20th Century & Contemporary Art Day Sale [Catalogue] by PHILLIPS

20th Century & Contemporary Art Day Sale London / 14 February 2020

Auction & Viewing Location 30 Berkeley Square, London, W1J 6EX

20th Century & Contemporary Art Department

Auction

Head of Sale

14 February at 2pm

Tamila Kerimova tkerimova@phillips.com +44 20 7318 4065

Viewing 3–14 February Monday–Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010220 or 20th Century & Contemporary Art Day Sale Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@philips.com

Cataloguer Louise Simpson lsimpson@phillips.com +44 20 7901 7911 Administrator Elena Setaro esetaro@phillips.com +44 20 7318 4028

Executives Edward Dolman

David Norman

Hugues Jofre

Chief Executive Ofcer

Chairman, Americas

Senior Advisor to the CEO

+1 212 940 1241 edolman@phillips.com

+1 212 940 1280 dnorman@phillips.com

+44 207 901 7923 hjofre@phillips.com

Cheyenne Westphal

Jamie Niven

Arnold Lehman

Global Chairwoman

Senior Advisor to the CEO

+44 20 7318 4044 cwestphal@phillips.com

+1 917 880 2532 jniven@phillips.com

+1 212 940 1385 alehman@phillips.com

ÂŠ Brigitte Lacombe

Deputy Chairmen & Chairwomen

Svetlana Marich

Jonathan Crockett

Peter Sumner

Miety Heiden

Worldwide Deputy Chairman

Deputy Chairman, Asia, Head of 20th Century & Contemporary Art, Asia

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art

Deputy Chairwoman, Head of Private Sales

+852 2318 2023 jcrockett@phillips.com

+44 20 7318 4063 psumner@phillips.com

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Elizabeth Goldberg

Deputy Chairwoman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

Deputy Chairwoman, Europe, Senior Specialist, 20th Century & Contemporary Art

Deputy Chairwoman, Americas, Senior International Specialist, American Art

+32 3257 3026 mhoet@phillips.com

+1 212 940 1239 egoldberg@phillips.com

+44 20 7318 4010 smarich@phillips.com

+1 212 940 1243 vhallett@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

+44 20 7901 7943 mheiden@phillips.com

Our Team 20th Century & Contemporary Art

Jean-Paul Engelen

Robert Manley

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art

jpengelen@phillips.com +1 212 940 1390

rmanley@phillips.com +1 212 940 1358

London

Olivia Thornton

Dina Amin

Head of 20th Century & Contemporary Art, Europe

Senior International Specialist

othornton@phillips.com +44 20 7318 4099

damin@phillips.com +44 20 7318 4025

Nathalie Zaquin-Boulakia International Specialist nzaquin-boulakia@phillips.com +44 20 7901 7931

Matt Langton

Henry Highley

Rosanna WidĂŠn

Senior Specialist

Head of Evening Sale

mlangton@phillips.com +44 20 7318 4074

hhighley@phillips.com +44 20 7318 4061

rwiden@phillips.com +44 20 7318 4060

Tamila Kerimova

Kate Bryan

Simon Tovey

Charlotte Gibbs

Louise Simpson

Kathy Lin

Head of Day Sale

Specialist

Head of New Now Sale

Head of Online Sales, London

Cataloguer

tkerimova@phillips.com +44 20 7318 4065

kbryan@phillips.com +44 20 7318 4050

stovey@phillips.com +44 20 7318 4084

cgibbs@phillips.com +44 20 7901 7993

lsimpson@phillips.com +44 20 7901 7911

klin@phillips.com +44 20 7318 4093

Clara Krzentowski

Maria Vittoria Raiola

Researcher/Writer

Researcher

ckrzentowski@phillips.com +44 20 7318 4064

mvraiola@phillips.com +44 20 7901 2927

20th Century & Contemporary Art

New York Scott Nussbaum

Takako Nagasawa

Rachel Adler Rosan

Kevie Yang

Amanda Lo Iacono

John McCord

Head of Department

International Specialist

Senior Specialist

Head of Evening Sale

Head of Day Sale, Morning

+1 212 940 1354 snussbaum@phillips.com

+1 212 940 1353 tnagasawa@phillips.com

+1 212 940 1333 radlerrosan@phillips.com

+1 212 940 1254 kyang@phillips.com

+1 212 940 1278 aloiacono@phillips.com

+1 212 940 1261 jmccord@phillips.com

Rebekah Bowling

Sam Mansour

Katherine Lukacher

Jeannette van Campenhout

Annie Dolan

Patrizia Koenig

Head of Day Sale, Afernoon

Head of New Now Sale

Head of Online Sales

Head of Latin American Art

Associate Head of Day Sales

Associate Specialist

+1 212 940 1250 rbowling@phillips.com

+1 212 940 1219 smansour@phillips.com

+1 212 940 1215 klukacher@phillips.com

+1 212 940 1391 jvancampenhout@phillips.com

+1 212 940 1288 adolan@phillips.com

+1 212 940 1279 pkoenig@phillips.com

Atina Sutton

Carolyn Mayer

Avery Semjen

Maiya Aiba

Brittany Jones

Associate Specialist

Cataloguer

Researcher/Writer

+1 212 940 1217 asutton@phillips.com

+1 212 940 1206 cmayer@phillips.com

+1 212 940 1207 asemjen@phillips.com

+1 212 940 1387 maiba@phillips.com

+1 212 940 1255 bjones@phillips.com

Isaure de Viel Castel

Charlotte Raybaud

Danielle So

Delissa Putri Handoko

Head of Department

Head of Evening Sale

Head of Day Sale

Head of Online Sales, Hong Kong

+852 2318 2025 isauredevielcastel@phillips.com

+852 2318 2026 craybaud@phillips.com

+852 2318 2027 dso@phillips.com

+852 2318 2000 dhandoko@phillips.com

Business Development

Trusts, Estates & Valuations

Americas

Vivian Pfeifer

Jennifer Jones

Laura Wenger

William Leach

Deputy Chairman, Americas, Head of Business Development, Americas

Senior Vice President, Director of Trusts, Estates & Valuations

Associate Vice President Account Manager Trusts, Estates & Valuations

Trusts, Estates & Valuations Coordinator

Hong Kong

+1 212 940 1392 vpfeifer@phillips.com

+1 212 940 1272 jjones@phillips.com

+1 212 940 1302 lwenger@phillips.com

+1 212 940 1297 wleach@phillips.com

Client Advisory

Europe Yassaman Ali Client Advisory Director +44 20 7318 4056 yali@phillips.com

Giulia Campaner Mendes Client Advisor +44 20 7318 4058 gcampaner@phillips.com

Americas

Layla Powell

Margherita Solaini

Laurent Taevernier

Associate Client Advisor

Business Development Associate

Client Liaison Coordinator

+44 20 7318 4043 lpowell@phillips.com

Asia

Philae Knight

Liz Grimm

Iori Endo

Client Advisory Director

Business Development Associate

Senior Client Advisor

+1 212 940 1313 pknight@phillips.com

+1 212 940 1342 egrimm@phillips.com

+44 20 7318 4039 iendo@phillips.com

+39 02 83642 453 msolaini@phillips.com

+32 32 573026 ltaevernier@phillips.com

International Specialists & Regional Directors

Europe Laurence Calmels

Clara Rivollet

Laurence Barret-Cavy

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

+33 686 408 515 lcalmels@phillips.com

+33 6 42 09 97 39 crivollet@phillips.com

Dr. Nathalie Monbaron

Dr. Alice Trier

Carolina Lanfranchi

Regional Director, Geneva

Specialist, 20th Century & Contemporary Art, Germany

+33 153 71 77 89 lbarret-cavy@phillips.com

+41 22 317 81 83 nmonbaron@phillips.com

+49 173 25 111 69 atrier@phillips.com

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy

Maura Marvao

Kalista Fenina

Kirsten MacDonald

Lori Spector

Thibault Stockmann

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain

Specialist, 20th Century & Contemporary Art, Moscow

Regional Director, Scandinavia

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Zurich

International Specialist, 20th Century & Contemporary Art, France

+351 917 564 427 mmarvao@phillips.com

+7 905 741 15 15 kfenina@phillips.com

+45 2010 2111 kmacdonald@phillips.com

+41 76 259 30 39 lspector@phillips.com

+39 338 924 1720 clanfranchi@phillips.com

+33 601 888 749 tstockmann@phillips.com

Americas CĂ˘ndida SodrĂŠ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Representative, Chicago

Senior Specialist, 20th Century & Contemporary Art, Denver

Regional Director, Los Angeles

Specialist, Miami

+55 21 999 817 442 csodre@phillips.com

+1 773 230 9192 cehlers@phillips.com

+1 310 922 2841 lauren.peterson@phillips.com

+1 917 657 7193 mdekoning@phillips.com

+1 323 383 3266 bkoh@phillips.com

+1 917 583 4983 vgarcia@phillips.com

Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Sophia Kinell

Regional Director, Consultant, Mexico

Regional Director, Palm Beach

Regional Director, Seattle

Regional Representative, San Francisco

+52 1 55 5413 9468 clafan@phillips.com

+1 508 642 2579 maurasmith@phillips.com

+1 206 604 6695 scwaltner@phillips.com

+1 650 799 7931 sophia.kinell@phillips.com

Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Alicia Zhang

Cindy Yen

Regional Director, Japan

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea

Associate Regional Representative, Korea

Regional Director, China

Associate Regional Representative, Shanghai

Senior Specialist, Watches & Jewellery, Taiwan

Asia

+81 90 2245 6678 khattori@phillips.com

+82 10 7389 7714 jyy@phillips.com

+82 10 7305 0797 sshin@phillips.com

+86 13911651725 wenjiazhang@phillips.com

+86 139 1828 6589 aliciazhang@phillips.com

Meiling Lee

Christine Fernando

Sandy Ma

Vivi Yip

Rika Dila

International Specialist, Taiwan

Associate Regional Representative, Singapore

International Specialist, South East Asia

Senior Consultant, Indonesia

Senior Consultant, Thailand

+65 9128 6277 christinefernando@phillips.com

+852 2318 2025 sma@phillips.com

+62 8111 220 824 viviyip@phillips.com

+66 81 818 6878 rdila@phillips.com

+886 908 876 669 mlee@phillips.com

Our team is comprised of experts from auction houses, museums, galleries and other leading arts institutions. In addition to auctions in our New York, London, Hong Kong and Geneva salerooms, Phillips holds private sales and curated selling exhibitions across all of our categories around the world. Our range of services includes appraisals for private clients, advisors, attorneys and other key fduciaries, and our dedicated Trusts, Estates & Valuations team provides complimentary reviews of collections.

+886 2 2758 5505 cyen@phillips.com

101. Genieve Figgis

b. 1972

Group Portrait on the Stairs

Estimate £50,000-70,000 $65,100-91,100 €58,700-82,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

signed and dated ‘Genieve Figgis 2018’ on the reverse oil on canvas 99.6 x 79.6 cm (39 1/4 x 31 3/8 in.) Painted in 2018.

Provenance Half Gallery, New York Acquired from the above by the present owner

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

102. Lucas Arruda

b. 1983

Untitled (from the Deserto-Modelo series) signed and dated ‘LUCAS ArruDa 2014’ on the reverse oil on canvas 30.1 x 37.1 cm (11 7/8 x 14 5/8 in.) Painted in 2014. Estimate £60,000-80,000 $78,100-104,000 €70,400-93,900 plus Buyers Premium and VAT*

Provenance Michael Werner Gallery, London Acquired from the above by the present owner in summer of 2015 Exhibited Berlin, VeneKlasen/Werner, Lucas Arruda: Deserto-Modelo, 15 November 2014 - 10 January 2015

103. Nathaniel Mary Quinn

b. 1977

Young Pilcher and Vietnam charcoal and gouache on Arches paper 31 x 22.8 cm (12 1/4 x 8 7/8 in.) Executed in 2019.

Estimate £20,000-30,000 $26,000-39,100 €23,500-35,200 plus Buyers Premium and VAT*

Provenance Rhona Hofman Gallery, Chicago Private Collection, New York Private Collection, London

104. Eddie Martinez

b. 1977

Untitled signed with the artist’s initials and dated ‘EM 12’ lower right oil, enamel and spray paint on panel 121.9 x 91.4 cm (48 x 36 in.) Painted in 2012.

Estimate £30,000-50,000 $39,100-65,100 €35,200-58,700 ‡ plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner

105. KAWS

b. 1974

UNTITLED signed, inscribed and dated ‘KAWS..99 PARIS. R.’ on the reverse acrylic on canvas 40.9 x 40.9 cm (16 1/8 x 16 1/8 in.) Painted in 1999.

Estimate £40,000-60,000 $52,100-78,100 €46,900-70,400 ‡ plus Buyers Premium and VAT*

Provenance Private Collection Christie’s, Hong Kong, 24 November 2019, lot 425 Acquired at the above sale by the present owner

106. KAWS

b. 1974

UNTITLED signed and dated ‘KAWS.. 97’ on the reverse acrylic on canvas 40.8 x 41.1 cm (16 1/8 x 16 1/8 in.) Painted in 1997.

Estimate £40,000-60,000 $52,100-78,100 €46,900-70,400 plus Buyers Premium and VAT*

Provenance Private Collection, Berlin (gifed by the artist) Acquired from the above by the present owner

107. Eddie Martinez

b. 1977

Entitlement signed with the artist’s initials and dated ‘EM.12’ lower right; further signed and signed with the artist’s initials ‘MARTINEZ EM’ on the stretcher acrylic, oil and spray paint on canvas 152.4 x 213.4 cm (60 x 84 in.) Executed in 2012.

Provenance The Journal Gallery, New York Acquired from the above by the present owner Exhibited New York, Zach Feuer Gallery, Nolan Hendrickson, Eddie Martinez, JP Munro, 1 December 2012 - 12 January 2013

Estimate £100,000-150,000 $130,000-195,000 €117,000-176,000 ‡ plus Buyers Premium and VAT*

108. Hernan Bas

b. 1978

Cannibalistic, noisy and abusive, but picturesque and popular withal signed with the artist’s initials and dated ‘HB 11’ lower lef; further signed with the artist’s initials and dated ‘HB 2011’ on the reverse oil, paper collage and enamel on canvas 183.1 x 152.5 cm (72 1/8 x 60 in.) Executed in 2011. Estimate £40,000-60,000 $52,100-78,100 €46,900-70,400 plus Buyers Premium and VAT*

Provenance Galleria Il Capricorno, Venice Private Collector Galerie Peter Kilchmann, Zurich Acquired from the above by the present owner Exhibited Venice, Galleria Il Capricorno, Delicate Creatures from America, 17 September 2011

109. Secundino Hernández

b. 1975

Untitled signed with the artist’s initials and dated ‘SH 14’ on the reverse gouache, acrylic, oil and alkyd on canvas 279.4 x 208.3 cm (109 7/8 x 82 in.) Executed in 2014. Estimate £60,000-80,000 $78,100-104,000 €70,400-93,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Victoria Miro, London Acquired from the above by the present owner in June 2014 Exhibited London, Victoria Miro, Secundino Hernández, 11 June - 2 August 2014

110. Harold Ancart

b. 1980

Untitled (Seascape) oil stick and graphite on paper, in artist’s frame 43.4 x 63.5 cm (17 1/8 x 25 in.) Executed in 2014. Estimate £30,000-50,000 $39,100-65,100 €35,200-58,700 ‡ ♠

Provenance Xavier Hufens, Brussels Private Collection (acquired from the above) Phillips, London, 7 December 2017, lot 3 Acquired at the above sale by the present owner Exhibited Brussels, Xavier Hufens, Harold Ancart, Winning Colors, 4 September - 4 October 2014

plus Buyers Premium and VAT, ARR applies*

111. Katharina Grosse

b. 1961

Untitled signed, numbered and dated ‘Katharina Grosse 2017 2017/1091’ on the reverse oil on canvas 152.1 x 118.9 cm (59 7/8 x 46 3/4 in.) Painted in 2017.

Estimate £50,000-70,000 $65,100-91,100 €58,700-82,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Gagosian, London Acquired from the above by the present owner

112. Harold Ancart

b. 1980

Untitled oil stick on paper, in artist’s frame 175 x 118.9 cm (68 7/8 x 46 3/4 in.) Executed in 2012. Estimate £125,000-180,000 $163,000-234,000 €147,000-211,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, Stockholm Ibid Gallery, London David Kordansky Gallery, Los Angeles Acquired from the above by the present owner

‘When it comes to painting, the only thing that matters is the outcome, but the outcome is also what you should never think of while you paint.’ Harold Ancart

113. Henry Taylor

b. 1958

Father, Son signed, inscribed and dated ‘Henry Taylor January, maybe February 2010’ on the reverse acrylic on canvas 173.3 x 164.3 cm (68 1/4 x 64 5/8 in.) Painted in 2010. Estimate £100,000-150,000 $130,000-195,000 €117,000-176,000 ‡

Provenance Rental Gallery, New York (acquired directly from the artist) Private Collection, New York Private Collection, Belgium Exhibited New York, Rental Gallery, Henry Taylor & Phil Wagner, 20 February - 28 March 2010 Literature Loren Olson, ed., Henry Taylor, The Only Portrait I Ever Painted of my Momma Was Stolen, New York, 2018, p. 162 (illustrated)

plus Buyers Premium and VAT*

114. KAWS

b. 1974

UNTITLED (CHUM), PACKAGE PAINTING SERIES (SM18) signed, titled and dated ‘KAWS “SM 18” 2000’ on the reverse acrylic on canvas in blister package with printed card 59.7 x 48.3 cm (231/ 2 x 19 in.) Executed in 2000.

Estimate £60,000-80,000 $78,100-104,000 €70,400-93,900 ‡ plus Buyers Premium and VAT*

Provenance Private Collection Acquired from the above the present owner

115. KAWS

b. 1974

UNTITLED (CHUM), PACKAGE PAINTING SERIES (SM3) signed and dated ‘KAWS.. “SM 3” 2000’ on the reverse acrylic on canvas in blister package with printed card 59.9 x 48.9 cm (23 5/8 x 19 1/4 in.) Executed in 2000.

Estimate £60,000-80,000 $78,100-104,000 €70,400-93,900 plus Buyers Premium and VAT*

Provenance Parco Gallery, Tokyo Acquired from the above by the present owner

116. Walter Price

b. 1989

I think that drumline was nick cannon’s best acting role signed, inscribed and dated ‘Couch Potato WALTER P 2015’ on the reverse acrylic and crayon on canvas 41 x 50.5 cm (16 1/8 x 19 7/8 in.) Executed in 2015.

Estimate £9,000-12,000 $11,700-15,600 €10,600-14,100 ‡ plus Buyers Premium and VAT*

Provenance Karma, New York Acquired from the above by the present owner

117. Lesley Vance

b. 1977

Untitled (3) signed and dated ‘Lesley Vance 2009’ on the reverse oil on linen 48.1 x 32.9 cm (18 7/8 x 12 7/8 in.) Painted in 2009. Estimate £30,000-50,000 $39,100-65,100 €35,200-58,700 plus Buyers Premium and VAT*

Provenance Roger Björkholmen Galleri, Stockholm Acquired from the above by the present owner in 2009 Exhibited St. Louis, Contemporary Art Museum, Sam Moyer, Lesley Vance and Stan VanDerBeek, 1 – 26 July 2009

118. Tomoo Gokita

b. 1969

Mature #5 signed, titled and dated ‘“MATURE #5” Tomoo Gokita 2017’ on the reverse acrylic and gouache on linen 89.5 x 145.7 cm (351/4 x 573/8 in.) Painted in 2017. Estimate £120,000-180,000 $156,000-234,000 €141,000-211,000 ‡ plus Buyers Premium and VAT*

Provenance Mary Boone Gallery, New York Private Collection Acquired from the above by the present owner Exhibited New York, Mary Boone Gallery, Tomoo Gokita: Beauty, 2 November - 22 December 2017

‘Mr. Gokita’s vocabulary barrels across illustration, pornography, abstraction, children’s drawing, calligraphy and sign-painting, with a perfect control, velvety surfaces and tonal range that makes black-and-white feel like living colour.’ Roberta Smith

119. Nicolas Party

b. 1980

Five works: (i) Blakam’s stone (watermelon); (ii) Blakam’s stone (lemon); (iii) Blakam’s stone (orange); (iv) Blakam’s stone (pear); (v) Blakam’s stone (apple) i) iii) v) signed, inscribed and dated ‘Nicolas Party 2012 “Kings Park U.S.A”’ on the underside ii) iv) signed, inscribed and dated ‘Nicolas Party 2012 “Five Scotland”’ on the underside acrylic on stone

i) 14.8 x 34.3 x 18.8 cm (57/8 x 131/2 x 73/8 in.) ii) 9.6 x 28 x 23.4 cm (33/4 x 11 x 91/4 in.) iii) 12.6 x 16.2 x 10.5 cm (47/8 x 63/8 x 41/8 in.) iv) 6.5 x 24.4 x 7.9 cm (21/2 x 95/8 x 31/8 in.) v) 8.2 x 10.9 x 14.5 cm (31/4 x 41/4 x 53/4 in.) Estimate £40,000-60,000 $52,100-78,100 €46,900-70,400 ‡

Provenance (iv); (ii) Salon 94, New York (i); (iii); (v): Modern Institute, New York Acquired from the above by the present owner Exhibited London, Phillips, HYSTERICAL, hosted by Gary Card, 18 July - 21 August 2019

plus Buyers Premium and VAT*

120. KAWS and Estudio Campana KAWS Chair Black signed, titled and numbered ‘CAMPANA KAWS CHAIR BLACK #1/25+3 AP’ on a label afxed to the underside; signed ‘KAWS’ on the underside of the feet to some stufed toy elements plush toys, stainless steel and Ipe wood 83 x 130 x 100 cm (325/8 x 511/8 x 393/8 in.) Executed in 2018, this work is number 17 from an edition of 25 plus 3 artist’s proofs.

