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

20th Century & Contemporary Art Day Sale London, 3 October 2019

119.

Peter Doig

118. Antony Gormley

*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.

158.

John Baldessari

115. George Condo

163. Zeng Fanzhi

150. Andy Warhol *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.

148. Keith Haring

157. Ed Ruscha

141. Andreas Gursky

20th Century & Contemporary Art Day Sale London, 3 October 2019

20th Century & Contemporary Art Department Contacts

Head of Sale Tamila Kerimova +44 20 7318 4065 tkerimova@phillips.com Cataloguer Louise Simpson +44 20 7901 7911 lsimpson@phillips.com Administrator Constance Perret +44 20 7318 4073 cperret@phillips.com

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

Auction 3 October 2019, 2pm

Viewing 26 September – 3 October Monday, 10am–6pm Tuesday, 10am–8pm Wednesday to Saturday, 10am–6pm Sunday, 12pm–6pm

Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010719 or 20th Century & Contemporary Art Day Sale

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

Our Team.

Executives.

Senior Advisors.

Edward Dolman

David Norman

Hugues Jofre

Chief Executive Ofcer

Chairman, Americas

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+1 212 940 1241 edolman@phillips.com

+1 212 940 1280 dnorman@phillips.com

+44 207 901 7923 hjofre@phillips.com

Arnold Lehman

ÂŠ Brigitte Lacombe

Cheyenne Westphal

Jamie Niven

Global Chairwoman

Senior Advisor to the CEO

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Ken Yeh 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

Elizabeth Goldberg

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

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

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20th Century & Contemporary Art London.

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

Olivia Thornton

Dina Amin

Head of 20th Century & Contemporary Art, Europe

Senior International Specialist

Nathalie Zaquin-Boulakia International Specialist

+44 20 7318 40995 othornton@phillips.com

+44 20 7318 4025 damin@phillips.com

+44 20 7901 7931 nzaquin-boulakia@ phillips.com

Matt Langton

Henry Highley

Senior Specialist

+44 20 7318 4074 mlangton@phillips.com

+44 20 7318 4061 hhighley@phillips.com

Rosanna WidĂŠn

Tamila Kerimova

Kate Bryan

Simon Tovey

Charlotte Gibbs

Louise Simpson

Clara Krzentowski

Senior Specialist

Head of Day Sale

Head of New Now Sale

Associate Specialist

Cataloguer

Researcher/Writer

+44 20 7318 4060 rwiden@phillips.com

+44 20 7318 4065 tkerimova@phillips.com

Head of Evening Sale, October

+44 20 7318 4084 stovey@phillips.com

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+44 20 7901 7911 lsimpson@phillips.com

+44 20 7318 4064 ckrzentowski@phillips.com

+44 20 7318 4050 kbryan@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

Brittany Jones

Associate Specialist

Cataloguer

Researcher/Writer

+1 212 940 1279 pkoenig@phillips.com

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

Head of Latin American Art +1 212 940 1391 jvancampenhout@phillips.com

Hong Kong. Isaure de Viel Castel

Charlotte Raybaud

Danielle So

Delissa Handoko

Head of Department

Head of Evening Sale

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

Giulia Campaner Mendes

Layla Powell

Margherita Solaini

Laurent Taevernier

Business Development Associate

Client Liaison Coordinator

Client Advisory Manager

Associate Client Advisory Manager

+44 20 7318 4058 gcampaner@phillips.com

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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

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Asia. Iori Endo Client Advisory Manager +44 20 7318 4039 iendo@phillips.com

+32 32 573026 ltaevernier@phillips.com

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129. Michelangelo Pistoletto

161. Manolo ValdĂŠs

International Specialists & Regional Directors. Europe. Laurence Calmels

Clara Rivollet

Laurence Barret-Cavy

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

+33 686 408 515 lcalmels@phillips.com

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

Maura Marvao

Kalista Fenina

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

Specialist, 20th Century & Contemporary Art, Moscow

+351 917 564 427 mmarvao@phillips.com

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

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

Dr. Alice Trier

Carolina Lanfranchi

Specialist, 20th Century & Contemporary Art, Germany

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

+49 173 25 111 69 atrier@phillips.com

+39 338 924 1720 clanfranchi@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

+1 773 230 9192 cehlers@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

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Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Alicia Zhang

Cindy Yen

Regional Director, Japan

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

Associate Regional Representative, Korea

Regional Director, China

Associate Regional Representative, Shanghai

Senior Specialist, Watches & Jewellery, Taiwan

+1 917 657 7193 mdekoning@phillips.com

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Asia.

+81 90 2245 6678 khattori@phillips.com

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+86 13911651725 wenjiazhang@phillips.com

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Meiling Lee

Christine Fernando

Sandy Ma

Vivi Yip

International Specialist, Taiwan

Associate Regional Representative, Singapore

International Specialist, South East Asia

Senior Consultant, Indonesia

+886 908 876 669 mlee@phillips.com

+65 9128 6277 christinefernando @phillips.com

+852 2318 2025 sma@phillips.com

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+86 139 1828 6589 aliciazhang@phillips.com

+886 2 2758 5505 cyen@phillips.com

Property from a Distinguished Los Angeles Collection O♦

101. Eddie Martinez

b. 1977

Reverse Motivation signed with the artist’s initials and dated ‘EM. 13’ lower lef; further signed and dated ‘MARTINEZ. 13’ on the reverse oil, enamel and spray paint on panel 121.9 x 91.4 cm (47 7/8 x 35 7/8 in.) Executed in 2013. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 ‡ plus Buyers Premium and VAT*

Provenance Kohn Gallery, Los Angeles Acquired from the above by the present owner

‘I like to relinquish control over it. I made it, it’s done, now it’s for people to look at and see what they want to see. Whenever anyone asks me if it’s this or that, I just don’t say anything, because I don’t want to inform it any more than I already did in the studio.’ Eddie Martinez

102. Julie Curtiss

b. 1982

Untitled (Brown Boots) signed, titled and dated ‘Untitled (Brown Boots) 2015 Julie Curtiss’ on the reverse gouache on paper 31.1 x 23.1 cm (12 1/4 x 9 1/8 in.) Executed in 2015. Estimate £5,000-7,000 $6,100-8,600 €5,500-7,800 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Nino Mier Gallery, Los Angeles Private Collection, London

‘If the Chicago imagists and the surrealists had a baby, I think it would look a little like my work.’ Julie Curtiss

Property from a Distinguished European Collection

103. Lesley Vance

b. 1977

Untitled signed and dated ‘Lesley Vance 2012’ on the reverse oil on linen 45.9 x 35.5 cm (18 1/8 x 13 7/8 in.) Painted in 2012. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 plus Buyers Premium and VAT*

Provenance Xavier Hufens, Brussels Acquired from the above by the present owner Exhibited Brussels, Xavier Hufens, Lesley Vance, 21 June - 21 July 2012, pp. 32 and n.p. (illustrated, n.p.)

104. Henry Taylor

b. 1958

Untitled (Seated Figure) acrylic on canvas 71 x 56.1 cm (27 7/8 x 22 1/8 in.) Painted in 2009. Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200 plus Buyers Premium and VAT*

Provenance Atelier Cardenas Bellanger, Paris Private Collection, Paris

105. Henry Taylor

b. 1958

Untitled (Bowers) titled ‘BOWERS’ upper lef; further signed and inscribed ‘Henry Taylor, another painting I did in TOSSA Spain.’ on the reverse acrylic on canvas 71.2 x 56.1 cm (28 x 22 1/8 in.) Painted in 2009. Estimate £25,000-35,000 $30,600-42,800 €27,700-38,800 plus Buyers Premium and VAT*

Provenance Atelier Cardenas Bellanger, Paris Private Collection, Paris

106. Kehinde Wiley

b. 1977

Passing/Posing (Marriage of the Virgin) signed, titled and dated ‘passing/posing Marriage of the Virgin Kehinde Wiley 05’ on the reverse oil on canvas, in artist’s frame 213.3 x 274.6 cm (83 7/8 x 108 1/8 in.) Painted in 2005. Estimate £80,000-120,000 $97,900-147,000 €88,700-133,000 ‡ plus Buyers Premium and VAT*

Provenance Roberts & Tilton, Los Angeles Acquired from the above by the present owner Exhibited Denver Art Museum, Focus: The Figure, June 2009 - August 2011

‘Art is about changing what we see in our everyday lives and representing it in such a way that it gives us hope.’ Kehinde Wiley

107. George Condo

b. 1957

Bugged Out signed and dated ‘CONDO 84-2’ on the reverse; further signed, titled and dated ‘ConDO 84.2 ‘BUGGED OUT’’ on the stretcher oil on canvas, in artist’s frame 25.8 x 19.6 cm (10 1/8 x 7 3/4 in.) Painted in 1984. Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200 plus Buyers Premium and VAT*

Provenance Monika Sprüth Galerie, Cologne Private Collection, USA

108. Oscar Murillo

b. 1986

Untitled oil, oil stick, paper collage and debris on canvas 188.5 x 175 cm (74 1/4 x 68 7/8 in.) Executed in 2011. Estimate £60,000-80,000 $73,400-97,900 €66,500-88,700 ‡♠ plus Buyers Premium and VAT, ARR applies*

Provenance Carlos/Ishikawa, London Private Collection, Belgium Phillips, London, 27 June 2013, lot 23 Acquired at the above sale by the present owner

109. Jutta Koether

b. 1958

Fest Im Trauma signed and dated ‘J Koether 2005’ on the reverse; further signed with the artist’s initials, inscribed and numbered ‘8.79 JK NYC Cologne’ on the overlap paper collage, resin, metal chain, embroidery, plastic, thread, steel corner plate, metal pins and mixed media on canvas 82.5 x 60 cm (32 1/2 x 23 5/8 in.) Executed in 2005. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 ‡ ♠

110. Takashi Murakami

b. 1962

SUPERFLAT Monogram indistinctly inscribed, stamped and dated ‘MADE IN JAPAN TAKASHI CO, LTD. TAKASHI FIRST IN QUALITY AROUND THE WORLD, HIROPON FACTORY LV 04’ on the reverse acrylic on canvas, mounted on board 60.3 x 60.1 cm (23 3/4 x 23 5/8 in.) Painted in 2004. Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 † plus Buyers Premium and VAT*

plus Buyers Premium and VAT, ARR applies*

Provenance STANDARD (OSLO), Oslo Acquired from the above by the present owner in 2006

Provenance Marianne Boesky, New York Private Collection Sotheby’s, London, 8 October 2016, lot 189 Acquired at the above sale by the present owner

111. KAWS

b. 1974

Untitled (MBFT3) signed and dated ‘KAWS .. 15’ on the reverse acrylic on canvas 147.5 x 122 cm (581/8 x 48 in.) Painted in 2015. Estimate £250,000-350,000 $306,000-428,000 €277,000-388,000 ‡ plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner

‘I think Peanuts is part of being a kid in America. Whether it’s the Great Pumpkin on Halloween or just seeing a diferent cartoon in the paper, it’s sort of around everywhere. My frst interaction with Peanuts in my art was when I used to do all the billboards. One of the earlier ones that I really liked the most was painting over a Peanuts billboard.’ KAWS

112. Peter Halley

b. 1953

Direction No. 7 signed and dated ʻPeter Halley Peter Halley 2014ʼ on the reverse acrylic, metallic acrylic, pearlescent acrylic and Roll-a-Tex on canvas 213 x 203 cm (83 7/8 x 79 7/8 in.) Executed in 2014. Estimate £60,000-80,000 $73,400-97,900 €66,500-88,700 ‡ plus Buyers Premium and VAT*

Provenance Private Collection, Dubai Exhibited Dubai, Mottahedan Projects, The Awakening: Peter Halley and Pietro Roccasalva, 2 March – 2 April 2016, no. 14, n.p. (illustrated)

Direction No. 7 is a powerfully commanding example from Peter Halley’s Direction series, infuenced by the demandingly austere authority of the Kaaba, Mecca, to which all Muslim prayer is directed. Included in the artist’s exhibition at Mottahedan Projects, Dubai, Direction No. 7 is arresting and immediate, constructed with Halley’s rigorous formal language and bold aesthetic in uniform silver, gold and black. Executed in textured Roll-a-Tex, Halley’s physical signifer and ready-made imitation of painterly impasto, Direction No. 7 takes on a distinct architectural quality, intensifed by the geometric, structural precision of the composition. The central black square, dominating the composition, echoes Malevich’s Black Square, a symbol of transcendence and avantgarde aspiration. ‘In the year 1913, trying desperately to free art from the dead weight of the real world, I took refuge in the form of the square’ (Kasimir Malevich, The Non-Objective World: The Manifesto of Suprematism, 1926). The refuge Malevich found in the square can be physically and spiritually found at the Kaaba and is vigorously emulated in Peter Halley’s Direction No. 7. Direction No. 7, the largest and the last of the Direction series, delves deeper into earlier themes which Halley had explored. ʻBack in the 1970’s I also made several small gouache paintings with square and cubic forms referring to the architecture of the Kaaba. I was interested in the parallels between the stark form of the Kaaba and the squares and cubes of Minimalist art, which was then at its moment of greatest infuence. There is no

Pilgrims at the Kaaba, c. 1925, Mecca, Saudi Arabia Image: Lebrecht History / Bridgeman Images

other great religious shrine in the world that is as austere as the Kaaba. Except for the entrance door, the exterior is free from any trace of historical styles. It is a pure iconic symbol of house, or sanctuary, with four plain walls covered by a fat roof. Its form is totally functional – the vertical walls enclose the space, while the horizontal roof provides shelter from the elementsʼ (Peter Halley, interviewed by Salwa Mikdadi in Dubai, A Mottahedan Project, The Awakening: Peter Halley and Pietro Roccasalva, 2 March – 2 April 2016, n.p.). Throughout Halley’s oeuvre he has focused on the sociological implication of geometric forms and symbols through the domination of squares, rectangles and lines. In contrast, the external austerity of the Kaaba, symbolises the straight path through life and the upward vertical directional lines of spiritual transcendence, forms and shapes that are boldly replicated in their pure simplicity in Direction No. 7. ʻI have been interested in a presentation of the architecture of the Kaaba expressed in the language of contemporary painting. The Kaaba embodies many of the themes that have been important to me throughout my life as an artist: iconicity, austerity, enclosure, and sanctuary.ʼ (Peter Halley, interviewed by Salwa Mikdadi in Dubai, A Mottahedan Project, The Awakening: Peter Halley and Pietro Roccasalva, 2 March – 2 April 2016, n.p.) Direction No. 7 masterfully embodies Halley’s iconic brand of geometric abstraction and continuous themes in his unique and striking interpretation of the religious focal point.

Property from a Distinguished Los Angeles Collection O♦

113. Ugo Rondinone

b. 1964

Vierundzwanzigsteraugustzweitausendundvierzehn signed, titled and dated ‘ugo rondinone 2014 vierundzwanzigsteraugustzweitausendundvierzehn’ on the stretcher acrylic on canvas 91.6 x 61.2 cm (36 1/8 x 24 1/8 in.) Painted in 2014. Estimate £25,000-35,000 $30,600-42,800 €27,700-38,800 ‡ plus Buyers Premium and VAT*

Provenance Sadie Coles HQ, London Acquired from the above by the present owner

Property from a Distinguished Los Angeles Collection O♦

114. Peter Halley

b. 1953

Bright signed and dated ‘2018 Peter Halley Peter Halley’ on the reverse acrylic, fuorescent acrylic and Roll-a-Tex on canvas 183.2 x 187.1 cm (72 1/8 x 73 5/8 in.) Executed in 2018. Estimate £60,000-80,000 $73,400-97,900 €66,500-88,700 ‡ plus Buyers Premium and VAT*

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

115. George Condo

b. 1957

The Girl from Ipanema signed and dated ‘Condo 8/00’ on the reverse oil on canvas 91.6 x 91.4 cm (36 1/8 x 35 7/8 in.) Painted in 2000. Estimate £200,000-300,000 $245,000-367,000 €222,000-333,000 ‡ plus Buyers Premium and VAT*

Provenance PaceWildenstein, New York 11 Duke Street, London Cuadro Fine Art Gallery, Dubai Acquired from the above by the present owner in 2012 Exhibited London, 11 Duke Street, Portraits, 2000 Literature Ralph Rugof, The Imaginary Portraits of George Condo, New York, 2002, p. 140 (illustrated)

An archetypal example of George Condo’s acclaimed singular and iconic approach that challenges and re-defines the conventional notion of fgurative portraiture, The Girl from Ipanema, 2000, belongs to a series of paintings by the artist that tackle the grand tradition of the nude. Taking its subject and title from the well-loved song by Antônio Carlos Jobim, Condo skews our preconceived visual depiction with his challenging portrayal. Looking up at the fgure, with her long dark hair fowing against a wonderful blue sky scattered with romanticised fufy clouds, the image of idealised perfection is disrupted by Condo’s typically distorted facial features. Painting exclusively from his imagination and art historical knowledge, Condo fuses infuences from Old Master painting to Cubism with an awareness of popular culture, to create a character that is simultaneously ʻseductive and repulsive,ʼ and ʻfrightening and appealingʼ (Ralph Rugof, ʻThe Enigma of Jean Louis: Interview 14 March 2006ʼ, in George Condo: Existential Portraits: Sculpture, Drawings, Paintings 2005/2006, exh. cat., Luhring Augustine, New York, 2006, pp. 8-9). Characteristic of Condo’s partiality for amplification and distortion, the girl’s face has been transformed into a warped contradiction featuring enormous ears and bulging features that meets our scrutiny with a cocked confrontational gaze. Picasso’s considerable influence on the artist is evident in Condo’s exploration into the re-invention of the facial features. Despite their distorted grotesque changes of form, Ralph Rugof notes that Condo also instils his subjects with a sense of indefinable pathos: ʻUnlike in caricature… the preposterous features of these fgures are in fact rendered with great sympathy. Drawing on the traditional rhetoric of portraiture, Condo imbues his invented subjects with a compelling psychological presenceʼ (Ralph Rugoff, ʻThe Mental States of America,ʼ George Condo: Mental States, exh. cat., Hayward Gallery, London, 2011, p. 16). Condo’s masterful painterly technique and strong characterisation of the fgure set against an enduring backdrop, creates an efect that is both stylistically elegant and disturbing, repulsive and sympathetically engaging. The artist’s vision, embodied in the present work, uniquely and imaginatively re-examines the canon of the female nude in art history.

