20TH CENTURY & CONTEMPORARY ART DAY SALE [Catalogue] by PHILLIPS

20th Century & Contemporary Art Day Sale London, 28 June 2019

104. Harold Ancart

112. KAWS

169. KAWS

151. Karel Appel

Right to lef: Lots 129, 125, 130, 132, 131

155. Jesús Rafael Soto

102. Nina Chanel Abney

20th Century & Contemporary Art Day Sale London, 28 June 2019

20th Century & Contemporary Art Department Contacts

Auction & Viewing Location

Sale Designation

30 Berkeley Square, London W1J 6EX

When sending in written bids or making enquiries please refer to this sale as UK010519 or 20th Century & Contemporary Art Day Sale

Auction Head of Sale Tamila Kerimova +44 20 7318 4065 tkerimova@phillips.com Cataloguer Charlotte Gibbs +44 20 7901 7993 cgibbs@phillips.com Administrator Constance Perret +44 20 7318 4073 cperret@phillips.com

28 June 2019, 2pm

Viewing 18–28 June 2019 Monday to Saturday, 10am–6pm Sunday, 12pm–6pm

Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

Our Team.

Executives. Edward Dolman

Cheyenne Westphal

Chief Executive Ofcer

Global Chairwoman

+1 212 940 1241 edolman@phillips.com

+44 20 7318 4044 cwestphal@phillips.com

ÂŠ Brigitte Lacombe

Senior Advisors. David Norman

Hugues Jofre

Arnold Lehman

Ken Yeh

Chairman, Americas

Senior Advisor to the CEO

+1 212 940 1280 dnorman@phillips.com

+44 207 901 7923 hjofre@phillips.com

+1 212 940 1385 alehman@phillips.com

Senior International Specialist +1 212 940 1257 kyeh@phillips.com

Deputy Chairmen & Chairwomen. Svetlana Marich

Jonathan Crockett

Peter Sumner

Miety Heiden

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

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

Deputy Chairwoman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

+1 212 940 1243 vhallett@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

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

+44 20 7318 4010 smarich@phillips.com

+852 2318 2023 jcrockett@phillips.com

+44 20 7318 4063 psumner@phillips.com

+44 20 7901 7943 mheiden@phillips.com

+32 3257 3026 mhoet@phillips.com

20th Century & Contemporary Art London.

Dina Amin Senior International Specialist +44 20 7318 4025 damin@phillips.com

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

Jean-Paul Engelen

Robert Manley

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

+1 212 940 1390 jpengelen@phillips.com

+1 212 940 1358 rmanley@phillips.com

Matt Langton

Henry Highley

Rosanna WidĂŠn

Tamila Kerimova

Kate Bryan

Simon Tovey

Senior Specialist

Head of Evening Sale

Head of Day Sale

Head of New Now Sale

+44 20 7318 4074 mlangton@phillips.com

+44 20 7318 4061 hhighley@phillips.com

+44 20 7318 4060 rwiden@phillips.com

+44 20 7318 4065 tkerimova@phillips.com

Head of Evening Sale, October

Lisa Stevenson

Charlotte Gibbs

Louise Simpson

Clara Krzentowski

Cataloguer

Researcher/Writer

+44 20 7318 4093 lstevenson@phillips.com

+44 20 7901 7993 cgibbs@phillips.com

+44 20 7901 7911 lsimpson@phillips.com

+44 20 7318 4064 ckrzentowski@phillips.com

+44 20 7318 4050 kbryan@phillips.com

+44 20 7318 4084 stovey@phillips.com

20th Century & Contemporary Art. New York. Scott Nussbaum

Takako Nagasawa

Rachel Adler Rosan

Kevie Yang

Amanda Lo Iacono

John McCord

Rebekah Bowling

Sam Mansour

Head of Department

International Specialist

Senior Specialist

Head of Evening Sale

Head of Day Sale, Morning

Head of New Now Sale

+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

Head of Day Sale, Afernoon

Katherine Lukacher

Jeannette van Campenhout

Patrizia Koenig

Annie Dolan

Carolyn Mayer

Maiya Aiba

Avery Semjen

Associate Specialist

Cataloguer

+1 212 940 1279 pkoenig@phillips.com

+1 212 940 1288 adolan@phillips.com

+1 212 940 1206 cmayer@phillips.com

+1 212 940 1387 maiba@phillips.com

+1 212 940 1207 asemjen@phillips.com

Head of Online Sales +1 212 940 1215 klukacher@phillips.com

Specialist +1 212 940 1391 jvancampenhout@phillips.com

Hong Kong. Isaure de Viel Castel

Charlotte Raybaud

Danielle So

Delissa Handoko

Head of Department, Asia

Head of Day Sale

Cataloguer

+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. Europe.

Americas.

Guy Vesey

Vivian Pfeifer

Head of Business Development & Marketing, Europe

Deputy Chairman, Americas, Head of Business Development, Americas

+44 20 7901 7934 gvesey@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

Client Advisory. Europe. Yassaman Ali

Vera Antoshenkova

Client Advisory Director

Client Advisory Manager

+44 20 7318 4056 yali@phillips.com

+44 20 7901 7992 vantoshenkova@ phillips.com

Giulia Campaner Mendes Associate Client Advisory Manager +44 20 7318 4058 gcampaner@phillips.com

Americas. Philae Knight

Jennifer Jones

Liz Grimm

Client Advisory Director

Director of Trusts, Estates & Valuations

Business Development Associate

+1 212 940 1272 jjones@phillips.com

+1 212 940 1342 egrimm@phillips.com

+1 212 940 1313 pknight@phillips.com

Asia. Jasmine Yan

Iori Endo

Client Advisory Director

Client Advisory Manager

+852 2318 2015 jasmineyan@phillips.com

+44 20 7318 4039 iendo@phillips.com

Margherita Solaini Business Development Associate +39 02 83642 453 msolaini@phillips.com

+1 212 940 1250 rbowling@phillips.com

+1 212 940 1219 smansour@phillips.com

101. Nicolas Party

187. Dan Colen

International Specialists & Regional Directors. Europe. Laurence Calmels

Clara Rivollet

Maria Cifuentes

Laurence Barret-Cavy

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

+33 142 78 67 77 mcifuentes@phillips.com

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

+33 686 408 515 lcalmels@phillips.com

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

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

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

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

Specialist, 20th Century & Contemporary Art, Moscow

+39 338 924 1720 clanfranchi@phillips.com

+351 917 564 427 mmarvao@phillips.com

Dr. Nathalie Monbaron Regional Director, Geneva +41 22 317 81 83 nmonbaron@phillips.com

Dr. Alice Trier Specialist, 20th Century & Contemporary Art, Germany +49 173 25 111 69 atrier@phillips.com

+7 905 741 15 15 kfenina@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

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

Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Regional Director, Consultant, Mexico

Regional Director, Palm Beach

Regional Director, Seattle

+52 1 55 5413 9468 clafan@phillips.com

+1 508 642 2579 maurasmith@phillips.com

+1 206 604 6695 scwaltner@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, Shanghai

Associate Regional Representative, Shanghai

+82 10 7305 0797 sshin@phillips.com

+86 13911651725 wenjiazhang@phillips.com

+86 139 1828 6589 aliciazhang@phillips.com

Senior Specialist, Watches & Jewellery, Taiwan

+1 917 657 7193 mdekoning@phillips.com

+1 323 383 3266 bkoh@phillips.com

+1 917 583 4983 vgarcia@phillips.com

+1 773 230 9192 cehlers@phillips.com

Asia.

+81 90 2245 6678 khattori@phillips.com

+82 10 7389 7714 jyy@phillips.com

Meiling Lee

Christine Fernando

Sandy Ma

International Specialist, Taiwan

Associate Regional Representative, Singapore

International Specialist, South East Asia

+886 908 876 669 mlee@phillips.com

+65 9128 6277 christinefernando @phillips.com

+852 2318 2025 sma@phillips.com

+886 2 2758 5505 cyen@phillips.com

101. Nicolas Party

b. 1980

Panorama acrylic on wood 205 x 149 cm (80 3/4 x 58 5/8 in.) Painted in 2015. Estimate £70,000-90,000 $88,800-114,000 €79,700-102,000 plus Buyers Premium and VAT*

Provenance SALTS, Basel Acquired from the above by the present owner Exhibited Basel, SALTS, Nicolas Party: Panorama, 17 June – 25 July 2015

In 2015, Nicolas Party created the site-specific exhibition, Panorama at SALTS in Basel. Inverting the exhibition space, Party lef the interior of the construction empty and instead utilized the outside of the structure, making this the focal point of the work. Inspired by the 19th century panorama pieces that preceded cinema, Party replaced the typical and traditional large-scale circular landscape scenes with twenty six unique paintings, positioning them on the side of the wooden construction. Using all sides of the structure, the piece required a full 360 degree viewing in order to see the complete artwork, and as the visitors explored the installation, they would have been struck by the uncanny atmosphere and sense of theatre. In contrast to the intimate salon hang of the framed pieces, the structure itself publically dominated the space at 16 feet, the colour in a surreal blue and white colour palette. The final result was a three dimensional outdoor painting, which culminates in Party’s characteristic painterly execution of still life motifs and enigmatic portraiture to create an installation resplendent in its trompe l’oeil.

*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. Nina Chanel Abney

b. 1982

Untitled signed and dated ‘Nina Chanel Abney 2008’ on the overlap acrylic on canvas 111.8 x 182.9 cm (44 x 72 in.) Painted in 2008. Estimate £50,000-70,000 $63,400-88,800 €56,900-79,700 ‡ plus Buyers Premium and VAT*

Provenance Maruani Mercier, Brussels Kravets Wehby Gallery, New York Private Collection, New York Exhibited Roslyn Harbor, Nassau County Museum of Art, Eye of the Beholder - Contemporary Gallery, 10 January - 28 February 2010

The present work, Untitled, painted a year afer Nina Chanel Abney’s momentous MFA thesis show at Parsons School of Design in New York, is exemplary of the artist’s ability to blend pop culture with social commentary. Exuding a heightened energy, every part of the canvas is teeming with jostling fgures. Anonymous ghost-like bodies mingle with fve fgures at the forefront of the composition. The ghosts’ hollow eyes disclose little about their emotional states. The nonchalance of the four fgures to the right of the canvas is evident as Abney picks them out from the crowd. Standing confdently, their bodies facing directly towards us, their gazes averted from the viewer. In contrast, the woman to the lef of the canvas is being pushed out of the frame. With her arms crossed and her back to the fgures, she resists them, holding her ground defantly in spite of the discomfort of her surroundings. ‘Easy to swallow, but hard to digest’, is how Nina Chanel Abney describes her brightly coloured depictions of the dark state of contemporary American race relations (the artist,

quoted in ‘The Artsy Vanguard: Newly Established’, Artsy, 30 April 2018, online). Her progressive oeuvre was catapulted to the forefront of contemporary art after the attention garnered by her MFA thesis show, which consisted of a single work, Class of 2007. The diptych, Class of 2007, which reconfgured the artist as a white, blonde, blue-eyed armed prison guard and her MFA classmates as black prison inmates, was bought by the pioneering collectors Don and Mera Rubell based on a photograph of the piece. This work and three others by Abney from 2007 to 2008 were shown in 30 Americans, a show organised by the Rubell Family Collection which has toured to seventeen venues to date and showcased works of many important African American artists of the last three decades, including Barkley L. Hendricks, JeanMichel Basquiat and Lorna Simpson. Abney’s work has been recently celebrated at her solo museum exhibition, Nina Chanel Abney: Royal Flush, which was frst presented in 2018 in Los Angeles and will conclude this year at the Neuberger Museum of Art, New York.

103. Dana Schutz

b. 1976

Crapping, Braiding and Whistling signed and dated ‘Dana Schutz 2009’ on the reverse oil on canvas 147.3 x 193 cm (57 7/8 x 75 7/8 in.) Painted in 2009. Estimate £170,000-200,000 $216,000-254,000 €194,000-228,000 ‡ plus Buyers Premium and VAT*

Provenance Zach Feuer Gallery, New York Private Collection Christie’s, New York, 12 May 2015, lot 228 Acquired at the above sale by the present owner

‘To make a painting with people and things is not just “subjective whatever-ness.” It’s who we are and where we come from and can parallel the world, not just in a fctional or allegorical way, but also structurally. And paintings and images can feel so real! They can act as agents in the world.’ Dana Schutz

Property of a Distinguished European Collection

104. Harold Ancart

b. 1980

Untitled (Full Moon in the Deep Forest) oilstick, acrylic and graphite on paper, in artist’s frame 173.2 x 116.8 cm (68 1/4 x 45 7/8 in.) Executed in 2013. Estimate £100,000-150,000 $127,000-190,000 €114,000-171,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Xavier Hufens, Brussels Acquired from the above by the present owner Exhibited Brussels, Xavier Hufens, Harold Ancart. The end of the beans, 16 April - 25 May 2013

105. Eddie Martinez

b. 1977

Inside Thought oil, enamel and spray paint on canvas 182.9 x 152.4 cm (72 x 60 in.) Executed in 2013. Estimate £50,000-70,000 $63,100-88,300 €56,700-79,300 ‡ plus Buyers Premium and VAT*

Provenance Kohn Gallery, Los Angeles Private Collection Phillips, New York, 10 May 2016, lot 101 Acquired at the above sale by the present owner Exhibited Los Angeles, Kohn Gallery, Eddie Martinez, Nomader, 12 September – 25 October 2014

Game Changer

Property from the Estate of Ryan Brant

To most the Brant surname will be synonymous with contemporary culture. Many will be familiar with the Brant Foundation, or indeed with the long-standing family ownership of Interview Magazine, the title founded by Andy Warhol and John Wilcock in the late 60’s. The Brant dynasty has cemented their reputation as creative thinkers who have founded, backed and nurtured an extraordinary artistic legacy. Born in 1971, Ryan Brant graduated from the Wharton School of Business with a degree in Economics and subsequently followed his father’s footsteps into the family business of publishing. Afer a spell working for Interview Magazine, Ryan lef to apply his experience in the rapidly expanding games publishing sector. In 1993, aged 21, Ryan founded Take-Two, as an organisation looking to become the market leader in the games industry. A string of successful releases enabled the company to expand quickly and lead the charge on the market. Astute collaborations and strategic decision making proved Ryan’s vision to be both commercially lucrative and critically successful. As one might expect with such informed beginnings, Ryan’s passion for art was driven in an absolute belief of the talent who created it. It was this commitment, combined with his natural creative foresight which led him to form a collection of artworks which was entirely refective of his ground-breaking aptitude. To observers, the nature of any collection of works can vary greatly in their common thread. The genesis of assemblage could be a single work, or a survey of more general exploration, such as thematic or compositional concerns. The present works, as part of Ryan’s collection, have been collated through a personal aesthetic which was to be enjoyed daily, in the domesticity of his family home in Palm Beach. Many of the works are vibrant in their tone- ofen playful- and crisply contemporary. The sum of this collection reflects an individual who revelled in creating an imaginative parallel to submerse into.

Julian Schnabel, Portrait of Ryan Brant Holding a Copy of William Gaddis’s “JR”, 2011 plates and bondo on wood 182.9 x 152.4 cm (72 x 60 in.). © Julian Schnabel / ARS, New York / DACS 2019. Image: Phillips.

Phillips is honoured to present to market these works from the estate of Ryan Brant, on behalf of his family. In an all too short life, there was a long list of achievements in Ryan’s endeavours. It is a legacy which conveys personal tenacity with unrivalled vision. In equal measure, this unique group of works gives us a very personal insight into an extraordinary man, through the art of his own private reality.

106. KAWS

b. 1974

UNTITLED (HTLD5) signed and dated ‘KAWS..11’ on the reverse acrylic on canvas diameter 50.8 cm (20 in.) Painted in 2011. Estimate £60,000-80,000 $76,100-101,000 €68,300-91,100 ‡ plus Buyers Premium and VAT*

Provenance Honor Fraser Gallery, Los Angeles Private Collection Phillips, New York, 10 May 2016, lot 248 Private Collection, Palm Beach (acquired at the above sale) Thence by descent Exhibited Los Angeles, Honor Fraser Gallery, Hold the Line, 10 September - 22 October 2011

Game Changer

Property from the Estate of Ryan Brant

107. KAWS

b. 1974

KIMPSONS signed, titled and dated ‘KAWS..05 KIMPSONS..’ on the overlap acrylic on canvas 30.5 x 30.5 cm (12 x 12 in.) Painted in 2005. Estimate £60,000-80,000 $75,700-101,000 €68,000-90,600 ‡ plus Buyers Premium and VAT*

Provenance Private Collection (acquired directly from the artist in 2005) Christie’s, New York, 27 September 2018, lot 22 Private Collection, Palm Beach (acquired at the above sale) Thence by descent Literature KAWS 1993-2010, exh. cat., The Aldrich Museum of Contemporary Art, Connecticut, 2010, p. 22 (another variant illustrated)

Game Changer

Property from the Estate of Ryan Brant *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.

108. KAWS

b. 1974

Game Changer

Property from the Estate of Ryan Brant

109. Nicolas Party

b. 1980

Untitled (Decorative Panel) marble 240 x 105.7 x 2.9 cm (94 1/2 x 41 5/8 x 1 1/8 in.) Executed in 2017. Estimate £60,000-80,000 $75,700-101,000 €68,000-90,600 ‡ plus Buyers Premium and VAT*

Provenance Karma Gallery, New York Private Collection, USA

‘My characters are reconstructed into impossible constructions and expressive proportions. I see them as analogues to experienced reality, not as mechanical simplifcations or dehumanization of the physical world.’ Mernet Larsen

110. Mernet Larsen

b. 1940

Cardplayers signed and dated ‘Mernet Larsen 2013’ on the reverse acrylic, oil and paper collage on canvas 160.6 x 127 cm (63 1/4 x 50 in.) Executed in 2013. Estimate £25,000-35,000 $31,700-44,400 €28,500-39,800 ‡

Provenance Johannes Vogt Gallery, New York Acquired from the above by the present owner Exhibited Gainesville, University of Florida, University Gallery, UG @ 50: Class of (circa) 1965 Mernet Larsen & Robert Fichter, 27 October - 4 December 2015

plus Buyers Premium and VAT*

111. Shara Hughes

b. 1981

Three’s a Crowd signed, inscribed and dated ‘SHARA HUGHES 2008 NEW YORK’ on the reverse oil, acrylic, enamel, spray paint and paint pens on canvas 132.7 x 122.3 cm (52 1/4 x 48 1/8 in.) Executed in 2008. Estimate £10,000-15,000 $12,700-19,000 €11,400-17,100 plus Buyers Premium and VAT*

Provenance metroquadro, Rivoli Private Collection, Turin Exhibited Rivoli, metroquadro, Shara Hughes: I knocked. Then without waiting to be asked I went in, 28 May - 25 June 2009, pp. 16 and 42 (illustrated)

O♦

112. KAWS

b. 1974

UNTITLED signed and dated ‘KAWS..14’ on the reverse acrylic on canvas diameter 243.8 cm (96 in.) Painted in 2014. Estimate £350,000-450,000 $441,000-568,000 €397,000-510,000 ‡ plus Buyers Premium and VAT*

Provenance Private Collection, New York (acquired directly from the artist) Private Collection, Miami

‘[KAWS] made the realization there’s no distinction between the making of the art and placing it in the wider culture. It fts within a long tradition in the art world: Andy Warhol, Marcel Duchamp, artists who wanted to take art outside the confnes of the museum and engage with the wider culture.’ (Harry Philbrick, quoted in Chris Lee, ‘Tag, this artist is defnitely it,’ Los Angeles Times, 21 February 2010, online.)

113. Henry Taylor

b. 1958

Untitled (Self Portrait) signed, inscribed and dated ‘Henry Taylor Painted in Tossa, Spain August 2009’ on the reverse acrylic on board 55.1 x 46 cm (21 3/4 x 18 1/8 in.) Painted in 2009.

Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 plus Buyers Premium and VAT*

Provenance Atelier Cardenas Bellanger, Paris Private Collection, Paris

114. Henry Taylor

b. 1958

Untitled signed, inscribed and dated ‘I’ve gotten knocked down but guess what I got back up Henry Taylor August 2009 Tossa, Spain’ on the reverse acrylic on canvas 46.1 x 55.1 cm (18 1/8 x 21 3/4 in.) Painted in 2009.