Estimate £70,000-90,000 $91,100-117,000 €82,200-106,000 ‡ plus Buyers Premium and VAT*

Provenance Friedman Benda Gallery, New York Private Collection Acquired from the above by the present owner

121. Harland Miller

b. 1964

Plan-B My Story signed and dated ‘Harland Miller 2003 Harland Miller 2003’ on the reverse oil on canvas 213.4 x 155.3 cm (84 x 61 1/8 in.) Painted in 2003. Estimate £50,000-70,000 $65,100-91,100 €58,700-82,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance White Cube, London Acquired from the above by the present owner in October 2003

Property from an Important Private Collection

122. Alex Katz

b. 1927

Kate Valk, as Brutus Jones in The Emperor Jones signed and dated ‘Alex Katz 06’ on the overlap; further signed and erroneously dated ‘Alex Katz 08’ on the overlap oil on linen 244 x 122 cm (96 1/8 x 48 in.) Painted in 2006.

Provenance Timothy Taylor Gallery, London Private Collection (acquired from the above in 2010) Exhibited New York, MoMA PS1, Not For Sale, 11 February - 30 April 2007

Estimate £400,000-600,000 $521,000-781,000 €469,000-704,000 plus Buyers Premium and VAT*

Alex Katz with Ada Katz and Kate Valk at Chiara Clemente’s Our City Dreams Screening, 4 February 2009, New York. © Alex Katz/VAGA at ARS, NY and DACS, London 2020. Image: Neil Rasmus/Patrick McMullan via Getty Images.

Soaring over two-metres high, Alex Katz’s larger-than-life Kate, 2006, presents the sumptuous portrait of the American actress Kate Valk, dressed in character for her leading role in Eugene O’Neill’s classic 1920s tale The Emperor Jones, which was reinvisioned by Elizabeth LeCompte and produced by The Wooster Group in 2006. In its contemporary formulation, the play sees its eponymous protagonist, Brutus Jones, interpreted by Valk in blackface. While Jones, in the text, embodies a black Pullman porter whose destiny is shaken by his murder of another man in a dice game, Valk is a petite caucasian woman, dismantling each requirement to meet her personnage’s attributes. An exceptional image that has lingered in the memories of theatre-goers and art-lovers alike, Kate was moreover used as a model for the play’s poster, and went on to inspire the cyanotype print Katz created for Graphicstudio, as well as a colour screenprint of the same name. It is of further note that Katz, Valk and LeCompte share individual friendships in life, reinforcing the intimacy of the present work. Casting her penetrative gaze into the viewer’s own, Kate is, in the present composition, introducing the character of Jones in the altered appearance she adopted and maintained throughout the play. Yet whereas for most of her performance, the actress commanded the stage with gutteral laughs, skin-wrenching frowns, and frightning eye-rolls, in the present portrait she is captured as a muse, beautifully peaceful and composed. Delimitating the protagonist’s skin pigmentation at neck-level, Katz astutely clarifes the painted nature of Kate’s face, covered in thick, oily makeup, and standing in high contrast with the remainder of her exposed fesh.

Paul Robeson, The Emperor Jones Film Poster, 1933. Image: 2020, Christie’s Images, London/Scala, Florence.

138061_2 In this way, Katz wonderfully renders Elizabeth LeCompte’s daring vision, whereby the interpreter fashions, with superb precision, the simulacrum of a stereotype. Created when segregation and indeed lynching were still in effect, the character of Brutus Jones survives as a black man learning to oppress blacks himself; on the island he has retired to following his crime, he has pronounced himself emperor and is no longer the hunted, but the hunter. While Valk’s voluminous attire in the play, akin to a phony’s vision of a royal costume, foated halfway between a battered luxurious garment and a brashly coloured kimono, in the present composition Katz has represented only its upper section – fat and regal, like the portrayed protagonist herself. While on the surface, the choice to cast a Caucasian woman for the role of Brutus Jones may have seemed culturally insensitive, it was in fact fairly usual for the Wooster Group to elude expected decision-making in their elaboration of a theatrical adaptation. A veteran troupe known for taking an overtly experimental approach to dramaturgical texts, the Wooster Group did not miss the occasion to surprise the audience with The Emperor Jones’ new iteration, in fne garnering high praise from the public and critics alike. Characterised by The New York Times, Variety and The New Yorker as ‘fawless’, ‘astonishing’, ‘entrancing’, in turn, a number of critics furthermore argued that the decision to cast a white woman in a role written for a black man was in fact ‘uniquely sensitive’ – for it seemed impossible, given the text’s outdated mores and overarchingly racist vision, for a black actor to play the role of Jones without causing discomfort to himself or the audience (Charles Isherwood, ‘An Emperor Who Tops What O’Neill Imagined’, The New York Times, 14 March 2006, online). A refection of Katz’s stunning mode of portraiture, Kate invites the viewer to observe an atypical representational approach for the artist, whereby the model eludes one-dimensionality, and instead takes on the additional facet of a fctitious role. Indeed, rather than being presented with Brutus Jones or Kate Valk as distinct entities, the viewer is confronted to a confation of both, allowing the audience to familiarise themselves with the play through which they are connected, as well as Elizabeth LeCompte’s bold reinvention of it. The present work furthermore denotes Katz’s afnity to theatre, which he was able to cultivate since a young age as his mother was an actress in the Yiddish theatre of Manhattan’s Lower East Side. As a result, Kate is at once, and in turn, the portrait of a woman, a man, and an industry, which, through the magic of an actor’s performance, allows one to transform into the other.

123. Duane Hanson

1925-1996

Surfer Polyvinyl, polychromed in oil and mixed media with accessories 168.3 x 105.4 x 74.9 cm (66 1/4 x 41 1/2 x 29 1/2 in.) Executed in 1987, this work is unique. Estimate £200,000-300,000 $260,000-391,000 €235,000-352,000 ‡ plus Buyers Premium and VAT*

Provenance Collection of the artist, Davie Hanson Collection, Davie (by descent from the above) Gagosian Gallery, New York Acquired from the above by the present owner

Exhibited Fort Lauderdale, Central Campus Art Gallery, Broward Community College, 1987 Paris, Gagosian Gallery, Duane Hanson/ Olivier Mosset, 29 September 12 November 2016 Literature Thomas Buchsteiner and Otto Letze, eds., Duane Hanson: More than Reality, exh. cat., Schirn Kunsthalle, Frankfurt, 2001, no. 85, pp. 127, 172 (illustrated, p. 127) Cynthia Thuma, Broward Community College, Mount Pleasant, 2002, p. 66 (illustrated) Duane Hanson: Sculptures of the American Dream, exh. cat., Copenhagen, ARKEN Museum for Moderne Kunst Stuttgart; Helsinki City Art Museum; UNESCO Kulturer Völklingen Hütte, 2007-2008, no. 85, pp. 127, 172 (illustrated, p. 127)

Duane Hanson (lef) with Surfer at Broward Community College, Fort Lauderdale, in 1987. © Estate of Duane Hanson/VAGA at ARS, NY and DACS, London 2020. Image: Broward College Archives & Special Collections, Davie, FL.

Surfer, 1987, executed at the height of Duane Hanson’s practice, encapsulates the artist’s meticulous observation and unfinching realisation of his fascination with and celebration of everyday pedestrian lower-middle class characters in US Society. Capturing his figures in a moment of unguarded thought and reflection, they surprise, amuse and disturb his viewers through their arrestingly real depiction. The artist stated ‘the subject matter that I like best deals with the familiar lower- and middle-class American types of today. To me, the resignation, emptiness, and loneliness of their existence captures the true reality of life for these people … I want to achieve a certain tough realism which speaks of the fascinating idiosyncrasies of our times’ (Duane Hanson quoted in Christine Lindey, Superrealist Painting and Sculpture, New York, 1980, p. 130.). Taking as its subject a boy, dressed in his sunset coloured swimming trunks, adopting the self-aware pose of a teenager in surfer garb as he holds his fery coloured board in one hand, the other nonchalantly on his hip, he gazes out into the distance, avoiding the eye of the viewer, searching for the perfect wave. Created in the 1980s during a time of worldwide obsession with sportswear, body image and exercise trends, Surfer, 1987, vividly highlights the artist’s captivation with consumer culture, while also holding personal significance as the sculpture was modeled after Hanson’s son.

Hanson created his perfectly realised fgures using auto-fller or polyvinyl, increasingly moving to bronze in his later works. Hand painting each piece, the fgures are completed in painstaking detail with wigs, eyes, fingernails and human hair is also included on the body of some of his works. Carefully choosing often friends or family as his models, Hanson dresses his fgures with notably telling props, creating identifable personalities. Hanson would ofen unify elements from diferent models, fnishing his sculptures with delicate embellishments. His works endorse and make the most of ordinary moments, elevating the subject, crediting it as gallery and viewer worthy, conversing with the gallery space, demanding immediate interaction with the viewer. ‘I am not duplicating life. I’m making a statement about human values.’ (Duane Hanson, quoted in Thomas Buchsteiner and Otto Letze, eds., Duane Hanson: More than Reality, Stuttgart, 2001, p. 77). Hanson’s first life-size, realistic sculptures executed in the late 1960s were reflective of a climate of unrest and social fragmentation raging around him, aggressively confronting issues including suicide, abortion, racial unrest and homelessness, shifing in the 1970s to social commentary on the banalities of daily life. Hanson meticulously observes in unflinching precise detail, resulting in a representation that embodies ‘something I deeply wanted to say about life around us today’ (Duane Hanson, quoted in Martin Bush, Sculptures by Duane Hanson, Wichita, 1985, p. 31.)

‘In the turmoil of everyday life, we too seldom become aware of one another. In the quiet moments in which you observe my work, maybe you will recognise the universality of all people.’ Duane Hanson

His experimentations with hyper-realism were born amongst the growing world of Pop Art in America, encouraged by the likes of Jasper Johns and George Segal’s crude plaster casts of living models in domestic scenes conversion of high-art from Abstract Expressionism to a reflection of the everyday. Signifcantly infuenced by those around him, Hanson subsequently also guided the development of fgurative art himself. Jef Koons, Pink Panther, 1988, made one year afer the present example, shares the same kitsch quality of small-town Americana, the same plastic surface quality and sheen. Yet Koons creates an idealised fgure in stark contrast to Hanson’s real and self-conscious portrayal of youth. Hanson was part of the same generation of American artist’s such as Robert Gober whose domestic considerations can be understood in Hanson’s importance of the everyday, and John de Andrea’s who implemented the same modelling technique to produce his own nude fgures. In Britain, Hanson had a profoundly evident infuence on the YBA artist’s such as Jake & Dinos Chapman.

Jef Koons, Pink Panther, 1988. Porcelain, Museum of Modern Art, New York. © Jef Koons, 2020. Image Scala, Florence.

Throughout his impressive oeuvre and wonderfully captured in Surfer, 1987, Hanson holds up a mirror to society, making as appreciate and elevate the notion of the everyday, as beautifully summarised by the critic Thomas Buchsteiner: ‘For Duane Hanson, art was life, and life was realistic.’ (Thomas Buchsteiner, ‘Art is Life and Life is Realistic’ in Thomas Buchsteiner and Otto Letze, eds., Duane Hanson: More than Reality, Stuttgart, 2001, p. 77).

Double Trouble When Andy Warhol was once questioned about the artistic method behind his Flowers, it has been said that he responded, ‘I don’t know. Ask Elaine’ (Sturtevant, in Bill Arning, ‘Sturtevant’, Journal of Contemporary Art, no. 2, Fall/Winter 1989, p. 44). Indeed, shortly afer Warhol took the art world by storm with his dazzling silkscreen paintings of hibiscus flowers, (Elaine) Sturtevant conceived her own radical response to the Pop master’s new body of work: using a 22 x 22 inch silkscreen that Warhol had lent her, Sturtevant created her seminal body of work Warhol Flowers, of which other examples reside in such institutions as The Art Institute of Chicago. Executed in 1965 and 1969, respectively, the two present examples are situated at the dawn of Sturtevant’s radical conceptual practice that would see her use some of the most iconic artworks of her generation as a source and catalyst to explore notions of originality, authorship and authenticity. Sturtevant’s Warhol Flowers are the result of a masterful loop of repetition, one in which the artist pushed Warhol’s very own artistic investigations into new conceptual pastures. Warhol had, indeed, taken as his source for a photograph by Patricia Caulfed that was published in the June 1964 Modern Photography, cropping the rectangular image of seven fowers to a square containing only four

‘Same is a copy but it’s not the same.’ Sturtevant

blossoms. As Peter Eleey noted, ‘In Sturtevant’s hands, Warhol’s image draws greater attention to the limits, edges, and qualities of his authorship, already stressed by the appropriated and delegated aspects of his screenprint paintings’ manufacture…while pointing back further to the woman whose image had passed from her own camera, through Kodak’s advertising agency, to a magazine, and then to a high-contrast crop at Warhol’s Factory, before moving to his screen maker, and fnally on to Sturtevant’ (Peter Eleey,Sturtevant, Double Trouble, exh. cat., Museum of Modern Art, 2014, p. 49). While engaging in strategies of appropriation, Sturtevant notably goes beyond merely questioning the discourse of original and copy. It is telling that rather than revisiting the masterpieces of the distant past, Sturtevant turned to the ‘masterpieces’ in the making around her. Her frst ever solo exhibition, at the Bianchini Gallery in New York in 1965, presented a tongue-in-cheek installation that effectively put the art world’s latest fashions on display. Merely a year afer the debut of Warhol’s Flowers at Leo Castelli Gallery, Sturtevant lined the gallery walls with her own Warhol look-a-likes – here juxtaposed with a white sculpture resembling a work by George Segal shown pulling a garment rack laden with paintings evocative of works by the likes of Jasper Johns, Arman, Claes Oldenburg and Frank Stella.

In doing so, Sturtevant efectively exposed the political, economic and cultural circumstances that underpins art’s creation, circulation, consumption and canonization. For Sturtevant, the 1960s represented ‘the big bang of pop art. But pop only dealt with the surface, I started asking questions about what lay beneath the surface. What is the understructure of art? What is the silent power of art?’ (Sturtevant, quoted in conversation with Peter Halley, Index Magazine, 2005, online). While works such as the present ones at frst glance appear as ‘perfect copies’, they are best understood as studies that expose broader systems of value within the art world. ‘By faking faking,’ Peter Eley has argued, ‘she showed that she was not a copyist, plagiarist, parodist, forger, or imitator, but was rather a kind of actionist, who adopted style as her medium in order to investigate aspects of art’s making, circulation, consumption, and canonization’ (Peter Eleey, Sturtevant: Double Trouble, exh. cat., The Museum of Modern Art, New York, 2014, p. 50). Since her passing in 2014, Sturtevant has received the critical attention she was denied for much of the late 20th century. Afer receiving the Golden Lion Lifetime Achievement award at the 2011 Venice Biennale, her work was celebrated in her frst comprehensive survey in the United States since 1973 beginning at The Museum of Modern Art, New York in 2014.

124. Sturtevant

1926-2014

Warhol Flowers signed, inscribed and titled ‘study for warhol fowers sturtevant’ on the reverse synthetic polymer and silkscreen ink on canvas 55.9 x 56.2 cm (22 x 22 1/8 in.) Executed in 1969. Estimate £125,000-180,000 $163,000-234,000 €147,000-211,000 ‡

Provenance Private Collection (acquired directly from the artist circa 1980) Christie’s, New York, 16 November 2018, lot 823 Acquired at the above sale by the present owner Literature Lena Maculan, ed., Sturtevant: Catalogue Raisonné 1964-2004, Ostfldern-Ruit, 2004, no. 79, pp. 61, 64 (illustrated)

plus Buyers Premium and VAT*

125. Sturtevant

1926-2014

Warhol Flowers signed, inscribed and titled ‘study for warhol fowers sturtevant’ on the reverse synthetic polymer and silkscreen ink on canvas 56.2 x 56.2 cm (221/8 x 221/8 in.) Executed in 1965. Estimate £125,000-180,000 $163,000-234,000 €147,000-211,000 ‡ plus Buyers Premium and VAT*

Provenance Private Collection (acquired directly from the artist circa 1980) Christie’s, New York, 16 November 2018, lot 825 Acquired at the above sale by the present owner Exhibited Lena Maculan, ed., Sturtevant: Catalogue Raisonné 1964-2004, Ostfldern-Ruit, 2004, no. 72, pp. 61, 64 (illustrated)

126. David Salle

b. 1952

How did we get there? signed, titled and dated ‘“HOW DID WE GET HERE?” David Salle 2010’ on the reverse oil on canvas 165.3 x 244.5 cm (651/8 x 961/4 in.) Painted in 2010. Estimate £125,000-180,000 $163,000-234,000 €147,000-211,000 plus Buyers Premium and VAT*

Provenance Private Collection, Belgium (acquired directly from the artist) Maruani Mercier, Brussels Acquired from the above by the present owner

‘Ever since I started painting, I have tried to get the fuidity and surprise of image connection, the simultaneity of flm montage, into painting.’ David Salle

127. Oscar Murillo

b. 1986

Yuka oil stick, plastic sheeting, tape, gravel and staples on stitched canvas and linen 225 x 174.8 cm (88 5/8 x 68 7/8 in.) Executed in 2012. Estimate £150,000-200,000 $195,000-260,000 €176,000-235,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Isabella Bortolozzi, Berlin Acquired from the above by the present owner

‘Te content of my work is social investigation and collaborative. It has been embedded in social discourse for as long as I can remember.’ Oscar Murillo

128. Joe Bradley

b. 1975

Frank signed, titled and dated ‘Joe Bradley 2010 FRANK’ on the overlap oil stick, spray paint, paper collage and mixed media on canvas 250 x 183.2 cm (98 3/8 x 72 1/8 in.) Executed in 2010.

Provenance Peres Projects, Berlin Acquired from the above by the present owner Exhibited Berlin, Peres Projects, Joe Bradley: FREEKS, 8 October - 5 November 2010 Literature Joe Bradley, exh. cat., Albright-Knox Art Gallery, New York, 2017, fg. 4, p. 19 (illustrated)

Estimate £70,000-90,000 $91,100-117,000 €82,200-106,000 plus Buyers Premium and VAT*

129. KAWS

b. 1974

130. Alex Israel

b. 1982

PEEK

Untitled (Flat)

signed and dated ‘KAWS.. 10’ on the reverse acrylic on canvas 122.3 x 30.9 cm (48 1/8 x 12 1/8 in.) Painted in 2010.

signed, stamped with the Warner Bros. Studio, Burbank, CA. stamp and dated ‘Alex Israel ‘13’ on the reverse acrylic on stucco and ceramic tiles on aluminium frame 244.1 x 152.3 x 8.4 cm (96 1/8 x 59 7/8 x 3 1/4 in.) Executed in 2013.

Estimate £70,000-90,000 $91,100-117,000 €82,200-106,000 plus Buyers Premium and VAT*

Provenance Galerie Perrotin, Paris Acquired from the above by the present owner Exhibited Paris, Galerie Perrotin, KAWS: Pay the Debt to Nature, 6 November - 23 December 2010

Estimate £60,000-80,000 $78,100-104,000 €70,400-93,900 ‡ plus Buyers Premium and VAT*

Provenance Almine Rech Gallery, Paris Acquired from the above by the present owner Exhibited Dijon, Consortium Museum, Alex Israel, 4 July - 29 September 2013

131. Kara Walker

b. 1969

Untitled signed ‘Kara Walker’ on the reverse spray paint on vellum 48.5 x 62 cm (19 1/8 x 24 3/8 in.) Executed in 2015.

Provenance Victoria Miro, London Acquired from the above by the present owner Exhibited London, Victoria Miro Gallery, Kara Walker: Norma, 13 November 2015 - 16 January 2016, p. 124 (illustrated, pp. 122-123)

Estimate £20,000-30,000 $26,000-39,100 €23,500-35,200 ‡ plus Buyers Premium and VAT*

132. Kara Walker

b. 1969

Untitled signed ‘Kara Walker’ on the reverse spray paint on vellum 47.4 x 61.4 cm (18 5/8 x 24 1/8 in.) Executed in 2015. Estimate £20,000-30,000 $26,000-39,100 €23,500-35,200 ‡ plus Buyers Premium and VAT*

Provenance Victoria Miro, London Acquired from the above by the present owner Exhibited London, Victoria Miro, Kara Walker: Norma, 13 November 2015 - 16 January 2016, pp. 122-124 (illustrated, pp. 122-123)

133. William Kentridge

b. 1955

Untitled (drawing for Refusal of Time, man and megaphone) signed ‘KENTRIDGE’ lower right oil stick, charcoal, coloured pencil and poster paint on card 152 x 134 cm (59 7/8 x 52 3/4 in.) Executed in 2011.

