bedand a lonefigure, presumably at a later hour, reclining and watching television. For its focus on quiet, introspective moments, vivid use of day and artificial lightand hazy realism, the work distinctly alludes to the paintings of Edward Hopper.An important early example painted amidstFischl’s rise to prominence in the early 1980s, Motelnotably presages Fischl’s new series HotelStories,which he debuted to critical acclaim in New York this Spring.

Capturing the American PCapturing the Pssyycheche

There is something distinctly American about Eric Fischl’s works, something suburban and specific to the cultural moment of the 1980s. His works entangle ideas spanning suburban ennui, the posturing of the American dream, anxieties of physical and emotional intimacy, and taboos relating to sexuality. On the latter, Fischl’s specialty is selecting moments that toe the line of social norms, so peculiar and precise that it is impossible to decipher if they are simply harmless, oddly captured moments or something more suspicious. Motelsuperbly exemplifies this, containing the themes and nuancesshared by Fischl's most enticing works. Fischl is a key figure among a cohort of artists in the 1980s who reintroduced figurative painting into the contemporary landscape, along with David Salle, Julian Schnabel and Ross Bleckner. The continuing resonance of his works speaks to the artist’s ability to confront timeless thoughts, fears and desires.

“This insistence on the common coin of our environment is oddly disturbing, for it provides a deadpan background of ordinary truths to a domain of pounding emotions,” —Robert Rosenblum

“It is Fischl’s special gift to fuse these two worlds of outer fact and inner feeling, as if he had selected, from the infinite number of objective images left in the storage rooms of the mind’s retina, precisely the one that cuts the sharpest into a psychological biography,” Robert Rosenblum commended of the artist’s works in 1984.i Motelcomes from this definitive year of the artist’s practice. The work presents two versions of the post-coital moment: at left two figures curl around each other’s nude bodies as one tenderly kisses the knee of the other; at right only one figure remains, watching television with a hand behind their head and clothes tossed to the side. The tenor of the room shifts as the blinds close and the bed is bathed with the artificial light of the television. The memory of intimacy dissipates and the subject is left alone, quietly reckoning. Fischl seeks out these awkward moments and they have come to be cornerstones of his most profound paintings.

Fischl’s loosely rendered painting distills fundamental action and emotional tone, as Arthur C. Danto identifies, “the images are like dream images, occurring in dream space. Dreams contain nothing extraneous.”ii The private, dreamlike Motelrecalls the paintings of Edward Hopper, another master of disquieting scenes. Fischl cites Hopper’s companion paintings Summerinthe City, 1949, and ExcursionintoPhilosophy, 1959, as important influences. The earlier work shows a clothed woman sitting at the edge of a bed with a nude man sleeping behind her, while the later reverses the scenario, with a clothed man and partially nude woman. Moteland SummerintheCity are kindred spirits in their depictions of the solitude that can accompany intimacy and its aftermath. A psychological tension stirs beneath the surface of both outwardly mundane moments. Fischl draws from Hopper’s ability, in his words, “to make a profound narrative seem like just a snapshot from daily life, to make ordinary things seem extraordinary while appearing ordinary.”iii On his relationship to the realist painter he explains: “My first reaction to Hopper is that he’s like an imperfect father. He’s somebody whom I’ve both always admired and found tremendous fault with; he’s also somebody who has cut out a territory that I can’t get around.”iv

Eric Fischl on EdwarEricEdwardHopperdHopper

Edward Hopper, SummerintheCity, 1949, Private Collection. Image: James Goodman Gallery, New York, USA / Bridgeman Images, Artwork: © 2024 Heirs of Josephine Hopper / Licensed by VAGA at Artists Rights Society (ARS), New York

Under the Light of the TUnder the Teleelevisionvision

“Television had been my main influence because that’s what I looked at when I was growing up,” Fischl explains plainly, reflecting on his upbringing on suburban Long Island in the 1950s. The television has become a frequent motif in Fischl’s work, often looming to the side of his intimate domestic scenes. The artist speaks about television as a “sense-extender.” In his words, “What a mirror does in a painting is inform the viewer that there are other things in the room they can’t see. What a television in a painting does is inform the viewer of realities that exist in that room but have nothing to do with what’s in that room… It heightens the complexity of our lives.”v

The television creates a doubling of experience: the viewer remains present within their immediate physical surroundings while engaging with unrelated stories and events. In addition to this, television is also a space of stability, anonymity and privacy.Ambivalent to its viewers, it is unaware and uncaring of who is watching or why. In Motel, television provides a surrogate denouement following the emotionalcomplexity of sexual experience. In Fischl’s loose two-part narrative, the figure gazing at the screen in complete relaxation is remarkably familiar. The unexpected intimacy of the solitary moment is all the morestriking viewed side-by-side with the amorous couple.

i Robert Rosenblum, “Eric Fischl,” in EricFischl, exh. cat., Mary Boone Michael Werner Gallery, New York, 1984, n.p.

ii Arthur C. Danto, “Formation, Success, and Mastery: Eric Fischl Through Three Decades,” in Arthur C. Danto, Robert Enright and Steve Martin, eds., EricFischl1970–2000, New York, 2000 p. 18

iii Eric Fischl “On Hopper,” in EricFischl1970–2000, p. 100

iv Ibid.

v Eric Fischl, “On Television” in EricFischl1970–2000, p. 76

PrProovvenanceenance

Mary Boone Gallery, New York

Private Collection (acquired from the above in 1984)

Thence by descent to the present owner

ExhibitedExhibited

Marseille, Action Régional pour la Création Artistique (ARCA), Centre d'Art Contemporain, New York'85, July 9–August 31, 1985, p. 53 (illustrated)

LiteraturLiteraturee

David Whitney, ed., EricFischl, New York, 1988, no. 63, n.p. (illustrated)

Jens Erik Sørensen, EricFischl, exh. cat., Aarhus Kunstmuseum and Louisiana Museum for moderne kunst, 1991, pp. 30–31 (illustrated, p. 31)

Arthur C. Danto, Robert Enright, and Steve Martin, EricFischl,1970–2000, New York, 2000, p. 100 (illustrated)

Fischl

Modern & Contemporary Art Day Sale, Afternoon Session

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347

Lisa Yuskavage

Three Girls

signed, inscribed and dated "Lisa Yuskavage 1996 OC/ 47" on the reverse; inscribed "OC/47" on the overlap oil on linen

10 1/4 x 8 in. (26 x 20.3 cm)

Painted in 1996.

EstimateEstimate

$60,000 — 80,000

Go

Yuskavage

PrProovvenanceenance

David Zwirner

Acquired from the above by the present owner in 2007

LiteraturLiteraturee

Tamara Jenkins, LisaYuskavage:SmallPaintings1993–2004, New York, 2004, pp. 55, 186 (illustrated, p. 55)

Modern & Contemporary Art Day Sale, Afternoon Session

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348

Cecily Brown

Untitled (#64)

signed and dated "Cecily Brown '96" on the reverse; signed and dated "Cecily Brown '96" on the stretcher oil on linen

36 x 36 in. (91.4 x 91.4 cm)

Painted in 1996.

EstimateEstimate

$30,000 — 40,000

Go to Lot

Cecily Brown first made a name for herself in the New York scene with her 1997 solo show, Spectacle,at Jeffrey Deitch Projects. That same year, her edgy, vivid paintings were also included in important early group exhibitions at P.S.1. Contemporary Art Center and Janice Guy Gallery. Brown’s commitment to furthering contemporary painting led her to move from London, which was then transfixed by the YBAs, to New York City in 1994. Here, she began working on her first major body of work: a series of boisterous, copulating bunnies that includes the present example. An auspicious debut, early bunny paintings were acquired by significant collectors including the likes of Agnes Gund. Untitled(#64), 1995, is amongst these important works that set the foundation for Brown’s celebrated, nearly three decades long practice.

Brown’s bunny works depict the animals engaging in rapacious sexual acts rendered in a candycolored palate incongruous with their Bacchanalian ritual. The bunnies stand in for human actors in an astute commentary on sexuality, violence and the human condition. Identifying this series as a critical juncture within her oeuvre, Brown has reflected: “I don’t think the subject has changed much since the very beginning; there are just different ways of getting at it. I sometimes wonder, looking back on the paintings with a lot of sexual content, whether I was setting things up so that later I could be less explicit and the paintings would still be imbued with the idea of this content.”i

“I always feel… this collaboration with the artists that I’ve looked

at; they come out at different times.” —Cecily Brown

A brilliant early example, Untitled(#64)is imbued with themes that have come to define the artist’s practice: vanitas, eroticism and sexuality, and a macabre sensibility. Brown masterfully draws from a wide variety of art historical references ranging from Willem de Kooning, Arshile Gorky and Francis Bacon to Hieronymus Bosch, Nicolas Poussin, Peter Paul Rubens and William Hogarth, revitalizing classical ideas with her characteristic loose, muscular brushwork, vibrant palette and expressionistic scenes.

“When Brown verges on pornography, especially in her earlier work, her accent is on the libidinous, and it certainly is meant to shock,” critic Dore Ashton writes.ii While Untitled(#64)has an edginess that is distinctly contemporary, Brown draws upon historical examples from artists who confronted societal taboos, such as Hogarth’s ARake’sProgress,3:TheTavernScene, 1735. The work, also known as TheOrgy, is a merry company painting set within a brothel that has been often cited by Brown. This work exemplifies Hogarth’s unflinching look at reality, a quality shared with Brown as well as artists like Bacon and Chaïm Soutine who are also important influences. Imbued with carnal tension, these scenes similarly shock in a way that reveals the artistic power of depicting complexities of the human condition.

