London, 8 December 2016
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3. Keith Haring
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22. Hermann Nitsch
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20th Century & Contemporary Art.
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4. Tom Wesselmann
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New Now London, 8 December 2016, 2pm Auction and Viewing Location 30 Berkeley Square, London W1J 6EX Auction 8 December 2016, 2pm Lots 1 – 244 Viewing 2 – 8 December 2016 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010816 or New Now.
Contemporary Art Department Head of Sale Simon Tovey +44 207 318 4084 stovey@phillips.com Cataloguer Alex Dolman +44 20 7901 7911 adolman@phillips.com Administrator Florencia Moscova +44 20 7318 4082 fmoscova@phillips.com
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1. KAWS
b. 1974
Four Foot Dissected Companion incised ‘Medicom Toy 2009 Made in China © KAWS 09’ on the underside painted cast vinyl 127 x 60.9 x 38.1 cm (50 x 23 7/8 x 15 in.) Executed in 2009. This work is from an edition of 100 and is accompanied by a certifcate of authenticity issued by Original Fake. Estimate £12,000-18,000 $14,900-22,400 €13,500-20,200 Provenance Medicom, Original Fake Acquired from the above by the present owner
Inspired by the Pop aesthetics of Claes Oldenburg and Tom Wesselmann and driven by his personal captivation with cartoon characters like Bugs Bunny, Mickey Mouse or the Michelin Man, KAWS, born Brian Donnelly, emerged from the 1990s New York street art scene where he began his career creating ‘forced collaborations’ by employing advertisement found in public places such as telephone booths. Upon his move to Tokyo, where he continued to broaden his lexicon as a grafti provocateur, KAWS also embraced the expanding universe of limited edition toys and appropriated these into his art, ultimately creating his own cast of characters and such works of art as Four Foot Dissected Companion. The character, Companion, based on the wellknown cartoon Mickey Mouse, can be seen in the right part of the body which features a grayscale clown-like fgure resembling the same skinnylegged appearance of the Walt Disney creation. Companion’s right half is further marked with the artist’s stylistic signature: exaggerated ears and the typical crossed-out eyes. Intriguingly the lef half of the fgure in the present lot has been dissected, as the title suggests, as if KAWS sought to examine every possible layer of this world-famous pop culture icon and reveal the bitter truth; childhood is over and that behind a cartoon there lurks a human being. Blending humour with more mature notions of life and death, Four Foot Dissected Companion is playful and contemplative at the same time, and reminds its viewers of the ephemerality of both the body and the nature of fun. With works like the present one KAWS joins a formidable list of artists including Takashi Murakami and Yoshitomo Nara who, in producing these “toys”, aim to blur the line between art and commerce.
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2. Jim Shaw
b. 1952
Untitled inscribed ‘J581049 Y’ on the reverse airbrush and pencil on paper 34.9 x 27.3 cm (13 3/4 x 10 3/4 in.) Executed in 1981. Estimate £15,000-20,000 $18,700-24,900 €16,900-22,500 ‡ Provenance Metro Pictures, New York Phillips, New York, 19 September 2013, lot 234 Acquired at the above sale by the present owner
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“..My misinterpretations would give a more mythic quality than the ‘intended’ meanings. Like misunderstood song lyrics, as a kid, my interpretations of them meant more to me than a normal reading.” - J. Shaw, “Here Comes Everybody: A Conversation Between Jim Shaw and Mike Kelley,” Jim Shaw: Everything Must Go, Luxembourg, 1999, n.p More radical than a standard caricature yet subtle in its rendering, Jim Shaw’s Untitled belongs to the artist’s admired series of Distorted Faces that encompasses large-scale oil paintings as well as works on paper, depicting wrenched and deformed celebrities, politicians, art world friends – such as Mike Kelley - and anonymous people. Paralleling the Beatnik author William Burroughs’ “cut-up technique” consisting in deconstruction and resemblance of texts, in 1978 Shaw began producing detailed portraits focused on the subjects face by twisting, altering and stretching individual components of it to the point that they become almost monstrous creatures, yet somehow preserve discernible traits of their original identities. Untitled also draws inspiration from the artist’s professional experience working on the special efects of horror flms and evokes the covers of magazines such as Famous Monsters of Filmland that the artist used to collect during his childhood. Combining this with a strong post-Pop ethos, Untitled refects Shaw’s crucial aim of undermining the American culture through misinterpreting its myths.
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3. Keith Haring
1958-1990
Untitled (Bill T. Jones) Signed, inscribed and dated ‘K. Haring Photo: Tseng Kwong Chi, Model: Bill T. Jones Keith Haring 1984 April 24’ on the reverse ink on photographic paper 50.5 x 40 cm (19 7/8 x 15 3/4 in.) Executed on a photograph by Tseng Kwong Chi in 1984. Estimate £30,000-50,000 $37,400-62,300 €33,700-56,200 ‡ Provenance Private Collection (acquired directly from the artist) Phillips, New York, 19 September 2013, lot 56 Acquired at the above sale by the present owner
The early ‘80s were highly prolifc years for Keith Haring as the artist teamed up with some of the leading fgures of the New York art and social scene. Amongst these, the award-winning choreographer and provocative dancer Bill T. Jones who rose to prominence when he founded the Bill T. Jones/Arnie Zane Dance Company with his long-term partner Arnie Zane. Keith and Bill crossed each other’s paths in London in 1983, at a time when the grafti artist was opening a major show at the Robert Fraser Gallery, and together they produced a series of exceptional collaborations in both performance and drawing. Explaining the artistic connection that Jones felt with Haring, he afrmed “Arnie Zane and I were also very interested in getting out of the avantgarde ghetto. Haring had found a way by going into another ghetto... I really loved the fact that he was a tag artist, and that he could go in and out of that milieu. And I saw at least a feeling, if not exactly a one-to-one corollary, between what Arnie and I were trying to do and our critique of high and low, and Keith’s modus operandi, which very much moved from the art gallery to the streets” (Alanna Martinez, Full Frontal Art: A Q&A With Choreographer Bill T. Jones About Working With Keith Haring, May 2009, BlouinArtInfo, online resource). For this series Haring borrowed Jones’ body - from head to toe - as the canvas to his work. At the end of a process lasting over fours hours the choreographer found himself all covered in white acrylic paint with the characteristic bold pictograms wich represent Haring’s own artistic signature. Next, Tseng Kwong Chi photographed Jones performing freely and spontaneously in the studio and the collaboration between the three artists resulted in the production of black and white photographs which are nothing less than pure artistic magic. Herein, to further imprint his own seal, Haring expanded the black grafti-like pattern to the white background so that Jones’ sinuous body becomes hardly discernible.
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4. Tom Wesselmann
1931-2004
From Smoker #7 signed and annotated ‘For Wendy and Carrol Tom Wesselmann’ lower edge pencil, Liquitex on 100% rag paper 76.8 x 30.8 cm (30 1/4 x 12 1/8 in.) Executed in 1976. Estimate £60,000-80,000 $74,700-99,600 €67,400-89,900 ‡ Provenance Gif from the artist to Carroll Janis and Wendy Worth, New York Private Collection Phillips, New York, 15 May 2015, lot 194 Acquired at the above sale by the present owner Exhibited New York, David Janis Gallery, Tom Wesselmann: Paintings, Steel Drawings, Works on Paper and Maquettes, 27 February - 24 April, 2010
From Smoker#7, from 1976, is not only a depiction of velvety red lips exhaling smoke. It is also a demonstration of Tom Wesselmann’s striking virtuosity in manipulating basic and familiar images into abstract and unsettling ones. In the Smokers series, developed from the late ‘60s as an outgrowth of the Nudes and continued through to the early 70’s, Wesselmann shifs his focus on to one specifc part of the woman’s body, thus emphasizing the element of fetichism present in his oeuvre since the earlier works. The image the viewer is confronted with is one of an undeniable intimate sensuality. The forms are so clear, bold in their contrasting colours and so vividly realistic that it looks like the ashy end of the dangling cigarette could drop, at any moment. Nevertheless through representing a disembodied mouth, Wesselmann objectifes the woman and abstracts the image of her to a completely anonymous and remote one; ofering us yet another symbol for the modern consumeristic age. Peculiarly enough, despite this intention of escaping the reality and realism, in drawing and tackling the smokers Wesselmann took his cue from photography, in particular from photographs of his friend Daniele smoking. As a former cartoonist for men’s magazines, Tom Wesselmann’s main interest thoughout his career was not to draw attention to the subject but, ‘to make fgurative art as exciting as abstract art’. Wesselmann reintroduces the nude in art. Yet he overloads it with a blatant eroticism whereby the artist reduces the female sitter to her elementary components and hence is able to concentrate on the formal inner qualities of the image. As the present lot brilliantly attests, Wesselmann’s ideal female form is a post-Abstract Expressionist’s one combined with the visual power of Pop constantly accompanied by an ironic guiding thread.
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5. Gerhard Richter
b. 1932
Grün Blau Rot 789-5 oil on canvas 30 x 40 cm (11 3/4 x 15 3/4 in.) Painted in 1993. Estimate £150,000 - 200,000 $188,000 - 251,000 €167,000 - 222,000 ‡ ♠ Provenance Parkett Verlag, Zurich Private Collection Phillips, New York, 16 November 2012, lot 180 Acquired at the above sale by the present owner Literature Parkett, no. 35, 1993, p. 97 (illustrated) B. Buchloh ed., Gerhard Richter: Werkübersicht/ Catalogue Raisonné 1962-1993, vol. III, Ostfldern, 1993, no. 789/1-115 (two other examples illustrated) H. Butin, ed., Gerhard Richter. Editionen 1965-1993 Catalogue Raisonné, Bremen, 1993, cat. No. 69, p. 166-167 (another example illustrated) H. Butin and S. Gronert, eds., Gerhard Richter. Editionen 1965-2004. Catalogue Raisonné, Ostfldern, cat. no. 81, p. 81 (another example illustrated)
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“...All that I am trying to do in each picture is to bring together the most disparate and mutually contradictory elements, alive and viable, in the greatest possible freedom” (G. Richter and B. Buchloh, Gerhard Richter: Painting, London, 1988 p. 33). Grün Blau Rot 789-5 forms part of Gerhard Richter’s theoretical inquiry into the possibilities of painting and the compositional challenges of abstraction. Executed in 1993 in collaboration with Parkett Magazine, the present lot belongs to a series of 115 works, each uniquely painted in a similar format. Adopting the use of oil-based pigments and the artist’s iconic squeegee technique, the regimented process employed by Richter throughout his Abstraktes Bild series, is the aesthesis to the textural and arbitrary paint deposit. Exploring the instantaneous moment of creation, Richter’s device is purposely uncontrollable via the hand of the artist and purely facilitates the application of paint, rather than the fnal composition. The resulting bands and smears of vibrant reds rupture as they sprawl across the canvas and gradually merge into the deep blue striations to right of the work. This pull of red and blue paint across the canvas both conceals and unveils the acidic green under-paint freely and sporadically emerging throughout the surface plain. Embodying this iconic motive in Richter’s oeuvre, the present lot refects on the artist’s “reality, problems, difculties and contradictions” in approaching the tradition of painting.
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6. Max Ruf
b. 1982
7. David Ostrowski
b. 1981
Arrowsmith 4 oil on canvas 151 x 257 cm (59 1/2 x 101 1/8 in.) Executed in 2014.
F (A Thing Is A Thing A Whole Which It’s Not) acrylic, lacquer and paper on canvas 220.4 x 160.2 cm (86 3/4 x 63 1/8 in.) Executed in 2012.
Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠
Estimate £30,000-50,000 $37,400-62,300 €33,700-56,200 ♠
Provenance Carl Kostyal, Stockholm Acquired from the above by the present owner
Provenance Peres Projects, Los Angeles Acquired from the above by the present owner
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8. Ethan Cook
b. 1983
Untitled hand woven cotton canvas and canvas, in artist’s frame 205 x 153.5 cm (80 3/4 x 60 3/8 in.) Executed in 2013. Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 Provenance Private Collection
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9. Sergej Jensen
b. 1973
Untitled sewn jute, in artist’s frame 128 x 114 cm (50 3/8 x 44 7/8 in.) Executed in 2005.
Literature Helmut Draxler et al., Sergei Jensen, Berlin, 2011, p. 112 (illustrated)
Estimate £25,000-35,000 $31,100-43,600 €28,100-39,300 ♠ Provenance Private Collection
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10. Federico Herrero
b. 1978
11. Federico Herrero
b. 1978
Vaca signed with the artist’s initials, dated and titled ‘CH 2008 “vaca”’ on the reverse oil on canvas 200 x 400 cm (78 3/4 x 157 1/2 in.) Executed in 2008.
Untitled signed with the artist’s initials and dated ‘H 2016’ on the reverse oil on canvas 45 x 57 cm (17 3/4 x 22 1/2 in.) Executed in 2016.
Estimate £25,000-30,000 $31,100-37,400 €28,100-33,700 ‡
Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ‡
Provenance Private Collection, Tokyo
Provenance Sies + Höke, Düsseldorf Acquired from the above by the present owner
Exhibited Freiburg, Kunstverein Freiburg, Federico Herrero, 12 September - 9 November 2008. exh. cat., p. 62-63
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12. Angel Otero
b. 1981
13. David Ostrowski
b. 1981
Slain titled, inscribed, signed and dated ‘“Slain” SK-HB (Poussin Series) Angel Otero 2012’ on the reverse oil and paint skin collage on canvas 104.1 x 83.8 cm (40 7/8 x 32 7/8 in.) Executed in 2012.
Untitled signed and dated ‘David Ostrowski 09’ on the overlap acrylic and spray paint on canvas, in artist’s frame 61 x 51 cm (24 x 20 1/8 in.) Painted in 2009.
Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900
Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠
Provenance Lehmann Maupin, New York Acquired from the above by the present owner
Provenance BolteLang, Zurich Acquired from the above by the present owner Exhibited Zurich, BolteLang, David Ostrowski, 25 February - 31 March 2012
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14. Charlie Billingham
b. 1984
15. Kenny Scharf
b. 1958
P.P. signed, titled and dated ‘Charlie Billingham “P.P.” 2012’ on the overlap oil and acrylic on conservation polyester 100.4 x 85.5 cm (39 1/2 x 33 5/8 in.) Executed in 2012.
Comic dedicated, dated and signed ‘To HANS 83 Kenny Scharf’ on the reverse spray paint on canvas 90.2 x 59.7 cm (35 1/2 x 23 1/2 in.) Executed in 1983.
Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ♠ †
Estimate £20,000-30,000 $24,900-37,400 €22,500-33,700 ‡
Provenance Acquired directly from the artist in 2012 Exhibited London, Saatchi Gallery, New Order: British Art Today, 26 April 2013 - 16 January 2014
Provenance Acquired directly from the artist Private Collection Christie’s, London, 6 April 2006, lot 383 Private Collection Phillips, New York, 19 September 2013, lot 60 Acquired at the above sale by the present owner Exhibited Amsterdam, American Grafti Gallery, Kenny Scharf, October 1983
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16. Landon Metz
b. 1985
17. Azadeh Razaghdoost
b. 1979
Untitled (Still) signed and dated ‘Landon Metz “Untitled (Still)”’ on the reverse dye on canvas 95 x 77 cm (37 3/8 x 30 3/8 in.) Executed in 2012.
Dear Teo (from ‘Letters’ series) titled and dated ‘“Dear Teo” / From ‘Letters’ series / 2010’ on the overlap oil and pencil on canvas 180.5 x 130.4 cm (71 1/8 x 51 3/8 in.) Executed in 2010.
Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400
Estimate £8,000-12,000 $10,000-14,900 €9,000-13,500 †
Provenance TORRI, Paris Acquired from the above by the present owner
Provenance Acquired directly from the artist by the present owner
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18. Guy Yanai
b. 1977
House Without Room (Maine) signed, titled and dated ‘Guy Yanai “House Without Room (Maine)” 2015’ on the reverse oil on linen 64 x 70 cm (25 1/4 x 27 1/2 in.) Painted in 2015. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 Provenance TORRI, Paris Private Collection
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19. Piotr Makowski
b. 1985
Compozycja (S 07) ink on canvas 150 x 150 cm (59 x 59 in.) Executed in 2013. Estimate £4,000-5,000 $5,000-6,200 €4,500-5,600 ♠ Provenance Galerie Antoine Levi, Paris Acquired from the above by the present owner
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(i)
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(ii)
20. Josh Smith
b. 1976
Two Works: (i) Untitled (ii) (i) signed and dated ‘JOSH SMITH 2006’ on the reverse; numbered ‘JS06201’ on the stretcher (ii) signed and dated ‘JOSH SMITH 2006’ twice on the reverse; numbered ‘JS06204’ on the stretcher oil on canvas each 61 x 45.6 cm (24 x 17 7/8 in.) Painted in 2006.
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Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 Provenance Luhring Augustine, New York Galerie Elisabeth & Klaus Thoman, Vienna Acquired from the above by the present owner
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21. Jonathan Meese
b. 1970
Pony, Blankfsch, und Tschüss titled, signed and dated ‘“PONY, BLANKFISCH und TSCHÜSS” JMeese 07’ on the reverse of each canvas oil and mixed media on canvas, triptych each 209.5 x 139.7 cm (82 1/2 x 54 7/8 in.) overall 209.5 x 419.1 cm (82 1/2 x 165 in.) Executed in 2007.