Provenance Gifed by the artist to the present owner Exhibited Paris, Le Laboratoire, The Refusal of Time – Prologue / La negation du temps – prologue, 25 March - 26 June 2011

Estimate £80,000-120,000 $104,000-156,000 €93,900-141,000 plus Buyers Premium and VAT*

‘So if you’re an artist, you can work with music, with theatre, with performance, with poetry, with dance and still preserve your heart as a visual artist.’ William Kentridge

134. William Kentridge

b. 1955

Soho Headquarters signed ‘KENTRIDGE ‘91’ lower lef charcoal and pastel on paper 120.7 x 149.8 cm (47 1/2 x 58 7/8 in.) Executed in 1991. Estimate £80,000-120,000 $104,000-156,000 €93,900-141,000

Provenance Goodman Gallery, Johannesburg Acquired from the above by the present owner Exhibited Johannesburg, Goodman Gallery, Willliam Kentridge: Drawings for Projection, 1991 (illustrated, p. 20) Johannesburg and Cape Town, Goodman Gallery, Goodman Gallery at 50 - New Revolutions, 2016 - 2017

plus Buyers Premium and VAT*

‘Drawing is the starting point for the project. It’s a way of thinking in materia.’ William Kentridge

A Vision in Red Property from a Private Swiss Collection

136. Louise Bourgeois

1911-2010

Spiral signed with the artist’s initials ‘LB’ lower right gouache on paper 45.7 x 59.7 cm (17 7/8 x 23 1/2 in.) Executed in 2010. Estimate £60,000-80,000 $78,100-104,000 €70,400-93,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Louise Bourgeois Trust (acquired directly from the artist) Cheim & Read, New York Acquired from the above by the present owner Literature Olbrist, Hans Ulrich, Lives of the Artists, Lives of the Architects, London, 2015, p. 245 (illustrated)

Lot 135

A Vision in Red Property from a Private Swiss Collection

135. Louise Bourgeois

1911-2010

Untitled embroidered with the artist’s initials ‘LB’ lower right ink on fabric and fabric collage 39.4 x 39.7 cm (15 1/2 x 15 5/8 in.) Executed in 2006. Estimate £70,000-90,000 $91,100-117,000 €82,200-106,000 ‡ ♠

Provenance Louise Bourgeois Trust (acquired directly from the artist) Cheim & Read, New York Acquired from the above by the present owner Exhibited Venice, Fondazione Vedova; London, Hauser & Wirth; New York, Cheim & Read, Louise Bourgeois:The Fabric Works, 6 May 2010 - 25 June 2011, no. 221, p.313 (illustrated, p. 239)

plus Buyers Premium and VAT, ARR applies*

Lot 136

For over 80 years, Louise Bourgeois probed the psychological depths of her own lived experience to create art that was as radical as it was deeply personal. Exploring themes of domesticity, sexuality, and mortality, Bourgeois approached art making as a therapeutic process to confront her own troubled childhood memories. Executed in 2010, the year of Bourgeois’s passing, Spiral is an exquisite gouache that speaks to the artist’s over six decade-long exploration of the symbolic form of the spiral. ‘The spiral is important to me,’ she once stated. ‘As a child, afer washing tapestries in the river, I would turn and twist and ring them…The spiral – I love the Spiral – represents control and freedom’ (Louise Bourgeois, quoted in Paul Gardner, Louise Bourgeois, New York, 1994, p. 68). Bourgeois here saturates the sheet in her favoured colour of red, employed

to represent the extremes of the human condition and heighten the symbolism of the cycle of life that the spiral alludes to. In the last decade of Bourgeois’s life, her so-called fabric “drawings” became a central focus of her practice. In Untitled, 2006, Bourgeois has assembled the form of a spiral by cutting up and re-stitching fabrics found in her own personal collection of old clothes and household items such as tablecloths, napkins or bed linen accrued over deacdes. For Bourgeois, who grew up helping in her parent’s tapestry restoration workshop, fabric and the act of sewing held immense personal signifcance: ‘I always had the fear of being separated and abandoned. The sewing is my attempt to keep things together and make things whole’ (Louise Bourgeois, quoted in Louise Bourgeois: Aller-Retour: Zeichnungen und Skulpturen, Nuremberg, 2005, p. 201).

A Vision in Red Property from a Private Swiss Collection

137. Ghada Amer

b. 1963

In Red and pale-RFGA signed, titled, inscribed and dated ‘Ghada Amer RFGA 2013 RFGA Red (SB)’ on the overlap; further titled and inscribed ‘RFGA Red (SB) IN RED AND PALE RFGA’ on the stretcher bar; further signed, titled and dated ‘Ghada Amer RFGA 2013’ on the lower right turnover edge

acrylic, cotton thread and gel on canvas 94 x 106.7 cm (37 x 42 in.) Executed in 2013. Estimate £30,000-40,000 $39,100-52,100 €35,200-46,900 ‡ plus Buyers Premium and VAT*

Provenance Kukje Gallery, Seoul Acquired from the above by the present owner

A Vision in Red Property from a Private Swiss Collection

138. Halim Al Karim

b. 1963

Untitled 1 (from the King’s Harem series) signed, titled, numbered and dated ‘untitled 1 from King Harem series Halim Al Karim 2008 3/3 / 3+2 APs HA.’ on a label afxed to the reverse Lambda print mounted on board 223.1 x 99 cm (87 7/8 x 38 7/8 in.) Executed in 2008, this work is from an edition of 3 plus 2 artist’s proofs. Estimate £8,000-12,000 $10,400-15,600 €9,400-14,100 ‡ plus Buyers Premium and VAT*

Provenance Side by Side Gallery, Berlin Acquired from the above by the present owner Exhibited Tokyo, Mori Art Museum, Arab Express: The Latest Art from the Arab World, 16 June - 28 October 2012, pp. 120-121 (another example illustrated) Berlin, Side by Side Gallery Akim Monet Gmbh, Dance of the Seven Veils, 20 September 14 December 2013 (another example exhibited) Literature Hossein Amirsadeghi, ed., New Vision: Arab Contemporary Art in the 21st Century, London, 2009, p. 183 (another example illustrated; further illustrated on the cover)

A Vision in Red Property from a Private Swiss Collection

139. Subodh Gupta

b. 1964

Bucket stainless steel bucket and utensils 59 x 52 x 36 cm (23 1/4 x 20 1/2 x 14 1/8 in.) Executed in 2007, this work is number 1 from an edition of 9.

Provenance Private Collection Acquired from the above by the present owner Exhibited New York, Jack Shainman Gallery, Subodh Gupta: Ghandi’s Three Monkeys, 13 March - 12 April 2008, pp. 108, 305 (another example exhibited and illustrated, p. 109)

Estimate £40,000-60,000 $52,100-78,100 €46,900-70,400 ‡ plus Buyers Premium and VAT*

141. Manolo Valdés

b. 1942

Romy signed, titled and dated ‘MVALDES Romy 2009’ on the reverse oil, collaged burlap and thread on burlap 228.6 x 188 cm (90 x 74 in.) Executed in 2009. Estimate £150,000-250,000 $195,000-325,000 €176,000-293,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Marlborough Gallery, New York Acquired from the above by the present owner

‘Paintings and art and creation never come from nothing; they come from other artists and bits and pieces of other works.’ Manolo Valdés

142. Manolo Valdés

b. 1942

Black Tulips signed, titled and dated ‘MVALDES Black Tulips 2008’ on the reverse oil on burlap 240 x 205 cm (94 1/2 x 80 3/4 in.) Painted in 2008. Estimate £150,000-250,000 $195,000-325,000 €176,000-293,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Marlborough Gallery, New York Acquired from the above by the present owner

‘Still lifes with fowers were commercially viable, as their subject matter was immediately recognizable. People were fascinated by these works they had great visibility and we were interested exactly in this widespread commercialization of cultural products.’ Manolo Valdés

143. Cai Guo-Qiang

b. 1957

Impression of Stage signed, titled, inscribed and dated ‘Impressions of stage - 2 San Gimignano. Italy 2006. Cai Guo-Qiang’ lower right gunpowder and ink on paper 125 x 98 cm (49 1/4 x 38 5/8 in.) Executed in 2006. Estimate £40,000-60,000 $52,100-78,100 €46,900-70,400 ‡ plus Buyers Premium and VAT*

Provenance Gallery Continua, San Gimignano Acquired from the above by the present owner

144. Ai Weiwei

b. 1957

GRAPES 32 stools from the Qing Dynasty 191 x 184 x 151 cm (75 1/4 x 72 1/2 x 59 1/2 in.) Executed in 2010-11. Estimate £180,000-250,000 $234,000-325,000 €211,000-293,000 ‡ Ж plus Buyers Premium and VAT*

Provenance Mary Boone Gallery, New York Private Collection Sotheby’s, London, 15 October 2015, lot 14 Acquired at the above sale by the present owner Exhibited Jersulalem, Israel Museum, on loan to the collection, 2011 - 15

Property from a Private Collection, Europe

145. Allen Jones

b. 1937

Red Refrigerator painted fberglass, shot blasted gold-plated metal, leather, rosewood-veneered wood, refrigerator components 187 x 84 x 40 cm (73 5/8 x 33 1/8 x 15 3/4 in.) Executed in 2002, this work is a prototype for an edition in green of 6 plus 2 artist’s proofs. Produced by The Gallery Mourmans, the Netherlands.

Estimate £200,000-300,000 $260,000-391,000 €235,000-352,000 plus Buyers Premium and VAT*

Provenance The Gallery Mourmans, Maastricht Private Collection, Belgium Exhibited London, Royal Academy of Arts, Allen Jones RA, 13 November 2014 - 25 January 2015, no. 67, p. 110 (another colour variant exhibited and illustrated, p. 111)

Literature Andrew Lambirth, Allen Jones: Works, London, 2005, p. 37 (another colour variant illustrated, pp. 37-38) Allen Jones: Women and Men, DVD, Directed by Jake Auerbach, Jake Auerbach Films, 2007, front cover (another colour variant illustrated) Allen Jones— Of the Wall, exh. cat., Kunsthalle Tübingen, 2012, pp. 190, 233 (another colour variant illustrated, p. 191)

In modern art, the decade of the 1960s saw an unprecedented degree of experiment in sculpture, from Ed Kienholz and George Segal to Allen Jones and Al Hansen. Modern methods and materials extended the possibilities of what sculpture could be. Allen Jones’ furniture sculptures helped pave the ways for a new generation of artists, from Jef Koons to Sarah Lucas. In 1965 Allen Jones and the artist Peter Phillips made a road trip around the continental United States. In Reno Nevada the aesthetic jolt of confronting life size efgies of showgirls as slot machines remained, for Jones, a tantalising example of how our expectations of a sculpture can be subverted by function. The furniture sculptures resulted from this experience. By proposing a function Allen Jones questioned the boundaries of what sculpture could be. The artist has now taken his idea to its logical conclusion. Refrigerator insists that the viewer interact with the sculpture - if they wish to get anything out of it. We would like to thank Allen Jones for his kind help with the cataloguing for this work.

The Collection of

Robert Tibbles Young British Artists & More

Robert Tibbles is a collector in the truest sense. Having found his niche in the late 1980s, when London was bustling with a novel, brash artistic energy that readily met the increasing momentum of his own industry – fnance – he became one of the frst to promote and purchase the work of a then loud, yet marginal, artistic movement: the Young British Artists (YBAs). Deeply enamoured with art from his frst encounter with it in 1988, he quickly amassed a dozen works, and then more, constituting a collection of topical, charismatic, and intimate pieces spanning painting, sculpture, photography and video. The art collection he built over two decades remained with him to this day, predominantly in the comfort of his London home, and is now being entrusted to Phillips, London, across particularly crafed sales. ‘There are lots of diferent types of collectors’, Robert confessed. ‘I’ve never been one to put works straight into storage’. Instead, he placed a monumental Spot Painting by Damien Hirst above his freplace, a brash dual portrait of Gilbert & George, along with two paintings by Sarah Morris spelling out ‘GIRLS’ and ‘FUCK’ in his dining room, and a poetic Julian Opie composition, portraying a road cut off by a large expanse of azure sky, just above his bed. Each work from Robert Tibbles’ artful aggregation is tied to the other in a shared story of passion, foresightedness and wit. It is important to mention the spiritedness of Robert’s collection as each work carries tremendous individual charisma; a spark that refects his own. The frst major work he purchased was Damien Hirst’s Bodies, 1989, brought to his attention by the art dealer Karsten Schubert in the year of its creation. Aquiring the work for £600, he was the frst collector, alongside Charles Saatchi, to buy a work by Damien Hirst. Indeed, while Hirst was still a student at the Goldsmiths College of Art, London, Robert was immediately taken by his work; he envisioned a likeness between his gesture and that of Duchamp years before him, similarly elevating an ordinary object to the realm of fne art. Hirst himself has fond memories of the banker. ‘I remember Robert very well,

he was so excited by the art’, he said. ‘It was in the days when I installed my own work in people’s houses, so I went round and met him and he made me tea’. Further highlighting the integrity of Robert’s collection, the artist mused, ‘Robert is a proper collector and I’m really touched he kept and lived with my work for all those years’. Through the initial and seminal purchase of Bodies, Robert continued buying more works by the artist, and became increasingly close to Schubert, who subsequently introduced him to Hirst’s mentor – the Irish-born, U.S.A-educated artist Michael Craig-Martin. Robert’s particular relationship with Michael Craig-Martin, cultivated over the years, ushered new possibilities for his vision as a collector. He formed a friendship with him early on in his collecting years, and valued his advice as a friend and artist throughout his collecting journey. One of his most exciting purchases was the commissioned Narrative Painting from 1993-94; a composition that followed CraigMartin’s solo show in Paris’ Centre Pompidou in 1993, where he had painted the walls of each room a different colour, and placed one image on each wall. For Robert, Craig-Martin produced a canvas with a large expanse of pink to symbolise one wall, and an eighth of yellow to symbolise its tangent. ‘He then included a book because he always said, “If you want to be a really serious Contemporary Art collector, Robert, you cannot have curtains or books in one room”. And then he included the back of a canvas to show I am a collector’. Themes that consume artists at the time of creation – including life, death, freedom, irreverence and identity politics – seem to consume Robert in turn, and run consistently throughout the collection he built. The Robert Tibbles Collection: Young British Artists & More thus forms a coherent, wholly fascinating narrative; one that tells Robert Tibbles’ singular story, and the visionary verve with which he approached art over the course of three decades.

The Collection of

Robert Tibbles Young British Artists & More

â&#x20AC;&#x2DC;I have to be realistic and say that being a collector is part of who I am. It brings me so much pleasure. I bought and put together all these works, in a very slow but very careful way, and they only got better with time.â&#x20AC;&#x2122; Robert Tibbles

The Collection of

Robert Tibbles Young British Artists & More

146. Grayson Perry

b. 1960

Pope stamped with the pope’s monogram on the inside of the lid glazed earthenware 27.6 x 17.3 x 18.3 cm (10 7/8 x 6 3/4 x 7 1/4 in.) Estimate £20,000-30,000 $26,000-39,100 €23,500-35,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Birch & Conran, London Acquired from the above by the present owner circa 1993-1994

Alternative view of present lot.

The Collection of

Robert Tibbles Young British Artists & More

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147. Damien Hirst

b. 1965

I’m So Tired signed on the reverse pills and eggshell paint on canvas 122 x 122 cm (48 x 48 in.) Executed in 1990. Estimate £80,000-120,000 $104,000-156,000 €93,900-141,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Gifed by the artist to the present owner

‘Tere’s a balance I was after between a certain amount of this and a certain amount of that, like an alchemist.’ Damien Hirst

I’m So Tired forms part of a seminal four-part series of ‘Pill Paintings’ executed by Damien Hirst in 1990, each comprised of pharmaceutical pills pushed through the reverse of a canvas. The resulting protrusions disrupt the pure cream painted surface. This cycle of works serves as a synthesis of two of the artist’s most important achievements: the ‘Spot Paintings’ and ‘Medicine Cabinets’, uniting the ordered and painterly qualities of the former with the physical media of the latter. The title I’m So Tired – as with all works in the series – was borrowed from a song by the Beatles, where the lyrics allude to the infuence of drugs. This choice further links the work to Bodies (1989) and the ‘Medicine Cabinets’ which were named afer Sex Pistols songs. On the theme of medicine, the Artist wrote “All Pharmaceutical drugs exist in the space between birth and death. The drugs are meant to keep you alive.” (Damien Hirst & Gordon Burn, I want to spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now, London 1997, p. 225), the pills incorporated into I’m So Tired appear suspended between the recto and verso of the piece and are exemplary of the Hirst’s opinion of the place Pharmaceuticals occupy in society.

The Collection of

Robert Tibbles Young British Artists & More

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148. Damien Hirst

b. 1965

AIDS signed and inscribed ‘Mathew Damien Hirst’ on the reverse; further signed ‘Damien Hirst’ on a poem printed on paper afxed to the reverse fies and resin on canvas, in artist’s frame overall 164.6 x 128.8 cm (64 3/4 x 50 3/4 in.) Executed in 2003. Estimate £80,000-120,000 $104,000-156,000 €93,900-141,000 ♠

Provenance White Cube, London Acquired from the above by the present owner Exhibited London, White Cube, Damien Hirst: Romance in the Age of Uncertainty, 10 September - 19 October 2003, pp. 26-27, 142 (illustrated, p. 26) Naples, Museo Archeologico Nazionale, Damien Hirst. The Agony and the Ecstasy: Selected Works from 1989-2004, 31 October 2004 - 31 January 2005, pp. 87-89, 254 (illustrated, pp. 87-89)

plus Buyers Premium and VAT, ARR applies*

‘You trick the viewer into thinking that you’re telling them something, but you’re revealing something that they already have. It’s like magic.’ Damien Hirst

AIDS is a powerful continuation and exploration of one of Hirst’s most significant preoccupations, the theme of Death and decay. Consciously rendered in proportions identical to Hirst’s seminal ‘Medicine Cabinets’ selected for the artist’s degree show in 1989, the work is comprised of thousands of black fies afxed to the surface of a canvas in a dense monochromatic blanket. AIDS belongs to a series of thirteen ‘Fly Paintings’ created for Hirst’s 2003 exhibition at White Cube: Romance in the Age of Uncertainty. Each canvas is titled afer deadly diseases such as Smallpox, Leukaemia and Meningitis. The Fly Paintings’ medium directly references Hirst’s 1990 masterpiece A Thousand Years; which displays a cyclical representation of life and death through the glass vitrine containing a rotting cow’s head being slowly devoured a swarm of live fies, which in turn are dying one by one as a result of the Insect-O-Cutor and whose bodies litter the foor. Through the series incorporating AIDS, Hirst challenges the traditional notion of painting by utilising the powerful motif of the Fly and all of the meaning it conjures, as the sole medium for the painting.

The Collection of

Robert Tibbles Young British Artists & More

149. Julian Opie

b. 1958

Imagine you are driving. 4. signed ‘Julian Opie’ on the stretcher vinyl on aluminium stretcher, in artist’s frame 240.4 x 336.8 cm (94 5/8 x 132 5/8 in.) Executed in 1997. Estimate £20,000-30,000 $26,000-39,100 €23,500-35,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Lisson Gallery, London Acquired from the above by the present owner

‘What I would really like to do is make a painting and then walk into it.’ Julian Opie

Belonging to a series of fve paintings, Imagine that you are driving.4. presents an empty expanse of road disappearing into the distance. Based on photographs taken during an inspiring trip Julian Opie took across Europe in 1993, the work is an exquisite digital alteration of a rural landscape pushing the boundaries of traditional artistic practice. A cartoonish image reminiscing of the symbolic landscape of computer driving games and children books, Opie encourages the viewers to embark on an endless and hypnotic journey into a stylised representation of the world, emptied of human presence. Graduated from Goldsmiths in 1982 and burst onto a pre-Young British Artists art scene in London, the artist was one of the most infuential fgures for the now well-known group of artists. Though only few years ahead of the YBAs, Julian Opie instilled confdence in the youngest artists to become part of the artistic fabric and engage actively with the art community.

The Collection of

Robert Tibbles Young British Artists & More

150. Sam Taylor-Johnson

b. 1967

Pietà flm/DVD, duration: 1 minute 57 seconds installation dimensions variable Executed in 2001, this work is number 2 from an edition of 3 and is accompanied by a certifcate of authenticity, published by White Cube, London. Estimate £20,000-30,000 $26,000-39,100 €23,500-35,200 ♠ plus Buyers Premium and VAT, ARR applies*

Exhibited New York, Matthew Marks Gallery, Sam Taylor-Wood: The Passion, 21 September - 2 November 2002 (another example exhibited) London, White Cube, Sam Taylor-Johnson: Mute, 23 November 2001 - 12 January 2002 (another example exhibited) Contemporary Arts Museum Houston, Sam Taylor-Wood, 2 August - 5 October 2008 (another example exhibited) Literature Sam Taylor-Wood, exh. cat., Hayward Gallery, London, 2002, n.p. (another example illustrated)

Provenance White Cube, London Acquired from the above by the present owner

With profound humanity and an essential cinematic rendering, Pietà presents the artist Sam Taylor-Johnson cradling the Hollywood actor Robert Downey Jr. in her lap with splayed legs and open arms. Referring to Michelangelo’s Pietà in St Peter’s Basilica – an iconic sculpture portraying the Madonna revealing the body of a supine Christ following Crucifxion – this scene alludes to essential themes of life and death, as well as the relationship between a mother and her son. Notably, it was created at a time when Taylor-Johnson was battling cancer, and Robert Downey Jr. was recovering from addiction issues. The artist’s portrayal of human sufering is thus heightened by the hard-hitting reality of their respective health states; and the physical support Taylor-Johnson provides to Downey takes on an added layer of symbolism, truly embodying the mutual sense of care and benevolence they shared for one another. In the flm, there is no scant movement and no sound, aside from Robert Downey Jr.’s heavy breathing. The viewer is thus left with a quasi-photographic shot, which only so slightly moves upon careful and sustained inspection. Filmed for just under two minutes – the time that Taylor-Johnson could hold Downey’s weight over her legs and open arms – the work exudes a powerful sense of gravitas and spirituality, that brings the viewer back to Michelangelo’s numinous vision.

Sam Taylor-Johnson and Robert Downey Jr. at the private view of Sam Taylor-Johnson’s Yes I No, White Cube, London, 23 October 2008. Image: Dave M. Benett/Getty Images.

The Collection of

Robert Tibbles Young British Artists & More

151. Mat Collishaw

b. 1966

Two works: (i) Antonius, a horse belonging to his grace the Duke of Grafon; (ii) The Marquess of Rockingham’s scrub with John Singleton Up each glass, photocopy, light, light ftting and steel each 20.5 x 23 cm (8 1/8 x 9 in.) Executed in 1990.