While bunnies are sometimes associated with endearing, childlike qualities of innocence and naïveté, Brown uses the motif to subversively enact scenes of hedonism.The bunny series plays on the polyvalent charge of these animals from across the European artistic tradition. In classical antiquity, rabbits symbolized fertility and sexual desire. In Christian art, rabbits possess twinned

William Hogarth, ARake’sProgress,3:TheTavernScene,1735, Sir John Soane's Museum, London. Image: © Sir John Soane's Museum / Bridgeman Images

Brown

Brown

connotations: emblems of Christological rebirth and symbols of sinful lust. In the Dutch Golden Age, hunting still lifes often featured rabbits—the supreme prey animal—whose corpses reinforced the vanitastradition’s endeavors to reveal the fleeting and ephemeral nature of life and pleasure. Untitled(#64)draws upon these layered references while also offering a provocatory scene wherein the ostensibly virtuous animals participate in a sinister act.

i Cecily Brown in CecilyBrown, New York, 2008, p. 26

ii Dore Ashton in ibid., p. 14

PrProovvenanceenance

Janice Guy Gallery, New York

Acquired from the above by the present owner

ExhibitedExhibited

New York, Janice Guy Gallery, CecilyRoseBrown,BonnieColluraandAnnaGaskell, February 7–March 8, 1997

Cecily

New York Auction / 15 May 2024 / 2pm EDT

349

Pat Steir

Small Waterfall

signed, signed with the artist's initials and inscribed indistinctly "PS Pat Steir PS" on the overlap oil on canvas

42 x 42 in. (106.7 x 106.7 cm)

Painted in 2014.

EstimateEstimate

$200,000 — 300,000

PrProovvenanceenance

Lévy Gorvy, New York

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

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350

Loie Hollowell

Bag of waters, month six

signed and dated "Nov. 18, 2018 Loie Hollowell" lower edge; titled ""Bag of waters, month six"" right vertical edge

soft pastel and graphite on paper 26 x 20 in. (66 x 50.8 cm)

Executed on November 18, 2018.

EstimateEstimate

$50,000 — 70,000

New York Auction / 15 May 2024 / 2pm EDT

351

George Condo

Circus Figure

signed and dated "Condo July 15, 2018" upper left

pastel and gouache on paper

30 x 22 in. (76.2 x 55.9 cm)

Executed on July 15, 2018.

EstimateEstimate

$100,000 — 150,000

PrProovvenanceenance

Skarstedt Gallery, New York

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

PROPERTY

FROM A PRESTIGIOUS COLLECTION, CALIFORNIA

352

Amoako Boafo

Untitled

signed, inscribed and dated "AMOAKO M BOAFO 2018 KING" lower right oil on paper

36 1/2 x 27 1/4 in. (92.7 x 69.2 cm) Executed in 2018.

EstimateEstimate

$80,000 — 120,000

PrProovvenanceenance

Acquired directly from the artist by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

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353

Xinyi Cheng

Untitled

Iwa-Enogu on paper

15 3/4 x 21 3/4 in. (40 x 55.2 cm)

Executed in 2018.

EstimateEstimate

$12,000 — 18,000

PrProovvenanceenance

Balice Hertling, Paris

Private Collection

Acquired from the above by the present owner

Xinyi Cheng

New York Auction / 15 May 2024 / 2pm EDT

354

Henry Taylor

Daniella Stienfeld

signed, inscribed and dated "This is a portrait of Daniella Ste (i, before E) Stienfeld I believe is her name she came to my studio w/ Andrea Bowers about a month ago, today the 12? or 13th of November so she was here in October 2012 Anyways Henry Taylor 13 of November" on the reverse

acrylic on canvas

66 x 53 1/2 in. (167.6 x 135.9 cm)

Painted on November 13, 2012.

EstimateEstimate

$80,000 — 120,000

“Taylor is a painter of people almost exclusively, and as such, he is a storyteller—indeed, he is one of the preeminent storytellers in contemporary art. Over the past thirty years, his portraits… have chronicled a social world that is as unhierarchical as it is deeply empathetic.” —Bennett Simpson

PrProovvenanceenance

Blum & Poe, Los Angeles

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

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355

Genesis Tramaine Brother Abinadab

signed "G Tramaine" lower right; inscribed and signed "JESUS SET ME FREE Dear Lord, I know Im unworthy, But Im willing Dear Lord. Please dear Lord, use me. In Jesus name I ask this Amen TRY PSALM 51" on the turnover edge; inscribed "There is no place like God. TRUST GOD WITH ALL YOUR HEART. GODS WILL IS BETTER. 2020 EVIDENCE OF GOD GENESIS TRAMAINE GENESIS TRAMAINE In Jesus name, I humbly pray, Amen, Genny" on the stretcher oilstick and oil pastel on canvas and holy spirit 72 x 48 in. (182.9 x 121.9 cm) Executed in 2020.

EstimateEstimate

$80,000 — 120,000

PrProovvenanceenance

Almine Rech, Brussels

Acquired from the above by the present owner

ExhibitedExhibited

Brussels, Almine Rech, GenesisTramaine:EvidenceofGrace, January 7–February 27, 2021, pp. 100–101, 147 (illustrated, pp. 100, 147; detail illustrated, p. 101)

LiteraturLiteraturee

Mylène Mistre-Schaal, "Iconique Genesis Tramaine," Muinthecity, February 11, 2021, online (illustrated)

Sam Steverlynck, "Genesis Tramaine in Almine Rech Gallery," Glean, February 27, 2021, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

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356

Henry Taylor

Portrait of Cassi Amanda Gibson (no relation to Bob,) signed, partially titled, inscribed and dated "Henry Taylor Painted this Portrait of Cassi Amanda Gibson 2017" on the reverse acrylic on canvas

60 x 84 1/8 in. (152.4 x 213.7 cm) Painted in 2017.

EstimateEstimate

$80,000 — 120,000

Taylor

PrProovvenanceenance

Blum & Poe, Los Angeles

Acquired from the above by the present owner in 2017

Modern & Contemporary Art Day Sale, Afternoon Session

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357

Jammie Holmes

My Grandmother was an Usher signed and dated "Jammie Holmes 2020" on the reverse; partially titled ""Usher"" on the overlap acrylic and oil pastel on canvas 65 3/4 x 77 3/4 in. (167 x 197.5 cm) Executed in 2020.

EstimateEstimate

$50,000 — 70,000

Holmes

PrProovvenanceenance

Library Street Collective, Detroit

Acquired from the above by the present owner

ExhibitedExhibited

Online, Library Street Collective, Anatomy:JammieHolmes, August 27–October 8, 2020

LiteraturLiteraturee "Jammie Holmes," Africanah.org, February 25, 2021, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

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358

Derek Fordjour

Untitled (No. 92)

signed, titled and dated "FORDJOUR '14 NO. 92" on the reverse of the canvas; signed, titled and dated "FORDJOUR '14 No. 92" on the reverse of the artist's frame

acrylic, oil pastel, charcoal and newspaper collage on canvas, in artist's frame

30 x 24 in. (76.2 x 61 cm)

Executed in 2014.

EstimateEstimate

$30,000 — 50,000

PrProovvenanceenance

Storefront Ten Eyck, New York

Private Collection (acquired from the above)

Acquired from the above by the present owner

ExhibitedExhibited

New York, Storefront Ten Eyck, DerekFordjour:TheBigGame, September 5–October 5, 2014

LiteraturLiteraturee

"Artist Derek Fordjour Has a Lesson for the Sports World," Ebony, September 29, 2014, online

Peter "Souleo" Wright, "On the "A" w/ Souleo: The Sports World Could Learn From Derek Fordjour's Artworks," HuffingtonPost, September 24, 2014, online (illustrated)

"Don't Miss: Jack Bell Gallery," State, vol. 17, April–June 2015, p. 13 (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

359

Joy Labinjo

At the Circus

signed and dated "Joy Labinjo July 2020" on the reverse oil on canvas

70 7/8 x 78 3/4 in. (180 x 200 cm)

Painted in 2020.

EstimateEstimate

$40,000 — 60,000

PrProovvenanceenance

Tiwani Contemporary, London

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

360

Jeff Sonhouse

Gifted the Enabler's Dexterity

signed and dated "Jeff Sonhouse 2019" on the reverse oil, acrylic, gel medium, pumice gel and match sticks on canvas

98 x 82 in. (248.9 x 208.3 cm) Executed in 2019.

EstimateEstimate

$70,000 — 100,000

Sonhouse

PrProovvenanceenance

Zidoun-Bossuyt Gallery, Luxembourg

Acquired from the above by the present owner

ExhibitedExhibited

Luxembourg, Zidoun-Bossuyt Gallery, JeffSonhouse:Bodied, September 24–November 6, 2021

New York Auction / 15 May 2024 / 2pm EDT

361

Dominic Chambers

After Albers (LA Sunset)

signed, titled and dated "Dominic Chambers "After Albers (LA Sunset)" 2020" on the reverse oil on linen

80 x 80 in. (203.2 x 203.2 cm)

Painted in 2020.

EstimateEstimate

$20,000 — 30,000

PrProovvenanceenance

Luce Gallery, Turin

Acquired from the above by the present owner

LiteraturLiteraturee

Rebecca Anne Proctor, "Hybrid Fair Model Brings Success to First 1-54 Paris," Ocula, January 29, 2021, online (illustrated)

Shad De Bary, "La paix d'après Dominic Chambers," Beware!, April 8, 2021, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

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362

Stanley Whitney

Untitled

signed and dated "2011 Stanley Whitney" on the reverse oil on canvas

8 x 7 7/8 in. (20.3 x 20 cm) Painted in 2011.