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Estimate £20,000-30,000 $24,900-37,400 €22,500-33,700 ‡ ♠ Provenance Contemporary Fine Arts, Berlin Gary Tatinsian Gallery, Moscow Acquired from the above by the present owner
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22. Hermann Nitsch
b. 1938
Untitled signed and dated ‘Hermann Nitsch 2007’ on the reverse of each canvas oil on canvas, diptych each 299.7 x 198.4 cm. (118 x 78 1/8 in.) overall 299.7 x 396.8 cm (117 7/8 x 156 1/4 in.) Executed in 2007. Estimate £30,000-50,000 $37,400-62,300 €33,700-56,200 ‡ ♠ Provenance Mike Weiss Gallery, New York Acquired from the above by the present owner Exhibited Jersey City, MANA Contemporary Art Center, 2013 - 2014
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23. Sergej Jensen
b. 1973
End of Society stickers on polyester 210.2 x 129.5 cm (82 3/4 x 50 7/8 in.) Executed in 2008. Estimate £15,000-20,000 $18,700-24,900 €16,900-22,500 ‡ ♠ Provenance Regen Projects, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Regen Projects, Sergej Jensen, 29 June - 3 August 2013
24. Hugh Scott-Douglas
b. 1988
Chopped Bill signed and dated ‘Hugh Scott-Douglas 2013’ on the stretcher dye sublimation on linen 203.3 x 101.6 cm (80 x 40 in.) Executed in 2013. Estimate £15,000-20,000 $18,700-24,900 €16,900-22,500 Provenance Jessica Silverman Gallery, San Francisco Acquired from the above by the present owner
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25. Rirkrit Tiravanija
b. 1961
26. Mariah Robertson
b. 1975
Ava signed, titled, dated and numbered ‘Rirkrit Tiravanija “AVA” 2000 8/20’ on the reverse screenprint on canvas 107.5 x 154.5 cm (42 3/8 x 60 7/8 in.) Executed 2000. This work is number 8 from an edition of 20.
Untitled chemically treated RA-4 paper, in artist’s frame 181 x 90 cm (71 1/4 x 35 3/8 in.) Executed in 2013.
Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900
Provenance American Contemporary, New York Acquired from the above by the present owner
Provenance Koch und Kesslau, Berlin Acquired from the above by the present owner
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Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000
Exhibited New York, American Contemporary, Mariah Robertson, Permanent Puberty, 31 October - 20 December 2013
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(iii)
(i)
(ii)
(iv)
(v)
(vi)
(vii)
(viii)
(ix)
(xi)
(xii)
(x)
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27. Sarah Lucas
b. 1962
Self Portraits 1990-1998 (complete portfolio of 12 works) iris print, in 12 parts (i), (iii) 58.3 x 78.1 cm (22 7/8 x 30 3/4 in.) (ii), (iv)-(xii) 78.1 x 58.3 cm (30 3/4 x 22 7/8 in.) Executed in 1999. This work is from an edition of 150. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 ‡ ♠ Provenance Sadie Coles, London Acquired from the above by the present owner
28. Anne Collier
b. 1970
Zoom 1978 signed ‘Anne Collier’ on a studio label afxed to the reverse; numbered ‘ed. #2/5’ on the reverse of the backing board c-print sheet 103.3 x 126.3 cm (40 5/8 x 49 3/4 in.) image 94.5 x 117.5 cm (37 1/4 x 46 1/4 in.) Executed in 2009. This work is number 2 from an edition of 5. Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 Provenance Anton Kern, New York Acquired from the above by the present owner in 2010 Exhibited Nottingham, Nottingham Contemporary, Anne Collier, 22 January - 27 March 2011
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29. David Shrigley
b. 1968
Untitled (Group of 20 photographs) ink on photograph, in artist’s frames each 48 x 38 cm (18 7/8 x 14 7/8 in.) Executed in 2005. Estimate £25,000-35,000 $31,100-43,600 €28,100-39,300 ‡ ♠ Provenance Anton Kern Gallery, New York Acquired from the above by the present owner Exhibited New York, Anton Kern Gallery, David Shrigley, 3 March - 2 April 2005
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30. Dash Snow
1981-2009
Untitled (Car Crash) signed ‘Dash Snow’ on the reverse of the backing board newspaper collage, typewriter ink, Tipp-ex and tape on paper, in artist’s frame 43.5 x 109.5 cm (17 1/8 x 43 1/8 in.) Executed in 2006-2007. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 Provenance Contemporary Fine Arts, Berlin Acquired from the above by the present owner
31. Klara Lidén
b. 1979
Untitled numbered and signed ‘6/24 KLARA LIDEN’ on the reverse collaged paper, adhesive and CD 23 x 22.8 x 6 cm (9 x 8 7/8 x 2 3/8 in.) Executed in 2009. This work is number 6 from an edition of 24. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Monopol Magazin für Kunst und Leben, Berlin Acquired from the above by the present owner
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32. Torey Thornton
b. 1990
Heal Billy ink, acrylic and hair on paper 27.5 x 21 cm (10 7/8 x 8 1/4 in.) Executed in 2014. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 Provenance TORRI, Paris Private Collection
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33. Jean-Baptiste Bernadet
b. 1978
34. Torey Thornton
b. 1990
Untitled (Grey Matter) oil on palette paper, in artist’s frame 41.5 x 31.5 cm (16 3/8 x 12 3/8 in.) Executed in 2013.
There is A Rug On Top Of The Chopper, Pull Over acrylic, ink, pen, charcoal, and collage on paper 53 x 55 cm (20 7/8 x 21 5/8 in.) Executed in 2014.
Estimate £1,000-2,000 $1,200-2,500 €1,100-2,200 ♠
Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700
Provenance TORRI, Paris Acquired from the above by the present owner
Provenance TORRI, Paris Private Collection
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35. Louis Eisner
b. 1988
Knucklehead 4726152 XXXXXXX XXXXXXX ink and chalk on panel in artist’s frame 184.2 x 123.2 in. (467.9 x 312.9 cm) Executed in 2013. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ‡ Provenance Private Collection
36. Kristin Baker
b. 1975
Untitled mixed media 30 x 70 cm (11 3/4 x 27 1/2 in.) Executed in 2003. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ‡ Provenance Private Collection
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37. Ryan Estep
b. 1980
Sterilized Dirt 84 sterilized dirt on canvas 213.3 x 152.4 cm (83 7/8 x 60 in.) Executed in 2014. Estimate £2,500-3,000 $3,100-3,700 €2,800-3,400 ‡ Provenance Private Collection
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38. Fredrik Værslev
b. 1979
Untitled #3, 2011 Hawthorn berries, terrace oil and house paint on wood 150 x 78.6 x 28.4 cm (59 x 30 7/8 x 11 1/8 in.) Executed in 2011. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ‡ ♠ Provenance Private Collection
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39. Grear Patterson
b. 1988
Untitled (tank-green brown blue) tarpaulin on panel, in 3 parts 137.2 x 137.2 cm (54 x 54 in.) Executed in 2015. Estimate £4,000-6,000 $5,000-7,400 €4,500-6,700 ‡ Provenance Private Collection
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40. Dan Rees
b. 1982
Untitled (Execution of Maximilian) plasticine on wood, in artist’s frame (in four parts) overall 212 x 289 x 6.5 cm (83 1/2 x 113 3/4 x 2 1/2 in.) Executed in 2011. Estimate £15,000-20,000 $18,700-24,900 €16,900-22,500 ♠ Provenance Private Collection
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11/11/16 09:00
41. Liam Gillick
b. 1964
Potentiated Discussion Platform galvanised aluminium and Plexiglas 200 x 200 cm (78 3/4 x 78 3/4 in.) Executed in 2005. Estimate £28,000-32,000 $34,900-39,900 €31,500-36,000 ♠ Provenance Galerie Micheline Szwajcer, Antwerp Acquired from the above by the present owner
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42. Neil Beloufa
b. 1985
Vintage Series steel, MDF, electric components 63.1 x 48.2 x 8 cm (24 7/8 x 18 7/8 x 3 1/8 in.) Executed in 2012. Estimate £4,000-5,000 $5,000-6,200 €4,500-5,600 ♠ Provenance Balice Hertling Gallery, Paris Acquired from the above by the present owner
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43. Anselm Reyle
b. 1970
Untitled signed and dated ‘A. Reyle 2008’ on the reverse mixed media on canvas 72 x 61 x 8 cm (28 3/8 x 24 x 3 1/8 in.) Executed in 2008. Estimate £20,000-30,000 $24,900-37,400 €22,500-33,700 ♠ Provenance Andersen’s Contemporary, Copenhagen Acquired from the above by the present owner
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‘It has a very psychedelic effect ... a bit like on an acid trip’ Anselm Reyle
44. Anselm Reyle
b. 1970
Untitled PVC foil and acrylic on canvas in plexiglas box 140 x 120 x 18.5 cm (55 1/8 x 47 1/4 x 7 1/4 in.) Executed in 2007. Estimate £30,000-50,000 $37,400-62,300 €33,700-56,200 ♠ Provenance Galerie Almine Rech, Paris Private Collection (2007) Sotheby’s, London, 26 June 2009, lot 182 Private Collection, United Kingdom
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45. Anselm Reyle
b. 1970
Untitled signed and dated ‘A Reyle 2003’ on the overlap mirror and acrylic on canvas 67.3 x 55.9 cm (26 1/2 x 22 in.) Executed in 2003. Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 ‡ ♠ Provenance Gavin Brown’s Enterprise, New York Acquired from the above by the present owner
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46. Oscar Murillo
b. 1986
Untitled inscribed and dated ‘oscar woz ere 2009’ on the reverse oilstick, paint, mesh and glass on concrete, in artist’s frame 94.6 x 68.2 cm (37 1/4 x 26 7/8 in.) Executed in 2009. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ♠ Provenance Gifed by the artist to the owner in 2009 London, Phillips, 13 April 2015, lot 34 Acquired at the above sale by the present owner
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47 Dan Shaw-Town
b. 1983
Untitled titled, signed and dated ‘“Untitled” Dan Shaw-Town 2011’ on the reverse graphite and spray enamel on paper and steel grommets 127 x 97.5 cm (50 x 38 3/8 in.) Executed in 2011. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠ Provenance Private Collection
48. Travess Smalley
b. 1986
Vector Weave – Grid 25 Summer 2013 Action Color_Photocopy_Scans_March_8_2014_70 signed and dated ‘Travess Smalley 2015’ on the reverse UV print on vinyl 244 x 178.5 cm (96 1/8 x 70 1/4 in.) Executed in 2015. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance Upstream Gallery, Amsterdam Acquired from the above by the present owner
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49. Ned Vena
b. 1982
Untitled signed and dated ‘VENA 2010’ on the reverse adhesive vinyl on anodized aluminium 243.8 x 121.9 cm (95 7/8 x 47 7/8 in.) Executed in 2010. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 † Provenance Modern Collections, London Acquired from the above by the present owner
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∆
50. Aaron Young
b. 1972
Untitled oil, rubber, acrylic on aluminium, triptych overall 244.4 x 371.3 x 3.7 cm (96 1/4 x 146 1/8 x 1 1/2 in.) Executed in 2009. This work is accompanied by a certifcate of authenticity. Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 Provenance Almine Rech Gallery, Paris Private Collection
51. Walead Beshty
b. 1976
FEDEX ® MEDIUM KRAFT BOXES, PRIORITY OVERNIGHT, LOS ANGELES-NEW YORK TRK#864049582968 & 795506877964, NEWYORK-LOS ANGELES TRK# LOST, OOSTENDE-PARIS TRK#803074770903 laminated glass, metal, silicone, packing tape and FedEx tracking labels and FedEx cardboard box 51 x 51 x 30 cm (20 1/8 x 20 1/8 x 11 3/4 in.) Executed in 2007. Estimate £12,000-18,000 $14,900-22,400 €13,500-20,200 ♠ Provenance China Art Objects Galleries, Los Angeles Acquired from the above by the present owner
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52. Tracey Emin
b. 1963
Soba Sex neon 50.8 x 127 cm (20 x 50 in.) Executed in 1999. This work is number 3 from an edition of 3 and is accompanied by a certifcate of authenticity signed by the artist. Estimate £20,000-30,000 $24,800-37,200 €22,500-33,700 ♠ Provenance Lehmann Maupin, New York Acquired from the above by the present owner Literature Tracey Emin, Tracey Emin: Works 1963-2006, New York, 2006 (illustrated)
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53. Karla Black
b. 1972
For Use cellophane, sellotape, petroleum jelly and acrylic 15 x 356 x 300 cm (5 7/8 x 140 1/8 x 118 1/8 in.) Executed in 2009. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ♠ † Provenance Mary Mary Gallery, Glasgow Acquired from the above by the present owner in 2009 Exhibited Oxford, Modern Art Oxford, Karla Black, 30 September - 29 November 2009 London, Saatchi Gallery, Newspeak: British Art Now, 30 May - 17 October 2010 and 27 October - 30 April 2011
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54. Tracey Emin
b. 1963
Sleep signed, titled and dated ‘Tracey Emin “Sleep” 1996’ lower lef monoprint on cotton 50 x 73 x 15 cm (19 5/8 x 28 3/4 x 5 7/8 in.) Executed in 1996. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ♠ † Provenance Private Collection Sotheby’s, London, 21 October 2003, lot 329 Acquired at the above sale by the present owner
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∆
55. After Pablo Picasso Extremely rare and important “Centauro” glass, coloured glass 39 x 12 x 40 cm (15 3/8 x 4 3/4 x 15 3/4 in.) Executed in 1954. Created by Egidio Costantini for La Fucina Degli Angeli, Italy afer a design by Pablo Picasso. Together with original correspondence between the original owner and the Artistic Glass Center, Italy. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 ‡ ♠
56. Stephan Balkenhol
b. 1957
Moine Tibetin incised with the artist’s initials, numbered and stamped ‘SB 1/25 SCHMAKE DUSSELDORF’ on the base painted bronze 72.8 x 30 x 19.8 cm (28 5/8 x 11 3/4 x 7 3/4 in.) This work is number 1 from an edition of 25. Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 ♠ Provenance Private Collection
Provenance Private Collection
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∆
57. Gregor Schneider
b. 1969
Man with Cock Cast rubber, expanding foam, garbage bag and clothing 30 x 62 x 190 cm. (11 3/4 x 24 3/8 x 74 3/4 in) Executed in 2004. Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 ♠ Provenance Luis Campana, Cologne Phillips, London, 29 June 2008, lot 257 Acquired at the above sale by the present owner
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∆
58. Paul McCarthy
b. 1945
Kitchen Set Mixed media installation with General Electric fridge, metal crate, wooden chess board and 32 piece found object chess set Fridge (door open) 180 x 140 x 90 cm. (70 7/8 x 55 1/8 x 35 3/8 in) Chess board and crate 87 x 112 x 112 cm. (34 1/2 x 44 1/8 x 44 1/8 in) King 40 cm (15 3/4 in) Pawn 11 cm (4 1/4 in) Executed in 2003. This work is unique from a variable series of 7. Estimate £25,000-35,000 $31,100-43,600 €28,100-39,300 Provenance RS&A, London Private Collection Phillips, London, 29 June 2008, lot 289 Private Collection
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59. Sylvie Fleury
b. 1961
6658 (Diamonds) Swarovski crystals on mirrored glass mounted on wood 95.5 x 95.5 cm (37 5/8 x 37 5/8 in.) Executed in 2002. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 Provenance Thaddaeus Ropac, Paris Acquired from the above by the present owner
60. Bernard Aubertin
b. 1934
Tableau Clous signed ‘Bernard Aubertin’ on the reverse nails and acrylic on wood 30 x 30 cm (11 3/4 x 11 3/4 in.) Executed in 1970. This work is registered with the Archivio Opere Bernard Aubertin under number TCLR07-100053623 and is accompanied by a certifcate of authenticity signed by the artist. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Private Collection, Paris
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61. Jason Martin
b. 1970
Viveur signed and dated ‘Jason Martin 2003’ on the reverse acrylic on polished stainless steel 80.5 x 81.1 x 8 cm (31 3/4 x 31 7/8 x 3 1/8 in.) Executed in 2003. Estimate £18,000-25,000 $22,400-31,100 €20,200-28,100 ♠ Provenance Andipa Gallery, London Acquired from the above by the present owner
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62. Callum Innes
b. 1962
Exposed Painting, Grey signed and dated ‘Callum Innes 96’ on the overlap oil on canvas 85 x 80 cm (33 1/2 x 31 1/2 in.) Painted in 1996. Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 ♠ Provenance Frith Street Gallery, London Acquired from the above by the present owner in 1998
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63. Roman Liška
b. 1980
Christie’s (FT Weekend series) signed and dated ‘ROMAN LISKA 2012’ on the reverse eyelets and spray paint, newspaper page, MDF, xerox cop and cling flm on mesh, in artist’s frame 64.6 x 45.6 cm (25 3/8 x 17 7/8 in.) Executed in 2012. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ♠ Provenance Rod Barton, London Acquired from the above by the present owner
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64. Alain Biltereyst
b. 1965
Untitled signed with the artist’s initials, dated and inscribed ‘A.T.B. 2015 128-3’ on the reverse acrylic on plywood 34.6 x 25.6 cm (13 5/8 x 10 1/8 in.) Painted in 2015. Estimate £1,200-1,800 $1,500-2,200 €1,300-2,000 ‡ ♠ Provenance Brand New Gallery, Milan Acquired from the above by the present owner
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65. Julian Opie
b. 1958
Roadscape 61 signed ‘Julian Opie’ on the overlap Chromogenic print on vinyl 25.5 x 40 cm (10 x 15 3/4 in.) Executed in 2001. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Wetterling Gallery, Stockholm Acquired from the above by the present owner
11/11/16 09:12
66. Ruth Root
b. 1967
Untitled signed twice and dated ‘RUTH ROOT 2004’ on the reverse enamel on aluminium 122.2 x 172 cm (48 1/8 x 67 3/4 in.) Executed in 2004. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 † Provenance Maureen Paley, London Acquired from the above in 2005 Exhibited London, Maureen Paley, Ruth Root, 27 November 2004 - 23 January 2005
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67. Joe Reihsen
b. 1979
Untitled acrylic on panel, in artist’s frame 150 x 120 cm (59 x 47 1/4 in.) Executed in 2014. Estimate £2,500-3,500 $3,100-4,400 €2,800-3,900 Provenance Private Collection, London
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68. Rafaël Rozendaal
b. 1980
Into Time 14 05 05 signed, titled and dated ‘Rafaël Rozendaal “Into Time 14 05 05” 2014 on a studio label afxed to the reverse lenticular, in artist’s frame 164 x 123 cm (64 5/8 x 48 3/8 in.) Executed in 2014. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Upstream Gallery, Amsterdam Acquired from the above by the present owner
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69. Jean-Baptiste Bernadet
b. 1978
Untitled (shufeboard) titled, signed and dated ‘“Untitled (shufeboard)” Jean Baptiste Bernadet 2013’ on the reverse oil and glass bead on canvas 40.5 x 30.5 cm (15 7/8 x 12 in.) Executed in 2013. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ♠ Provenance TORRI, Paris Acquired from the above by the present owner
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70. Pablo Rasgado
b. 1984
Arquitectura Desdoblada (LACMA) drywall, paper and acrylic on panel 99 x 99 cm (38 7/8 x 38 7/8 in.) Executed in 2013. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 Provenance Steve Turner Contemporary, Los Angeles Acquired from the above by the present owner
71. Ross Iannatti
b. 1988
Hysteresis no. 46 signed ‘Ross’ on the overlap sodium azide and residue on silicone coated nylon 235 x 110 cm (92 1/2 x 43 1/4 in.) Executed in 2013. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 Provenance Croy Nielsen, Berlin Acquired from the above by the present owner Exhibited London, REPERTORIO, Scratch, 1 April - 30 April 2016
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72. Ayan Farah
b. 1978
Hagar titled, signed and dated ‘“Hagar” Ayah Farah 2013’ on the stretcher acrylic, vinegar, alcohol and fabric dye on cotton silk 120 x 80 cm (47 1/4 x 31 1/2 in.) Executed in 2013. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 Provenance Vigo Gallery, London Acquired from the above by the present owner
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73. Jef Zilm
b. 1958
Eyes of Youth signed, titled and dated ‘Jef Zilm “Eyes of Youth” 2015’ on the overlap acrylic and gelatin emulsion on canvas 203.2 x 152.4 cm (80 x 60 in.) Executed in 2015. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 Provenance And Now, Dallas Acquired from the above by the present owner Exhibited Berlin, ARNDT Fine Art, I Know You Got Soul, 19 April – 21 June 2015
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74. Elad Lassry
b. 1977
Sculpture (For Park) C-print in artist’s frame 36.8 x 29.2 cm (14 1/2 x 11 1/2 in.) Executed in 2011. This work is number 3 from an edition of 5 plus 2 artist’s proofs. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance David Kordansky, Los Angeles Acquired from the above by the present owner
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11/11/16 09:15
75. Elad Lassry
b. 1977
Girl (Green/Red) C-print in artist’s frame 36.8 x 29.2 cm (14 1/2 x 11 1/2 in.) Executed in 2011.