Estimate £20,000-30,000 $25,200-37,800 €22,700-34,000 plus Buyers Premium and VAT*

Provenance Atelier Cardenas Bellanger, Paris Private Collection, Paris

115. Shio Kusaka

b. 1972

(pattern 3) incised with the artist’s monogram ‘SK’ on the underside porcelain 20.1 x 12.6 x 12.6 cm (7 7/8 x 4 7/8 x 4 7/8 in.) Executed in 2012. Estimate £4,000-6,000 $5,000-7,600 €4,500-6,800 plus Buyers Premium and VAT*

Provenance The Modern Institute, Glasgow Acquired from the above by the present owner Exhibited Glasgow, The Modern Institute, Shio Kusaka, 27 October - 24 November 2012

116. George Condo

b. 1957

Untitled signed, inscribed and dated ‘april 2016 Condo Santa Monica’ upper lef pencil, pencil crayon and watercolour on paper 56.5 x 76.2 cm (22 1/4 x 30 in.) Executed in 2016. Estimate £60,000-80,000 $75,700-101,000 €68,000-90,600 plus Buyers Premium and VAT*

Provenance Sprüth Magers, Berlin Acquired from the above by the present owner

Property from an Important Private European Collection

117. Marlene Dumas

b. 1953

Strobe Lights + Flash Lights signed with the artist’s initials, titled and dated ‘Strobe lights + fash lights M D. 2000’ lower lef; signed ‘Marlene Dumas’ on the reverse Indian ink, metallic acrylic, paper collage and crayon on paper 66.5 x 22.5 cm (26 1/8 x 8 7/8 in.) Executed in 2000. Estimate £80,000-120,000 $101,000-152,000 €91,100-137,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner in 2001 Exhibited Essen, Museum Folkwang, Rockers Island Olbricht Collection, 5 May - 1 July 2007, no.133, p. 269 Weserburg, Museum for Modern Art, Go for It! Olbricht Collection (a Sequel), 10 May 2008 – 31 October 2009, p. 136 Berlin, me Collectors Room; Museum Arnhem, Queensize – Female Artists from the Olbricht Collection, 7 December 2014 – 22 May 2016, n.p (illustrated)

In Strobe Lights + Flash Lights, executed in 2000, Marlene Dumas subtly evokes man-made light, rendered by the white paper that Dumas leaves unpainted which shines through the dark strokes of metallic paint, glimmering as they catch the light. Depicting a female form at the centre of the portrait’s composition, Dumas’ gestural painting style places an emphasis on the surface of the paper, invoking bleeding pools of paint which outline the figure in motion. Discussing her characterisation of her subjects, Dumas states ‘…it’s a stripping down to that melancholy sex appeal that makes surnames disappear and first names fctional’ (the artist, quoted in ‘Live Acts, Silent Studios’, strippinggirls, exh. cat., Theatermuseum, Amsterdam, 2000, n.p.). Throughout her prolifc oeuvre, the human form has been a key preoccupation of Marlene Dumas. From the dancing central figure, to the flare of light in the lower right of the composition, Dumas’ public scene feels emotive and intimate. For strippinggirls, the project produced with photographer Anton Corbijn between 1998 through 2000, Dumas visited the red-light district of her adopted home Amsterdam, taking Polaroids of the working women who became her painterly subject matter. This method of working partly from life was a departure from her process of painting from found pornographic images, producing a greater sense of intimacy and understanding of her subject. Dumas’ adroit handling of paint enables her to expertly animate the female fgure with a few thin washes of metallic acrylic and ink.

118. Michaël Borremans

b. 1963

The Gap signed, titled and dated ‘MICHAEL M.C.G BORREMANS -THE GAP- 2001’ on the reverse oil on cardboard 22.7 x 31.5 cm (8 7/8 x 12 3/8 in.) Painted in 2001. Estimate £100,000-150,000 $127,000-190,000 €114,000-171,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance ZenoX Gallery, Antwerp Acquired from the above by the present owner in 2002

Michaël Borremans creates haunting and cinematic painterly worlds which oscillate between mundane quotidian realities and uncanny fantasies. The Gap, executed in 2001, was painted in the years following Borremans’ move from his established career as an engraver to embark on his exploration of the medium of paint. Continuing a painterly dialogue with Diego Velázquez and Édouard Manet, Borremans reduces his use of tone to an almost monochrome colour palette in the present work, rendering the fgure with marble-like skin. Staged in an ambiguous black void, we are given a partial view of the fgure’s face as he averts our gaze. This construction of a physical and psychological isolation is all the more heighted as the extreme cropping creates a contradictory sense of proximity.

‘ The actions are often senseless. But the work switches between an aspect of the absurd and a romantic connotation, like a vanitas. That the human being is a victim of his situation and is not free is a conviction of mine.’ Michaël Borremans

In the present work, the central unknown fgure stares intensely at a sheet of paper, completely engrossed in the object in front of him. Submerging us into Borremans’ painterly microcosm, the fgure holds the piece of paper up by its bottom corners at the furthest possible points, intent on displaying the whole object to the viewer; the fgure delicately balances the right corner on the tips of his fngers, creating a sense of tension and intrigue. Peering over his right shoulder, the viewer is confronted with an unnervingly blank page. There are no clues elsewhere in the painting to help elucidate this enigmatic scene. There is neither a sense of time nor space in The Gap and it is this dislocated ambiguity, which imbues an element of cinematic poetry and mystery.

Property from an Esteemed European Collection

119. William Kentridge

b. 1955

Anti-Entropy signed ‘KENTRIDGE’ lower lef charcoal, coloured pencil and poster paint on 3 sheets of brown pattern-makers paper, in artist’s frame 276 x 367 cm (108 5/8 x 144 1/2 in.) Executed in 2011. Estimate £320,000-500,000 $404,000-631,000 €363,000-567,000 ‡ plus Buyers Premium and VAT*

Provenance Goodman Gallery, Johannesburg Acquired from the above by the present owner Literature Eunju Park, Collector, 2015, p. 330 (illustrated)

William Kentridge, The Refusal of Time, 2012, The Metropolitan Museum of Art, New York. Image © The Metropolitan Museum of Art / Art Resource, NY, Artwork. © William Kentridge; courtesy of the artist and Goodman Gallery.

Exploring and championing a breadth of mediums, such as animation, collage, performance and drawing, William Kentridge’s complex creations are multifaceted in form, resonating with audiences through their exploration of the very fabric of our existence. Drawing on Richard Wagner’s notion of the ‘Gesamtkunstwerk’, Kentridge’s sensory microcosms toy with the layering of multiple meanings. Revisiting and reacting to philosophical, historical or political tropes, Kentridge conjures myriad themes in his polymorphic works, producing works on paper and videos which are both experimental, structurally fragmented and conceptually rich. Utilising charcoal, coloured pencil and paint on paper in the present work, Anti-Entropy, executed in 2011, invokes a key image from the artist’s Anti-Mercator video piece, a work created in preparation for the artist’s project The Refusal of Time at Documenta 13 in Kassel, 2012, later shown at Louisiana Museum of Modern Art, Humlebaek, with a version jointly purchased by The Metropolitan Museum of Art, New York, and the San Francisco Museum of Modern Art. This immersive work explored the technology of time-keeping and string theory, created in dialogue with physicist Peter Galison, while the earlier preparatory Anti-Mercator work explored the suspension of time and the resistance of spatial and formal linearity presented by scientists such as Gerardus Mercator. This body of work by Kentridge explores time and our changing cultural and standardised perceptions of time and space.

Breaking away from a linear presentation, in Kentridge’s flms, such as Anti-Mercator, images become increasingly incomplete, as if erased; in Anti-Mercator the artist runs the flm backwards so that drawings diminish rather than flourish. Comprised of three parts of brown patternmakers paper, Anti-Entropy presents the monumental formalisation and expansion of the video’s principal image. Highlighting the importance of narrative and movement in his oeuvre, Kentridge’s works on paper incorporate the artist’s experimentation with stratifying and layering, culminating on paper through fragmented, part-intelligible vignettes, thin washes of paint and sheer veils of graphite, which suggest an upcoming chapter or instalment. In the present work, Kentridge evidently extols in the medium of drawing; through laying bare erasures, smudges and altered forms, as well as exposing the work’s multiple compositional recesses, he allows the viewer to animate the scene, bringing the dancing pair to life. Deploying a filmic sequence or an image captured in motion, as evident in the work of Eadweard Muybridge, Anti-Entropy extends its purely formal dimension to the conceptual. Weaving the caption Anti-Entropy across what seems to be a costume-globe, worn by a fgure engaged with another graphically adorned dancing fgure, the composition alludes to a theme Kentridge returned to time and again in his oeuvre. Anti-Entropy, in his terms, could be defned as an act of resistance: a fortifed will.

‘So, when we throw a jug up in the air and it shatters, entropy declares statistically how unlikely it is that if we throw those shards into the air they will land back into the form of that same jug. But if you take all the shards that have been shattered, the artist’s job is to construct these shards, if not into the frst jug, then into another jug. To describe another understanding of the world is an act of resisting entropy..’ William Kentridge

Eadweard Muybridge Dancing Woman, plate 187 from ‘Animal Locomotion’, 1887, Private Collection Image: Bridgeman Images.

As specifed by the artist, ‘One way of describing what makes something alive is that it resists the tendency to cool down, lose energy, to go from one state of order to disorder, for the human body to turn to dust. It is anti-entropic. So, when we throw a jug up in the air and it shatters, entropy declares statistically how unlikely it is that if we throw those shards into the air they will land back into the form of that same jug. But if you take all the shards that have been shattered, the artist’s job is to construct these shards, if not into the frst jug, then into another jug. To describe another understanding of the world is an act of resisting entropy’ (the artist, quoted in Keli-Safa Maksud, ‘William Kentridge in Conversation’, Ocula Magazine, 1 June 2018, online). In Anti-Entropy, a sense of performativity is also imbued. The act of drawing itself can be an almost liberating and anti-entropic gesture as evident in the present work. The composition’s open and dynamically sketched appearance defies the static nature of two-dimensional piece. Notably Kentridge’s desire to materialise unending movement seems to echo the artist’s fervent desire to become an actor while growing up. Keeping performative themes at the core of his artistic expression, Kentridge utilises theatrical or expressionist language to convey motion and emotion in his narrative-driven works. Constantly rethinking the boundaries of drawing and two-dimensionality, the artist expands his creations beyond the confnes of their medium, thereby challenging the static nature they inherently suggest. Boasting gigantic scale, dramatic contrast, and projecting images on blank space as he would characters on a stage, the artist ceaselessly works with theatrics that exude an arresting sense of resonance through their form, content and context.

120. Frank Bowling, R.A.

b. 1934

Tiger Falls signed, titled and dated ‘“TIGER FALLS” Frank Bowling 1980’ on the reverse acrylic on canvas 117.5 x 64.5 cm (46 1/4 x 25 3/8 in.) Painted in 1980. Estimate £40,000-60,000 $50,400-75,700 €45,300-68,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Spanierman Modern Gallery, New York Private Collection, California

Undoubtedly one of Britain’s fnest formalist painters, Frank Bowling’s painterly practice is currently being celebrated at the artist’s retrospective at the Tate Britain this summer. Since the 1960s, Bowling has been testing and stretching the possibilities of painting, continuing to experiment with form and materials. Born in Guyana, Bowling moved to Britain as a teenager and studied at the Royal College of Art in the early 1960s alongside David Hockney and R.B. Kitaj. Although Bowling achieved early recognition in London, he decided to move to New York in 1966 where his paintings became less constrained by the representational. Pursuing formalism on his own terms, Bowling built a tilting platform in his New York and London studios that enabled him to pour paint from heights of up to two metres, creating daring work that was the product of controlled accidents. The present work, Tiger Falls, was executed in 1980, by which time Bowling had been refning his abstract painting for a decade. Bowling’s deep understanding of the motion and colour of paint is evident in this dynamic composition of violet and ochre. Warm and cool hues are blended together, calmly spilling from the top-lef corner over the fnely-dappled layers underneath. Unlike the hard and rigid lines of American abstraction, visible in the work of Morris Louis or Kenneth Noland, Tiger Falls is an exploration into both the formal materiality as well as atmospheric suggestiveness of paint. In unison with the title, Bowling’s application of the medium is an organic mixture of impasto and thinner painterly washes, both invoking the natural world. Retaining a captivating ambiguity, Tiger Falls transports us into the depths of nature, inviting the viewer’s eye to follow the cascades of paint in motion.

‘In my youth I tended to look at the tragic side of human behaviour and try and refect that in my work, but gradually as I became more involved in the making of paintings, I realised that one of the main ingredients in making paintings was colour and geometry.’ Frank Bowling

121. Gerhard Richter

b. 1932

MV. 157 signed, titled, numbered and dated ‘MV. 157 Richter 2011’ lower margin lacquer on colour photograph 10.1 x 15.1 cm (3 7/8 x 5 7/8 in.) Executed in 2011.

Provenance Tate Modern, London Acquired from the above by the present owner Literature Gerhard Richter – Beirut, exh. cat., Beirut Art Center, 2012, p. 62 (illustrated)

Estimate £50,000-70,000 $63,100-88,300 €56,700-79,300 ♠ plus Buyers Premium and VAT, ARR applies*

122. Yayoi Kusama

b. 1929

Autumn signed and dated ‘Yayoi Kusama 1980’ lower right; further signed, titled [in Japanese] and dated ‘Autumn Yayoi Kusama 1980’ on the reverse paper collage, gouache, pastel and ink on paper 65.6 x 51.2 cm (25 7/8 x 20 1/8 in.) Executed in 1980, this work is accompanied by a registration card issued by the Yayoi Kusama Inc. studio. Estimate £40,000-60,000 $50,400-75,700 €45,300-68,000 plus Buyers Premium and VAT*

Provenance Sotheby’s, Olympia, 18 June 2007, lot 687 Private Collection, Europe Phillips, London, 30 June 2010, lot 271 Acquired at the above sale by the present owner Exhibited Hong Kong, Sotheby’s, Yayoi Kusama. Blooms In My Mind, 19 May - 31 May 2012, no. 5, p. 20 (illustrated, p. 21)

Lots 123–132 Alexander Calder, Joan Miró, Jean Dubufet, Willem de Kooning – the list of esteemed names that constitute the Miles and Shirley Fiterman Collection reads like a crosscontinental survey of the 20th century’s most infuential 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 postwar 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.

123. Alexander Calder

1898-1976

Le Melon signed and dated ‘Calder 74’ lower right; further titled ‘Le Melon’ on the reverse gouache and ink on paper 74.9 x 109.7 cm (29 1/2 x 43 1/4 in.) Executed in 1974, this work is registered in the archives of the Calder Foundation, New York, under application number A12671.

Estimate £30,000-50,000 $37,800-63,100 €34,000-56,700 ‡ plus Buyers Premium and VAT*

Provenance Galerie Maeght, Paris Acquired from the above by the present owner in 1975

124. Alexander Calder

1898-1976

Sephora signed ‘Calder 75’ lower right; further titled ‘Sephora’ on the reverse gouache and ink on paper 74.9 x 109.7 cm (29 1/2 x 43 1/4 in.) Executed in 1975, this work is registered in the archives of the Calder Foundation, New York, under application number A10728.

Estimate £30,000-50,000 $37,800-63,100 €34,000-56,700 ‡ plus Buyers Premium and VAT*

Provenance Galerie Maeght, Paris Acquired from the above by the present owner in 1975

125. Alexander Calder

1898-1976

Modele T (maquette) sheet metal and paint 72.8 x 50.8 x 50.8 cm (28 5/8 x 20 x 20 in.) Executed circa 1964, this work is registered in the archives of the Calder Foundation, New York, under application number A08071. Estimate £200,000-300,000 $252,000-378,000 €227,000-340,000 ‡ plus Buyers Premium and VAT*

Provenance Galerie Maeght, Paris Guy Loudmer, Paris, 27 October 1982, lot 63 Private Collection, Paris (acquired at the above sale) O’Hara Gallery, New York (acquired in 1983) John C. Stoller & Co., Minneapolis Acquired from the above by the present owner in 1983 Literature Bernice Winslow Mancewicz, Alexander Calder. A Pictorial Essay, Michigan, 1969 (installation view illustrated, p. 26) Pedro E. Guerrero, Calder at Home: The Joyous Environment of Alexander Calder, New York, 1998 (installation views illustrated, pp. 79, 97)

126. Niki de Saint Phalle

1930-2002

Dawn (bleue) incised with the artist’s name, number and stamped with the Gérard Haligon Résines d’Art publisher’s stamp ‘Niki 3/5’ on the reverse of the lef heel painted polyester on metal base 141 x 115.6 x 63.5 cm (55 1/2 x 45 1/2 x 25 in.) Executed circa 1993, this work is number 3 from an edition of 5 plus 3 artist’s proofs and 1 EE and is accompanied by a certifcate of authenticity issued by the Niki Charitable Art Foundation. Estimate £120,000-180,000 $151,000-227,000 €136,000-204,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection

‘Why the nanas? Well, frst because I am one myself. Because my work is very personal and I try to express what I feel. It is the theme that touches me most closely. Since women are oppressed in today’s society I have tried, in my own personal way, to contribute to the Women’s Liberation Movement.’ Niki de Saint Phalle

127. Christo

b. 1935

Store Front (Mandarin Yellow) signed, titled, inscribed and dated ‘STORE FRONT Mandarin yellow from “Red Devil” Christo 65’ lower edge pencil, wax crayon and enamel on drafer’s vellum laid on cardboard with paper collage 71.2 x 55.8 cm (28 x 21 7/8 in.) Executed in 1965, this work is registered in Christo’s archives. Estimate £15,000-20,000 $18,900-25,200 €17,000-22,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Locksley Shea Gallery, Minneapolis Acquired from the above by the present owner

128. John Hoyland

1934 - 2011

11.10.68 signed, titled and dated ‘11.10.68 HOYLAND’ on the overlap acrylic on canvas 181.9 x 303.5 cm (71 5/8 x 119 1/2 in.) Painted in 1968. Estimate £50,000-70,000 $63,100-88,300 €56,700-79,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Robert Elkon Gallery, New York Acquired from the above by the present owner in 1969 The Hoyland Estate are currently preparing the forthcoming catalogue raisonné of the artist’s work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to The Hoyland Estate, c/o Phillips, 20th Century and Contemporary Art Department, 30 Berkeley Square, London W1J 6EX.

‘Paintings are there to be experienced, they are events. They are also to be meditated on and to be enjoyed by the senses; to be felt through the eye.’ John Hoyland

Joan Miró in the Fiterman Collection ‘For me, an object is a living thing.’

Poetically and magically re-inventing traditional sculptural depictions of the female form, birds and fgures, the current selection of works from the Fiterman Collection wonderfully demonstrate Joan Miró’s constant challenge of artistic norms since his initial spectacular emergence as a sculptor between 1946 and 1949 with the creation, modelling and casting of Lunar Bird and Solar Birds. From the mid 1960’s, Miró adopted assemblage in the modelling of his women, birds and fgures; subjects that appear intermittently throughout Miró’s output and typically assigned titles such as Personnage, Oiseau, Femme. Miró’s assemblage sculptures, rooted in Surrealist collage and Goya’s Caprices, unite the marvel of childhood joy with the rustic wit of the Catalans. Reminiscent of ‘that brand of confused alchemy derived from Miró’s close friend Marcel Duchamp … Miró changed the experience of pictorial invention with his peasant-like, dogmatic instinct. He approached and re-examined the most familiar subjects – a pebble, a tap, a leaf, twig, piece of soap, a toy or a Catalan cake.’ (Jacques Dupin, in Emilio Fernández Miró and Pilar Ortega Chapel, Joan Miró: Sculptures. Catalogue raisonné 1928-1982, Paris, 2006, p. 21). Objects collected such as iron, stones and other found and discovered treasures were combined during the evolution of his bronzes, thereby altering their artistic purpose and infusing the fnal work with a dynamic poetic spirit. ‘The real, almost unique inventiveness of Miró the sculptor lay in his work with

assemblage. In the beginning, strange, disparate elements gradually evolved during the process of discovery to become recognisable pieces – parts of a construction in which they increasingly revealed themselves … to form a sculpture that was articulate and that unfolded like a musical fugue and variations.’ (Jacques Dupin, in Emilio Fernández Miró and Pilar Ortega Chapel, Joan Miró: Sculptures. Catalogue raisonné 1928-1982, Paris, 2006, p. 22). Through these assemblage works, Miro was able to escape the constraints of everyday life. Explaining his process of using the found items he collected on his walks in the countryside, Miró noted, ‘I feel attracted to an object by a magnetic force, without the slightest premeditation, and then I feel myself being drawn to another object which is added to the frst, and in combination they create a poetic shock, preceded by that visual and physical revelation which makes poetry truly moving…’ (the artist, quoted in Joan Miró: Selected Writings and Interviews, Boston, 1986, p. 125). Conceived between 1970 and 1978, the following examples Personnage, Femme and Personnage et oiseau, take Miró’s key motifs as their subject, delightfully conveying femininity and expressing the fantasy of found materials becoming animate and alive, leaving representation and reality to arouse the imagination. Miró devised a new poetry and denotation that conjure unconscious primitive forms and prehistoric traditions.