EstimateEstimate

$25,000 — 35,000

PrProovvenanceenance

Gifted by the artist to the present owner in 2011

Modern & Contemporary Art Day Sale, Afternoon Session

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363

Peter Halley

In the Game

signed and dated "Peter Halley 2007 Peter Halley

2007" on the reverse

acrylic, fluorescent acrylic and Roll-a-Tex on canvas

75 x 79 1/2 in. (190.5 x 201.9 cm)

Executed in 2007.

EstimateEstimate

$100,000 — 150,000

PrProovvenanceenance

Gary Tatintsian Gallery, Moscow

Private Collection (acquired from the above)

Phillips, London, October 5, 2017, lot 198

Private Collection, Los Angeles (acquired at the above sale)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

364

Paul McCarthy

White Snow Dwarf (Bashful)

pink silicone

66 x 48 x 48 in. (167.6 x 121.9 x 121.9 cm)

Executed in 2010, this work is number 1 from an edition of 3 plus 2 artist's proofs and is accompanied by a certificate of authenticity signed by the artist.

EstimateEstimate

$180,000 — 220,000

Executed in 2010, Paul McCarthy’s WhiteSnowDwarf(Bashful)is an example from the artist’s celebrated series of works which re-interpret fairy tales, revealing their more macabre antecedents. Renowned for his appropriation and subversion of childhood nostalgia, the present work belongs to the artist’s exploration of the 19th century German folk tale Schneewittchen (SnowWhite) and its modern interpretation with Disney’s 1937 animated classic film SnowWhite andtheSevenDwarfs. Begun in 2009, McCarthy’s reinterpretations place us at a distance from the saccharinity of Disney’s rendition as the more sinister elements of the original fairy tale come to the fore. Typical of an artist whose career has transcended the boundaries of any single medium, McCarthy’s exploration of the Seven Dwarves first manifested in a series of drawings, then through sculptural interrogations, and finally culminated in an epic installation in 2013.

“McCarthy’s dwarfs have no Snow White…they are the wreckage, the remains of inspiration metamorphosed into damaged artifacts—a glimpse into the artist’s mind. Paul McCarthy has never been better.”—Alfred Mac Adam

The starting point for these silicone sculptures were figurines from the Disney film, which McCarthy took as inspiration tocreate small-scale clay models which underwent various degrees of destruction and addition. With his characteristic embrace of taboo themes, McCarthy notably incorporated sex toys to construct a more provocative and psychologically complex interpretation of the saccharine figure of the dwarf. In the present work, Bashful retains his innocence-implying eyelashes and bulbus nose—which now reads with phallic undertones. With a phallus in hand, the bubble-gum pink figure embodies both innocence and perversion in a provocative social commentary.

“He knows the archetypes of Disney are exhausted and limited, buy by wrenching and abusing these familiar scenes even further [...] he pulls us toward reality." —Laura Owens

Creating large-scale fiberglass molds from these clay models, McCarthy then castthese figures in silicon in an array of bright colors. McCarthy has noted of the process:“casting… liberates the literal through a kind of unifying monotone, a different representation of the original thing that lets me explore where reality and abstraction intersect."i

i Paul McCarthyquoted in TheDwarves,TheForest, press release, Hauser & Wirth, New York, 2011

PrProovvenanceenance

Hauser & Wirth, Zurich

Acquired from the above by the present owner

ExhibitedExhibited Seoul, Kukje Gallery, PaulMcCarthy:ninedwarves, April 5–May 12, 2012 (another example exhibited)

LiteraturLiteraturee

Kristine Stiles, Ralph Rugoff, Massimiliano Gioni and Robert Storr, eds., PaulMcCarthy, London, 2016, p. 229 (Kukje Gallery, Seoul, 2012 exhibition announcement with installation view of another example illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

365

Dan Colen

Mother (Well)

signed, signed with the artist's initials, titled, inscribed and dated "DC 1722 Mother (Well) Dan Colen 2018" on the overlap oil on canvas

24 7/8 x 32 1/4 in. (63.2 x 81.9 cm)

Painted in 2018.

EstimateEstimate

$10,000 — 15,000

PrProovvenanceenance

Private Collection (acquired directly from the artist)

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

366

Rashid Johnson Ruffus

burned red oak flooring, black soap, wax and spray enamel

96 1/2 x 72 1/2 x 3 1/8 in. (245 x 184 x 8 cm) Executed in 2013.

EstimateEstimate

$120,000 — 150,000

Johnson

PrProovvenanceenance

Hauser & Wirth, Zurich

Acquired from the above by the present owner

ExhibitedExhibited Zurich, Hauser & Wirth, RashidJohnson:TheGathering, November 2–December 21, 2013

New York Auction / 15 May 2024 / 2pm EDT

367

Austyn Weiner

The Bathers

signed, titled and dated "THE BATHERS 2021 AUSTYN" on the reverse oil and charcoal on canvas

58 x 72 in. (147.3 x 182.9 cm) Executed in 2021.

EstimateEstimate

$80,000 — 120,000

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

368

Jenny Holzer

Living Series: There's the Sensation of a lot of Flesh...

granite bench

17 x 36 x 18 in. (43.2 x 91.4 x 45.7 cm)

Executed in 1989, this work is number 2 from an edition of 3.

EstimateEstimate

$60,000 — 80,000

New York Auction / 15 May 2024 / 2pm EDT

Roni Horn

Key and Cue, no. 1182 REMEMBRANCE HAS A REAR AND FRONT

incised with the partial title "1182" on the underside aluminum and cast plastic

75 3/8 x 2 x 2 in. (191.5 x 5.1 x 5.1 cm)

Executed in 1994/1996, this work is number 3 from an edition of 3 plus 2 artist's proofs.

EstimateEstimate

$60,000 — 90,000

PrProovvenanceenance

Private Collection, Belgium

Acquired from the above by the present owner in 1999

ExhibitedExhibited Columbus, Wexner Center for the Arts, The Ohio State University; Wellesley, Davis Museum and Cultural Center, Wellesley College; Seattle, Henry Art Gallery, University of Washington, Earths GrowThick, February 3, 1996–September 28, 1997, p. 41 (another example exhibited) Mexico City, Fundación Jumex, AnUnrulyHistoryoftheReadymade, September 6, 2008–March 6, 2009

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

370

Cindy Sherman

Untitled Film Still #29

signed, numbered and dated "Cindy Sherman 4/10 1979" on the reverse gelatin silver print

8 x 10 in. (20.3 x 25.4 cm)

Executed in 1979, this work is number 4 from an edition of 10 plus 2 artist's proofs.

EstimateEstimate

$50,000 — 70,000

PrProovvenanceenance

Private Collection, Belgium

Acquired from the above by the present owner

ExhibitedExhibited

The Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; capc, Musée d'art Contemporain de Bordeaux; Sydney, Museum of Contemporary Art; Toronto, Art Gallery of Ontario, CindySherman: Retrospective, November 2, 1997–January 2, 2000, no. 30, pp. 72, 197 (another example exhibited and illustrated, p. 72)

Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Modern Art; Brelin, Martin-Gropius-Bau, CindySherman, May 16, 2006–September 10, 2007, n.p. (another example exhibited and illustrated)

New York, Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Dallas Museum of Art, CindySherman, February 26, 2012–June 9, 2013, pl. 61, pp. 113, 241 (another example exhibited and illustrated, pp. 113, 241)

LiteraturLiteraturee

Rosalind Krauss, CindySherman1975–1993, New York, 1993, p. 225 David Frankel, ed., CindySherman:TheCompleteUntitledFilmStills, New York, 2003, pp. 100–101 (another example illustrated, p. 101)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

Toba Khedoori

Untitled (explosion)

signed and dated "Toba Khedoori 2011" on the reverse graphite on Lana aquarelle paper

37 1/2 x 45 3/4 in. (95.3 x 116.2 cm)

Executed in 2011.

EstimateEstimate

$50,000 — 70,000

Go to Lot

PrProovvenanceenance

David Zwirner, New York

Acquired from the above by the present owner in 2013

ExhibitedExhibited

Pérez Art Museum Miami, TobaKhedoori, April 21–September 24, 2017, pp. 17, 142, 151 (illustrated, p. 151)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

372

Anna Park

Catching Feelings

signed and dated "Anna Park 2020" on the reverse charcoal on paper mounted to panel

52 x 40 in. (132.1 x 101.6 cm)

Executed in 2020.

EstimateEstimate

$40,000 — 60,000

PrProovvenanceenance

Albertz Benda, New York

Acquired from the above by the present owner

ExhibitedExhibited New York, Albertz Benda, FragmentedBodies, February 27–April 18, 2020

LiteraturLiteraturee

""Fragmented Bodies:" Albertz Benda Opens Wide-Ranging Group Show For Spring Showcase," Juxtapoz, February 28, 2020, online (Albertz Benda, New York, 2020 installation view illustrated)

Modern

& Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

373

Anna Park

Fortuneteller

signed "Anna Park" lower right charcoal and graphite on paper

45 x 43 in. (114.3 x 109.2 cm)

Executed in 2019.

EstimateEstimate

$40,000 — 60,000

Go to Lot

PrProovvenanceenance

Ross+Kramer, East Hampton

Acquired from the above by the present owner

ExhibitedExhibited East Hampton, Ross+Kramer, Honeymoon, October–November 2019

LiteraturLiteraturee

Sasha Bogojev, "Anna Park Takes a "Honeymoon" To East Hampton," Juxtapoz, October 10, 2019, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

PROPERTY

FROM A PRIVATE COLLECTION, BEVERLY HILLS

374

Rashid Johnson

Support System

signed "Rashid Johnson" on the reverse mirrored tile, black soap and wax

72 1/2 x 49 1/2 x 3 in. (184.2 x 125.7 x 7.6 cm)

Executed in 2012.