116. Erwin Wurm

b. 1954

Philosophers: suit fabric and acrylic on plaster, on a partially painted wooden base fgure 48 x 20 x 10.2 cm (187/8 x 77/8 x 4 in.) base 93 x 40 x 40 cm (365/8 x 153/4 x 153/4 in.) overall 141 x 40 x 40 cm (551/ 2 x 153/4 x 153/4 in.) Executed in 2009, this work is from an edition of 6. Estimate £20,000-30,000 $24,500-36,700 €22,200-33,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, London Literature Antwerp, Middelheim Open-Air Museum of Sculpture, Erwin Wurm: Wear Me Out, 29 May - 11 September 2011, n.p. (illustrated)

117. Antony Gormley

b. 1950

KNOT MODEL V numbered and dated on the underside cast iron 10.2 x 10.5 x 16 cm (4 x 41/8 x 61/4 in.) Executed in 2011. Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Xavier Hufens, Brussels Acquired from the above by the present owner Photograph by Stephen White, London © the artist

118. Antony Gormley

b. 1950

Another Time XVIII incised with the artistʼs initials, inscribed, numbered and dated on the underside of the right foot cast iron 191 x 59 x 34 cm. (75 1/4 x 23 1/4 x 13 3/8 in.) Executed in 2013, this work is number 3 from an edition of 5. Estimate £180,000-250,000 $220,000-306,000 €200,000-277,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galleri Andersson / Sandström, Stockholm Acquired from the above by the present owner

Photograph by Stephen White, London ÂŠ the artist

ANOTHER PLACE, 1997 Cast iron, 100 elements, 189 x 53 x 29 cm Installation view, Cuxhaven, Germany Photograph by Helmut Kunde

ANOTHER PLACE, 1997 Cast iron, 100 elements, 189 x 53 x 29 cm Installation view, Cuxhaven, German Photograph by Helmut Kunde

â&#x20AC;&#x2DC;Another Time is a series of one hundred sculptures identical to the hundred sculptures of Another Place. They are mutually dependent works: one that is permanently sited on Crosby Beach on the Mersey estuary in Liverpool, UK; the other, through a process of dispersion, will be found all over the world. Each work in Another Place faces out to the horizon twelve degrees south of west, while with Another Time each work finds its own orientation. The body forms are taken from seventeen distinct moulding times between 19th May and 10th July, 1995. The works acknowledge their industrial method of production. Each of the seventeen individual moments has been cast fve to six times and shows the manner of its making, with traces of cling film through to the ingates of the molten

metal clearly visible on the rusting surface. The works are corpographs: indexical body impressions that freeze time. The history of western sculpture has been concerned with movement. I wish to celebrate the still and silent nature of sculpture. The work is designed to be placed within the fow of lived time. Recently, the works have been placed high on buildings against the sky, standing outside the shelter and protection of architecture. The work is made from iron, a concentrated earth material found at the core of this planet, each sculpture massive: a solid body. The work asks where the human being sits within the scheme of things. Each work is necessarily isolated, and is an attempt to bear witness to what it is like to be alive, alone in space and time.â&#x20AC;&#x2122; Antony Gormley, May 2008

119. Peter Doig

b. 1959

House of Pictures signed, titled and dated ʻPeter Doig 2002/ʻ03 ʻHouse of Picturesʼ on the reverse oil on canvas 40.8 x 30.7 cm (16 1/8 x 12 1/8 in.) Painted in 2002 - 2003. Estimate £300,000-400,000 $367,000-490,000 €333,000-444,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, USA Private Collection, Germany Private Collection, Switzerland

To experience Peter Doig’s House of Pictures, 2002–2003, is to engage in an exhilarating game of push and pull. A dazzling fame of orange hair arrests our attention, yet the fgure to whom it belongs’ backwards stance rebukes our advances; manifestly in view but physically inaccessible. The intimacy of its scale invites familiarity, but this too is a double-edged sword, as the severe cropping creates an unsettling sense of claustrophobia and entrapment, all the while excluding the viewer from anchoring it to any sense of time and place; but for the blazing swathe of orange, the fgure seems almost intangible. It is a hallmark of Doig’s oeuvre to conceal, obscure or otherwise remove his fgures just beyond the viewer’s reach. Following in the tradition of Edward Hopper’s late-night diners and Cindy Sherman’s Untitled Film Stills, Doig toys with our human compulsion to impose narrative.

Edvard Munch, Vampire, 1893-1894, oil on canvas, Munchmuseet, Oslo Image: De Agostini Picture Library / Bridgeman Images

The saturnine protagonist of House of Pictures refuses to give us any clues, leaving them an empty canvas onto which the viewer’s imagination can project their memories, dreams, and fantasies. Following the same bloodline, Doig’s painting has an undeniably cinematic presence and magically instils a sense of nostalgia for a past the viewer has not even necessarily experienced themselves. As one scholar observes: ʻAs a matter of course, Doig’s work displays a resolute, unwavering faith in the medium of painting. Free of compulsions to provide justifcations, of pressures to engage in argumentation, this attitude expresses a contemporary sensibility, a consciousness that inscribes the past—and implicitly, nostalgia and sentiment as well— into the image as a perpetually renewed process.ʼ (Peter Doig: No Foreign Lands, exh. cat., Scottish National Gallery, Edinburgh; Montreal Museum of Fine Arts, 2013, p. 80)

‘In Chicago, I saw the painting by Daumier, L’amateur d’estampes, of a man looking at prints. The House of Pictures became my version.’ Peter Doig

Honoré Daumier, L'amateur d'estampes, 1852–1868, oil on cradled panel, Art Institute of Chicago

The work’s formal economy means that it occupies a liminal space between fguration and abstraction: reality as fltered through the prism of Doig’s inimitable imagination. Indeed, this is an enchanting example of the artist’s class of magical realism. The insistence on a reference point from the tangible world has been described by Doig as a desire to be ʻhinged in reality, hinged in a believeablenessʼ (Peter Doig, cited in Robert Enright, ʻThe Eye of the Painting: An Interview with Peter Doig,ʼ BorderCrossings 98, June 2006). It is this efortless assimilation of the two realms of abstraction and fguration into an enchanting dreamscape that singles Doig out as a leading fgure in contemporary art’s ‘return to painting’. Doig’s distinctive visual grammar interweaves personal recollections and found imagery with references to art history, as in House of Pictures. The artist amasses his sources from film, photography or from his own lived experience, yet these collages of influence can only truly be actualised through paint on canvas. The fgure in House of Pictures is at once uniquely biographical to Doig but also a familiar leitmotif in art history: the shock of red hair has previously adorned the subjects of Gustav Klimt, Edvard Munch, the Pre-Raphaelites and Sandro Botticelli. House of Pictures has a fascinating genesis, alongside its larger, sister piece from the same year. Doig was first inspired to make the work in response to an encounter with a 19th-century picture gallery named ‘Haus der Bild’ (House of Pictures) he encountered during a summer sojourn in the Austrian capital. Initially only painting the façade, it was not until two years later that he found the lead character for the work, chanced upon outside a restaurant in Vancouver. This person was ʻa guy getting into a minivan; he had his hands in his pockets, looking for his keys, and he was dressed all in black leather like Johnny Cash. He was actually native Indian. I never saw his face but he had this incredible mane of black hair and this black hat, and he had on these extreme cowboy boots. It was the body position that I liked. But in my painting I wanted the fgure to look European, so I made his hair red instead. I wanted him to be like a fgure from a Fassbinder flmʼ (Peter Doig, cited in Robert Enright, ʻThe Eye of the Painting: An Interview with Peter Doig,ʼ BorderCrossings 98, June 2006). It is this unique patience for, and confdence in fnding the perfect missing pieces for his works, which he then unites and reworks from their disparate histories into a single whole which singles Doig out as one of the foremost imaginations of his generation.

120. Peter Doig

b. 1959

Maracas’ Study signed with the artist's initials and dated 'PMD '05' lower right; further signed, inscribed, titled and dated '"MARACAS" STUDY Peter Doig 2005 FOR DUSSELDORF AIDS AUCTION Port of SPAIN' on the reverse oil on paper 129.5 x 74.8 cm (50 7/8 x 29 1/2 in.) Executed in 2005. Estimate £120,000-180,000 $147,000-220,000 €133,000-200,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Contemporary Fine Art, Berlin Private Collection, London Acquired from the above by the present owner

‘People often say that my paintings remind them of particular scenes from flms or certain passages from books, but I think it's a different thing altogether. There is something more primal about painting. In terms of my own paintings, there is something quite basic about them, which inevitably is to do with their materiality. They are totally nonlinguistic. There is no textual support to what you are seeing. Often I am trying to create a “numbness.” I am trying to create something that is questionable, something that is difficult if not impossible, to put into words.’ Peter Doig

Property of an Important Collector

121. Cecily Brown

b. 1969

The Crab and Lizard signed and dated ʻCecily Brown 2012ʼ on the reverse oil on linen 78.8 x 58.5 cm (31 x 23 in.) Painted in 2012. Estimate £250,000-350,000 $306,000-428,000 €277,000-388,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

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

‘I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.’ Cecily Brown

Timidly delineating two living silhouettes amidst an abstract furry of greens, blues and browns, Cecily Brown’s The Crab and Lizard, 2012, presents a hectic tableau disrupted by flashes of figuration, encapsulating the artist’s sensorial approach to the act of representation. Both decipherable on sustained inspection in the lower-right quadrant of the composition, the two titular creatures provide a narrative and context to Brown’s otherwise tantalisingly abstract scene, allowing the viewer’s gaze to rove more assuredly across the painting’s surface. Once noticed, these two arresting fgures elucidate the nature of their surroundings as a tempestuous forest, brimming with natural force. Demonstrating Brown’s ease in balancing fuid gestures and vibrant colours, The Crab and Lizard is a vivid materialisation of her desire to ‘make paintings that are impossible to walk past, paintings that grab and hold your attention’ (Cecily Brown, quoted in Perri Lewis, ‘Cecily Brown: I take things too far when painting’, The Guardian, 20 September 2009, online). Haptic and hypnotic, the present work is as engaging in subject matter as it is in pictorial rendition and technique. It hovers between abstraction and fguration in a moment of revelry, efectively creating a painterly rapture that allows the viewer to delight in the ever-shifing motion of Brown’s sumptuous palette and whirling forms. Capturing the raw gestures of the artist’s hand as it glides across the canvas, The Crab and Lizard posits as a physical interaction in itself. As such, it materialises Brown’s desire for painting ‘to embody the same sensations that bodies would’, likening the picture plane to a host of sensations (Gary Wood, ‘Cecily Brown: I like the Cheap and Nasty’, The Observer, 12 June 2005, p. 1). To achieve this, the artist adopts shortened brushstrokes that fan out and circulate around one another in clusters, forming a dense palimpsest of texture. However, unlike a large portion of Brown’s work dedicated to physical sensuality and human presence as subject matters, the painting focuses on non-human creatures, echoing the artist’s sentiment that ‘I always prefer to use animals, as

their meaning seems less didactic than when you use humans’ (Cecily Brown, in conversation with Alain Elkann, Alain Elkann Interviews, 24 February 2019, online). Building from a body of work that she began creating in the 1990s whilst studying at the Slade School of Art, London, Brown remained focused on the painterly medium throughout her career, in stark contrast to her YBA peers. She has constantly revelled in the inherent tactility of oil paint, as well as its capacity to map the exquisite nuances of the painter’s hand as it moves across the painting’s support. A highly detailed and pictorially rigorous composition, the present work exhibits the enthralling versatility of oil paint and the artist’s ability to create a mesmeric metaphor for life itself. As Brown explained: ‘I am interested in the unfxed nature of things. I want the work to have a trapped energy so that the paint seems to vibrate in place. I want the viewing of it to approximate the experience of being in the world’ (Cecily Brown, quoted in Dore Ashton, Cecily Brown, New York, 2008, p. 25). Utilising the brush as such, Brown crafs an abstracted appreciation of the natural world through an insistence on subjectivity. Continuously quoting from a rich lineage of painterly tradition, Brown’s compositions share stylistic afnities with European Old Master fgure painting, Abstract Expressionism, and Gutai. The Crab and Lizard is evocative of such artistic thrusts; its swathes of luscious impasto recall the idiosyncratic gestures of Kazuo Shiraga, Jackson Pollock, and Willem de Kooning, as well as Lucien Freud and Francis Bacon’s frenzied, yet deeply psychological pictorial renderings. Speaking of her creative process, Brown explains that she takes ‘cues from the paint, so it’s this total back-and-forth between my will and the painting directing what to do next’ (Cecily Brown, quoted in ‘New York Minute: Cecily Brown,’ Another, 14 September 2012). The Crab and Lizard exemplifes this beautifully; with its free-fowing tides and its expressive vigour, the composition holds some of Brown’s most treasured painterly qualities, which have hailed her one of the foremost artists of our time.

122. Sean Scully

b. 1945

Raval signed, titled and dated ‘RAVAL Sean Scully 2013’ on the reverse oil on aluminium 89.1 x 101.1 cm (35 1/8 x 39 3/4 in.) Painted in 2013. Estimate £200,000-300,000 $245,000-367,000 €222,000-333,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Cheim & Read, New York Acquired from the above by the present owner

‘Abstraction is the art of our age; it’s a breaking down of certain structures, an opening up. It allows you to think without making obsessively specifc references, so that the viewer is free to identify with the work. Abstract art has the possibility of being incredibly generous, really out there for everybody. It’s a nondenominational religious art. I think it’s the spiritual art of our time.’ Sean Scully

Mark Rothko, Untitled, 1967, oil on canvas Empire State Plaza Art Collection, Albany © 1998 Kate Rothko Prizel & Christopher Rothko ARS, NY and DACS, London 2019 Image: © Boltin Picture Library / Bridgeman Images

Harmoniously balancing painterly panels of cool, ocean and intense blues, coalescing with deep grey and earthy maroon, Sean Scully’s Raval, 2013, creates interlinked layers of colour that exude light, movement and energy whilst simultaneously creating a consuming depth. The initial appearance of large blocks of colour on closer inspection give way to a multifaceted surface of numerous layers of paint, each comprised of a multitude of diverse individual brush marks which are imbued with an innate spirituality. ʻPaint strokes do a number of things, but they do not simply describe the form in my work: they afrm the human spirit, the involvement of the human spiritʼ (Sean Scully, quoted in Resistance and Persistence: Selected Writings, London, 2006, p. 25). Scully’s current solo show Sean Scully: Human impressively dominates the commanding religious space at the Abbey of San Giorgio Maggiore at the Venice Biennale. Constructed in what Scully referred to as ‘bricks’, not quite touching, they allow glimmers of the pigment beneath to be revealed, resembling building blocks. Scully’s architectural attitude to form is part of an art-historical narrative having captivated many of his predecessors, from Josef Albers to Ad Reinhardt, Donald Judd and Piet Mondrian. ‘Scully injected Piet Mondrian’s strict grid like architecture into Rothko, animating his quiet mediations and giving early body and weight to his vaporous clouds of color’ (Stephen Bennett Phillips, ‘Becoming Sean Scully’, Wall of Light, exh. cat., Phillips Collection, Washington, D.C., 2005, p. 19). Scully’s construction and understanding of numerous layers of colour consequently fts into the historical analyses on the discernment of space, hue, and their afliation to the human involvement.

The Abstract Expressionists, in particular Mark Rothko, were of huge infuence to Scully. Having frst encountered Rothko’s work in his early twenties at an exhibition of the artist’s work at the Museum of Modern Art in New York, Scully was inspired by Rothko’s atmospheric use of layered colour and the revealing of the layered elements, similarly fxating on the relationship between colour and the depths and moods that can be discovered by considered contrasts and the interchange of hues. Scully’s structural and geometrical understanding is combined with his knowledge, like Rothko, that his fne colour combinations are emotionally loaded, powerfully resonating with the viewer and illustrating an innate spirituality: There is a deeper spiritual meaning to the seemingly formulaic arrangement: ‘My paintings talk of relationships, how bodies come together. How they touch. How they separate. How they live together, in harmony and disharmony ... Its edge defines its relationship to its neighbour and how it exists in context. My paintings want to tell stories that are an abstracted equivalent of how the world of human relationships is made and unmade. How it is possible to evolve as a human being in this’ (Sean Scully, quoted in Walter Smerling, ‘Constantinople or the Sensual Concealed,’ in The Imagery of Sean Scully, exh. cat., MKM Museum Küppersmühle für Moderne Kunst, Duisburg, 2009, p. 8). Scully’s Raval capitalizes upon colour, medium, and shape to create an artwork that comes to life both kinesthetically and emotionally, balancing a meticulously geometric format with the irrepressible physicality and poetic theme found in the painted surface.

Sean Scully in his studio © Sean Scully

123. Frank Bowling, R.A.

b. 1934

Simon Helps (V) signed ‘FRANK BOWLING’ on the reverse acrylic and encaustic on canvas 186.6 x 81.3 cm (73 1/2 x 32 in.) Executed in 1986. Estimate £80,000-120,000 $97,900-147,000 €88,700-133,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Tibor De Nagy Gallery, New York Bill Hodges Gallery, New York Acquired from the above by the present owner in 2003

Created at the height of Frank Bowling’s investigation into the properties and possibilities of paint, Simon Helps (V), 1986, is an exquisite example of the artist’s masterful juxtaposition of colour and form. By the beginning of the 1980s, Bowling was in control of the techniques he had perfected over the previous two decades since his move to London in 1953 from his home town in Guyana, South America. Relocating to New York in 1966, Bowling was inspired by Abstract Expressionism’s commitment to the materiality and handling of paint in felds of colour. The present work attests to Bowling’s desire to elaborate new painterly procedures and create strikingly original compositions. By mixing acrylic with encaustic, a dense paste made from heated beeswax, Bowling has built up the surface texture to resemble a rich landscape of geometric ridges and fuid valleys, expertly rendered in fery oranges, mustard tones of yellow and hues of turquoise. Simon Helps (V) perfectly encapsulates Bowling’s tireless urge to reinvent the process of painting and to invite a more physical engagement with its materiality. Still painting in his London studio at the age of 85, his critically acclaimed retrospective at the Tate Britain this summer truly cemented Bowling as a master of paint. An important moment in Bowling’s oeuvre, Simon Helps (V) confrms that, in the artist’s own words, ‘the possibilities of paint are never-ending’ (Frank Bowling, quoted in Imelda Barnard, ‘My Life Has Always Been About Painting’, Apollo Magazine, 1 July 2017, online).

124. Allen Jones

b. 1937

Beauty Spot signed, titled and dated “BEAUTY SPOT’ allen jones 11’ on the stretcher; further titled and inscribed “THE’ BEAUTY SPOT QUIET PLEASE’ on the overlap oil on canvas 183.1 x 152.9 cm (72 1/8 x 60 1/4 in.) Painted in 2011. Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 †♠ plus Buyers Premium and VAT, ARR applies*

Provenance Wetterling Gallery, Stockholm (acquired directly from the artist) Private Collection, Sweden Exhibited Stockholm, Wetterling Gallery, Allen Jones “In Stages”, 31 May - 2 July 2011

125. Gerald Laing

1936 - 2011

The Dressing Table at the Rosarito Hotel Ð Self-Portrait with Galina III signed, titled and dated ʻThe dressing table at the Rosarita Hotelʼ (Self portrait with Galina) Gerald Laing 1972ʼ on the reverse oil on canvas 63.5 x 76.5 cm (25 x 301/8 in.) Painted in 1972. Estimate £80,000-120,000 $97,900-147,000 €88,700-133,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Richard Feigen Gallery, New York (acquired directly from the artist) Gary Snyder Gallery, New York Private Collection, New York Literature David Knight, Gerald Laing: Catalogue RaisonnŽ, London, 2017, no. 299, Artist's CR 286, p.181 (illustrated)

ʻNot far South of Tiajuana, it is called the Rosarita Hotel; its large and fading, decorated in the Spanish style of the 1930’s, at which time it must have been a popular resort for the denizens of Hollywood. Galina posed in silhouette in the window for some magnifcent photographs which gave promise of her later huge contribution to the poetry of the Galina series sculptures. We walked on the beach, and I proposed to her, and she accepted. I photographed us in bed together, sitting up refected in the great round mirror of the dressing table, and surrounded by the bric-a-brac and artefacts of the 1930s and 1950s which constitute a sort of still life in the enormous painting of the event which I made a few months later’ (Gerald Laing quoted in, Gerald Laing: An Autobiography, unpublished manuscript, 2011, ch. 32. quoted in David Knight, Gerald Laing Catalogue RaisonnŽ, London, 2017, p. 180).