‘In an artwork, you should be able to discover new things every time you see it.’ Joan Miró

Miro with one of his famous plaster sculptures in his studio in Montroig, Barcelona/Montroig 1955 © Successió Miró / ADAGP, Paris and DACS London 2019. © 2019 Stifung Ernst Scheidegger-Archiv, Zurich. Photograph by Ernst Scheidegger

129. Joan Miró

1893-1983

Personnage incised with the artist’s signature and number ‘Miró 2/2’ lower edge bronze with green-grey patina 69.7 x 33 x 15.5 cm (27 1/2 x 12 7/8 x 6 1/8 in.) Conceived in 1970 and cast by Fundició Parellada, Barcelona, this work is number 2 from an edition of 2 plus 1 artist’s proof and 2 nominative casts realised in 1973 and 1987. Estimate £150,000-200,000 $189,000-252,000 €170,000-227,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Maeght, Paris Acquired from the above by the present owner Exhibited Barcelona, Fundació Joan Miró, Pintura, escultura i sobreteixims de Miró a la Fundació, 1975, cat. no. 231, p. 129 (another example exhibited) Saint-Paul, Fondation Maeght, Joan Miró: Peintures Sculptures Dessins Céramiques 1956-1979, 7 July - 30 September 1979, no. 236, pp. 114 and 186 (another example exhibited and illustrated, p. 114) Karlsruhe, Städtische Galerie im Prinz-Max-Palais, Joan Miró: Skulpturen, 24 September - 13 November 1983, no. 16, p. 17 (another example exhibited and illustrated, titled ‘Gestalt’, p. 30) Saint-Paul, Fondation Maeght, Hommage à Joan Miró, 10 March 8 May 1984, no. 170, p. 36 (another example exhibited) Madrid, Centro de Arte Reina Sofía, Miró en las Colecciones del Estado, October - December 1987, no. 80, p. 95 (another example exhibited and illustrated) Schirn Kunsthalle Frankfurt, Miro: Gemälde, Plastiken, Zeichnungen und Graphik: Werke aus den Kunstsammlungen des spanischen Staates, 14 May - 31 July 1988, no. 80, pp. 19 and 111 (another example exhibited and illustrated, p. 111) Palma de Mallorca, Llonja, Escultures de Miró, December 1990 - February 1991, no. 17, p. 118 (another example exhibited and illustrated, p. 119) Florence, Palazzo Strozzi, Joan Miró: Le metamorfosi della forma, 18 December 1999 - 25 April 2000, pp. 31-32, 40 and 101 (another example exhibited and illustrated, p. 101) Barcelona, Fundació Joan Miró, Joan Miró: Desflada d’obsessions, 14 June - 2 September 2001, no. 14, pp. 44-45 and 131 (another example exhibited and illustrated, p. 45)

Saint-Paul, Fondation Maeght, Joan Miró: Métamorphoses des formes. Collection de la Fondation Maeght, 1 April - 25 June 2001, no. 98, pp. 105 and 226 (another example exhibited and illustrated, p. 105) Johannesburg, Standard Bank Gallery, The Magical Universe of Joan Miró, 19 September – 7 December 2002, pp. 30-31 (another example exhibited and illustrated, p. 31) Seville, Sala San Hermenegildo; Córdoba, Sala de Exposiciones Museísticas - CajaSur, Joan Miró, 3 May - 10 July 2005, no. 33, pp. 117 and 165 (another example exhibited and illustrated) Hangzhou, Zhejiang Art Museum, Parade of Obsessions: The Exhibition of Joan Miró’s Artworks, 9 August - 25 September 2009, p. 21 (another example exhibited and illustrated, titled ‘Figure’) Pisa, Palazzo Blu, Joan Miró: I miti del Mediterraneo, 9 October 2010 23 January 2011, p. 145 (another example exhibited and illustrated) Brussels, Espace culturel ING, Joan Miró: peintre-poète, 24 March 19 June 2011, p. 130 (another example exhibited and illustrated) Paris, Fondation Dina Vierny - Musée Maillol, Miró Sculpteur, 16 March - 31 July 2011, no. 106, p. 125 (another exampled exhibited and illustrated) Barcelona, Fundació Joan Miró, Miró: and the Object, 29 October 2015 - 17 January 2016, no. 82, pp. 166 and 209 (another example exhibited and illustrated, p. 166) Literature Jacques Dupin, Francesc Català-Roca and Joan Prats, Miró Sculpteur, Barcelona, 1972, no. 111 and 119, n.p. (another example illustrated) Fundació Joan Miró, Obra de Joan Miró: Pintura, escultura i sobreteixims a la col·lecció de la Fundació, Barcelona, 1979, no. 283, p. 167 (another example illustrated) Alain Joufroy and Joan Teixidor, eds., Miró Sculptures, Paris, 1980, no. 157, p. 236 (another example illustrated, p. 113) Fundació Joan Miró, Obra de Joan Miró: Dibuixos, pintura, escultura, ceràmica, tèxtils, Barcelona, 1988, no. 1597, p. 435 (another example illustrated) Emilio Fernández Miró and Pilar Ortega Chapel, Joan Miró: Sculptures. Catalogue raisonné 1928-1982, Paris, 2006, no. 180, pp. 182 and 387 (another example illustrated, p. 182)

130. Joan Miró

1893-1983

Femme incised with the artist’s signature and number ‘Miró 5/6’ right lower edge bronze with green patina 42.5 x 35.6 x 21 cm (16 3/4 x 14 x 8 1/4 in.) Conceived in 1978 and cast by Fonderia Artistica Bonvicini, Verona, this work is number 5 from an edition of 6. Estimate £80,000-120,000 $101,000-151,000 €90,600-136,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Lelong, Paris Acquired from the above by the present owner Literature Alain Joufroy and Joan Teixidor, Miró Sculptures, Paris, 1980, no. 297, p. 247 (plaster version illustrated) Emilio Fernández Miró and Pilar Ortega Chapel, Joan Miró: Sculptures. Catalogue raisonné 1928-1982, Paris, 2006, no. 355, pp. 333 and 386 (another example illustrated, p. 333)

131. Joan Miró

1893-1983

Personnage et oiseau incised with the artist’s signature and number ‘1/6’ lef lower edge; further stamped with the Fonderia Artistica Bonvicini, Verona, foundry mark right lower edge bronze 64.4 x 71.1 x 38.1 cm (25 3/8 x 27 7/8 x 15 in.) Conceived in 1978, this work is number 1 from an edition of 6. Estimate £70,000-100,000 $89,000-127,000 €79,000-113,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Maeght Lelong, Zurich Acquired from the above by the present owner Literature Alain Joufroy and Joan Teixidor, Miró Sculptures, Paris, 1980, no. 299, p. 247 (plaster version illustrated) Emilio Fernández Miró and Pilar Ortega Chapel, Joan Miró: Sculptures. Catalogue raisonné 1928-1982, Paris, 2006, no. 356, pp. 333 and 387 (another example illustrated, p. 333)

132. Claes Oldenburg

b. 1929

Fagend Study stamped with the artist’s initials, title, number and date ‘CO. 14/24 COPYRIGHT © 1976 CLAES OLDENBURG FAGEND STUDY, 1968 FABRICATED BY LIPPINCOTT INC.’ on the tip of the flter cast aluminium hand painted with enamel 25.4 x 50.8 x 16.5 cm (10 x 20 x 6 1/2 in.) Conceived in 1968, this work was cast in 1976 and is number 14 from an edition of 24. Estimate £30,000-50,000 $37,800-63,100 €34,000-56,700 ‡ plus Buyers Premium and VAT*

Provenance Gemini G.E.L., Los Angeles John C. Stoller & Co., Minneapolis Acquired from the above by the present owner in 1977

Exhibited New York, Leo Castelli Gallery, Claes Oldenburg, 6 - 27 November 1976, no. 13 (another example exhibited) Helsinki, Galerie Kajforsblom, Celebrating Leo Castelli and Pop Art, 12 March - 14 April 1988, p. 19 (another example exhibited and illustrated) Weil am Rhein, Vitra Design Museum, Pop Art Design, 2012, p. 148 (another example exhibited and illustrated) Literature Claes Oldenburg, Photo Log May 1974 - August 1976, exh. cat., Stuttgart, 1976, no. 90-97, 160 and 161, n.p. (another example exhibited and illustrated, n.p.) Claes Oldenburg, Press Log May 1974 - August 1974, exh. cat., Stuttgart, 1976, pp. 5 and 20 (another example exhibited and illustrated, p. 20) Sylvia Lord, ed., Frederick R. Weisman Art Foundation Collection, Los Angeles, 2007, p. 164 (another example illustrated)

133. Agenore Fabbri

1911-1998

Forma IV signed ‘A. FABBRI’ on the reverse painted wood 122 x 54.5 x 28 cm (48 x 21 1/2 x 11 in.) Executed in 1962. Estimate £20,000-30,000 $25,200-37,800 €22,700-34,000 ♠ plus Buyers Premium and VAT*

Provenance Galleria Montrasio Arte, Monza Volker W. Feierabend, Milan Kunstmuseum, Bonn Finarte - Asta 729, Milan, March 1990, lot 181 Private Collection, Europe Christie’s, London, 18 October 2013, lot 112 Acquired at the above sale by the present owner Exhibited Milan, Galleria Il Milione, Group Show, 1964 Cologne, Galerie Karsten Greve, Agenore Fabbri, 1994 Dortmund, Museum am Ostwall, Agenore Fabbri - Die informelle Phase, 20 February - 31 March 2002 (illustrated, p. 91) Literature Marco Valsecchi, Agenore Fabbri, exh. cat., Galleria del Naviglio, Milan, 1964 (illustrated) Volker W. Feierabend, Agenore Fabbri. Catalogo ragionato. Pittura. II, Cinisello Balsamo, 2011, no. P 62-30 (illustrated, p. 248)

134. Jannis Kounellis

1936-2017

Untitled bitumen on canvas on steel 200 x 180.1 cm (78 3/4 x 70 7/8 in.) Executed in 2013. Estimate £80,000-120,000 $101,000-152,000 €91,100-137,000 ♠ plus Buyers Premium and VAT, ARR applies*

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

135. Alberto Biasi

b. 1937

Politipo signed, titled, stamped with the Alberto Biasi Gruppo Enne stamp, numbered and dated ‘POL. 211 Alberto Biasi 1978 “Politipo”’ on the reverse ribbon strips, painted nails and painted wooden collage on painted wooden board, in artist’s wooden frame 177.3 x 130.2 cm (69 3/4 x 51 1/4 in.) Executed in 1978, this work is registered in the Archivio Alberto Biasi under no. POL 211 and is accompanied by a certifcate of authenticity signed and dated by the artist. Estimate £50,000-70,000 $63,400-88,800 €56,900-79,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, Turin Exhibited Genoa, Palazzo Reale Museum, Alberto Biasi, Kaleidoscope: dalle trame agli assemblaggi, 30 June – 30 September 2009, no. 29, n.p. (illustrated) Treviso, Museo Civico di Santa Caterina, Alberto Biasi – Jorrit Tornquist, Arte scienza progetto colore, 3 November 2009 – 31 January 2010, pp. 62-63 (illustrated, p. 62) Sacile, Studio d’Arte G.R., Alberto Biasi allo Studio G.R., 3 April – 12 June 2011, p. 64 and 83 (illustrated, p. 64) Ljubljana, Narodni Muzej Slovenije-Metelkova, Alberto Biasi – gli anni ’60 gli anni 2000, 19 September – 23 October 2011, p. 65 (illustrated) Istria, Sutai Foundation of Motovun, Alberto Biasi, 3 May – 13 June 2013, p. 65 (illustrated) Museo Nazionale di Ravenna e Mausoleo di Teodorico, Alberto Biasi a San Vitale, La luce e gli ambienti della storia, 29 March – 14 September 2014, pp. 27-28 (illustrated)

136. Agostino Bonalumi

1935-2013

Blue signed and dated ‘Bonalumi 71’ on the reverse shaped canvas and vinyl tempera 60 x 58 cm (23 5/8 x 22 7/8 in.) Executed in 1971, this work is accompanied by a certifcate of authenticity and is recorded in the Archivio Bonalumi under the archive number 71-054. Estimate £70,000-90,000 $88,800-114,000 €79,700-102,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, Italy Roten Fine Art, Switzerland Private Collection, Switzerland

‘Hay nudos / Que no son nudos / Y nudos que solamente / Son nudos (There are knots / That are not knots / And knots that only / Are knots).’ Jorge Eielson

137. Jorge Eielson

1924-2006

Quipus acrylic and jute on wooden frame 51.4 x 50.3 cm (20 1/4 x 19 3/4 in.) Executed in 1973, this work is accompanied by a certifcate of authenticity issued by the Archivio Jorge Eielson Soronno and is registered under archive number JE0736.

Estimate £15,000-20,000 $19,000-25,400 €17,100-22,800 plus Buyers Premium and VAT*

Provenance Private Collection, Bergamo Acquired from the above by the present owner

138. Shozo Shimamoto

1928-2013

Palazzo Ducale 11 signed ‘S Shimamoto’ lower right enamel and broken glass on canvas laid on canvas 166.2 x 169.4 cm (65 3/8 x 66 3/4 in.) Executed in 2008, this work is accompanied by a certifcate of authenticity issued by the Shozo Shimamoto Association. Estimate £50,000-70,000 $63,400-88,800 €56,900-79,700 plus Buyers Premium and VAT*

Provenance Fondazione Morra, Italy Acquired from the above by the present owner Exhibited Genoa, Palazzo Ducale, Shozo Shimamoto, 13 November 2008 Palermo, Palazzo Sant’Elia, SHOZO SHIMAMOTO: Spazio nel tempo, 14 June - 16 September 2018, pp. 132-133 and 262 (illustrated, pp. 132-133)

139. Massimo Campigli

1895-1971

Labirinto/Labirinto di vetro signed and dated ‘CAMPIGLI 56’ lower right; further signed, indistinctly titled and dated ‘CAMPIGLI 1956 LABYRINTHE’ on the reverse oil on canvas 90 x 117 cm (35 3/8 x 46 1/8 in.) Painted in 1956. Estimate £60,000-100,000 $67,700-113,000 €75,900-126,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance The Pagani Collection Galleria Annunciata, Milan Acquired from the above by the present owner Exhibited Turin, Galleria Civica d’Arte Moderna, Peintres d’aujourd’hui France - Italie / Pittori d’oggi Francia - Italia, 7a mostra: Balthus e Massimo Campigli, September - November 1961, no. 40 (illustrated) Literature Giorgio Mascherpa, Scopri la pittura sui muri di campagna, Milan, 1961 Franco Russoli, Campigli. Pittore, Milan, 1965, no. 74 (illustrated in previous state) Giulio Bolaf, ed., Catalogo nazionale Bolaf d’arte moderna, no. 12, Turin, 1976, p. 44 (illustrated) Sergio Torresani, ‘Il segreto e l’autoritratto di Massimo Campigli’, Il Ragguaglio Librario, Milan, 1992, p. 182 (illustrated) Nicola Campigli, Eva Weiss, Marcus Weiss, Massimo Campigli and Archives Campigli Saint-Tropez, Campigli Catalogue Raisonné Vol. 2, Milan, 2013, no. 56-047, p. 694 (illustrated)

140. Henry Moore

1898-1986

Seventeen Reclining Figures signed, inscribed and dated ‘Moore. Drawing for lithograph. 1962’ lower right; further sketch crossed through on the reverse felt-tip pen, graphite, charcoal and ink on paper 55.9 x 65.9 cm (22 x 25 7/8 in.) Executed in 1962.

Provenance Galerie Gerald Cramer, Geneva (acquired in 1968) Private Collection (acquired in the late 1970s) Thence by descent to the present owner Literature Ann Garrould, ed., Henry Moore, Complete Drawings 1950-75, vol. IV, London, 2003, no. AG 63.1, HMF 3085 (illustrated p. 169)

Estimate £25,000-40,000 $31,700-50,700 €28,500-45,500 ♠ plus Buyers Premium and VAT, ARR applies*

141. Allen Jones

b. 1937

Parable of Our Time II signed and dated ‘Allen Jones ‘81’ on the overlap oil and charcoal on canvas 152 x 152 cm (59 7/8 x 59 7/8 in.) Executed in 1981.

Provenance Waddington Galleries, London Private Collection Christie’s, London, 31 March 1987, lot 484 Acquired at the above sale by the present owner

Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 ♠

Exhibited Swansea, Glynn Vivian Art Gallery (on loan)

plus Buyers Premium and VAT, ARR applies*

Property from a Private Collector

142. Henri Matisse

1869-1954

Nu aux bras levés signed ‘Henri Matisse’ lower right charcoal on paper 31.5 x 48.3 cm (12 3/8 x 19 in.) Executed in 1921. The authenticity of this work was confrmed by Wanda de Guébriant on 25 September 2007 as confrmed by the Archives Matisse. Estimate £200,000-300,000 $254,000-380,000 €228,000-342,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance P. N. Matisse Gallery, Beverly Hills Acquired from the above by the present owner in 1965 Exhibited Los Angeles, UCLA Art Galleries; Art Institute of Chicago; Boston, Museum of Fine Arts, Matisse Retrospective, 5 January - 26 June 1966, no. 168, pp. 150-151, 198 (illustrated, p. 150) San Francisco, John Berggruen Gallery, Henri Matisse: An Exhibition of Selected Works in Homage to Frank Perls, 18 September 25 October 1975, no. 10 (illustrated, p.11) Literature Waldemar George, Dessins d’ Henri Matisse, Paris, 1925, no. 44 (illustrated)

∆

143. Fernand Léger

1881-1955

Les deux profls couleurs en dehors titled and numbered ‘No 14. Les 2 profls.’ on the reverse glazed and painted ceramic 50.5 x 39.5 cm (19 7/8 x 15 1/2 in.) Executed in 1952, this work is unique. Estimate £25,000-30,000 $31,700-38,000 €28,500-34,200 ‡ ♠

Provenance The Artist Georges Bauquier, Biot Simone Bauquier, Biot Camard & Associés, Paris, June 9, 2010, lot 103 Private Collection Phillips, New York, 16 May 2018, lot 102 Acquired at the above sale by the present owner

plus Buyers Premium and VAT, ARR applies*

∆

144. Fernand Léger

1881-1955

Figure de femme titled and numbered ‘N.35 N35. FiGure de Femme’ on the reverse glazed and painted ceramic 43.5 x 34 cm (17 1/8 x 13 3/8 in.) Executed in 1952, this work is unique. Estimate £25,000-30,000 $31,700-38,000 €28,500-34,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance The Artist Georges Bauquier, Biot Simone Bauquier, Biot Camard & Associés, Paris, 9 June 2010, lot 101 Private Collection Phillips, New York, 16 May 2018, lot 103 Acquired at the above sale by the present owner

145. Bernard Aubertin

1934-2015

Tableau Clous signed and dated ‘Bernard Aubertin 1969’ on the reverse acrylic and nails on board 50 x 50 cm (19 5/8 x 19 5/8 in.) Executed in 1969, this work is accompanied by a certifcate of authenticity from the Archivio Opere Bernard Aubertin and is registered under the archive number TCLR96-1000205523. Estimate £5,000-7,000 $6,300-8,900 €5,700-8,000 ♠ plus Buyers Premium and VAT, ARR applies*

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

146. Bernar Venet

b. 1941

Related to: “Maximum Relative Error - Actual Relative Error” signed, titled and dated ‘Bernar Venet 2001 “Related to: Maximum Relative Error Actual Relative Error”’ on the reverse acrylic on canvas 176 x 200 cm (69 1/4 x 78 3/4 in.) Painted in 2001, this work is included in the artist’s archives under inventory number bv01p36. Estimate £40,000-60,000 $50,700-76,100 €45,500-68,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner

Exhibited Koblenz, Ludwig Museum, Bernar Venet, 23 June - 18 August 2002 Nice, Galerie des Ponchettes, Equation/Saturation, 18 June - 21 September 2003 Metz, L’Arsenal, Bernar Venet, Summer 2007 Seoul Museum of Art, Bernar Venet Paintings 1961-2011: A Retrospective, 9 March - 14 April 2011 Literature Donald Kuspit, Bernar Venet: Art and Mathematics: In Search of the Sublime, Paris, 2003, p. 97 Alexandre Devals and Olivier Schefer, Bernar Venet. Paintings, Milan, 2012, p. 218

Property from an Important Hong Kong Collection

147. Georges Mathieu

1921-2012

Valse Bleue signed and dated ‘Mathieu 86’ lower centre; further titled ‘VALSE BLEUE’ on the stretcher oil on canvas 97.2 x 130.2 cm (38 1/4 x 51 1/4 in.) Painted in 1986. Estimate £50,000-70,000 $63,100-88,300 €56,700-79,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Wally Findlay Galleries, New York Private Collection, New York Christie’s East, New York, 1 November 1994, lot 115 Galleria Tega, Milan Opera Gallery, Hong Kong Acquired from the above by the present owner Exhibited New York, Wally Findlay Galleries, Mathieu, Recent paintings by the master of Lyrical Abstraction, 20 May - 20 June 1987 (illustrated, p.17) Milan, Galleria Tega, Georges Mathieu, 7 March – 29 April 1995 We are grateful to Mr. Jean-Marie Cusinberche for the information he has kindly provided for this work.

Property from an Important Hong Kong Collection

148. Hans Hartung

1904-1989

T1971-E45 signed and titled ‘H. HARTUNG T1971-E45’ on the reverse; further titled and numbered ‘T1971-E45 4625’ on the stretcher acrylic on canvas 54.5 x 81.5 cm (21 1/2 x 32 1/8 in.) Painted on 12 November 1971, this work is registered in the archives of the Fondation Hartung Bergman. Estimate £40,000-60,000 $50,700-76,100 €45,500-68,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Sapone, Nice Private Collection, Europe Christie’s, London, 1 July 2008, lot 195 Private Collection Opera Gallery, Hong Kong Acquired from the above by the present owner This work will be included in the forthcoming catalogue raisonné currently being prepared by the Fondation Hartung Bergman.