EstimateEstimate

$60,000 — 80,000

PrProovvenanceenance

David Kordansky Gallery, Los Angeles

Acquired from the above by the present owner in 2012

Rashid Johnson

New York Auction / 15 May 2024 / 2pm EDT

375

Rashid Johnson

Cosmic Slop

signed and dated "Rashid Johnson 2011" on the reverse

black soap and wax on board

49 x 49 in. (124.5 x 124.5 cm)

Executed in 2011.

EstimateEstimate

$40,000 — 60,000

PrProovvenanceenance

De

Fine Art, New York

Acquired from the above by the present owner

Van

Weghe

Rashid Johnson

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

376

Thomas Houseago

Sitting Woman

bronze

95 x 98 x 81 in. (241.3 x 248.9 x 205.7 cm)

Executed in 2012, this work is artist's proof number 1 from an edition of 3 plus 2 artist's proofs and is accompanied by a certificate of authenticity signed by the artist.

EstimateEstimate

$60,000 — 100,000

Thomas Houseago

PrProovvenanceenance

Gifted by the artist to the present owner

ExhibitedExhibited

Aix-en-Provence, Marseille-Provence2013, January 12–February 17, 2013 (another example exhibited)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

377

Thomas Houseago

Bronze Portrait (Midnight Mask Original)

signed, dedicated and dated "To Carolyn—With Profound THANKS Thomas Houseago 2009" on the reverse

Tuf-cal, hemp and iron rebar

22 x 17 x 5 1/2 in. (55.9 x 43.2 x 14 cm)

Executed in 2009.

EstimateEstimate

$25,000 — 35,000

PrProovvenanceenance

Gifted by the artist to the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

Jason Boyd Kinsella

Lars

signed, titled and dated "Jason Boyd Kinsella Jason Boyd Kinsella 2021 "Lars"" on the reverse; signed, titled and dated ""Lars" 2021 Jason Boyd Kinsella" on the stretcher

acrylic on canvas

39 1/2 x 47 1/4 in. (100.3 x 120 cm)

Painted in 2021.

EstimateEstimate

$30,000 — 50,000

PrProovvenanceenance

Acquired directly from the artist by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

379

Joel Mesler

Half Full Half Empty Aluminum signed, numbered and dated "3/10 Joel Mesler 2023" on the reverse color screenprint on aluminum 70 x 54 in. (177.8 x 137.2 cm) Executed in 2023, this work is number 3 from an edition of 10.

EstimateEstimate

$30,000 — 50,000

PrProovvenanceenance

Brand X Editions, New York

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

380

Robert Nava

The Tunnel

each signed and dated “Nava 19” on the reverse

acrylic and spray paint on canvas, diptych

each 78 3/4 x 39 1/2 in. (200 x 100.3 cm)

overall 78 3/4 x 79 in. (200 x 200.7 cm)

Executed in 2019.

EstimateEstimate

$100,000 — 150,000

Robert Nava’s rudimentary portraits of monsters, angels, and animals populate the artist’s work in a disruption of classical depictions of mythical archetypes. While pursuing his MFA at Yale University, Nava studied the hyperrealism of Old Masters before pivoting to abstract figuration, mimicking adolescent mark-making.i TheTunnel,painted in 2019, highlights this illusion of immaturity and illustrates a monster whose symmetrical composition of blood-red eyes, pointed teeth and sharp claws is bifurcated by negative space. Nava’s emphasis on bold gesture and construction of mythic scenes has brought him critical acclaim, including comparisons to Cy Twombly and Jean-Michel Basquiat. The present work, which was previously offered by Phillips as the artist’s auction debut in 2020, is associated with a turning point in the artist’s career, predating a sold-out show with Pace Gallery and the artist’s first solo exhibition in New York with Vito Schnabel.

“I’m a huge fan of Basquiat and Cy Twombly because of the raw gesture. Before them, you could call it scribbles, but they proved there is an art to this. I love that static ball of energy toward aesthetics.” —Robert Nava

MyMyth and MarkthMark-Making-Making

Engaging themes of myth and fantasy, TheTunnelis an exemplar of the artist’s spellbinding obsession with recontextualizing traditional tropes. The work was created during a period in which “angels and monsters started to have their own little battles in [his] studio” for the role of leading protagonist on the canvas.ii The artist’s hand is evident in streaks of acrylic pigment and jagged line work. This emphasis on gesture when recontextualizing archetypes from Western narratives is reminiscent of Cy Twombly’s AchillesMourningtheDeathofPatroclusfrom 1962. Here, Twombly references classical Roman mythology in a striking abstracted attitude, with scribbles of color representing the form of a Demigod reaching for a fallen war companion. The notion of abstracted figuration is inherently romantic; the expressive mark-making of both works emphasizing emotions of loss or fear.

“It started in my studio building, which was full of graffiti. I’m not sure if I fully understand how inspiration works, but subconsciously seeing all of the marks on the walls and seeing the aggressive nature of the city while working as a truck driver—as fast as it goes and the hustle is on and you’re in the hustle—does come out in the ferocity of the line and intensity of color." —Robert Nava

BrBroooklynBasedoklynBased

Nava fuses a myriad of source material such as Renaissance paintings and contemporary graffiti into his gestural style as both a reaction to and expression of Brooklyn’s effervescent alternative youth culture. The artist’s Bushwick studio often vibrates with techno music as Nava tears through canvas after canvas. Spontaneity is essential to Nava’s practice, often the artist “[goes] in drawing blind.”iii The vigorous brushstrokes in TheTunnel, work in tandem with bursts of spray paint, illuminating inspirations of gesture from a child’s drawing to a street artist’s medium of choice.

i Paul Laster, “Robert Nava on Unleashing the Child Within,” Art&Object, March 4, 2021, online

ii Robert Nava quoted in Osman Can Yerebakan, “Paintings Can Talk Back to You: Robert Nava Interviewed by Osman Can Yerebakan,” BombMagazine, March 24, 2021, online

iii Robert Nava quoted in Sasha Bogojev, ”In Conversation with Robert Nava,” Juxtapoz, September 18, 2019, online

PrProovvenanceenance

Sorry We’re Closed, Brussels

Private Collection

Private Collection, United States (acquired from the above) Phillips, New York, July 2, 2020, lot 9 Acquired at the above sale by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

381 KAWS

UNTITLED

signed and dated "KAWS..12" on the reverse acrylic on canvas diameter 40 in. (101.6 cm)

Painted in 2012.

EstimateEstimate

$70,000 — 100,000

Go to Lot

PrProovvenanceenance

OHWOW, Los Angeles

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

382

KAWS

BLACK SPOT, 10-21

signed and dated "KAWS..11 KAWS..10" on the reverse acrylic on canvas diameter 20 in. (50.8 cm) Executed in 2010–2011.

EstimateEstimate

$40,000 — 60,000

PrProovvenanceenance

Honor Fraser, Los Angeles

Private Collection

Acquired from the above by the present owner

LiteraturLiteraturee

Eugene Kan, "Amory Arts Week: KAWS @ Honor Fraser Exhibition," Hybebeast, March 4, 2011, online (Honor Fraser, Armory Show, New York, 2011 installation view illustrated)

Kyle Chayka, "Making Sense of the 2011 Armory Show Cacophony," Hyperallergic, March 2, 2011, online (Honor Fraser, Armory Show, New York, 2011 installation view illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

Alejandro Cardenas

Sea Krait Gerwalk Mode

incised with the artist's initials and numbered "AC 1/3" on the base; incised with the artist's initials "AC" on the base of the leg lacquered aluminum

39 3/8 x 23 5/8 x 11 3/4 in. (100 x 60 x 30 cm)

Executed in 2021, this work is number 1 from an edition of 3 plus 1 artist's proof.

EstimateEstimate

$20,000 — 30,000

PrProovvenanceenance

Almine Rech, New York

Acquired from the above by the present owner

ExhibitedExhibited

New York, Almine Rech, AlejandroCardenas:Alexandria, January 21–February 23, 2021 (another example exhibited)

LiteraturLiteraturee

Alana Pockros, "Imagining the Future Amid Alejandro Cardenas's Profound, Brooding Canvases," Hyperallergic, January 27, 2021, online (Almine Rech, New York, 2021 installation view of another example illustrated)

Keith Estiler, "Alejandro Cardenas Unveils New Paintings and Sculptures of Faceless Humanoids," Hypebeast, February 21, 2021 (Almine Rech, New York, 2021 installation view of another example illustrated)

Mariana Bettinelli, "Alexandria, An Exhibition by Artist Alejandro Cardenas," Trendland, February 22, 2021 (another example illustrated)

Alexandra Zirinis, "New Beginnings? Alejandro Cardenas at Almine Rech," FadMagazine, March 5, 2021, online (Almine Rech, New York, 2021 installation view of another example illustrated)

Aaron Bogart, "Alejandro Cardenas "ALEXANDRIA" Almine Rech, New York," FlashArt, no. 334, vol. 54, Spring 2021, p. 195

Alejandro Cardenas, ArsViator, Paris, 2023, pp. 84–87, 90, 198 (another example illustrated, pp. 86–87, 90, 198; installation view of another example illustrated pp. 84–85)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

384

Tom Waring

Duell

oil on linen

63 x 51 1/8 in. (160 x 130 cm)

Painted in 2021.