126. Frank Bowling, R.A.

b. 1934

Three works: (i) Resting; (ii) Alighting; (iii) Hovering (i) signed, titled and dated ‘2010 FRANK BOWLING ‘RESTING’’ on the stretcher (ii) signed, titled and dated ‘FRANK BOWLING ‘ALIGHTING’ 2010’ on the stretcher (iii) signed, titled and dated ‘FRANK BOWLING ‘HOVERING’ 2010’ on the stretcher each acrylic, oil and collage on canvas (i) 63.2 x 78.1 cm (24 7/8 x 30 3/4 in.) (ii) 63.5 x 76.2 cm (25 x 30 in.) (iii) 64.8 x 76.2 cm (25 1/2 x 30 in.) Each executed in 2010.

Provenance Spanierman Modern, New York Acquired from the above by the present owner Exhibited New York, Spanierman Modern, Frank Bowling Solo Survey Exhibition: Paintings 1974-2010, 14 September 16 October 2010, p. 5 (Resting, no. 10, p. 29, illustrated, p. 26; Alighting and Hovering illustrated, p. 28)

Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

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.

127. Lucio Fontana

1899-1968

Concetto spaziale incised ‘L.Fontana’ lower edge glazed terracotta 20.3 x 61 x 20.3 cm (7 7/8 x 24 x 7 7/8 in.) Executed in 1964. Estimate £120,000-150,000 $147,000-184,000 €133,000-166,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Walker Art Center, Minneapolis Acquired from the above by the present owner Exhibited Minneapolis, Walker Art Center; Austin, University of Texas Art Museum, Lucio Fontana: the spatial concept of art, 6 January - 27 March 1966, no. 72, n.p. Minneapolis, Walker Art Center, Fifn Collectors Club, 4 June - 10 July 1966, no. 34

‘I made a hole. Infnity passes through, light passes through, there’s no need to paint ... everyone thought I wanted to destroy but that’s not true, I created, not destroyed.’ Lucio Fontana

128. Alighiero Boetti

1940-1994

Jean Christophe (i) signed, numbered and dated ‘1 alighiero boetti 1975’ on the reverse (ii) signed, numbered and dated ‘2 alighiero boetti 1975’ on the reverse ball point pen on paper, in 2 parts each 99.8 x 69.7 cm (39 1/4 x 27 1/2 in.) Executed in 1975, this work is accompanied by a certifcate of authenticity provided by the Archivio Alighiero Boetti, Rome, and is registered under number 9403. Estimate £100,000-150,000 $122,000-184,000 €111,000-166,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Sperone Westwater Gallery, Turin Private Collection, France (commissioned from the above by the present owner in 1975)

‘My works arise out of changing forms of collaboration. I am interested in primary things like the alphabet, maps, newspapers – not least because of sudden spanning of order and disorder. Everything has its own precise order, even if this order is realised in a disorderly manner.’ Alighiero Boetti

129. Michelangelo Pistoletto

b. 1933

Ritratto di Marisa Palazzolo signed, titled, numbered and dated ‘N.250 Ritratto di Marisa Palazzolo Michelangelo Pistoletto 1988’ on the reverse silkscreen on polished stainless steel mirror 125 x 165 cm (49 1/4 x 64 7/8 in.) Executed in 1988. Estimate £150,000-200,000 $184,000-245,000 €166,000-222,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection (acquired directly from the artist) Thence by descent

Constituting part of Michelangelo Pistoletto’s most identifable and celebrated body of Quadri Specchianti or Mirror Paintings, Ritratto di Marisa Palazzolo, 1988, exemplifes the artist’s radical and articulate use of the refective surface. Originally explored in a series of painted self-portraits made in the early 1960’s, Pistoletto was inspired by the likes of Francis Bacon and performance art. Pistoletto’s Mirror Paintings create the opportunity for performance and drama through their essential viewer participation, subsequently breaking down the conventional borderlines between the artwork and surrounding life—something that was later to be explored by artist’s like Anish Kapoor in his highly polished concave forms. The woman laughing from the painted mirrored surface is laughing with us, the viewer. It is the viewer’s refection when looking at the work that completes the piece, transforming the observer of the painting into its subject. As was Pistoletto’s playful purpose, the viewer is an essential active participant, a collaborator in the artist’s creative plan and a performer who has the ability to dynamically alter the surface of the work through their own presence and imagination. ‘The mirror paintings could not live without an audience. They were created and re-created according to the movement and to the interventions they reproduced. The step from the mirror paintings to theatre – everything is theatre – seems simply natural … It is less a matter of involving the audience, of letting it participate, as to act on its freedom and on its imagination, to trigger similar liberation mechanisms in people’ (Michelangelo Pistoletto in 1969, quoted in Michelangelo Pistoletto: The Mirror of Judgement, exh. cat., Serpentine Gallery, London, 2011, n.p.).

Pistoletto’s Mirror Paintings enabled him to break away from the flattening of perspective. Looking at art-history, Manet’s use of the painted mirror in The Bar at the FoliesBergere offered a way out of the flatness of the painting through the inclusion of the reflection of the artist standing in front of it, a figure to who the viewer of the work could relate. Exploring this notion, Pistoletto draws the viewer in through their own reflection encouraging the viewer to understand their relationship to the image and situation within the room. However, a silent dissociation exists in the smaller reflection of the reflected viewer in comparison to the silkscreen image, mulitplying the distance of the viewer from the mirror. It is not possible to inhabit this image nor is it possible to concurrently focus on both the reflection and photographic image at same time. Disconnected spaces between the adhered flat image of the silkscreen and the reflected image of the viewer are discovered through the reflective surface: ‘The mirror’, Pistoletto has said, ‘reflects every place and continues to reflect even when and where no human eye is present. ...A meeting point between the human mirroring and reflective phenomenon and the universal reality that the mirror is itself capable of reflecting, …it functions as a mediator between the visible and the non-visible, extending the eyesight beyond its apparently normal capabilities. Whether in a room or on an altar, a mirror expands the possibilities of the eye and the capacity of the mind so far as to offer a vision of totality’ (Michelangelo Pistoletto quoted in, ‘L’arte assume la religione’, in Germano Celant, Michelangelo Pistoletto, New York, 1989, p.28).

130. Fausto Melotti

1901-1986

L’angelo dell’Apocalisse signed ‘Melotti’ on the right side of the base glazed polychrome ceramic 73.5 x 43 x 19 cm (28 7/8 x 16 7/8 x 7 1/2 in.) Executed in 1949, this work is registered with the Archivio Fausto Melotti, Milan under no. 1949 13. Estimate £60,000-80,000 $73,400-97,900 €66,500-88,700 ♠

131. Enrico Castellani

1930-2017

Superfcie Blu signed, titled and dated ‘Castellani. Sup. blu -‘93-’ on the overlap acrylic on shaped canvas 50.3 x 50.2 cm (19 3/4 x 19 3/4 in.) Executed in 1993, this work is accompanied by a certifcate of authenticity from the Archivio Enrico Castellani and is registered under the archive number 93-026.

plus Buyers Premium and VAT, ARR applies*

Estimate £60,000-80,000 $73,400-97,900 €66,500-88,700 ♠

Provenance Achille Collection, Milan Private Collection, Milan Private Collection, London

plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, Italy (acquired in 1993) Private Collection, London

Property from an Important Private European Collection

132. Heinz Mack

b. 1931

Ohne Titel signed and dated ‘Mack 69’ lower centre ink and charcoal on paper 49 x 62.5 cm (19 1/4 x 24 5/8 in.) Executed in 1969. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 ♠

133. Bernard Aubertin

1934-2015

Tableau Clous signed and dated ‘Bernard Aubertin 1968’ on the reverse acrylic and nails on board 50.1 x 90 cm (19 3/4 x 35 3/8 in.) Executed in 1968, this work is accompanied by a confrmation of authenticity from the Archivio Opere Bernard Aubertin, Brescia, March 2018. This work is registered under archive no. TCLR86 - 1000205423.

plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Swetec Franz, Düsseldorf Acquired from the above by the present owner

Estimate £7,000-9,000 $8,600-11,000 €7,800-10,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galleria Centro, Brescia Private Collection, Monte Carlo

Property from the Estate of Karel Geirlandt

134. Palermo

1943-1977

Property from an Important Private European Collection

135. Imi Knoebel

b. 1940

Two Works: (i) Skizze für Wandmalerei; (ii) Skizze für Wandmalerei each signed, titled and dated ‘Skizze für Wandmalerei Palermo 69/70’ lower edge graphite, ink and pen on paper each 29.7 x 32 cm (11 3/4 x 12 5/8 in.) Executed in 1969-1970.

Pure Freude 2 numbered ‘2’ on the reverse acrylic on aluminium 159.5 x 114.7 x 4.7 cm (62 3/4 x 45 1/8 x 1 7/8 in.) Executed in 2001.

Estimate £20,000-30,000 $24,500-36,700 €22,200-33,300 ♠

plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, Rhineland (acquired directly from the artist) Grisebach GmbH, Berlin, 28 November 2014, lot 753 Acquired at the above sale by the present owner

Provenance Private Collection, Belgium Thence by descent

Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 ♠

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

136. Günther Förg

1952-2013

Ohne Titel signed and dated ‘Förg 08’ upper lef acrylic and oil on canvas 120.3 x 100.3 cm (47 3/8 x 39 1/2 in.) Painted in 2008, this work is recorded in the archive of Günther Förg as No. WVF.08.B.0133. Estimate £100,000-150,000 $122,000-184,000 €111,000-166,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Forsblom, Stockholm We thank Mr. Michael Nef from the Estate of Günther Förg for the information he has kindly provided on this work.

‘The objective is not so much to merely apply a coat of paint but rather to avoid an artistic handwriting in the sense of artistic mannerism.’ Günther Förg

137. Julian Schnabel

b. 1951

(Untitled) Chinese signed, indistinctly inscribed and dated ‘Julian Schnabel 2011 Summer’ on the overlap inkjet print, oil and resin on polyester 228.8 x 203.1 cm (90 1/8 x 79 7/8 in.) Executed in 2011. Estimate £100,000-150,000 $122,000-184,000 €111,000-166,000 plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner

‘The Untitled (Chinese Paintings) are possessed of the unbridled strident visual poetry that defnes Schnabel’s best work. In these paintings one recognizes a range of pictorial elements that are quintessentially Schnabel’s – grandiloquent, Whitmanic gestures that vector and veer through the pictorial space.’ (David Moos, ‘A False Sense of Intimacy’, in David Moos and Porfrio Munoz, eds., Julian Schnabel: Untitled (Chinese Paintings), London, 2009, n.p.)

138. Anselm Kiefer

b. 1945

Blutblume acrylic and paper glued to lead sheets mounted on cardboard with fabric binding, on 34 pages open 99.7 x 136 x 6 cm (39 1/4 x 53 1/2 x 2 3/8 in.) closed 99.7 x 68 x 7.9 cm (39 1/4 x 26 3/4 x 3 1/8 in.) Executed in 2001. Estimate £100,000-120,000 $122,000-147,000 €111,000-133,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner

A unique sculpture that eschews immediate clarity, Blutblume, 2001, captures Anselm Kiefer’s proximity to literature, alchemy and cosmogony, whilst materialising the artist’s desire to express the inherent paradoxes of life. Echoing the name of a fowering plant – also known as a blood lily or paintbrush lily – Blutblume forms part of a cycle of works that Kiefer built over forty-fve years, comprising hundreds of unique books made of lead, plaster and cardboard, ofentimes ornate with paint, sand and fowers, and bound like ancient grimoires. Herein, Blutblume’s thirty-four pages are adorned with paint and collaged paper, together conjuring the delicate and lively appearance of a bed of blood lilies. However, the book itself is physically mute, as the act of ficking made impossible by the sheer weight of the object. ‘The lead books are thus complete paradoxes’, Kiefer observed. They are like ‘an allusion to the dialectic of being and nothingness’ (Anselm Kiefer, quoted in Olivier Cena, ‘A la BNF, Anselm Kiefer expose ses livres sacrés’, Télérama, 30 October 2015, online). Connecting culture and nature, order and chaos, Blutblume functions as ‘a link that holds together opposites’, encapsulating the artist’s intimate expression ‘through which the human is connected to the natural, the terrestrial to the celestial’ (Germano Celant, quoted in ‘The Destiny of Art: Anselm Kiefer’, Anselm Kiefer, Milan, 1997, p. 15).

139. Gerhard Richter

b. 1932

Abstraktes Bild signed, numbered and dated ‘475 / 4 Richter, 81’ on the reverse oil on canvas 65 x 80 cm (25 5/8 x 31 1/2 in.) Painted in 1981. Estimate £300,000-400,000 $367,000-490,000 €333,000-444,000 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Gerhard Richter. Bilder / Paintings 1962 - 1985, exh. cat., Städtische Kunsthalle Düsseldorf; Nationalgalerie Berlin; Kunsthalle Bern; Museum moderner Kunst, Vienna, 1986, no. 475/4, pp. 247 and 394 (illustrated, p. 247) Deutschland, Gerhard Richter. Werkübersicht / Catalogue Raisonné 1962-1993, vol. III, Bonn, 1993, no. 475-4, n.p. (illustrated) Dietmar Elger, ed., Gerhard Richter Catalogue Raisonné Volume 3. Nos. 389 - 651-2. 1976-1987, Ostfldern, 2013, no. 475-4, p. 238 (illustrated)

Provenance Galerie Konrad Fischer, Düsseldorf Galerie Löhrl, Mönchengladbach Collection Lühl Galerie Löhrl, Mönchengladbach Private Collection Galerie Löhrl, Mönchengladbach Private Collection, Switzerland Private Collection, Germany Acquired from the above by the present owner on 30 June 2016 Exhibited Kunsthalle Bielefeld; Mannheim, Mannheimer Kunstverein, Gerhard Richter. Abstrakte Bilder 1976 bis 1981, 10 January - 16 May 1982 Zurich, Galerie Konrad Fischer, Gerhard Richter, 9 October - 6 November 1982 Southampton, The Elks Lodge Fairgrounds, Inaugural Art Southampton, 27 - 30 July 2012 Augsburg, Galerie Noah, Gerhard Richter. Mit Ölbildern, Lackarbeiten, Fotobildern, Drucken und Editionen aus sechs Jahrzehnten, 29 July - 6 November 2016 Wellburg/Lahn, Rosenhang Museum, Weilburger Begegnung: Figur und Abstraktion im Dialog. Stephan Balkenhol und Gerhard Richter, 5 June - 31 August 2017

Abstraktes Bild, 1981, is a visually striking and exceptional example of Richter’s innovative, experimental and masterful painterly process in its infancy. Created in 1981, Abstraktes Bild marks an important evolution in Gerhard Richter’s celebrated career, produced at the moment the artist shifed his attention from figurative Photo Paintings to the infinite possibilities of abstraction. In the same year that the present work was created, Richter’s Photo Paintings from the previous decade were shown in the group exhibition A New Spirit in Painting at the Royal Academy in London. From Pablo Picasso to Andy Warhol, the show brought together the most important painters of the time including works by the Neo-Expressionists,

Georg Baselitz and Anselm Kiefer. For Richter, the exhibition pushed him to depart from fgurative painting entirely and dive into the aesthetic potential of abstraction – a desire that led him to break the boundaries of art history’s abstract canon. Richter has explained that his early abstract paintings ‘allowed me to do what I had never let myself do: put something down at random. And then, of course, I realised that it never can be random. It was all a way of opening a door for me. If I don’t know what’s coming – that is, if I have no hard-and-fast image, as I have with a photographic original – then arbitrary choice and chance play an important part’ (Gerhard Richter, quoted in Gerhard Richter: Text, London, 2009, p. 256).

‘It's never blind chance: it's a chance that is always planned, but also always surprising.’ Gerhard Richter

Claude Monet The Japanese Bridge at Giverny, 1918-24, oil on canvas, Musée Marmottan Monet, Paris Image: Bridgeman Images

Franz Kline, Black Refections, 1959, oil and pasted paper on paper mounted on Masonite, Metropolitan Museum of Art, New York © ARS, NY and DACS, London 2019. Image: © The Metropolitan Museum of Art/ Art Resource/Scala, Florence

Typical of Richter’s spectacular early series of Abstrakte Bilder, the present work is more intimate in scale than his later monumental canvases, allowing its viewer to closely examine its extraordinary surface whilst simultaneously absorbing the whole composition. Encapsulating Richter’s early investigations into order and chaos, Abstraktes Bild masterfully balancing smooth planes of colour with sumptuously layered areas of impasto. Rich, vibrant colours and seductive textures in the present work stimulate our senses, conjuring our desires through Richter’s forceful yet harmonious strokes of paint. Bright yellow and electric green fields are contrasted with areas of dark grey, appearing as organic outcrops of land meeting the sea, evoking a landscape seen from above. In Richter’s own words, ‘Almost all the abstract paintings show scenarios, surroundings or landscapes that don’t exist, but they create the impression that they could exist. As though they were photographs of scenarios and regions that had never yet been seen, that could never exist’ (Gerhard Richter, quoted in ‘I Have Nothing to Say and I’m Saying It: Conversation Between Gerhard Richter and Nicholas Serota, Spring 2011’ in Mark Godfrey and Nicholas Serota, Gerhard Richter: Panorama, exh. cat., Tate Modern, London, 2011, p. 19). Two horizontal green and blue lines slice across the canvas, recalling the gestural strokes of Abstract Expressionist painting. While visually reminiscent of these works, Richter refuses to conform to the sentimental movement that defned Abstract Expressionism. Rather, Richter was able to

sculpt a unique aesthetic identity for himself, determined by his trademark tool, the squeegee. A rectangular sheet of Perspex attached to a wooden handle, Richter applies and re-applies layers of paint to the canvas, dragging them across the surface to produce glistening traces of colour. An important innovation for Richter, this technique enabled him to enhance the physical quality of paint whilst renouncing a certain element of artistic control. Asked how chance in his paintings related to the automatism of Jackson Pollock or Surrealism, Richter stated: ‘It certainly is diferent. Above all, it’s never blind chance: it’s a chance that is always planned, but also always surprising. And I need it in order to carry on, in order to eradicate my mistakes, to destroy what I’ve worked out wrong, to introduce something diferent and disruptive. I’m ofen astonished to fnd how much better chance is than I amʼ (Gerhard Richter, quoted in Benjamin Buchloch and Hans Ulrich Obrist, eds., Gerhard Richter: The Daily Practice of Painting: Writings and Interviews 19621993, London, 1995, p. 159). Spontaneous yet confdent, instinctive yet deliberate, this intimate work is a sublime example of the miraculous nature of Richter’s early abstractions, dismantling figuration, expression and the authorial voice even as it declares a bold intentionality which would defne the rest of his highly celebrated career. Abstraktes Bild showcases Richter’s exceptional skills in technique and abstract composition, confrming Richter’s status as a revered pioneer in the history of Western painting.