Property from an Important Hong Kong Collection

149. Victor Vasarely

1906-1997

Lille-A signed ‘Vasarely’ lower lef; further signed, titled and dated ‘VASARELY “LILLE-A” -1950 Vasarely’ on the reverse of the panel acrylic on card laid on panel 47.6 x 36.5 cm (18 3/4 x 14 3/8 in.) Painted in 1950.

Estimate £15,000-20,000 $19,000-25,400 €17,100-22,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

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

Property from an Important Hong Kong Collection

150. Syed Haider Raza Village au ciel orange signed ‘RAZA’ lower right oil on canvas 65 x 50 cm (25 5/8 x 19 5/8 in.) Painted circa 1956.

1922-2016 Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 ‡ plus Buyers Premium and VAT*

Provenance Ader, Paris, 29 May 2013, lot 97 Private Collection Matsart Art Gallery, Tel Aviv Acquired from the above by the present owner

151. Karel Appel

1921-2006

Nu Laineux signed and dated ‘ck. appel ‘56’ lower lef oil on canvas 130 x 97.1 cm (51 1/8 x 38 1/4 in.) Painted in 1956, the work is accompanied by a certifcate of authenticity issued by the Karel Appel Foundation. Estimate £200,000-300,000 $254,000-380,000 €228,000-342,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Espace, Haarlem Galerie Stadler, Paris Bruun Rasmussen Auctioneers, Copenhagen, 4 October 2005, lot 48 Private Collection Acquired from the above by the present owner

‘…For me, the material is the paint itself. The paint expresses itself. In the mass of the paint, I find my imagination and go on to paint it.’ Karel Appel

In Nu Laineux, executed in 1956, Karel Appel’s swathes of coloured impasto engulf the central form. Stripping the fgure of distinguishable features, the nude’s countenance radiates from the work through Appel’s adept handling of colour and form. Using heavily applied strokes of richly coloured oil, Appel’s ‘expressive vehemence’ is ingrained into the fabric of the present work’s composition (Michel Tapie, ‘Une véhémence expressive’, in, Claude Fournet, ed., 40 ans de peinture, sculpture et dessin, Paris, 1987, p. 107). Imbuing the work with fervent energy, Appel experimented with applying oil straight from the tube, entwining the immediacy of his gesture directly with the canvas. Combining a palette of yellow, red and blue, thick black striations defne the outline of the central fgure, twisting and contorting with the artist’s enigmatic application. A co-founder of the progressive CoBrA movement in 1948, Appel settled in Paris in 1950 where he began to travel worldwide. Two years prior to the execution of the present work, Appel’s work was celebrated at his frst solo exhibition in the USA at Martha Jackson Gallery and the artist received the UNESCO prize at the Venice Biennale. By 1956, the same year as the present work was painted, Appel created a mural for the entrance of the Stedelijk Amsterdam. A key fgure of the 20th century European avant-garde, the present work is a vibrant example of the artist’s mastery of oil, conjuring an energetic and anarchic composition on canvas.

152. Richard Anuszkiewicz

b. 1930

Temple of Red with Yellow signed, titled, numbered and dated ‘(c) RICHARD ANUSZKIEWICZ 1983 “Temple of Red with Yellow” 664’ on the reverse acrylic on panel 78.7 x 58.4 cm (30 7/8 x 22 7/8 in.) Painted in 1983. Estimate £35,000-45,000 $44,100-56,800 €39,700-51,000 plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner Exhibited New York, The Century Association. Professional Painters’ Exhibition, 2 December 2008 - 14 January 2009 Literature David Madden and Nicholas Spike, Anuszkiewicz. Paintings & Sculptures 1945 2001, Florence, 2010, no. 1983.28, p. 198

153. Daniel Buren

b. 1938

PVC giallo − Quatre éléments. travail situé vinyl on PVC, in 4 parts each part 130.5 x 130.5 cm (513/8 x 513/8 in.) overall installation dimensions 269.7 x 269.7 cm (1061/8 x 1061/8 in.) Executed in November 2003. Estimate on request ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galleria Massimo Minini, Brescia Acquired from the above by the present owner Exhibited Brescia, Galleria Massimo Minini, Les Parallèles, 15 November 2003 - 17 January 2004 Milan, Ciocca Arte Contemporanea, Amate l’architettura, 16 March - 6 May 2016 Geneva, Galerie des Bains, Shapes/Colors, March - April 2019 An Avertissement will be established by Daniel Buren under the name of the purchaser, and will be signed by the latter.

Photo-souvenir: PVC giallo − Quatre éléments, travail situé, novembre 2003. © Daniel Buren/ADAGP, Paris.

154. Imi Knoebel

b. 1940

Tiger Woods signed with the artist’s initials and dated ‘IM 99’ on the reverse acrylic on aluminium, in 2 parts 256.2 x 289.3 cm (100 7/8 x 113 7/8 in.) Executed in 1999. Estimate £120,000-180,000 $151,000-227,000 €136,000-204,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Akira Ikeda Gallery, Tokyo Acquired from the above by the present owner Exhibited Nagoya, Akira Ikeda Gallery, Imi Knoebel: New Works, 2 November 1999 - 29 February 2000 (illustrated) Literature Imi Knoebel Werke 1966 - 2014, exh. cat., Kunstmuseum Wolfsburg, 2013, p.151 (illustrated, p.153)

‘I thought: everything has been done already. Yves Klein has painted his canvas blue, Lucio Fontana has cut slashes into his. What’s left? If you want to do something, to stay alive, you have to think of something at least as radical.’ Imi Knoebel

From the Private Collection of William Harris Smith, Chicago

155. Jesús Rafael Soto

1923-2005

Gran Marrón signed, titled and dated ‘GRAN MARRÓN SOTO 2001’ on the reverse acrylic on wood and metal 203.2 x 152.1 x 18.4 cm (80 x 59 7/8 x 7 1/4 in.) Executed in 2001. Estimate £200,000-300,000 $253,000-379,000 €226,000-339,000 ‡ plus Buyers Premium and VAT*

Provenance DAN Galeria, São Paulo Acquired from the above by the present owner

Gran Marrón toys with our perceptions, flickering between light and dark, flatness and volume, stillness and motion. Executed in 2001, Gran Marrón is a testament to Jesús Rafael Soto’s masterful understanding of human perception. Invited to participate in Galerie Denise René’s defning exhibition Le Mouvement in 1955, the contemporary Parisian audiences were intrigued by the artist’s innovative use of overlapping patterned Plexiglas that created a moiré efect. Soto’s work in Le Mouvement had a profound infuence on optical art; his dialogue with optics and his manipulation of colour and form culminate in the present work. In the lower half of Gran Marrón, a restless energy is created by the contrast between the densely packed but fnely painted black and white vertical and the horizontally-striped square units that are afxed to it, creating energetic disruption from

the intricately ordered composition. These vibrating patterns reveal themselves to be composed of multiple planes, as the central portion extrudes even further into the viewer’s space. The black, brown and yellow squares emerge and subside through the grey haze of stripes. Through the upper half of the work, a calm swathe of iridescent brown appears peaceful and subtle, with tonal variations created from the viewer’s varying perspectives. It appears as a blend of the colours of the lower half, creating a unifying force throughout this dynamic work. A key proponent of ZERO, Soto’s hopeful vision of a new art challenged the entrenched idea of the artist as the sole author of meaning and instead necessitated viewers to activate the work through their plural experiences of the phenomena of light and space. Soto’s oeuvre crucially engages with the sensations of being experienced by an embodied viewer, as exemplifed in the present work.

156. Victor Vasarely

1906-1997

Andromeda-NEG signed ‘Vasarely’ lower centre; futher signed, titled and dated ‘VASARELY “ANDROMEDA-NEG” 1960 Vasarely’ on the reverse acrylic on canvas 172.7 x 111.8 cm (67 7/8 x 44 in.) Painted in 1960, this work is accompanied by a copy of a certifcate of authenticity. Estimate £120,000-180,000 $152,000-228,000 €137,000-205,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, USA (acquired directly from the artist) Acquired from the above by the present owner Exhibited Charleroi, Musée des Beaux-Arts, Vasarely, 29 September - 20 November 1994, p. 45

157. John Baldessari

b. 1931

Word Chain: Faucet (Ilene’s story) signed, titled and dated ‘WORD CHAIN: FAUCET (ILENE’S STORY) BALDESSARI 75’ lower edge of the larger part black and white photographs and colour photographs with pencil on paper and typewritten text with pencil on paper, in 2 parts smaller part 27.8 x 21.5 cm (10 7/8 x 8 1/2 in.) larger part 82.7 x 70 cm (32 1/2 x 27 1/2 in.) Executed in 1975. Estimate £70,000-90,000 $88,300-114,000 €79,300-102,000 plus Buyers Premium and VAT*

Provenance Sonnabend Gallery, New York Massimo Valsecchi, Milan Acquired from the above by the present owner

Exhibited Ohio, Gallery of Fine Art, John Baldessari: Recent Work, 12 February - 14 February 1976 Milan, Galeria Massimo Valsecchi, John Baldessari, 1977 London, Tate Modern; Museu d’Art Contemporani de Barcelona; Los Angeles County Museum of Art; New York, The Metropolitan Museum of Art, John Baldessari: Pure Beauty, 13 October 2009 – 9 January 2011, pp. 184-85 and 319 (illustrated) New York, Simon Lee Gallery; London, Simon Lee Gallery, Towards Infnity: 1965–1980, 2 May - 7 September 2018 Literature Patrick Pardo and Robert Dean, John Baldessari Catalogue Raisonne: Volume Two: 1975 - 1986, New Haven, 2019, pp. 82-83, 112 (illustrated)

158. Kenneth Noland

1924-2010

American Black signed and dated ‘Kenneth Noland 87’ lower right acrylic, pen and graphite on paper 75 x 110.2 cm (29 1/2 x 43 3/8 in.) Executed in 1987. Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 plus Buyers Premium and VAT*

Provenance Marisa Del Re Gallery, New York Rosa Esman Gallery, New York Acquired from the above by the present owner

159. Ed Ruscha

b. 1937

Zero signed and dated ‘Ed Ruscha 1996’ lower right coloured pencil on lithograph 41 x 71.1 cm (16 1/8 x 27 7/8 in.) Executed in 1996. Estimate £40,000-60,000 $50,700-76,100 €45,500-68,300 ‡ plus Buyers Premium and VAT*

Provenance Two x Two, Dallas Private Collection, USA Phillips, New York, 17 September 2015, lot 27 Acquired at the above sale by the present owner Literature Lisa Turvey, ed., Edward Ruscha Catalogue Raisonné of the Works on Paper, Volume Two: 1977–1997, New Haven and London, 2018, pp. 414 and 438 (illustrated, p. 414)

160. John Baldessari

b. 1931

Nose & Ears, Etc., Part III: Two Altered Persons (One with Yellow Nose) inkjet prints and acrylic on foam PVC board, in artist’s frame 110.5 x 235.6 cm (43 1/2 x 92 3/4 in.) Executed in 2007. Estimate £100,000-150,000 $127,000-190,000 €114,000-171,000 ‡ plus Buyers Premium and VAT*

Provenance Margo Leavin Gallery, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Margo Leavin Gallery, John Baldessari: Noses & Ears, Etc. (Part Three), 7 April - 5 May 2007, p. 25 (illustrated) Literature Patrick Pardo, Robert Dean, Hannah B. Higgins and David Salle, John Baldessari Catalogue Raisonné: Volume Five: 2005 - 2010, New Haven, 2019, p. 168 (illustrated) Jori Finkel, ‘In the Studio: John Baldessari’, Art + Auction, vol. 32, no. 4, December 2008, p. 60 (illustrated) Dennis H. Busch, Robert Klanten, Noelia Hobeika and Anna Sinofzik, The Age of Collage: Contemporary Collage in Modern At, vol. 2, Berlin, 2016, p. 289 (illustrated)

‘The series ‘Noses & Ears, Etc.’ had its inception when I was a painter in the mid-50s. I was immersed in thinking about totality (what is a whole and what is a part?)... To represent people only by an ear and/or nose became for me another way of reducing human identity to a minimum. Faces become clichés like anything else, so viewing people only by ears and/or nose might enable the viewer to see afresh.’ John Baldessari

161. Matt Connors

b. 1973

Fifh Thirds acrylic on canvas 254 x 203.2 cm (100 x 80 in.) Painted in 2012. Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 ‡ plus Buyers Premium and VAT*

Provenance CANADA, New York Acquired from the above by the present owner Exhibited New York, MoMA PS1, Matt Connors: Impressionism, 12 October - 31 December 2012

162. Aaron Garber-Maikovska

b. 1978

Untitled signed ‘AARON GARBER-MAIKOVSKA Aaron Garber-Maikovska’ on a gallery label afxed to the reverse ink and pastel on archival gator board, in artist’s frame 248.2 x 126.5 cm (97 3/4 x 49 3/4 in.) Executed in 2013. Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 ‡ plus Buyers Premium and VAT*

Provenance STANDARD (OSLO) Acquired from the above by the present owner

163. Glenn Ligon

b. 1960

Negro Sunshine #54 signed, titled and dated ‘Negro Sunshine #54 2010 Glenn Ligon’ on the reverse oilstick, coal dust and gesso on paper 30.5 x 23 cm (12 x 9 in.) Executed in 2010.

Provenance Regen Projects, Los Angeles Private Collection, New York Phillips, London, 28 June 2011, lot 116 Acquired at the above sale by the present owner

Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 plus Buyers Premium and VAT*

164. Henry Taylor

b. 1958

Eight works: Untitled (Painted Cardboard Boxes) iii) inscribed and dated ‘Mark 11.6.07’ upper centre; (vi) signed and dated ‘Henry Taylor 2005’ on the reverse; (viii) signed, inscribed and dated ‘Henry Taylor Through something 08’ on the reverse i) acrylic, paper and foil collage, felt-tip pen and graphite on cardboard box ii), iv), v), vi) and vii) acrylic on cardboard box iii) acrylic and chalk on cardboard box viii) acrylic on canvas board i) 12.8 x 19.9 x 4.8 cm (5 x 7 7/8 x 1 7/8 in.) ii) 19.2 x 15.2 x 2.1 cm (7 1/2 x 5 7/8 x 7/8 in.) iii) 31.9 x 6 x 6.6 cm (12 1/2 x 2 3/8 x 2 5/8 in.) iv) 25.5 x 21.1 x 10.2 cm (10 x 8 1/4 x 4 in.) v) 32.8 x 20.8 x 8.9 cm (12 7/8 x 8 1/4 x 3 1/2 in.)

vi) 28.6 x 19.7 x 5.4 cm (11 1/4 x 7 3/4 x 2 1/8 in.) vii) 8.9 x 5.6 x 2.4 cm (3 1/2 x 2 1/4 x 7/8 in.) viii) 10.4 x 10.2 x 2.4 cm (4 1/8 x 4 x 7/8 in.) iii) Executed in 2007. vi) Executed in 2005. viii) Painted in 2008. Estimate £15,000-20,000 $19,000-25,400 €17,100-22,800 plus Buyers Premium and VAT*

Provenance Atelier Cardenas Bellanger, Paris Private Collection, Paris

165. Claire Tabouret

b.1981

La combinaison noire signed, titled and dated ‘C.TABOURET 2015 LA COMBINAISON NOIRE’ on the reverse acrylic on canvas 65 x 50 cm (25 5/8 x 19 5/8 in.) Painted in 2015. Estimate £10,000-15,000 $12,700-19,000 €11,400-17,100 ♠ plus Buyers Premium and VAT, ARR applies*

‘The paint is motionless, but this impression of silence is linked to the fact that my paintings are particularly frozen. They situate themselves in the instant of glaciation. Indeed it is silent. However, at the same time, it roars.’ Claire Tabouret

Provenance Galerie Bugada & Cargnel, Paris Acquired from the above by the present owner

166. Josh Smith

b. 1976

Untitled signed and dated ‘JOSH SMITH JOSH SMITH 2006’ on the overlap oil on canvas 151.7 x 121.7 cm (59 3/4 x 47 7/8 in.) Painted in 2006. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ‡ plus Buyers Premium and VAT*

Provenance Galerie Catherine Bastide, Brussels Acquired from the above by the present owner Exhibited Kunsthalle Zürich, Wade Guyton, Seth Price, Josh Smith, Kelley Walker, 8 April - 28 May 2006

167. Harold Ancart

b. 1980

Untitled acrylic, pencil and oilstick on paper mounted on panel, in artist’s frame 174.2 x 117.2 cm (68 5/8 x 46 1/8 in.) Executed in 2013. Estimate £50,000-70,000 $63,100-88,300 €56,700-79,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Xavier Hufens, Brussels Private Collection, France Christie’s, Paris, 10 June 2016, lot 115A Private Collection, Belgium Acquired from the above by the present owner

168. Secundino Hernández

b. 1975

Untitled signed and dated ‘Secundino Hernández. 14’ on the reverse gouache, acrylic, alkyd and oil on canvas, in artist’s frame 241.3 x 199 cm (95 x 78 3/8 in.) Executed in 2014. Estimate £50,000-70,000 $63,400-88,800 €56,900-79,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Victoria Miro Gallery, London Acquired from the above by the present owner in 2015

169. KAWS

b. 1974

GONE AND BEYOND A-3 signed and dated ‘KAWS..12’ on the reverse acrylic on canvas diameter 101.6 cm (40 in.) Painted in 2012. Estimate £100,000-150,000 $126,000-189,000 €113,000-170,000 ‡ plus Buyers Premium and VAT*

Provenance Honor Fraser Gallery, Los Angeles Private Collection, Hong Kong Private Collection, Miami Acquired from the above by the present owner Exhibited Atlanta, High Museum, KAWS - Down Time, 18 February - 29 July 2012

170. KAWS

b. 1974

M8 signed, titled and dated ‘KAWS ‘M8’ 2000’ on the reverse acrylic on canvas 173.5 x 121.9 cm (68.3 x 48 in.) Painted in 2000. Estimate £200,000-300,000 $252,000-378,000 €227,000-340,000 ‡ plus Buyers Premium and VAT*

Provenance Gering & López Gallery, New York Phillips de Pury & Company, New York, 20 September 2012, lot 34 Acquired at the above sale by the present owner Literature Taka Kawachi and Akio E-da, eds., KAWS ONE, Tokyo, 2001, n.p. (illustrated)

171. David Salle

b. 1952

C.C.Q.L. titled ‘C.C.Q.L’ upper centre; further signed, titled and dated ‘“C.C.Q.L” David Salle 2009’ on the reverse oil on linen 182.8 x 274.3 cm (71 7/8 x 107 7/8 in.) Painted in 2009. Estimate £120,000-180,000 $152,000-228,000 €137,000-205,000 ‡ plus Buyers Premium and VAT*

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

‘The kinds of things I think about when I’m painting are orchestration. We have a melodic line, and then the score has to be divided up in between instruments. Knowing the right one is its own kind of gift. It’s very largely intuitive.’ David Salle

172. David Salle

b. 1952

Templeton signed, titled and dated ‘“TEMPLETON” David Salle 2005’ on the reverse of the lef panel oil on canvas, diptych each 188 x 101.6 cm (74 x 40 in.) overall 188 x 203.2 cm (74 x 80 in.) Painted in 2005. Estimate £100,000-150,000 $126,000-189,000 €113,000-170,000 ‡ plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner

173. Christopher Wool

b. 1955

Three Women (Image I) signed, numbered, inscribed and dated ‘Wool 2005 4/9 I’ lower margin silkscreen on rag paper sheet 207 x 127 cm (81 1/2 x 50 in.) Executed in 2005, this work is number 4 in medium rose. This work is from an edition of 9 plus 2 artist’s proofs with variants in shades of light, medium and dark rose. Estimate £70,000-90,000 $88,800-114,000 €79,700-102,000 ‡ plus Buyers Premium and VAT*

Provenance Edition Schellmann, Munich Private Collection, London Private Collection, New York Exhibited New York, Petzel Gallery, DOOR CYCLE, 29 June – 11 August 2007 (another example exhibited)

174. Sherrie Levine

b. 1947

Loulou bronze 30 x 16.5 x 19 cm (11 3/4 x 6 1/2 x 7 1/2 in.) Executed in 2004, this work is from an edition of 12. Estimate £60,000-80,000 $76,100-101,000 €68,300-91,100 plus Buyers Premium and VAT*

Provenance Jablonka Gallery, Cologne Acquired from the above by the present owner Exhibited London, Faggionato Fine Arts, Sherrie Levine: Loulou, 22 April – 8 June 2004 Paris, Galerie Chantal Crousel, Someone else with my fngerprints, 27 June – 5 September 2007 (another example exhibited) Palm Beach, Gavlak Gallery, Sentimental Education, 22 November 2011 – 7 January 2012 (another example exhibited) Nuremberg, Neues Museum- Staatliches Museum für Kunst und Design, Sherrie Levine. Afer All, 28 October 2016 – 12 February 2017, pp. 80-81, 187 (another example exhibited and illustrated, p. 81) Literature Howard Singerman, Art History, Afer Sherrie Levine, Berkeley, 2012, pp. 4-5, 279 (another example mentioned and illustrated, p. 5)