EstimateEstimate

$20,000 — 30,000

PrProovvenanceenance

Downs & Ross, New York

Acquired from the above by the present owner

ExhibitedExhibited

New York, Downs & Ross, TomWaring:ArsBrevis, April 14–June 11, 2022

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

385

Blair Whiteford

Harvest From Final Bloom signed and dated "Blair Whiteford 2020" on the reverse oil and acrylic on canvas

70 3/4 x 60 in. (179.7 x 152.4 cm) Painted in 2020.

EstimateEstimate

$25,000 — 35,000

Blair Whiteford

PrProovvenanceenance

Jack Barrett, New York

Private Collection

Acquired from the above by the present owner

ExhibitedExhibited

New York, Jack Barrett, BlairWhiteford:SowingaSeedinaFieldMadeofAsh, January 15–February 28, 2021

New York Auction / 15 May 2024 / 2pm EDT

386

Haley Josephs

May You Bloom and Grow Forever (From A Slug I Saw in the Black Forest)

signed, titled and dated "May You Bloom and Grow Forever (From A Slug I Saw in the Black Forest)" H Josephs 2021" on the overlap oil and glitter on linen

96 x 74 in. (243.8 x 188 cm) Executed in 2021.

EstimateEstimate

$30,000 — 50,000

PrProovvenanceenance

Jack Barrett Gallery, New York

Acquired from the above by the present owner

ExhibitedExhibited

New York, Jack Barrett Gallery, Passages, April 8–May 7, 2022

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

387

Brice Guilbert Fournez

signed, titled, inscribed and dated "338 Brice Guilbert Fournez 2020" on the reverse oilstick on wood, in artist's frame 60 1/4 x 72 in. (153 x 182.9 cm) Executed in 2020.

EstimateEstimate

$20,000 — 30,000

Go to Lot

PrProovvenanceenance

Mendes Wood DM, Brussels

Private Collection

Acquired from the above by the present owner

Brice Guilbert

New York Auction / 15 May 2024 / 2pm EDT

388

Friedrich Kunath

It’s Friedrich

signed and dated "Friedrich Kunath 2015" on the overlap

acrylic on canvas

84 x 60 in. (213.4 x 152.4 cm)

Painted in 2015.

EstimateEstimate

$30,000 — 50,000

Kunath

PrProovvenanceenance

BQ, Berlin

KÖNIG GALERIE, Berlin

Acquired from the above by the present owner

ExhibitedExhibited

Berlin, BQ, FriedrichKunath:SentimentalAir, September 17–October 31, 2015

LiteraturLiteraturee

Martin Herbert, "Friedrich Kunath," Artforum, vol. 54, no. 4, December 2015, p. 271

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

389

Shannon Cartier Lucy

A Soft Rein

signed and dated "S. Lucy 2021" on the reverse oil on canvas

28 x 34 in. (71.1 x 86.4 cm) Painted in 2021.

EstimateEstimate

$30,000 — 50,000

Shannon Cartier Lucy

PrProovvenanceenance

Soft Opening, London

Acquired from the above by the present owner

ExhibitedExhibited London, Soft Opening, ShannonCartierLucy:CakeontheFloor, June 2–July 31, 2021

LiteraturLiteraturee

Shannon Cartier Lucy, BetterCallitGrace, New York, 2021, pp. 34–35 (illustrated, p. 35)

"From Julie Curtiss at White Cube to a Birthday Party Gone Wrong, Here are 10 Shows to See During London's First-Ever Gallery Weekend," ArtnetNews, June 2, 2021, online (illustrated) Millie Walton, "Shannon Cartier Lucy: Sensual Imagery," Trebuchet, June 30, 2021, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

390

Vaughn Spann

Untitled

signed, titled and dated "Vaughn Spann Untitled (2018) 2018" on the reverse polymer paint, Flashe and paper pulp on canvas 60 x 60 in. (152.4 x 152.4 cm) Executed in 2018.

EstimateEstimate

$40,000 — 60,000

PrProovvenanceenance

Half Gallery, New York

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

391

Sam McKinniss

Prince (Under the Cherry Moon)

signed, titled and dated ""Prince (under the cherry moon)" 2016 R Samuel McKinniss" on the reverse oil and acrylic on canvas

18 x 14 in. (45.7 x 35.6 cm)

Painted in 2016.

EstimateEstimate

$15,000 — 20,000

Go to Lot

Sam McKinniss

PrProovvenanceenance

Team Gallery, New York

Private Collection (acquired from the above)

Phillips Gallery One, New York, October 6, 2020, lot 433 Acquired at the above sale by the present owner

LiteraturLiteraturee

Dushko Petrovich, "It Looks Like You," T:TheNewYorkTimesStyleMagazine, February 18, 2018, p. 169 (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

392

Chloe Wise

Which Lake Do I Prefer signed and dated "CHLOE WISE 2018" on the reverse oil on linen

72 x 60 in. (182.9 x 152.4 cm) Painted in 2018.

EstimateEstimate

$50,000 — 70,000

PrProovvenanceenance

Almine Rech, London

Acquired from the above by the present owner

ExhibitedExhibited London, Almine Rech, ChloeWise:NotThatWeDon’t, April 10–May 18, 2019

LiteraturLiteraturee

Marina Pérez, "Chloe Wise - Oscillation between seduction and repulsion," MetalMagazine, April 2019, online (Almine Rech, London, 2019 installation view illustrated) Ann Binlot, "4 creatives on being painted by Chloe Wise," Document, April 19, 2019, online (illustrated)

"Last Week To See "Not That We Don't": Chloe Wise @ Almine Rech London," Juxtapoz, May 8, 2019, online (Almine Rech, London, 2019 installation view illustrated) Marouchka Franjulien, "Histoire de mode: le survêtement," ElleQuébec, August 4, 2020, online (illustrated)

ChloeWise:SecondNature, Brussels, 2021, pp. 159, 408 (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

393

Ivy Haldeman

Full Figure, Finger to Eye, Hand on Opposite Thigh, Foot Behind Bottom

signed, titled and dated ""FULL FIGURE, FINGER TO EYE, HAND ON OPPOSITE THIGH, FOOT BEHIND BOTTOM," 2021 IR Haldeman" on the reverse acrylic on canvas

83 3/4 x 57 1/2 in. (212.7 x 146.1 cm)

Painted in 2021.

EstimateEstimate

$50,000 — 70,000

Ivy Haldeman

PrProovvenanceenance

Downs & Ross, New York

Acquired from the above by the present owner

LiteraturLiteraturee

Sarah Bochicchio, "Consider the Hot Dog: Ivy Haldeman on an American Icon," ArtPapers, April 20, 2022, online (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

394

Lucy Bull

Untitled

signed with the artist's initials and dated "LB 19" on the reverse oil on canvas

16 x 8 in. (40.6 x 20.3 cm) Painted in 2019.

EstimateEstimate

$30,000 — 40,000

PrProovvenanceenance

Smart Objects, Los Angeles

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

395

Lauren Quin

71 3/8 x 53 5/8 in. (181.3 x 136.2 cm)

Painted in 2019.

EstimateEstimate

$50,000 — 70,000 Go to

Hook for Helianthus oil on canvas

PrProovvenanceenance

Private Collection (acquired directly from the artist)

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

396

Oscar Murillo

Fish Taco

signed and dated "'12 Oscar Murillo" on the reverse

spray paint, oilstick, oil and dirt on canvas

80 1/4 x 66 1/8 in. (203.8 x 168 cm)

Executed in 2012.

EstimateEstimate

$70,000 — 100,000

PrProovvenanceenance

Stuart Shave / Modern Art, London

Acquired from the above by the present owner

Murillo

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

397

Korakrit Arunanondchai

Untitled (History Painting) signed with the artist's initials and dated "K.a 2014" on the reverse denim and inkjet print on canvas 75 x 51 in. (190.5 x 129.5 cm) Executed in 2014.

EstimateEstimate

$30,000 — 50,000

Go to Lot

C L E A R I N G, New York

C L E A R I N G, New York

Acquired from the above by the present owner in 2016

New York Auction / 15 May 2024 / 2pm EDT

398

Eddie Martinez

Inside Thought

signed with the artist's initials and dated "EM.13" lower left

oil, enamel and spray paint on canvas

72 x 60 in. (182.9 x 152.4 cm)

Executed in 2013.

EstimateEstimate

$60,000 — 80,000

PrProovvenanceenance

Kohn Gallery, Los Angeles

Private Collection

Phillips, New York, May 10, 2016, lot 101

Private Collection (acquired at the above sale)

Phillips, London, June 28, 2019, lot 105

Acquired at the above sale by the present owner

ExhibitedExhibited

Los Angeles, Kohn Gallery, EddieMartinez:Nomader, September 12–October 25, 2014

New York Auction / 15 May 2024 / 2pm EDT

399

Jiang Cheng

U-49

signed, titled and dated "U 49 2020 Jiang Cheng [in Chinese]" on the reverse oil on canvas

90 1/2 x 70 3/4 in. (229.9 x 179.7 cm)

Painted in 2020.

EstimateEstimate

$30,000 — 40,000

PrProovvenanceenance

Downs & Ross, New York

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

400

Claire Tabouret

In the Frosty Morning

signed and dated "C. TABOURET 2017" on the reverse

acrylic on canvas

36 x 30 in. (91.4 x 76.2 cm) Painted in 2017.