Estimate £3,000-4,000 $3,900-5,200 €3,500-4,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Karsten Schubert, London Acquired from the above by the present owner circa 1990

‘Art is the modern religion, isn’t it? Tat’s what you get from galleries – I don’t think there’s another place apart from a church where you’re allowed to meditate about your place on earth, and think about questions deep and frivolous.’ Mat Collishaw

The Collection of

Robert Tibbles Young British Artists & More

152. Simon Patterson

1967

The Great Bear signed, numbered and dated ‘Simon Patterson 1992 A/P’ lower right lithograph, in artist’s frame 108.8 x 134.2 cm (42 7/8 x 52 7/8 in.) Executed in 1992, this work is artist’s proof 1 from an edition of 50 plus 10 artist’s proofs. Estimate £18,000-22,000 $23,400-28,600 €21,100-25,800 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner Exhibited London, Tate Gallery, The Turner Prize 1996, 29 October 1996 - 12 January 1997, pp. 10-11, 13 (illustrated, p. 13) London, Royal Academy of Arts, Sensation: Young British Artists from the Saatchi Collection, 18 September - 28 December 1997, pp. 143, 204, 216 (another example exhibited and illustrated, p. 143)

Helsinki City Art Museum; Stockholm, Royal Academy of Free Arts; Kyiv, Soros Foundation; Warsaw, Zacheta Gallery; Chemnitz, Städtische Kunstsammlungen; Prague, Museum of Modern Art; Zagreb Union of Croatian Artists; Darmstadt, Institute Mathildenhoe;Vilnius, Centre of Contemporary Art; Budapest, Museum of Modern Art; Bratislava, Slovak National Gallery; Bucharest, National Theatre Galleries, Dimensions Variable, New Works for the British Council Collection, 4 November 1997 - 10 December 1999 , pp. 48-49 (another example exhibited and illustrated, p. 49) London, Alan Cristea Gallery, Signature Pieces: Contemporary British Prints and Multiples, 5 January - 6 February 1999, pp. 28-29, 46 (another example illustrated, p. 46) Slovakia, Kosice, Kunsthalle, British Express, 14 November 2013 - 26 January 2014 (another example exhibited) New York, Benrimon Contemporary, Simon Patterson: Anthology, 6 November - 18 December 2010 (another example exhibited) Leyton Library, Simon Patterson, 24 April - 31 August 2019 (another example exhibited)

Literature Richard Cork and Dick Price Kent, Young British Art: The Saatchi Decade, London, 1999, p. 123 (another example illustrated) Simmons & Simmons, Made in London, Southampton, 2002, pl. 18, pp. 47, 63 (another example illustrated, p. 47) Patricia Bickers, ed., Simon Patterson, London, 2002, n.p. (another example illustrated) Pamela K. Gilbert, Imagined Londons, New York, 2002, pp. 114-116 (another example exhibited, p. 115) The Saatchi Gallery, 100 The Work That Changed British Art, London, 2003, no. 56, pp. 118 - 119 and 210 (another example illustrated, p. 119) David Carrier, A World Art History And Its Objects, Pennsylvania, 2008, pp. 62-63 (another example illustrated, p. 62) Claire Dobbin, London Underground Maps: Art, Design and Cartography, London, 2012, pp.114, 115 (another example illustrated, p. 114)

The Collection of

Robert Tibbles Young British Artists & More

153. Simon Patterson

1967

Rodrigo Borgia, Lucrezia Borgia, Cesare Borgia silkscreen monoprint on acrylic gesso on canvas, in 3 parts each 182.5 x 136.8 cm (71 7/8 x 53 7/8 in.) Executed in 1988. Estimate £3,000-5,000 $3,900-6,500 €3,500-5,900 ♠ plus Buyers Premium and VAT, ARR applies*

‘Making a pair of paintings in 1987 of the names Richard Burton and Elizabeth Taylor. It hung in the college bar, and felt like my frst proper artwork. Exhibiting with Damien Hirst in the Freeze show in 1988 led to my frst solo show.’ Simon Patterson

Provenance Lisson Gallery, London Acquired from the above by the present owner

The Collection of

Robert Tibbles Young British Artists & More

154. Bob Law

1934-2004

Untitled, 7.4. 87 signed and dated ‘BOB LAW 7.4.87’ on the reverse watercolour on paper 57.5 x 76 cm (22 5/8 x 29 7/8 in.) Executed in 1987.

Estimate £6,000-8,000 $7,800-10,400 €7,000-9,400 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Karsten Schubert, London Acquired from the above by the present owner

The Collection of

Robert Tibbles Young British Artists & More

155. Ian Davenport

b. 1966

Untitled

Provenance Waddington Galleries, London Acquired from the above by the present owner

oil on canvas 213.3 x 213.3 cm (83 7/8 x 83 7/8 in.) Painted in 1988.

Exhibited London, Karsten Schubert, Ian Davenport, 15 November - 7 December 1988

Estimate £8,000-12,000 $10,400-15,600 €9,400-14,100 ♠

Literature Damien Hirst, Martin Filler and Michael Bracewell, eds., Ian Davenport, London, 2014, no. 9, pp. 25, 274 (illustrated, p. 25)

plus Buyers Premium and VAT, ARR applies*

The Collection of

Robert Tibbles Young British Artists & More

156. Michael Craig-Martin

b. 1941

Narrative Painting signed and dated ‘Michael Craig-Martin 1993-4’ on the overlap acrylic on canvas 183.1 x 366.1 cm (72 1/8 x 144 1/8 in.) Painted in 1993-94.

Estimate £30,000-40,000 $39,100-52,100 €35,200-46,900 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner in 1994

‘Michael included a book because he always said, “If you want to be a really serious collector, Robert, you cannot have curtain or books in one room”. And then he included the back of a canvas to show I am a collector.’ Robert Tibbles

The Collection of

Robert Tibbles Young British Artists & More

157. Sarah Morris

b. 1967

Girls signed, titled, dedicated and dated ‘“GIRLS” FOR PAOLO + ROBERT S Morris ‘96’ on the overlap household paint on canvas 102 x 152.5 cm (40 1/8 x 60 in.) Painted in 1996.

Provenance White Cube, London Acquired from the above by the present owner Exhibited Oxford, Museum of Modern Art; Galerie fur Zeitgenossiische Kunst Leipzig; Dijon, Le Consortium, Sarah Morris, 18 April 1998 27 June 1999, no. 19, n.p. (illustrated)

Estimate £6,000-8,000 $7,800-10,400 €7,000-9,400 ♠ plus Buyers Premium and VAT, ARR applies*

The Collection of

Robert Tibbles Young British Artists & More

158. Sarah Morris

b. 1967

Fuck

Estimate £6,000-8,000 $7,800-10,400 €7,000-9,400 ♠ plus Buyers Premium and VAT, ARR applies*

signed, titled, dedicated and dated ‘“FUCK” FOR ROBERT & PAOLO S Morris ‘96’ on the overlap household paint on canvas 102 x 152.6 cm (40 1/8 x 60 1/8 in.) Painted in 1996.

FPO

Provenance White Cube, London Acquired from the above by the present owner

159. Gilbert & George b. 1943 and b. 1942 Hooded signed ‘Gilbert and George’ on the lower right panel; each consecutively numbered ‘1-24’ on a label afxed to the reverse acrylic on c-print, in artist’s frame, in 24 parts each 71.1 x 84.5 cm (27 7/8 x 33 1/4 in.) overall 284 x 507 cm (111 3/4 x 199 5/8 in.) Executed in 2005. Estimate £60,000-80,000 $78,100-104,000 €70,400-93,900 ♠ † plus Buyers Premium and VAT, ARR applies*

Provenance White Cube, London Acquired from the above by the present owner in 2005

Exhibited Venice, 51st Biennale Internazionale dell’Arte, British Pavilion, Gilbert & George: Ginkgo Pictures, 12 June 6 November 2005, no. 4, p. 63 (illustrated, pp. 28-29) London, Tate Modern; Munich, Haus der Kunst; Turin, Castello di Rivoli; San Francisco, de Young Museum; Milwaukee Art Museum; New York, Brooklyn Museum, Gilbert & George: Major Exhibition, 13 February 2007 11 January 2009, no. 185, p. 207 (illustrated, p. 174) Literature Rudi Fuchs, Gilbert & George: The Complete Pictures, 1971 - 2005, Vol. 2, London, 2007, pp. 704, 1162, 1187 (illustrated) Hans Ulrich Obrist and Inigo Philbrick, eds., Gilbert & George: Art Titles 1969 - 2010 in Alphabetical Order, Cologne, 2011, p. 39

‘It has to be aggressive in some way: we are provoking thought. We invented a new way of making pictures for ourselves that can speak very loudly and confrontationally. We are pressing buttons.’ Gilbert & George

SILO TO FRAME EDGE x 24

160. Damien Hirst

b. 1965

Saint Jude, the Apostle glass, painted MDF, aluminium, acrylic, fsh and formaldehyde solution 61.2 x 91.4 x 16.5 cm (24 1/8 x 35 7/8 x 6 1/2 in.) Executed in 2005 - 2006. Estimate £150,000-200,000 $196,000-261,000 €176,000-235,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner

‘Tey all face the same way yet they can’t make contact the way they do in the sea […] in life we’re separated by fesh and bones and you can’t really move beyond that.’ Damien Hirst

161. Anish Kapoor

b. 1954

Fold signed and dated ‘Anish Kapoor 2018’ on the reverse canvas, resin and pigment 60.5 x 43 x 25 cm (23 7/8 x 16 7/8 x 9 7/8 in.) Executed in 2018. Estimate £100,000-150,000 $130,000-195,000 €117,000-176,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance The Artist & Lisson Gallery, London and New York Phillips, New York, Art for One Drop Charity Auction, September 21, 2018, lot 21 (donated by the above) Acquired at the above sale by the present owner

‘I fnd myself wanting to reach out and touch to try to understand, to process what my eyes are seeing. Tat’s what I’m after. Tat sense that the colour is a kind of saturated condition.’ Anish Kapoor

Alternative view

162. Michaël Borremans The Crack oil on panel 25.5 x 25.3 cm (10 x 9 7/8 in.) Painted in 2004.

b. 1963

Estimate £80,000-120,000 $104,000-156,000 €94,100-141,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Zeno X, Antwerp Acquired from the above by the present owner

‘I have always been attracted, even in Michaël’s earliest work, by his ability to condense a great deal of visual information into his paintings and still arouse the viewer’s curiosity. Tere is a lot of space in his work. Tat relates to his relationship with representation— are these paintings representational; are they non-representational; how do you paint something that doesn’t exist? Tat quality of openness is very much part of his attentive process to the act of making something.’ Jefrey Grove

163. Luc Tuymans

b. 1958

Solitude signed and dated ‘Luc Tuymans 1990’ on the reverse oil on canvas 34 x 34 cm (13 3/8 x 13 3/8 in.) Painted in 1990.

Provenance Zeno X Gallery, Antwerp Private Collection Christie’s, New York, 17 May 2007, lot 449 Acquired at the above sale by the present owner Exhibited Antwerp, Zeno X Gallery, Luc Tuymans, Suspended, 29 November 29 - 23 December 1990, p. 15, n.p. (illustrated)

Estimate £180,000-250,000 $234,000-325,000 €211,000-293,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Painted in 1990, Solitude is an evocative early work by Luc Tuymans that draws the viewer into an enigmatic scene flled with suspension and mystery. A solitary fgure is situated within a dislocated landscape, his back turned away from the viewer as he stands next to a yellow bus. Tuymans created Solitude as part of the larger body of work entitled Suspended, a series of intimately scaled paintings exhibited at Zeno X Gallery in Antwerp in 1990. An important turning point in Tuymans’ practice, this body of work notably represented the frst time human fgures began populating Tuymans’s scenes and the artist started using more colour than ever before. Widely regarded as an ode to the work of Edward Hopper, an artist Tuymans greatly admired from an early age on, this seminal series consists of vignettes depicting suburban, everyday scenes in which mannequin-like fgures are frozen mid-action. The dialogue between Tuymans’ and Hopper’s work was a central focus of a conversation between artists Peter Doig, Chris Ofli, Paulina Olowska and art critic Adrian Searle on the occasion of Tuyman’s celebrated exhibition at Tate Modern, London, in 2004. As Doig put forward, ‘there are similarities between the two artists, but I don’t think Tuymans’ work is as melancholic as Hopper’s. Tuymans’ painting

Literature Ulrich Loock, Juan Vincente Aliaga, Nancy Spector, Hans Rudolf Reust, Luc Tuymans, London, 1996, p. 63 (illustrated, p.62) Ulrich Loock, Juan Vincente Aliaga, Nancy Spector, Hans Rudolf Reust, Luc Tuymans, London, 2011, pp. 59, 63 (illustrated, p. 62) Frank Demaegd, ed., Luc Tuymans: Zeno X Gallery, 25 Years of Collaborations, Antwerp, 2016, pp. 15, 260 (illustrated) Eva Meyer-Hermann, ed., Luc Tuymans: Catalogue Raisonné of Paintings, Volume 1: 1972-1994, New Haven, 2017, no. LTP 91, pp. 210, 426 (illustrated, p. 211)

appears to be more about a dissolved memory, rather than a present condition’ (Peter Doig, quoted in ‘Luc Tuymans’, Tate Etc., Issue 1, Summer 2004, online). As is typical for his artistic process, Tuymans based Solitude on a preexisting image that he carefully selected over a lengthy contemplative phase and then reconstructed in a single burst of painting. It is through the act of painting that Tuymans probes the gap between the image and what it represents; his choice of cropping and zooming into the subject renders any straightforward narrative readings impossible, while his distinctive colour palette and expressionistic brushwork imbue the image with a sense of ambiguity and the uncanny. As Ulrich Loock indeed noted speaking of the Suspended series, ‘the representation of suburban idylls are immersed in signs of unnaturalness, of dislocation, of impotence, forelornness…harmlessness and peace are deceptive, imbued’ (Ulrich Loock, Luc Tuymans, Hong Kong, 1996, p. 59). A quintessential example of Tuymans’ Suspended series, Solitude powerfully exemplifes how Tuymans extends Hopper’s existential investigations into themes of solitude and loneliness, while simultaneously probing the very subjectivity of representation.

∆

164. Michaël Borremans

b. 1963

The Shirt signed, titled and dated ‘MICHAËL M.C.G. BORREMANS “The Shirt” 2002’ on the reverse oil on canvas 42 x 50 cm (16 1/2 x 19 5/8 in.) Painted in 2002.

Provenance Private Collection, Tokyo Phillips, London, 5 October 2016, lot 2 Acquired at the above sale by the present owner Literature Michael Borremans: The Performance, exh. cat, S.M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, 2005, pp. 10, 16

Estimate £150,000-250,000 $195,000-325,000 €176,000-293,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

The Shirt, 2002, perfectly typifes the combination of mysterious imagery and painterly virtuosity that propelled Borremans to increasing international fame during this period. Looming out of the darkness, the torso of an anonymous, unidentifable fgure is shown, the image cropped to reveal only a striped shirt. Executed in lushly lavish brushstrokes, Borremans masterful handling of the eponymous shirt ekes out its details - the meandering pinstripes, the deep shadow of the creases and collar, are manipulated within a restrained sepia palette. From the point of view of pure painting, this is a sensual masterclass, a contemporary return to the mimetic, yet expressive detail founded by the Renaissance and Baroque masters of the art historical canon. Borremans owes more than technique to the Old Masters, his richly painted works incorporate familiar compositions and motifs but leave the viewer questioning and unable to quite decipher the iconography. The artist has cited the infuence of both Flemish and Spanish painters Jan Van Eyck (1390-1441) and Diego Velasquez (1599-1660); both creators of some of the most highly analysed works in art history. In an interview in 2016, Borremans said ‘‘The frst artworks I saw were reproductions of Van Eyck…They were windows on a strange world. As a child they fascinated me but frightened me too – and they still do, in a way.’ (Maggie Gray, ‘The Modern Mysteries of Michaël Borremans’, Apollo, March 2016). Arguably Van Eyck’s most important work, The Ghent Altarpiece, 1432, is housed in the cathedral of the same name in the town where Borremans lives and works and its distinctively stark, yet ethereal approach to reality seems to permeate through Borremans’ oeuvre.

Similarly, Las Meninas, 1656, by Diego Velazquez, which depicts the creation of a royal portrait from the perspective of the sitters – The King and Queen of Spain – plunges the viewer into the midst of a mysterious narrative where the answers remain just out of reach. This is echoed in The Shirt where the picture is composed to only hint a contextual and narrative clues. The loosely-ftted garment, a short expanse of neck and the hint and shadow of a jaw, insists upon the anonymity of the subject. This theme is furthered in more recent works such as Black Mould/ The Dance, 2015, where the viewer is lef to draw their own conclusions on the relevance of the figures’ covered faces, black robes and difering postures. ‘With the paintings, at frst you expect a narrative, because the fgures are familiar,’ Borremans has explained ‘[…] The works don’t come to a conclusion in the way we expect them to. The images are unfnished: they remain open. That makes them durable’ (Borremans, quoted in David Coggins, ’Interview: Michael Borremans’, Art in America, March 2009). The fgures in Borremans’ work are never portraits and their anonymity in his early paintings such as The Shirt is guaranteed as he ofen used found images, including photographs from the decades before the Second World War, as his source material. More recently, the artist, who originally trained as a photographer has orchestrated and photographed his own source material. Regardless of their origin, these works are filled with a suspense and air of surreal mystery, which teetering between the familiar and uncanny command the attention of the viewer transport them on a maze of visual signposts, where the answers lie one step ahead. Enigmatically the artist has explained ‘I make paintings because my subject matter, to a large extent, is painting’ (ibid.).

165. Anselm Kiefer

b. 1945

The Fertile Crescent titled ‘the fertile crescent’ upper lef pulp board, clay and charcoal on canvas mounted on panel 100.3 x 74.9 cm (39 1/2 x 29 1/2 in.) Executed in 2008. Estimate £120,000-180,000 $156,000-234,000 €141,000-211,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Thaddaeus Ropac, Paris Acquired from the above by the present owner

166. Neo Rauch

b. 1960

Landschaf mit Sendeturm signed and dated ‘RAUCH 96’ lower right; further signed and dated ‘RAUCH 96’ on the reverse oil on canvas 102.5 x 285.5 cm (40 3/8 x 112 3/8 in.) Painted in 1996. Estimate £150,000-200,000 $195,000-260,000 €176,000-235,000 ♠ † plus Buyers Premium and VAT, ARR applies*

Provenance Rolf Dechamps, Ambach am Starnberger See Galerie Eigen + Art, Berlin Acquired from the above by the present owner in 2004 Exhibited Leipzig, Galerie Eigen + Art, Neo Rauch: Manöver, 17 April to 31 May 1997, p. 1 (illustrated) Leipzig, Galerie für Zeitgenössische Kunst; Haus der Kunst München; Kunsthalle Zürich, Neo Rauch. Randgebiet, 10 December 2000 5 August 2001, p. 140 (illustrated, p. 49) Maastricht, Bonnefanten Museum, Neo Rauch, The Vincent van Gogh Bi-annual Award for Contemporary Art in Europe, 6 January - 10 June 2002, no. 103, pp. 24, 25, 122 (illustrated) Kunstmuseum Wolfsburg; Prague, Galerie Rudolfnum, Neo Rauch: Neue Rollen, Paintings 1993 to the Present Day, 11 November 2006 - 5 August 2007, p. 187 (illustrated, pp. 80-81) Zwolle, Museum de Fundatie, Neo Rauch, Dromos Painting 1993-2017, 21 January 3 June 2018, pp. 20-21 (illustrated) Literature Hans Werner Holzwarth, ed., Neo Rauch, Cologne, 2012, p. 458 (illustrated pp. 46-47) Neo Rauch: Para, exh. cat., The Met, New York, 2007, p. 86 (illustrated)

‘In works like Landschaft mit Sendeturm (1996), one never quite knows whether the object wants to escape into nothingness, or whether a universe wants to develop out of painterly nothingness.’ Günter Baumann

Property from the Estate of Karel Geirlandt

167. Tomas Schütte

b. 1954

Untitled signed, inscribed and dated ‘Th. Schütte Einzelstück Dez 82.’ on the reverse lacquer on paper 133 x 110 cm (52 3/8 x 43 1/4 in.) Executed in December 1982.

Estimate £30,000-50,000 $39,100-65,100 €35,200-58,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Karel Geirlandt, Ghent Thence by descent to the present owner

This work is property from the Estate of Karel Geirlandt (1915-1989) who was the director of Paleis voor Schone Kunsten in Brussels today BOZAR. In 1957 he was the founder of Vereniging voor Museum Hedendaagse Kunst in Ghent and therefore was the driving force behind this museum today, S.M.A.K. and the spiritual father of Jan Hoet.

168. Günther Förg

1952-2013

Untitled each signed, dedicated and dated ‘für Nico G. Förg 2001’ on the reverse acrylic on lead on wood, diptych each 45.5 x 35.6 cm (17 7/8 x 14 in.) Executed in 2001, this work is recorded in the archive of Günther Förg as No. WVF.01.B.0241.

Estimate £50,000-70,000 $65,100-91,100 €58,700-82,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection Van Ham, Cologne, 1 December 2011, lot 53/54 Patrick De Brock Gallery, Knokke-Heist Acquired from the above by the present owner We thank Mr. Michael Nef from the Estate of Günther Förg for the information he has kindly provided on this work.

169. Gerhard Richter

b. 1932

Vermalung (Braun) signed, numbered and dated ‘48 Richter, 72’ on the reverse oil on canvas 27 x 40 cm (10 5/8 x 15 3/4 in.) Painted in 1972. Estimate £30,000-50,000 $39,100-65,100 €35,200-58,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Westfälischer Kunstverein, Munster Private Collection, Germany Ketterer Kunst, Munich, 5 December 2006, lot 346 Private Collection (acquired at the above sale) Est-Ouest, Hong Kong, 28 May 2011, lot 1086

Private Collection Private Collection (acquired from the above) Christie’s, South Kensington, 14 April 2016, lot 29 Acquired at the above sale by the present owner Exhibited London, Jerome Zodo Gallery, Painting as Neo Avant-Garde, 11 July 2016 – 30 September 2016 Literature Gerhard Richter: Bilder 1962-1985., exh. cat., Städtische Kunsthalle Dusseldorf, 1986, nos. 325/1-120, p. 380 (illustrated, p. 148) Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, ed., Gerhard Richter. Werkübersicht / Catalogue Raisonné 1962-1993, vol. III, Bonn, 1993, no. 325/1-120, n.p. (illustrated)

Hubertus Butin, Gerhard Richter. Editionen 1965-1993, Kunsthalle Bremen, 1993, no. 38, p. 119 (another example from the series illustrated) Hubertus Butin and Stefan Gronert, eds., Gerhard Richter. Editionen 1965-2004. Catalogue Raisonné, Ostfldern, 2004, no. 46, p. 186 (another example from the series illustrated) Hubertus Butin, Gerhard Richter und die Refexion der Bilder, in Hubertus Butin and Stefan Gronert, eds., Gerhard Richter. Editionen 1965-2004. Catalogue Raisonné, Ostfldern, 2004, p. 34 (another example from the series illustrated, p. 186) Hubertus Butin, Stefan Gronert, and Thomas Olbricht, eds., Gerhard Richter. Editionen 1965-2013, Ostfldern, 2014, no. 46, p. 210 (another example from the series illustrated) Dietmar Elger, Gerhard Richter. Catalogue Raisonné 1968-1976, vol. 2 (nos. 198 – 388), Berlin, 2017, no. 325/1-120, p. 454 (illustrated, p. 455)

170. Günther Förg

1952-2013

Untitled acrylic on wood, in artist’s frame 63.6 x 35.5 cm (25 x 137/8 in.) Painted in 1994, this work is recorded in the archive of Günther Förg as No. WVF.94.B.0249. Estimate £18,000-22,000 $23,400-28,600 €21,100-25,800 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, Germany Georg Kargl Fine Arts, Vienna Private Collection, Vienna Private Collection, London We thank Mr. Michael Nef from the Estate of Günther Förg for the information he has kindly provided on this work.