175. Lorna Simpson

b. 1960

Twosomes 24 bronze plaques and 19 photographs in bronze frames, in 43 parts smallest bronze element 5.8 x 2.2 x 0.2 cm (2 1/4 x 7/8 x 1/8 in.) largest bronze element 12.6 x 9.5 x .3 cm (4 7/8 x 3 3/4 x 1/8 in.) smallest framed element 4.9 x 4.9 x 2 cm (1 7/8 x 1 7/8 x 3/4 in.) largest framed element 13.4 x 10.4 x 2 cm (5 1/4 x 4 1/8 x 3/4 in.) overall installation dimensions approx. 97 x 183 cm (38 1/4 x 72 in.) Executed in 2013. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ‡ plus Buyers Premium and VAT*

Provenance Galerie Nathalie Obadia, Paris Acquired from the above by the present owner

‘I think my reasons for being an artist are twofold. It’s to have a voice, and secondarily as a way of thinking about my own experiences.’ Lorna Simpson

176. Anne Imhof

b. 1978

Untitled Dibond-mounted etched aluminium 70 x 50.1 cm (27 1/2 x 19 3/4 in.) Executed in 2013. Estimate £6,000-8,000 $7,600-10,100 €6,800-9,100 ♠

177. Jana Euler

b. 1982

gossip rain, private and public painting signed, titled and dated ‘“gossip rain, private and public painting” JANA EULER 2013’ on the reverse ink and acrylic on paper 74.8 x 109.6 cm (29 1/2 x 43 1/8 in.) Executed in 2013.

plus Buyers Premium and VAT, ARR applies*

Estimate £6,000-8,000 $7,600-10,100 €6,800-9,100 ♠

Provenance Debora Schamoni, Munich Private Collection, London

plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Neu, Berlin Private Collection, London Exhibited Berlin, Galerie Neu, Jana Euler, 24 April – 1 June 2013 New York, What Pipeline, Reproduction, 2 – 17 August 2013

178. KAWS

b. 1974

CHUM (RUNNING) signed, numbered and dated “14/14 KAWS..00” lower edge silkscreen on paper 68.6 x 54.3 cm (27 x 21 3/8 in.) Executed in 2000, this work is number 14 from an edition of 14. Estimate £25,000-35,000 $31,700-44,400 €28,500-39,800 ‡ plus Buyers Premium and VAT*

Provenance Private Collection, New York (acquired directly from the artist) Private Collection, New York Exhibited Berlin, me Collectors Room, Art & Toys collection Selim Varol, 26 May - 16 September 2012 (another example exhibited and illustrated, p. 50)

179. KAWS

b. 1974

FINAL DAYS incised with the artist’s name and date ‘KAWS..17’ on the underside of the lef foot; further numbered ‘24/25’ on the underside of the right foot bronze 24.1 x 21.5 x 16.5 cm (9 1/2 x 8 1/2 x 6 1/2 in.) Executed in 2017, this work is number 24 from an edition of 25. Estimate £50,000-70,000 $63,100-88,300 €56,700-79,300 ‡ plus Buyers Premium and VAT*

Provenance Pace Editions, New York Private Collection, New York Private Collection, New York

180. Dana Schutz

b. 1976

Paris signed and dated ‘Dana Schutz 2003’ on the reverse watercolour on paper 23 x 31 cm (9 x 12 1/4 in.) Painted in 2003. Estimate £10,000-15,000 $12,600-18,900 €11,300-17,000 plus Buyers Premium and VAT*

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

‘I think there is always a negotiation in painting, where images begin to infect one another, and you decide what you can accept and in what amount. Images can be used like material and not just as appropriation or pastiche; they can be more slippery and nuanced. When they actually begin to play off each other and open up new meanings, it can be the best feeling in the world.’ Dana Schutz

181. Yoshimoto Nara

b. 1959

On the Peace Sign ballpoint pen on paper 30.5 x 20.3 cm (12 x 7 7/8 in.) Executed in 2016. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ‡ plus Buyers Premium and VAT*

Provenance Blum & Poe, Los Angeles Private Collection, Los Angeles Private Collection, Hong Kong Private Collection, New York

182. Yoshimoto Nara

b. 1959

Untitled signed and dated ‘Yoshitomo Nara 2016’ on the reverse ballpoint pen on paper 29.7 x 21 cm (11 3/4 x 8 1/4 in.) Executed in 2016. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ‡ plus Buyers Premium and VAT*

Provenance Pace Gallery, New York Private Collection, New York Private Collection, Hong Kong Private Collection, New York Acquired from the above by the present owner

Exhibited New York, Pace Gallery, Yoshimoto Nara, 31 March – 29 April 2017 Literature Paul Laster, ‘Yoshitomo Nara discusses the importance of drawing and Zen serenity to his work’, Time Out, 28 March 2017, online (illustrated)

183. Korakrit Arunanondchai

b. 1986

Untitled (History Painting) burnt bleached denim and inkjet print on canvas 218.3 x 162.4 cm (85 7/8 x 63 7/8 in.) Executed in 2014. Estimate £40,000-60,000 $50,700-76,100 €45,500-68,300 plus Buyers Premium and VAT*

Provenance C-L-E-A-R-I-N-G, Brussels Acquired from the above by the present owner

184. Ibrahim Mahama

b. 1987

BK X signed ‘I Mahama’ upper lef found fabric and plastic collage, ink and thread on jute sacks with markings 217 x 328 cm (85 3/8 x 129 1/8 in.) Executed in 2016. Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 ‡ plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner

185. Danh Vo

b. 1975

We the People (detail) hammered copper 202.5 x 234 x 137 cm (79 3/4 x 92 1/8 x 53 7/8 in.) Executed in 2011. Estimate £80,000-120,000 $101,000-152,000 €91,100-137,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Chantal Crousel, Paris Acquired from the above by the present owner

‘I hadn’t seen the Statue of Liberty before embarking on this project. But the fact that her skin of surface is only two millimetres thick really fascinates me. You think of this monumental structure, but the image of it is stronger than the materiality of it.’ Danh Vo

186. Oscar Murillo

b. 1986

Candi oil, oilstick, thread, dirt, plastic and paper collage on canvas 264.4 x 214.8 cm (104 1/8 x 84 5/8 in.) Executed in 2013. Estimate £120,000-180,000 $151,000-227,000 €136,000-204,000 ♠ plus Buyers Premium and VAT, ARR applies*

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

‘My father was a mechanic in a sugar cane factory and my mother worked for a candy factory: we had a sweet life!’ Oscar Murillo

187. Dan Colen

b. 1979

I Hate Work signed, titled, numbered and dated ‘Dan Colen 2015-16 DC. 2249 “I Hate Work”’ on the overlap fowers on bleached Belgian linen 279.4 x 226 cm (109 7/8 x 88 7/8 in.) Executed in 2015-16. Estimate £100,000-150,000 $126,000-189,000 €113,000-170,000 ‡ plus Buyers Premium and VAT*

Provenance Massimo De Carlo Gallery, London Acquired from the above by the present owner

Executed in 2015, I Hate Work incorporates the visual disarray of Dan Colen’s earlier paintings whilst maintaining a serene and organic balance. In a furry of blossom, the artist’s arrangement of visual whirlpools of fowers subsumes the viewer’s gaze into the heart of the canvas. While the fowers themselves, pressed into the surface, act as visual anchors, their pigment difuses and radiates from their nuclei, with both a sof and intense hue. Questioning the painterly gestures of Jackson Pollock and the Abstract Expressionists, Colen cites the Pre-Raphaelites as an infuence. Invoking the Pre-Raphaelites’ use of fowers to convey poignant symbolism, in the present work Colen explores both the anarchy and, conversely, order evident in nature. From his 2007 Nest installation at Deitch Projects, New York, to the present canvas, Colen’s work seeks to disrupt and challenge the limitations of painting, also seen in his Bubblegum and Birdshit paintings. With an anarchic abandonment Colen’s use of myriad organic mediums in his practice defies categorisation. Endlessly joyous in its evocation of colour and energy, Colen’s I Hate Work imbues the artist’s free and rebellious spirit.

‘I want the viewer to feel like they can leap into the paintings, and although the picture created by the fowers is essentially abstract, I want the viewer to be able to imagine what it would feel like to be immersed in that environment, to be bathed in it…’ Dan Colen

188. Nate Lowman

b. 1979

Beach Bums each signed and dated ‘Nate Lowman 09’ on the overlap alkyd on canvas and inkjet print on canvas, in 2 parts lef panel 61 x 45.7 cm (24 x 177/8 in.) right panel 61 x 104.5 cm (24 x 411/8 in.) overall 61 x 149.9 cm (24 x 59 in.) Executed in 2009. Estimate £40,000-60,000 $50,400-75,700 €45,300-68,000 ‡ plus Buyers Premium and VAT*

Provenance Maccarone Gallery, New York Private Collection Phillips de Pury & Company, New York, 11 May 2012, lot 114 Acquired at the above sale by the present owner Exhibited New York, Maccarone Gallery, Nate Lowman: A Dog From Every County, 28 February - 28 March 2009

189. Damien Hirst

b. 1965

Love Sweetness signed, inscribed and dated ‘Damien Hirst 2003 Damien Hirst This painting can go any way up Damien Hirst’ on the reverse butterfies and household gloss on canvas 55.5 x 256.6 cm (21 7/8 x 101 in.) Executed in 2003. Estimate £100,000-150,000 $127,000-190,000 €114,000-171,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

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

‘I think rather than be personal you have to fnd universal trigers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.’ Damien Hirst

190. Oscar Murillo

b. 1986

26 Postures and 4 Savasanas Between London and Paris each signed and consecutively numbered ‘Oscar Murillo 1-15 of 15 (1-15 of 30)’ on the overlap and the reverse oil, oilstick, graphite, enamel paint, concrete dye, tape, dirt, newspaper and paper collage, thread and mixed media on linen and synthetic canvas, in 15 parts each approx. 80 x 82 cm (31 1/2 x 32 1/4 in.) overall installation dimensions variable Executed in 2012. Estimate £150,000-200,000 $190,000-254,000 €171,000-228,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Stuart Shave | Modern Art, London Acquired from the above by the present owner

191. Georg Baselitz

b. 1938

Straße signed with the artist’s initials, titled and dated ‘G.B. Straße 14. II. 82’ lower right; further signed with the artist’s initials and numbered ‘G.B.Z 1247’ on the reverse charcoal on vellum 43 x 61 cm (16 7/8 x 24 in.) Executed in 1982, this work is recorded in the Georg Baselitz Archives under the number GBZ 1247.

Provenance Galerie Fred Jahn, Munich Private Collection Van Ham Kunstauktionen, Cologne, 6 June 2007, lot 28 Leo Koenig Gallery, New York Private Collection, New York artnet Auctions, online, 8 November 2018, lot 126633 Private Collection, London

Estimate £15,000-20,000 $19,000-25,400 €17,100-22,800 ♠ plus Buyers Premium and VAT, ARR applies*

192. Sigmar Polke

1941-2010

Ohne Titel signed and dated ‘Sigmar Polke 87’ lower lef gouache and ink on paper 101.4 x 72.3 cm (39 7/8 x 28 1/2 in.) Executed in 1987.

Estimate £60,000-80,000 $76,100-101,000 €68,300-91,100 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Michael Werner Gallery, Cologne Private Collection, Germany Acquired from the above by the present owner

Property from an Important Private European Collection

193. Karin Knefel

b. 1957

Ohne Titel each signed and dated ‘Karin Knefel 2003’ on the reverse oil on canvas, in 2 parts each 199.4 x 200.1 cm (78 1/2 x 78 3/4 in.) overall 398.8 x 200.1 cm (157 x 78 3/4 in.) Painted in 2003. Estimate £150,000-200,000 $190,000-254,000 €171,000-228,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Senda, Barcelona Acquired from the above by the present owner in 2005

Gerhard Richter Korridor, 1964, oil on canvas Städtisches Museum Gelsenkirchen © Gerhard Richter 2019 (0142)

Karin Knefel’s monumental Ohne Titel is a compelling example of the artist’s photorealist paintings, which earnt Kneffel international artistic renown in the 1990s. After studying philosophy in the late 1970s, Knefel enrolled at the esteemed Kunstakademie Düsseldorf from 1981 to 1987 where she studied under Gerhard Richter. The tension between illusionistic depth and fattened surface in Knefel’s painting is reminiscent of that seen in Richter’s series of Photo Paintings, both produced by working from photographically mediated images. It is the striking linear perspective that draws our eyes into the compositionally minimal Ohne Titel, as is evident in Richter’s 1964 work Korridor (Städtisches Museum Gelsenkirchen). The present work imbues a disquieting atmosphere as the viewer is denied a defnite sense of space. As our eyes are led by the perspectival lines towards the vanishing point, we see nothing but more carpeted stairs, with no view beyond them. In the present work, shades of deep red with blue and yellow arabesque runners appear timeless. The rich colours and ornamentation exude a sense of lavishness and perhaps suggest associations with petit bourgeois taste. As Knefel explains, ‘a certain sense of melancholy and anxiety […] No one likes these kinds of furnishings. They are largely disregarded in intellectual circles, just as the classically modern Bauhaus furnishings are unanimously indisputable’ (the artist, quoted in Daniel J. Schreiber, ‘Looking Back to the Future’, Artist’s Website, online). In addition, the enormous scale of the painting distorts our perception as a quotidian fight of carpeted stairs. We are immediately dwarfed by the huge swathes of red paint, appearing abstract to the viewer until seen from a distance. It is through this ingenious interplay between reality and illusion that Knefel absorbs us into her uncanny world.

194. A.R. Penck

1939-2017

Ohne Titel signed ‘ar penck’ lower edge oil on plastic box 43.6 x 33.6 x 10 cm (17 1/8 x 13 1/4 x 3 7/8 in.) Executed circa 1990. Estimate £15,000-20,000 $19,000-25,400 €17,100-22,800 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galleria d’Arte Emilio Mazzoli, Modena Cleto Polcina, Rome Martini Studio D’Arte, Brescia, 13 December 2017, lot 126 Acquired at the above sale by the present owner

195. Norbert Bisky

b. 1970

Usedom titled and dated ‘2004 USEDOM’ on the reverse oil on canvas 200.2 x 250 cm (78 7/8 x 98 3/8 in.) Painted in 2004. Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Art Cube, Düsseldorf Acquired from the above by the present owner

196. David Ostrowski

b. 1981

F (A thing is a thing in a whole which it’s not) signed and dated ‘David Ostrowski 14’ on the overlap acrylic and lacquer on canvas, in artist’s frame 242 x 191.4 cm (95 1/4 x 75 3/8 in.) Executed in 2014. Estimate £10,000-15,000 $12,700-19,000 €11,400-17,100 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Peres Projects, Berlin Acquired from the above by the present owner

197. Friedrich Kunath

b. 1974

Wish You Were Here signed and dated ‘Friedrich Kunath 2015’ on the overlap; signed with the artist’s initials and numbered ‘FK 1446’ on the stretcher bar acrylic on canvas 203.8 x 152.4 cm (80 1/4 x 60 in.) Painted in 2015. Estimate £30,000-40,000 $38,000-50,700 €34,200-45,500 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance BQ, Berlin Acquired from the above by the present owner Exhibited Berlin, BQ, Friedrich Kunath: Sentimental Air, 17 September - 31 October 2015

‘When something touches your feelings it mostly has to do with the reactivation of a memory.’ Friedrich Kunath

From India to Venice A Selection of Works by Indian Artists from an Esteemed European Collection

The following selection of works by artists living and working in India are linked by a mutual theme of exploration into the changing environment in which they are created and the influence of both Eastern and Western culture. Housed in an esteemed European collection, this year Atul Dodiya’s and Shilpa Gupta’s work has been selected to represent India at the country’s second ever appearance on the Western stage of the Venice Biennale.

devouring great masterpieces, so in that sense it’s also a self-portrait. I enjoy the amalgamation of diverse time and situation in a single picture plane and ofen feel that the past no longer remains past and reveals itself in the present. The present easily moves and goes back in time. I am fascinated by the idea of mingling time, life and art and it appears empathetically in my work.’ - Atul Dodiya (May 2019).

Working across multiple mediums Shilpa Gupta’s oeuvre addresses a wide variety of subjects such as the psyche, society and politics, verbalizing their stifed contents. Her work has been featured at major international institutions, including Tate Modern, London, Louisiana Museum, Humlebaek, Centre Pompidou, Paris, and Solomon R. Guggenheim Museum, New York, and the artist has represented India as part of the 56th and current 58th Venice Biennale. 01: 14.9 powerfully illustrates the fraught West, Northwest border between India and Pakistan: 1188.5 miles, as updated on 31 December 2007 depicted with a ratio of 1 to 14.9. Gupta winds 80 miles of thread into an ivory delicate oval egg shape, highlighting the fragility of fear, threat, paranoia and religious prejudices. An edition of this work is owned by the Solomon R. Guggenheim Museum, New York, and a further edition belongs to the Menil Collection, Houston.

Alluding to a multitude of cultural references from both East and West throughout her oeuvre, and clearly evident in Time and Warriors & Green Worm, Nalini Malani refers to both Greek and Indian ancient mythology amalgamated with contemporary symbols and imagery. This exploration culminates in works that strongly condemn contemporary violence and injustice. Malani’s work is currently on view in the Sharjah Biennial, United Arab Emirates, and it was the subject of a retrospective at the Castello di Rivoli in Turin, Italy, earlier this year. She has been announced as the winner of the Joan Miró Prize 2019 with a solo show set to open at the Fundació Joan Miró in Barcelona in 2020.

Living and working in Mumbai, Jitish Kallat’s works divulge his constant engagement with the concept of time, space, death, cycles of life, our place in the universe and historical nostalgia, moving interchangeably between contemplation of the self and understanding transitory existence within the framework of the eternal. Ageing, distressing and tearing surfaces and elements of his works alludes to these constant musings on time which simultaneously remark upon the unique idiosyncrasies of his home. Dilapidation, degradation, the demolition and reclamation of culture and history are incorporated within Kallat’s themes through the artist’s perceptive treatment of both subject matter and technique. Krishna Swallowing Forest Fire depicts the story of the god Krishna extinguishing a forest fre by swallowing the fames. Intensely cognisant of history, Dodiya entwines stylistic and iconographic characteristics from the East and West, unifying classical myth and political history to fuse fragments of Western art historical masterpieces in a new interpretation. ‘In Indian miniature paintings there are many beautiful images of adventures of Lord Krishna as a saviour from the series ‘Bhagwat Puran’. Here in my painting Krishna is swallowing forest fre. At the edge of each fame I have placed the museum magnets of great works of art, which I have been collecting from the various western museums. I ofen convey my interest in the history of art, juxtaposing the references from the diverse sources and try to give a new meaning to an existing image in my work. In this work, it could be me

Jiten Thukral and Sumir Tagra work collaboratively, utilising a wide range of mediums to increase the possibility and realms of art, breaking from arbitrated and punitive rules to create sensory and immersive works that involve the viewer. Creating a canvas that protrudes and subsequently includes the viewer through invading the mutual space, Kingdom Come I (Couple) invites intrigue and further investigation. Their work is a dynamic dialogue on shifting moral codes in India’s modernising cities. Thukral and Tagra utilise bright, colourful palettes and the glossy lustre of pop aesthetics to critically scrutinize taboo subjects like sexuality in this socially-aware vibrant work. Jagannath Panda’s works are ofen inspired by his native historic state Orissa, famed for its temples and tribal culture, and his current home, chaotically urban and constantly developing New Delhi, bringing together many binary opposites in his work. Sensitive to the issues raised by urbanisation and politics, Panda contrasts nature and culture, rural and urban, tradition and modernisation to refect his own experiences and concerns. Migrant uses his motif of animal life to represent these confictions and concerns around displacement and alienation. Jagannath Panda has received significant international exposure and recognition, having participated in a multitude of international exhibitions including the Mori Art Museum, Tokyo, in 2008. Born in West Java, Indonesia, and now living and working in Berlin, Yudi Noor examines the relational state of material as an abstract visual, profering spiritual denotation through paired back arrangements and compositions in a multitude of mediums.