EstimateEstimate

$60,000 — 80,000

PrProovvenanceenance

Night Gallery, Los Angeles

Acquired from the above by the present owner

ExhibitedExhibited

Los Angeles, Night Gallery, ClaireTabouret:Eclipse, January 27–March 4, 2017

LiteraturLiteraturee

Jennifer Remenchik, “Portraits of Artists and Writers Who Vanished From Public View,”

Hyperallergic, February 22, 2017, online (illustrated)

Raphaëlle Pinoncély, ed., ClaireTabouret, Paris, 2021, p. 204 (illustrated)

Claire Tabouret

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

PROPERTY FROM A PRIVATE COLLECTION, BEVERLY HILLS

401

Karen Kilimnik

Two Dancers on a Stage, Paris signed, titled and dated "December 24 '03 January 10 '04 Two Dancers on a Stage, Paris Karen Kilimnik" on the reverse water soluble oil color, glitter and archival glue on canvas

24 x 18 in. (61 x 45.7 cm) Executed in 2004.

EstimateEstimate

$20,000 — 30,000

PrProovvenanceenance

Galerie Philomene Magers, Munich

303 Gallery, New York

Karyn Lovegrove Gallery, Los Angeles

Acquired from the above by the present owner in 2004

ExhibitedExhibited

Musée d’Art Moderne de la Ville de Paris, KarenKilimnik, October 26, 2006–January 7, 2007 London, Sprüth Magers, JosephCornellKarenKilimnik, June 9–August 28, 2010

LiteraturLiteraturee

Jill Conner, "June 2010, Opening a Time Capsule: An Interview with Todd Levin," Whitehot Magazine, June 2010, online (illustrated)

Jennifer Lindblad, "Go See — London: Joseph Cornell and Karen Kilimnik at Sprueth Magers Through August 27, 2010," ArtObserved, August 6, 2010, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

402

Nicole Eisenman

Drunk Driver

oil on canvas

12 x 12 in. (30.5 x 30.5 cm)

Painted in 2006.

EstimateEstimate

$18,000 — 25,000

PrProovvenanceenance

Leo Koenig Inc., New York

Acquired from the above by the present owner

ExhibitedExhibited

Kunsthalle Zürich; Paris, Le Plateau / Frac île-de-France, NicoleEisenman, March 31–August 19, 2007, p. 53 (installation view illustrated)

New York Auction / 15 May 2024 / 2pm EDT

403

Adrian Ghenie

The Philanthropist signed and dated "Ghenie 2019" on the reverse collage on paper

9 1/2 x 8 in. (24.1 x 20.3 cm) Executed in 2019.

EstimateEstimate

$40,000 — 60,000

Adrian Ghenie

PrProovvenanceenance

Galeria Nicodim, Bucharest

Acquired from the above by the present owner

ExhibitedExhibited Bucharest, Galeria Nicodim, TheInfluencingMachine, March 14–April 20, 2019

LiteraturLiteraturee

""The Influencing Machine" At Galeria Nicodim, Bucharest," Mousse, April 20, 2019, online (Galeria Nicodim, Bucharest, 2019 installation view illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

404

Doron Langberg

Avi

signed with the artist's initials and dated "DL 22'" on the overlap oil on linen

30 x 24 in. (76.2 x 61 cm) Painted in 2022.

EstimateEstimate

$20,000 — 30,000

PrProovvenanceenance

Victoria Miro, London

Private Collection, Dallas

Acquired from the above by the present owner

Doron Langberg

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

405

Jonathan Lyndon Chase

Play him a song

acrylic, chalk, pastel, glitter and marker on muslin

24 x 30 in. (61 x 76.2 cm)

Executed in 2017.

EstimateEstimate

$8,000 — 12,000

PrProovvenanceenance

Kohn Gallery, Los Angeles

Private Collection

Acquired from the above by the present owner

Jonathan Lyndon Chase

New York Auction / 15 May 2024 / 2pm EDT

406

Anthony Cudahy Dress

signed and dated "A. Cudahy 2021" on the reverse colored pencil on paper

14 x 10 in. (35.6 x 25.4 cm) Executed in 2021.

EstimateEstimate

$6,000 — 8,000

Cudahy

PrProovvenanceenance

Hales, New York

Acquired from the above by the present owner

ExhibitedExhibited New York, Hales, AnthonyCudahy:CoralRoom, September 9–July 30, 2021

LiteraturLiteraturee

John Belknap, "The Artsy Vanguard 2022: Anthony Cudahy," Artsy, November 15, 2022, online (Hales, New York, 2021 installation view illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

407

Karyn Lyons

The Summer Intern

signed and dated "Karyn Lyons 2021" on the reverse oil on vellum

17 x 14 in. (43.2 x 35.6 cm) Painted in 2021.

EstimateEstimate

$12,000 — 18,000

PrProovvenanceenance

Private Collection, United States

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

408

Jonas Wood Bullets (mini)

signed with the artist's initials, titled and dated "JBRW 2007 BULLETS (MINI" on the reverse gouache and colored pencil on paper

30 x 22 1/2 in. (76.2 x 57.2 cm) Executed in 2007.

EstimateEstimate

$50,000 — 70,000

Go to Lot

PrProovvenanceenance

Anton Kern Gallery, New York

Private Collection

David Kordansky Gallery, Los Angeles

Private Collection, Los Angeles

Acquired from the above by the present owner

LiteraturLiteraturee

Julia Halperin, "The Art Market Has Transformed Over the Past Decade. Here Were Its FastestRising Stars, According to the Artnet Price Database," ArtnetNews, December 26, 2019, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

409

Nicolas Party

Still Life

signed "Nicholas Party" lower right pencil on paper

23 x 16 1/4 in. (58.4 x 41.3 cm)

Executed circa 2010.

EstimateEstimate

$25,000 — 35,000

PrProovvenanceenance

Private Collection (acquired directly from the artist)

Sotheby's, Zurich, June 15, 2021, lot 13

Acquired at the above sale by the present owner

ExhibitedExhibited

Geneva, Gowen Contemporary, Autord'uncafé(OverCoffee), July 2–September 26, 2020

New York Auction / 15 May 2024 / 2pm EDT

410

Rirkrit Tiravanija

Untitled (Demonstration No. 12)

graphite on paper, in artist's frame

24 x 33 3/4 in. (61 x 85.7 cm)

Executed in 2001.

EstimateEstimate

$7,000 — 10,000

Tiravanija

PrProovvenanceenance

1301PE, Los Angeles

Acquired from the above by the present owner

ExhibitedExhibited Birmingham, United Kingdom, Ikon Gallery, RirkritTiravanija:DemoStationno.4, November 17, 2003–January 24, 2004

LiteraturLiteraturee

Rirkrit Tiravanija and Francesca Grassi, eds., RirkritTiravanija:ARetrospective:Tomorrowis

AnotherFineDay, Zurich, 2007, pp. 84–85 (illustrated)

Modern

& Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

411

Kara Walker

Cover of My Negro Novella signed on the reverse graphite and pastel on paper 88 x 72 in. (223.5 x 182.9 cm) Executed in 2010.

EstimateEstimate

$70,000 — 100,000

Go

PrProovvenanceenance

Sikkema Jenkins & Co., New York

Acquired from the above by the present owner in 2017

ExhibitedExhibited

New York, Sikkema Jenkins & Co., DustJacketsfortheNiggeratiandSupportingDissertations, DrawingsSubmittedRuefullybyDr.KaraE.Walker, April 21–June 11, 2011, pp. 114, 130, 137, 142 (illustrated, p. 114; installation view illustrated, pp. 137, 142)

LiteraturLiteraturee

Kelly Crow, "A Slavery Chronicler Tries the 20th Century," WallStreetJournal, May 21, 2011, online (illustrated)

Glenda R. Caprio, “I Like the Way you Die, Boy,” Transition, no. 112, February 2015, n.p. (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

412

Christina Quarles

Untitled (Dissonant Bodies)

acrylic, graphite, gesso and grease pencil on paper

52 3/4 x 66 in. (134 x 167.6 cm)

Executed in 2010.

EstimateEstimate

$30,000 — 40,000

PrProovvenanceenance

Acquired directly from the artist by the present owner in 2015

New York Auction / 15 May 2024 / 2pm EDT

413 Ο

Marlene Dumas

Little Red Riding Hood

inscribed "ANTECIPATING THE WOLF." lower edge

gouache and ink on paper

11 1/2 x 8 1/4 in. (29.2 x 21 cm)

Executed circa 1989.

EstimateEstimate

$25,000 — 35,000

PrProovvenanceenance

Acquired directly from the artist by the present owner

New York Auction / 15 May 2024 / 2pm EDT

414 Ο

Marlene Dumas

Little Red Riding Hood

signed and titled "Little Red Riding Hood. M Dumas"

upper edge

gouache and ink on paper

8 x 5 3/4 in. (20.3 x 14.6 cm)

Executed circa 1989.

EstimateEstimate

$15,000 — 20,000

PrProovvenanceenance

Acquired directly from the artist by the present owner

New York Auction / 15 May 2024 / 2pm EDT

415 Ο

Marlene Dumas

Little Red Riding Hood

inscribed "GROOT MOEDER" lower edge ink on paper

8 x 5 3/4 in. (20.3 x 14.6 cm)

Executed circa 1989.

EstimateEstimate

$10,000 — 15,000

PrProovvenanceenance

Acquired directly from the artist by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

416 Ο

Marlene Dumas

Little Red Riding Hood (double-sided)

inscribed "Little Red Riding hood goes walking through the woods" lower edge ink on paper

11 1/2 x 8 1/4 in. (29.2 x 21 cm)

Executed circa 1989.