Property from the Estate of Karel Geirlandt

140. Thomas Schütte

b. 1954

Five Works, Skizzen für Bauwerke: (i) Study for Museum; (ii) Study for Bunker; (iii) Study for Mein Grab; (iv) Study for Sicherheit; (v) Study for Kiste (Modell 1:20) (iii) stencilled with the artist’s name, numbered and inscribed ‘THOMAS SCHÜTTE 16.11.1954 25.3.1996 MODELL 1:20’ centre spray paint and lacquer on paper (i) (ii) (v) 126.5 x 110 cm (49 3/4 x 43 1/4 in.) (iii) (iv) 116.3 x 110 cm (45 3/4 x 43 1/4 in.) Executed in 1981.

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

Estimate £100,000-150,000 $122,000-184,000 €111,000-166,000 ♠ plus Buyers Premium and VAT, ARR applies*

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141. Andreas Gursky

b. 1955

Engadin II c-print 307 x 205 cm (120 7/8 x 80 3/4 in.) Executed in 2006, this work is number 1 from an edition of 6. Estimate £280,000-350,000 $313,000–392,000 €345,000–431,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Monika Sprüth Galerie, Cologne Acquired from the above by the present owner Exhibited Munich, Haus der Kunst; Sharjah Art Museum; Melbourne, National Gallery of Victoria, Andreas Gursky, 17 February 2007 - 21 February 2009, pp. 107 and 143 (another example exhibited and illustrated, p. 107) Kunstmuseum Basel, Andreas Gursky, 20 October 2007 - 24 February 2008, pp. 102 and 121 (another example exhibited and illustrated) Kunstmuseum Krefeld; Haus Lange und Haus Esters; Stockholm, Moderna Museet; Vancouver Art Gallery, Andreas Gursky: Werke Works 80-08, 12 October 2008 20 September 2009, pp. 214 and 254 (another example exhibited and illustrated, p. 214)

Lef:

Caspar David Friedrich Wanderer above the Sea of Fog 1818, oil on canvas, Hamburger Kunsthalle, Hamburg Image: Bridgeman Images Right:

Poster design for St Moritz and Engadin Image: Mary Evans, Scala, Florence

Monumental and arresting, Andrea Gursky’s Engadin II, 2006, towers amongst the most breath-taking works in the artist’s oeuvre. The tall portrait composition displays a vast expanse of pristine snow, incised with two central converging lines, the confuence of which seems to be at the tree-lined base of the mountains – which make up only the top quarter of the picture frame. From a distance, the depth of white serves to bleach all colour variation from the foreground and reduce the mountains to monochrome which is starkly contrasting with the celestial cerulean of the sky. The viewer’s eye initially absorbs the abstract triangular composition before focusing and identifying the miniature black specks of a phalanx of skiers partaking in the Engadin cross-country ski marathon, an annual event in the Swiss valley near St. Moritz, from where the work takes its name. The present work is Gursky’s second depiction of this subject matter, the frst of which, Engadin I was captured a decade previously and placed the viewer at a distant but equal level with the horizontal trail of skiers. The viewpoint for Engadin II – captured via helicopter – places the viewer in the god-like, aerial position that has become one of Gursky’s most distinctive and important artistic tools.

Despite the dramatically natural landscape setting, the subject of the present work has more in common with Gursky’s urban crowd scenes than is immediately obvious. Whether it is depicting the Tokyo Stock Exchange, a Techno Rave or a sporting event, Gursky consistently captures groupings of humans creating otherworldly results. In 1984, while vacationing in Switzerland, Gursky took a photograph which inspired an epiphany, subsequently informing his practice indefinitely ʻhe obliged one of his companions by recording a splendid view of Klaussenpass… Six months later, when he enlarged the negative, he was excited to fnd scattered across the landscape the tiny fgures of hikers whose presence the photographer, unlike his camera, had failed to register at the time. He thus rediscovered one of the oldest, simplest and most rewarding pleasures of photography– the patient delectation of details too small, too incidental, or too over-whelming in their inexhaustible specificity to have been noticed, let alone pondered, at the moment of exposureʼ (Peter Galassi, Andreas Gursky, Museum of Modern Art, New York, 2001, pp. 22-23).

This revelation is particularly relevant to Engadin II, whose swarm of fgures, each captured with parallel skis, colourful suits and thin diagonal shadows appear, as if out of a fog when the work is examined at close range. Gursky’s practice draws from varied sources within the art historical tradition. The orthogonal lines, which are the central feature in Engadin II’s composition strongly recall the method of linear perspective, which was frst utilised by Filippo Brunelleschi in 1415 and became a feature of European Renaissance painting. This technique for demonstrating depth and scale was ofen visually signposted through patterns in foor tiling or similar compositional attributes. However, the vertiginous bird-eye viewpoint in Engadin II challenges the harmonious and mathematical efect created by the use of linear perspective. The overall visual impression of the present work perhaps owes more to the Romantic painting tradition of the early 19th Century, both in perspective and subject matter. Painter’s such as Caspar David Friedrich’s art glorifed the power and beauty of nature and promoted the notion of the Sublime. A Romanticist masterpiece, his painting titled Wanderer above the Sea of Fog, 1818, is classic of the reaction against the rapid industrialization of this era. The lone fgure stands on a high precipice, surveying the expansive landscape ahead of him made up of rocky forms, swathed in fog and mountains in the distance. As is the case with Engadin II, the awesome spectacle of nature is juxtaposed with the fragility of man. However additionally and somewhat contradictorily, within Gursky’s image though tiny and seemingly insignifcant the miniature skiers have collectively and dramatically altered the natural landscape with the scar-like incision they have lef in the snow. This central fracture is only emphasised through Gursky’s manipulation of the original image. Pixel by pixel, the artist has removed any small imperfections in the surface of the snow either side of the track, resulting in an immaculate and absorbing colourless plain. Gursky frst utilised digital

editing in 1991 to retouch a small blemish, quickly realising its potential as a tool to shape the composition and content of his works. ʻEver since, the standard procedure has been as follows: Gursky begins with one or more conventional (chemical) negatives. Sometimes the image needs no further work…Otherwise the negative is scanned to produce a digital fle that may be displayed on the computer monitor and revised at will…The fle is then used to produce a new negative, which is printed conventionally, making use of the usual darkroom techniques to control contrast, colour balance and so forthʼ (Ibid., p. 39). Among the most successful results of this technique are arguably Gursky’s crowd scenes such as Union Rave, 1995, which at once depicts the swathe of bodies as far as the picture plain stretches but also individual snapshots of personal experience within this collective experience. These one or two personal scenes are knitted together and represent Gursky’s relationship with the scene he witnessed over a length of time ʻI stand at a distance, like a person who comes from another world. I just record what I seeʼ (Andreas Gursky, quoted in C. Squiers, ‘Concrete Reality’, Ruhr Works, September 1988, p. 29). Gursky’s legacy arguably also owes to the remarkable artistic advances made in the 20th Century to abstraction. The artist’s choice to reduce the composition of Engadin II into purely its component parts, recall qualities of both the Constructivist and Minimalist movements. ʻBehind Gursky’s taste for the imposing clarity of unbroken parallel forms spanning a rectangle lies a rich inheritance of reductivist aesthetics, from Friedrich to Newman to Richter to Donald Juddʼ (Peter Galassi, Andreas Gursky, Museum of Modern Art, New York, 2001, p. 35). Gursky studied at Düsseldorf Art Academy directly under Bernd and Hilda Becher, pioneers in the photographic canon, however the additional infuence of previous alumni on Gursky’s oeuvre such as Joseph Beuys and Gerhard Richter is undeniable. The era’s rich artistic heritage combined with Gursky’s ingenious innovation combine to produce works such as Engadin II, which hold the uncanny ability to stop viewers in their tracks.

Artist Focus: Cindy Sherman Provocative and captivating, Cindy Sherman’s strikingly physical photographs are demandingly dramatic and powerful. Exploring the multiple depictions of the female body and notion of identity, Sherman transforms herself into a horde of various characters. The present works, which were created between 1977 to 1993, refect the essence of the photographer’s practice which has become synonymous with dramatized impersonations and satirical portraiture, challenging the various depicted motifs. Typically using her own body in varying guises, the present examples use powerful chiaroscuro to add drama, intensity and humour. Through the deliberate poses, Sherman depicts herself in these works as an object of the viewer’s gaze. The artist’s permanent legacy within the history of art is recognised at the major retrospective of the artist’s works shown at the National Gallery of Art, London, during the summer of 2019. Created in the year that Sherman started her famously renowned suite of sixty-nine Untitled Film Stills, Film Still #62, 1977, executed in black and white, sees Sherman masquerading as a female character borrowed from the glamourised images of 1950’s cinema and flm noir, tapping into the American fascination with peeping behind-thescenes of famed characters only captured on the big screen. Exemplifying the horror and absurdity that Sherman explored in her Fairy Tale series, Untitled #155, 1985, is strange and surreal, liberated from the limitations of reality, Sherman appears to be constructed, non-human, with plastic, dolllike skin, so extreme is the makeup. ʻIn horror stories or in fairy tales, the fascination with the morbid is … a way to

prepare for the unthinkable… the real horrors of the world are unmatchable, and they’re too profound. It’s much easier to absorb – to be entertained by it, but also to let it afect you psychologically – if it’s done in a fake, humorous, artifcial wayʼ (Cindy Sherman, quoted in Cindy Sherman: Retrospective, exh. cat., The Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago, 1998, p. 8). From 1989-90 Sherman created her own renderings of Historical Portraits - whilst not generally replicating any specifc painting, Sherman recreates types from the genre. This is portrayed in Untitled #208, 1990, through the thinking pose of Sherman’s ‘philosopher’ at her desk on which sits a small replica of a human skull and empty candle stand, echoing historic vanitas and memento mori still lifes. Through these portraits Sherman ofen pokes fun at the historical tradition of idealising and exaggerating certain aspects of the female anatomy. In Untitled #275, 1993, Sherman langours on a heavily draped couch in the pose of an idealised odalisque. Here, amusingly her enhanced pendulous breasts fall forward as she looks out, inviting the art historical debate on the female/ male gaze. Spanning across three of the artist’s systematic evolving set of series, the present works exemplify Sherman’s comments on the historical view of the female body with her characteristic sardonic wit. As Sherman stated ʻI see humour in almost everything, in even the grotesque things, because I don’t want people to believe in them as if they were documentary that really does show true horror. I want them to be artifcial, so you can laugh or giggle at them, as I do when I watch horror movies.ʼ (Cindy Sherman, 2012.)

‘We’re all products of what we want to project to the world. Even people who don’t spend any time, or think they don’t, on preparing themselves for the world out there – I think that ultimately, they have for their whole lives groomed themselves to be a certain way, to present a face to the world.’ Cindy Sherman

Image: Courtesy of the artist and Metro Pictures, New York.

Property of an Important Private European Collection

142. Cindy Sherman

b. 1954

Untitled #275 signed, numbered and dated ʻCindy Sherman 5/6 1993ʼ on the backing board colour coupler print 160 x 223.5 cm (62 7/8 x 87 7/8 in.) Executed in 1993, this work is number 5 from an edition of 6. Estimate £80,000-120,000 $97,900-147,000 €88,700-133,000 plus Buyers Premium and VAT*

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

Exhibited London, Serpentine Gallery, Cindy Sherman, 3 June - 25 August 2003, pp. 78 and 95 (illustrated, p. 78) Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin Gropius-Bau, Cindy Sherman, 16 May 2006 - 10 September 2007, pp. 162 163, 258 and 318 (another example exhibited and illustrated, pp. 162 - 163 and 258) Munich, Museum Villa Stuck, Street Life and Home Stories: Fotografen aus der Sammlung Goetz, 1 June 11 September 2011 (another example exhibited) Silkeborg, Museum Jorn, Cindy Sherman, 23 September 10 December 2017, pp. n.p. and 136 (another example exhibited and illustrated) Literature Francesco Bonami, ed., Cindy Sherman, Milan, 2007, pp. 72-73 and 107 (another example illustrated, pp. 72-73) Cindy Sherman, exh. cat., Sammlung Goetz, Munich, 2015, pp. 2-3 and 157 (another example illustrated)

Property of an Important Collector

143. Cindy Sherman

b. 1954

Untitled Film Still #62 signed, numbered and dated ʻCindy Sherman 1977/2003 AP1/1ʼ on a gallery label afxed to the reverse gelatin silver print 76.2 x 101.6 cm (30 x 40 in.) Photographed in 1977 and printed in 2003, this work is artistʼs proof number 1 from an edition of 3 plus 1 artist's proof. Estimate £250,000-350,000 $306,000-428,000 €277,000-388,000 ‡ plus Buyers Premium and VAT*

Provenance Metro Pictures, New York Acquired from the above by the present owner Exhibited Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Cropius-Bau, Cindy Sherman, 16 May 2006 - 10 September 2007, n.p. (another example exhibited and illustrated) New York, Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Dallas Museum of Art, Cindy Sherman, 26 February 2012 - 9 June 2013, pp. 103 and 262 (another example exhibited and illustrated, p. 103) Bridgeport, The Housatonic Museum of Art, Rendezvous in Black, 10 November - 16 December 2016 (another example exhibited) Shanghai, Fosun Foundation, Cindy Sherman, 7 November 2018 13 January 2019 (another example exhibited) London, National Portrait Gallery; Vancouver Art Gallery, Cindy Sherman, 27 June 2019 - 8 March 2020, pp. 68 and 250 (another example exhibited and illustrated, p. 68) Literature David Frankel and Cindy Sherman, eds., The Complete Untitled Film Stills Cindy Sherman, New York, 2003, pp. 154 - 155 (another example illustrated, p. 155)

Image: Courtesy of the artist and Metro Pictures, New York.

Provenance Metro Pictures, New York Acquired from the above by the present owner Exhibited New York, Metro Pictures, Cindy Sherman, 5 - 26 October 1985 (another example exhibited) Munster, Westfalische Kunstverein, Cindy Sherman Photographie, 7 December 1985 - 26 January 1986, pp. n.p. and 39 (another example exhibited and illustrated, n.p.) New York, Whitney Museum of American Art, Cindy Sherman, 9 July - 4 October 1987, pp. 19 and 97 (another example exhibited and illustrated, p. 97) Kunsthalle Basel; Munich, Staatsgalerie Moderner Kunst; London, Whitechapel Art Gallery, Cindy Sherman, 28 March - 22 September 1991, pp. 44 and 70 (another example exhibited and illustrated, p. 44) Helsinki, The Museum of Contemporary Art, Louise Lawler, Cindy Sherman, Laurie Simmons: Re-turning the gaze, 26 March - 1 May 1993, pp. 37 and 72 (another example exhibited and illustrated, p. 37) Hamburg, Deichtorhallen; Malmo, Kunsthall; Luzern, Kunstmuseum, Cindy Sherman: Fotografska arbeten 1975-1995, 25 May 1995 - 11 February 1996, no. 87, n.p. (another example exhibited and illustrated, n.p.) Los Angeles, The Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfnum; London, Barbican Art Gallery; Bordeaux, CAPC Musée d'Art Contemporain; Toronto, Art Gallery of Ontario, Cindy Sherman: Retrospective, 2 November 1997 - 2 January 2000, no. 102, pp. 9, 136 and 198 (another example exhibited and illustrated, p. 136) Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Cropius-Bau, Cindy Sherman, 16 May 2006 10 September 2007, pp. 120, 124, 255 and 317 (another example exhibited and illustated, pp. 124 and 255) New York, Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Dallas Museum of Art, Cindy Sherman, 26 February 2012 - 9 June 2013, pp. 103, 169 and 262 (another example exhibited and illustrated, p. 169) New York, David Zwirner, No Problem: Cologne/ New York 1984-1989, 1 May - 14 June 2014, pp. 47 and 273 (another example exhibited and illustrated, p. 47) Silkeborg, Museum Jorn, Cindy Sherman, 23 September - 10 December 2017, p. 135 (another example exhibited and illustrated) New York, Metro Pictures, Life to come, 17 January 16 February 2019 (another example exhibited)

Property from an Important Private European Collection

144. Cindy Sherman

b. 1954

Untitled #155 signed, numbered and dated ʻCindy Sherman 2/6 1985ʼ on the backing board colour coupler print 184.2 x 125.1 cm (721/ 2 x 491/4 in.) Executed in 1985, this work is number 2 from an edition of 6. Estimate £60,000-80,000 $73,400-97,900 €66,500-88,700 plus Buyers Premium and VAT* Provenance

Literature Rosalind Krauss and Norman Bryson, Cindy Sherman 1975-1993, New York, 1993, pp. 136 and 229 (another example illustrated, p. 136) Andy Grundberg, Crisis of the Real: Writings on Photography, New York, 1999, n.p. and 291 (another exampled illustrated, n.p.) Catherine Morris, The Essential: Cindy Sherman, New York, 1999, p. 23 (another example illustrated) Eleanor Heartney, Helaine Posner, Nancy Princenthal and Sue Scott, Afer the Revolution: Women Who Transformed Contemporary Art, Munich, 2007, pp. 177-178 (another example illustrated, p. 178) Cindy Sherman - Untitled Horrors, exh. cat., Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zürich, 2013 - 2014, pp. 112 and 225 (another example illustrated, p. 112) Paul Moorhouse, Cindy Sherman, London, 2014, no. 66, p. 82 (another example illustrated)

Property from an Important Private European Collection

145. Cindy Sherman

b. 1954

Untitled #208 signed, numbered and dated ʻCindy Sherman 3/6 1990ʼ on the backing board chromogenic colour print, in artist’s frame 122 x 92 cm (48 x 361/4 in.) Executed in 1990, this work is number 3 from an edition of 6. Estimate £60,000-80,000 $73,400-97,900 €66,500-88,700 plus Buyers Premium and VAT*

Provenance Metro Pictures, New York Acquired from the above by the present owner Exhibited Silkeborg, Museum Jorn, Cindy Sherman, 23 September - 10 December 2017, pp. n.p. and 136 (another example exhibited and illustrated) Literature Arthur Danto, Cindy Sherman: History Portraits, New York, 1991, no. 21, pp. n.p. and 62 (another example illustrated, n.p.)