Property from an Esteemed European Collection

198. Shilpa Gupta

b. 1976

01:14.9 stamped with the title and inscribed ‘1 : 14. 9 1188.5 MILES OF FENCED BORDER - WEST, NORTH-WEST DATE UPDATE: DEC 31, 2007’ on brass plaque hand-wound thread and brass plaque under a glass vitrine on wooden stand 155.2 x 55.6 x 50.5 cm (61 1/8 x 21 7/8 x 19 7/8 in.) Executed in 2011-12, this work is number 1 from an edition of 3 plus 2 artist’s proofs. Estimate £18,000-25,000 $22,800-31,700 €20,500-28,500 ‡ plus Buyers Premium and VAT*

Provenance Gallery Chemould, Mumbai Acquired from the above by the present owner Exhibited Mumbai, Chemould Prescott Road, Shilpa Gupta: Someone Else, 21 January - 16 February 2012 (another example exhibited) New York, Solomon R. Guggenheim Museum; Asia Society Hong Kong Center; Singapore, NTU Centre for Contemporary Art, No Country: Contemporary Art for South and Southeast Asia, 22 February 2013 - 20 July 2014, n.p. (another example exhibited and illustrated) Houston, The Menil Collection; Geneva, International Red Cross and Red Crescent Museum, Experiments with Truth: Gandhi and Images of Nonviolence, 2 October 2014 3 January 2016, pp. 128-129 and 349 (another example exhibited and illustrated, p.128) Dubai, Ishara Art Foundation, Altered Inheritances: Home is a Foreign Place, 18 March - 13 July 2019 (another example exhibited)

Literature Gayatri Rangachari Shah, ‘Indian Artist Highlights the Absurdities of Our Time’, The New York Times, 11 June 2013 (another example illustrated) Shai Venkatraman, ‘Articulating everyday phenomenon: The distance of a shout’, The Express Tribune, 18 March - 13 July 2019 (another example illustrated)

Property from an Esteemed European Collection

199. Jitish Kallat

b. 1974

Aferword (versions of a disappearing act) signed, titled, inscribed and dated ‘2010-11 JITISH KALLAT Aferword (Versions of a Vanishing Act) from a set of 14 drgs’ on the reverse of the paper elements wax, oil, acrylic, enamel paint, graphite, ink, tracing paper and paper collage and mixed media on paper, in 14 parts, in glass top table overall dimensions 75.4 x 164.6 x 190.2 cm (295/8 x 643/4 x 747/8 in.) Executed in 2010-11. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ‡ plus Buyers Premium and VAT*

Provenance Gallery Espace, New Delhi Acquired from the above by the present owner Exhibited New Delhi, Gallery Espace, Narratives of the Self, 27 January - 29 February 2012

Property from an Esteemed European Collection

200. Atul Dodiya

b. 1959

Krishna Swallowing Forest Fire stamped with the title ‘KRISHNA SWALLOWING FOREST FIRE’ on artist’s plaque on central bar; further signed, titled and dated ‘ATUL DODIYA “KRISHNA SWOLLING FOREST FIRE” - 2009-2010 ATUL ‘10’ on the reverse oil, auto-body solder and museum magnets on oxidised mild steel on two mild steel stands overall 208.7 x 183 x 30.5 cm (82 1/8 x 72 x 12 in.) Executed in 2009-10.

Provenance Vadehra Art Gallery, New Delhi Acquired from the above by the present owner

Estimate £35,000-55,000 $44,400-69,700 €39,800-62,600 ‡

Literature Thomas McEvilley, Enrique Juncosa, Nancy Adajania and Ranjit Hoskote, Atul Dodiya, Munich, 2013, pp. 320-321 (illustrated, p. 320)

plus Buyers Premium and VAT*

Exhibited New Delhi, Lalit Kala Akademi Galleries, Against All Odds: A Contemporary Response to the Historiography of Archiving, Collecting & Museums in India, January 2011

Property from an Esteemed European Collection

201. Jagannath Panda

b. 1970

The Migrant signed and dated ‘2009 JAGANNATH PANDA’ on the reverse acrylic, fabric and threads on canvas 228.4 x 152.4 cm (89 7/8 x 60 in.) Executed in 2009. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ‡ plus Buyers Premium and VAT*

Provenance Gallery Nature Morte, Berlin Acquired from the above by the present owner Exhibited Berlin, Gallery Nature Morte, Metropolis of Mirage, 28 August - 3 September 2011

Property from an Esteemed European Collection

202. Thukral & Tagra

b. 1976 and b. 1979

Kingdom Come I (Couple) signed ‘Thukral & Tagra’ on the reverse acrylic and oil on canvas stretched on foam 188.5 x 129.5 cm (74 1/4 x 50 7/8 in.) Executed in 2011. Estimate £14,000-18,000 $17,800-22,800 €15,900-20,500 ‡ plus Buyers Premium and VAT*

Provenance Nature Morte, New Delhi Acquired from the above by the present owner Exhibited New Delhi, Nature Morte, Put it on, again, 29 January - 26 February 2011 Literature Paris-Delhi-Bombay, exh. cat., Centre Pompidou, Paris, 2011, pp. 318 and 360 (illustrated, p. 318)

Property from an Esteemed European Collection

203. Nalini Malani

b. 1946

Property from an Esteemed European Collection

204. Yudi Noor

b.1971

Two works: (i) Time; (ii) Warriors & Green Worm i) signed and dated ‘N. Malani 09’ lower right ii) signed and dated ‘N. Malani 09’ lower lef both acrylic, ink and enamel reverse painting on acrylic sheet, in artist’s frame i) diameter 54.2 cm (21 3/8 in.) ii) diameter 48.5 cm (19 1/8 in.) Both executed in 2009.

Breaking the Water Picture copper jug, tape, glass, Plexiglas and paint on teak wood 132.7 x 41.2 x 41.2 cm (52 1/4 x 16 1/4 x 16 1/4 in.) Executed in 2010.

Estimate £15,000-20,000 $19,000-25,400 €17,100-22,800 ‡ plus Buyers Premium and VAT*

Provenance Nettie Horn, London Acquired from the above by the present owner

Provenance Gallery Chemould, Mumbai Acquired from the above by the present owner

Exhibited London, Nettie Horn, Between the Bars, 23 October - 5 December 2010

Estimate £4,000-6,000 $5,100-7,600 €4,600-6,800 ‡ plus Buyers Premium and VAT, ARR applies*

Exhibited Paris, Galerie Lelong, Nalini Malani: Cassandra, 15 May - 10 July 2009, no. 10 and 7, p. 56 (illustrated) Mumbai, Chemould Gallery, Splitting the Other, 1 - 30 November 2010

Chinese Iconographies A Selection of Works by Chinese Artists from an Esteemed European Collection

The ensuing group of works by Chinese artists explore the importance of identifying with and refecting on their cultural heritage through physical objects, motifs and references whilst addressing current socio-political circumstances within China and around the world.

internationally; most recently the artist held a solo show, The Glorious, at Perrotin, Hong Kong, which fnished in May 2019, and his works have also been celebrated at the Venice Biennale, 2001 and 2005, and Museum of Modern Art, New York in 2004.

Memory Door (Miss) is a commanding example from Zhang Huan’s 2006 series entitled Memory Doors in which the artist collected doors from country houses in Shanxi Province that were being torn down or renovated in favour of a new, Western style. Huan used the Chinese tradition of pasting gods or deities to bring luck and fortune, now incorporating three diferent themes: military, day labor and daily life. Huan’s pasted photographs were partially carved away into bas-reliefs that in turn interacted with the surviving measures of the photographs. Merging traditions and skills of the past with innovative artistic devises, Huan employed Chinese artisans instead of artists to help complete the carvings, simultaneously keeping traditional Chinese crafsmanship alive, whilst creating an innovative outlet for their specialist skills.

A tour de force in China’s contemporary art scene, Yang Fudong born in Beijing, has explored historical, social and political themes through the realms of flm and photography since the early 1990s. Typifying how the recent and accelerated modernisation of China confronts traditional morals and culture, Yang opposes current and social issues with cultural norms within a scene resonating nostalgia, classic beauty and lyrical harmony. Executed in the artist’s typically preferred black and white, Yejiang/ The Nightman Cometh 1 is a still from a video piece of the same name, exploring China’s cinematic history. Among others, Yang Fudong has held solo exhibitions at Yuz Museum, Shanghai, 2015, Kunsthalle Zürich, 2013, and Kunsthalle Wien in 2005. Another example of this work is held in the Daimler art collection.

A leading fgure among the young generation of Chinese artists, Xu Zhen lives and works in Shanghai. Xu Zhen’s output through MadeIn Company, the artist’s brand since 2009, largely consists of sculptures, paintings and installations, predominantly representing incompatible contradictions between iconographies which refer to distant cultures, civilisations and time periods, alluding to the various power struggles of human history. This makes a clear criticism of Imperial China’s persecution of Tibet. In the present work, Buddha’s Warrior Attendant, the Kepi – a symbol of the oppressor, is ironically far too small for the head on which it sits, powerfully condemning the illegitimacy of dictatorial controls over religious and cultural minorities. Following the contradictions and theme of contrasts throughout Xu’s work, the commanding primitive stature of the Buddha’s Warrior Attendant is contradicted by the lightness and fragility of the polyurethane foam – symbolic of the existing political and social systems. Xu Zhen’s progressive oeuvre has been exhibited

Born in a Shanghai Buddhist monastery, Yan Pei-Ming lef China for France in 1980 to join the Dijon Academy of Arts where he has lived and worked ever since. Combining his dual cultural heritage, Yan’s almost exclusively portraiture output, painted wholly in a monochromatic or bi-chromatic palette, traverses the line between Western-inspired compositions and the work of Chinese Zen calligraphers who would use similarly large brushes to circumvent an arbitrated from of expression. Revisiting the wide-ranging subjects of his monumental portraits to near obsession, the artist paints from memory, taking images sourced from newspapers or other clippings. The powerful use of red in Red Buddha condenses the associations with Communist China and Mao’s Little Red Book, and is the strongest colour signifying danger and alert. Yan is one of China’s most accomplished painters and has exhibited at the Venice Biennale in 1995 and 2003. His work has been celebrated at solo exhibitions at Ullens Center for Contemporary Art, Beijing, the San Francisco Art Institute and the Musée du Louvre, Paris.

Property from an Esteemed European Collection

205. Zhang Huan

b. 1965

Memory Door (Miss) signed, titled [in Chinese] and dated ‘Zhang Huan 2008.’ on the reverse silkscreen on paper mounted on carved antique wooden door 135.9 x 332.9 x 17.1 cm (53 1/2 x 131 1/8 x 6 3/4 in.) Executed in 2008.

Provenance Private Collection, London (acquired directly from the artist) Private Collection Phillips, London, 11 December 2013, lot 14 Acquired at the above sale by the present owner

Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ‡ plus Buyers Premium and VAT*

Property from an Esteemed European Collection

206. Xu Zhen

b. 1977

Buddha’s Warrior Attendant (Kepi) polyurethane foam with hat 230.5 x 49 x 43 cm (90 3/4 x 19 1/4 x 16 7/8 in.) Executed in 2011. Estimate £18,000-24,000 $22,800-30,400 €20,500-27,300 ‡ plus Buyers Premium and VAT*

Provenance Natalie Obadia Gallery, Brussels Acquired from the above by the present owner Exhibited Brussels, Galerie Nathalie Obadia, Xu Zhen by MadeIn Company, 21 November 2013 - 4 January 2014 Paris, Galerie Nathalie Obadia, Sleeping Life Away, 17 March - 16 May 2012

Property from an Esteemed European Collection

207. Yang Fudong

b. 1971

Yejiang/ The Nightman Cometh 1 inket print on paper mounted on aluminium 119.4 x 179.6 cm (47 x 70 3/4 in.) Executed in 2011, this work is number 2 from an edition of 10. Estimate £17,000-22,000 $21,600-27,900 €19,400-25,000 ‡

Exhibited New York, Marian Goodman Gallery, Yang Fudong: Selected Works, 28 March - 28 April 2012 (film version exhibited) Singapore, ShanghART, Yejiang/ The Nightman Cometh, 16 March - 30 April 2013 (another example exhibited) Berlin, Daimler Contemporary, From a Poem to the Sunset, 1 May - 18 October 2015, p. 58 (another example exhibited)

plus Buyers Premium and VAT*

Provenance Galerie Marian Goodman, Paris Acquired from the above by the present owner

Literature Kyle Chayka, ‘Yang Fudong’, Modern Painters, July/August 2012

Property from an Esteemed European Collection

208. Yan Pei-Ming

b. 1960

Red Buddha signed, signed [in Chinese], titled and dated ‘Red Buddha 30-07-2008 Yan Pei-Ming Yan Pei-Ming’ on the reverse watercolour on paper 245.9 x 153.1 cm (96 3/4 x 60 1/4 in.) Painted in 2008. Estimate £40,000-60,000 $50,700-76,100 €45,300-68,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Massimo De Carlo, Milan Acquired from the above by the present owner

209. Yan Pei-Ming

b. 1960

Oncle aveugle signed, titled [in Pinyin and Chinese] and dated ‘“oncle aveugle” 02.07.2000 Yan Pei-Ming’ on the reverse oil on canvas 60.2 x 50 cm (23 3/4 x 19 5/8 in.) Painted in 2000. Estimate £25,000-35,000 $31,700-44,400 €28,300-39,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Tanit, Munich Acquired from the above by the present owner Literature Francesco Bonami, ed., Yan Pei-Ming, New York, 2017, p. 118 (illustrated)

‘I would hope that after seeing one of my paintings people would see the world through my eyes.’ Alex Katz

210. George Condo

b. 1957

Untitled signed and dated ‘Condo 1990’ lower lef; further signed, dedicated, inscribed and dated ‘Condo 1990 For DR. Fonty with fond memories of July 19, 1990 at Eleonore’s birth PARIS Condo’ on the reverse oil on canvas 33 x 24.2 cm (12 7/8 x 9 1/2 in.) Painted in 1990.

211. Alex Katz

b. 1927

Ariel signed and dated ‘Alex Katz 14’ upper right oil on board 30.4 x 28.3 cm (11 7/8 x 11 1/8 in.) Painted in 2014. Estimate £25,000-35,000 $31,700-44,400 €28,500-39,800 ‡ plus Buyers Premium and VAT*

Estimate £15,000-20,000 $19,000-25,400 €17,100-22,800 plus Buyers Premium and VAT*

Provenance Private Collection, France (gifed by the artist)

Provenance Timothy Taylor Gallery, London Private Collection, London Exhibited Shanghai, West Bund Art & Culture Pilot Zone, Timothy Taylor Gallery, Alex Katz: West Broadway and Spring, 7–13 November 2016

212. Robert Longo

b. 1953

Untitled (James) signed with the artist’s initials and dated ‘RL ‘07’ lower right charcoal on mounted paper, in artist’s frame 133 x 239 cm (52 3/8 x 94 1/8 in.) Executed in 2007. Estimate £60,000-80,000 $76,100-101,000 €68,300-91,100 ‡

213. Tony Lewis

b. 1986

Darn, darn... graphite, graphite powder and tape on 4 adjoined sheets of paper 243 x 182 cm (95 5/8 x 71 5/8 in.) Executed in 2015. Estimate £10,000-15,000 $12,700-19,000 €11,400-17,100 plus Buyers Premium and VAT*

plus Buyers Premium and VAT*

Provenance Metro Pictures, New York Private Collection, Moscow (acquired from the above in 2012)

Provenance Shane Campbell Gallery, Chicago Acquired from the above by the present owner

Property from an Esteemed European Collection

214. Pavel Pepperstein

b. 1966

Untitled signed with the artist’s initials [in Cyrillic] and dated ‘P P 2005’ lower right ink on paper 188.6 x 46 cm (74 1/4 x 18 1/8 in.) Executed in 2005. Estimate £6,000-8,000 $7,600-10,100 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance Loushy Art & Projects, Tel Aviv Acquired from the above by the present owner

215. Gilbert & George

b. 1943 and b. 1942

Coronation signed, titled, inscribed and dated ‘CORONATION A Post-Card Sculpture by Gilbert and George 1980’ on a label lower right 21 postcards laid on board, in artist’s frame 66.7 x 127.6 cm (26 1/4 x 50 1/4 in.) Executed in 1980. Estimate £4,000-6,000 $5,100-7,600 €4,600-6,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Anthony d’Ofay Gallery, London Phillips, New York, 17 November 2006, lot 397 Acquired at the above sale by the present owner

Exhibited Lugano, Museo d’Arte Moderna, Gilbert & George, 19 June - 21 August 1994, no. 16, p. 44 (illustrated) Oslo, Astrup Fearnley Museum of Modern Art, Gilbert & George 1970-1997, 17 April 20 June 1999, no. 54 (illustrated) Literature Gilbert & George: 1968 - 1980, exh. cat., Municipal Van Abbemuseum, Eindhoven; Kunsthalle, Düsseldorf; Kunsthalle, Bern; Centre National d’Art et de Culture Georges Pompidou, Paris; Whitechapel Art Gallery, London, 1980, p. 270 (illustrated) Michael Bracewell, The Postcard Art of Gilbert & George 1972-1989, Munich, 2011, p. 106 (illustrated)

216. Dexter Dalwood

b. 1960

The Liberace Museum signed and dated ‘Dalwood ‘98’ on the reverse oil on canvas 152.4 x 183 cm (60 x 72 in.) Painted in 1998. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ♠

Provenance Private Collection (acquired directly from the artist in 1998) Sotheby’s, London, 18 October 2013, lot 352 Acquired at the above sale by the present owner Literature David Anfam, ‘When history collapses into the present’, Tate Etc, Issue 18, 1 January 2010

plus Buyers Premium and VAT, ARR applies*

217. Bernard Frize

b. 1954

Riana acrylic on canvas 175.7 x 159.6 cm (69 1/8 x 62 7/8 in.) Painted in 2007. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Simon Lee Gallery, London Acquired from the above by the present owner

218. Tamuna Sirbiladze

1971-2016

219. Gary Hume

b. 1962

Map 2 - Drug Picnic signed and titled ‘DRUG Picnic T Sirbiladze’ on the reverse; further titled ‘MAP 2 (4 PARTS) PART 4’ on the stretcher acrylic and oil on canvas 180 x 160 cm (70 7/8 x 62 7/8 in.) Painted in 2006-08.

Bracelet enamel on aluminium 234 x 164 cm (92 1/8 x 64 5/8 in.) Executed in 1997.

Estimate £5,000-7,000 $6,300-8,800 €5,700-7,900 ♠ †

plus Buyers Premium and VAT, ARR applies*

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

Provenance Jonathan Viner, London Acquired from the above by the present owner in 2008 Exhibited London, Saatchi Gallery, Known Unknowns, 21 March – 9 September 2018 (illustrated, p. 71) London, Saatchi Gallery, Gaiety Is The Most Outstanding Feature of the Soviet Union: New Art From Russia, 21 November 2012 – 5 May 2013, n.p (illustrated)

Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 ♠

Exhibited Lisbon, Casa do Mundo; Barcelona, Fundacio La Caixa, Gary Hume. Culturgest, 8 February - 25 June 2000 Dublin, Irish Museum of Modern Art, Gary Hume, 3 April - 22 June 2003, p. 36 (illustrated)

220. Chris Ofli

b. 1968

Actaeon Stag (Study for Diana & Actaeon) signed and dated ‘C Ofli OFILI 2012’ on the reverse charcoal and felt-tip on paper 52.4 x 27.4 cm (20 5/8 x 10 3/4 in.) Executed in 2012. Estimate £8,000-12,000 $10,100-15,200 €9,100-13,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Victoria Miro Gallery, London Acquired from the above by the present owner Literature Ovid - Diana & Actaeon, exh. cat., Victoria Miro Gallery, London, 2012, n.p. (illustrated)

221. Raf Kalenderian

b. 1981

Rachel signed, titled and dated ‘“Rachel” Raf Kalenderian 2007’ on the reverse oil on canvas 213.4 x 121.9 cm (84 x 47 7/8 in.) Painted in 2007. Estimate £6,000-8,000 $7,600-10,100 €6,800-9,100 † plus Buyers Premium and VAT*

Provenance Black Dragon Society, Los Angeles Acquired from the above by the present owner in 2008 Exhibited London, Saatchi Gallery, PAINTERS’ PAINTERS, 30 November 2016 - 22 March 2017, p. 55 (illustrated)

222. Toby Ziegler

b. 1972

223. Nam Tchun Mo

1961

Study for Vitalis signed, titled and dated ‘2007 Toby Ziegler Study for Vitalis’ on the overlap oil and graphite on canvas 115.5 x 133.5 cm (45 1/2 x 52 1/2 in.) Executed in 2007.

Spring 18-66 signed, titled and dated ‘Nam Tchun Mo spring 18 - 66 2018 Nam Tchun Mo’ on the reverse cloth, polycoat and pigment on canvas 130 x 97 cm (51 1/8 x 38 1/4 in.) Executed in 2018.

Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ♠

Estimate £12,000-18,000 $15,200-22,800 €13,700-20,500 ‡

plus Buyers Premium and VAT, ARR applies*

plus Buyers Premium and VAT*

Provenance Simon Lee Gallery, London Acquired from the above by the present owner

Provenance Leeahn Gallery, Korea Private Collection

224. Bernard Frize

b. 1954

Verte signed, titled and dated ‘2003 “Verte” Bernard Frize’ on the overlap acrylic and resin on canvas 210 x 300.4 cm (82 5/8 x 118 1/4 in.) Executed in 2003. Estimate £60,000-80,000 $75,700-101,000 €68,000-90,600 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Micheline Szwajcer, Antwerp Acquired from the above by the present owner Exhibited Vestfossen Kunstlaboratorium, Archaeology of the Image, 2012 (illustrated)

225. Xavier Veilhan

b. 1963

Untitled (Naked Woman) bronze, brass and titanium fgure 48.7 x 10.6 x 9 cm (19 1/8 x 4 1/8 x 3 1/2 in.) overall 210 x 40 x 40 cm (82 5/8 x 15 3/4 x 15 3/4 in.) Executed in 2009, this work is number 1 from an edition of 5 plus 1 artist’s proof. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Andréhn-Schiptjenko, Stockholm Acquired from the above by the present owner Exhibited Château de Versailles, Veilhan Versailles, 13 September - 31 December 2009 (another example exhibited) Literature Jean-Pierre Criqui, ed., Xavier Veilhan 1999-2009, Zurich, 2009, pp. 128-129 and 153 (another example illustrated, p. 129) Xavier Veilhan : Des expositions comme des paysages, exh. cat., Château de Versailles, Paris, 2009 (another example illustrated, front and back cover)

226. Tony Crag

b. 1949

Over the Earth wood 176 x 285 x 76 cm (69 1/4 x 112 1/4 x 29 7/8 in.) Executed in 2013. Estimate £100,000-150,000 $127,000-190,000 €114,000-171,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection Beyaz Müzayede, Istanbul, 5 June 2015, lot 188 Acquired at the above sale by the present owner Exhibited Wuppertal, Von der Heydt-Museum, Tony Cragg Parts of the World, 19 April - 14 August 2016, pp. 438-439 (illustrated)

227. Christopher Williams

b. 1956

Super Quadra Sul 308 - Bloco ‘D’ - Asa Sul (south wing) - 70.355 - BRASILIA-DF - Lucio Costa, Oscar Niemeyer, 1960 - January 31, 1997 (No.1 - 2) each sheet signed, titled, consecutively numbered and dated ‘SUPER QUADRA... 1997 #1-2 5/10 Christopher Williams’ on the reverse gelatin silver prints, in 2 parts each sheet 27.8 x 35.3 cm (10 7/8 x 13 7/8 in.) Executed in 1997, this work is number 5 from an edition of 10. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 plus Buyers Premium and VAT*

Provenance Galleria Lia Rumma, Milan Acquired from the above by the current owner Exhibited The Art Institute of Chicago; New York, The Museum of Modern Art; London, Whitechapel Gallery, Christopher Williams: The Production Line of Happiness, 25 January 21 June 2015, no. 21 (suppl. nos. 16a and b), pp. 138 and 168 (another example exhibited)

228. Wolfgang Tillmans

b. 1968

A Shanghai Night signed and numbered ‘Wolfgang Tillmans 1/1 +1’ on a label afxed to the reverse c-print mounted on Dibond aluminium, in artist’s frame 212.5 x 144.9 cm (83 5/8 x 57 in.) Executed in 2009, this work is number 1 from an edition of 1 plus 1 artist’s proof. Estimate £50,000-70,000 $63,400-88,800 €56,900-79,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Andrea Rosen Gallery, New York Private Collection, London (acquired from the above in 2013) Exhibited New York, Andrea Rosen, Wolfgang Tillmans from Neue Welt, 4 May – 15 June 2013 (another variant exhibited) London, Tate Modern, Wolfgang Tillmans: 2017, 15 February – 11 June 2017, p. 166 (another variant exhibited and illustrated, p. 167) Literature Neue Welt, exh. cat., Kunsthalle Zürich, 2012, p. 108 (another example illustrated)

229. Andreas Gursky

b. 1955

Bangkok IX signed ‘Andreas Gursky’ on a label afxed to the reverse inkjet print, in artist’s frame 307 x 221 cm (120 7/8 x 87 in.) Conceived in 2011 and executed in 2013, this work is number 6 from an edition of 6. Estimate £120,000-180,000 $151,000-227,000 €136,000-204,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Dirimart, Istanbul Acquired from the above by the present owner Exhibited Dusseldorf, Stifung Museum Kunstpalast, Andreas Gursky, Bangkok, 23 September 2012 - 13 January 2013, pp. 27-28 (another example exhibited and illustrated) Tokyo, The National Art Center; Osaka, The National Museum of Art, Andreas Gursky, 3 July 2013 - 11 May 2014, no. 63, pp. 134-135 (another example exhibited and illustrated) Water Mill, Parrish Art Museum, Andreas Gursky: Landscapes, 2 August - 18 October 2015, pp. 50-51 (another example exhibited and illustrated, p. 51) Rome, Gagosian Gallery, Andreas Gursky: Bangkok, 14 December 2017 - 10 March 2018 (another example exhibited)

Property from an Esteemed European Collection

230. Almagul Menlibayeva

b. 1969

Milk for Lambs signed, titled and dated ‘MiLK FOR LAMbS, 2010 ALMAguL MENLibAYEVA’ on the reverse of the case; further signed ‘Menlibayeva’ on Master Blue Ray disc Master source fle, screening fle, screen print 1 of 2 on external hard drive Bufalo 500GB, Master Blue Ray Disc, and 2 exhibition/ screening Blue Ray discs (screen print 1 and 2) duration 12.16 minutes overall installation dimensions variable Executed in 2010, this work is number 3 from an edition of 5 plus 2 artist’s proofs and is accompanied by a certifcate of authenticity signed by the artist. Estimate £18,000-25,000 $22,800-31,700 €20,500-28,500 ‡ plus Buyers Premium and VAT*

Provenance Priska C. Juschka Fine Art, New York Acquired from the above by the present owner

Exhibited New York, Priska C. Juschka Fine Art, Daughters of Turan, April - May 2010 (another example exhibited) Graz, Kulturzentrum bei den Minoriten, Mother, June 2010 (another example exhibited) Santiago International Film Festival, SANFIC, Shoot the Shooter, August - October 2010 (another example exhibited) International Film Festival Rotterdam, November 2010 (another example exhibited) Berlin, Haus der Kulturen der Welt, Les Rencontres Internationales, November December 2010 (another example exhibited) Madrid, Spanish Cinematheque, Les Rencontres Internationales, November 2010 - January 2011 (another example exhibited) Beirut Art Centre, Expecting the Images - Carte Blanche to the Rencontres Internationales Paris/Berlin/Madrid, February 2011 Kunstmuseum Bonn, Videonale.13, 15 April - 29 May 2011, p. 82 (another example exhibited and illustrated, n.p.) Barcelona, International Videoart Biennial, May 2011 (another example exhibited) Katowice, Video Re:View Festival (Videonale 13 on Tour), May - June 2011 (another example exhibited) Moscow Museum of Modern Art, Expanded Cinema, June - July 2011, pp. 144-145 (another example exhibited and illustrated, pp. 144-145) Vila do Conde, 19th Curtas Vila do Conde, 9 - 17 July 2011 (another example exhibited) 22nd Sao Paulo International Short Film Festival, August - September 2011 (another example exhibited) Glasgow, Film and Video Space at Gallery of Modern Art, Videonale 13 on Tour, 27 August 27 November 2011 (another example exhibited) Paris, Festival International Signes de Nuit, October 2011 (another example exhibited) 15th International Short Film Festival Winterthur, November 2011 (another example exhibited) Taichung City, National Taiwan Museum of Fine Arts, Videonale 13 on Tour, December 2011 February 2012 (another example exhibited) Paris, Centre Pompidou, Les Rencontres Internationales, November 2012 (another example exhibited) International Film Festival Rotterdam, 22 January 2 February 2014 (another example exhibited)

â&#x20AC;&#x2DC;When I look at the Steppe, it reminds me of my body, dry and in some places hairy...When I look at the round yurts and tables, they remind me of my breasts.â&#x20AC;&#x2122; (Almagul Menlibayeva, lyrics from Milk for Lambs).

Almagul Menlibayeva captivates the viewer, entwining myth, tradition and documentary of modern times, accompanying the people of her native country, Kazakhstan, during the festivities in worship of the sky deity Tengri and his wife Umai, goddess of the fertile ground. Exploring rituals through the Kazakhstani women and their newly evolving understanding of their identity since the demise of communism in Central Asia, Menlibayeva conveys her pursuit for a personal path through tradition and the modern world.

231. Louise Lawler

b. 1947

Not Lizard signed, numbered and dated ‘Louise Lawler 2002 3/5’ on the reverse Cibachrome on museum box 82.5 x 69.3 cm (32 1/2 x 27 1/4 in.) Executed in 2002, this work is number 3 from an edition of 5.

Estimate £15,000-20,000 $18,900-25,200 €17,000-22,700 ‡ plus Buyers Premium and VAT*

Provenance Metro Pictures, New York Private Collection

232. Richard Prince

b. 1949

Untitled (Girlfriend) signed, numbered and dated ‘R. Prince 4/25 94’ on the reverse Cibachrome print 60.9 x 50.5 cm (23 7/8 x 19 7/8 in.) Executed in 1994, this work is number 4 from an edition of 25.

Provenance Private Collection (acquired directly from the artist) Christie’s, New York, 7 March 2012, lot 86 Private Collection, Busto Arsizio Farsettiarte, Prato, 27 May 2017, lot 475 Acquired at the above sale by the present owner

Estimate £6,000-8,000 $7,600-10,100 €6,800-9,100

Exhibited Los Angeles, Regen Projects, Richard Prince. Women, 18 February – 19 March 2004, no. 3, n.p. (another variant exhibited and illustrated)

plus Buyers Premium and VAT*

233. Douglas Gordon

b. 1966

Self Portrait of You + Me (Large Jackie White Splatter) signed ‘Douglas Gordon’ on a gallery label afxed to the reverse burned print, smoke and mirror, in artist’s frame 153 x 123 cm (60 1/4 x 48 3/8 in.) Executed in 2012. Estimate £40,000-60,000 $50,700-76,100 €45,500-68,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner in 2013

234. Vik Muniz

b. 1961

Untitled Blue, afer Yves Klein (Pictures of Pigment) signed and dated ‘VIK MUNIZ 2006’ on a gallery label afxed to the reverse c-print 231 x 178.3 cm (90 7/8 x 70 1/4 in.) Executed in 2006, this work is number 5 from an edition of 6. Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 plus Buyers Premium and VAT*

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

Exhibited Paris, Galerie Xippas, Pictures of Pigment, 10 June - 29 July 2006 (another example exhibited) Literature Pedro Corrêa do Lago, Vik Muniz. Obra Completa 1987-2009. Catalogue Raisonné, Rio de Janeiro, 2009, p. 576 (another example illustrated, p. 576) Pedro Corrêa do Lago, Vik Muniz Catalogue Raisonné 1987-2015: Everything so far. Volume 2, Rio de Janeiro, 2015, p. 626 (another example illustrated, p. 626)

235. Vik Muniz

b. 1961

The Scream, afer Edvard Munch (Pictures of Pigment) signed and dated ‘VIK MUNIZ 2006’ on a gallery label afxed to the reverse c-print 228.5 x 178.4 cm (89 7/8 x 70 1/4 in.) Executed in 2006, this work is number 2 from an edition of 6 plus 4 artist’s proofs. Estimate £40,000-60,000 $50,700-76,100 €45,500-68,300 ‡ plus Buyers Premium and VAT*

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

Exhibited Paris, Galerie Xippas, Pictures of Pigment, 10 June - 29 July 2006 (another example exhibited) Vestfossen Kunstlaboratorium, Oh My God, 5 May - 30 September 2007 (another example exhibited) Literature Pedro Corrêa do Lago, Vik Muniz. Obra Completa 1987-2009. Catalogue Raisonné, Rio de Janeiro, 2009, pp. 597 and n.p. (another example illustrated, p. 597) Pedro Corrêa do Lago, Vik Muniz. Catalogue Raisonné 1987-2015: Everything so far. Volume 2, Rio de Janeiro, 2015, pp. 647 and 893 (another example illustrated, p. 647)

Property from an Esteemed European Collection

236. Vik Muniz

b. 1961

Man and Puppet, afer Edgar Degas signed and dated ‘Vik Muniz 2013’ on a studio label afxed to the reverse c-print 268 x 178.3 cm (105 1/2 x 70 1/4 in.) Executed in 2013, this work is an artist’s proof 3 from an edition of 6 plus 4 artist’s proofs. Estimate £25,000-35,000 $31,700-44,400 €28,500-39,800 plus Buyers Premium and VAT*

Provenance Tel Aviv Museum of Art, Tel Aviv Acquired from the above by the present owner Literature Pedro Corrêa do Lago, Vik Muniz. Catalogue Raisonné 1987-2015: Everything So Far, Volume 2, Rio de Janeiro, 2015, p. 790 (illustrated)

Property from an Important European Collection

237. Os Gêmeos

b. 1974

Untitled acrylic, spray paint and sequins on MDF 199.8 x 163.1 cm (78 5/8 x 64 1/4 in.) Executed in 2007. Estimate £50,000-70,000 $63,400-88,800 €56,900-79,700 plus Buyers Premium and VAT*

Provenance Deitch Projects, New York Acquired from the above by the present owner in 2007 Exhibited Sittard, Museum Het Domein, Os Gemeos, ‘The fowers in this garden were planted by my grandparents’, 16 November 2007 – 6 January 2008

Property from an Important European Collection

238. Damián Ortega

b. 1967

Continuous Fragment each consecutively stamped with a letter ‘A-Z’ lower edge 26 bronze bas-reliefs smallest 15.8 x 10.1 cm (6 1/4 x 3 7/8 in.) largest 23.5 x 9.3 cm (9 1/4 x 3 5/8 in.) overall installation dimensions variable Executed in 2013, this work is artist’s proof 1 from an edition of 3 plus 2 artist’s proofs. Estimate £40,000-60,000 $50,700-76,100 €45,500-68,300 plus Buyers Premium and VAT*

Provenance White Cube, London Acquired from the above by the present owner in 2013 Exhibited London, Freud Museum, Damián Ortega - Apestraction, 6 June - 1 September 2013 (another example exhibited) Mexico City, Museo Jumex, To Do, Damián Ortega, 14 November 2013, pp. 346-347 (another example exhibited and illustrated)

239. Olafur Eliasson

b. 1967

Glass eye #C mirror, concave mirror, stainless steel, glass and paint diameter 81.5 cm (32 1/8 in.) Executed in 2005, this work is number 4 from an edition of 6 plus 1 artist’s proof and is accompanied by a certifcate of authenticity signed by the artist. Estimate £18,000-25,000 $22,800-31,700 €20,500-28,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance neugerriemschneider, Berlin Acquired from the above by the present owner

240. Olafur Eliasson

b. 1967

Holo lamp wood, mirror, stainless steel c-stand, holo lens, lamp and transformer 213.5 x 95 x 135 cm (84 x 37 3/8 x 53 1/8 in.) overall installation dimensions variable Executed in 2005, this work is from an edition of 10 and is accompanied by a certifcate of authenticity. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance neugerriemschneider, Berlin Acquired from the above by the present owner Exhibited Pasadena, The Jamie Residence, Olafur Eliasson, 21 April - 31 May 2005 (another example exhibited) Stockholm, Magasin III, Stockholm Konsthall, Here Comes the Sun, 27 August - 11 December 2005, p. 8 (another example exhibited and illustrated) Aosta, Forte di Bard, In Cima alle Stelle. L’Universo tra Arte, Archeologica e Scienza, 4 April - 2 September 2007, pp. 250- 251 (another example exhibited and illustrated) Literature Olafur Eliasson, ed., Your Engagement Has Consequences: On the Relativity of Your Reality, Baden, 2006, p. 182 (another example illustrated) Olafur Eliasson, ed., Studio Olafur Eliasson: An Encyclopedia, Cologne, 2008, pp. 93 and 95 (another example illustrated, p. 95)

‘My primary interest comes from investigations into how the eye functions and how one can use color to explore the diferences in what we see.’ Olafur Eliasson

241. Jon Rafman

b. 1981

242. Jeppe Hein

b. 1974

New Age Demanded (Pocked Chrome) 3D Polyamide print, on artist’s metal base head element 45 x 33 x 28 cm (17 3/4 x 12 7/8 x 11 in.) overall 49 x 38 x 25 cm (19 1/4 x 14 7/8 x 9 7/8 in.) Executed in 2013.

This Artwork is Extremely Fragile... neon and transformer 35 x 130 cm (13 3/4 x 51 1/8 in.) Executed in 2009, this work is from an edition of 3 plus 2 artist’s proofs.

Estimate £12,000-18,000 $15,200-22,800 €13,700-20,500

Estimate £10,000-15,000 $12,700-19,000 €11,400-17,100 ♠

plus Buyers Premium and VAT*

plus Buyers Premium and VAT, ARR applies*

Provenance Future Gallery, Berlin Acquired from the above by the present owner

Provenance Galleri Nicolai Wallner, Copenhagen Acquired from the above by the present owner

243. Ichwan Noor

b. 1963

Beetle Sphere aluminium, polyester, auto paint and parts from a 1953 VW beetle diameter 180 cm (70 7/8 in.) Executed in 2016, this work is number 2 from an edition of 5. Estimate £50,000-70,000 $63,400-88,800 €56,900-79,700 ‡ plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner

Property from an Esteemed European Collection

244. Pravdoliub Ivanov

b. 1964

Loaded suitcases, in 20 parts smallest suitcase 28.9 x 46.4 x 14.8 cm (11 3/8 x 18 1/4 x 5 7/8 in.) largest suitcase 99.8 x 48.2 x 33 cm (39 1/4 x 18 7/8 x 12 7/8 in.) overall installation dimensions variable Executed in 2010. Estimate £18,000-25,000 $22,700-31,600 €20,300-28,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Sariev Gallery, Plovdiv Acquired from the above by the present owner Exhibited La Maison de la Culture d’Amiens, Suspended Spaces, 18 January - 25 April 2010 Varna City Art Gallery, Varna Biennial, The Big Wave, 7 August - 7 September 2010 Vienna, Dana Charkasi Gallery, An Elusive Object of Art, May - September 2011 Warsaw, Gallery Le Guern, Pravdoliub Ivanov – Half-truth, 18 November 2011 - 12 January 2012 Poland, Zachęta National Gallery of Art, The Travellers: Voyage and Migration in New Art from Central and Eastern Europe, 14 May - 21 August 2016, pp. 120-121 and 162 (illustrated, pp. 120-121 and 162) Nitra, The Nitra gallery, New Rope, 22 September - 13 November 2016 Literature EAST by SOUTH WEST, curated by_ vienna, exh. cat., Vienna, 2011, pp. 62, 64-65 (illustrated, pp. 64-65) ‘Galerien sind auf Wachstumskurs’, Handelsblatt, 29 January 2012 Iara Boubnova, Luchezar Boyadjiev and Maria Vassileva, eds., Pravdoliub Ivanov: Transformation Always Takes Time and Energy, Bulgaria, 2014, pp. 16 and 17 (illustrated, p. 17) Magdalena Moskalewicz, ed., The Travellers: Voyage and Migration in New Art from Central and Eastern Europe, Tallinn, 2017, pp. 120-121 (illustrated, p. 120)

Combining the political and the personal, and the efect of politics on individuals, has been a constant theme throughout Ivanov’s sculptures and installations since the early 1990’s when he lef Bulgaria’s second city to study in Sofa, where he now resides. Initially created for a group exhibition held at La Maison de la Culture d’Amiens, France in 2010, Loaded presents a selection of mismatched suitcases, in various structural states. Their installation display recalls the halls of a railway station or some other place of passage. A muted violence exudes from the skeletal forms, conjuring involuntary collective displacement as well as individual fates broken by history, expulsion and exile, a powerful portrayal of the contrasts between adversity and the opportunity of freedom.