EstimateEstimate

$5,000 — 7,000

PrProovvenanceenance

Acquired directly from the artist by the present owner

Dumas

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

417

Elizabeth Peyton

Untitled (Elizabeth) graphite on paper

12 x 8 1/4 in. (30.5 x 21 cm) Executed in 1993.

EstimateEstimate

$12,000 — 18,000

PrProovvenanceenance

Gavin Brown's enterprise, New York

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

418

George Condo

Figure with Pearls

signed and dated "Condo 92" upper left gouache, charcoal and colored pencil on paper 25 1/2 x 19 3/4 in. (64.8 x 50.1 cm)

Executed in 1992.

EstimateEstimate

$30,000 — 50,000

PrProovvenanceenance

Sprüth Magers, Munich

Sprüth Magers Lee, London

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

419

Raymond Pettibon

No Title (Never letting us...) signed and dated "Raymond Pettibon 90" on the reverse ink on paper

29 x 23 in. (73.7 x 58.4 cm) Executed in 1990.

EstimateEstimate

$12,000 — 18,000

Private Collection, Los Angeles

New York Auction / 15 May 2024 / 2pm EDT

420

Shara Hughes

Little Dances

signed, titled, inscribed and dated ""Little Dances"

SHARA HUGHES 2020 NYC" on the reverse mixed media on paper

15 x 11 in. (38.1 x 27.9 cm)

Executed in 2020.

EstimateEstimate

$12,000 — 18,000

PrProovvenanceenance

Galerie Eva Presenhuber, Zurich

Acquired from the above by the present owner

ExhibitedExhibited

Zurich, Galerie Eva Presenhuber, SharaHughes:DayByDayByDay, June 2–September 19, 2020, pp. 207, 259 (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

421

Gabriel Orozco

Untitled

signed and dated "GABRIEL OROZCO 2002" on the reverse

gouache and graphite on paper 12 1/2 x 9 1/2 in. (31.8 x 24.1 cm) Executed in 2002.

EstimateEstimate

$20,000 — 30,000

PrProovvenanceenance

Marian Goodman Gallery, New York

Acquired from the above by the present owner

ExhibitedExhibited Edinburgh, The Fruitmarket Gallery, GabrielOrozco:thinkingincircles,August 1–October 18, 2013, p. 45 (illustrated)

New York Auction / 15 May 2024 / 2pm EDT

422

Julia Chiang

Shimmy In And Slide

signed, titled and dated ""SHIMMY IN AND SLIDE"

Julia Chiang 2020" on the reverse acrylic on panel

66 x 48 in. (167.6 x 121.9 cm)

Painted in 2020.

EstimateEstimate

$25,000 — 35,000

PrProovvenanceenance

The Modern Institute, Glasgow

Acquired from the above by the present owner

ExhibitedExhibited Glasgow, The Modern Institute, JuliaChiang:Holdingmybreathmovingclosercloser, September 30–November 6, 2020

LiteraturLiteraturee

"Holding my breath moving closer closer: Julia Chiang in Glasgow @ The Modern Institute," Juxtapoz, September 30, 2020, online (The Modern Institute, Glasgow, 2020 installation view illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

423

Jules de Balincourt

Healing to Die You

signed, titled and dated "JULES DE BALINCOURT

HEALINGTODIEYOU 2009" on the reverse oil and acrylic on panel

48 x 40 in. (121.9 x 101.6 cm)

Painted in 2009.

EstimateEstimate

$20,000 — 30,000

Go to Lot

PrProovvenanceenance

Deitch Projects, New York

Acquired from the above by the present owner

ExhibitedExhibited Paris, Galerie Emmanuel Perrotin, STAGES, July 17–August 8, 2009, pp. 14–15 (illustrated, p. 15)

New York, Deitch Projects, STAGES, October 31–November 21, 2009

LiteraturLiteraturee

"Go See — Paris: Lance Armstrong and Nike Livestrong 'STAGES' at Galerie Emmanuel Perrotin Through August 8, 2009," ArtObserved, online, July 22, 2009

New York Auction / 15 May 2024 / 2pm EDT

424

Katherine Bernhardt

The Gallery Inn

signed, titled and dated "The Gallery Inn 2015

Katherine Bernhardt" on the reverse acrylic and spray paint on canvas

71 1/2 x 91 1/4 in. (181.6 x 231.8 cm)

Painted in 2015.

EstimateEstimate

$40,000 — 60,000

Katherine Bernhardt

PrProovvenanceenance

Venus Over Manhattan, New York

Acquired from the above by the present owner

ExhibitedExhibited

New York, Venus Over Manhattan, KatherineBernhardt:PabloandEfrain, September 9–October 24, 2015

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

425

Guy Yanai

Young Plant Balcony

signed and dated "Guy Yanai 2017" on the overlap oil on canvas

27 5/8 x 25 1/4 in. (70.2 x 64.1 cm)

Painted in 2017.

EstimateEstimate

$12,000 — 18,000

PrProovvenanceenance

Galerie Conrads, Dusseldorf

Acquired from the above by the present owner

LiteraturLiteraturee

Stella Fitzgerald, GuyYanai, Paris, 2019, pp. 419, 438 (illustrated, p. 419)

New York Auction / 15 May 2024 / 2pm EDT

426

Danielle Orchard Cake With Thong signed and dated "Danielle Orchard 2020" on the reverse oil on linen

40 x 30 in. (101.6 x 76.2 cm) Painted in 2020.

EstimateEstimate

$25,000 — 35,000

PrProovvenanceenance

Jack Hanley Gallery, New York

Acquired from the above by the present owner

Orchard

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

427

Emma Stern

Heather

signed and dated "Emma Stern '20" on the reverse oil on canvas

40 x 34 in. (101.6 x 86.4 cm) Painted in 2020.

EstimateEstimate

$10,000 — 15,000

Go

PrProovvenanceenance

Acquired directly from the artist by the present owner

ExhibitedExhibited

New York, The Hole, DensityBetraysUs, June 29–August 15, 2021

LiteraturLiteraturee

Vittoria Benzine, “Density Betrays Us at The Hole,” WhitehotMagazine, July 2021, online (illustrated)

Tyler Nesler, “Density Betrays Us at The Hole – Guest Curators Interview,” Interlocutor, August 19, 2021, online (The Hole, New York, 2021 installation view illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

428

Michael Williams

Deserted Medieval Village signed, titled and dated "DESERTED MEDIEVAL VILLAGE 2014 Michael Williams" on the reverse inkjet and acrylic on canvas 95 1/8 x 77 1/8 in. (241.6 x 195.9 cm) Executed in 2014.

EstimateEstimate

$20,000 — 30,000

Go to Lot

PrProovvenanceenance

Galerie Eva Presenhuber, Zurich

Acquired from the above by the present owner

Michael Williams

New York Auction / 15 May 2024 / 2pm EDT

429

Urs Fischer aceofpigs

signed "Urs Fischer" on a label affixed to the reverse aluminum, epoxy, steel, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium and acrylic paint

59 x 59 3/4 in. (149.8 x 151.9 cm)

Executed in 2016, this work is number 2 from an edition of 2 plus 1 artist's proof.

EstimateEstimate

$40,000 — 60,000

PrProovvenanceenance

Gagosian, New York

Acquired from the above by the present owner in 2017

ExhibitedExhibited

New York, Gagosian, UrsFischer:MisunderstandingsintheQuestfortheUniversal, March 1–April 23, 2016 (another example exhibited)

LiteraturLiteraturee

Daniel Creahan, "New York—Urs Fischer: "Misunderstandings in the Quest for the Universal" at Gagosian Gallery through April 23rd, 2016," ArtObserved, April 7, 2016, online (Gagosian, New York, 2016 installation view of another example illustrated)

New York Auction / 15 May 2024 / 2pm EDT

430

Sarah Crowner

Untitled

signed and dated "Sarah Crowner 2010" on the reverse

oil on sewn canvas, cloth and linen

42 x 36 in. (106.7 x 91.4 cm)

Executed in 2010.

EstimateEstimate

$30,000 — 50,000

PrProovvenanceenance

Nicelle Beauchene Gallery, New York

Acquired from the above by the present owner in 2010

Crowner

New York Auction / 15 May 2024 / 2pm EDT

431

Andres Valencia

Arnold

signed and dated "8.2022 Andres.V" on the reverse

acrylic and oilstick on canvas

60 x 40 in. (152.4 x 101.6 cm)

Painted in 2022.

EstimateEstimate

$50,000 — 70,000

PrProovvenanceenance

Acquired directly from the artist by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

432

Cyprien Gaillard

Not yet titled

oil and screenprint on found canvas

33 x 45 in. (83.8 x 114.3 cm)

Executed in 2010.

EstimateEstimate

$20,000 — 30,000

PrProovvenanceenance

Sprüth Magers, Berlin

Acquired from the above by the present owner in 2010

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

433

Calvin Marcus

Blue Devil

signed and dated "Calvin Marcus 2018" on the reverse Cel-vinyl, ceramic and Flashe on aluminum panel, in artist's frame

36 1/2 x 24 1/2 x 5 1/4 in. (92.7 x 62.2 x 13.3 cm) Executed in 2018.

EstimateEstimate

$25,000 — 35,000

C

New York Auction / 15 May 2024 / 2pm EDT

434

Michael Ray Charles

(Forever Free) Big Mama's Hot Link Heaven

signed, inscribed and dated "MICHAEL RAY CHARLES

96 AMERICAN PAINTER" lower right

acrylic latex and copper penny collage on canvas tarp with metal grommets

134 x 117 1/2 in. (340.4 x 298.5 cm)

Executed in 1996.