Literature Maurizio Lazzarato, Signs and Machines: Capitalism and the Production of Subjectivity, Los Angeles, 2014, (illustrated on the cover)
Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance David Kordansky, Los Angeles Acquired from the above by the present owner
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76. Nico Colón
b. 1982
Untitled (Jungle) oil on linen 130 x 95.5 cm (51 1/8 x 37 5/8 in.) Painted in 2013. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 Provenance Private Collection
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77. Zak Prekop
b. 1979
Two works: (i) Reversal with Green; (ii) Unmeasured Pattern oil on canvas (i) 33 x 28 cm (12 7/8 x 11 in.) (ii) 35.5 x 30.5 cm (13 7/8 x 12 in.) Each executed in 2014. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ‡ Provenance Hagiwara Projects, Tokyo Acquired from the above by the present owner Exhibited Tokyo, Hagiwara Projects, Zak Prekop, 2014
(i)
(ii)
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78. Nina Beier
b. 1975
Fatigues 01 furniture fabric, dye, ink, stain, pigment and bleach, in artist’s frame 130 x 100 cm (51 1/8 x 39 3/8 in.) Executed in 2012. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠ Provenance Proyectos Monclova, Mexico City Private Collection Acquired from the above by the present owner
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79. Karl Norin
b. 1982
200714 signed with the artist’s initials ‘KN’ on the reverse rug and paint on board 133 x 178 cm (52 3/8 x 70 1/8 in.) Executed in 2014. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Carl Kostyál, Stockholm Acquired from the above by the present owner Exhibited Stockholm, Carl Kostyál, Meet Your Maker, 28 August - 28 September 2014
80. Walead Beshty
b. 1976
Feel Your Hands Inside My Soul glitter, archival glue and Plexiglas, in artist’s frame 34.5 x 46 cm (13 5/8 x 18 1/8 in.) Executed in 2005. Estimate £8,000-12,000 $10,000-14,900 €9,000-13,500 ♠ Provenance Bernier Eliades, Athens Acquired from the above by the present owner
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11/11/16 09:16
81. Phoebe Collings-James
b. 1988
Flesh Tint Painting No.4 signed with the artist’s initials and dated ‘PCJ 13’ on the overlap oil on linen 193 x 269.2 cm (75 7/8 x 105 7/8 in.) Painted in 2013. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠ Provenance Ritter/Zamet, London Acquired from the above by the present owner in 2014
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11/11/16 09:17
82. Dan Rees
b. 1982
Sprayline signed and dated ‘Dan Rees 2014’ on the reverse acrylic and spraypaint on linen, diptych lef 120 x 90 cm (47 1/4 x 35 3/8 in.) right 100 x 114 cm (39 3/8 x 44 7/8 in.) Executed in 2014. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 ♠ † Provenance ARTUNER, London Acquired from the above by the present owner
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11/11/16 09:17
83. Lucas Price
b. 1975
Untitled signed and dated ‘Lucas Price 2014’ on the reverse acrylic on canvas 161 x 121 cm (63 3/8 x 47 5/8 in.) Painted in 2014. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠ Provenance Acquired directly from the artist by the present owner
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11/11/16 09:17
84. Tobias Madison
b. 1985
Untitled (Sottsass, Sottsass, Sottsass, Mendini, Sottsass, Sottsass), Epson ultrachrome print, watercut on dibond in artist’s frame 75.5 x 50.6 cm (29 3/4 x 19 7/8 in.) Executed in 2010. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 Provenance KARMA International, Zürich Acquired from the above by the present owner Exhibited Munich, Kunstverein München, DO IT TO DO IT, 2 November – 21 November 2010
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11/11/16 09:17
85. Christoph Ruckhäberle
b. 1972
Tormler (Drummer) signed and dated ‘RUCKHABERLE 2007’ on the overlap acrylic on canvas 210 x 110 cm (82 5/8 x 43 1/4 in.) Painted in 2007. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ † Provenance Sutton Lane, London Acquired from the above by the present owner Exhibited London, Sutton Lane, Christoph Ruckhäberle, 10 March - 12 April 2007
86. Billy Childish
b. 1959
Sheila inscribed and dated ‘SH82’ lower right; further titled and dated ‘Sheila 1982’ on the reverse oil on board 122 x 61 cm (48 x 24 in.) Painted in 1982. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 ♠ Provenance Private Collection, London
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11/11/16 09:18
87. Shepard Fairey
b. 1970
Untitled signed and dated ‘Shepard Fairey 04’ lower right collage, stencil and spray paint on card 31 x 31.2 cm (12 1/4 x 12 1/4 in.) Executed in 2004. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance V1 Gallery, Copenhagen Acquired from the above by the present owner
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11/11/16 09:18
88. Antony Micallef
b. 1975
Ginza Gigolo signed ‘A. Micallef’ on the reverse oil on canvas 136.7 x 121 cm (53 7/8 x 47 5/8 in.) Executed in 1999. Estimate £12,000-18,000 $14,900-22,300 €13,500-20,200 ♠ Provenance Woodbine Cottage Gallery, Spalding Acquired from the above by the present owner Exhibited Uppingham, Woodbine Contemporary Arts, Charles Harrison, Michael Kelly, Antony Micallef, 14 September - 2 October 2010
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11/11/16 09:18
89. Swoon
b. 1978
Alixa Naima signed and dated ‘SWOON 08’ lower lef woodcut print and acrylic on found wood 119.2 x 79.2 cm (46 7/8 x 31 1/8 in.) Executed in 2008. This work is accompanied by a certifcate of authenticity provided by The Black Rat Press. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance Black Rat Projects, London Acquired from the above by the present owner
90. Stik
b. 1979
Magpie signed, dated and authenticated ‘STIK 2009 2016’ on the reverse spray paint on wood, in artist’s frame 139 x 29.8 cm (54 3/4 x 11 3/4 in.) Executed in 2009. This work is accompanied by a certifcate of authenticity issued by the artist’s studio. Estimate £8,000-12,000 $10,000-14,800 €9,000-13,500 ♠ Provenance Magpie Social Centre, Bristol This lot is an original street art work from the front wall of the Magpie Social Centre in Bristol, which had to give up its premises earlier this year. The artist has agreed to authenticate the panel so that proceeds can fund the relocation of the social centre.
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11/11/16 09:18
91. Shepard Fairey
b. 1970
Jasper Johns Cream signed ‘Shepard Fairey’ lower right and numbered ‘2/2’ lower lef silkscreen and mixed media collage on wood 61 x 45.7 cm (24 x 17 7/8 in.) Executed in 2010. This work is number 2 from an edition of 2 and is accompanied by a certifcate of authenticity provided by Obey Giant Art, signed by the artist.
Provenance V1 Gallery, Copenhagen Acquired from the above by the present owner Exhibited Copenhagen, V1 Gallery, Your Ad Here, 6 August - 3 September 2011
Estimate £5,500-7,500 $6,800-9,300 €6,200-8,400
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11/11/16 09:19
92. Shepard Fairey
b. 1970
Jasper Johns Red signed and numbered ‘Shepard Fairey 2/2’ along the lower edge silkscreen and mixed media collage on wood 61 x 45.7 cm (24 x 17 7/8 in.) Executed in 2010. This work is number 2 from an edition of 2 and is accompanied by a certifcate of authenticity provided by Obey Giant Art, signed by the artist.
Provenance V1 Gallery, Copenhagen Acquired from the above by the present owner Exhibited Copenhagen, V1 Gallery, Your Ad Here, 6 August - 3 September 2011
Estimate £5,500-7,500 $6,800-9,300 €6,200-8,400
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11/11/16 09:19
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93. FAILE
b. 1975/1976
Untitled (Challenger) signed ‘FAILE’ lower right acrylic and silkscreen on paper 113 x 75.5 cm (44 1/2 x 29 3/4 in.) Executed in 2006. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 Provenance Irvine Contemporary, Washington D.C. Bonhams, London, 1 July 2009, lot 296 Private Collection Phillips, London, 13 April 2016, lot 77 Acquired at the above sale by the present owner
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94. Invader
b. 1969
PA 482 etched ‘RUE DES FRANCS BOURGEOIS / RUE PAVEE / PARIS “PA-482” MAY 15 2002 SCORE 20 POINTS’ on the reverse of Plexiglas. Further incised with the artist’s symbol to the right reverse ceramic tiles and Plexiglas 23.9 x 29.6 x 4 cm (9 3/8 x 11 5/8 x 1 5/8 in.) Executed in 2005. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ♠ Provenance Acquired directly from the artist by the present owner
11/11/16 09:19
95. L’Atlas
b. 1978
Punitions N:O tagged, dated and titled ‘L’atlas 2010! “Punitions N:O”’ on the reverse acrylic on canvas 200 x 200.4 cm (78 3/4 x 78 7/8 in.) Executed in 2010. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠ Provenance Acquired directly from the artist by the present owner
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11/11/16 09:43
96. Andrew Brischler
b. 1987
Witness signed, titled and dated ‘A. BRISCHLER “WITNESS” 2014’ on the reverse coloured pencil, graphite, gesso and oil bar on panel 51 x 40.6 cm (20 1/8 x 15 7/8 in.) Executed in 2014. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ‡ Provenance BEERS, London Acquired from the above by the present owner
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11/11/16 09:20
97. Tal R
b. 1967
Day 4 titled, dated and signed ‘“Day 4” 4.08.06 Tal R’ upper lef and lower edge; further titled, dated and signed ‘“Day 4” Tal R 06’ on the reverse oil on paper and canvas, laid down on wood, in artist’s frame 64.8 x 64.8 cm (25 1/2 x 25 1/2 in.) Executed in 2006. Estimate £8,000-12,000 $10,000-14,900 €9,000-13,500 ‡ Provenance Contemporary Fine Arts, Berlin Private Collection Phillips, New York, 19 September 2013, lot 69 Acquired at the above sale by the present owner
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98. Leo Gabin
b. 1980
This Real How signed, titled and dated ‘Leo Gabin 2011 “THIS REAL HOW”’ on the reverse lacquer, spray paint, acrylic and silkscreen on canvas 274.3 x 198.1 cm. (108 x 78 in.) Executed in 2011. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ‡ ♠ Provenance Private Collection
11/11/16 09:21
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99. Rosson Crow
b. 1982
Untitled oil, enamel and spray paint on canvas, triptych each 243 x 114 cm (95 1/2 x 44 7/8 in) overall 243 x 342 (95 1/2 x 134 5/8 in) Executed in 2004. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 Provenance Canada Gallery, New York Serge Ziegler Galerie, Zurich Phillips, London, 18 February 2011, lot 227 Acquired at the above sale by the present owner
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11/11/16 09:22
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100. Thomas Hirschhorn
b. 1957
Nail Sculpture (grey), 2003 titled, signed and dated ‘“Nail-Sculpture (gray)” Thomas Hirschhorn 2003’ on the reverse Wood, packing tape, nails, screws, coins, plastic, metal hinges, metal door number plaques, stickers, wire, one wooden bowl, one metal bowl, Black and Decker screwdriver, power adaptor, hammer and colour photocopies 293.4 x 85.1 x 88.9 cm (115 1/2 x 33 1/2 x 35 in.) Executed in 2003. This work is accompanied by a certifcate of authenticity and photograph signed by the artist. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance Arndt & Partner, Berlin Acquired from the above by the present owner
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11/11/16 09:22
101. Sebastian Black
b.1985
Period Piece ( .. ) signed and dated ‘SEBASTIAN BLACK 2012’ on the reverse enamel on engraved dibond 25.6 x 15.2 cm (10 1/8 x 5 7/8 in.) Executed in 2012. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 Provenance Private Collection
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11/11/16 09:23
102. Alex Ruthner
b. 1982
Jalousie signed, titled and dated ‘Alex Ruthner “Jalousie” 2013’ on the reverse oil and collage on canvas 191 x 180 cm (75 1/4 x 70 7/8 in.) Executed in 2013. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Private Collection
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11/11/16 09:23
103. Sam Moyer
b. 1983
Aunt Gloria glass paint, glass and plexiglas in artist’s Nielson frame 122.5 x 92 cm (48 1/4 x 36 1/4 in.) Executed in 2014. This work is unique. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance Robert Blumenthal Gallery, New York Acquired from the above by the present owner Exhibited New York, Robert Blumenthal Gallery, t,o,u,c,h,i,n,g, 12 February - 15 March 2014
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11/11/16 09:23
104. Thomas Zipp
b. 1966
Der Schlaf IV (y-drops) the canvas is signed ‘Thomas Zipp’ lower lef and titled ‘y-drops’ centre right; further titled ‘Der Schlaf IV (y-drops)’ on the reverse; the sheet is signed, titled and dated ‘Thomas Zipp “(y-drops)” 06’ on the backing board acrylic and oil on muslin/ mixed media /chandelier (3 parts) canvas: 250 x 340.3 cm (98 3/8 x 133 7/8 in.) sheet: 32 x 27 cm (12 5/8 x 10 5/8 in.) chandelier: 166 x 155 cm (65 3/8 x 61 in.) Executed in 2004. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ♠ † Provenance Galerie Guido W. Baudach, Berlin Private Collection Exhibited London, Saatchi Gallery, Gesamtkunstwerk: New Art from Germany, 18 November 2011-15 April 2012, exh. cat., pp. 158-159 (illustrated)
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11/11/16 09:23
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11/11/16 09:24
105. Anders Clausen
b. 1978
106. Julião Sarmento
b. 1948
Untitled #27b incised ‘Anders Clausen 2007’ on the underside spraypaint and plaster on artist’s plasterboard plinth bust 32.5 x 23 x 23 cm (12 3/4 x 9 x 9 in.) overall 298.5 x 24 x 24 cm (117 1/2 x 9 1/2 x 9 1/2 in.) Executed in 2007.
The House with the Upstairs in It titled, signed and dated ‘“THE HOUSE WITH THE UPSTAIRS IN IT” (S) Julião Sarmento 1996’ mixed media on canvas 110 x 87 cm (43 1/4 x 34 1/4 in.) Executed in 1996.
Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠
Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ‡ ♠
Provenance Galerie Rüdiger Schöttle, Munich Acquired from the above by the present owner
Provenance London Projects, London Acquired from the above by the present owner
Exhibited Munich, Galerie Rüdiger Schöttle, Anders Clausen, 1 December 2007 - 19 January 2008
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11/11/16 09:24
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11/11/16 09:24
107. Parker Ito
b. 1986
The Most Infamous Girl in the History of the Internet oil on canvas 162.5 x 117 cm (63 7/8 x 46 1/8 in.) Painted in 2014. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance Chateau Shatto, Los Angeles Acquired from the above by the present owner
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108. Lucas Blalock
b. 1978
Scenario for Barter signed ‘LBL’ on a studio label afxed to the reverse chromogenic print 73 x 58 cm (28 3/4 x 22 7/8 in.) Executed in 2011. This work is number 2 from an edition of 3 plus 2 artist’s proofs. Estimate £1,000-2,000 $1,200-2,500 €1,100-2,200 Provenance Private Collection
11/11/16 09:24
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11/11/16 09:25
109. Jean-Baptiste Bernadet
b. 1978
110. Dean Levin
b. 1988
Untitled (Retour II) signed, titled and dated ‘Jean-Baptiste Bernadet “RETOUR” 2011 NY’ on the overlap oil on canvas 99.7 x 85.5 cm (39 1/4 x 33 5/8 in.) Painted in 2011.
Untitled signed and dated ‘Dean Levin 2014’ on the reverse on each part oil and plaster on canvas, diptych 55.9 x 111.8 cm (22 x 44 in.) Executed in 2014.
Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠
Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900
Provenance Casado Santapau Gallery, Madrid Acquired from the above by the present owner
Provenance Rod Barton, London Acquired from the above by the present owner
Exhibited Madrid, Casado Santapau Gallery, Mise En Abyme (De Cajas Chinas), 14 May - 22 June 2013
Exhibited London, Rod Barton, Dean Levin & Oliver Perkins, 27 June - 2 August 2014
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11/11/16 09:25
111. Gabriel Hartley
b. 1981
Pout titled, dated and signed ‘“Pout” 2010 Gabriel Hartley’ on the reverse oil and spray paint on canvas 260 x 200.4 cm (102 3/8 x 78 7/8 in.) Executed in 2010. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠ †
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Provenance Foxy Productions, New York Acquired from the above by the present owner in 2010 Exhibited New York, Foxy Productions, Gabriel Hartley, 9 September - 16 October 2010 London, Saatchi Gallery, Newspeak: British Art Now, 30 May - 17 October 2010 and 27 October - 30 April 2011
11/11/16 09:25
112. George Pusenkof
b. 1953
Window #3 signed, titled and dated ‘George Pusenkof “Window #3” 2013’ on the reverse acrylic on canvas 300.5 x 199.4 cm (118 1/4 x 78 1/2 in.) Painted in 2013. Estimate £15,000-20,000 $18,700-24,900 €16,900-22,500 Provenance Private Collection
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11/11/16 09:26
113. Brendan Fowler
b. 1978
Wells Fargo crashed frames 101 x 96 x 13 cm (39 3/4 x 37 3/4 x 5 1/8 in.) Executed in 2012. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 Provenance A Palazzo Gallery, Brescia Acquired from the above by the present owner
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11/11/16 09:26
114. Borden Capalino
b. 1980
Champagne Rain signed, titled and dated ‘Borden Capalino “Champagne Rain” 2014’ on the stretcher thermal transfer, baking soda, walnuts, pistachio shell, cofee, enamel on canvas 213 x 154.7 cm (83 7/8 x 60 7/8 in.) Executed in 2014. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ‡ Provenance Private Collection
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11/11/16 09:27
Dynamic. Provocative. Now.
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15/11/16 14:52
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15/11/16 15:22
115. Roberto Coda Zabetta
b. 1975
Untitled titled, dated and signed ‘“Senza Titolo” 2007 Roberto Coda Zabetta’ on the reverse of lef canvas oil on canvas, diptych each 100 x 100 cm (39 3/8 x 39 3/8 in.) overall 100 x 200 cm (39 3/8 x 78 3/4 in.) Executed in 2007. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Private Collection Exhibited Jakarta, Indonesian National Gallery, Koi Dan Trinacria, 4 April - 15 April 2008, exh. cat., p. 111 (illustrated)
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11/11/16 09:27
116. Umberto Mastroianni
1910/1998
Untitled signed ‘Mastroianni’ lower right graphite on paper laid on board 98 x 70 cm (38 5/8 x 27 1/ 2 in.) Executed circa 1960. Estimate £1,000-2,000 $1,200-2,500 €1,100-2,200 ♠ Provenance Galerie D’eendt, Amsterdam Private Collection
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11/11/16 09:28
117. Maurizio Donzelli
b. 1958
Disegno del Quasi signed, dated and titled ‘M Donzelli 2015 “Disegno del Quasi”’ on the reverse acrylic on paper, in artist’s frame 143.4 x 110.6 cm (56 1/2 x 43 1/2 in.) Painted in 2015. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ♠ Provenance Private Collection
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11/11/16 09:28
118. Marcello Lo Giudice
b. 1957
Blu Eden oil and pigment on canvas 141 x 141 cm (55 1/2 x 55 1/2 in.) Executed in 2012. Estimate £20,000-30,000 $24,900-37,400 €22,500-33,700 ♠ Provenance Acquired directly from the artist Exhibited Trieste, Castello di Miramare, Blu/Bleu, 7 October - 6 November 2016
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11/11/16 09:28
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11/11/16 09:29
119. Stefano Perrone
b.1985
120. Salvatore Emblema
1929-2006
La Caduta signed, dated and titled ‘Perrone 15 “la caduta”’ on the reverse acrylic on canvas 160 x 115.4 cm (62 7/8 x 45 3/8 in.) Painted in 2015.
“Materico” “Pitture” signed and dated ‘S EMBLEMA 65’ on the reverse tinted soil on burlap, in artist’s frame 141.2 x 121 cm (55 5/8 x 47 5/8 in.) Executed in 1965. This work is registered with the Salvatore Emblema Archivio under no. 658.
Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠
Estimate £15,000-20,000 $18,700-24,900 €16,900-22,500 ♠
Provenance Acquired directly from the artist
Provenance Museo Emblema, Terzigno Private Collection, Milan
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11/11/16 09:30
121. Matteo Negri
b. 1982
Flatstep signed ‘Matteo Negri’ on the reverse chromed and lacquered iron 75 x 75 x 16 cm (29 1/2 x 29 1/2 x 6 1/4 in.) Executed in 2014. This work is accompanied by a certifcate of authenticity provided by the Matteo Negri Archive, signed by the artist and the Archive Director. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 ♠ Provenance Private Collection, Zurich
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11/11/16 09:29
122. Michelangelo Pistoletto
b. 1933
Frattali signed, dated and titled ‘Pistoletto 1999/2000 >Frattali<’ on the reverse acrylic on shaped mirror 54 x 77 cm (21 1/4 x 30 3/8 in.) Executed in 1999-2000. This work is accompanied by certifcate of authenticity signed by the artist. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Private Collection
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11/11/16 09:29
123. Egor Zigura
b. 1984
Colossus which Awakens incised ‘1/15 2016’ on the base bronze 185.5 x 51 x 33.1 cm (73 x 20 1/8 x 13 in.) Executed in 2016. This work is number 1 from an edition of 15. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ‡ Provenance Private Collection
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11/11/16 09:30
124. Evgeny Antufev
b. 1986
Untitled wood, bronze, textile, brass and copper, in two parts sculpture 56.5 x 33 x 32 cm (22 1/4 x 12 7/8 x 12 5/8 in.) knife 45.5 x 6 cm (17 7/8 x 2 3/8 in.) Executed in 2016. Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 Provenance Private Collection Exhibited London, Whitechapel Gallery, CABARET KULTURA With V-A-C Live, 15 September -17 September 2016
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11/11/16 09:30
125. Oleg Pinchuk
b. 1960
Mary bronze 21.4 x 22.8 x 39.2 cm (8 3/8 x 8 7/8 x 15 3/8 in.) Executed in 2014. Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 ‡ Provenance Gallery M17, Kiev Acquired from the above by the present owner
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126. Nazar Bilyk
b. 1979
The Space Around polymeric materials 86 x 86 x 86 cm (33 7/8 x 33 7/8 x 33 7/8 in.) Executed in 2016. This work is number 1 from an edition of 10. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 Provenance Private Collection
11/11/16 09:35
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127. Roman Minin
b. 1981
128. Roman Minin
b. 1981
All for Vita signed ‘minin’ upper lef UV print on foam cardboard, handmade bas-relief 114 x 100 cm (44 7/8 x 39 3/8 in.) Executed in 2016, this work is number 5 from an edition of 5.
Generator of Donetsk Subway signed, dated and titled ‘Minin 2015 “Generator of Donetsk Subway”’ on the reverse UV print on foam cardboard 195 x 282 cm (76 3/4 x 111 in.) Executed in 2015.
Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ‡
Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000
Provenance New Now Gallery, Kiev Acquired from the above by the present owner
Provenance Acquired directly from the artist by the present owner
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11/11/16 09:35
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11/11/16 09:36
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129. Igor Kopystiansky
b. 1954
Restored Painting signed, titled and dated ‘I. Kopystianski “Restored Painting” 1988’ on the reverse oil on canvas 195.6 x 248.9 cm (77 x 97 7/8 in.) Painted in 1988. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ‡ Provenance Private Collection Phillips, London, 13 October 2007, lot 451 Acquired at the above sale by the present owner
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130. Igor Kopystiansky
b. 1954
Restored Painting #4 signed, dated and titled ‘I. Kopystianski 1987 “Restored Painting -4”’ in English and Cyrillic on the reverse oil on canvas 195.6 x 155.6 cm (77 x 61 1/4 in.) Painted in 1987. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ‡ Provenance Mezhkniga, Moscow Phyllis Kind Gallery, New York Phillips, London, 13 October 2007, lot 414 Acquired at the above sale by the present owner
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lot 131
∆
131. Ivan Chuikov
b. 1935
Fragment no4 signed and dated ‘Chuikov 82’ lower right and titled “Fragment No.4” upper right; further titled “Series FRAGMENTS N.4” on the stretcher of the lef panel, and signed ‘Ivan Chuikov’ on the reverse of the lef panel; further titled “Series FRAGMENTS N.4” on the stretcher of the right panel, all in Cyrillic alkyd enamel on masonite 180 x 260 cm (70 7/8 x 102 3/8 in) Executed in 1982. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ‡ Provenance Phyllis Kind Gallery, New York Private Collection Exhibited Bern, Kunstmuseum Bern, Ich Lebe – Ich Sehe, Künstler der Achtziger Jahre in Moskau, 11 June – 14 August 1988 (illustrated) Literature B. Groys, ‘In the Studio,’ in (AYA) Contemporary Russian Art, Unofcial Russian Art Review, Paris, 1986, no.7, 1986, p.14 (illustrated)
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lot 132
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132. Yelena Popova
b. 1978
133. Dasha Shishkin
b. 1977
Untitled oil on linen 75.4 x 55.3 cm (29 5/8 x 21 3/4 in.) Executed in 2011
Not Sad, Just Sighing acrylic and crayon on mylar in 12 parts 243.8 x 406.4 cm (95 7/8 x 160 in.) Executed in 2012.
Estimate £1,000-2,000 $1,200-2,500 €1,100-2,200 †
Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 †
Provenance Acquired directly from the artist in 2011
Provenance Susanne Vielmetter, Los Angeles Acquired from the above by the present owner in 2012
Exhibited London, Saatchi Gallery, Gaiety is the Most Outstanding Feature of the Soviet Union, 21 November 2012 - 9 June 2013
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Exhibited Los Angeles, Susanne Vielmetter, Dasha Shishkin “S Int N Ho”, 7 April - 12 May 2012 London, Saatchi Gallery, Gaiety is the Most Outstanding Feature of the Soviet Union, 21 November 2012 - 9 June 2013
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134. Anatoly Kryvolap
b. 1946
Evening Lake signed and dated ‘Anatoly Kryvolap 2016’ and titled in Cyrillic on the reverse oil on canvas 80 x 100 cm (31 1/2 x 39 3/8 in.) Painted in 2016. Estimate £12,000-18,000 $14,900-22,400 €13,500-20,200 ‡ Provenance Private Collection
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135. Anatole Galytskyi
b. 1973
Untitled signed and dated ‘Anatole Galytskyi 2004’ lower right oil on canvas 147.6 x 199.8 cm (58 1/8 x 78 5/8 in.) Executed in 2004. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ‡ Provenance Gallery M17, Kiev Acquired from the above by the present owner
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136. Fyodor Pavlov-Andreevich
b. 1976
Temporary Monument N1 c-print in artist’s frame 104.4 x 38.7 cm (41 1/8 x 15 1/4 in.) Executed in 2015, this work is from an edition of 5 plus 2 artist’s proofs. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 Provenance Private Collection Exhibited Moscow, Marina Pechersky Gallery, Temporary Monuments, 13 September - 9 October 2016 (another example exhibited) Paris, Galerie Stanislas Bourgain, Suite Russe Paris, 18 October - 20 October 2016 (another exampled exhibited)
137. Vladimir Grig
b. 1962
13 rooms paper print 185 x 155 cm (72 7/8 x 61 in.) Executed in 2012. This work is number 5 from an edition of 5 plus 2 artist’s proofs. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ‡ Provenance Savina Gallery, St. Petersburg
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Delicate. Expressive. Now. UK_NEW NOW_DEC16_140-241_R2.indd 152
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138. Julian Rosefeldt
b. 1965
Soap Sample IX lambda print 130 x 124 cm (51 1/8 x 48 7/8 in.) Executed in 2000-2001, this work is number 1 from an edition of 3. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ † Provenance MW Projects, London Acquired from the above by the present owner in 2004 Exhibited London, Saatchi Gallery, Gesamtkunstwerk: New Art From Germany, 18 November 2011 15 April 2012, exh. cat., p. 120
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139. Nan Goldin
b. 1953
Self Portrait in Kimono with Brian, NYC signed, dated, titled and numbered ‘Nan Goldin 1983 “Self Portrait in Kimono with Brian, NYC” 24/25’ on the reverse of the mount c-print on board 65.5 x 98 cm (25 3/4 x 38 5/8 in.) Executed in 1983. This work is number 24 from an edition of 25. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 Provenance Private Collection
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140. Santiago Sierra
b. 1966
3000 Huecos (3000 Hollows) photograph, triptych each 156.5 x 231.5 cm (61 5/8 x 91 1/8 in.) Executed in 2002 This work is number 3 from an edition of 5. Estimate £12,000-18,000 $14,900-22,400 €13,500-20,200 ‡ ♠ Provenance Galeria Enrique Guerrero, Mexico Acquired from the above by the present owner Exhibited Tempe, ASU Art Museum, Turn of the Sun, 9 March - 7 September 2013 (another example exhibited)
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141. Gabriel Orozco
b. 1962
Bubble on Foot chromogenic print 40.6 x 50.8 cm (15 7/8 x 20 in.) Executed in 2004, this work is number 2 from an edition of 5. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 Provenance Marian Goodman Gallery, Paris Acquired from the above by the present owner
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142. Goshka Macuga
b. 1967
Unfamiliar Aspect of a Familiar Monster collage on hand printed silver gelatine print 40 x 50.3 cm (15 3/4 x 19 3/4 in.) Executed in 2007. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Kate MacGarry, London Acquired from the above by the present owner
11/11/16 09:58
143. Lorna Simpson
b. 1960
Interior/Exterior, Full/Empty No. 17 silver gelatin print mounted on archival mat with silkscreen text, in artist’s frame, diptych 57.2 x 46.2 cm (22 1/2 x 18 1/4 in.) Executed in 1997. This work is number 6 from an edition of 12 plus 4 artist’s proofs. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ‡ Provenance Sean Kelly Gallery, New York Acquired from the above by the present owner
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144. Philippe Ramette
b. 1961
Contemplation Irrationnelle (Irrational Contemplation) signed ‘Philippe Ramette’ on a gallery label afxed to the reverse c-print, in artist’s frame 155.6 x 125.8 cm (61 1/4 x 49 1/2 in.) Executed in 2003, this work is number 4 from an edition of 5. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 ♠ Provenance Galerie Xippas, Paris Acquired from the above by the present owner
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145. Andy Warhol
1928-1987
Jean-Michel Basquiat, Basquiat’s Mother and friends This work is numbered ‘FL 08.00795’ and stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts on the reverse silver gelatin print 20 x 25.5 cm (7 7/8 x 10 in.) Executed circa 1984. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 Provenance The Artist’s Estate Andy Warhol Foundation for the Visual Arts, New York (2014) Acquired from the above by the present owner
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146. Andy Warhol
1928-1987
Andy Warhol and Jon Gould This work is numbered ‘FL 08.00272’ and stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts on the reverse silver gelatin print 20.4 x 25 cm (8 x 9 7/8 in.) Executed circa 1978. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 Provenance The Estate of the Artist Andy Warhol Foundation for the Visual Arts (2014) Acquired from the above by the present owner
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147. Balthasar Burkhard
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b. 1944
148. James Welling
b. 1951
Crow-Wing and Monochrome numbered and signed ‘16/33 Balthasar Burkhard’ along the lower edge lithograph 63 x 45.4 cm (24 3/4 x 17 7/8 in.) Executed in 1988. This work is number 16 from an edition of 33.