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146. Thomas Struth

b. 1954

Museo del Prado 5 signed, titled, numbered, inscribed and dated ʻMuseo del Prado 5 Madrid 2005 3/10 Thomas Struth Print: 2006ʼ on the reverse chromogenic print image 157.5 x 199.7 cm (62 x 785/8 in.) sheet 163.8 x 206 cm (641/ 2 x 811/8 in.) Conceived in 2005 and printed in 2006, this work is number 3 from an edition of 10. Estimate £100,000-150,000 $122,000-184,000 €111,000-166,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Marian Goodman Gallery, New York Acquired from the above by the present owner Exhibited Madrid, Museo del Prado, Thomas Struth: Making Time, 6 February - 25 March 2007, pp. 26 and 108 (another example exhibited and illustrated, p. 26) Milan, Galleria Monica de Cardenas, Thomas Struth, 10 May - 27 July 2007 (another example exhibited) Humlebæk, Louisiana Museum of Modern Art, Pink Caviar, 24 May - 19 August 2012 (another example exhibited) Durham, Nasher Museum of Art at Duke University, Light Sensitive: Photographic Works from North Carolina Collections, 14 February - 12 May 2013 (another example exhibited)

‘My intention had been to capture, by means of photography, the way people react on the paintings, their historical entrenchment in museums, and the reception of the work in the rather awe-inspiring atmosphere of institutionalised museums... [The] idea was born to show a journey through time by establishing a connection between the top of the paintings, the artist’s who had made their artistic statements in them, the visitors looking at them and me whose photographs are again exhibited in the galleries.’ Thomas Struth

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147. Matthew Barney

b. 1967

CREMASTER 1: The Goodyear Waltz signed and dated ʻMatthew Barney 1995ʼ on the reverse of the c-print 8 gelatin silver prints and 1 c-print, in artist's frames c-print 83.5 x 68.5 cm (327/8 x 267/8 in.) gelatin silver prints each 64 x 55 cm (251/4 x 215/8 in.) Executed in 1995, this work is number 1 from an edition of 3 plus 2 artist's proofs. Estimate £80,000-120,000 $97,900-147,000 €88,700-133,000 ‡

Provenance Gladstone Gallery, New York Acquired from the above by the present owner Exhibited Cologne, Museum Ludwig; Musée d'Art Moderne de la Ville de Paris; New York, Solomon R. Guggenheim Museum, Matthew Barney: The CREMASTER Cycle, 6 June 2002 4 June 2003, no. 132, pp. 132, 138, 460, 461 and 510 (another example exhibited and illustrated, pp. 132, 138, 460 and 461)

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CREMASTER 1: The Goodyear Waltz, 1995, presents nine striking prints produced to coincide with Matthew Barney’s extraordinary fve stage flm project, The Cremaster Series, which mythologises the sexual diferentiation of an embryo. Its characteristically eccentric symbology of sex, sports and food, are concepts engrained in Barney’s earliest actions. Taking as his subject the cremaster muscle—the part of the male body that controls the raising and lowering of the testicles, regulating temperature to ensure the sperm’s fertility—Barney discusses the notion of reproduction and its battle with biological fate and prenatal sexual diferentiation through one phantasmagorical image afer another. In the present example, Two Goodyear Blimps float above the blue Astroturf in the central image, replicating the Bronco Stadium, the site of the artist’s high-school football games,

reimagined by Barney to represent the total ascension of the cremaster muscle. Flanking this, images of glamorous air hostesses seemingly peer through the windows of the Blimps, engaging the viewer. Matthew Barney’s Cremaster Cycle challenges social boundaries, collapsing and reimagining sexual distinction through his amusing and otherworldly portrayal of mythological imagery. As stated by the artist, it is ‘desire in the guise of a digestive system’ (Matthew Barney, quoted in ‘Artist project: Matthew Barney’, Tate, London, 1 December 2002, online). ‘I want for the piece to have presence, and I want for that presence to provoke the audience’ (Matthew Barney, quoted in ‘Matthew Barney interview: ‘It’s what’s outside the frame that’s scary’, 13 July 2013, Telegraph, online).

148. Keith Haring

1958-1990

Untitled signed, signed with the artist's symbol and dated ʻK. Haring OCT. 8 ⊕ 1982ʼ on the reverse; further signed with the artist's symbol '⊕' lower lef; further dated ʻ1982ʼ lower right Day-glo paint and ink on found object with blue lamp 58.5 x 92.4 x 34 cm (23 x 36 3/8 x 13 3/8 in.) Executed in 1982, this work is accompanied by a letter of authenticity from The Estate of Keith Haring and is registered under the identifcation number 061208A15. Estimate £200,000-300,000 $245,000-367,000 €222,000-333,000 plus Buyers Premium and VAT*

Provenance Tony Shafrazi Gallery, New York Acquired from the above by the present owner in 1982 Exhibited New York, Tony Shafrazi Gallery, Keith Haring, 9 October - 13 November 1982

‘1982 to 1984 was the peak of rap music and break-dancing, breaking and spinning on the foor and doing these athletic, gymnastic dances on the foor. It included spray grafti because there was a grafti scene. Part of the hip-hop scene at the time was the visual equivalent, so you had the music—which was scratching and rapping—and the dance, from break-dancing to electric boogie…. Grafti was the visual tie-in. […] A lot of my inspiration was coming out of watching break-dancers, so my drawings started spinning on their heads and twisting and turning all around.’ Keith Haring

Executed in 1982, Untitled belongs to the crucial pivotal moment in Keith Haring’s highly prolific artistic career. Intensely colourful and immediately captivating, the work was exhibited in Haring’s now legendary debut solo show at Tony Shafrazi Gallery in New York, 1982, which also included drawings, painted tarpaulins, sculptures and site specifc work. Haring transformed Shafrazi’s space into a club-like environment inspired by the New York hip-hop scene which he admired. Kim Hastreiter, friend and co-founder of PAPER magazine, reminisced that the opening ‘drew close to a thousand people and spilled out onto the streets for hours… He spent the entire time doodling on people’s T-shirts, books, papers, anything that anyone put in front of him…Afer that day, the world changed for Keith’ (Kim Hastreiter, ‘Funny How Things Turn Out’, Gianni Mercurio and Julia Gruen, The Keith Haring Show, 2006, p. 105). Arriving in New York in 1978, Haring had thrown himself into the underground art scene and met his contemporaries Jean-Michel Basquiat, Kenny Scharf and Andy Warhol. Alongside his famous inner-

circle, Haring often frequented the legendary Club 57, an experimental night club where artists gathered, exhibited and collaborated. Placed in this important historical context, Untitled perfectly encapsulates Haring’s radical fusing of high and low art, transforming the city streets into galleries and galleries into night clubs. Inspired by the city’s street art and determined to make his work accessible to a wider audience, Haring drew over five thousand chalk drawings on blank advertising spaces in New York subway stations between 1980 - 1985. During these underground excursions Haring created his now instantly recognisable symbols and repeating motifs. Easily accessible, bold and graphic, Haring was influenced by graffiti ‘tags’ throughout the city, used to identify underground street artists. These fgures quickly became notorious and the signifcance of Haring’s work was recognised as early as 1981 owing to art critic Rene Ricard’s seminal article ‘The Radiant Child’, which identifed Haring and Basquiat as the defning artists for the

popular grafti style. Haring’s ‘barking dog’ and ‘radiant baby’ continued the legacy of Basquiat’s ‘crown’ grafti tag of the 1970s. Whilst Haring’s subway drawings were monochromatic, Untitled is a pure celebration of colour. Haring applied fuorescent Day-Glo paint directly onto a shelf-like found object supporting an electric blue tube light, creating a work that is both painterly and sculptural. Reducing his forms to the most basic components, evoking child-like drawings and archaic cave paintings, the rich and contrasting tones of neon green, red, orange and deep blue radiate from the wall upon which it is hung. Signifcantly, 1982 marked Haring’s frst major public mural on the corner of Houston Street and Bowery. Featuring his iconic ‘three eyed monster’ and dancing fgures in bold lines and vibrant colours, the mural was centrally located in the emerging downtown art scene on the direct walking route between SoHo and the Lower East Side. The popularity of this piece helped further Haring’s reputation as well as immortalizing the wall as a downtown landmark.

Combined with his hugely successful and highly acclaimed solo show, 1982 was a breakthrough moment for Haring. The obvious visual parallels between the more intimate Untitled and the vast public mural demonstrates Haring’s whole-hearted dedication to the graffiti-art aesthetic as a language that transcends and destroys the boundaries between the international art world and the street. Haring’s joyful yet subversive spirit has consistently drawn an international audience to his work. His frst major United Kingdom retrospective is currently on show at the Tate Liverpool, testifying to his importance in contemporary culture nearly 30 years afer his life was tragically cut short. Like his enduring appeal, the energetic force of the present work shines on, long afer it came of the decorated walls of Shafrazi’s gallery surrounded by blasting music. Untitled is not only a celebration of the artist’s radical visual language, but it is also a testament to Haring’s unique character which granted him a mythical status amongst the contemporary art scene of the 1980s and beyond.

149. Kenny Scharf

b. 1958

Blobzob signed, titled and dated ʻKenny Scharf ʻ00 Blobzobʼ on the reverse oil on canvas, in artist's frame 167.9 x 117.3 cm (661/8 x 461/8 in.) Executed in 2000. Estimate £60,000-80,000 $73,400-97,900 €66,500-88,700 ‡ plus Buyers Premium and VAT*

Provenance Patrick Painter Gallery, Santa Monica Acquired from the above by the present owner Exhibited Beverly Hills, Gagosian Gallery, KENNY SCHARF, 16 September - 21 October 2000

150. Andy Warhol

1928-1987

Campbell’s Chicken Noodle Soup Box indistinctly signed and inscribed ‘... Andy Warhol’ on the reverse acrylic and silkscreen ink on canvas 35.7 x 35.5 cm (14 x 13 7/8 in.) Executed in 1986. Estimate £120,000-180,000 $147,000-220,000 €133,000-200,000 †

Provenance Collection of Agusto Bugarin (gifed by the artist in 1987) Taglialatella Galleries, New York Private Collection, Vienna (acquired from the above in 2013) Exhibited Maine, Ogunquit Museum of American Art, Andy Warhol: American Idol, 14 July - 1 September 2013

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Literature Warhol: Campbell’s Soup Boxes, exh cat., Martin Lawrence Limited Editions, Los Angeles, 1986, no. 61, p. 31 (illustrated)

Andy Warhol’s Campbell’s Chicken Noodle Soup Box, 1986, a variation on one of the most iconic images of 20th century art, is re-imagined here in the penultimate year of the artist’s life. Widely recognised as the most infuential fgure of the Pop Art movement, Warhol radically subverted the violently gestural abstraction of the Post-War period with his elevation of commercial imagery to the realms of fne art. Coming from a Private Collection, the present work is ofered for the frst time at auction and forms part of a series of silkscreen paintings begun in 1985 utilising the same source image, but rendered in contrasting tonal variations. Signifying the most inconsequential reality and simultaneously withdrawing from and transcending the real, Campbell’s Chicken Noodle Soup Box is presented at the centre of the canvas, faithfully incorporating the distinctive red brand logo and yellow shade of the pictured noodles contrasted here with acidic pale green and dark blue. In the early 1960s, Warhol transitioned from a commercial fashion illustrator to a revered, hugely successful artist. The spark to this meteoric rise to fame can be pinpointed to Warhol’s frst west coast solo exhibition at the Ferus Gallery in 1962, where he exhibited Campbell’s Soup Cans: Warhol’s frst pictorial series, at a time when its logo was blazoned on every street corner and magazine in America. The work comprised of 32 individually painted canvases depicting difering varieties of canned soup is now housed in the collection of the Museum of Modern Art, New York. The idea is said to have been born through a dinner conversation with friend and gallerist Muriel Latow, who suggested ʻYou should paint something that everybody sees every day, that everybody recognizes... like a can of soupʼ (Muriel Latow, quoted in Gary Indiana, Andy Warhol and the Can That Sold

the World, New York, 2010, p. 82). Warhol allegedly proceeded to purchase every type of soup offered by the brand and meticulously recreated them. Initially strongly dividing his critics, Warhol’s exhibition is heralded as contributing to the birth of Pop Art in America. Arguably Warhol’s most recognisable subject, the Campbell’s brand is and one that the artist repeatedly returned to over the next two decades. In contrast to the earlier outrage caused by Warhol’s promotion of everyday household products to fne art objects, in 1985, Warhol was commissioned by Campbell’s to produce a series of paintings of their dry-mixed soups. Warhol’s methods of serial production and the naming of his studio ‘The Factory’ placed his artistic identity as frmly at odds with the historic and romantic notion of The Artist as a lonely creative individual defned by his or her rejection of socially established norms and conventions. Warhol’s serial technique is often hailed merely as triumphant reaction to mass-produced copy. However, the artist’s late works in particular demonstrate his visual variations as products of his individual strategy. Unlike commercial images, where image selection precedes its mass production, Warhol reproduces a series of unique variations on the same image, altering colours and also in his late works adding depth and additional outlines. The present Campbell’s Chicken Noodle Soup Box encompasses both the subject matter that launched Warhol’s career and also the stylistic elements central to his later creative oeuvre. Reflecting on his career, Warhol stated ʻI should have done the Campbell’s Soups and kept doing themʼ (Andy Warhol, quoted in Benjamin H. D. Buchloh, ‘Andy Warhol’s One-Dimensional Art: 1956–1966’, Hal Foster and Gordon Hughes, eds., October Files, London, 2001, p. 30).

151. Christo

b. 1935

The Gates (Project for Central Park, N. Y. C.) signed and dated ‘Christo 1997’ lower right; further signed and dated ‘© CHRiSTO 1997’ on the backing board enamel, photograph by Wolfgang Volz, map, wax crayon, graphite and tape on paper, mounted on panel 35.5 x 28 cm (13 7/8 x 11 in.) Executed in 1997, this work is registered in Christo’s archives. Estimate £20,000-30,000 $24,500-36,700 €22,200-33,300 ♠

152. Richard Pettibone

b. 1938

Time is not, Time is the Evil Beloved Ezra Pound, Canto LXXIV inscribed ‘TIME IS THE EVIL BELOVED’ centre; further signed, inscribed and dated ‘Time is not Time is the evil beloved Ezra Pound Canto LXXIV Richard Pettibone 1989’ on the stretcher oil and pencil on canvas, in artist’s frame 38.6 x 38.6 cm (15 1/4 x 15 1/4 in.) Executed in 1989.

plus Buyers Premium and VAT, ARR applies*

Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200

Provenance Guy Pieters Gallery, Knokke-Heist Acquired from the above by the present owner

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Provenance Curt Marcus Gallery, New York Private Collection, Belgium

Property from the Estate of Karel Geirlandt O♦

153. Joseph Kosuth

b. 1945

154. Marcel Broodthaers

1924-1976

Titled (Art as Idea as Idea)ʼ [ephemeral]- [Ety.], mounted photograph mounted photograph 122 x 122 cm (48 x 48 in.) certifcate 14.1 x 12.7 cm (51/ 2 x 5 in.) This work is accompanied by a certifcate of authenticity, signed by the artist and executed in 1967.

La pipe signed with the artistʼs initials, inscribed and numbered ʻex. n°4 4/7 M.B.ʼ on the reverse enamel on vacuum-formed plastic relief with metal eyelets 82.6 x 119.4 cm (321/ 2 x 47 in.) Executed in 1968, this work is number 4 from an edition of 7.

Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 ‡

Estimate £50,000-70,000 $61,200-85,700 €55,400-77,600 ♠

plus Buyers Premium and VAT*

plus Buyers Premium and VAT, ARR applies*

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

Provenance Private Collection, Belgium Thence by descent We are grateful for Marie-Puck Broodthaers’ assistance in preparing this catalogue entry. This work is property from the Estate of Karel Geirlandt (1915-1989) who was the director of Paleis voor Schone Kunsten in Brussels today BOZAR. In 1957 he was the founder of Vereniging voor Museum Hedendaagse Kunst in Ghent and therefore was the driving force behind this museum today, S.M.A.K. and the spiritual father of Jan Hoet.

Property from a Distinguished European Collection

155. Carl Andre

b. 1935

Cube on Block Belgian blue limestone smaller element 15 x 15 x 15 cm (5 7/8 x 5 7/8 x 5 7/8 in.) larger element 15 x 45 x 15 cm (5 7/8 x 17 3/4 x 5 7/8 in.) overall 30 x 45 x 15 cm (11 3/4 x 17 3/4 x 5 7/8 in.) Executed in 2001, this work is accompanied by a certifcate of authenticity. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400

156. Carl Andre

b. 1935

21 Algon aluminium, in 21 parts each 0.7 x 12.7 x 21.5 cm (1/4 x 5 x 8 1/ 2 in.) overall 0.7 x 63.9 x 88.9 cm (1/4 x 251/8 x 35 in.) Executed in 2000, this work is accompanied by a certifcate of authenticity. Estimate £60,000-80,000 $73,400-97,900 €66,500-88,700 plus Buyers Premium and VAT*

plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner Exhibited Belgium, Geukens & De Vil, Carl Andre, 2001

Provenance Rule Gallery, Denver (acquired directly from the artist) Greenberg Van Doren Gallery, New York Acquired from the above by the present owner Exhibited Denver, Rule Gallery, Floor and Walls, 21 July - 2 September 2000

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157. Ed Ruscha

b. 1937

Statistical Signifcance signed and dated ‘Ed Ruscha ‘81’ lower right pastel with footprints on paper 58.4 x 73.7 cm (22 7/8 x 29 in.) Executed in 1981. Estimate £150,000-200,000 $184,000-245,000 €166,000-222,000 ‡ plus Buyers Premium and VAT*

Often described as the Los Angeles artist, Ed Ruscha’s prolific artistic output has become synonymous with the city’s solitary gas stations, road-side diners and sprawling Hollywood boulevards. Far from the cinematic landscapes of California, Ruscha’s Statistical Signifcance, 1981, is a powerful demonstration of the artist’s pioneering and ambitious experimentations with organic materials. Encapsulating the defning characteristics of Ruscha’s drawings, the present example demonstrates his commitment to the physical process, sumptuous tones, visual seductiveness and complex texture. Freed from the constraints of oil painting, Ruscha began to experiment with various materials in 1965. In his 1969 portfolio Stains he rigorously explored the varying efects and qualities of materials, testing yellow pepper, egg yolk, sulphuric acid and gunpowder amongst others. The present work, executed over 10 years afer the Stains portfolio, demonstrates Ruscha’s commitment to the medium of drawing. Turning away from traditional conventions, however, in Statistical Signifcance, Ruscha has distanced his artistic hand by rubbing onto a raised surface. This technique draws from an art historical tradition, tracing back to the automatism of Surrealism and the Duchampian concept of ‘chance’. Though on frst appearance the sof marks of chalk may seem arbitrary, Ruscha intently and masterfully constructed the work to allow for the stencilled letters spelling Statistical Signifcance to foat and oscillate between the foreground and background. Rejecting the narrowly prescribed modes of the then dominant artistic traditions of Abstract Expressionism and Pop Art, Ruscha pioneered both his own visual vocabulary and innovative techniques to communicate this language. Whilst Ruscha’s techniques and materials vary across media, the medium of language has remained a continuous thread throughout his career. When interviewed in 1973, Ruscha

Provenance James Corcoran Gallery, Santa Monica 7-Eleven Collection, Dallas Sotheby’s, New York, 16 May 2001, lot 100 Private Collection Christie’s, New York, 11 November 2004, lot 187 Private Collection Sotheby’s, New York, 16 May 2007, lot 348 Acquired at the above sale by the present owner Literature Lisa Turvey, ed., Ed Ruscha Catalogue Raisonné of the Works on Paper Volume Two: 1977 - 1997, New York, 2008, p. 129 (illustrated)

stated ‘I love the language. Words have temperatures to me. When they reach a certain point and become hot words, then they appeal to me’ (Ed Ruscha, quoted in Howardena Pindell, ‘Words with Ruschaʼ, in The Print Collector’s Newsletter, vol. 3,no. 6, January - February 1973, p. 126). Sliding across the boundaries of Conceptual and Pop Art, Ruscha’s words signify his interest in vernacular culture and his continuous observation of the cultural landscape. In this way, Ruscha becomes a recorder of society’s ‘signs’, just as his photographic works recorded the physical Californian landscape. Ed Ruscha’s most iconic works are those in which imagery and semantic coexist to brilliantly engage with and probe the interplay between image, symbol and text as creators of meaning. Throughout his career Ruscha has masterfully selected poignant words, titles and sayings from popular culture to create often witty and ironic compositions. In the present work, Ruscha has swapped literary and cultural references for scientifc language. ‘Statistical signifcance’—the probability that a relationship between two variables is caused by a signifcant factor rather than chance, perhaps makes a conscious reference to the physical process of rubbing chalk, seemingly so haphazard yet in fact highly considered. The ambiguity created by the gap between text and image lies at the heart of Ruscha’s artistic practice. Of his indeterminate style, Ruscha said: ʻI like the idea that an artist should never be questioned about what he does, because he actually deserves this right of artistic license…I’ve always felt like the number one rule is that there are no rulesʼ (Ed Ruscha, quoted in Cotton Puffs, Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha, exh. cat., Museum of Contemporary Art, Los Angeles, 2005, p. 154). It is this playful and cryptic sentiment that continues to enrich the viewer’s experience of Ruscha’s works.