Property from a Scandinavian Collection

171. Günther Förg

1952-2013

Untitled signed and dated ‘Förg 2000’ upper right; further signed, numbered and dated ‘Förg 2000 2’ on the reverse acrylic on canvas 151 x 120.2 cm (59 1/2 x 47 3/8 in.) Painted in 2000, this work is recorded in the archive of Günther Förg as No. WVF.00.B.0582.

Estimate £60,000-80,000 $78,100-104,000 €70,400-93,900 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, Scandinavia (acquired directly from the artist) We thank Mr. Michael Nef from the Estate of Günther Förg for the information he has kindly provided on this work.

172. A.R. Penck

1939-2017

Untitled (für Brigitte) signed ‘ar. penck’ lower right acrylic on panel 129.3 x 119.5 cm (50 7/8 x 47 in.) Painted in 1996.

Estimate £30,000-50,000 $39,100-65,100 €35,200-58,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Brigitte Schenk, Cologne Acquired from the above by the present owner in 1996

173. A.R. Penck

1939-2017

Feuer, Augen, Mann signed ‘ar. penck’ lower right; further signed and indistinctly inscribed ‘... ar. penck’ on the overlap acrylic on linen 60 x 40.3 cm (23 5/8 x 15 7/8 in.) Painted in 1997. Estimate £20,000-30,000 $26,000-39,100 €23,500-35,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Aschenbach, Amsterdam Galerie de La Tour, Groningen Private Collection, The Netherlands Phillips, New York, 14 November 2018, lot 345 Private Collection, The Netherlands Acquired from the above by the present owner

174. A.R. Penck

1939-2017

Stele signed and inscribed ‘unikat ar. Penck’ on the underside acrylic on concrete and plaster 65 x 35 x 35 cm (25 5/8 x 13 3/4 x 13 3/4 in.) Executed in 1992, this work is unique. Estimate £20,000-30,000 $26,000-39,100 €23,500-35,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection Ketterer Kunst, Hamburg, October 27, 2007, lot 776 Galerie Fahnemann, Berlin Acquired from the above by the present owner

175. A.R. Penck

1939-2017

Experiment

Estimate £8,000-12,000 $10,400-15,600 €9,400-14,100 ♠ plus Buyers Premium and VAT, ARR applies*

signed, titled and dated ‘Experiment 14.9 ar. penck’ lower right acrylic on paper 75 x 105.5 cm (29 1/2 x 41 1/2 in.) Executed in 1994.

Provenance Private Collection Lempertz Auction, 1 December 2012, lot 686 Private Collection

176. Jef Verheyen

1932-1984

Untitled signed, inscribed, dedicated and dated ‘Voor Clairette. Project von Ideale Ruimte Jef Verheyen Dec. 1977.’ on the reverse oil on canvas 22.2 x 34.9 cm (8 3/4 x 13 3/4 in.) Painted in December 1977.

Estimate £12,000-18,000 $15,600-23,400 €14,100-21,100 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Gifed by the artist to the present owner

Property from the Estate of Karel Geirlandt

177. Marcel Broodthaers

1924-1976

Rue René Magritte Straat signed with the artist’s initials, numbered, inscribed, dedicated and dated ‘Olivia Antonia ex. no 5 5/7 M.B. Gand. 24 Januari 1969’ on the reverse enamel on vacuum-formed plastic relief with metal eyelets 82.5 x 119.5 cm (32 1/2 x 47 in.) Executed in 1968, this work is number 5 from an edition of 7. Estimate £50,000-70,000 $65,100-91,100 €58,700-82,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Karel Geirlandt, Ghent (acquired directly from the artist) Thence by descent to the present owner Exhibited Berlin, Gerda Bassenge and Benjamin Katz Gallery, Broodthaers, March - April 1969 (another example exhibited) Ghent, S.M.A.K. Stedelijk Museum voor Actuele Kunst, Beullens - Cortier Broodthaers, 10 June - 25 July 1977 London, The Tate Gallery, Marcel Broodthaers, 16 April - 26 May 1980, no. 71, n.p. (another example exhibited and illustrated) New York, The Museum of Modern Art, Marcel Broodthaers: A Retrospective, 14 February - 15 May 2016, p. 234, 344 (another example exhibited and illustrated, p. 234)

Literature Marcel Broodthaers, exh. cat., Galerie Nationale du Jeu de Paume, Paris, 1991, pp. 134, 320 (another example illustrated, p. 134) Marie-Puck Broodthaers, ed., Marcel Broodthaers. Livres d’images (Pictures book), London, 2013, p. 152 (another example illustrated in installation view, p. 141) We are grateful for Marie-Puck Broodthaers’ assistance in preparing this catalogue entry. Lots 177-179 are property from the Estate of Karel Geirlandt (1915-1989) who was the director of Paleis voor Schone Kunsten in Brussels today BOZAR. In 1957 he was the founder of Vereniging voor Museum Hedendaagse Kunst in Ghent and therefore was the driving force behind this museum today, S.M.A.K. and the spiritual father of Jan Hoet.

Property from the Estate of Karel Geirlandt

178. Walter Leblanc

1932-1986

Archétypes signed ‘walter leblanc’ lower lef; titled, inscribed and dated ‘Archétypes G. 261.X a.d. ‘gris grijs grey 1980’ on the reverse cotton threads, grey latex and graphite on cardboard 80 x 59.8 cm (31 1/2 x 23 1/2 in.) Executed in 1980.

Estimate £8,000-12,000 $10,400-15,600 €9,400-14,100 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Karel Geirlandt, Ghent Thence by descent to the present owner Exhibited Ghent, S.M.A.K. Stedelijk Museum voor Actuele Kunst, Walter Leblanc, 7 April - 27 May 2001, p. 43

Literature Nicole Leblanc and Danielle Everarts de Velp-Seynaeve, Walter Leblanc, Catalogue Raisonné, Antwerp, 1997, no. 1385, p. 297 Nicole Leblanc, Danielle Everarts de Velp-Seynaeve and Géraldine Chafk, Walter Leblanc. Addenda au Catalogue Raisonné: I, Antwerp, 2011, no. 1385, p. 79 (illustrated, p. 56) Francesca Pola, ed., Walter Leblanc, Brussels, 2017, no. 102, p. 129 (illustrated)

Property from the Estate of Karel Geirlandt

179. Raoul de Keyser

b. 1930

Krijthoekcorrectie signed, titled and dated ‘raoul de keyser ‘Krijthoekcorrectie’ 1978’ on the reverse oil on canvas 72.3 x 72.3 cm (28 1/2 x 28 1/2 in.) Painted in 1978. Estimate £50,000-70,000 $65,100-91,100 €58,700-82,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Karel Geirlandt, Ghent Thence by descent to the present owner Exhibited S.M.A.K. Stedelijk Museum voor Actuele Kunst Gent; Munich, Pinakothek der Moderne; Brussels, Mercatorfonds, Raoul de Keyser - Oeuvre, 22 September 2018 - 8 September 2019, p. 236 (illustrated, p. 66)

180. Yves Klein

1928-1962

La Victoire de Samothrace incised with the artist’s initials and dated ‘YK 62’ on the right wing; numbered ‘140/175’ on the reverse of the fgure; further numbered ‘140/175’ on the underside dry pigment and synthetic resin on plaster with metal rod on stone base 50.3 x 25 x 28 cm (19 3/4 x 9 7/8 x 11 in.) Conceived in 1962 and cast in 1973, this work is number 140 from an edition of 175 plus 25 hors commerce, 25 epreuves d’artiste and 3 copies with specifc identifcations. Estimate £80,000-120,000 $104,000-156,000 €93,900-141,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Ova Zucker, Belgium Acquired from the above by the present owner Exhibited Kaarst, Gallery 44, Yves Klein und seine Freunde, October 1986 - January 1987 (another example exhibited) Parma, Galleria d’Arte Niccoli, Une probabile umore dell’idea, April - May 1989, p. 33 (another example exhibited and illustrated) London, Galerie Gimpel, Yves Klein, June - September 1994 (another example exhibited) Cologne, Museum Ludwig; London, Hayward Gallery; Madrid, Museo Nacional Centro de Arte Reina Sofía, Yves Klein, 8 November 1994 - 29 August 1995, no. 112, p. 247 (another example exhibited and illustrated) Rome, Palazzo delle Esposizioni, Citta natura, Mostra internazionale di arte contemporanea, April 1997 (another example exhibited) Vienna, Kunsthalle, Engel, Legenden der Gegenwart, June September 1997, p. 221 (another example exhibited and illustrated) Le Bourget, Musée de l’air et de l’espace, L’art, l’air et l’espace, October 1999 (another example exhibited) Hong Kong Museum of Art, Nice Movements - Contemporary French Art, April - June 2000, p. 64

(another example exhibited and illustrated) Musée d’art moderne et d’art contemporain de Nice; Prato, Centro per l’arte contemporanea Luigi Pecci, Yves Klein. La Vie, la vie elle-même qui est l’art absolu, April 2000 January 2001, p. 182 (another example exhibited and illustrated) Museu de arte de Macau, Du Nouveau Réalisme à Supports Surfaces, July - August 2000, p. 89 (another example exhibited and illustrated) Pietrasanta, Flora Bigai, Nel blu dipinto di blu Yves Klein, July September 2004, n.p. (another example exhibited and illustrated) Angers, Musée des Beaux Arts; Roanne, Musée Joseph Dechelette; Carcassonne, Musée des Beaux-Arts; Coblence, Museum Ludwig; LAAC Dunkerque, Marie Raymond - Yves Klein, November 2004 - June 2007, p. 175 (another example exhibited and illustrated) Bilbao, Guggenheim Museum, Yves Klein, January - May 2005 (another example exhibited) Paris, Galerie Rive Gauche, Yves Klein et Niki de Saint Phalle, February - March 2005 (another example exhibited) Paris, Galeries Nationales du Grand Palais; Hannover, Sprengel Museum, Nouveau Réalisme: Revolution des Alltäglichen, March 2007 - January 2008 (another example exhibited) Lugano, Museo d’Arte & Sculture in Città, Yves Klein & Rotraut, May - September 2009, pp. 178-179 (another example exhibited and illustrated) Madrid, Circulo de Bellas Arte, Marie Raymond - Yves Klein Herencias, October 2009 - January 2010, p. 160 (another example exhibited and illustrated) Venice, Ca’ Corner della Regina, The Small Utopia, Ars Multiplicata, Summer 2012 (another example exhibited) Isle-sur-la-Sorgue, Villa Datris, Sculpture du Sud, May - November 2014 (another example exhibited) Zurich, Hotel Baur au Lac, Art in the Park, June - July 2014 (another example exhibited) Literature Yves Klein, exh. cat., Jewish Museum, New York, 1967, p. 51 (another example illustrated)

Paul Wember, Yves Klein, Cologne, 1969, no. S9, p. 97 (another example illustrated) Premier volet des collections, exh. cat., Musée d’Art Moderne et Contemporain, Nice, 1990, p. 11 (another example illustrated) Claude Fournet, Musées de Nice - Musée d’Art Moderne et Contemporain, Paris, 1990, p. 31 (another example illustrated) Marco Livingstone, Pop Art, A Continuing History, Paris, 1990, no. 67, p. 54 (another example illustrated) Claude Fournet and Jacqueline Péglion, eds., Chroniques niçoises - Genèse d’un Musée, Nice, 1991, n.p. Sidra Stich, Yves Klein, Ostfldern-Ruit, 1994, p. 247 (another example illustrated) Gilles-François Picard, Yves Klein ou la Révolution bleue, Paris, 1997, p. 104 (another example illustrated) Jean-Paul Ledeur, Yves Klein: Catalogue raisonné des éditions, et sculptures éditées, Knokke-Le-Zoute, 2000, no. S9 Nicholas Charlet, Yves Klein, Paris, 2000, p. 231 (another example illustrated) Hannah Weitermeier, Yves Klein, 19281962: International Klein Blue, London, 2001, p. 2 (another example illustrated) Janny Lumeau, Des mots bleus por “Klein le monochrome”, France, 2003 (another example illustrated, cover) Véronique Prat, La Collection de Georges et Claude Pompidou, Paris, 2004, p. 81 (another example illustrated) Léo Pajon, La Victoire de Samothrace, Paris, 2005, p. 118 (another example illustrated) Sandrine Andrews, Yves Klein à la conquète de l’espace, Paris, 2006, p. 26 (another example illustrated) Le Nouveau Réalisme, exh. cat., Musée National d’Art Moderne and Centre Georges Pompidou, Paris, 2007, p. 199 (another example illustrated) Kunst der Gegenwart/1960 bis 2007, exh. cat., Städtisches Museum Abteiberg Mönchengladbach, 2007, p. 207 (another example illustrated) Yves Klein - The Venus Project, exh. cat., Zurich, Galerie Gmurzynska, 2014, p. 34 (another example illustrated) Giovanni Lista, ‘Les sculptures d’Yves Klein et le spatialisme de Lucio Fontana’, Ligeia dossiers sur l’art, Paris, vol. XXVII, no. 129-132, January - July 2014, p. 25 (another example illustrated)

181. John McCracken

1934-2011

Flare incised with the artist’s signature, title and date ‘FLARE 2002 John McCracken’ on the underside polyester resin, fbreglass and plywood 235 x 36.2 x 9.5 cm (92 1/2 x 14 1/4 x 3 3/4 in.) Executed in 2002.

Provenance Lisson Gallery, London Private Collection, New York Acquired from the above by the present owner Exhibited London, Lisson Gallery, John McCracken, 4 July - 24 August 2002

Estimate £150,000-200,000 $195,000-260,000 €176,000-235,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

‘I make real, physical forms, but they’re made out of color, which as a quality is at the outset abstract. I try to use color as if it were a material; I make a sculpture out of, say, “red” …So my interest in having a piece look not only conventionally physical, but also in the next moment having it look like it could be something imagines, almost a hallucination, is well served by using colour.’ John McCracken

182. Ed Ruscha

b. 1937

Emergency Numbers cherry stain and cherry juice on paper 19.1 x 73.7 cm (7 1/2 x 29 in.) Executed in 1973. Estimate £90,000-120,000 $117,000-156,000 €106,000-141,000 ‡ plus Buyers Premium and VAT*

Provenance Florette Bihari, Beverly Hills (acquired circa 1975) Private Collection (acquired by descent from the above) Sotheby’s, New York, 22 September 2011, lot 175 Gagosian Gallery, London Acquired from the above by the present owner in 2015 Exhibited Los Angeles, Ace Gallery, Edward Ruscha: New Works in Various Materials Plus the 1969 Book of Stains, 25 September 16 October 1973 Literature Ed Ruscha, They Called Her Styrene, London, 2000, n.p. (illustrated) Lisa Turvey, Edward Ruscha Catalogue Raisonné of the Works on Paper Volume One: 1956-1976, New York, 2014, no. D1973.66, p. 349 (illustrated)

‘Words are pattern-like, and in their horizontality they answer my investigation into landscape. Tey’re almost not words – they are objects that become words.’ Ed Ruscha

Emergency Numbers, 1973, is an exquisite example of Ed Ruscha’s unique artistic practise. The two words ‘Emergency Numbers’ are executed in gothic script and rendered in the negative space against a woody textured background. Ruscha’s choice of typeface and use of unconventional materials – cherry juice stained paper – intentionally possess no relevance to the meaning of the text. The present work exemplifies the artist’s experimentation with materials which typify the American experience such as blood, food, condiments and gunpowder, perhaps most famously in Stains, 1969 (Museum of Modern Art, New York), which comprises of 76 sheets of paper, each stained with a diferent substance such as Wine, Cofee and LA tap Water.

Ruscha began his career in graphic design, studying lettering, design and advertising at the Chouinard Art Institute, however he soon turned to fne art under the infuence of Abstract Expressionists such as Jasper Johns and Robert Rauschenberg. In the early 1960s Ruscha harnessed single words as the protagonists of his pictures in contrast to artists such as John Badessari and Joseph Kosuth who used text as part of the narrative of the work. Through isolating or repeating Ruscha theorised that you could ‘drive the meaning from the word and from the sound of the word’ (Walter Hopps “A Conversation between Walter Hopps and Edward Ruscha” in Yves-Alain Bois, Edward Ruscha: Romance with Liquids, Paintings 1966-1969, exh. cat., Gagosian Gallery, New York, pp. 97-108).

183. Joseph Kosuth

b. 1945

‘Titled (Art as Idea as Idea)’ [ephemeral] (Ety.) mounted photograph mounted photograph 122 x 122 cm (48 x 48 in.) certifcate 14.1 x 12.7 cm (5 1/2 x 5 in.) This work is accompanied by a certifcate of authenticity, signed by the artist and executed in 1967.

Estimate £40,000-60,000 $52,100-78,100 €46,900-70,400 Ж plus Buyers Premium and VAT*

Provenance Private Collection Galerie Philomene Magers, Munich Acquired from the above by the present owner

184. Urs Fischer

b. 1973

Friday signed ‘Urs Fischer’ on a label afxed to the reverse epoxy, reinforced polyurethane foam, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, acrylic paint on aluminium panel 217.3 x 174 cm (85 1/2 x 68 1/2 in.) Executed in 2016. Estimate £200,000-300,000 $260,000-391,000 €235,000-352,000 ‡ plus Buyers Premium and VAT*

Provenance Gagosian Gallery Acquired from the above by the present owner

185. Alex Katz

b. 1927

Untitled (Leaves) signed and dated ‘Alex Katz 08’ upper right oil on board 22.9 x 30.5 cm (9 x 12 in.) Painted in 2008.

Estimate £15,000-20,000 $19,500-26,000 €17,600-23,500 plus Buyers Premium and VAT*

Provenance Hamilton-Selway Fine Art, Los Angeles Private Collection, Los Angeles artnet auctions, 19 April 2018, lot 124908 Acquired at the above sale by the present owner

186. Ilya Kabakov

b. 1933

A. B. Borisova: And Pick the Shoes from the Repair Shop Today! signed and dated ‘I.KABAKOV A.B. Borisova: And Pick the Shoes from the Repair Shop Today! 2006 [in Cyrillic]’ on the reverse oil and graphite on canvas, in artist’s frame 151.3 x 241.5 cm (59 5/8 x 95 1/8 in.) Painted in 2006. Estimate £80,000-120,000 $104,000-156,000 €93,900-141,000 ‡ plus Buyers Premium and VAT*

Provenance Collection of Ilya and Emilia Kabakov Galeri Artist, Istanbul Acquired from the above by the present owner Exhibited Istanbul, Galeri Artist, I Don’t Know: Ilya and Emilia Kabakov, 12 June - 30 June 2012, no. 565 Literature Renate Petzinger and Emilia Kabakov, eds., Ilya Kabakov Paintings 1957 - 2008: Catalogue Raisonné Volume II Paintings 1957 - 2008, Bielefeld, 2008, no. 565, p. 304 (illustrated)

Property from a Distinguished Private Collection, Florida

187. Tom Wesselmann

1931-2004

Bedroom Face with Green Wallpaper (Variation) signed, titled and dated ‘BEDROOM FACE WITH GREEN WALLPAPER (VARIATION) 1983-85 Wesselmann ©’ on the reverse Japan fat oil paint on laser-cut aluminium 147.5 x 169.5 cm (58 1/8 x 66 3/4 in.) Executed in 1983-1985. Estimate £150,000-200,000 $195,000-260,000 €176,000-235,000 ‡

Executed in 1988, Bedroom Face with Two Flowers presents the partial visage of a reclining woman in mid expression. Distinct outlines come into focus as the laser cut aluminium create a space enveloping her with two fowers, a pillow and a lamp. This work pertains to Wesselman’s Bedroom Paintings – a series celebrating the maturity of his artistic style, infuenced by his history of being a cartoonist in the 1950s. Formally trained in Abstract Expressionism, he rejected this method in favour of simple depiction of everyday objects and advertising ephemera. The women portrayed in Wesselmann’s works ofen exude euphoria and an impression of bliss. He notes, “The process is largely sensual, a question of feelings and sensation… I arrange and rearrange until the elements lock into place.” (Tom Wesselmann quote in Tom Wesselmann, exh. cat., Montreal Museum of Fine Arts, Montreal, 2012, p. 39)

plus Buyers Premium and VAT*

Provenance Sidney Janis Gallery, New York Private Collection (acquired from the above in 1985) Waddington Galleries, London Acquired from the above by the present owner Exhibited New York, Sidney Janis Gallery, New Work by Tom Wesselmann, 16 November - 14 December 1985, no. 17, p. 4 (illustrated)

‘My original idea, that began the cut-outs, was to preserve the process and immediacy of my drawings from life, complete with the false lines and errors, and realise them in steel. It was as though the lines had just been miraculously drawn in steel. At the same time, I pursued another idea – to make tiny, very fast doodles, which I would then enlarge in cut-out metal, preserving the feel and spontaneity of the tiny sketch…’ Tom Wesselmann

188. Beatriz Milhazes

b. 1960

Little Tree signed, titled and dated ‘Beatriz Milhazes “Little Tree” 2014’ on the reverse paper collage on paper 120 x 44.5 cm (47 1/4 x 17 1/2 in.) Executed in 2014. Estimate £75,000-100,000 $97,400-130,000 €87,800-117,000 ‡ plus Buyers Premium and VAT*

Provenance White Cube, Hong Kong Acquired from the above by the present owner

Little Tree, 2014, powerfully and dazzlingly oscillates between wonderful geometric abstraction and organic and natural forms. Milhazes displays the skilled dexterity of her colour palette, collaging fractioned shapes in bright brilliant blues, reds, yellows, oranges and greens to create a festivity on the canvas. The artist’s unique style pays homage to her Brazilian nationality and Latin American and Western European art historical traditions, mirroring and encapsulating Milhazes’ own character and experiences. Evident is Milhazes’ admiration of the 20th Century masters such as Henri Matisse’s Fauvist works, Robert Delaunay and Wassily Kandinsky, apparent in the lyricism captured in the present example. Connecting all forms of creation, Milhazes’ Little Tree, 2014, celebrates in an explosion of colour the carnivals of Rio de Janeiro, tropical fauna and fora, traditional chitão fabric, arabesque patterns, musical compositions, Colonial baroque architecture and everyday found objects.