â&#x20AC;&#x2DC;...the feeling of being displaced or losing possessions from one side and from another the relief of starting from zero without the heavy legacy of the past.â&#x20AC;&#x2122; Pravdoliub Ivanov

245. Christian Boltanski

b. 1944

Shadows from the Lessons of Darkness oxidized copper, wire, tin, candles and wax, in 6 parts smallest fgure 9.5 x 5.4 cm (3 3/4 x 2 1/8 in.) largest fgure 14 x 6.9 cm (5 1/2 x 2 3/4 in.) overall installation dimensions variable Executed in 1987, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate £20,000-30,000 $25,400-38,000 €22,800-34,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner Exhibited Paris, Chapelle de la Salpêtrière, Festival d’automne, 1 October - 9 November 1986 (another variant exhibited) New York, Marian Goodman Gallery, Christian Boltanski, December 1987 - January 1988 (another variant exhibited) Bern, Kunstmuseum, Die Gleichzeitigkeit des Anderen, 21 March - 14 June 1987, pp. 178-179 (another variant exhibited and illustrated) Chicago; Museum of Contemporary Art; Los Angeles, Museum of Contemporary Art; New York, The New Museum of Contemporary Art; Vancouver Art Gallery; C.A., Berkeley, University Art Museum; Toronto, The Power Plant, Christian Boltanski: Lessons of Darkness, 1987-1988, pl. 28-30, p. 77 (other variants exhibited and illustrated, pp. 78-80) Hamburger Kunsthalle, Inventar, 30 June - 25 August 1991 (another variant exhibited and illustrated, p. 102) Paris, Tornabuoni Art, Tout feu tout famme, 5 October 2012 - 22 December 2012, pp. 72-73 (illustrated) Literature El Caso, exh. cat., Centro de Arte Reina Sofa, Madrid, 1988, p. 62 (another variant illustrated) Lynn Gumpert, Christian Boltanski, Paris, 1994, p. 94 (other variants illustrated, pp. 76, 82, 92-93) Didier Semin, Tamar Garb and Donald Kuspit, Christian Boltanski, London, 1997 (another variant illustrated, inside cover and pp. 24-25) Julie Rouart, ed., Christian Boltanski, Paris, 2011, pp. 54-55 (another variant illustrated)

‘A good work of art can never be read in one way. My work is full of contradictions. An artwork is open - it is the spectators looking at the work who make the piece, using their own background. A lamp in my work might make you think of a police interrogation, but it’s also religious, like a candle.’ Christian Boltanski

246. Allan McCollum

b. 1944

Collection of 8 Plaster Surrogates each signed, inscribed, consecutively numbered and dated ‘Allan McCollum 1989 8.25.89C M-13 - M-20’ on the reverse enamel on cast hydrostone smallest 12.6 x 10.4 cm (4 7/8 x 4 1/8 in.) largest 24.1 x 18.4 cm (9 1/2 x 7 1/4 in.) overall installation dimensions approx. 24.1 x 142 cm (9 1/2 x 55 7/8 in.) Executed in 1989. Estimate £25,000-35,000 $31,700-44,400 €28,500-39,800 plus Buyers Premium and VAT*

Provenance Galerie Thomas Schulte, Berlin Acquired from the above by the present owner

247. John Armleder

b. 1948

Arzou 1 signed, titled and dated ‘John Armleder 2014 Arzou I’ on the overlap acrylic, oil, enamel paint and glitter on canvas 150.3 x 250.6 cm (59 1/8 x 98 5/8 in.) Executed in 2014.

Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 plus Buyers Premium and VAT*

Provenance Massimo de Carlo, Milan Acquired from the above by the present owner

Property from an Important Hong Kong Collection

248. Callum Innes

b. 1962

Exposed Painting Intense Black Red Violet signed, numbered, inscribed and dated ‘INGLEBY Callum Innes 02 CALLUM INNES CI 101 02’ on the overlap; further signed and numbered ‘CI 101 02 CALLUM INNES’ on the stretcher oil on linen 105.2 x 100.2 cm (41 3/8 x 39 1/2 in.) Painted in 2002.

Estimate £15,000-20,000 $19,000-25,400 €17,100-22,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Ingleby Gallery, Edinburgh Acquired from the above by the present owner

249. Hermann Nitsch

b. 1938

Schüttbild from the 60th Painting Action signed and dated ‘Hermann Nitsch 2011’ on the reverse acrylic on jute 223.5 x 147.2 cm (87 7/8 x 57 7/8 in.) Executed on 15-16 February 2011. Estimate £15,000-20,000 $19,000-25,400 €17,100-22,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Mike Weiss Gallery, New York Private Collection, Istanbul Exhibited New York, Mike Weiss Gallery, Hermann Nitsch: 60. Painting Action, 19 February - 19 March 2011

250. Gerhard Richter

b. 1932

Waldhaus (P18) numbered ‘162/200’ on the reverse Giclée print on paper mounted on aluminium 142 x 98 cm (55 7/8 x 38 5/8 in.) Executed in 2018, this facsimile object is number 162 from an edition of 200 plus 2 artist’s proofs, published by Heni Productions, London. Estimate £6,000-8,000 $7,600-10,100 €6,800-9,100 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Fondation Beyeler, Riehen Acquired from the above by the present owner

251. Asli Özok

b. 1983

Two seconds signed and dated ‘Asli Özok 2018’ on the reverse oil, blue Swarovski beads, gold beads and gold leaf on canvas 197.2 x 130.2 cm (77 5/8 x 51 1/4 in.) Executed in 2018.

Estimate £10,000-15,000 $12,700-19,000 €11,400-17,100 plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner

252. Julian Opie

b. 1958

Monique, businesswoman-housewife 11 signed ‘Julian Opie’ on the overlap; further titled ‘Monique 11’ on the stretcher vinyl on wooden stretcher 192.2 x 142.3 cm (75 5/8 x 56 in.) Executed in 2004.

Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 † ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie de Bellefeuille, Montreal Phillips, London, 13 February 2009, lot 120 Private Collection, London

253. Jef Koons

b. 1955

BALLERINAS (WOOD) signed, numbered and dated ‘Jef Koons 16/25 2016’ on the underside of the base polychromed wood 63.5 x 40.3 x 36.8 cm (25 x 15 7/8 x 14 1/2 in.) Executed in 2016, this work is number 16 from an edition of 25 plus 5 artist’s proofs. Estimate £40,000-60,000 $50,400-75,700 €45,300-68,000 ‡ plus Buyers Premium and VAT*

Provenance Almine Rech, London Acquired from the above by the present owner

254. Vasily Klyukin

b. 1976

Dancing Fairy (Beatrice Gold) incised with the artist’s initials, inscribed and dated ‘VK DF BG 2/6 15’ on the insert of one panel brass on silver and black metal base 100 x 60 x 56 cm (39 3/8 x 23 5/8 x 22 in.) Executed in 2015, this work is number 2 from an edition of 6. Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 ‡ 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) Golf Club Saint-Tropez, Vasily Klyukin, Spring Summer 2018 (another variant exhibited) Monaco, Rue De Portier, Vasily Klyukin, Summer Autumn 2018 (another variant exhibited)

The Golden Section Largely considered to be the pinnacle of Aesthetic Harmony; the Golden Ratio has infuenced the work of artists and architects since antiquity and its most recognisable structure, The Parthenon (447 BC). Also known as the Golden Section or the Divine Proportion, this mathematical principle is an expression of the ratio of two sums whereby their ratio is equal to the larger of the two quantities. This geometry strictly informed iconic examples such as Leonardo da Vinci’s Vitruvian Man (c. 1490) and Filippo Brunelleschi’s dome design for Cattedrale di Santa Maria del Fiore in Florence (1418-1434), but also throughout art history to the present day. Its principles are noticeable in the composition of George Seurat Bathers at Asnières (1884), which encompasses the rule of thirds, and in Piet Mondrian’s Composition II in Red Blue and Yellow (1929) shows the reoccurring ‘golden rectangle’. ARTinD is a unique project aiming to unite architecture and fine art. For this project ARTinD standing as a platform for meta collaborations between art and architecture chose 10 world renowned architects: Ben Van Berkel, Peter Eisenman, Sou Fujimoto, Thom Mayne, Alessandro Mendini, Piero and Nathalie Sartogo, and Pritzker Prize winners: Peter Zumthor, Rafael Moneo, Toyo Ito and Norman Foster. Each master presents his vision of the golden ratio by creating a unique individual handmade silk carpet. The resulting works displayed the hugely diverse interpretations of the naturally occurring but long studied mathematical ratio. Phillips exclusively collaborates with ARTinD on this project in which eight carpets were ofered at auctions in 2018. We are proud to present two carpets designed by Rafael Moneo and Toyo Ito which will close this project. Toyo Ito has defned his highly praised architecture as ‘clothing’ for urban dwellers, particularly in the contemporary Japanese metropolis. This deeply sociological interest has permeated his approach to design and also the

nature of his commissions. Initially known for his dwellings such as the seminal White U House, Ito designed for his recently widowed sister, his body of work has developed to include more cultural and community focused spaces such as the Temporary Serpentine Pavilion (2002) and Sendai Mediatheque (2001): a multi-function complex accommodating a mixed programme of library, art gallery, audio visual library, film studio and café. Ito has said ‘’I would like to use architecture to create bonds between people who live in cities, and even use it to recover the communities that used to exist in every single city.’’ Ito has often drawn inspiration from the natural world in his work, borrowing organic forms and incorporating them seamlessly into his sleek post-modern approach. This infuence forms of the basis of the project from which Ito’s unique carpet was based. The architect’s design for the library at the College of Social Sciences, Taiwan University features a segmented ceiling, supported by treelike columns which results in the overall impression of clean and white yet thick forest canopy. The interspersed skylights mimic the natural dappled light through branches, serving as a form of antidote to one of the world’s most densely populated cities. For the sketch of the carpet, Ito has simplifed and reduced the roof design, charting only the circular clusters of the columns. Through connecting the dots, a distinct spiral pattern emerges, which is reminiscent of the nautilus shell spiral, synonymous with the aesthetic beauty of the Golden Section. These spirals are repeated to form a rhythmic and delicate efect. Ito has said ‘Architects have made architecture too complex. We need to simplify it and use a language that everyone can understand.’ Through breaking down his thought process into a simple mathematical pattern and immortalising it in this carpet design, Ito demonstrates his commitment to simplicity.

Right: Leonardo da Vinci The Proportions of the human fgure, Afer Vitruvius, c. 1492 Private Collection The Stapleton Collection Image: Bridgeman Images

255. Toyo Ito

b. 1941

Golden Section hand-knotted carpet 500 x 390 cm (196 7/8 x 153 1/2 in.) Executed in 2018-2019, this work is accompanied by a drawing signed by the artist. Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 † plus Buyers Premium and VAT*

Provenance ARTinD - Golden Section Collection, Italy Acquired from the above by the present owner Image of the accompanying drawing signed by the artist.

Interior of the National Museum of Roman Art Spain Extremadura, Merida. Image: Tarker / Bridgeman Images

‘I would say that to put architecture in the chain of history, to be able to interpret and understand why we are where we are, is quite crucial.’ Rafael Moneo

As an architect, Rafael Moneo’s work has been profoundly infuenced by history, art and philosophy. Moneo has described his interest in the architectural canon and a historically rooted base of knowledge and solutions from which contemporary architects could draw. ‘I would say that to put architecture in the chain of history, to be able to interpret and understand why we are where we are, is quite crucial.’ This artistic interpretation of the Golden Section for Moneo’s carpet design can be attributed to this end. Moneo drew from both the description and illustrations of an extract ‘La Pratica della Perspettiva di Monsignor Daniel Barbaro’, the 16th century treatise on perspective by the architect, writer and patron of Andrea Palladio, Daniele Barbaro. The chosen passage describes, ‘…a body of 12 surfaces with 5 sides, and from the body of 20 triangular surfaces, originates another body which contains the fat surfaces, sides and angles of the mentioned body. This is because it is formed by 20 pentagons and 30 sides of the dodecahedron, and by 20 triangles with 30 sides of the icosahedron.’ The complex and curious 32-sides polyhedron explained and illustrated by Barbaro has as its foundation, the ‘Golden Section’ and thus forms the basis of the pattern making up the carpet design. It is made up of a series of pentagons and triangles, each shape mirrored with a sequence of smaller shapes and varying line density to simulate the perspective of protruding threedimensional forms, reminiscent of natural salt crystals viewed under a microscope.

In developing this design to the completion of the finished carpet, the colour of the silk is based on a Franciscan tunic, one of the most recognisable symbols in the art historical canon. The Christian religion has vast signifcance in the development of western art and architecture through its expansive patronage. The subtle reference to this in the present work harmoniously links the themes of religion and scientifc discovery as key factors in the history of art and architecture. Moneo’s appreciation for history and art spans further than the architect’s approach and is relevant to the purpose of his commissions. He has designed many museums and cultural spaces, most notably when he converted the Villahermosa palace in Madrid into the museum that houses the Thyssen-Bornemisza collection (1989–92) and designed the Pilar and Joan Miró foundation in Palma de Mallorca (1987–92), the Kursaal Centre in San Sebastián (completed 1999 and winner of the European union prize for contemporary architecture—Mies Van der Rohe award, 2001). Of his approach designing the Museum of Roman Art (completed 1986) he said ‘At the Museum of Roman Art, the logic of the forms is very much modern. But in spite of that, the idea of the construction could be related to a historical time.’

256. Rafael Moneo

b. 1937

Golden Section hand-knotted carpet 484 x 301 cm (190 1/2 x 118 1/2 in.) Executed in 2018-2019, this work is accompanied by a drawing signed by the artist. Estimate £30,000-50,000 $38,000-63,400 €34,200-56,900 † ♠ plus Buyers Premium and VAT, ARR applies*

Provenance ARTinD - Golden Section Collection, Italy Acquired from the above by the present owner Image of the accompanying drawing signed by the artist.

257. KAWS

b. 1974

258. KAWS

b. 1974

BLAME GAME each signed, numbered and dated ‘58/100 KAWS..14’ lower edge screenprint on paper, in 10 parts each sheet 88.8 x 58.4 cm (34 7/8 x 22 7/8 in.) Executed in 2014, this work is number 58 from an edition of 100 plus 20 artist’s proofs.

PIRANHAS WHEN YOU’RE SLEEPING signed, numbered and dated ‘29/50 KAWS..17’ lower edge silkscreen on paper 152 x 116 cm (59 7/8 x 45 5/8 in.) Executed in 2016, this work is number 29 from an edition of 50.

Estimate £40,000-60,000 $50,700-76,100 €45,500-68,300 ‡

Estimate £15,000-20,000 $19,000-25,300 €16,900-22,600 ‡

plus Buyers Premium and VAT*

Provenance Private Collection, New York (acquired directly from the artist) Private Collection, New York

Provenance Pace Editions, New York Private Collection, Los Angeles Private Collection, New York

259. Kelley Walker

b. 1969

Marantz Model 6300 with Yellow Stripe CD Rom and poster on board 81.3 x 119.4 cm (32 x 47 in.) Executed in 2004, this work is number 2 from an edition of 5. Estimate £10,000-15,000 $12,700-19,000 €11,400-17,100 † plus Buyers Premium and VAT*

Provenance Paula Cooper Gallery, New York Irena Hochman Fine Art, Long Island City Acquired from the above by the present owner in 2006

Exhibited New York, Paula Cooper Gallery, Kelley Walker, February - March 2006 (another example exhibited) London, Royal Academy of Arts, USA Today: New American Art from The Saatchi Gallery, 6 October – 4 November 2006, p. 390 (another example exhibited and illustrated) St Petersburg, State Hermitage Museum, USA Today: New American Art from The Saatchi Gallery, 24 October 2007 – 13 January 2008 (another example exhibited)

This lot is sold with no reserve

260. 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 €1,100-1,700 plus Buyers Premium and VAT*

Provenance Yorkshire Sculpture Park, Wakefeld Private Collection, London

•

Sale Information 20th Century & Contemporary Art Day Sale

20th Century & Contemporary Art Department

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

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

Auction 28 June 2019, 2pm Viewing 18–28 June 2019 Monday to Saturday, 10am–6pm Sunday, 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010519 or 20th Century & Contemporary Art Day Sale Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

Cataloguer Charlotte Gibbs +44 20 7901 7993 cgibbs@phillips.com Administrator Constance Perret +44 20 7318 4073 cperret@phillips.com 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 Hugues Joffre Rebecca Tooby-Desmond

Front cover Lot 103, Dana Schutz Crapping, Braiding and Whistling oil on canvas © Dana Schutz. Courtesy of the artist and Petzel, New York.

Back cover Lot 119, William Kentridge Anti-Entropy charcoal, coloured pencil and poster paint © William Kentridge; courtesy of the artist and Goodman Gallery.

Client Accounting Richard Addington Head of Client Accounting +44 20 7901 7914 Jason King Client Accounting, Director +44 20 7318 4086 Buyer Accounts Carolyn Whitehead +44 20 7318 4020 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 Kyle Buchanan +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 Ben Marcus, Creative Services Manager Moira Gil, Graphic Designer Grace Neighbour, Graphic Designer

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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. 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. 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.

∑ 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.

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:

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

Royalty Rate 4% 3% 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 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. 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. 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. 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 directly to: Bank of Scotland, Gordon Street, Glasgow G1 3RS For the account of Phillips Auctioneers Ltd Account no. 00440780 Sort code: 80-54-01 SWIFT BIC: LOYDGB2LXXX IBAN: GB36BOFS 8054 0100 4407 80 Please reference the relevant invoice number. 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. 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

Important Notices charge. Storage charges 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.

(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 and are otherwise consistent with federal and state antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. 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 to: Bank of Scotland, Gordon Street, Glasgow G1 3RS For the account of Phillips Auctioneers Ltd Account no. 00440780 Sort code: 80-54-01 SWIFT BIC: LOYDGB2LXXX IBAN: GB36BOFS 8054 0100 4407 80 Please reference the relevant invoice number. 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 and will so advise all buyers. 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 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.

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. 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 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. 13 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 13, 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. (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. 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to

Authorship Warranty 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. 15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.

(b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number 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 buyerâ&#x20AC;&#x2122;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. 16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips, 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 buyerâ&#x20AC;&#x2122;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

VAT number (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

• 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.

Account Number

Company (if applicable)

State/Country

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

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) 1.

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

• Company Purchases: We require a copy of government-issued identifcation (such as the certifcate of incorporation) 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 will be required.

Brief description

In Consecutive Order

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. • If you have not bid and bought with us before, please provide a bank reference • Payment for lots must be made by the invoiced party in pound sterling by wire transfer, credit card (up to £30,000) using Visa, American Express, Mastercard or Union Pay (Union Pay for in person transactions only), or cash (up to £5,000 for all purchases in any calendar year). • 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.

An online sale launching from London this July Highlights on view 17â&#x20AC;&#x201C;26 July 2019 30 Berkeley Square, London W1J 6EX Enquiries Charlotte Gibbs cgibbs@phillips.com +44 20 7901 7993

Katherine Bradford Wader Boys acrylic on canvas 45.7 x 61cm (17 7/8 x 24 in.) Painted in 2016. ÂŠ Katherine Bradford 2019.

Visit us at phillips.com

Index Ancart, H. 104, 167

Garber-Maikovska, A. 162

Larsen, M. 110

Panda, J.

201

Anuszkiewicz, R. 152

Gêmeos, O. 237

Lawler, L. 231

Party, N.

101, 109

Appel, K. 151

Gilbert & George 215

Léger, F. 143, 144

Pei-Ming, Y.

Armleder, J. 247

Gordon, D. 233

Levine, S. 174

Penck, A. R. 194

Arunanondchai. K. 183

Gupta, S. 198

Lewis, T.

Aubertin, B. 145

Gursky, A. 229

Ligon, G. 163

Polke, S.

Longo, R. 212

Prince, R.

Baldessari, J. 157, 160

Hartung, H.

Baselitz, G. 191

Hein, J. 242

Biasi, A.

135

Bisky, N.

195 245

Boltanski, C.

148

192 232

Lowman, N. 188 241

Rafman, J. Mahama, I. 184

Raza, S. H. 150

Hirst, D. 189

Malani, N. 203

Richter, G.

121, 250

Martinez, E. 105

Ruscha, E.

159

128

Huan, Z. 205

Mathieu, G. 147

Hughes, S. 111

Matisse, H. 142

Salle, D.

Hume, G. 219

McCollum, A. 246

Schutz, D.

Menlibayeva, A. 230

Shimamoto, S.

Imhof, A. 176

Miró, J. 129, 130, 131

Simpson, L.

Calder, A. 123, 124, 125

Innes, C. 248

Moneo, R. 256

Sirbiladze, T.

Campigli, M. 139

Ito, T. 255

Moore, H. 140

Smith, J.

Muniz, V. 234, 235, 236

Soto, J. R.

Borremans, M. Bowling, F.

118

120

Buren, D. 153

Chanel Abney, N.

102

Ivanov, P.

244

Christo 127 Jones, A. 141

Condo, G. 116, 210 Connors, M.

161

Cragg, T. 226

Kalenderian, R. 221 Kallat, J.

199

Tchun Mo, N.

Thukral & Tagra 202 Tillmans, W.

de Saint Phalle, N. 126

178, 179, 257, 258, 260

Dodiya, A. 200

Kentridge, W. 119

Dumas, M. 117

Klyukin, V.

Veilhan, X.

Oldenburg, C. 132

Venet, B.

Eielson, J. E. 137

Knoebel, I. 154

Ortega, D.

Eliasson, O. 239, 240

Koons, J. 253

Ostrowski, D.

Kounellis, J. 134

Özok, A.

Fudong, Y. 207

223 228 149, 156

Vasarely, V.

Opie, J.

217, 224

113, 114, 164

Ofli, C. 220

Knefel, K. 193

Frize, B.

165

Noland, K. 158 Noor, Y. 204

Fabbri, A. 133

155

Nitsch, H. 249 Noor, I. 243

Kunath, F. 197

218

166

Taylor, H.

KAWS 106, 107, 108, 112, 169, 170,

177

138

175

Tabouret, C.

Katz, A. 211

Euler, J.

103, 180

Nara, Y. 181, 182

Dalwood, D. 216

254

171, 172

186, 190

Murillo, O.

Colen, D. 187

214

Pepperstein, P.

Hernández, S. 168 Hoyland, J.

Bonalumi, A. 136

213

208, 209

252

Vo, D.

225 146

185

238 251

196

259

Walker, K.

227

Williams, C. Wool, C.

173

Kusaka, S. 115 Kusama, Y. 122

Zhen, X. 206 Ziegler, T.

222

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