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158. John Baldessari

b. 1931

Prima Facie (Second State): Hopeless inkjet print on canvas and enamel paint on canvas, in artist's frames, in 2 parts each 120.7 x 97.8 cm (47 1/2 x 38 1/2 in.) overall 120.7 x 195.6 cm (47 1/2 x 77 in.) Executed in 2005. Estimate £120,000-180,000 $147,000-220,000 €133,000-200,000 ‡ plus Buyers Premium and VAT*

Executed in 2005, Prima Facie (Second State): Hopeless is a visually arresting result of John Baldessari’s exploration into the status of words in painting. Combining language and photographic imagery, Prima Facie (Second State): Hopeless depicts a portrait of a woman donning an expression of absolute loss and despair as she looks vacantly beyond the canvas edge. Paired to its right with bold typeface the word ʻHOPELESSʼ is emblazed in capitals amidst an empty expanse of white. Baldessari’s Prima Facie series highlights the artist’s infatuation with his investigation into language and expression that the artist conducted between 2005 and 2007. Baldessari asks ‘Can one match accurately a facial expression to a word?’… ‘Our judgement is “prima facie”, or at frst sight’, continued the artist (John Baldessari, quoted in Patrick Pardo and Robert Dean, John Baldessari Catalogue Raisonné Volume 5: 2005-2010, New Haven and London, 2018, p. 410). If the text of the artwork can seemingly explain the image, the dissonance between the two proves unsurmountable. Provoking a stark contrast with the apparent neutrality of the word painted in black enamel on a white canvas, the image conjures up personal emotions and interpretations from the viewer. Wittily, Baldessari questions how much language attempts to describe reality but also how emotional expressions attempt to convey a message within a certain social context. Even facial expressions, claiming universal intelligibility, are subject to cultural conventions and open the possibility of dissimulation or disguise, underlined by the cinematic feel of the artwork. In this compelling dual composition, Baldessari draws parallels between the construct of language and facial expression and the resulting emergence of meaning. This exploration belongs

Provenance Mai 36 Galerie, Zurich Acquired from the above by the present owner Exhibited Zurich, Mai 36 Galerie, John Baldessari: The Prima Facie Series, 11 June - 30 July 2005 Literature John Baldessari: The Prima Facie Series, exh. cat., Museum Dhondt-Dhaenens, Deurle, 2006, n.p. (illustrated) Patrick Pardo and Robert Dean, John Baldessari Catalogue Raisonné Volume 5: 2005-2010, New Haven and London, 2018, pp. 57, 410 and 530 (illustrated, p. 57)

to the ongoing preoccupation of the artist with the relationship between saying and showing, a topic that he analyses with sharp irony. Known for his key role in conceptual art and notably within the Picture Generation movement, Baldessari delivers a particularly efcient example of his artistry. In line with the appropriation tradition, a defining feature of the Pictures Generation, the woman depicted is reminiscent of 1950's Hollywood cinema. Paralleling Cindy Sherman’s Film Stills, Baldessari recontextualises cinematic angles and acting within an artwork, thus questioning the relationship between photography and fine arts and what is real or staged. For Baldessari, integrating photography in the broader context of art is a constant battle. He explains: ʻI was always interested in language. I thought, why not? If a painting, by the normal defnition of the term, is paint on canvas, why can’t it be painted words on canvas? And then I also had a parallel interest in photography. I would go to the library and read books on photography. I could never fgure out why photography and art had separate histories. So I decided to explore both.ʼ (John Baldessari, quoted in David Salle, Interview Magazine, 9 October 2013, online). Prima Facie (Second State): Hopeless skilfully marries the subtle irony of Baldessari’s work and his characteristic use of flm still-like pictures. It is a perfect balance between Baldessari’s will to be ‘abundantly simple and maddeningly complex’ (ibid), achieved through a dual composition of two elements echoing each other in a falsely obvious symmetry, exploring their own meaning in a semantic artful investigation. Prima Facie (Second State): Hopeless is a prime example of Baldessari’s bright manipulation of images and text, exuding a spirited humour while sublimating Hollywood’s golden age cinematic aesthetic.

Property from a Distinguished Los Angeles Collection O♦

159. Urs Fischer

b. 1973

Nail Solo galvanised cast bronze, cast bronze, washers, screws, wash primer, polyurethane fller, polyester fller, polyester putty, one-component fll primer, waterborne base coat and polyurethane matte clearcoat, in 2 parts 184 x 50 x 91 cm (72 1/2 x 19 5/8 x 35 7/8 in.) Executed in 2012, this work is artist’s proof number 1 from an edition of 3 plus 1 artist’s proof. Estimate £120,000-180,000 $147,000-220,000 €133,000-200,000 ‡ plus Buyers Premium and VAT*

Provenance Sadie Coles HQ, London Acquired from the above by the present owner Exhibited Paris, Gagosian Gallery, Urs Fischer: schmutz schmutz, 5 April - 26 May 2012 (another example exhibited) Literature Urs Fischer, exh. cat., The Museum of Contemporary Art, Los Angeles, 2013, pp. 400-401 (another example illustrated, p. 401)

‘I’ve made large-scale works since 1993. It has more to do with your mind and the radius of your action. Things that have to do with space have to do with space; things that have to do with what’s in front of you, which is the radius of your shoulder and arm when you sit, are small. Then you can stand up and do this kind of thing [reaches out] so there’s a more human-sized, direct thing. And that’s what art is. To dig any deeper as to why someone uses big or small things, it doesn’t matter, because ultimately everything can be equally efcient in your mind. The physical size of the work doesn’t make it big or small.’ Urs Fischer

160. Ilya Kabakov

b. 1933

Painting No. 11 (from the series Under the Snow) signed, titled, numbered and dated ‘I Kabakov „Under the Snow” [in Cyrillic] N 11 2005’ on the overlap oil on canvas, in artist's frame 163 x 252 cm (64 1/8 x 99 1/4 in.) Painted in 2005. Estimate £100,000-150,000 $122,000-184,000 €111,000-166,000 ‡ plus Buyers Premium and VAT*

Provenance Sprovieri Progetti, London (acquired directly from the artist) Acquired from the above by the present owner Exhibited Dortmund, Museum Ostwall; Tampere, Sara Hildén Art Museum; Malaga, Centro de Arte Contemporáneo; Salzburg, Museum der Moderne, Ilya & Emilia Kabakov: Under The Snow, 21 October 2007 - 15 February 2009, no. 11, pp. 33 and 90 (illustrated, p. 33) Museu d’Art Modern i Contemporani de Palma, Ilya & Emilia Kabakov: Under the Snow, 12 June 6 September 2009, no. 11, pp. 43 and 149 (illustrated, p. 43) London, Sprovieri Gallery, Ilya and Emilia Kabakov: Under The Snow, 17 November 2009 - 16 January 2010 Literature Renate Petzinger and Emilia Kabakov, eds., Ilya Kabakov, Paintings / Gemälde 1957-2008, Catalogue Raisonné, vol. II, Bielefeld, 2008, no. 511, p. 248 (illustrated)

‘Under the Snow’s concept is based on the idea of the depiction of a soft, bright, white medium, with fragments of real or not real, but in any case recognizable, reality breaking through it. The efect resembles what we see looking out of an airplane window when the earth is visible through the breaking cloud cover. But the very same earth directly underfoot can appear the exact same way, when it is visible between heaps of snow during a thaw.’ Ilya & Emilia Kabakov

161. Manolo Valdés

b. 1942

Menina olive wood 126.3 x 99 x 77.4 cm (49 3/4 x 38 7/8 x 30 1/2 in.) Executed in 1998. Estimate £180,000-250,000 $217,000-301,000 €198,000-275,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner Exhibited Museo de Bellas Artes de Murcia, DE PASO ... Manolo Valdés, 5 October - 20 November 2016

‘Velásquez as a point of reference has always been the testing ground for Valdés’ paraphrases. Each new research efort has been carried out on the fallow land of Velásquez’s fgures... Valdés falls back on Velásquez’s work time and again to move forward with his own imagery’ (Kosma de Barañano, exh. cat., Ministère de Culture, Las Tres Dimensiones en Valdés, Paris, 2005, p. 15).

EXTEND BACKGROUND

162. Takashi Murakami

b. 1962

Hollow signed, titled and dated ‘TAKASHI 2015 Hollow’ on the overlap acrylic on canvas 141 x 120 cm (551/ 2 x 471/4 in.) Painted in 2015. Estimate £100,000-150,000 $122,000-184,000 €111,000-166,000 ‡ plus Buyers Premium and VAT*

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

163. Zeng Fanzhi

b. 1964

Untitled (Bacon) signed ‘Zeng Fanzhi’ lower right oil on canvas 250.6 x 170 cm (98 5/8 x 66 7/8 in.) Painted in 2005. Estimate £400,000-600,000 $490,000-734,000 €444,000-665,000 ‡ plus Buyers Premium and VAT*

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

‘Zeng’s secret of striking an emotional cord with viewers lies in his ability to liberate us from the rigid framework of culture-specifc iconography. An icon, whether religious or secular, typically achieves its distinctive status by imbuing the content of the image with preconceived meaning of great cultural signifcance. For Zeng, however, there is no cultural boundary to his brilliant rework of many iconographies.’ Chiu-Ti Jansen, ʻUnmasking Icons: Zeng Fanzhi’s Retrospective in Parisʼ, Chinese Elements, 23 January 2014, online)

Untitled (Bacon), 2005, is an important and emotive example from Zeng Fanzhi ’s Portraiture series, created at a time when the artist was searching for a way to systematically ‘unmask’ his subjects and seek an increasingly direct expressionistic language. Having always been enthralled by the opportunities presented by portraiture, Zeng has continually reinvented and reinvigorated the subject throughout his career. Best-known for his Mask series, which focused on capturing the contradiction between the external pomposity and inner emptiness of the inhabitants of cosmopolitan Beijing, afer 2000, Zeng began to unmask his canvases’ protagonists. The artist’s penchant for transforming appearances evolved from a simple concealment of his subjects’ faces to a more complex, and intensely psychological warping, all the while remaining entirely faithful to his own artistic identity. These contortions pay homage to those of Francis Bacon’s own paintings, presenting a counter-point of intense and raw emotional vulnerability to the earlier works. In this way Untitled (Bacon) forms a perfect corollary and is a natural heir to the Masks. Zeng studied the Western art historical canon and the Occidental philosophical tradition alongside his explorations of the art of his native culture. Max Beckmann, Willem de Kooning, Lucian Freud and Francis Bacon – the latter forming the subject the present work –inspired Zeng to fnd an individual voice from within the rote pedagogy of Soviet Socialist Realism that then guided the curriculum. Taking Andy Warhol, Mao, Lucian Freud and Marilyn Monroe amongst others as his subjects, Zeng evolved an idiosyncratic style that sufuses a pantheon of references across both Eastern and Western traditions. Zeng crossed the Rubicon, daring to turn his back on Socialist Realism in a newly capitalist China. His aesthetic restlessness is the paradigmatic expression of the evolution of Chinese contemporary art post-1989. The vast scale of the canvas combined with the energetic brush marks is a ftting tribute to its subject matter, a titan of 20th century modernism. Bacon’s psychic portraits unquestionably altered the status of the human figure in the 1900s. Densely-knotted calligraphic tangles of paint construct Bacon’s physiognomy, simultaneously creating and distorting the subject’s facial features, which, coupled with the subject’s thoughtful facial expression, lends the fgure

a paradoxically introspective dynamism. Commenting on the two artists’ styles, Yuko Hasegawa writes, ‘in most of Bacon’s work, the faces covered with these obliterating brush strokes have wide-open, crying mouths. They represent a hysterical state of mind; a raw, almost tangible, fear. Zeng’s tarnished faces, conversely, represent the fgures’ quiet scepticism and awe’ (Yuko Hasegawa, ‘Painting as Speculative Realism’, Zeng Fanzhi: Paintings, Drawings, and Two Sculptures, exh. cat., Gagosian, New York, 2015, p.14). Zeng himself describes Bacon’s work as ‘hugely influential’ to him as a young artist alongside those of Bacon’s close friend, Freud (Phong Bui, ‘Interview with Zheng Fanzhi’, The Brooklyn Rail, 9 December 2015). Indeed, Zeng’s portrait of Bacon has much in common with Freud’s famous rendering of his friend. Untitled (Bacon) forms part of a series of portraits by the artist celebrating cultural icons including Freud, completing the network of homages to each other paid by the artists. Typical of Zeng’s post millennial works, the complex weave of brushstrokes in Untitled (Bacon) are created with intense physical involvement; using his entire body to stretch across the breadth of the canvas, Zeng uses his virtuosic ability to handle multiple paintbrushes at once, creating an impressive symbiosis of thick impasto and delicate, lacelike lines. Remarking on this process, Zeng has stated: ʻI have to paint very fast and almost without thinking. […] when your technique reaches a certain level, you’re freed from yourself. You’re already certain and accurate without knowing it. I don’t have to look with my eyes to get my soul, body, and the canvas to reach a state of unity. It’s the highest form of freedomʼ (Phong Bui, ‘Interview with Zheng Fanzhi’, The Brooklyn Rail, 9 December 2015). Zeng’s sophisticated underlying pictorial grammar recalls Jackson Pollock’s lauded drip paintings and the psychic automatism of the Surrealists. In venturing into abstraction, Zeng also reacquainted himself with traditional Chinese ink painting particularly from the Northern Wei to Song and Yuan dynasties from the 14th and 15th centuries, adding to the multifaceted wealth of Eastern and Western influences. It is an extension of the consistent challenge to the boundary between Eastern and Western artmaking that Zeng’s praxis epitomises; mingling the history of China with his own personal history, the artist efortlessly combines the macrocosmic view with his individual microcosmos.

Francis Bacon in his studio, London, 1966 Artwork ÂŠ The Estate of Francis Bacon Image: Photo ÂŠ Mario Dondero / Bridgeman Images

Property from an Important Private European Collection

164. Wei Jia

b. 1975

165. Yan Pei-Ming

b. 1960

David III signed with the artist's nickname and dated ʻWoKa 07ʼ lower lef acrylic on canvas 149.7 x 199.1 cm (58 7/8 x 78 3/8 in.) Painted in 2007.

Timonier 009 signed, titled and dated ‘“Timonier 009’ 98 Yan Pei-Ming Yan Pei-Ming [in Chinese and Pinyin]’ on the reverse oil on canvas 130 x 97 cm (51 1/8 x 38 1/4 in.) Painted in 1998.

Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600

Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 ‡ ♠

plus Buyers Premium and VAT*

plus Buyers Premium and VAT, ARR applies*

Provenance Gallery Beijing Space, Beijing Acquired from the above by the present owner

Provenance Galerie Liliane et Michel Durand-Dessert, Paris Private Collection, Paris Phillips, London, 15 October 2015, lot 197 Acquired at the above sale by the present owner

Exhibited Taipei, Michael Ku Gallery, Wei Jia: Illuminating the Endless Night, June 2008, n.p. (illustrated)

Property from an Important Private European Collection

166. Wei Dong

b. 1968

167. Ahmed Alsoudani

b. 1975

Hunting signed ‘DONG [in Chinese]’ lower lef acrylic on canvas 106 x 142 cm (41 3/4 x 55 7/8 in.) Painted in 2007.

Untitled signed and dated ‘Soudani 2010’ on the reverse acrylic and charcoal on canvas 249.3 x 164.5 cm (98 1/8 x 64 3/4 in.) Executed in 2010.

Estimate £80,000-120,000 $97,900-147,000 €88,700-133,000

Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 ‡

plus Buyers Premium and VAT*

Provenance Arndt & Partner, Zurich Acquired from the above by the present owner

Provenance Haunch of Venison, New York Private Collection Christie’s, London, 7 October 2016, lot 309 Acquired at the above sale by the present owner Exhibited London, Haunch of Venison, Ahmed Alsoudani, 14 October - 29 November 2011, no. 10, n.p. (illustrated)

168. Aboudia

b. 1983

Untitled signed with the artist’s tag and dated ‘10 02 2013’ lower edge acrylic, pastel and found paper collage on canvas 112.1 x 152.5 cm (44 1/8 x 60 in.) Executed in 2013. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 plus Buyers Premium and VAT*

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

169. Chéri Samba

b. 1956

Parlons Sida signed and dated ‘Chéri Samba AV. 2000’ lower right oil, charcoal, chalk and glitter on canvas 84.6 x 97.6 cm (33 1/4 x 38 3/8 in.) Executed in 2000. Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200 ‡ plus Buyers Premium and VAT*

Provenance Galerie Lucien Bilinelli, Brussels Galeria Corsoveneziaotto, Milan Acquired from the above by the present owner

170. Vasily Klyukin

b. 1976

Venetian Virgin (Gold) incised with the artist's initials, inscribed and dated ʻVK VVIRID-H100-2/6-2016’ to the base of one insert panel; further incised with the artist's initials, inscribed and dated ʻVK VVIRID-H100-2/6-2016’ to the top of one insert panel brass on silver and black metal base 116 x 47 x 47 cm (455/8 x 181/ 2 x 181/ 2 in.) Executed in 2016, this work is number 2 from an edition of 6.

Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 ‡ 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)

Property from a Distinguished Private Collection

171. Rodney Graham

b. 1949

Shoes for City Self / Country Self leather and metal handmade shoes in a steel and glass vitrine 187.2 x 48.1 x 33.6 cm (73 3/4 x 18 7/8 x 13 1/4 in.) Executed in 2008, this work is number 2 from an edition of 4 plus 1 artist's proof and is accompanied by a certifcate of authenticity signed by the artist. Estimate £15,000-25,000 $18,400-30,600 €16,600-27,700 ‡ plus Buyers Premium and VAT*

Provenance Studio Rodney Graham, Vancouver Acquired from the above by the present owner Exhibited Tel Aviv, The Genia Schreiber University Art Gallery, Potent Wilderness , 4 July – 14 November 2014, pp. 94-95 (illustrated, p.95)

Property from a Distinguished Private Collection

172. Olafur Eliasson

b. 1967

Parabolic thinking stainless steel, concave mirror and glass eye 33 x 33 x 15 cm (127/8 x 127/8 x 57/8 in.) Executed in 2010, this work is number 12 from an edition of 24 plus 2 artist's proofs and is accompanied by a certifcate of authenticity signed by the artist. Estimate £8,000-12,000 $9,800-14,700 €8,900-13,300 ‡ ♠

Exhibited Cambridge, Harvard University Graduate School of Design, Olafur Eliasson: Three to now, 21 March – 17 May 2011 (another example exhibited) Literature Olafur Eliasson and Anna Engberg-Pederson, Olafur Eliasson: Experience, London, 2018, pp. 42, 44 and n.p. (another example illustrated, p. 42)

plus Buyers Premium and VAT, ARR applies*

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

173. Maurizio Cattelan

b. 1960

173. Maurizio Cattelan

Untitled b. 1960 electric light, perspex, metal, transformer and wall bracket cross 60.3 Untitled x 60.3 x 17.6 cm (23 3/4 x 23 3/4 x 6 7/8 in.) overall 72.8electric x 60.3light, x 17.6perspex, cm (28 5/8metal, x 23 3/4transformer x 6 7/8 in.) and wall bracket Executed incross 1997,60.3 this xwork from 3. 60.3isxnumber 17.6 cm 3(23 3/4 xan 23edition 3/4 x 6 7/8ofin.) overall 72.8 x 60.3 x 17.6 cm (28 5/8 x 23 3/4 x 6 7/8 in.) Estimate Executed in 1997, this work is number 3 from an edition of 3. £40,000-60,000 $49,000-73,400 €44,400-66,500 ♠ plus Buyers Premium and VAT, ARR applies* Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 ♠ Provenanceplus Buyers Premium and VAT, ARR applies* Galleria Massimo de Carlo, Milan Acquired from the above by the present owner Provenance Massimo De Carlo, Milan Acquired from the above by the present owner

Exhibited New York, Solomon R. Guggenheim Museum, Maurizio Cattelan: All, 4 November 2011 - 22 January 2012, no. 47, pp. 207-208 and 247 (illustrated, p. 208) Literature Francesco Bonami, Nancy Spector and Barbara Vanderlinden, Maurizio Cattelan, London, 2000, pp. 113-114 and 160 (another example illustrated, p. 114)

Property from an Important Private European Collection

174. Cildo Meireles

b. 1948

175. Gavin Turk

b. 1967

Interções em Circuitos Ideolõgicos: Projeto Coca-Cola each printed with the artist’s initials, titled, inscribed and dated ‘INSERTIONS INTO IDEOLOGICAL CIRCUITS 1-Coca-Cola Project To register informations and critical opinions on bottles and return them to circulation [in English and Spanish] C.M. 5-70’ on labels afxed to the bottles transfer text on Coca-Cola glass bottle, in 3 parts each 25.1 x 6 x 6 cm (9 7/8 x 2 3/8 x 2 3/8 in.) Executed in 1970.

Brillo (5) signed, titled and dated ‘Gavin Turk 2003 Brillo (5)’ on the underside painted bronze 49.3 x 28 x 45.4 cm (19 3/8 x 11 x 17 7/8 in.) Executed in 2003, this work is unique from a series of 6 similar works.

Estimate £25,000-35,000 $30,600-42,800 €27,700-38,800

plus Buyers Premium and VAT, ARR applies*

plus Buyers Premium and VAT*

Provenance White Cube, London Private Collection Christie’s, New York, 23 September 2009, lot 16 Acquired at the above sale by the present owner

Provenance Gifed by the artist to the present owner Exhibited London, Tate Modern; Museu d'Art Contemporani de Barcelona; Houston, The Museum of Fine Arts; Los Angeles County Museum of Art; Art Gallery of Ontario, Cildo Meireles, 14 October 2008 - 27 June 2010, pp. 62-65 and 182 (another variant exhibited and illustrated, pp. 62-65)

Estimate £20,000-30,000 $24,500-36,700 €22,200-33,300 ♠

Property from a Distinguished European Collection

176. Tim Noble and Sue Webster b. 1966 and b.1967 Fucking Beautiful (snow white version) signed, titled and dated ‘Fucking Beautiful (snow white version) Sue Webster Tim Noble 2002 ©’ on the transformer neon and transformer 168 x 148 x 6.5 cm (66 1/8 x 58 1/4 x 2 1/2 in.) Executed in 2002, this work is from an edition of 5. Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Modern Art, London Acquired from the above by the present owner Exhibited Boston, Museum of Fine Arts, Tim Noble and Sue Webster, 21 April - 6 September 2004 (another example exhibited) Seoul, Kukje Gallery, The Joy of Sex: Tim Noble and Sue Webster, 7 October 6 November 2005 (another example exhibited) Literature Tim Noble, Sue Webster, Jefrey Deitch, Michael Bracewell and Nick Cave, eds. British Rubbish: Tim Noble & Sue Webster, New York, 2011, pp. 98-99 (other examples illustrated)

Property from an Important Private European Collection

177. Jake and Dinos Chapman b. 1966 and b. 1962 Rhizome glass-fbre, plastic and mixed media 38 x 98.8 x 98.7 cm (14 7/8 x 38 7/8 x 38 7/8 in.) Executed in 2000. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 ♠ plus Buyers Premium and VAT, ARR applies*

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

Exhibited London, White Cube, Out There, 15 April - 1 July 2000 Groninger Museum; Düsseldorf, Museum Kunstpalast, Enjoy More. Jake & Dinos Chapman, 12 October 2002 - August 2003, n.p. Tate Liverpool, Jake and Dinos Chapman: Bad Art for Bad People, 15 December 2006 – 4 March 2007, pp. 114 and 146 (illustrated, p. 114) Literature Jake Chapman, Dinos Chapman and FUEL, eds., Flogging a Dead Horse: The Life and Works of Jake & Dinos Chapman, New York, 2011, p. 80 (illustrated)

178. Gary Hume

b. 1962

Small Water Painting signed and dated ‘gary hume 01’ on the reverse household gloss on aluminium 188 x 157 cm (74 x 61 3/4 in.) Executed in 2001. Estimate £20,000-30,000 $24,500-36,700 €22,200-33,300 ♠ plus Buyers Premium and VAT, ARR applies*

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

179. Damien Hirst

b. 1965

Love Sick signed, titled and dated “Love Sick’ Damien Hirst 2008’ on the reverse butterfy and household gloss on canvas 61.2 x 45.9 cm (24 1/8 x 18 1/8 in.) Executed in 2008. Estimate £25,000-35,000 $30,600-42,800 €27,700-38,800 ♠ plus Buyers Premium and VAT, ARR applies*

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

180. Gilbert & George

b. 1943 and b. 1942

Britishers signed and dated '20 Gilbert + George 08' lower lef and titled 'BRITISHERS' lower right; further consecutively numbered '1-16' on the reverse of each print hand dyed gelatin silver print, in artist’s metal frames, in 16 parts overall 254.6 x 302.5 cm (1001/4 x 1191/8 in.) Executed in 2008.

Provenance Galerie Thaddaeus Ropac, Paris (acquired directly from the artist) Private Collection, Korea Exhibited Paris, Galerie Thaddaeus Ropac; London, White Cube, Gilbert & George: JACK FREAK PICTURES, 19 June - 22 August 2009

Estimate £50,000-70,000 $61,200-85,700 €55,400-77,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

O♦

181. Vik Muniz

b. 1961

Harmony in Red, afer Matisse (from Pictures of Pigment) signed and dated ʻVik Muniz 2005ʼ on a gallery label attached to the backing board chromogenic print 182.9 x 228.6 cm (72 x 90 in.) Executed in 2005, this work is number 1 from an edition of 6 plus artist’s proof plus 4 artistʼs proofs. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 ‡ plus Buyers Premium and VAT*

Provenance Sikkema Jenkins & Co., New York Acquired from the above by the present owner

Exhibited Moscow, Gary Tatintsian Gallery, Create Your Own Museum, 24 January - 1 March 2007 (another example exhibited) Chicago, Museum of Contemporary Art, MCA EXPOSED: Defning Moments in Photography, 1967-2007, 24 February - 29 July 2007 (another example exhibited) Moscow House of Photography, Vik Muniz, 1 November - 30 December 2007 (another example exhibited) Moscow, Gary Tatintsian Gallery, Vik Muniz: To Russia With Love, 1 November 2007 30 January 2008 pp. 108 and n.p. (another example exhibited and illustrated, p. 108) Moscow, Gary Tatintsian Gallery, Vik Muniz, 8 June - 10 October 2018 (another example exhibited) Literature Pedro Corrêa do Lago, ed., Vik Muniz: Obra Completa 1987 - 2009 Catálogo Raisonné, Rio de Janeiro, 2009, p. 586 (another example illustrated)

182. Christopher Williams

b. 1956

Universal Travel Adaptor, Scorpio Distributors Ltd., Unit DZ, West Sussex, Great Britain, Product number TXR770000, Power Rating: 6A Max 125/250Vac, With Built-In Surge Protector, With Safety Shutters, Surge Indicator Light 110Vac or 220Vac Light Indicator, Built-In 13A Fuse, Testing based on International Standard IEC 884-2-5 Witnessed by TUV, CE EMC Approval, Photography by the Douglas M. Parker Studio, Los Angeles, California, December 15, 2005. signed, numbered and dated ‘T. A. 05 8/10 C. Williams’ on the reverse gelatin silver print 40.5 x 50.5 cm (15 7/8 x 19 7/8 in.) Executed in 2005, this work is number 8 from an edition of 10 plus 4 artist’s proofs.

Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200 plus Buyers Premium and VAT*

Provenance David Zwirner Gallery, New York Acquired from the above by the present owner Exhibited New York, Whitney Museum of American Art, Whitney Biennial 2006: Day for Night, 2 March 28 May 2006, p. 384 (another example exhibited)

183. Rudolf Stingel

b. 1956

Untitled (Instructions) gelatin silver print 124.6 x 169.8 cm (49 x 66 7/8 in.) Executed in 1990, this work is unique. Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 ♠ plus Buyers Premium and VAT, ARR applies*

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

Rudolf Stingel, Instructions, 1989, silkscreen inks on sintra face mounted on plexiglas © Rudolf Stingel. Image: Courtesy the artist

Exhibited Rome, Gagosian, Prototypology: An Index of Process and Mutation, 14 January - 2 April 2016

184. Klara Lidén

b. 1979

Untitled (Dumpster 13) inkjet print 70.2 x 100.4 cm (27 5/8 x 39 1/2 in.) Executed in 2011, this work is artist’s proof number 1 from an edition of 3 plus 2 artist’s proofs. Estimate £5,000-7,000 $6,100-8,600 €5,500-7,800 ♠

185. Sigmar Polke

1941-2010

Ohne Titel signed, inscribed, and dated ‘Zum 2. 1.6.99 das ist der Dietmar Schneider natürlich „übernatürlich“ Sigmar Polkeʼ on the backing board of one part Xerox photocopy, in 48 parts, in artist's frames each 33.5 x 24.5 cm (13 1/4 x 9 5/8 in.) or 24.5 x 33.5 cm (9 5/8 x 13 1/4 in.) Executed in 1999, this work is unique.

plus Buyers Premium and VAT, ARR applies*

Provenance Galerie Neu, Berlin Acquired from the above by the present owner

Estimate £40,000-60,000 $49,000-73,400 €44,400-66,500 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Riva Di Morcote, Berlin Acquired from the above by the present owner We are most grateful to Mr. Michael Trier, Cologne, for his assistance with the cataloguing of this work.

186. Louise Lawler

b. 1947

Twice Untitled signed, numbered and dated ‘Louise Lawler 2004/05 8/10’ on the reverse black and white photograph image 13.7 x 12.7 cm (5 3/8 x 5 in.) sheet 25.3 x 20.4 cm (9 7/8 x 8 in.) Executed in 2004-2005, this work is number 8 from an edition of 10.

Provenance Metro Pictures, London Private Collection, London Literature Twice Untitled and Other Pictures (Looking Back), exh. cat., Wexner Center for the Arts, Columbus, 2006, front and back cover (illustrated)

Estimate £5,000-7,000 $6,100-8,600 €5,500-7,800 † plus Buyers Premium and VAT*

187. Roni Horn

b. 1955

From Some Thames signed 'Roni Horn' on a label afxed to the reverse of image #1; further titled and consecutively numbered ʻGROUP G 1-4ʼ on a label afxed to the reverse of each image photograph printed on paper with UV lacquer, in 4 parts each 65.1 x 96.5 cm (25 5/8 x 38 in.) Executed in 2000, this work is number 2 from an edition of 8. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 plus Buyers Premium and VAT*

Provenance Matthew Marks Gallery, New York Private Collection

Property from an Important Private European Collection

188. Laurie Simmons

b. 1949

Tourism Acropolis signed, numbered and dated ‘Laurie Simmons 1984 AP1/1’ on the reverse Cibachrome print 101.6 x 152.5 cm (40 x 60 in.) Executed in 1984, this work is artistʼs proof number 1 from an edition of 1 plus 2 artist's proofs. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 plus Buyers Premium and VAT*

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

Property from an Important Private European Collection

189. Laurie Simmons

b. 1949

Tourism Las Vegas signed, numbered and dated ‘Laurie Simmons 1984 AP 1/1’ on the reverse Cibachrome print 101.6 x 152.5 cm (40 x 60 in.) Executed in 1984, this work is artistʼs proof number 1 from an edition of 1 plus 2 artist's proofs. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 plus Buyers Premium and VAT*

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

Property from a Distinguished European Collection

190. Raymond Pettibon

b. 1957

191. Jean Dubufet

1901-1985

Untitled (Peeping Tom) signed and dated ‘Raymond Pettibon 92’ on the reverse ink and watercolour on paper 26 x 44 cm (10 1/4 x 17 3/8 in.) Executed in 1992.

Bédouin sur son chameau signed and dated ‘J. Dubufet 48’ lower right colour pencil on paper 34.5 x 25.5 cm (13 5/8 x 10 in.) Executed in January 1948.

Estimate £6,000-8,000 $7,300-9,800 €6,700-8,900

Estimate £12,000-18,000 $14,700-22,000 €13,300-20,000 ♠

plus Buyers Premium and VAT*

plus Buyers Premium and VAT, ARR applies*

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

Provenance Galleria La Medusa, Rome Private Collection, Switzerland Galerie Barès, Paris Acquired from the above by the present owner in 2005 Literature Max Loreau, Catalogue des Travaux de Jean Dubufet fascicule IV: Roses d’Allah, Clowns du Désert, Paris, 1967, no. 203, p. 107 (illustrated)

192. Raymond Pettibon

b. 1957

Untitled (Are they ready, yet, for an education in the classics?) titled and indistinctly inscribed ‘Are they ready, yet, for an education in the Classics? ready, yet, for an education in the Classics?’ lower edge; further signed and dated ‘Raymond Pettibon 2003’ on the reverse ink, watercolour and graphite on paper 45.5 x 54.5 cm (17 7/8 x 21 1/2 in.) Executed in 2003. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 ‡ plus Buyers Premium and VAT*

Provenance Regen Projects, Los Angeles Galleri MGM, Oslo Acquired from the above by the present owner

Property from a Distinguished European Collection

193. Robert Longo

b. 1953

Study of Una titled ‘STUDY of UNA’ lower lef; further signed and dated ‘Robert Longo. 07’ lower right ink and charcoal on vellum image 40 x 51 cm (15 3/4 x 20 1/8 in.) sheet 48.2 x 60.7 cm (18 7/8 x 23 7/8 in.) Executed in 2007. Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200 plus Buyers Premium and VAT*

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

Property from a Distinguished Private Collection

194. Jockum Nordström

b. 1963

195. Martin Kippenberger

1953-1997

Come On! signed and dated ‘JOCKUM 2007’ lower right of the right sheet watercolour and graphite on paper collage and watercolour on paper, diptych each sheet 63.5 x 92.4 cm (25 x 36 3/8 in.) overall 63.5 x 185 cm (25 x 72 7/8 in.) Executed in 2007.

Untitled signed and dated ‘Martin Kippenberger 93’ lower right paper collage and stickers on printed cardboard, in artist's frame 109.3 x 101.6 cm (43 x 40 in.) Executed in 1993.

Estimate £20,000-30,000 $24,500-36,700 €22,200-33,300 ♠

plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, Europe

Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200 ♠

Provenance David Zwirner, New York Acquired from the above by the present owner in 2007 Exhibited Villeneuve d’Ascq, Lille Métropole musée d’art moderne, d’art contemporain et d’art brut; London, Camden Arts Centre, Jockum Nordström: All I Have Learned and Forgotten Again, 16 February - 29 September 2013, pp. 36 - 37 and 200 (illustrated, pp. 36 - 37)

196. Alex Da Corte

b. 1980

August (Season in Hell) paper, sequin pins, silk fowers, bobby pin and photograph on velvet, in artist’s frame 163.3 x 142.9 cm (64 1/4 x 56 1/4 in.) Executed in 2015. Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200 ‡ plus Buyers Premium and VAT*

Provenance Gió Marconi, Milan Acquired from the above by the present owner Exhibited Milan, Gió Marconi, Alex Da Corte. Devil Town, 23 April - 23 May 2015

Property from a Distinguished European Collection

197. Sterling Ruby

b. 1972

BC (3740) signed with the artist’s initials, titled and dated ‘BC (3740) SR 12’ on the reverse fabric collage, paint, bleach and glue on fabric mounted on wood, in artist’s brass frame 90.3 x 70 cm (35 1/2 x 27 1/2 in.) Executed in 2012. Estimate £18,000-22,000 $22,000-26,900 €20,000-24,400 plus Buyers Premium and VAT*

Provenance Xavier Hufens, Brussels Acquired from the above by the present owner

Property from a Distinguished European Collection

198. Wade Guyton

b. 1972

Untitled inkjet print on plywood 244 x 122 cm (96 1/8 x 48 in.) Executed in 2008, this work is number 3 from an edition of 7. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 plus Buyers Premium and VAT*

Provenance Capitain Petzel, Berlin Acquired from the above by the present owner Exhibited Berlin, Capitain Petzel, Kunst im Heim, 31 October 17 December 2008 (another example exhibited)

199. Callum Innes

b. 1962

Exposed Painting Charcoal Grey/ Yellow Oxide signed and dated ‘C Innes 99’ on the overlap; further signed and dated ‘CALLUM INNES 99 C Innes. 99.’ on the stretcher oil on linen 177.8 x 172.8 cm (70 x 68 in.) Painted in 1999. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Frith Street Gallery, London Private Collection, London

200. Ned Vena

b. 1982

Untitled signed and dated ‘VENA 2010’ on the overlap Rustoleum fat white enamel on linen laid on panel 107.1 x 76.6 cm (42 1/8 x 30 1/8 in.) Executed in 2010. Estimate £3,000-5,000 $3,700-6,100 €3,300-5,500 plus Buyers Premium and VAT*

Provenance Michael Benevento, Los Angeles Private Collection, London Acquired from the above by the present owner

201. Jonathan Horowitz

b. 1966

Self-Portrait in “Mirror #1” (Bjorn) acrylic on canvas 152.4 x 121.9 cm (60 x 47 7/8 in.) Painted in 2012. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 ‡ plus Buyers Premium and VAT*

Provenance Xavier Hufens, Brussels Acquired from the above by the present owner Exhibited New York, Gavin Brown’s enterprise, JONATHAN HOROWITZ: Self-Portraits in “Mirror # 1”, 9 March - 21 April 2012, n.p. (illustrated) Literature Laura Owens, exh. cat., Whitney Museum of American Art, New York, 2017, p. 465 (illustrated)