Exhibited Hong Kong, White Cube, Beatriz Milhazes, 12 March - 30 May 2015

‘I use elements from my culture, and colour is one of them, but I’m the only one to do so... I recently found that ‘freedom’ is a word that describes my work well. I think what characterizes my work is the freedom with which it combines diferent concepts, images, colours, abstraction and fguration, all within a very rational and geometric painting. My way of working uses freedom with order.’ Beatriz Milhazes

∆

189. Sam Francis

1923-1994

Facing within acrylic on canvas 167.3 x 213.6 cm (65 7/8 x 84 1/8 in.) Painted in 1975. This work is registered with the Sam Francis Foundation under archive number SFP75-7. Estimate £250,000-350,000 $325,000-456,000 €293,000-411,000

Provenance Andre Emmerich Gallery, New York Byron R. Meyer Collection, San Francisco (acquired in 1979) Christie’s, New York, 9 May 2012, lot 203 Duhamel Fine Arts, Paris Private Collection Phillips, London, 27 June 2016, lot 21 Acquired at the above sale by the present owner Exhibited Zurich, Galerie Andre Emmerich, American Painting, July - 26 August 1978

Literature Sam Francis: Peintures récentes 19761978, exh. cat., Centre Georges Pompidou, Paris, 1978, n.p. (illustrated) Sam Francis: Målningar 1976-1978, exh. cat., Liljevalchs Konsthall, Stockholm, 1978, n.p. (illustrated) David Lauer, Design Basics, New York, 1979, p. 24 (illustrated) Peter Selz, Sam Francis, New York, 1982, pl. 152, p. 230 (illustrated) Debra Burchett-Lere, ed., Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings 1946-1994, Berkeley, 2011, no. SFF 662 (illustrated)

plus Buyers Premium and VAT*

Property from a Distinguished Private Collection, Florida

190. Jean Dubufet

1901-1985

Site au Défunt signed with the artist’s initials and dated ‘J.D. 82’ lower right acrylic and paper collage on paper mounted on canvas 67 x 100 cm (26 3/8 x 39 3/8 in.) Executed on 12 July 1982.

Provenance Estate of the Artist Waddington Galleries, London (acquired by 1986) Acquired from the above by the present owner Literature Max Loreau, ed., Catalogue des travaux de Jean Dubufet: Site aléatoires, Fascicule XXXV, Paris, 1986, no. 95, pp. 55, 96 (illustrated, p. 55)

Estimate £150,000-200,000 $195,000-260,000 €176,000-235,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

‘My desire is to make the site evoked by the picture something phantasmagoric; and that can be achieved only by jumbling together more or less veristic elements with interventions of arbitrary character aiming at unreality. I want my street to be crazy, my broad avenues, shops and buildings to join in a crazy dance, and that is why I deform and denature their contours and colours.’ Jean Dubufet

191. L.S. Lowry

1887 – 1976

Four Young People

Estimate £30,000-50,000 $39,100-65,200 €35,300-58,800 ♠ plus Buyers Premium and VAT, ARR applies*

signed and dated ‘L S Lowry 1966’ lower right graphite and ballpoint pen on paper 49 x 35.5 cm (19 1/4 x 13 7/8 in.) Executed in 1966.

Provenance Miss Dorothy Barwell Collection of Sir Duncan Oppenheim Christie’s, London, 6 June 2003, lot 149 Richard Green, London Acquired from the above by the present owner Exhibited London, Lefevre Gallery, Drawings by L.S. Lowry, 4 February 13 March 1971, no. 28 (illustrated)

192. Roberto Matta

1911-2002

Untitled graphite and crayon on paper 50.5 x 65 cm (19 7/8 x 25 5/8 in.) Executed in 1959, this work is accompanied by a certifcate of authenticity from the Archives de l’oeuvre de Matta.

Estimate £10,000-15,000 $13,000-19,500 €11,700-17,600 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection Sotheby’s, 1976 Piccadilly Gallery, London Acquired at the above sale by the present owner

193. Julio González

1876–1942

Personnage Insectiforme signed with the artist’s initials, inscribed and dated ‘j.G. 1938 vendredi’ lower lef; titled and inscribed ‘raisonné Recensé FW837 Personnage insectiforme’ on the reverse graphite, coloured pencil and ink on paper, two-sided 26.5 x 22 cm (10 3/8 x 8 5/8 in.) Executed in 1938.

Estimate £15,000-20,000 $19,500-26,000 €17,600-23,400 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection Private Collection, Spain Literature Josette Gilbert, Julio Gonzalez, Projets pour Sculptures - Personnages, Paris, 1975, p. 70 (illustrated)

This work will be included in the forthcoming Catalogue Raisonné being prepared by Tomás Llorens.

Recto

Verso

194. Roberto Matta

1911-2002

Untitled signed ‘Matta’ lower right pastel on card laid on canvas 100 x 70 cm (39 3/8 x 27 1/2 in.) Executed circa 1980.

Estimate £15,000-20,000 $19,500-26,000 €17,600-23,400 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, Spain

Property from a Distinguished Private Collection, Florida

195. Fernand Léger

1881-1955

In the summer of 1934, Léger joined Sara and Gerald Murphy in Antibes on their yacht Weatherbird. Gerald Murphy recalled the trip:

Untitled Composition signed with the artist’s initials and dated ‘FL 34’ lower right watercolour and graphite on paper 32.1 x 24.1 cm (12 5/8 x 9 1/2 in.) Executed in 1934. Estimate £15,000-20,000 $19,500-26,000 €17,600-23,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Sara and Gerald Murphy, France (gifed directly by the artist) Mrs. William Donnelly (acquired from the above by descent) Maxwell Davidson Gallery, New York (acquired from the above in 1982) Acquired from the above by the present owner in the early 1980s Exhibited New York, The Museum of Modern Art, The Paintings of Gerald Murphy, 9 April – 19 May 1974 New York, Maxwell Davidson Gallery, Fernand Léger, January-February 1984

‘During the frst day out the sea was smooth and Fernand, who had never been aboard a sailing vessel, was fascinated with the rigging and all the contrivances on board. He had brought a notebook and a few watercolors with him and he spent the entire day making sketches. He had never worked under such conditions and it stimulated him enormously. Te second day out the weather turned bad as we encountered Mistral. Very much to his surprise he did not feel the rough sea as he expected and persisted in his work. He made quite a joke of his being able to remain at his post while some of the rest of us were unable to do so. It was for this reason that he wrote on the cover of the notebook, “A Sara et Gerald de leur mousse fdèle [To Sara and Gerald, from their loyal cabin boy”.’ Gerald Murphy

The present work shown in The Painting of Gerald Murphy, The Museum of Modern Art, 9 April – 19 May 1974.

Property from a Distinguished Private Collection, Florida

196. Jacques Lipchitz Study for Pastorale signed with the artist’s initials ‘JL.’ upper lef tempera and graphite on panel 31.1 x 42.5 cm (12 1/4 x 16 3/4 in.) Executed in 1933.

Estimate £15,000-20,000 $19,500-26,000 €17,600-23,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Marlborough-Godard Gallery, Toronto Acquired from the above by the present owner

197. Nicolas de Staël

1914-1955

Figure signed and dated ‘Staël 45’ lower lef charcoal on paper 50.3 x 31.2 cm (19 3/4 x 12 1/4 in.) Executed in 1945. Estimate £15,000-20,000 $19,500-26,000 €17,600-23,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Jeanne Bucher, Paris Jiyugaoka Gallery, Tokyo M. Kojima, Tokyo Mallet, Japan, 19 July 2018, lot 158 Acquired at the above sale by the present owner Exhibited Tokyo, Jiyugaoka Gallery, Nicolas de Stael, Pastel, Gouache, Drawing and Graphic, 30 March - 30 April 1977, p. 10 (illustrated) Literature Francoise de Staël, ed., Nicolas de Stael: Catalogue raisonne des œuvres sur papier, Lausanne, 2013, no. 112, p. 88 (illustrated)

198. Giacomo Balla

1871-1958

Linea di velocità più paesaggio

Estimate £40,000-60,000 $51,900-77,900 €46,800-70,300 ♠ plus Buyers Premium and VAT, ARR applies*

signed ‘BALLA’ lower right watercolour on paper 25 x 35 cm (9 7/8 x 13 3/4 in.) Executed in 1913, this work is accompanied by a photo certifcate signed by Elena Gigli, dated and numbered 29 November 2013, n. 570.

Provenance Private Collection, New York Paolo Baldacci Collection, New York Private Collection, Milan Acquired from the above by the present owner

199. Mimmo Rotella

1918-2006

Suor Maria signed ‘Rotella’ lower right; further signed, titled and dated ‘‘‘SUOR MARIA” Rotella 1962’ on the reverse paper collage on canvas 58.5 x 50.3 cm (23 x 19 3/4 in.) Executed in 1962, this work is registered with the Fondazione Mimmo Rotella under the archive number ‘1965 DC 962/000’.

Estimate £25,000-35,000 $32,500-45,400 €29,300-41,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner

Andy Warhol, Miles Fiterman, 1975. © 2019 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York. Andy Warhol, Shirley Fiterman, 1976. © 2019 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York.

Alexander Calder, Joan Miró, Jean Dubuffet, Willem de Kooning – the list of esteemed names that constitute the Miles and Shirley Fiterman Collection reads like a cross-continental survey of the 20th century’s most influential artists. Born out of the seminal decade of the 1960s, the collection is not only a tribute to the dawning of a revolutionary era, but a witness to its making. To look at how Miles and Shirley Fiterman collected is to understand the importance of the collector at this crucial point in post-war history. Whilst few individuals have gathered artworks of such quality and importance, fewer still have done so across four decades, as new masterpieces were created by the same artists that they met and supported. A unique afnity with the zeitgeist and an ability to act ahead of the curve is what binds this collection to the industrial achievements of its proprietors. Intuitive, innovative and entrepreneurial, Miles Q. Fiterman was highly infuential in the construction boom following World War II, catering to the unprecedented demand for housing Miles Homes Inc., which he founded in 1946, grew to be the nation’s largest supplier of prefabricated housing prior to its sale in 1972. The Miles and Shirley Fiterman Collection astutely harnesses the common aesthetic impulses of the 20th century and allows us to investigate their variations. Bold yet elegant, expressing both formal balance and expressive abandon, the collection celebrates the ability of art to imagine the world anew.

Based in Minneapolis, Miles and Shirley Fiterman formed part of a conduit between the international contemporary art scene and their beloved home city. Their sustained eforts to bring great art to the region manifested in their lifelong support of the Walker Art Center and The Minneapolis Institute of Arts. Highly personal, astutely connoisseurial and indelibly philanthropic, the Fitermans’ model of collecting was built on several important foundations: the personal relationships that they built with trailblazing dealers and gallerists such as Gordon Locksley and Aimé Maeght; the acquisition of exemplary works by the revolutionary artists that they met and forged frienships with – including Andy Warhol and Claes Oldenburg; sustained patronage to museums that championed the causes of modern and contemporary art; and their proactive role in providing greater access to education in art. The couple were patrons of and enabled acquisitions at the Minneapolis Institute of Art, where the Fiterman name graces several of the museum’s buildings. Miles and Shirley Fiterman were also active patrons within the locale of their other residence in Palm Beach, Florida. Both sat on the board of the Norton Museum of Art, where Mrs. Fiterman went on to assume the role of board president. Outside of the United States, Miles and Shirley Fiterman were honored as Patrons of the Year in 2001 at the Tel Aviv Museum of Art and the Tel Aviv Museum, where they also served as board members. As arbiters of taste, champions of groundbreaking artists, Miles and Shirley Fiterman did not simply collect – in essence, they defned what it was to be a collector in the 20th century.

200. Mimmo Rotella

1918-2006

Litterings signed and dated ‘Rotella /58’ lower lef; further signed, titled and dated ‘Rotella 1958 “LITTERINGS”’ on the reverse décollage on canvas 50.4 x 29.5 cm (19 7/ 8 x 11 5/ 8 in.) Executed in 1958, this work is registered with the Fondazione Mimmo Rotella under the archive under 2397 DC 958/958. Estimate £22,000-28,000 $28,700-36,500 €25,900-32,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

201. Alighiero Boetti

1940-1994

Attirare l’ Attenzione signed ‘alighiero boetti’ on the overlap embroidery and ink on fabric mounted on panel 22 x 22.2 cm (8 5/8 x 8 3/4 in.) Executed in 1987, this work is registered in the Archivio Alighiero Boetti, Rome, under number 8532.

Provenance Caterina Boetti, Rome Fondazione Boetti, Rome Tajan, Paris, 27 May 2003, lot 49 Ben Brown Fine Arts, London Private Collection (acquired from the above by the present owner) Sotheby’s, New York, 27 December 2017, lot 114 Acquired at the above sale by the present owner

Estimate £18,000-25,000 $23,400-32,500 €21,100-29,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

202. Sayed Haider Raza

b. 1922

Landscape and Bindu signed and dated ‘RAZA ‘08’ lower right; further signed, titled and dated ‘RAZA “Landscape + Bindu” 2008 “Landscape + Bindhu [in Devanagari] Raza’ on the reverse acrylic on canvas 100 x 100 cm (39 3/8 x 39 3/8 in.) Painted in 2008. Estimate £50,000-70,000 $64,900-90,900 €58,500-82,000 plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner in 2008 Literature Alain Bonfand, Raza, Paris, 2008, p. 279 (illustrated) This work will be included in the Raza Catalogue Raisonné currently being prepared by The Raza Foundation, New Delhi.

203. Tony Cragg

b. 1949

Afer We Have Gone wood on metal base 210 x 107 x 104 cm (82 5/8 x 42 1/8 x 40 7/8 in.) Executed in 2014. Estimate £120,000-180,000 $156,000-234,000 €141,000-211,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galeri Artist, Istanbul Acquired from the above by the present owner

204. Damien Hirst

b. 1965

205. Tracey Emin

b. 1963

Day by Day

Untitled (Bib)

glass, painted MDF, aluminium, stainless steel, Dymo tape and pills 30.5 x 61 x 10.2 cm (12 x 24 x 4 in.) Executed in 2003, this work is number 13 from an edition of 35.

signed and dated ‘With love – TRACEY EMIN 1993’ on the reverse mirror discs on cotton duck canvas with satin ribbon and dress-making pins on wire hanger 89 x 56.5 cm (35 x 22 1/4 in.) Executed in 1993.

Estimate £15,000-20,000 $19,500-26,000 €17,600-23,400 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance White Cube, London Timothy Taylor, London Acquired from the above by the present owner

Estimate £30,000-50,000 $39,100-65,200 €35,300-58,800 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist at ‘The Shop’ by the present owner

206. Marc Quinn

b. 1964

The Selfsh Gene stamped with the artist’s signature, title, number and date ‘MARC QUINN 2007 THE SELFISH GENE AP 2’ on the underside right leg of the lower fgure patinated bronze 54 x 159.2 x 88 cm (21 1/4 x 62 5/8 x 34 5/8 in.) Executed in 2007, this work is artist’s proof number 2 from an edition of 3 plus 2 artist’s proofs. Estimate £80,000-120,000 $104,000-156,000 €94,100-141,000 ♠

Provenance Project B, Milan Galleria Cardi, Milan Private Collection, Switzerland Phillips, London, 11 February 2014, lot 130 Acquired at the above sale by the present owner Exhibited Montreal, DHC/ART, Marc Quinn, 5 October 2007 - 6 January 2008, p. 108 (another example exhibited and illustrated, p. 13) London, Saatchi Gallery, Post Pop: East Meets West, 26 November 2014 - 3 March 2015 (another example exhibited and illustrated, pp. 342-343)

plus Buyers Premium and VAT, ARR applies*

207. Antony Gormley

b. 1950

CLUTCH 1 (MEME) II incised with the artist’s initials, numbered and dated on the underside cast iron 20.3 x 8.5 x 14.2 cm (7 7/8 x 3 3/8 x 5 5/8 in.) Executed in 2015. Estimate £40,000-60,000 $51,900-77,900 €46,800-70,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance White Cube, London (acquired directly from the artist) Acquired from the above by the present owner

208. Rachel Whiteread

b. 1963

Untitled (Black Books) incised with the artist’s initials and numbered ‘RW AP 3/3’ on the reverse black pigmented plastic and steel 30.3 x 101.8 x 23.3 cm (11 7/8 x 40 1/8 x 9 1/8 in.) Executed in 1997, this work is artist’s proof 3 from an edition of 10 plus 3 artist’s proofs. Estimate £60,000-80,000 $77,900-104,000 €70,300-93,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, London Sotheby’s, London, 16 October 2009, Lot 190 Private Collection Sotheby’s, London, 9 March 2017, lot 256 Acquired at the above sale by the present owner

Exhibited Karachi, Hindu Gymkhana; Lahore, the Old Fort; Harare, National Gallery of Zimbabwe; Johannesburg Art Gallery; Cape Town, South Africa National Gallery; Bulawayo, National gallery of Zimbabwe; Nicosia Municipal Arts Centre; Valletta, St. James Cavalier Centre for Creativity, A Changed World, January 1997 - January 2000 (another example exhibited) Helsinki City Art Museum; Stockholm, Royal Academy of Free Arts; Kiev, Soros Foundation; Warsaw, Zacheta Gallery; Chemnitz, Stadische Kunstsammlungen; Prague, Museum of Modern Art; Zagreb Union of Croatian Artists; Darmstadt, Institute Mathildehöhe; Vilnius, Centre of Contemporary Art; Budapest, Museum of Modern Art; Bratislava, Slovak National Gallery; Bucharest, National Theatre Galleries, Dimensions Variable, November 1997 - December 1999 (another example exhibited) Taipei Fine Arts Museum, Field Day Sculpture From Britain, April - August 2001 (another example exhibited)

Edinburgh, National Gallery of Modern Art; London, Serpentine Gallery, Rachel Whiteread, 2001, no. 10, p. 47 (another example exhibited and illustrated) Cambridge, Jesus College, Sculpture in the Close, June - July 2003 (another example exhibited) Sao Paulo, Museu de Arte Moderna, Rachel Whiteread, March - May 2004 (another example exhibited) Schwerin, Staatliches Museum, Rachel Whiteread Plastiken und Zeichnungen, November 2005 - January 2006 (another example exhibited) London, Whitechapel Art Gallery, The Third Dimension, June - September 2009 (another example exhibited) London, Saatchi Gallery, Post Pop: East meets West, November 2014 - March 2015 (another example exhibited) Hay-on-Wye, Richard Booth’s Bookshop, Never Judge A Book…, May - July 2016 (another example exhibited) Sligo, The Model, Ghosts of Other Stories, September - November 2016 (another example exhibited) ZKM Karlsruhe, Negative Space: Trajectories of Sculpture, 5 April - 11 August 2019 (another example exhibited)

209. Glenn Brown

b. 1966

Drawing 30 (afer Gossaert) signed and dated ‘Glenn Brown 14’ lower right; further signed ‘Glenn Brown’ on the artist’s label afxed to the backing board ink on polyproplene 37 x 30 cm (14 5/8 x 11 3/4 in.) Executed in 2014.

Provenance Gagosian Gallery, London Acquired from the above by the present owner Exhibited London, Gagosian Gallery, Glenn Brown: 36 Drawings and a Sculpture, 14 - 17 October 2015, no. 13, pp. n.p., 108 (illustrated)

Estimate £25,000-30,000 $32,500-39,000 €29,300-35,100 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

210. Glenn Brown

b. 1966

Drawing 29 (afer Dell’Abate) signed and dated ‘Glenn Brown 2014’ lower right; further signed ‘Glenn Brown’ on the artist’s label afxed to the backing board ink on polypropylene 45 x 27 cm (17 3/4 x 10 5/8 in.) Executed in 2014. Estimate £25,000-30,000 $32,500-39,000 €29,300-35,100 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

211. George Condo

b. 1957

Untitled signed and dated ‘Condo 84’ lower right pastel on paper 48 x 32 cm (18 7/8 x 12 5/8 in.) Executed in 1984. Estimate £15,000-20,000 $19,500-26,000 €17,600-23,500 plus Buyers Premium and VAT*

Provenance Galerie Barbara Farber, Amsterdam Acquired from the above by the present owner

212. George Condo

b. 1957

The Joker signed, titled and dated ‘02 The JokeR George Condo’ on the reverse oil on canvas 30.5 x 23 cm (12 x 9 in.) Painted in 2002. Estimate £60,000-80,000 $78,100-104,000 €70,400-93,900 plus Buyers Premium and VAT*

Provenance Galerie Andrea Caratsch, St. Moritz (acquired directly from the artist) Acquired from the above by the present owner in 2006

213. Eric Fischl

b. 1948

Untitled signed and dated ‘Eric Fischl ‘13’ on the reverse collage of digital ink jet mono prints in poured resin on board 101.4 x 152.2 cm (39 7/8 x 59 7/8 in.) Executed in 2013.