Untitled (10715) signed, titled and numbered ‘J. Welling “10715” - 18’ on the reverse chemigram on Kodak Endura Metallic 25.5 x 20.1 cm (10 x 7 7/8 in.) Executed in 2015. This work is number 18 from a variable edition of 20.
Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900
Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600
Provenance Private Collection
Provenance Camden Arts Centre, London Acquired from the above by the present owner in 2015
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149. Andrew Levitas b. 1977 1. Latifa Echakhch b. 1974 The External Circle Tambour 124’, 2012 Metalwork™ photograph with artist’s stand black Indian on canvas print 30.5ink x 46.7 cm (12 x 18 3/8 in.) diameter: cm7.9 (68x 1/8 in.)x 40.9 cm artist’s 173 stand 56.1 Signed, (3 1/8 xtitled 22 1/8 xand 16 1/8dated in.) ‘Latifa Echakhch “Tambour 124’” 2012’ on the stretcher. Executed in 2012. Estimate Estimate £40,000-60,000 $56,900-85,400 £2,500-3,500 $3,100-4,400 €2,800-3,900 €51,700-77,500 Provenance Provenance Acquired directly from the artist Kamel Mennour, by the present Paris owner
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150. Dayanita Singh
b. 1961
View of a Theatre silver gelatin print on mount board 108 x 108 cm (42 1/2 x 42 1/2 in.) Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance Private Collection
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151. Christopher Williams
b. 1956
152. Oscar Tuazon
b. 1975
Chung King Road, Los Angeles, California, 16 February 1999 C-print 33 x 42 in. (83.8 x 106.7 cm) Executed in 1999. This work is number 10 from an edition of 10.
Two works: (i) Geodesic Dome House; (ii) Of Road folded digital colour coupler prints on Kodak archival grade paper each 59.7 x 89.2 cm (23 1/2 x 35 1/8 in.) Each executed in 2007, each work is number 1 from an edition of 2.
Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900
Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600
Provenance Private Collection
Provenance Howard House Gallery, Seattle Phillips, New York, 8 March 2013, lot 101 Acquired at the above sale by the present owner
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153. Rinat Voligamsi
b. 1968
Nimbus in the City I signed ‘Voligamsi’ lower right; further signed, titled and dated ‘Voligamsi - “Nimbus in the City 1” - 2014’ on the reverse oil on canvas 120 x 120 cm (47 1/4 x 47 1/4 in.) Painted in 2014. Estimate £7,000-9,000 $8,700-11,200 €7,900-10,100 ‡ Provenance Acquired directly from the artist by the present owner
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154. Elger Esser
b. 1967
75 Saint-Jean de Luz signed, titled, dated and numbered ‘Elger Esser “75 Saint-Jean de Luz” 2004 1/5’ on an artist’s label accompanying the work Digital chromogenic print 180 x 262.5 cm (70 7/8 x 103 3/8 in.) Executed in 2004. This work is number one from an edition of 5. Estimate £15,000-20,000 $18,700-24,900 €16,900-22,500 ♠ Provenance Acquired directly from the artist Literature Elger Esser: Views, Munich, 2008, n.p.
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155. Walter Niedermayr
b. 1952
Kitzsteinhorn II titled, dated, numbered and signed ‘“KITZSTEINHORN II” 1997 5/6 Walter Niedermayr’ on the reverse of each part chromogenic prints in artist’s frames, diptych each 103 x 129.6 cm (40 1/2 x 51 in.) overall 103 x 259.2 cm (40 1/2 x 102 in.) Executed in 1997. This work is number 5 from an edition of 6. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠
156. Michal Rovner
b. 1957
Small Group Narrative chromogenic print on board 47.5 x 48.5 cm (18 3/4 x 19 1/8 in.) Executed in 1999. This work is from an edition of 10. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ‡ Provenance Stephen Friedman Gallery, London Acquired from the above by the present owner
Provenance Galerie Anne de Villepoix, Paris Acquired from the above by the present owner
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157. Wim Delvoye
b. 1965
Untitled signed, dated and inscribed ‘Wim Delvoye ‘99 1/1’ on the reverse cibachrome 40 x 31 cm (15 3/4 x 12 1/4 in.) Executed in 1999. This work is unique. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠ Provenance Private Collection
158. Sandy Skoglund
b. 1946
Cubed Carrots + Kernels of Corn titled, signed, dated and numbered ‘“Cubed Carrots + Kernels of Corn” Sandy Skoglund © 1978 3/25’ lower right C-print 55.9 x 71.1 cm (22 x 27 7/8 in.) Executed in 1978. This work is number 3 from an edition of 25. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ‡ Provenance Galerie Guy Bartschi, Geneva Acquired from the above by the present owner Exhibited Geneva, Galerie Guy Bartschi, Sandy Skoglund, 2 March - 13 May 2000
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159. Scott Campbell
b. 1977
Trust Me paper and adhesive on cardboard 53 x 63 cm (20 7/8 x 24 3/4 in.) Executed in 2011. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 Provenance Private Collection
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160. Andy Warhol
1928-1987
Untitled signed ‘Andy Warhol’ along the centre black felt pen on United States of America currency 6.5 x 15 cm (2 1/2 x 5 7/8 in.) Executed circa 1980s. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ‡ Provenance Private Collection Christie’s, London, 26 June 2013, lot 194 Acquired at the above sale by the present owner
11/11/16 10:01
lot 160
161. Martin Kippenberger
1953-1997
Two works: (i) Untitled; (ii) Untitled silkscreen on glass, in artist’s frame each 91.3 x 61.6 cm (35 7/8 x 24 1/4 in.) Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 ♠ Provenance Private Collection
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162. Gerhard Richter
b. 1932
Haggadah (P2) 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 from an edition of 500, published by Fondation Beyeler, Basel, 2013. Estimate £8,000-12,000 $10,000-14,900 €9,000-13,500 ♠ Provenance Heni Productions, London Acquired from the above by the present owner
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163. Gerhard Richter
b. 1932
P15 Flow diasec mounted chromogenic print on aluminium 100 x 200 cm (39 3/8 x 78 3/4 in.) Executed in 2016. This facsimile object is from an edition of 500 plus 2 artist’s proofs. Estimate £8,000-12,000 $10,000-14,900 €9,000-13,500 ♠ Provenance Heni Productions, London Acquired from the above by the present owner
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Desirable. Collectible. Now. UK_NEW NOW_DEC16_140-241_R2.indd 179
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164. Shirazeh Houshiary
b. 1955
Untitled II signed and dated ‘Shirazeh Houshiary 03’ on the reverse ink, pencil and gesso on paper 40 x 40 cm (15 3/4 x 15 3/4 in.) Executed in 2003. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ‡ ♠ Provenance Lehmann Maupin, New York Acquired from the above by the present owner in 2004
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165. Tony Lewis
b. 1986
Wave at Children on School Buses signed and dated ‘TONY LEWIS ‘12’ on the reverse graphite powder on paper 126.6 x 181.5 cm (49 7/8 x 71 1/2 in.) Executed in 2012. Estimate £8,000-12,000 $10,000-14,900 €9,000-13,500 Provenance Shane Campbell Gallery, New York Brand New Gallery, Milan Acquired from the above by the present owner
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166. Andy Warhol
1928-1987
Hand with Flowers and Carnation/Diptychon stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc. on the reverse of the right sheet pen and oil on paper, diptych each 35.5 x 27.5 cm (13 7/8 x 10 7/8 in.) Executed circa 1961. Estimate £8,000-12,000 $10,000-14,900 €9,000-13,500 † Provenance The Estate of Andy Warhol Acquired from the above by the present owner
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167. Cecily Brown
b. 1969
Untitled signed and dated ‘Cecily Brown 99’ lower right monotype 74.8 x 98 cm (29 1/2 x 38 5/8 in.) Executed in 1999. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 ♠ Provenance Private Collection
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168. Andy Warhol
1928-1987
Kaye Ballard in the Golden Apple numbered ‘RR.30.9’ in pencil and stamped by the Andy Warhol Authentication Board Inc. on the reverse ink on paper 29.7 x 22 cm (11 3/4 x 8 5/8 in.) Executed in 1957. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 Provenance Guy Hepner, New York Acquired from the above by the present owner
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169. Andy Warhol
1928-1987
Clock This work is numbered ‘252 003’ and stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts on the reverse graphite on paper 27.9 x 21.6 cm (10 7/8 x 8 1/2 in.) Executed in 1953. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance The Estate of the Artist The Andy Warhol Foundation for the Visual Arts, New York (2014) Acquired from the above by the present owner
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170. Martin Kippenberger
1953-1997
98, Meistertöpferei am Luganer See photograph, adhesive flm in an artist’s frame 52 x 62 cm (20 1/2 x 24 3/8 in.) Executed in 1989. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠ Provenance Private Collection, Germany
171. Martin Kippenberger
1953-1997
Dabei wissen wir jetzt noch gar nicht photograph 60 x 50 cm (23 5/8 x 19 5/8 in.) Executed in 1986. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ♠ Provenance CCD Galerie, Dusseldorf PPS. Galerie F.C. Gundlach, Berlin Private Collection, Germany
172. Dennis Oppenheim
1938-2011
A Way Station Launching an Obsolete Power (A Thought Collision Factory in Pursuit of a Journey) (A Clip in a Rife - a Weapon) signed and dated ‘Dennis Oppenheim, 1979’ lower right edge and titled ‘A Way Station Launching an Obsolete Power’ along lower edge enamel, metallic paint and graphite on paper, in two parts 196 x 128 cm (77 1/8 x 50 3/8 in.) Executed in 1979. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 Provenance Ernst Beyeler Collection (1982) Christie’s, South Kensington, 14 September 2011, lot 202 Acquired at the above sale by the present owner
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173. Raymond Pettibon
b. 1957
Untitled (The best parts...) signed and dated ‘Raymond Pettibon 90’ on the reverse ink and watercolour on paper 34 x 33 cm (13 3/8 x 12 7/8 in.) Executed in 1990. Estimate £6,000 - 8,000 $7,500 - 10,000 €6,700 - 9,000 Provenance Private Collection Phillips, London, 17 February 2012, lot 154 Acquired at the above sale by the present owner
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174. Wolfgang Laib
b. 1950
Nirgendwo titled, signed and dated ‘“Nirgendwo” Laib 95’ lower right graphite on paper 35.5 x 28 cm (13 7/8 x 11 in.) Executed in 1995. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ♠ Provenance Private Collection
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175. Aya Takano
b. 1976
Untitled dated and signed ‘2003 TAKANOAYA’ lower centre ink and watercolour on paper 36.3 x 25.7 cm (14 1/4 x 10 1/8 in.) Executed in 2003. Estimate £1,000 - 2,000 $1,200 -2,500 €1,100 - 2,200 Provenance Private Collection
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176. Carol Bove
b. 1971
Untitled (Martha Rosler Collage) collage 58 x 125.5 cm (22 7/8 x 49 3/8 in.) Executed in 2001-2002 Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance David Zwirner, New York Private Collection Acquired from the above by the present owner
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177. Antony Gormley
b. 1950
Mind Movement titled, signed and dated ‘”Mind Movement” Antony Gormley ‘98’ on a label afxed to the reverse graphite on paper 9.5 x 14.7 cm (3 3/4 x 5 3/4 in.) Executed in 1998. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 ♠ Provenance Xavier Hufens, Brussels Acquired from the above by the present owner Exhibited Brussels, Xavier Hufens, Antony Gormley: Insiders, 21 January - 20 March 1999
178. Nicola Samorì
b. 1977
Rigor Vitae signed, dated and titled ‘Nicola Samorì 2007 “Rigor Vitae”’ on the reverse acrylic on aluminium 100 x 99 cm (39 3/8 x 38 7/8 in.) Painted in 2007 Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ♠ Provenance L’Ariete Gallery, Bologna Acquired from the above by the present owner
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179. David Noonan
b. 1969
Untitled numbered, dated and signed ‘1/3 2014 David Noonan’ on the reverse silkscreen on linen down laid on panel, in artist’s frame 77.5 x 57.4 cm (30 1/2 x 22 5/8 in.) Executed in 2014, this work is number 1 from an edition of 3. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Stuart Shave/Modern Art, London Acquired from the above by the present owner in 2014
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180. Philippe Pasqua
b. 1965
Vanité aux papillons (Vanity of Butterfies) butterfies and acrylic on resin, in artist’s Plexiglas box and plinth overall: 186 x 42 x 52 cm (73 1/4 x 16 1/2 x 20 1/2 in.) Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Acquired directly from the artist in 2011 Private Collection, Italy Dorotheum, Vienna, 11 June 2015, lot 1126 Acquired at the above sale by the present owner
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181. Germaine Richier
1902/1959
Juin 1940 incised with the artist’s initials ‘G.R’ lower lef bronze 16 x 11 cm (6 1/4 x 4 3/8 in.) Executed in 1940. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Private Collection Exhibited Winterthur, Kunstmuseum, René Auberjonois, peintures et dessins - Germaine Richier, sculptures, 28 November - 31 December 1942, no. 166 (another example exhibited) London, Anglo-French Art Centre, Sculpture of Germaine Richier, Engravings Studio of Roger Lacourière, September 1947, no. 2 (another example exhibited) Zurich, Kunsthaus, Germaine Richier, 12 June - 21 July 1963, no. 4 (another example exhibited)
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182. George Lappas
b. 1950
Sleepwalker iron, aluminum and cloth 214 x 41 x 60 cm (84 1/4 x 16 1/8 x 23 5/8 in.) Estimate £7,000-9,000 $8,700-11,200 €7,900-10,100 ♠ Provenance Private Collection
183. Michel François
b. 1956
Untitled metal, plaster and polystyrene 180 x 100 x 60 cm (70 7/8 x 39 3/8 x 23 5/8 in.) Executed in 2007. This work is accompanied by a certifcate of authenticity signed by the artist. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Xavier Hufens, Brussels (2007) Acquired from above by the present owner
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184. Jaume Plensa
b. 1955
SALT incised ‘SALT’ inner rim and numbered ‘5 - 6’ on the lower edge bronze and cotton towel 27 x 31.5 x 32 cm (10 5/8 x 12 3/8 x 12 5/8 in.) This work is number 5 from an edition of 6. Estimate £8,000-12,000 $10,000-14,900 €9,000-13,500 ♠ Provenance Subastas Segre, Madrid, 29 January 2008, lot 154 Acquired at the above sale present owner
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185. Claire Fontaine
est. 2004
111 Eighth Street (22.05.09), (The key is to the CCA gallery at the Wattis in SF) one metal key and satin ribbon 44.5 x 2.5 x 0.6 cm (17 1/2 x 1 x 1/4 in.) Executed in 2009. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ‡ ♠ Provenance Private Collection
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186. Tiril Hasselknippe
b. 1984
Untitled (Light Blue) pigmented polyester resin and fbre glass 186 x 51 x 8 cm (73 1/4 x 20 1/8 x 3 1/8 in.) Executed in 2014. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 ♠ Provenance Vestfossen Art Laboratory, Vestfossen Acquired from the above by the present owner in 2014
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187. Hema Upadhyay
b. 1972
Killing Site I acrylic, gouache, dry pastels and photographs on paper, aluminium sheet, enamel paint and found hardware material 229 x 122.5 x 81.5 cm (90 1/8 x 48 1/4 x 32 1/8 in.) Executed in 2008. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 Provenance Studio la Città, Verona Acquired from the above by the present owner
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188. Bharti Kher
b. 1969
189. Qiu Jie
b. 1961
Hungry Dogs Eat Dirty Pudding hair, fbreglass and plastic 40 x 100 x 125 cm (15 3/4 x 39 3/8 x 49 1/4 in.) Executed in 2004.
Portrait of Mao lead on paper 240 x 158 cm (94 1/2 x 62 1/4 in.) Executed in 2007.