EstimateEstimate

$30,000 — 50,000

Michael Ray Charles

Painted in acrylic latex and scraped to emulate an antique advertisement, Michael Ray Charles’ (ForeverFree)BigMama'sHotLinkHeaven(1996) is part of the artist’s satirical marketing campaign for the fictitious Liberty Brothers Permanent Daily Circus—a carnivalesque spectacle of Black caricatures. Charles replicates the Black stereotypes used in vintage commercial art out of a belief that “by confronting Jim Crow imagery, we can expose today’s increasingly subtle racist stereotypes” and thereby avoid “[reliving] the racial tragedies that stain our history.”i The artist's use of exaggerated stereotypical representations depicts racial typecasting and reveals its enduring cultural impacts.

In the present example, Charles reckons with the disquieting legacy of the “mammy” stereotype, a caricature which depicted female slaves as contented andsatisfied despite their subjugation.ii The artist depicts a Black woman, labeled “Big Mama” in scrollwork, in a style popularized by minstrelsy’s exaggerated blackface makeup. The cheerful colors, the bold type, andthe figure’s uncannily large smileare at odds with the concerning messages inscribed in the painting, which proclaims, “The greatest blow on earth” and “hotlink heaven.” The subject is in a vulnerable pose on the ground, and her costume, a vibrant red and white bikini, coupled with her unflinching gaze that confronts the viewer, grapples with the fetishization in historical caricatures.

Depicted in a manner consistent with mammy stereotypes, the subject in (ForeverFree)Hot Mama’sHotLinkHeavenis rendered as an object for sexual gratification and amusement, who, nonetheless, remains unwaveringly joyful. Charles demonstrates how such stereotypes reduce people to simplified stock characters who supposedly relish in their own depersonalization, erasing their suffering. The woman’s Cheshire Cat grin is eerily excessive, indicating the depiction’s insincerity. By appropriating commercial aesthetics, akin to Warhol, and utilizing polite satire, akin to Goya and Daumier, Charles creates a graphic and communicative image that offers biting commentary on history and its ramifications. (ForeverFree)HotMama’sHotLinkHeavenis an incisive parody which imitates and exaggerates the racially charged commercial art of the past.

i Michael Ennis, “Shock Therapy,” TexasMonthly, June 1997, online

ii “The Mammy Caricature,” JimCrowMuseum, online

PrProovvenanceenance

Barry Whistler Gallery, Dallas

Private Collection (acquired from the above in 1996)

Christie's, New York, September 27, 2019, lot 326 Private Collection, Switzerland

Acquired from the above by the present owner in 2019

ExhibitedExhibited

Dallas, Barry Whistler Gallery, MichaelRayCharles:NewYork, December 1996–January 1997

LiteraturLiteraturee

Victoria L. Valentine, “Michael Ray Charles: 20 Years Ago His Potent Images Confronting Racial Stereotypes Were Highly Controversial, Today They Feel Ripe for the Times,” CultureType, December 17, 2021, online (illustrated)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

435

Jenny Holzer

Selection from the Living Series cast bronze

8 x 10 in. (20.3 x 25.4 cm)

Executed in 1980–1982, this work is from an edition of 3.

EstimateEstimate

$10,000 — 15,000

PrProovvenanceenance

Rhona Hoffman Gallery, Chicago

Acquired from the above by the present owner

LiteraturLiteraturee

Phyllis Freeman, Eric Himmel, Edith Pavese and Anne Yarowsky, eds., NewArt, 1984, p. 103

(another example illustrated)

JennyHolzer, exh. cat., Solomon R. Guggenheim Museum, New York, 1989–1990, no. 26, p. 64 (another example illustrated)

New York Auction / 15 May 2024 / 2pm EDT

436

Lisa Milroy

Dresses

signed with the artist's initials and dated “L.M. '85” on the overlap oil on canvas

81 1/2 x 139 1/2 in. (207 x 354.3 cm)

Painted in 1985.

EstimateEstimate

$8,000 — 12,000

PrProovvenanceenance

Nicola Jacobs Gallery, London

Doris and Charles Saatchi, London

Christie's, London, June 29, 1999, lot 155

Acquired at the above sale by the present owner

ExhibitedExhibited

Sydney, Art Gallery of New South Wales, TheBiennaleofSydney1986:OriginsOriginality+

Beyond, May 16–July 6, 1986, pp. 46, 196 (illustrated, p. 46)

LiteraturLiteraturee

LisaMilroy, exh. cat., Tate Liverpool, 2001, pl. 31, pp. 40–41, 154 (illustrated, pp. 40–41)

New York Auction / 15 May 2024 / 2pm EDT

437

Haim Steinbach

Untitled (black sneakers)

signed and dated "Haim Steinbach 2013" on the reverse

Baltic birch plywood, plastic laminate and glass box and canvas, rubber and metal 'Dirty Black Sneakers' by Douglas Abraham

48 3/8 x 36 3/8 x 21 in. (122.9 x 92.4 x 53.3 cm)

Executed in 2013.

EstimateEstimate

$10,000 — 15,000

Haim Steinbach

PrProovvenanceenance

White Cube, London

Acquired from the above by the present owner

ExhibitedExhibited London, White Cube, HaimSteinbach:Travel, October 2–November 16, 2013, pp. 115, 124 (illustrated, p. 115)

New York Auction / 15 May 2024 / 2pm EDT

438

Cory Arcangel

On Compression / Lakes

1920x1080 H.264/MPEG-4 Part 10 looped digital file (from lossless Quicktime Animation master), media player, 70" flatscreen, armature and various cables dimensions variable approximately 79 x 36 1/2 x 11 in. (200.7 x 92.7 x 27.9 cm)

Executed in 2014, this work is unique.

EstimateEstimate

$30,000 — 40,000

Cory Arcangel

PrProovvenanceenance

Team Gallery, New York

Acquired from the above by the present owner

ExhibitedExhibited

New York, Team Gallery, CoryArcangel:tl;dr, September 7–October 26, 2014

LiteraturLiteraturee

Mark Westall, "Art Opening: Cory Arcangel TL; DR @TeamGallery New York Sunday 7th September 2014," FadMagazine, September 6, 2014, online (illustrated)

Tony Donson, "Ryan McGinley & Cory Arcangel team up at Team Gallery," Dazed, September 8, 2014, online (Team Gallery, New York, 2014 installation view illustrated)

Asbjørn Skarsvåg Grønstad, RethinkingArtandVisualCulture:ThePoeticsofOpacity, Cham, Germany, 2020, p. 24

New York Auction / 15 May 2024 / 2pm EDT

439

Nigel Cooke

I Am Time

signed, titled and dated "NIGEL COOKE ‘I AM TIME’ 2008-09 N. Cooke" on the overlap oil on linen, backed with sail cloth 86 5/8 x 145 5/8 in. (220 x 370 cm) Painted in 2009.

EstimateEstimate

$30,000 — 40,000

PrProovvenanceenance

Andrea Rosen Gallery, New York

Acquired from the above by the present owner

ExhibitedExhibited

New York, Andrea Rosen Gallery, NigelCooke, April 24–June 13, 2009

LiteraturLiteraturee

"Don't Miss — New York: Nigel Cooke at Andrea Rosen Gallery Until June 13, 2009," ArtObserved, June 10, 2009, online

NigelCooke, London, 2010, pp. 76–77, 117 (illustrated, pp. 76–77)

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

Thilo Heinzmann

O.T.

signed and dated "Thilo Heinzmann 8/13" on the reverse

oil and pigment on canvas with Plexiglas cover 85 1/4 x 76 1/2 x 4 in. (216.5 x 194.3 x 10.2 cm) Executed in 2013.

EstimateEstimate

$15,000 — 20,000

PrProovvenanceenance

Bortolami Gallery, New York

Acquired from the above by the present owner

Modern & Contemporary Art Day Sale, Afternoon Session

New York Auction / 15 May 2024 / 2pm EDT

441

Kelley Walker

Black Star Press

signed and dated "Kelley Walker 2005" on the reverse of the left canvas; titled "Black Star Press" on the reverse of each canvas

scanned image and silkscreened chocolate on digital print mounted on canvas, in 3 parts each 36 x 28 1/4 in. (91.4 x 71.8 cm) overall approximately 36 x 89 in. (91.4 x 226.1 cm)

Executed in 2005.

EstimateEstimate

$40,000 — 60,000

Kelley Walker

PrProovvenanceenance

Galerie Catherine Bastide, Brussels

Private Collection (acquired from the above)

Sotheby's, London, October 18, 2013, lot 123

Zidoun-Bossuyt Gallery, Luxembourg

Acquired from the above by the present owner

New York Auction / 15 May 2024 / 2pm EDT

442

Matthew Day Jackson LIFE, January 12, 1962 (rust)

incised with the artist's signature, title and date "MATTHEW DAY JACKSON LIFE January 12th 1962 (rust) 2013" on the reverse silkscreen on Corten steel panel and scorched wood 35 x 27 x 1 1/8 in. (88.9 x 68.6 x 2.9 cm) Executed in 2013.

EstimateEstimate

$10,000 — 15,000

PrProovvenanceenance

Zidoun-Bossuyt Gallery, Luxembourg

Acquired from the above by the present owner

Day Jackson

New York Auction / 15 May 2024 / 2pm EDT

443

Andrew Kuo

Once, A Long Time Ago (11/17/13)

signed and dated "KUO 13" on the reverse

acrylic and mixed media on panel

54 x 38 in. (137.2 x 96.5 cm)

Executed in 2013.

EstimateEstimate

$5,000 — 7,000

PrProovvenanceenance

Marlborough Gallery

Private Collection, New York

Acquired from the above by the present owner