Property from a Distinguished European Collection

202. Thomas Houseago

b. 1972

Oxford Mask incised with the artist’s signature, foundry mark and number ‘Houseago ART CASTING BELGIUM 8/21’ lower lef edge bronze 46.4 x 34.6 x 7 cm (18 1/4 x 13 5/8 x 2 3/4 in.) Executed in 2010, this work is number 8 from an edition of 21 plus 5 artist’s proofs. Estimate £18,000-25,000 $22,000-30,600 €20,000-27,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Michel Werner Gallery, New York Acquired from the above by the present owner Exhibited Modern Art Oxford; Oxford, Ashmolean Museum of Art and Archaeology, Thomas Houseago: What Went Down, 11 December 2010 - 20 February 2011, pp. 207 and 237 (another example exhibited and illustrated, p. 207)

203. Korakrit Arunanondchai

b. 1986

Untitled (Painting with History) burnt and bleached denim and c-print on canvas 218.3 x 163 cm (85 7/8 x 64 1/8 in.) Executed in 2013. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 ‡ plus Buyers Premium and VAT*

Provenance C L E A R I N G, Brooklyn Acquired from the above by the present owner Exhibited Brooklyn, C L E A R I N G, Korakrit Arunanonondchai: PAINTING WITH HISTORY IN A ROOM FILLED WITH MEN WITH FUNNY NAMES, 9 February - 5 April 2013

204. Petra Cortright

b. 1986

MonkIsland_rockAlibration@scheduleME.npp digital painting on raw belgian linen 120.8 x 236.1 cm (47 1/2 x 92 7/8 in.) Executed in 2016. Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200

205. Josh Smith

b. 1976

Untitled signed with the artist’s initials and numbered ‘JS 07502’ on the overlap oil on canvas 152 x 122 cm (59 7/8 x 48 in.) Painted in 2008.

plus Buyers Premium and VAT*

Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600

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

plus Buyers Premium and VAT*

Exhibited Berlin, Société, DIE ROSE, 29 April - 25 June 2016

Provenance Jonathan Viner Gallery, London Private Collection, Europe

206. Lucien Smith

b. 1989

Flood Painting signed and dated 'Lucien Smith 2018' on the overlap oil on canvas 182.9 x 152.4 cm (72 x 60 in.) Painted in 2018. Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200 ‡ plus Buyers Premium and VAT*

Provenance Acquired directly from the artist by the present owner

207. Charming Baker

b. 1964

All I Want Is The Courage To Hide Behind My Own Sense of Self stamped with the artist's signature, inscribed, numbered and dated 'CHARMING BAKER 2011 4/9 MELTDOWNS' on the underside patina and polished bronze 29 x 29.5 x 26 cm (113/8 x 115/8 x 101/4 in.) Executed in 2011, this work is number 4 from an edition of 9. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner Exhibited London, Mercer Street Studios, Charming Baker: Every Thing Must Go, 7 - 31 July 2011 (another example exhibited) London, Fortnum and Mason’s, Fortnum’s X Frank, 10 September - 20 October 2016, pp. 29 and 32-33 (another example exhibited and illustrated, pp. 32-33) New York, 11 Hanover Hotel, The Blond Bar (another example on permanent display)

208. Tony Lewis

b. 1986

Lieutenant titled ‘“LIEUTENANT”’ on the reverse graphite and graphite powder on 4 adjoined sheets of paper 213.4 x 182.7 cm (84 x 71 7/8 in.) Executed in 2015. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600

209. Thomas Houseago

b. 1972

Untitled signed and dated ‘THOUSEAGO2010’ lower right charcoal on Tuf-Cal and hemp with iron rebar 101.6 x 77.4 x 7.7 cm (40 x 30 1/2 x 3 in.) Executed in 2010. Estimate £20,000-30,000 $24,500-36,700 €22,200-33,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

plus Buyers Premium and VAT*

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

Provenance Xavier Hufens, Brussels Acquired from the above by the present owner

210. Christian Rosa

b. 1982

This could be it signed and dated ‘2013 Christian ROSA’ on the overlap enamel paint, corn oil, graphite, oil stick, charcoal and oil on canvas 177.8 x 198.2 cm (70 x 78 in.) Executed in 2013. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 ♠

Provenance Private Collection, California Paddle 8, 31 May 2017, lot 78 Acquired at the above sale by the present owner Exhibited Los Angeles, Ibid Gallery, Christian Rosa: the shits and the 7 dwarfs, 10 August - 7 September 2013

plus Buyers Premium and VAT, ARR applies*

211. Aaron Garber-Maikovska

b. 1978

Experimental 7 signed and dated ‘AARON GARBER-MAIKOVSKA Aaron Garber-Maikovska 2014’ on the reverse UV print, ink and acrylic on archival gator board, in artist’s frame 243 x 121.2 cm (95 5/8 x 47 3/4 in.) Executed in 2014. Estimate £20,000-30,000 $24,500-36,700 €22,200-33,300 ‡ plus Buyers Premium and VAT*

Provenance Carmichael Gallery, Los Angeles Acquired from the above by the present owner Exhibited Hong Kong, Simon Lee Gallery, 1,000 Islands, 13 November - 21 December 2015

Property from a Distinguished European Collection

212. Dan Colen

b. 1979

One Potato, Two Potato, Three Potato, 4 ... signed and dated ‘Dan Colen 09’ on the overlap chewing gum and coloured foil on canvas 76.1 x 55.9 cm (29 7/8 x 22 in.) Executed in 2009. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 plus Buyers Premium and VAT*

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

Property from a Distinguished European Collection

213. John Armleder

b. 1948

D Painting signed, titled and dated ‘John Armleder 2005 D Painting’ on the overlap acrylic, lacquer and glitter on canvas 101.9 x 101.9 cm (40 1/8 x 40 1/8 in.) Executed in 2005. Estimate £20,000-30,000 $24,500-36,700 €22,200-33,300 plus Buyers Premium and VAT*

Provenance World House Editions, New Jersey Simon Lee Gallery, London Acquired from the above by the present owner

Property from a Distinguished European Collection

214. Djordje Ozbolt

b. 1967

215. Raymond Pettibon

b. 1957

Talented Mr Francis signed and dated ‘Djordje Ozbolt 2008’ on the reverse acrylic on panel 49.2 x 39.5 cm (19 3/8 x 15 1/2 in.) Painted in 2008.

Untitled signed and dated ‘Raymond Pettibon 91’ on the reverse oil on board 61.6 x 61.2 cm (24 1/4 x 24 1/8 in.) Painted in 1991.

Estimate £8,000-12,000 $9,800-14,700 €8,900-13,300 ♠

Estimate £8,000-12,000 $9,800-14,700 €8,900-13,300

plus Buyers Premium and VAT, ARR applies*

plus Buyers Premium and VAT*

Provenance Herald St, London Acquired from the above by the present owner

Provenance Gallery Leo Koenig, New York Private Collection, Germany

Property from an Important Private European Collection

216. Richard Phillips

b. 1962

Artist oil on linen 259.3 x 220.6 cm (102 1/8 x 86 7/8 in.) Painted in 2001. Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200 plus Buyers Premium and VAT*

Provenance Friedrich Petzel Gallery, New York Private Collection, London Exhibited New York, Petzel, Richard Phillips: America, 8 September - 6 October 2001 Kunstverein in Hamburg, Richard Phillips, 21 September - 10 November 2002, pp. 36-37 and 108 (illustrated, p. 37) Literature Franck Gautherot, ed., Richard Phillips Paintings and Drawings, exh. cat., Le Consortium, Dijon, 2006, p. 74 (illustrated) Marcus Steinweg, Richard Phillips: Negation of the Universe, New York, 2014, pp. 118 – 119 and 282 (illustrated, pp. 118 – 119)

217. Friedrich Kunath

b. 1974

Checkout Time watercolour, lacquer and acrylic on canvas 265.5 x 195.5 cm (104 1/2 x 76 7/8 in.) Executed in 2010. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Blum & Poe Gallery, Los Angeles Mario Testino Collection (acquired from the above in 2010) Sotheby’s, London, 14 September 2017, lot 117 Acquired at the above sale by the present owner

218. Konstantino Dregos

b. 1977

219. Wang Yigang

b. 1961

Lapsus 38 signed, inscribed and dated ‘Dregos Berlin 2014’ on the reverse oil, acrylic, encaustic and charcoal on canvas 165 x 200 cm (64 7/8 x 78 3/4 in.) Executed in 2014.

N13 signed and dated ‘Wang Yigang [in Chinese] 2018’ lower right oil on canvas, in artist’s frame 170.6 x 100.8 cm (67 1/8 x 39 5/8 in.) Painted in 2018.

Estimate £8,000-12,000 $9,800-14,700 €8,900-13,300 ♠

Estimate £20,000-30,000 $24,500-36,700 €22,200-33,300

plus Buyers Premium and VAT, ARR applies*

plus Buyers Premium and VAT*

Provenance Vigo Gallery, London (acquired directly from the artist) Private Collection, London

Provenance Private Collection, Lodi

Exhibited London, Vigo Gallery, Konstantino Dregos: Lapsus, 19 November - 19 December 2014

220. Stanley Casselman

b. 1963

IR-39-5 signed, titled and dated ‘STANLEY CASSELMAN “IR-39-5” 2013’ on the reverse acrylic on canvas 165.5 x 165.5 cm (65 1/8 x 65 1/8 in.) Painted in 2013. Estimate £15,000-20,000 $18,400-24,500 €16,600-22,200 ‡ plus Buyers Premium and VAT*

Provenance Jim Kempner Fine Art, New York Acquired from the above by the present owner

221. Marcello Lo Giudice

b. 1957

Yellow/Sole signed, titled and dated ‘Yellow/SOLE Lo Giudice 2015’ on the reverse oil and pigment on canvas 130 x 130 cm (51 1/8 x 51 1/8 in.) Executed in 2015. Estimate £30,000-50,000 $36,700-61,200 €33,300-55,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner

222. Gerhard Richter

b. 1932

Waldhaus (House in the Woods) (P18) numbered ‘166/200’ on the reverse Giclée print on paper mounted on aluminium 142 x 98 cm (55 7/8 x 38 5/8 in.) Executed 2004-18, this facsimile object is number 166 from an edition of 200 plus 2 artist’s proofs, published by Heni Productions, London. Estimate £6,000-8,000 $7,300-9,800 €6,700-8,900 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, UK

223. Rachel Lee Hovnanian

b. 1959

Fake Flowers: Living Room photograph on archival paper 193 x 140 cm (75 7/8 x 55 1/8 in.) Photographed in 2012 and printed in 2019, this work is number 2 from an edition of 3 plus 2 artist's proofs. Estimate £6,000-8,000 $7,300-9,800 €6,700-8,900 plus Buyers Premium and VAT*

Provenance Private Collection, London Exhibited New York, Leila Heller Gallery, MUD PIE Rachel Lee Hovnanian, 3 May - 2 June 2012, n.p. (another variant illustrated) Seravezza, Palazzo Mediceo, Open Secrets, 20 July - 15 October 2019

224. Gerhard Richter

b. 1932

Blumenstauß (Bouquet) (P3) numbered ‘122/500’ on the reverse chromogenic print, fush-mounted to aluminium 60 x 88.5 cm (23 5/8 x 34 7/8 in.) Executed in 2014, this facsimile object is number 122 from an edition of 500, published by Heni Productions, London. Estimate £6,000-8,000 $7,300-9,800 €6,700-8,900 ♠ plus Buyers Premium and VAT, ARR applies*

225. Gerhard Richter

b. 1932

Haggadah (P2) numbered '122/500' on the reverse chromogenic print, fush-mounted to aluminium 100 x 100 cm (39 3/8 x 39 3/8 in.) Executed in 2014, this facsimile object is number 122 from an edition of 500, published by Heni Productions, London. Estimate £10,000-15,000 $12,200-18,400 €11,100-16,600 ♠ plus Buyers Premium and VAT*

Provenance Private Collection, UK

226. Gerhard Richter

b. 1932

Four works: (i) Flow (P4); (ii) Flow (P5); (iii) Flow (P6); (iv) Flow (P7) each numbered ‘122/500’ on the reverse chromogenic print, fush-mounted to aluminium each 145 x 145 cm (57 1/8 x 57 1/8 in.) Executed in 2014, each facsimile object is number 122 from an edition of 500, published by Heni Productions, London. Estimate £7,000-9,000 $8,600-11,000 €7,800-10,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private Collection, UK

227. The Connor Brothers

b. 1975 and b. 1978

I Drink to Make Other People More Interesting signed and dated ‘Connor Brothers 17’ lower right Giclée, screenprint, acrylic and oil on paper 170.2 x 99.6 cm (67 x 39 1/4 in.) Executed in 2017. Estimate £6,000-8,000 $7,300-9,800 €6,700-8,900 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner

228. 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 $1,200-1,800 €1,100-1,700 plus Buyers Premium and VAT*

Provenance Yorkshire Sculpture Park, Wakefeld Private Collection, London

SILO TO PAPER

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 3 October 2019, 2pm Viewing 26 September - 3 October 2019 Monday, 10am–6pm Tuesday, 10am-8pm Wednesday to Saturday 10am-6pm Sunday, 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010719 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 Louise Simpson +44 20 7901 7911 lsimpson@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

Client Accounting Richard Addington Head of Client Accounting +44 20 7901 7914 Jason King Client Accounting, Director +44 20 7318 4086 Buyer Accounts Heather Welham +44 20 7901 2982 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, Senior Graphic Designer Grace Neighbour, Graphic Designer

The 20th Century & Contemporary Art Day sale would like to thank: London Operations Team, Anthony Brennan, Nathan Bendavid, Maria Vittoria Raiola, Kate Finefrock, Olivia Taylor, Francesca Carnovelli, Rui Cravo, Kathy Lin, Guillaume Gautrand, Brittany Jones, Samara Kaplan, Mathilde Heaton, Caroline Porter, Rebecca Cockell, Rebecca Dabby, Marta Chadzynska, Agata Dusikova, Gabriella McIlgorm and Charles Ndiaye.

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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

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.

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.

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.

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.

Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue.

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

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. Ж Chinese origin Property

Lots with this symbol indicate that Phillips believes the Property was manufactured or created in mainland China. See paragraph 12 of the Conditions of Sale. 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

Royalty Rate 4% 3% 1%

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

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

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

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

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

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

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

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

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

UK Auctioneer’s Margin Scheme sale

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

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

Basis

Treatment

Standard UK VAT rules

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

Imported lot under Temporary Admission (Low rate)

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

Imported lot under Temporary Admission (High rate)

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

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

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

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

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

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

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

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

(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement 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. Details will be included in the buyer information packs sent to buyers after the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

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

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

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all salerelated expenses and any applicable taxes thereon.

10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale. 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. US Tarif on Chinese Origin Property Buyers intending to import property to the United States should note that with efect from 1 September 2019, property manufactured or created in mainland China, regardless of its age and regardless of the location of its export, may be charged a duty by US Customs upon its importation into the United States. Buyer’s should note

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

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

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

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

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

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

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

In-person Absentee Bidding Telephone Bidding

Paddle Number

As a private individual On behalf of a company

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

Sale Title

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable)

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

Address

City

State/Country

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

Post Code Phone

Mobile

Fax

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

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

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

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

Brief description

In Consecutive Order

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

VAT number (if applicable)

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

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

Title

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

Maximum pound sterling price* Absentee Bids Only

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

* Excluding Buyer’s Premium and VAT

Signature

Date

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

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

Andy Warhol’s Lenin

This selling exhibition brings together original works on canvas, collages and works on paper from the Archives of Galerie Klüser. Exhibition 26 September – 4 October 2019 30 Berkeley Square, London, W1J 6EX Monday to Saturday 10am–6pm Sunday 12pm–6pm Enquiries exhibitionsales@phillips.com +44 207 318 4010 Andy Warhol, Lenin, 1986/7

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Index Aboudia 168

Garber-Maikovska, A. 211

Mack, H. 132

Taylor, H. 104, 105

Alsoudani, A. 167

Gilbert & George 180

Martinez, E. 101

The Connor Brothers 227

Andre, C. 155, 156

Gormley, A. 117, 118

Meireles, C. 174

Turk, G. 175

Armleder, J. 213

Graham, R. 171

Melotti, F. 130

Arunanondchai, K. 203

Gursky, A. 141

Muniz, V. 181

Valdés, M. 161

Aubertin, B. 133

Guyton, W. 198

Murakami, T. 110, 162

Vance, L. 103

Murillo, O. 108

Vena, N. 200

Baker, C. 207

Halley, P. 112 , 114

Baldessari, J. 158

Haring, K. 148

Noble, T. & Webster, S. 176

Warhol, A. 150

Barney, M. 147

Hirst, D. 179

Nordström, J. 194

Wiley, K. 106

Boetti, A. 128

Horn, R. 187

Bowling, F. 123, 126

Horowitz, J. 201

Broodthaers, M. 154

Houseago, T. 202, 209

Brown, C. 121

Hume, G. 178

Williams, C. 182 Ozbolt, D. 214

Wurm, E. 116

Palermo 134

Yigang, W. 219

Pei-Ming, Y. 165 Casselman, S. 220

Innes, C. 199

Castellani, E. 131

Pettibon, R. 190, 192, 215 Pettibone, R. 152

Cattelan, M. 173

Jia, W. 164

Phillips, R. 216

Chapman, J. & D. 177

Jones, A. 124

Pistoletto, M. 129

Christo 151

Polke, S. 185

Colen, D. 212

Kabakov, I. 160

Condo, G. 107, 115

KAWS 111, 228

Richter, G. 139,222, 224, 225, 226

Cortright, P. 204

Kiefer, A. 138

Rondinone, U. 113

Curtiss, J. 102

Kippenberger, M. 195

Rosa, C. 210

Klyukin, V. 170

Ruby, S. 197

Da Corte, A. 196

Knoebel, I. 135

Ruscha, E. 157

Doig, P. 119, 120

Koether, J. 109

Dong, W. 166

Kosuth, J. 153

Samba, C. 169

Dregos, K. 218

Kunath, F. 217

Scharf, K. 149

Dubufet, J. 191

Schnabel, J. 137 Laing, G. 125

Schütte, T. 140

Lawler, L. 186

Scully, S. 122

Lee Hovnanian, R. 223

Sherman, C. 142,143,144,145

Fanzhi, Z. 163

Lewis, T. 208

Simmons, L. 188,189

Fischer, U. 159

Lidén, K. 184

Smith, J. 205

Fontana, L. 127

Lo Giudice, M. 221

Smith, L. 206

Förg, G. 136

Longo, R. 193

Stingel, R. 183

Eliasson, O. 172

Struth, T. 146

20th Century & Contemporary Art Day Sale New York, 13 November 2019 Public viewing 1–13 November at 450 Park Avenue or at phillips.com Enquiries John McCord jmccord@phillips.com Rebekah Bowling rbowling@phillips.com

Gerhard Richter Montag (detail) oil on paper 33 7/8 x 24 1/6 in. (86 x 61.4 cm) Executed in 1983. © Gerhard Richter, 2019 (09092019)

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146. Thomas Struth

139. Gerhard Richter

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