Estimate £15,000-20,000 $18,700-24,900 €16,900-22,500 †
Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 †
Provenance Amelie Von Wedel, London Acquired from the above by the present owner
Provenance Acquired directly from the artist by the present owner in 2007
Exhibited London, Saatchi Gallery, The Empire Strikes Back, 29 January - 8 May 2010, exh. cat., p. 140
Exhibited London, Saatchi Gallery, The Revolution Continues: New Chinese Art, 8 October 2008 - 18 January 2009, exh. cat., p. 64-65
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190. Izumi Kato
b. 1969
Untitled dated and signed ‘2004 Kato’ on the reverse oil on canvas 35.4 x 60 cm (13 7/8 x 23 5/8 in.) Painted in 2004. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance Private Collection
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191. Li Shan
b. 1942
Inner Space signed and dated ‘Li Shan 2004’ in Chinese on the reverse acrylic on canvas 35.5 x 57.5 cm (14 x 22 5/8 in) Painted in 2004. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ‡ Provenance Private Collection
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192. Qi Zhilong
b. 1962
Consumer Icons No. 3, 1992 titled, dated and signed ‘“Consumer Icons No. 3” 1992 Qi Zhilong’ in Chinese on the front and again on the reverse oil on canvas 100.3 x 80 cm (39.5 x 31.5 in.) Painted in 1992. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 Provenance Schoeni Gallery, Hong Kong Phillips, London, 6 February 2007, lot 54 Acquired at the above sale by the present owner
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193. Yang Yongliang
b. 1980
Misty City signed, titled and numbered in Chinese on the right vertical. C-print 49 x 190 cm (19 1/4 x 74 3/4 in.) Executed in 2008. This work is number 5 from an edition is 7. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 Provenance Acquired directly from the artist by the present owner
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194. Li Shan
b. 1942
Mao 2 signed and dated ‘Li Shan 1995’ in English and Chinese upper right acrylic on canvas 68 x 71 cm (26 3/4 x 28 in) Painted in 1995. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ‡ Provenance Private Collection
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195. Li Shan
b. 1942
Fish as Man (Rouge Series) signed and dated ‘Li Shan 1999’ in English and Chinese on the reverse acrylic on canvas 135.9 x 112.1 cm (53 1/2 x 44 1/8 in) Painted in 1999. Estimate £6,000-8,000 $7,500-10,000 €6,700-9,000 ‡ Provenance Private Collection
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196. Philippe Pastor
b. 1961
Untitled (Blue Monochrome) pigment, adhesive, pine needles, tree bark, mixed media on canvas 205.5 x 400.8 cm (80 7/8 x 157 3/4 in.) Executed in 2013. Estimate £25,000-35,000 $31,100-43,600 €28,100-39,300 ‡ ♠ Provenance Nina Torres Fine Art, Miami Private Collection Exhibited Miami, Nina Torres Fine Art, Philippe Pastor, 1 October 2013 - 30 February 2014
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197. Philippe Pastor
b. 1961
Untitled (blue painting) dedicated, signed and dated ‘Pour Thirry avec toute mon amitie Pastor 16.7.11’ on the reverse pigments and oil on canvas 130.2 x 125.4 cm (51 1/4 x 49 3/8 in.) Executed in 2011. Estimate £12,000-18,000 $14,900-22,400 €13,500-20,200 ♠ Provenance Galerie Palmer, Paris Acquired from the above by the present owner
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198. Andy Denzler
b. 1965
Echo Lake signed and dated ‘Andy Denzler 2010’ on the reverse oil on canvas 150.5 x 150.5 cm (59 1/4 x 59 1/4 in.) Painted in 2010. Estimate £10,000-15,000 $12,500-18,700 €11,200-16,900 Provenance Galerie von Braunbehrens, Munich Private Collection, Munich (2010)
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199. Stanley Casselman
b. 1963
IR-34-14 signed, titled and dated ‘Stanley Casselman “IR-34-14” 2013’ on the reverse acrylic on canvas 135 x 135 cm (53 1/8 x 53 1/8 in.) Painted in 2013. Estimate £18,000-25,000 $22,400-31,100 €20,200-28,100 Provenance Untitled Art Ltd, London Private Collection, London
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200. John Kørner
b. 1967
The Ice acrylic on canvas 180.4 x 240 cm (71 x 94 1/2 in.) Painted in 2004. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 ♠ † Provenance Victoria Miro, London Acquired from the above by the present owner in 2004 Exhibited London, Victoria Miro, Painting 2004: Group Exhibition, 30 March - 24 April 2004
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201. Sayre Gomez
b. 1982
Untitled Painting in Cerulean signed ‘Sayre 2014’ on the reverse acrylic on canvas 152.4 x 127 cm (60 x 50 in.) Executed in 2014. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 Provenance Brand New Gallery, Milan Acquired from the above by the present owner
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202. Oona Ratclife
b. 1975
Duskier Cries signed, titled and dated ‘Oona Ratclife “Duskier Cries” 2004’ twice on the reverse acrylic on canvas 162.3 x 209 cm (63 7/8 x 82 1/4 in.) Executed in 2004. Estimate £5,000-7,000 $6,200-8,700 €5,600-7,900 Provenance gallery nine5, New York Acquired from the above by the present owner
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203. Russell Young
b. 1959
Magnifcent Seven signed and numbered ‘Russell Young 7/10’ on the reverse screenprint on canvas 60.3 x 101.6 cm (23 3/4 x 40 in.) Executed in 2007. This work is number 7 from an edition of 10. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Guy Hepner, New York Acquired from the above by the present owner
204. Russell Young
b. 1959
Sid Vicious signed and numbered ‘Russell Young 3/10’ on the reverse screenprint on canvas 95 x 73.7 cm (37 3/8 x 29 in.) Executed in 2006. This work is number 3 from an edition of 10. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 ♠ Provenance Guy Hepner, New York Acquired from the above by the present owner
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205. Russell Young
b. 1959
Marilyn Crying signed, dated, titled and inscribed ‘Russell Young 2010 “Marilyn Crying” RY2010 white + blue’ on the reverse acrylic, enamel, diamond dust and screenprint on linen 157.5 x 120.5 cm (62 x 47 1/2 in.) Executed in 2010.
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Estimate £8,000-12,000 $10,000-14,900 €9,000-13,500 ♠ Provenance Guy Hepner, New York Acquired from the above by the present owner
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Sold with no reserve Lots 206â&#x20AC;&#x201C;244
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Support the ICA Moscow!
The following section brings together works donated by former and current students of the Institute of Contemporary Art (ICA), Moscow. These 11 lots are being sold without reserve in order raise money in support of the ICA. The ICA is one of the most respected educational institutions dedicated to Contemporary Art in Russia, established in 1991. The institute provides a dynamic and creative platform for the practice and discussion of Post-Soviet visual culture. By bidding on these works, you will be supporting the institute and acquiring works by internationally established and emerging practitioners.
This lot is sold with no reserve 2 06. Taisia Korotkova
b. 1980
Large Hadron Collider etching each 25 x 25 cm (9 7/8 x 9 7/8 in.) Executed in 2012. Each work is from an edition of 16. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 • ‡ Provenance Donated by the artist
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This lot is sold with no reserve 207. Natalia Zintsova
b. 1971
Privates C-print each 26 x 36 cm (10 1/4 x 14 1/8 in.) Executed in 2013. This work is number 1 from an edition of 1 plus 1 artist’s proof. Estimate £1,500-2,500 $1,900-3,100 €1,700-2,800 • ‡ Provenance Donated by the artist Exhibited St. Petersburg, The State Memorial Museum of Alexander Suvorov, My Defense, 14 September - 13 October 2013
This lot is sold with no reserve 208. Ustina Yakovleva
b. 1987
Untitled ink and acrylic on canvas 40 x 50 cm (15 3/4 x 19 5/8 in.) Executed in 2012. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • ‡ Provenance Donated by the artist Exhibited Garage Gallery, We Art, Moscow, 2012
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This lot is sold with no reserve 2 09. Ekaterina Platonova
b. 1993
Dynamics-1 acrylic on canvas, tripytch each 120 x 90 cm (47 1/4 x 35 3/8 in.) overall 120 x 270 cm (47 1/4 x 106 1/4 in.) Executed in 2015. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 • ‡ Provenance Donated by the artist Exhibited Moscow, Fabrika, Body, 2016
This lot is sold with no reserve 210. Rostan Tavasiev
b. 1976
Ugly Duckling acrylic and polyester on canvas 90 x 120 cm (35 3/8 x 47 1/4 in.) Executed in 2012. Estimate £3,000-5,000 $3,700-6,200 €3,400-5,600 • ‡ Provenance Donated by the artist Exhibited Krasnoyarsk, Krasnoyarsk Museum Centre, 2012
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This lot is sold with no reserve 211. Irina Korina
b. 1977
Untitled acrylic and pen on vinyl 84 x 95 cm (33 1/8 x 37 3/8 in.) Executed in 2006. Estimate £1,000-2,000 $1,200-2,500 €1,100-2,200 • ‡ Provenance Donated by the artist Exhibited Moscow, Museum of Modern Art, Urban Formalism, 1 March - 1 April 2007
This lot is sold with no reserve 212. Irina Korina
b. 1977
Untitled acrylic and pen on vinyl 102 x 74 cm (40 1/8 x 29 1/8 in.) Executed in 2006. Estimate £1,000-2,000 $1,200-2,500 €1,100-2,200 • ‡ Provenance Donated by the artist Exhibited Moscow, Museum of Modern Art, Urban Formalism, 1 March - 1 April 2007
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This lot is sold with no reserve 213. Daria Neretina
This lot is sold with no reserve b.1988
Agarics porcelain, in three parts each 10 x 12 x 12 cm (3 7/8 x 4 3/4 x 4 3/4 in.) Executed in 2006. Estimate £500-1,000 $620-1,200 €560-1,100 • ‡ Provenance Donated by the artist
214. Ivan Mikhailov
b. 1981
Three works in One Lot: Untitled (From the series Winter Life) c-print, in three parts 30 x 30 cm (11 3/4 x 11 3/4 in.) Executed in 2010. Each work is from an edition of 10. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • ‡ Provenance Private Collection
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This lot is sold with no reserve 215. Sofia Ovchinnikova
b. 1993
Escape Way mixed media dimensions variable Executed in 2015 Estimate £1,000-2,000 $1,200-2,500 €1,100-2,200 • ‡ Provenance Donated by the artist Exhibited Moscow, Institute of Contemporary Art, Security, 2015 Moscow, Russian State University for the Humanities, Point of View, 2016
This lot is sold with no reserve 216. Maria Cheloyants
b. 1982
Unicorn neon 80 x 70 cm (31 1/2 x 27 1/2 in.) Executed in 2016. This work is from an edition of 4 plus 1 artist’s proof. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • ‡ Provenance Donated by the artist
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217. Piotr Uklański
b. 1968
Untitled (Grey Goose) chromogenic print face mounted to Plexiglas 35 x 45 cm (13 3/4 x 17 3/4 in.) Executed in 1998, this work is number 1 from an edition of 5. Estimate £1,000-2,000 $1,200-2,500 €1,100-2,200 • ♠ Provenance Gavin Brown’s Enterprise, New York Private Collection Phillips de Pury & Company, London, 20 November 2007, lot 100 Acquired at the above sale by the present owner
This lot is sold with no reserve
218. Sean Kennedy
b. 1983
Untitled signed ‘Kennedy’ on the stretcher synthetic suede 152.7 x 122.3 cm (60 1/8 x 48 1/8 in.) Executed in 2012. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • Provenance Thomas Duncan Gallery, Los Angeles Acquired from the above by the present owner
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219. Aaron Bobrow
b. 1985
Suspended Reality signed and dated ‘Aaron Bobrow 2011’ on the overlap tarp on wooden stretcher 55.9 x 43.2 cm (22 x 17 in.) Executed in 2011. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • † Provenance Brand New Gallery, Milan Acquired from the above by present owner
This lot is sold with no reserve
220. Umberto Mariani
b. 1936
Taghelmoust: Il Velou (Taghelmoust:The Veil) signed, dated, titled and inscribed ‘U. Mariani 7/2012 “Tagelmoust: Il Velou” 2-199’ on the backing board of the frame vinyl and sand on lead leaf, in artist’s frame 28 x 19.7 cm (11 x 7 3/4 in.) Executed in 2012. This work is number 3 from an edition of 9. This work is accompanied by a certifcate of authenticity signed by the artist. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • ♠ Provenance Private Collection
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This lot is sold with no reserve
221. Marcel Dzama
b. 1974
Gruenfeld Defense signed ‘Marcel Dzamal’ lower lef collage on paper 30.5 x 22.9 cm (12 x 9 in.) Executed in 2007. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • † Provenance Timothy Taylor Gallery, London Private Collection, London
This lot is sold with no reserve
222. Bryan Hunt
b. 1947
Cairn #IV signed and dated ‘Bryan Hunt 98’ on the base of the sculpture bronze on graphite base overall 123.8 x 77.5 x 94 cm (48 3/4 x 30 1/2 x 37 in.) plinth 85.4 x 27.9 x 27.9 cm (33 5/8 x 10 7/8 x 10 7/8 in.) Executed in 1998. This work is number 2 from an edition of 4. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 • ‡ Provenance Private Collection Phillips, New York, 7 March 2014, lot 292 Acquired at the above sale by the present owner
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223. Banks Violette
b. 1973
Untitled (Broken Beer Bottle) aluminium, wood, tinted epoxy resin, salt, polyurethane 21 x 61.3 x 31.5 cm (8 1/4 x 24 1/8 x 12 3/8 in.) Executed in 2005. This work is number 7 from an edition of 20. Estimate £1,000-2,000 $1,200-2,500 €1,100-2,200 • Provenance Maureen Paley, London Acquired from the above by the present owner
This lot is sold with no reserve
224. Davis Rhodes
b. 1983
Untitled enamel on foam board 243.8 x 122.2 cm (95 7/8 x 48 1/8 in.) Executed in 2008. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • † Provenance Ofce Baroque, Brussels Acquired from the above by the present owner
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This lot is sold with no reserve
225. Marcus Harvey
b. 1963
Football signed, titled and dated ‘Marcus Harvey “Football” 2006’ on a label afxed to the reverse oil on canvas 280 x 280 cm (110 1/4 x 110 1/4 in.) Painted in 2006. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • ♠ Provenance Galleria Marabini, Bologna Acquired from the above by the present owner
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226. Ryan Conrad Sawyer
b. 1983
B.P.24 titled, dated and signed ‘“B.P. 24” 2014 Ryan Conrad Sawyer’ on the reverse black powder soot and fxative on canvas 152.5 x 122 cm (60 x 48 in.) Executed in 2014. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • Provenance Brand New Gallery, Milan Acquired from the above by the present owner
This lot is sold with no reserve
227. Natalie Silva
b. 1962
Swan signed ‘Natalie Silva’ on the reverse carbon and mixed media on canvas 50 x 50 cm (19 5/8 x 19 5/8 in.) Executed in 2015. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 •♠ Provenance Private Collection Exhibited Sanremo, Casino Di Sanremo, Give Me Five, CASINO’ DI SANREMO, 23 May - 2 June 2015
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228. Li Wen
b. 1966
Cut in Half titled, dated and signed ‘“Cut in Half”, 1996, Li Wen [in Chinese]’ on the reverse black and white photograph 30 x 36 in. (76.2 x 91.4 cm) Executed in 1996. This work is from an edition of 10. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • ‡ Provenance Private Collection Literature Q. Zhu, Chinese Avant-Garde Photography since 1990, Hunan 2004, p. 44 (illustrated) H. Wu, ed., The First Guangzhou Triennial – Reinterpretation: A Decade of Experimental Chinese Art (1990 – 2000), Guangdong 2002, p. 47 (illustrated)
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229. Erwin Wurm
b. 1954
Two Ways of Carrying a Bomb c-print on aluminium 126 x 183 cm (49 1/2 x 72 in) Executed in 2003. This work is from an edition of 5. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • ♠ Provenance Private Collection
This lot is sold with no reserve
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230. Sergey Bratkov
b. 1960
#1 (from the Sailors Series) colour transparency on lightbox 85 x 60 x 20 cm. (33 1/2 x 23 5/8 x 7 7/8 in) Executed in 2001. This work is from an edition of 10. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • Provenance Regina Gallery, Moscow Private Collection
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231. Igor Kopystiansky
b. 1954
Portrait signed, titled and dated ‘I. Kopystianski “Portrait” 1983’ in Cyrillic on the reverse oil and varnish on canvas 140.7 x 100.3 cm (55 3/8 x 39 1/2 in.) Executed in 1983. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 •‡ Provenance Private Collection
This lot is sold with no reserve
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232. Shen Xiaotong
b. 1968
Diary of Temptation No. 23 signed, titled and dated ‘Shen Xiaotong “Diary of Temptation no. 23” 1997’ on the reverse oil on canvas 89.9 x 89.9 cm (35 3/8 x 35 3/8 in.) Painted in 1997. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • Provenance Schoeni Gallery, Hong Kong Private Collection
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233. Igor Kopystiansky
b. 1954
Restored Portrait #1 signed, titled and dated ‘I. Kopystianski “Restored Portrait” 1984’ in English and Cyrillic on the reverse oil and varnish on canvas 90.5 x 70.2 cm (35 5/8 x 27 5/8 in.) Executed in 1984. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 •‡ Provenance Private Collection
This lot is sold with no reserve
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234. Wang Qiang
b. 1963
Untitled dated and signed ‘2000.2.25 Wang Qing’ on lower central edge of jacket jacket, oil paint and rabbit fur 128 x 128 cm (50 3/8 x 50 3/8 in.) Executed in 2000. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • Provenance ofCina Ltd, Beijing Private Collection
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lot 235
lot 236
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235. Djordje Ozbolt
b. 1967
Hello Gorgeous signed and dated ‘Djordje Ozbolt 2009’ on the reverse oil on board 160.1 x 170.2 cm (63 x 67 in.) Painted in 2009. Estimate £4,000-6,000 $5,000-7,500 €4,500-6,700 • Provenance Private Collection
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236. José Bedia
b. 1959
Finalmente un Dialogo (Finally a Dialogue) titled ‘Finalmente in Dialogo’ upper lef; signed and dated ‘J. Bedia 00’ lower right oil on canvas 172.7 x 284.5 cm (67 7/8 x 112 in.) Painted in 2000. This work is accompanied by a photograph signed by the artist. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • Provenance Annina Nosei Gallery, New York Private Collection
This lot is sold with no reserve
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237. Gloria Friedmann
b. 1950
Nightfall snakeskin covered pedestal and crow feathers in glass vitrine 203.5 x 27 x 27 cm (80 1/8 x 10 5/8 x 10 5/8 in.) Executed in 1988. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • ♠ Provenance Private Collection
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lot 237
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This lot is sold with no reserve
∆
238. Lydia Dona
b. 1955
Fields and Zones of Germinality and Flowers Signed, titled and dated ‘Ludia Dona “Fields and Zones of Germinality and Flowers” 1998’ on the reverse oil, acrylic on canvas 213.4 x 162.6 cm. (84 x 64 in.) Painted in 1998. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • Provenance Private Collection Phillips, London, 15 March 2008, lot 255 Acquired at the above sale by the present owner
This lot is sold with no reserve
∆
239. Zhang Dali
b. 1963
Dialogue titled, dated and signed ‘“Dialogue” 1999 Zhang Dali’ in Chinese on the overlap inkjet print on canvas 27.9 x 40 cm (10 7/8 x 15 3/4 in.) Executed in 1999. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 •‡ Provenance Private Collection
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This lot is sold with no reserve
∆
240. Yuri Dyshlenko
1936-1995
Return to Landscape signed, titled and dated ‘Yuri Dyshlenko “Return to Landscape’ 1986’ in Cyrillic on the reverse acrylic on canvas 90 x 70 cm (35 3/8 x 27 1/2 in.) Painted in 1986. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 •‡ Provenance Private Collection
This lot is sold with no reserve
∆
241. Moisés Finalé
b. 1957
Entre tú y yo el Blanco de tu Cuerpo signed, titled and dated ‘“ENTRE LOS DOS” O EL BLANCO DE TU CUERPO 2005 M Finalé’ on the reverse mixed media on canvas 130 × 195 cm (51 1/4 × 76 3/4 in) Executed in 2005. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • Provenance Galería Habana, Havana Private Collection Exhibited Havana, Galería Habana, Moisés Finalé: Simulacres Atypiques, 2005, exh., cat. p. 16-17 (illustrated)
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This lot is sold with no reserve
∆
242. Richard Wright
b. 1960
Untitled ink on paper 81.4 x 116.9 cm (32 x 46 in) Executed circa 2004. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • ‡ ♠ Provenance Cubitt Gallery, London Phillips, London, 14 October 2010, lot 167 Acquired at the above sale by the present owner
This lot is sold with no reserve
∆
243. Hong Hao
b. 1965
Selected scriptures I: Drawing of a Revolutionary Modern Opera titled ‘Selected Scriptures I: Drawing of a Revolutionary Modern Opera’ in Chinese; numbered ‘of 12’ along central lower edge; further signed and dated ‘Hong Hao 1988.7” in Chinese, lower right. silkscreen, graphite and ink on paper 43.2 x 71.1 cm (17 x 27 7/8 in.) Executed in 1988. This work is from an edition of 12.