Provenance Galerie de Bellefeuille, Montreal Acquired from the above by the present owner Exhibited Toronto/Calgary, Barbara Edwards Gallery, Eric Fischl, 27 September – 30 November 2013 Los Angeles, KM Fine Arts, Eric Fischl – New Works, 24 June – 24 August 2014

Estimate £20,000-30,000 $26,000-39,100 €23,500-35,200 ‡ plus Buyers Premium and VAT*

214. Julian Schnabel

b. 1951

Untitled acrylic on tarpaulin 233.7 x 188 cm (92 x 74 in.) Executed in 1987. Estimate ÂŁ70,000-90,000 $91,100-117,000 â&#x201A;Ź82,200-106,000 plus Buyers Premium and VAT*

Provenance Galerie Bruno Bischoferger, Zurich Private Collection, New York Phillips, London, 22 June 2007, lot 27 Acquired at the above sale by the present owner

215. Wolfgang Tillmans

b. 1968

Feathered signed, titled, inscribed, numbered and dated ‘feathered ph 06/2014 prWT 12/2015 1/10 + 1 Wolfgang Tillmans’ on the reverse of the sheet inkjet print, in artist’s frame 34.3 x 44.3 cm (13 1/2 x 17 1/2 in.) Photographed in June 2014 and printed in December 2015, this work is number 1 from an edition of 10 plus 1 artist’s proof.

Provenance Maureen Paley, London Acquired from the above by the present owner Exhibited Lebanon, Aïshti Foundation, The Trick Brain: Selections from the Tony and Etham Salamé Collection, October 2017, pp. 402, 404, 501 (another example exhibited and illustrated, p. 404)

Estimate £5,000-7,000 $6,500-9,100 €5,900-8,200 ♠ Ж plus Buyers Premium and VAT, ARR applies*

216. Wolfgang Tillmans

b. 1968

Victoria signed, titled, inscribed, numbered and dated ‘Victoria 2001 unique Wolfgang Tillmans 01-48-unique’ on the reverse of the sheet chromogenic print mounted on Dibond, in artist’s frame 34 x 44.1 cm (13 3/8 x 17 3/8 in.) Executed in 2001, this work is unique. Estimate £30,000-40,000 $39,000-51,900 €35,100-46,800 ‡ ♠ Ж plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Buchholz, Cologne Acquired from the above by the present owner Literature Wolfgang Tillmans, exh. cat., Fondation Beyeler, Riehen, 2017, p. 208

217. Christopher Williams

b. 1956

Punta Hicacos, Varadero, Cuba, February 14, 2000 signed, titled, numbered and dated ‘Punta Hicacos….2000 AP C. Williams’ on the reverse c-print image 26.5 x 34 cm (10 3/8 x 13 3/8 in.) sheet 28 x 35.6 cm (11 x 14 in.) Executed in 2000, this work is artist’s proof 2 from an edition of 10 plus 4 artist’s proofs. Estimate £12,000-15,000 $15,600-19,500 €14,100-17,600 ‡ plus Buyers Premium and VAT*

Provenance David Zwirner, New York Acquired from the above by the present owner

Exhibited New York, David Zwirner, Christopher Williams: Couleur Européene, Couleur Soviétique, Couleur Chinoise, 25 March 22 April 2000 (another example exhibited) Grenoble, France, Le Magasin, Christopher Williams: Couleur Européene, Couleur Soviétique, Couleur Chinoise, 28 May - 10 September 2000 (another example exhibited) Krefeld, Germany, Haus Lange - Haus Esters, Christopher Williams: Couleur Européene, Couleur Soviétique, Couleur Chinoise, 22 October 2000 - 1 January 2001, no. 42, n.p. (another example exhibited and illustrated) The Ottawa Art Gallery, Take Two/ Reprise, 26 April - 24 June 2001 (another example exhibited) New Plymouth, Govett-Brewster Art Gallery, Christopher Williams: Poesin mâste göras av alla! Transform the world! Förandra världen! Poetry must be made by all!, 28 April - 17 June 2001, no. 40, n.p. (another example exhibited and illustrated) New York, David Zwirner, I Love NY Beneft, 19 October - 3 November 2001 (another example exhibited)

The Renaissance Society at The University of Chicago, Detourism, 11 November 23 December 2001 (another example exhibited) Los Angeles, Margo Leavin Gallery, H20 (x) + 6: John Baldessari, Roni Horn, William Leavitt, Allen Ruppersberg, Roman Signer, Christopher Williams, 28 February - 13 March 2004 (another example exhibited) The Art Institute of Chicago; New York, The Museum of Modern Art; London, Whitechapel Gallery Christopher Williams: The Production Line of Happiness, 24 January 2014 - 21 June 2015, no. 17, p. 174 (another example exhibited and illustrated) Literature Bright Paradise: The 1st Auckland Triennial, exh. cat., Auckland Art Gallery, 2001, p. 108 (another example illustrated) Christopher Williams, Printed in Germany, Cologne, 2014, n.p. (another example illustrated) Joel Snyder, ‘Christopher Williams’, Artforum, no. 52, 10, Summer, 2014, p. 357 (another example illustrated)

218. Cindy Sherman

b. 1954

Untitled #174 signed, numbered and dated ‘Cindy Sherman 3/6 1987’ on the reverse c-print 180.5 x 120.5 cm (71 1/8 x 47 1/2 in.) Executed in 1987, this work is number 3 from an edition of 6. Estimate £25,000-35,000 $32,600-45,600 €29,400-41,200 plus Buyers Premium and VAT*

Provenance Metro Pictures, New York Private Collection Sotheby’s, London, 30 June 2011, lot 298 Acquired at the above sale by the present owner Exhibited New York, Metro Pictures, Cindy Sherman, 1987 (another example exhibited) Paris, Jeu de Paume; Bregenz, Kunsthaus; Humlebæk, Louisiana Musuem of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman, 2006-2007, pp. 135, 254, 317 (another example exhibited and illustrated, pp. 135, 254)

Silkeborg, Museum Jorn, Cindy Sherman, 23 September - 10 December 2017 (another example exhibited) Literature Els Barents and Peter Schjeldahl, Cindy Sherman, Munich, 1987, no. 125, n.p. (another example illustrated) Rosalind Krauss, Cindy Sherman 1975 1993, New York, 1993, p. 230 (another example listed)

219. Cindy Sherman

b. 1954

Untitled #254 signed, numbered and dated ‘Cindy Sherman 1/6 1992’ on the reverse c-print 171.5 x 113.3 cm (67 1/2 x 44 5/8 in.) Executed in 1992, this work is number 1 from an edition of 6. Estimate £25,000-35,000 $32,500-45,400 €29,300-41,000 plus Buyers Premium and VAT*

Provenance Metro Pictures, New York Acquired from the above by the present owner

Literature Rosalind Krauss, Cindy Sherman 19751993, New York, 1993, p. 232 (another example listed)

Exhibited New York, Metro Pictures, Cindy Sherman, 11 April - 9 May 1992 (another example exhibited) Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zurich, Cindy Sherman: Untitled Horrors, 4 May 2013 - 14 September 2014, p. 226 (another example exhibited and illustrated, p. 151) Silkeborg, Museum Jorn, Cindy Sherman, 23 September - 10 December 2017 (another example exhibited)

220. Laurie Simmons

b. 1949

Walking Pocket Watch (color)/ The Music of Regret signed ‘Laurie Simmons’ on a label afxed to the reverse Flex print 162.6 x 116.8 cm (64 x 45 7/8 in.) Executed in 2006, this work is number 1 from an edition of 5.

Estimate £20,000-30,000 $26,000-39,000 €23,400-35,100 ‡ plus Buyers Premium and VAT*

Provenance Sperone Westwater, New York Acquired from the above by the present owner

Exhibited New York, Sperone Westwater, Laurie Simmons, 27 April - 30 June 2006 (another example exhibited) Literature Jane Elliot, Popular feminist fction as American Allegory: Representing National Time, New York, 2008, front cover (another example illustrated)

221. Walead Beshty

b. 1976

FedEx® Large Box, Los Angeles New York TRK- , Saltsjöbaden London TRK-777236485934 laminated glass, silicone, FedEx shipping box, packing tape and accrued FedEx shipping and tracking labels 8.5 x 45.5 x 31.5 cm (3 3/8 x 17 7/8 x 12 3/8 in.) Executed in 2007.

Estimate £7,000-9,000 $9,100-11,700 €8,200-10,500 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, New York artnet Auctions, 29 November 2016, lot 118497 Acquired at the above sale by the present owner

222. Vasily Klyukin

b. 1976

C20.H25.N3O (TRIP) inscribed with the artist’s initials, inscribed and dated ‘VK-PG-ID-D200-2017’ on the reverse acrylic, plywood, paint and glass 200 x 200 x 38.1 cm (78 3/4 x 78 3/4 x 15 in.) Executed in 2017.

Estimate £70,000-100,000 $90,900-130,000 €82,000-117,000 ‡ plus Buyers Premium and VAT*

Provenance ArtHouse 2050, Monaco Acquired from the above by the present owner

Exhibited Venice Biennale, Vasily Klyukin: In Dante Veritas, 7 May - 30 November 2019 (another variant exhibited)

223. Rinus Van de Velde

b. 1983

You seem unrelated to the world of apppearances. I told him. Afer a brief moment of silence he replied: “On Sundays I may not allow myself to be seen on the streets, for I have no Sunday clothes. In my steady and thrify life I am like a feld mouse

signed ‘Rinus Van de Velde’ on a label afxed to the reverse charcoal on paper 150 x 200 cm (59 x 78 3/4 in.) Executed in 2016. Estimate £15,000-25,000 $19,500-32,500 €17,600-29,300 ♠

Provenance Tegenbosch Van Vreden, Amsterdam Acquired from the above by the present owner Exhibited Amsterdam, tegenboschvanvreden, A Sunday as a Sunday, 3 September 29 October 2016

plus Buyers Premium and VAT, ARR applies*

224. Marc Quinn

b. 1964

Pitons of St Lucia signed, titled and dated ‘Pitons of St Lucia Marc Quinn 2010’ on the reverse oil on canvas 168.5 x 245 cm (66 3/8 x 96 1/2 in.) Painted in 2010. Estimate £60,000-80,000 $78,200-104,000 €70,500-94,100 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner

225. Farhad Moshiri

b. 1963

Untitled signed, titled and dated ‘YOU ARE THE FLOWER OF FLOWERS Farhad Moshiri 2007 YOU ARE THE FLOWER OF FLOWERS Farhad Moshiri 2007 [in Farsi]’ on the reverse oil and paper collage on canvas 80 x 80 cm (31 1/2 x 31 1/2 in.) Painted in 2007. Estimate £50,000-70,000 $65,200-91,300 €58,800-82,300 plus Buyers Premium and VAT*

Provenance Olyvia Oriental Gallery, London Acquired from the above by the present owner

Property from a Private European Collection

226. Subodh Gupta

b. 1964

Untitled signed and dated ‘Subodh Gupta [in Hindi] ‘10’ on the reverse oil on canvas 167.6 x 228.6 cm (65 7/8 x 90 in.) Painted in 2010.

Provenance Hauser and Wirth, London Private Collection, Amsterdam (acquired from the above in 2011) Exhibited Tampere, Sara Hildén Art Museum, Subodh Gupta, 12 February - 30 April 2011, pp. 82-83, 104 (illustrated)

Estimate £40,000-60,000 $51,900-77,900 €46,800-70,300 plus Buyers Premium and VAT*

227. Magdalena Abakanowicz 1930 - 2017 Gutron in Cage stamped with the title and date ‘GUTRON IN CAGE 2005’ on the reverse of Gutron; further stamped with the title and date ‘GUTRON IN CAGE 2005’ front lef corner of the cage bronze overall 189 x 112.5 x 119 cm (74 3/8 x 44 1/4 x 46 7/8 in.) Executed in 2005.

Provenance Marlborough Gallery, New York (acquired directly from the artist) Galeri Artist, Istanbul Acquired from the above by the present owner Exhibited New York, Marlborough Gallery, Magdalena Abakanowicz: Confessions, Sculpture and Drawings, 19 October - 19 November 2005, no. 9, p. 18 (illustrated)

Estimate £100,000-150,000 $130,000-196,000 €118,000-176,000 ♠ plus Buyers Premium and VAT, ARR applies*

228. David Altmejd

b. 1974

Mother and Son incised ‘David Altmejd’ on the reverse Polyurethane foam, epoxy gel, epoxy clay, resin, glass eyes, bronze, pyrite, acrylic paint, steel and marble 80 x 28.5 x 25 cm (31 1/2 x 11 1/4 x 9 7/8 in.) Executed in 2015.

Provenance Stuart Shave/ Modern Art, London Acquired from the above by the present owner in February 2015 Exhibited London, Stuart Shave/ Modern Art, Faces, 23 January - 14 February 2015

Estimate £12,000-18,000 $15,600-23,400 €14,100-21,100 plus Buyers Premium and VAT*

Property from a Private European Collection

229. Yue Minjun

b. 1962

Two works: (i) Contemporary Terracotta Warriors No.5; (ii) Contemporary Terracotta Warriors No.5 each signed, numbered and dated ‘yue minjun 5 24/25; 25/25 2003’ on the reverse respectively acrylic on fbreglass and reinforced plastic with iron base

each 184 x 93 x 43 cm (72 1/2 x 36 5/8 x 16 7/8 in.) (i) Executed in 2003, this work is number 24 from an edition of 25. (ii) Executed in 2003, this work is number 25 from an edition of 25. Estimate £60,000-80,000 $78,200-104,000 €70,500-94,100 Ж plus Buyers Premium and VAT*

Provenance Alexander Ochs Gallery, Berlin Acquired from the above by the present owner Exhibited Scheveningen, Museum Beelden aan Zee, Xianfeng! Chinese Avant-garde Sculpture, 2005 Herford, Museum fur zeitgenossische Kunst und Design, Loss of Control, 2008

230. Takashi Murakami

b. 1962

Untitled signed and dated ‘TAKASHI 2016’ on the overlap acrylic on stitched canvas 141.2 x 120.4 cm (55 5/8 x 47 3/8 in.) Executed in 2016.

Estimate £60,000-80,000 $78,200-104,000 €70,500-94,100 ‡ plus Buyers Premium and VAT*

Provenance Galerie Perrotin, Hong Kong Acquired from the above by the present owner

231. Bernard Frize

b. 1949

Un signed, numbered, titled and dated ‘2005 04 un Bernard FRIZE’ on the overlap acrylic and resin on canvas 130 x 130 cm (51 1/8 x 51 1/8 in.) Executed in 2005.

Estimate £20,000-30,000 $26,000-39,000 €23,400-35,100 plus Buyers Premium and VAT*

Provenance Galerie Perrotin, Paris Acquired from the above by the present owner

232. Gerd Leufert

1914 - 1998

Untitled signed ‘GERD LEUFERT’ on the stretcher acrylic on canvas 152.5 x 152.5 cm (60 x 60 in.) Painted in 1970. Estimate £20,000-30,000 $26,100-39,100 €23,500-35,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection Acquired from the above by the present owner Exhibited Caracas, Sala TAC, Gerd Leufert, 29 June 21 September 2014, p. 42 (illustrated)

Property from a Distinguished Private Collection, Florida

233. Peter Halley

b. 1953

Yellow Prison signed and dated ‘Peter Halley Peter Halley 99’ on the reverse acrylic, fuorescent acrylic, and Roll-A-Tex on two attached canvases 108.5 x 76.2 cm (42 3/4 x 30 in.) Executed in 1999. Estimate £30,000-50,000 $39,000-64,900 €35,100-58,500 ‡ plus Buyers Premium and VAT*

Provenance Waddington Galleries, London Acquired from the above by the present owner

234. Bernard Aubertin

1934-2015

235. Sue Williams

b. 1954

Tableau Clous

Garden Shears

signed and dated ‘Bernard Aubertin 1968’ on the reverse acrylic and nails on board 50 x 90 cm (19 5/8 x 35 3/8 in.) Executed in 1968, this work is accompanied by a certifcate of authenticity from the Archivio Opere Bernard Aubertin, Brescia and is registered under archive no. TCLR86 - 1000213723.

signed and dated ‘Sue Williams 99’ on the reverse oil and acrylic on canvas 209 x 335.2 cm (82 1/4 x 131 7/8 in.) Painted in 1999. Estimate £30,000-50,000 $39,000-64,900 €35,100-58,500 plus Buyers Premium and VAT*

Estimate £7,000-9,000 $9,100-11,700 €8,200-10,500 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Hauser & Wirth & Presenhuber, Zurich Acquired from the above by the present owner

Provenance Galleria Centro, Brescia Private Collection, Europe Acquired from the above by the present owner

Exhibited Zurich, Hauser & Wirth & Presenhuber, Sue Williams, 6 November - 18 December 1999

236. Korakrit Arunanondchai

b. 1986

237. Wyatt Kahn

b. 1983

Untitled (History painting)

Untitled

burnt bleached denim, paint, cigarettes and cardboard collage 122.2 x 244 cm (48 1/8 x 96 1/8 in.) Executed in 2013.

signed and dated ‘Wyatt Kahn 2013’ on the reverse linen on canvas on board 194.7 x 169.8 cm (76 5/8 x 66 7/8 in.) Executed in 2013.

Estimate £30,000-50,000 $39,100-65,200 €35,300-58,800 plus Buyers Premium and VAT*

Estimate £20,000-30,000 $26,100-39,100 €23,500-35,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance The Suzanne Geiss Company, New York Acquired from the above by the present owner Exhibited New York, The Suzanne Geiss Company, Digital Expressionism, 12 - 19 October 2013

Provenance T293, Rome Acquired from the above by the present owner Exhibited Rome, T293, Wyatt Kahn, 17 September - 20 October 2013

238. Ida Ekblad

b. 1980

Being Sinks Into Mere Stuf signed with the artist’s initials ‘I.E’ lower right acrylic based air brush inks and spray paint on linen 302 x 202 cm (118 7/8 x 79 1/2 in.) Executed in 2014. Estimate £18,000-25,000 $23,500-32,600 €21,200-29,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Blain Southern, London Herald Street, London Acquired from the above by the present owner Exhibited London, Blain Southern, Refraction. The Image of Sense, 10 December 2014 - 31 January 2015 Literature Peter J. Amdam, ‘Ida Ekblad’, Kaleidoscope, Issue 23, Winter 2014/2015 (online)

239. Toby Ziegler

b. 1972

…good the doom… (2nd study) signed, titled and dated ‘...good the doom... (2nd study) Toby Ziegler 2009’ on the reverse inkjet on paper collage and inkjet on paper 185.3 x 131.7 cm (72 7/8 x 51 7/8 in.) Executed in 2009. Estimate £15,000-20,000 $19,500-26,000 €17,600-23,400 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Max Hetzler, Berlin Acquired from the above by the present owner

240. Garth Weiser

b. 1979

241. Jason Martin

b. 1970

Scion

signed ‘Garth Weiser 2016’ on the reverse oil on canvas 209 x 178 cm (82 1/4 x 70 1/8 in.) Painted in 2016.

signed, titled and dated ‘“Scion” J Martin ‘05’’ oil on stainless steel 149 x 244 cm (58 5/8 x 96 1/8 in.) Painted in 2005.

Estimate £20,000-30,000 $26,000-39,000 €23,400-35,100 plus Buyers Premium and VAT*

Estimate £20,000-30,000 $26,100-39,100 €23,500-35,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Casey Kaplan Gallery, New York Acquired from the above by the present owner in September 2016

Provenance Lisson Gallery, London Acquired from the above by the present owner in 2005

242. Aboudia

b. 1983

Vert a levres signed and signed with the artist’s symbol ‘ABOUDIA’ lower right acrylic and oil pastel on canvas 150 x 94.3 cm (59 x 37 1/8 in.) Executed in 2015. Estimate £8,000-12,000 $10,400-15,600 €9,400-14,100 plus Buyers Premium and VAT*

Provenance Jack Bell Gallery, London Acquired from the above by the present owner

243. Mira Dancy

b. 1979

Statues in the Park signed, titled and dated ‘MIRA DANCY 2015 STATUES IN THE PARK’ on the overlap acrylic on canvas 182.9 x 132.1 cm (72 x 52 in.) Painted in 2015. Estimate £8,000-12,000 $10,400-15,600 €9,400-14,100 plus Buyers Premium and VAT*

Provenance Galerie Éric Hussenot, Paris Acquired from the above by the present owner in November 2015 Exhibited Paris, Galerie Hussenot, Mira Dancy: Want Position // Red, 5 September 14 October 2015

244. Richard Hambleton

1952-2017

Sandra signed, titled and dated ‘‘‘SANDRA” 87-88 R. HAMBLETON – 88’ on the reverse acrylic and resin on canvas 108 x 172.7 cm (42 1/2 x 68 in.) Executed in 1987-1988. Estimate £70,000-100,000 $90,900-130,000 €82,000-117,000 ‡ plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner

245. Stanley Casselman

b. 1963

IR 41-7 signed, titled and dated ‘STANLEY CASSELMAN “IR-41-7” 2013’ on the reverse acrylic on canvas 213.5 x 213.5 cm (84 x 84 in.) Painted in 2013.

Estimate £15,000-20,000 $19,600-26,100 €17,600-23,500 ‡ plus Buyers Premium and VAT*

Provenance Allouche Gallery, New York Acquired from the above by the present owner

246. Anselm Reyle

b. 1970

Untitled signed and dated ‘A. Reyle 2008’ on the reverse acrylic, mirror, silver foil, glitter and mixed media on canvas 67.2 x 56.1 cm (26 1/2 x 22 1/8 in.) Executed in 2008.