Provenance Private Collection Literature Hao Hong, Hong Hao, Beijing, 2004, p. 105 (illustrated) Shu Wu, Reinventing Books in Contemporary Chinese Art, New York, 2006, p. 44 (illustrated)
Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • ‡
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This lot is sold with no reserve
∆
244. Polly Apfelbaum
b. 1955
Rubbing Colours oil and velvet swatches on canvas 232.4 x 200.6 cm (91 1/2 x 78 7/8 in.) Executed in 1995. Estimate £2,000-3,000 $2,500-3,700 €2,200-3,400 • Provenance Studio La Città, Verona Private Collection
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Guide for Prospective Buyers Buying at Auction 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.
Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.
Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller. Bidders should also read the Important Notices and VAT information immediately following this Guide for Prospective Buyers.
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.
Buyer’s Premium Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £100,000, 20% of the portion of the hammer price above £100,000 up to and including £1,800,000 and 12% of the portion of the hammer price above £1,800,000.
O ♦ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ♦. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated accordingly. The compensation will be a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the remuneration may be netted against the fnal purchase price. If the lot is not sold, the third party may incur a loss.
VAT Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium. The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the VAT and Other Tax Information for Buyers section in this catalogue. 1 Prior to Auction Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +44 20 7318 4010 or +1 212 940 1240. Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or VAT. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.
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Symbol Key The following key explains the symbols you may see inside this catalogue.
∆ 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.
♠ Property Subject to the Artist’s Resale Right Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of the hammer price and payable as part of the purchase price as follows: Portion of the Hammer Price (in EUR) From 0 to 50,000 From 50,000.01 to 200,000 From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000
Royalty Rate 4% 3% 1% 0.5% 0.25%
The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank. ∑ 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. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale.
†, §, ‡, or Ω Property Subject to VAT Please refer to the section entitled ‘VAT and Other Tax Information for Buyers’ in this catalogue for additional information. 2 Bidding in the Sale Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. Please note that buyers bidding in person, by telephone, online or by absentee bid will not have the right to cancel the sale of any lot purchased under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013.
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Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow 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. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com. The digital saleroom is optimised 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 Flash Player. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. 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 UK£5,000 to UK£10,000 UK£10,000 to UK£20,000 UK£20,000 to UK£30,000 UK£30,000 to UK£50,000 UK£50,000 to UK£100,000 UK£100,000 to UK£200,000 above UK£200,000
by UK£50s by UK£100s by UK£200s by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) by UK£500s by UK£1,000s by UK£2,000s by UK£2,000s, 5,000, 8,000 by UK£5,000s by UK£10,000s at the auctioneer’s discretion
The auctioneer may vary the increments during the course of the auction at his or her own discretion. 3 The Auction Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.
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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; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is 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. 4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements have been agreed with Phillips in writing in advance of the sale. Payment must be made in pounds sterling either by cash, cheque drawn on a UK bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of the local currency equivalent of US$10,000. Credit Cards As a courtesy to clients, Phillips will accept American Express, Visa, MasterCard, UnionPay (for in-person transactions only) and UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. After the auction, we will transfer all lots to our fine art storage facility located near Wimbledon and will so advise all buyers. If you are in doubt about the location of your purchase, please contact the Shipping Department prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots. Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction. Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. We do not provide packing, handling or shipping services directly. However, 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. Export and Import Licences 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
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Sell with us. 20th Century & Contemporary Art Day Auction London, 7 February 2016 Phillips’ 20th Century & Contemporary Art Day sale brings together the best of the 20th & 21st centuries, ofering works that add breadth and depth, colour and counterpoint, mix and context to collections. Andy Warhol Toy Series, 1983 acrylic and silkscreen on canvas 28 x 35.5 cm. (11 x 137/8 in.) Estimate £50,000-70,000
If you would like to sell a work of art through us in our upcoming auction please contact: Tamila Kerimova, Head of Day Sale tkerimova@phillips.com, +44 20 7318 4065
phillips.com
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VAT and Other Tax Information for Buyers 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.
Important Notices Items Sold under Temporary Admission We wish to draw your attention to changes recently made to items sold under temporary admission (originally called temporary importation). The cancelling or refunding of applicable VAT is now subject to items being exported from the EU within 30 days of payment, rather than 90 days from the date of sale as previously required. For up-to-date information on this matter, please refer to the section entitled VAT and Other Tax Information for Buyers below. 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.
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The following paragraphs provide general information to buyers on the VAT and certain other potential tax implications of purchasing property at Phillips. This information is not intended to be complete. In all cases, the relevant tax legislation takes precedence, and the VAT rates in effect on the day of the auction will be the rates charged. It should be noted that, for VAT purposes only, Phillips is not usually treated as agent and most property is sold as if it is the property of Phillips. In the following paragraphs, reference to VAT symbols shall mean those symbols located beside the lot number or the pre-sale estimates in the catalogue (or amending saleroom addendum). 1 Property with No VAT Symbol Where there is no VAT symbol, Phillips is able to use the Auctioneer’s Margin Scheme, and VAT will not normally be charged on the hammer price. Phillips must bear VAT on the buyer’s premium. Therefore, we will charge an amount in lieu of VAT at 20% on the buyer’s premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified. 2 Property with a † Symbol These lots will be sold under the normal UK VAT rules, and VAT will be charged at 20% on both the hammer price and buyer’s premium. Where the buyer is a relevant business person in the EU (non-UK) 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 being provided with 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 then VAT will be charged on the buyer’s premium. 3 Property with a § Symbol Lots sold to buyers whose registered address is in the EU will be assumed to be remaining in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer advises us that the property is to be exported from the EU, Phillips will re-invoice the property under the normal VAT rules. Lots sold to buyers whose address is outside the EU will be assumed to be exported from the EU. The property will be invoiced under the normal VAT rules. Although the hammer price will be subject to VAT, the VAT will be cancelled or refunded upon export. The buyer’s premium will always bear VAT unless the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country, 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. 4 Property Sold with a ‡ or Ω Symbol These lots have been imported from outside the EU to be sold at auction under temporary admission. Property subject to temporary admission will be offered under the Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 20%, marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 20% on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin Scheme should notify the Client Accounting Department before the sale. Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant business person in the EU (non-UK) 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.
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5 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 the normal VAT rules (i.e., with a † or a § symbol). The following type of VAT may be cancelled or refunded by Phillips on exports made within 30 days of 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 should 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 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 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 payment date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20.
6 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. All claims made by customers located in another member state to the UK will need to be made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is no longer in operation. If you are located in an EU member state other than the UK you will now 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. Furthermore, from 1 January 2010 you should only submit one form per year, rather than submitting forms throughout the year. Please note that the time limits by which you must make a claim have been extended. When making a claim for VAT incurred in another EU member state any claim will still be made on a calendar year basis but must now be made no later than 30 September following that calendar year. This effectively extends the time by which claims should be made by three months (e.g., for VAT incurred in the year 1 January to 31 December 2010 you should make a claim to your local tax authority no later than 30 September 2011). 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 (the rules for those located outside of the EU have not changed). Claim forms are only available from the HMRC website. Go to hmrc.gov.uk, select Forms under Quick Links and then Find a Form. The relevant form is VAT65A. Completed forms should be returned to: HM Revenue & Customs, VAT Overseas Repayments, 8th/13th Directive, PO Box 34, Foyle House, Duncreggan Road, Londonderry BT48 7AE, Northern Ireland, (tel) +44 (0)2871 305100 (fax) +44 (0)2871 305101, email enq.oru.ni@hmrc.gsi.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 2011 to 30 June 2012 should be made no later than 31 December 2012). 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. 7 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.
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.
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Conditions of Sale The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the Important Notices and VAT information following the Guide for Prospective Buyers 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 presale estimates for any lot and the actual price achieved at auction or upon resale.
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4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the Absentee Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.
(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (h) Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.
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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 £100,000, 20% of the portion of the hammer price above £100,000 up to and including £1,800,000 and 12% of the portion of the hammer price above £1,800,000. 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.
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(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 either by cash, cheque drawn on a UK bank or wire transfer, as follows: (i) Phillips will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed the local currency equivalent of US$10,000.
(ii) Personal cheques and banker’s drafs are accepted if drawn on a UK bank and the buyer provides to us acceptable government-issued identifcation. Cheques and banker’s drafs should be made payable to Phillips Auctioneers Ltd. If payment is sent by post, please send the cheque or banker’s draf to the attention of the Client Accounting Department at 30 Berkeley Square, London, W1J6EX and ensure that the sale number is written on the cheque. Cheques or banker’s drafs drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips. Bank transfer details: Bank of Scotland Gordon Street, Glasgow G1 3RS, Scotland Account of Phillips Auctioneers Ltd. Account No: 00440780 Sort code: 80-54-01 SWIFT/BIC: BOFSGB21138 IBAN: GB36BOFS80540100440780 (e) As a courtesy to clients, Phillips will accept American Express, Visa, MasterCard, UnionPay (for in-person transactions only) and UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply. (f) 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 anti-money 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 fine art storage facility located near Wimbledon and will so advise all buyers. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.
(c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a storage fee of £10 per day for each uncollected lot. Additional charges may apply to oversized lots. We will not release purchased lots to the buyer until all such charges have been paid in full.
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Sell with us. Editions Evening & Day Auctions London, 19 January 2017 Phillips defnes the Editions category. Our 2016 global auctions achieved a sales total of $18.2m with auction records achieved for 25% of all lots sold. Our London January sales will kick-start the new season with museum-quality, original artist prints and multiples - inviting collectors to add the heavyweights of contemporary and modern art to their collections. If you would like to sell a work of art through us in our upcoming auction, please contact: Robert Kennan, Head of Editions, Europe editionslondon@phillips.com
Jean Dubufet Le Tétrascopique, 1971 Screenprint in colours, on four polyvinyl chloride panels Estimate £25,000–35,000
phillips.com
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(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 sale-related 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
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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 Data Protection (a) In connection with the supply of auction and related services, or as required by law, Phillips may ask clients to provide personal data. Phillips may take and retain a copy of government-issued identification such as a passport or driving licence. We will use your personal data (i) to provide auction and related services; (ii) to enforce these Conditions of Sale; (iii) to carry out identity and credit checks; (iv) to implement and improve the management and operations of our business and (v) for other purposes set out in our Privacy Policy published on the Phillips website at www.phillips.com (the ‘Privacy Policy’) and available on request by emailing dataprotection@phillips.com. By agreeing to these Conditions of Sale, you consent to our use of your personal data, including sensitive personal data, in accordance with the Privacy Policy. The personal data we may collect and process is listed, and sensitive personal data is defined, in our Privacy Policy. Phillips may also, from time to time, send you promotional and marketing materials about us and our services. If you would prefer not to receive such information, please email us at dataprotection@phillips.com. Please also email us at this address to receive information about your personal data or to advise us if the personal data we hold about you is inaccurate or out of date. (b) In order to provide our services, we may disclose your personal data to third parties, including professional advisors, shippers and credit agencies. We will disclose, share with and transfer your personal data to Phillips’s affiliated persons (natural or legal) for administration, sale and auction related purposes, including to persons outside the European Economic Area (EEA), where national laws may not provide an equivalent level of protection to personal data as that provided within the EEA. You expressly consent to such transfer of your personal data, including sensitive personal data, outside the EEA. We will not sell, rent or otherwise transfer any of your personal data to third parties except as otherwise expressly provided in this Paragraph 12. (c) Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy. 13 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot.
(b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts
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Authorship Warranty 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.
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.
(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.
(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.
(d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.
(b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.
(b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.
(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer. 16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.
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Dame Elisabeth Frink Tribute II, 1975 Bronze 69.9 cm. (27.5 in.) high Estimate ÂŁ150,000â&#x20AC;&#x201C;250,000 To be ofered February 2017
Modern. British. Now. 20th Century & Contemporary Art Evening & Day Sales London, 6 & 7 February 2017 Phillips presents exceptional sales of the most sought-afer 20th century and contemporary artworks. Building on our recent successes, we are expanding our ofering of Modern British Art within the context of these sales. If you would like advice on selling a Modern British work of art through us in our upcoming auctions please contact: Jonathan Horwich, Senior Specialist jhorwich@phillips.com, +44 20 7901 7935
phillips.com
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Executive Management Chairman & CEO Edward Dolman Senior Advisors to the CEO Hugues Joffre, Chairman, UK & Europe Francesco Bonami Arnold Lehman Senior Directors Jean-Paul Engelen Henry Allsopp Vanessa Hallett Cary Leibowitz Zach Miner Scott Nussbaum Peter Sumner Kelly Troester Senior Consultants Aurel Bacs Livia Russo Directors Alex Heminway Nazgol Jahan Paul Maudsley
Worldwide Deputy Chairman Svetlana Marich
Chief of Staf Lisa King
Deputy Chairman Robert Manley
Chief Financial Ofcer Annette Schwaer
Deputy Chairman, Europe & Asia and International Head of Business Development Matt Carey-Williams
Chief Creative & Marketing Ofcer Damien Whitmore
Deputy Chairmen, Europe & Asia Finn Schouenborg Dombernowsky Alexander Payne
Chief General Counsel Richard Aydon Chief Operating Ofcer, Americas Sean Cleary
Deputy Chairman, Americas August O. Uribe
Chief Operating Ofcer, UK, Europe & Asia Frank Lasry
Deputy Chairmen, Asia Jonathan Crockett Sam Hines
International Business Directors Bart van Son, 20th Century & Contemporary Art Myriam Christinaz, Jewelry, Watches, & Business Development Senior Directors, Human Resources Jennifer Garvin Nicola Mason Strategy Projects Director Caroline Conegliano
International Specialists & Regional Directors Chicago Carol Ehlers Specialist, Consultant +1 773 230 9192
Los Angeles Blake Koh Regional Director +1 323 383 3266
Cologne Dr. Alice Trier Specialist +49 173 25 111 69
Mexico Cecilia Laffan Regional Director +52 1 55 5413 9468
Denver Melyora de Koning Senior Specialist +1 917 657 7193
Miami Valentina Garcia Specialist +1 917583 4983
Geneva Oksana Katchaluba Specialist +41 22 906 80 00
Moscow Kalista Fenina Specialist +7 905 741 15 15
Italy Carolina Lanfranchi Specialist, Consultant +39 33 8924 1720
Paris Maria Cifuentes Caruncho Specialist +33 142 78 67 77
Istanbul Deniz Atac Specialist, Consultant +90 533 374 1198
Portugal Maura Marvão Specialist, Consultant +351 917 564 427
Japan Kyoki Hattori Regional Director +81 90 2245 6678
Seattle Silvia Coxe Waltner Regional Director +1 206 604 6695
Korea Jane Yoon International Specialist +82 10 7389 7714
Taiwan Cindy Yen Specialist +886 963 135 449
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Chief Communications & PR Ofcer Michael Sherman
Associate General Counsel Jonathan Illari
Worldwide Ofces Sale Rooms
Regional Ofces
New York 450 Park Avenue New York, NY 10022, USA tel +1 212 940 1200 fax +1 212 940 1378
Istanbul Meclisi Mebusan Caddesi Deniz Apartmani No. 79/8 Istanbul Beyoglu 34427, Turkey tel +90 533 374 1198
London 30 Berkeley Square London W1J 6EX, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011
Milan Via Monte di Pietà, 1/A Milan 20121
Geneva 15 quai de l’Ile 1204 Geneva, Switzerland tel +41 22 317 81 81 fax +41 22 317 81 80 Hong Kong Room 1301-13/F, York House, The Landmark Building, 15 Queen’s Road Central, Hong Kong tel +852 2318 2000 fax +852 2318 2002
Moscow Nikolskaya Str 19–21, 5th foor, 109012 Moscow, Russia tel +7 495 225 88 22 fax +7 495 225 88 87 Paris 46 rue du Bac, 75007 Paris, France tel +33 1 42 78 67 77 fax +33 1 42 78 23 07
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Specialists and Departments 20th Century & Contemporary Art Jean-Paul Engelen, Worldwide Co-Head 20th Century & Contemporary Art Robert Manley Worldwide Co-Head of 20th Century & Contemporary Art Jonathan Crockett Head of 20th Century & Contemporary Art, Asia August O. Uribe Bart Van Son New York Scott Nussbaum, Head of 20th Century & Contemporary Art, New York Kate Bryan, Head of Evening Sale John McCord, Head of Day Sale Rebekah Bowling, Head of New Now Sale Zach Miner Rachel Adler Rosan Kevie Yang Karen Garka-Prince Amanda Lo Iacono Katherine Lukacher Samuel Mansour Annie Dolan Paula Campolieto Carolyn Mayer Maiya Aiba London Peter Sumner, Head of Contemporary Art, London Henry Highley, Head of Evening Sale Tamila Kerimova, Head of Day Sale Jonathan Horwich Nathalie Zaquin-Boulakia Matthew Langton Iori Endo Simon Tovey Alex Dolman Ava Carleton-Williams Chiara Panarello Florencia Moscova Hong Kong Sandy Ma, Head of Sale Charlotte Raybaud Annie Tang Latin American Art Henry Allsopp, Worldwide Head Kaeli Deane, Head of Sale Valentina Garcia Carolina Scarborough Isabel Suarez
Design Alexander Payne, Worldwide Head, Design +1 212 940 1390 +1 212 940 1358 +852 2318 2023 +1 212 940 1208 +44 20 7318 7912
+1 212 940 1354 +1 212 940 1267 +1 212 940 1261 +1 212 940 1250 +1 212 940 1256 +1 212 940 1333 +1 212 940 1254 +1 212 940 1204 +1 212 940 1260 +1 212 940 1215 +1 212 940 1219 +1 212 940 1288 +1 212 940 1255 +1 212 940 1212 +1 212 940 1387 +44 20 7318 4063 +44 20 7318 4061 +44 20 7318 4065 +44 20 7901 7935 +44 20 7901 7931 +44 20 7318 4074 +44 20 7318 4039 +44 20 7318 4084 +44 20 7901 7911 +44 20 7901 7904 +44 20 7318 4073 +44 20 7318 4082 +852 2318 2025 +852 2318 2026 +852 2318 2024
+44 20 7318 4060 +1 212 940 1352 +1 917 583 4983 +1 212 940 1391 +1 212 940 1227
Modern and Contemporary Editions Cary Leibowitz, Worldwide Co-Head Kelly Troester, Worldwide Co-Head
+1 212 940 1222 +1 212 940 1221
New York Jannah Greenblatt Jason Osborne Kaissa Karhu
+1 212 940 1332 +1 212 940 1322 +1 212 940 1238
London Robert Kennan, Head of Editions, Europe Anne Schneider-Wilson Ross Thomas Rebecca Tooby-Desmond
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+44 20 7318 4075 +44 20 7318 4042 +44 20 7318 4077 +44 20 7318 4079
New York Alex Heminway, New York Director Meaghan Roddy Cordelia Lembo, Head of Sale Kimberly Sørensen Jillian Pfferling Marcus Tremonto London Domenico Raimondo Adam Clay Madalena Horta e Costa, Head of Sale Marcus McDonald Sofia Sayn-Wittgenstein Marta De Roia Lisa Stevenson Ben Williams
+44 20 7318 4052 +1 212 940 1268 +1 212 940 1266 +1 212 940 1265 +1 212 940 1259 +1 212 940 1268 +1 212 940 1268 +44 20 7318 4016 +44 20 7318 4048 +44 20 7318 4019 +44 20 7318 4095 +44 20 7318 4023 +44 20 7318 4096 +44 20 7901 7926 +44 7769 94 7177
Photographs Vanessa Hallett, Worldwide Head, Photographs
+1 212 940 1243
New York Sarah Krueger, Head of Sale Caroline Deck Rachel Peart Marijana Rayl
+1 212 940 1225 +1 212 940 1247 +1 212 940 1246 +1 212 940 1386
Chicago Carol Ehlers
+1 773 230 9192
London Genevieve Janvrin, Head of Photographs, Europe Yuka Yamaji Alexandra Bibby Julia Scott Sophie Busby
+44 20 7318 7996 +44 20 7318 4098 +44 20 7318 4087 +44 20 7901 7940 +44 20 7318 4092
Watches Sam Hines, International Head of Watches
+852 2318 2030
Geneva Aurel Bacs, Senior Consultant Bacs & Russo Livia Russo, Senior Consultant Bacs & Russo Justine Séchaud, Bacs & Russo Alexandre Ghotbi Dr. Nathalie Monbaron Virginie Liatard-Roessli Diana Ortega
+41 22 317 81 85 +41 22 317 81 86 +41 22 317 8188 +41 22 317 8181 +41 22 317 81 83 +41 22 317 81 82 +41 22 317 8187
Hong Kong Amy Chow Jill Chen Joey Luk Tiffany To Angel Ho Zachary Lu
+852 2318 2035 +852 2318 2000 +852 2318 2032 +852 2318 2036 +852 2318 2031 +852 2318 2034
Japan Genki Sakamoto Kaz Fujimoto
+81 3 6273 4818 +81 3 6273 4818
Taiwan Cindy Yen New York Paul Boutros Douglas Escribano Leigh Zagoory London Paul David Maudsley Kate Lacey
+886 963 135 449 +1 212 940 1293 +1 212 940 1382 +1 212 940 1285 +44 20 7901 7916 +44 20 7901 2907
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Specialists and Departments Jewels Hong Kong Terry Chu, Head of Jewellery, Asia Anellie Manolas Sammie Leung
+852 2318 2038 +852 9383 3041 +852 2318 2040
New York Nazgol Jahan
+1 212 940 1283
London Lane Clements McLean
+44 20 7318 4032
Exhibitions Edwin Pennicott
+44 20 7901 2909
Arts Partnerships London Isa Tharin
+44 20 7318 4024
New York Lauren Shadford Cecilia Wolfson
+1 212 940 1257 +1 212 940 1258
Private Sales Susanna Brockman
+44 20 7318 4041
Proposals London Arianna Webb
+44 20 7901 7941
New York Lauren Zanedis
+1 212 940 1271
Executive Assistant to the Chairman & CEO and Chief of Staff Lucinda Newman
+44 207 318 4099
Executive Assistant to the Chairman & CEO and Senior Advisor to the CEO Elizabeth Anne Wallace +1 212 940 1303
Operations Hong Kong Juliana Cheung, Chief Operating Ofcer Client Advisory London Guy Vesey Dawn Zhu Lily Atherton Hanbury Fiona M. McGovern
+852 2318 2020
+44 20 7901 7934 +44 20 7318 4017 +44 20 7318 4071 +44 20 7318 4054
New York Philae Knight Sara Tayeb-Khalifa
+1 212 940 1313 +1 212 940 1383
Communications and Marketing Michael Sherman, Chief Communications and Public Relations Ofcer Katie Carder, PR Manager, EMEA Jaime Israni, PR Specialist Trish Walsh, Director of Marketing & Events Emma Miller Gelberg, Associate Manager, Marketing and Business Development Charlotte Adlard, Marketing Associate Georgia Trotter, Events Manager
+1 212 940 1384 +44 20 7901 7938 +1 212 940 1398 +1 212 940 1224 +1 212 940 1291 +44 207 901 7905 +44 20 7318 4085
Creative Services Andrea Koronkiewicz, Director of Creative Services Orlann Capazorio, Director of Production London Eve Campbell, Creative Services Manager Moira Gil, Graphic Designer Laurie-Ann Ward, Graphic Designer
+1 212 940 1326 +1 212 940 1281 +44 20 7901 7919 +44 20 7901 7917 +44 20 7901 7918
New York Jef Velazquez, Production Artist Christine Knorr, Graphic Designer James Reeder, Graphic Designer
+1 212 940 1211 +1 212 940 1325 +1 212 940 1296
Sale Information New Now Sale
Sale Department
Auction and Viewing Location 30 Berkeley Square, London W1J 6EX
Head of Sale Simon Tovey +44 20 7318 4084 stovey@phillips.com
Auction 8 December, 2pm Viewing 2 – 8 December 2016 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation In sending in written bids or making enquiries please refer to this sale as UK010816 or New Now Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 Susanna Brockman +44 20 7318 4041 Rebecca Coombs +44 20 7901 7927 bidslondon@phillips.com
Front & Back Cover Lot 5, Gerhard Richter, GrŸn Blau Rot 789-5, 1993 © Gerhard Richter 2016 (10112016)
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Cataloguers Alex Dolman +44 20 7901 7911 adolman@phillips.com Administrator Florencia Moscova +44 20 7318 4082 fmoscova@phillips.com Property Manager Ross Martin +44 20 7318 4057 rmartin@phillips.com Photographers Marta Zagozdzon Charles Sheldon Matt Krooning
Auctioneers Henry Highley Adam Clay Hugues Joffre Susanna Brockman Catalogues London +44 20 7901 7927 New York +1 212 940 1240 catalogues@phillips.com £22/€25/$35 at the gallery Client Accounting Richard Addington, Head of Client Accounting +44 20 7901 7914 Jason King, Client Accounting, Director +44 20 7318 4086 Buyer Accounts Carolyn Whitehead +44 20 7318 4020 Seller Accounts Surbjit Dass +44 20 7318 4072 Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Jan Navratil +44 20 7318 4081 Lewis Thomas +44 20 77901 7920 Charlotte Turner +44 20 7318 4047
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30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by fax to +44 20 7318 4035 or email it 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 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
• If you cannot attend the sale, we can execute bids confdentially on your behalf.
As a private individual On behalf of a company
Title
Sale Number First Name
Sale Date
Surname Account Number
Company (if applicable)
• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £100,000, 20% of the portion of the hammer price above £100,000 up to and including £1,800,000 and 12% of the portion of the hammer price above £1,800,000. • “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) Address
City
• 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.
State/Country
Post Code Phone
Mobile
Fax
• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. • If we receive identical bids, the frst bid received will take precedence.
Phone number to call at the time of sale (for Phone Bidding only) 1.
2.
Please complete the following section for telephone and absentee bids only Lot number
• Company Purchases: We require a copy of government-issued identifcation (such as the certifcate of incorporation) to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.
Please indicate in what capacity you will be bidding (please select one):
Sale Title
• Private Purchases: Proof of identity in the form of government-issued identification will be required.
Brief description
In Consecutive Order
Maximum pound sterling price* Absentee Bids Only
• 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. • Please submit your bids to the Bid Department by fax at +44 20 7318 4035 or scan and email to bidslondon@phillips.com 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), credit card (up to £50,000) 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. Please note that credit cards are subject to a surcharge. • 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 consent to our use of your personal data, including sensitive personal data, in accordance with Phillips’s Privacy Policy published on our website at www.phillips.com or available on request by emailing dataprotection@phillips.com. We may send you materials about us and our services or other information which we think you may fnd interesting. If you would prefer not to receive such information, please email us at dataprotection@phillips.com.
* Excluding Buyer’s Premium and VAT
Signature
Date
By signing this form, you accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.
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• Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.
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Index Antufev, E. 124 Apfelbaum, P. 244 Aubertin, B. 60 Baker, K. 36 Balkenhol, S. 56 Bedia, J. 236 Beier, N. 78 Beloufa, N. 42 Bernadet, J-B. 33, 69, 109 Beshty, W. 51, 80 Bilyk, N. 126 Billingham, C. 14 Biltereyst, A. 64 Black, K. 53 Black, S. 101 Blalock, L. 108 Bobrow, A. 219 Bove, C. 176 Bratkov, S. 230 Brischler, A. 96 Brown, C. 167 Burkhard, B. 147 Campbell, S. 159 Capalino, B. 114 Casselman, S. 199 Cheloyants, M. 216 Childish, B. 86 Chuikov, I. 131 Clausen, A. 105 Coda Zabetta, R. 115 Collier, A. 28 Collings-James, P. 81 Colón, N. 76 Cook, E. 8 Crow, R. 99 Dali, Z. 239 Delvoye, W. 157 Denzler, A. 198 Dona, L. 238 Donzelli, M. 117 Dyshlenko, Y. 240 Dzama, M. 221
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Eisner, L. 35 Emblema, S. 120 Emin, T. 52, 54 Esser, E. 154 Estep, R. 37 FAILE 93 Fairey, S. 87, 91, 92 Farah, A. 72 Finalé, M. 241 Fleury, S. 59 Fontaine, C. 185 Fowler, B. 113 François, M. 183 Friedmann, G. 237 Gabin, L. 98 Galytskyi, A. 135 Gillick, L. 41 Goldin, N. 139 Gomez, S. 201 Gormley, A. 177 Grig, V. 137 Haring, K. 3 Hartley, G. 111 Harvey, M. 225 Hasselknippe, T. 186 Herrero, F. 10, 11 Hirschhorn, T. 100 Hong, H. 243 Houshiary, S. 164 Hunt, B. 222 Iannatti, R. 71 Innes, C. 62 Invader 94 Ito, P. 107
Kato, I. 190 KAWS 1 Kennedy, S. 218 Kher, B. 188 Kippenberger, M. 161, 170, 171 Kopystiansky, I. 129, 130, 231, 233 Korina, I. 211, 212 Kørner, J. 200 Korotkova, T. 206 Kryvolap, A. 134 L’Atlas 95 Laib, W. 174 Lappas, G. 182 Lassry, E. 74, 75 Levin, D. 110 Levitas, A. 149 Lewis, T. 165 Li, S. 191, 194, 195 Li, W. 228 Lidén, K. 31 Liška, R. 63 Lo Giudice, M. 118 Lucas, S. 27 Macuga, G. 142 Madison, T. 84 Makowski, P. 19 Mariani, U. 220 Martin, J. 61 Mastroianni, U. 116 McCarthy, P. 58 Meese, J. 21 Metz, L. 16 Micallef, A. 88 Mikhailov, I. 214 Minin, R. 127, 128 Moyer, S. 103 Murillo, O. 46
Jensen, S. 9, 23
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Negri, M. 121 Neretina, D. 213 Niedermayr, W. 155 Nitsch, H. 22 Noonan, D. 179 Norin, K. 79 Opie, J. 65 Oppenheim, D. 172 Orozco, G. 141 Ostrowski, D. 7, 13 Otero, A. 12 Ovchinnikova, S. 215 Ozbolt, D. 235 Pasqua, P. 180 Pastor, P. 196, 197 Patterson, G. 39 Pavlov-Andreevich, F. 136 Perrone, S. 119 Pettibon, R. 173 Picasso, P. (Afer) 55 Pinchuk, O. 125 Pistoletto, M. 122 Platonova, E. 209 Plensa, J. 184 Popova, Y. 132 Prekop, Z. 77 Price, L. 83 Pusenkof, G. 112 Qi, Z. 192 Qiu, J. 189
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Ramette, P. 144 Rasgado, P. 70 Ratclife, O. 202 Razaghdoost, A. 17 Rees, D. 40, 82 Reihsen, J. 67 Reyle, A. 43, 44, 45 Rhodes, D. 224 Richier, G. 181 Richter, G. 5, 162, 163 Robertson, M. 26 Root, R. 66 Rosefeldt, J. 138 Rovner, M. 156 Rozendaal, R. 68 Ruckhäberle, C. 85 Ruf, M. 6 Ruthner, A. 102 Samorì, N. 178 Sarmento, J. 106 Sawyer, R. C. 226 Scharf, K. 15 Schneider, G. 57 Scott-Douglas, H. 24 Shaw, J. 2 Shaw-Town, D. 47 Shen, X. 232 Shishkin, D. 133 Shrigley, D. 29 Sierra, S. 140 Silva, N. 227 Simpson, L. 143 Singh, D. 150 Skoglund, S. 158 Smalley, T. 48 Smith, J. 20 Snow, D. 30 Stik 90 Swoon 89
Takano, A. 175 Tal R. 97 Tavasiev, R. 210 Thornton, T. 32, 34 Tiravanija, R. 25 Tuazon, O. 152 Uklański, P. 217 Upadhyay, H. 187 Værslev, F. 38 Vena, N. 49 Violette, B. 223 Voligamsi, R. 153 Wang, Q. 234 Warhol, A. 145, 146, 160, 166, 168, 169 Welling, J. 148 Wesselmann, T. 4 Williams, C. 151 Wright, R. 242 Wurm, E. 229 Yakovleva, U. 208 Yanai, G. 18 Yang, Y. 193 Young, A. 50 Young, R. 203, 204, 205 Zigura, E. 123 Zilm, J. 73 Zintsova, N. 207 Zipp, T. 104
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10. Federico Herrnero
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2. Jim Shaw
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1. KAWS
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phillips.com
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