Estimate £15,000-20,000 $19,600-26,100 €17,600-23,500 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Gagosian, New York Acquired from the above by the present owner

Exhibited New York, Gagosian, Anselm Reyle: Monochrome Age, 17 September – 24 October 2009

247. Gerhard Richter

b. 1932

Ella signed ‘Richter.’ lower right and numbered ‘23/32’ lower lef digital fne art inkjet print image 40.5 x 31 cm (15 7/8 x 12 1/4 in.) sheet 54.5 x 44 cm (21 1/2 x 17 3/8 in.) Executed in 2014, this work is number 23 from an edition of 32 plus 4 artist’s proofs, published by Marian Goodman Gallery, London. Estimate £25,000-35,000 $32,500-45,400 €29,300-41,000 ‡ ♠ Ж plus Buyers Premium and VAT, ARR applies*

Provenance Marian Goodman Gallery, New York Acquired from the above by the present owner

248. Te Connor Brothers b. 1975 and b. 1978 Hell Is Empty signed and dated ‘Connor Brothers 17’ lower right giclée, screen print, acrylic, oil and hand applied varnish on paper 184.5 x 114.5 cm (72 5/8 x 45 1/8 in.) Executed in 2017. Estimate £6,000-8,000 $7,800-10,400 €7,100-9,400 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner

249. Laurence Jenkell

b. 1965

Bonbon incised with the artist’s signature, numbered and dated ‘1/8 JeNkell 2008’ on the base; further incised with the artist’s signature, numbered and dated ‘1/8 JENkell’ to the lower lef aluminium 200 x 75 x 75 cm (78 3/4 x 29 1/2 x 29 1/2 in.) Executed in 2008, this work is number 1 from an edition of 8 plus 4 artist’s proofs. Estimate £50,000-70,000 $64,900-90,900 €58,500-82,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Opera Gallery, Paris Acquired from the above by the present owner Literature Henry Perier, Laurence Jenkell, Around the World, Paris 2015, p. 130 (another example illustrated)

250. KAWS

b. 1974

Three works: (i) SMALL LIE (Brown)); (ii) SMALL LIE (Black); (iii) SMALL LIE (Grey) (i-iii) printed with the artist’s name, date, fabricator and title ‘KAWS..17 SMALL LIE MEDICOM TOY CHINA’ on the underside painted vinyl, in original Medicom packaging (i-iii) 27.5 x 12.9 x 12.2 cm (10 7/8 x 5 1/8 x 4 3/4 in.) (i-iii) Executed in 2017, this work is from a limited edition fabricated by Medicom Toy, Japan.

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 Ж plus Buyers Premium and VAT*

Provenance Yorkshire Sculpture Park, Wakefeld Private Collection, London

UK Auction Buyer’s Guide The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you. The Conditions of Sale and Authorship Warranty published on our website at https://phillips.com also govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship between Phillips, the seller and the buyer and describe the terms upon which items are bought at auction. A) Before The Auction Catalogues & Catalogue Entries Our catalogues provide information on the lots for sale at the auction and are available on our website at www.phillips. com and in hard copy. Lot details can also be viewed on the Phillips App. If you would like to purchase a hard copy catalogue for a Phillips auction, please visit our website or contact us at catalogues@phillips.com. Catalogue entries may include the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive. In some cases we may not disclose the identity of previous owners where we are not authorised to do so. Please note that all dimensions of the property set out in the catalogue entry are approximate. Pre-auction viewings are open to the public and free of charge. The dates and times are published on our website at https://phillips.com. Our specialists are available to give advice and condition reports at viewings or by appointment. Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Pre-sale estimates do not include the buyer’s premium or VAT. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. As estimates can be subject to revision we suggest contacting us closer to the time of the auction. Estimates in non-local currencies Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in other currencies. These estimates are approximate and provided as a courtesy to our clients. The exchange rates used are those applying on the last practical date before printing the catalogue. The rates may have changed between the time of printing the catalogue and the auction. Condition Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections.

Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding.

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

Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Calculating the Total Purchase Price If you are the successful bidder on a Lot, the total purchase price you pay is made up of the following elements:

Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the thirdparty guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the thirdparty guarantor is the successful bidder Phillips will report the purchase price net of any fees paid to the third-party guarantor. ∆ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. No Reserve •Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

Ж Property Subject to US Import Tarifs

Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale.

Hammer Price

Buyer’s Premium

VAT on Buyer’s Premium and/or Hammer Price (If applicable)

Artist’s Resale Royalty (ARR) (If applicable)

The Hammer Price: This is the final, highest bid which the auctioneer accepts by bringing down the auctioneer’s hammer. Buyer’s Premium: This is the commission Phillips charges the successful highest bidder and buyer of the lot. The Buyer’s premium is calculated on the hammer price of the lot at the following rates on a cumulative basis: • 25% on the portion of the hammer price up to and including £300,000; and • 20% on the portion of the hammer price above £300,000 up to and including £3,000,000 and • 13.5% on the portion of the hammer price above £3,000,000. Where VAT is payable on the Buyer’s premium the VAT inclusive Buyer’s Premium rates are 30%, 24% and 16.2% respectively. VAT Most items we sell are sold under UK Auctioneer’s Margin Scheme rules. This means that VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice. UK Auctioneer’s Margin Scheme lots have no VAT symbol. Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website ♠ Artist’s Resale Royalty (ARR) The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are resold for a hammer price of EUR 1,000 or more. Lots subject to ARR are marked with the symbol ♠. The ARR is calculated as a percentage of the hammer price on a cumulative basis as follows and is payable as part of the purchase price: Portion of the Hammer Price (in EUROS) From 0 to 50,000 From 50,000.01 to 200,000

Royalty Rate 4% 3%

From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000

1% 0.5% 0.25%

The total charge for ARR on any single lot cannot exceed Euros 12,500. To calculate the ARR, we use the pounds sterling/euro reference exchange rate quoted on the date of the auction by the European Central Bank. Example To illustrate how the purchase price is calculated, please see the below example: UK Auctioneer’s Margin Scheme lot Hammer Price: £350,000 Buyer’s Premium including VAT @20% £102,000: 25% of first £300,000 of the hammer price = £75,000 + 20% on the balance of £50,000 = £10,000 Total BP = £85,000 VAT @ 20% on the total BP of £85,000 = £17,000

By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at https://phillips.com. The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe FlashPlayer. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders.

B) At The Auction Bidding Bids may be executed during the auction in person, by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of governmentissued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference. For individuals, acceptable forms of government issued photo identification include a passport or photo driving licence. For companies, acceptable forms of government issued identification include a certificate of incorporation or similar as well as proof of owners and directors. Undisclosed agreements between bidders to bid or abstain from bidding on lots are illegal. Please note that Phillips monitors its sales and bidding records to ensure that bidding is transparent and fair and will take appropriate action in the event of any suspected breach of this requirement. In Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk. By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000

by UK£50s by UK£100s by UK£200s by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000 UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s above UK£200,000 at the auctioneer’s discretion The auctioneer may vary the increments during the course of the auction at his or her own discretion. Conditions Of Sale The auction is governed by the Conditions of Sale and Authorship Warranty which are available on our website. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive And Responsive Bidding; The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. No Reserve Lots If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. C) After The Auction Payment Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum. Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. Title to each lot will not pass until the buyer has made full payment of the Purchase Price plus any applicable Artist Resale Royalty and all applicable taxes. Collection Once Phillips has received full and cleared payment of the total purchase price for the lot and any other amounts the buyer owes to Phillips, lots will be released for collection. To collect paid for lots buyers (or their authorised representatives) must provide proof of identity. Authorised Representatives should also bring a copy of a letter signed by the buyer authorising them to collect. Smaller items may be collected from our London gallery on the day of the auction. Please check with our staff when making payment.

Important Notices After the auction, lots will be transferred to offsite fine art storage facilities. The buyer information pack you will receive after the auction will confirm details of the storage facility where your lot is held for collection. Please contact us to make arrangements for collection. Storage Charges Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to you in the buyer information pack you will receive after the auction. Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven (7) days following the auction. Transport and Shipping We will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. As a free service for buyers, Phillips will wrap purchased lots which are for hand carry only. We do not provide packing, handling or shipping services directly. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis regarding continent of origin and confirmation the object is more than 100 years old. We have not obtained a scientific analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase

these lots at their own risk and will be responsible for the costs of obtaining any scientific analysis or other report required in connection with their proposed import of such property into the US. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the object qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species. Privacy Our Privacy Policy is available at https://phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. Phillips’ premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third-party websites and applications.

Identification of Business or Trade Buyers As of January 2010, Her Majesty’s Revenue & Customs (“HMRC”) has made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding buyer’s premium for lots with symbols for businesses outside the UK. • Where the buyer is a non-EU business, Phillips requires evidence of the business status by means of the company identification, Certificate of Incorporation, Articles of Association or government-issued documents showing that the company exists. • Where the buyer is an EU VAT registered business, Phillips requires the business’s VAT registration number. These details can be scanned and emailed to us, or alternatively they can be faxed or mailed. If these requirements are not met, we will be unable to cancel/ refund any applicable VAT. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

VAT & Tax Guide VAT Depending on the status of the lot, and your status as a buyer, VAT may be charged on the hammer price, the buyer’s premium or both. UK Auctioneer’s Margin Scheme Most items we sell are second-hand goods, so we sell them under UK Auctioneer’s Margin Scheme rules. Lots falling into this category have no VAT symbol and are treated as follows: No symbol

UK Auctioneer’s Margin Scheme sale

20% VAT charged on the buyer’s premium. (The invoiced buyer’s premium will include the VAT).

Special VAT Treatment If the Lot has one of the below symbols, the VAT treatment will be as follows: VAT Symbol

Basis

Treatment

Standard UK VAT rules

20% VAT charged on both the hammer price and buyer’s premium

Imported lot under Temporary Admission (Low rate)

5% import VAT on the hammer price and 20% VAT on the buyer’s premium

Imported lot under Temporary Admission (High rate)

20% import VAT on the hammer price and 20% VAT on the buyer’s premium

Lots sold outside the Auctioneer’s Margin Scheme If the buyer is a relevant business person in the EU (nonUK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium. Exports from the European Union The following types of VAT may be cancelled or refunded by Phillips on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol). • The VAT on the hammer price for property sold under normal VAT rules (i.e., with a † symbol). The following type of VAT may be cancelled or refunded by Phillips on exports made within 30 days of the payment date if strict conditions are met: • The import VAT charged on the hammer price and an amount in lieu of VAT on the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a Ω symbol) under the Auctioneer’s Margin Scheme. In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or

before the time of invoicing, the buyer instructs Phillips to export the property from the EU. This will require acceptance of an export quotation provided by Phillips. If such instruction is received after payment, a refund of the VAT amount will be made. Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips will charge the VAT amount due as a deposit and refund it if the lot has been exported within the timelines specified below and either of the following conditions are met: • For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips is provided with appropriate original documentary proof of export from the EU within three months of the date of sale. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department to facilitate this process. • For lots sold under temporary admission, Phillips is provided with the original correct paperwork duly completed and stamped by HMRC which shows the property has been exported from the EU via the UK within 30 days of the payment date. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HMRC insist that the correct customs procedures are followed and Phillips will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary admission must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 (plus any applicable VAT) will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips. Phillips is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary admission and the property is exported from the EU within 30 days of the payment date. We can only process VAT refunds where the VAT to be refunded is £50 or more per shipment. There will be a processing fee of £20 (plus any applicable VAT). Buyers intending to export, repair, restore or alter lots under temporary admission should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips being unable to refund the VAT charged on deposit. VAT Refunds from HM Revenue & Customs Where VAT charged cannot be cancelled or refunded by Phillips, it may be possible to seek repayment from HMRC . Repayments in this manner are limited to businesses located outside the UK and may be considered for example for Import VAT charged on the hammer price for lots sold under temporary admission. If you are located in an EU member state other than the UK you will need to apply for a refund of UK VAT directly to your local tax authority. This is done via submission of an electronically based claim form which should be accessed through the website of your local tax authority. As a result,

your form may include VAT incurred in a number of member states. Time limits for claiming VAT refunds • If you are located in an EU member state other than the UK: Any claim must be made on a calendar year basis and submitted no later than 30 September in the following calendar year (e.g., for VAT incurred in the year 1 January to 31 December 2019 you should make a claim to your local tax authority no later than 30 September 2020). Once you have submitted the electronic form to your local tax authority it is their responsibility to ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest on the unpaid amounts. • If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC. Claim forms are available from the HMRC website. https://www.gov.uk. You should submit claims for VAT to HMRC no later than six months from the end of the 12-month period ending 30 June (e.g., claims for the period 1 July 2019 to 30 June 2020 should be made no later than 31 December 2020). Please note that refunds of VAT will only be made where VAT has been incurred for a business purpose. Any VAT incurred on articles bought for personal use will not be refunded. Sales and Use Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of lots following purchase. Buyers should consult their own tax advisors.

Conditions of Sale The Conditions of Sale and Authorship Warranty set out below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the UK Auction Buyer’s Guide, the Important Notices, VAT & Tax Guide and the Authorship Warranty carefully before bidding. 1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer. 2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller; (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to

bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. Proof of identity in the form of government issued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference. For individuals, acceptable forms of government issued photo identification include a passport or photo driving licence. For companies, acceptable forms of government issued identification include a certificate of incorporation as well as proof of owners and directors.

(b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the Absentee Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable

value added tax (VAT) and any applicable resale royalty (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 13.5% of the portion of the hammer price above £3,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the nationality of the artist, we will identify the lot with the symbol ♠ next to the lot number and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot, we become aware that information provided to us prior to the auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice. (d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in pounds sterling as follows: (i) Payments may be made by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. (e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole

discretion shall require, including completing any antimoney laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. After the auction, we will transfer all lots to our offsite fine art storage facilities. Details will be included in the buyer information packs sent to buyers after the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 Failure to Collect Purchases (a) Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to buyers in the buyer information pack they will receive after the auction. Purchased lots will not be released to the buyer until the Purchase Price and all charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer

or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all salerelated expenses and any applicable taxes thereon. 10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the

Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf by Phillips.

11 Export, Import and Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from the United Kingdom or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old.

Please contact the department organising the auction for further details.

With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the item qualifes as an antique. This will require the buyer to obtain an independent appraisal certify the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. 12. US Import Tarifs Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany. Phillips will mark with a symbol Ж lots which may be subject to additional US import tarifs, where this is known to us. Please note, however, that any such markings are done by us only as a convenience to bidders. Phillips does not accept liability for errors including failing to mark lots accurately or for the absence of any marking.

13 Privacy (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our privacy policy from time to time as published at www.phillips.com or available by emailing dataprotection@phillips.com. (b) Our privacy policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes and will be filmed during the auction for simultaneous live broadcast on our and third party websites and applications. By remaining in these areas, you acknowledge that you may be photographed, filmed and recorded and grant your permission for your likeness and voice to be included in such recordings. If you do not wish to be photographed or filmed or appear in such recordings, please speak to a member of Phillips staff. Your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy available at www.phillips.com. 14 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot.

(b) Except as otherwise provided in this Paragraph 14, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot.

Authorship Warranty (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 15 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 16 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.

(b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer. 17 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the

conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

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

30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by email to bidslondon@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying to bid as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one):

In-person Absentee Bidding Telephone Bidding

Paddle Number

As a private individual On behalf of a company

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

Sale Title

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable)

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specifed, if less than 50% of the low estimate.

Address

City

State/Country

• Your bid must be submitted in the currency of the sale and may be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Post Code Phone

Mobile

Fax

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

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confrmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

Phone number to call at the time of sale (for Phone Bidding only) 2.

Please complete the following section for telephone and absentee bids only Lot number

Brief description

In Consecutive Order

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 13.5% of the portion of the hammer price above £3,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

VAT number (if applicable)

• Company Purchases: If you are buying under a business entity, we require a copy of government-issued identifcation (such as the certifcate of incorporation) as well as proof of owners and directors to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale available online at phillips.com,. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

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

Title

• Private Purchases: Proof of identity in the form of government-issued identification and proof of address will be required.

Maximum pound sterling price* Absentee Bids Only

• Please submit your bids to the Bid Department by email to bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confrmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045. • Absent prior payment arrangements, please provide a bank reference. Payment for lots can be made by cash (up to £5,000 per calendar year), credit card (up to £30,000) using Visa, American Express, Mastercard or Union Pay (for in person transactions only), UK debit cards, wire transfer, banker’s draf or personal cheque with identifcation, drawn on UK banks. • Lots cannot be collected until payment has cleared and all charges have been paid. • You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillip’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g. telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and VAT

Signature

Date

By ticking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

Please tick this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.

New Now New York / 4 March

Viewing 24 February - 3 March Enquiries Sam Mansour smansour@phillips.com +1 212 940 1219

Jonathan Gardner Daisy (detail) oil on canvas 38 x 28 in. (96.5 x 71.1 cm.) Painted in 2014.

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Sale Information

20th Century & Contemporary Art Day Sale

20th Century & Contemporary Art Department

Auction & Viewing Location 30 Berkeley Square, London, W1J 6EX Auction

Head of Sale Tamila Kerimova tkerimova@phillips.com +44 20 7318 4065

Jason King Client Accounting, Director +44 20 7318 4086

Cataloguer

Buyer Accounts Heather Welham +44 20 7901 2982

14 February at 2pm Viewing 3–14 February Monday–Saturday 10am–6pm Sunday 12pm–6pm

Louise Simpson lsimpson@phillips.com +44 20 7901 7911 Administrator

Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010220 or 20th Century & Contemporary Art Day Sale Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@philips.com

Elena Setaro esetaro@phillips.com +44 20 7318 4028 Senior Property Manager Ross Martin +44 20 7318 4788 rmartin@phillips.com Photographers Charlie Sheldon Alex Braun Jean Bourbon Matt Kroenig Kent Pell Auctioneers Henry Highley, Principal Auctioneer Susanna Brockman Adam Clay

Back cover Lot 145, Allen Jones Red Refrigerator painted fberglass, shot blasted gold-plated metal, leather, rosewood-veneered wood, refrigerator components © Allen Jones

Client Accounting Richard Addington Head of Client Accounting +44 20 7901 7914

Seller Accounts Surbjit Kaur +44 20 7318 4072 Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt +44 20 7318 4047 Annaliese Clark +44 20 7318 4081 Rita Matos +44 20 7901 7906 Lucia Nuñez +44 20 7901 7920 Creative Services Andrea Koronkiewicz, Director of Creative Services Orlann Capazorio, Director of Production Grace Neighbour, Graphic Designer Steve Rubbins, Senior Graphic Designer

The 20th Century & Contemporary Art Day sale would like to thank: London Operations Team, Anthony Brennan, Nathan Bendavid, Kate Finefrock, Francesca Carnovelli, Raphael Laval, Zoe Tolkowsky, Brooke Reese, Julia Hirschberg, Samara Kaplan, Mathilde Heaton, Caroline Porter, Judith Lamb, Catherine Bird, Rebecca Cockell, Rebecca Dabby, Michael de Habsbourg-Lorraine,Stanislas Reifers, Eliza Davis Beard, Gabriella McIlgorm and Claire Ping.

Index

Abakanowicz, M. 227

Gilbert & George 159

Law, B. 154

Schnabel, J. 214

Aboudia 242

Gokita, T. 118

Leblanc, W. 178

Schütte, T. 167

Al Karim, H. 138

González, J. 193

Léger, F. 195

Sherman, C. 218, 219

Altmejd, D. 228

Gormley, A. 207

Leufert, G. 232

Simmons, L. 220

Amer, G. 137

Grosse, K. 111

Lipchitz, J. 196

Sturtevant 124, 125

Ancart, H. 110, 112

Guo-Qiang, C. 143

Lowry, L.S. 191

Arruda, L. 102

Gupta, S. 139, 226

Taylor, H. 113 Martin, J. 241

Taylor-Johnson, S. 150

Haider Raza, S. 202

Martinez, E. 104, 107

The Connor Brothers, 248

Halley, P. 233

Matta, R. 192, 194

Tillmans, W. 215, 216

Balla, G. 198

Hambleton, R. 244

McCracken, J. 181

Tuymans, L. 163

Bas, H. 108

Hanson, D. 123

Milhazes, B. 188

Beshty, W. 221

Hernández, S. 109

Miller, H. 121

Valdés, M. 141, 142

Boetti, A. 201

Hirst, D. 147, 148,

Minjun, Y. 229

Van de Velde, R. 223

Borremans, M. 162, 164

160, 204

Morris, S. 157, 158

Vance, L. 117

Moshiri, F. 225

Verheyen, J. 176

Arunanondchai, K. 236 Aubertin, B. 234

Bourgeois, L. 135, 136 Bradley, J. 128

Israel, A. 130

Murillo, O. 127

Broodthaers, M. 177 Brown, G. 209, 210

Murakami, T. 230 Walker, K. 131, 132 Weiser, G. 240

Jenkell, L. 249

Weiwei, A. 144

Jones, A. 145

Opie, J. 149

Collishaw, M. 151

Kabakov, I. 186

Party, N. 119

Whiteread, R. 208

Condo, G. 211, 212

Kahn, W. 237

Patterson, S. 152, 153

Williams, C. 217

Cragg, T. 203

Kapoor, A. 161

Penck, A.R. 172, 173,

Williams, S. 235

Craig-Martin, M. 156

Katz, A. 122, 185

174, 175

KAWS 105, 106,

Perry, G. 146

Dancy, M. 243

114, 115, 129, 250

Price, W. 116

Davenport, I. 155

KAWS & Estudio Campana

de Keyser, R. 179

120

Quinn, N. M. 103

de Staël, N. 197

Kentridge, W. 133, 134

Quinn, M. 206, 224

Dubufet, J. 190

Kiefer, A. 165

Wesselmann, T. 187

Casselman, S. 245

Klein, Y. 180

Rauch, N. 166

Ekblad, I. 238

Klyukin, V. 222

Reyle, A. 246

Emin, T. 205

Kosuth, J. 183

Richter, G. 169, 247 Rotella, M. 199, 200

Figgis, G. 101

Ruscha, E. 182

Fischer, U. 184 Fischl, E. 213 Förg, G. 168, 170, 171 Francis, S. 189 Frize, B. 231

Salle, D. 126

Ziegler, T. 239

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