EDITION SCHELLMAN: FIFTY ARE BETTER THAN ONE [Catalogue] by PHILLIPS

177. Andy Warhol

97.

Donald Judd

Fify Are Better Than One Works from the Archives of Edition Schellmann London, 6 June 2019

Auction & Viewing Location 30 Berkeley Square, London W1J 6EX Auction 6 June, 4pm Viewing 30 May – 6 June Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK030319 or Fify Are Better Than One. Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.coe. Editions Department Contact editionslondon@phillips.com

Head of Sale, Senior Specialist Anne Schneider-Wilson +44 20 7318 4042 aschneider-wilson@phillips.com Head of Editions, Europe Robert Kennan +44 20 7318 4075 rkennan@phillips.com Specialist Rebecca Tooby-Desmond +44 20 7318 4079 rtooby-desmond@phillips.com Cataloguer Louisa Earl +44 20 7318 4069 learl@phillips.com Administrator Amelia Wooding +44 20 7318 4077 awooding@phillips.com Property Manager Surya Buck +447867 430097 sbuck@phillips.com

172. Andy Warhol

Our Team. Editions London. Robert Kennan

Anne Schneider-Wilson

Rebecca Tooby-Desmond

Senior Specialist

Specialist

aschneider-wilson@ phillips.com +44 20 7318 4042

rtooby-desmond@ phillips.com +44 20 7318 4079

Cary Leibowitz

Kelly Troester

Kip Eischen

Jason Osborne

Worldwide Co-Head, Editions

Specialist

Cataloguer

cleibowitz@phillips.com +1 212 940 1222

ktroester@phillips.com +1 212 940 1221

keischen@phillips.com +1 212 940 1332

josborne@phillips.com +1 212 940 1332

Head of Editions, Europe rkennan@phillips.com +44 20 7318 4075

Louisa Earl Cataloguer learl@phillips.com +44 20 7318 4069

New York.

Executives. Edward Dolman

Cheyenne Westphal

Chief Executive Ofcer

Chairwoman

+1 212 940 1241 edolman@phillips.com

+44 20 7318 4044 cwestphal@phillips.com

ÂŠ Brigitte Lacombe

Senior Advisors. David Norman

Hugues Jofre

Arnold Lehman

Ken Yeh

Chairman, Americas

Senior Advisor to the CEO

+1 212 940 1280 dnorman@phillips.com

+44 207 901 7923 hjofre@phillips.com

+1 212 940 1385 alehman@phillips.com

Senior International Specialist

Deputy Chairmen & Chairwomen. Svetlana Marich

Jean-Paul Engelen

Robert Manley

Jonathan Crockett

Peter Sumner

Worldwide Deputy Chairwoman

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

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

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

+1 212 940 1390 jpengelen@phillips.com

+1 212 940 1358 rmanley@phillips.com

Miety Heiden

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Deputy Chairwoman, Head of Private Sales

Deputy Chairwoman, Americas, Worldwide Head of Photographs

Deputy Chairwoman, Americas, Head of Business Development, Americas

+1 212 940 1243 vhallett@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

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

+44 20 7318 4010 smarich@phillips.com

+44 20 7901 7943 mheiden@phillips.com

+852 2318 2023 jcrockett@phillips.com

+32 3257 3026 mhoet@phillips.com

+44 20 7318 4063 psumner@phillips.com

+1 212 940 1257 kyeh@phillips.com

53. Ellen Gallagher

Business Development. Europe.

Americas.

Guy Vesey

Vivian Pfeifer

Head of Business Development & Marketing, Europe

Deputy Chairman, Americas, Head of Business Development, Americas

+44 20 7901 7934 gvesey@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

Client Advisory. Europe. Yassaman Ali

Vera Antoshenkova

Client Advisory Director

Client Advisory Manager

+44 20 7318 4056 yali@phillips.com

+44 20 7901 7992 vantoshenkova@ phillips.com

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

Americas. Philae Knight

Jennifer Jones

Liz Grimm

Client Advisory Director

Director of Trusts, Estates & Valuations

Business Development Associate

+1 212 940 1272 jjones@phillips.com

+1 212 940 1342 egrimm@phillips.com

+1 212 940 1313 pknight@phillips.com

Asia. Jasmine Yan

Iori Endo

Client Advisory Director

Client Advisory Manager

+852 2318 2015 jasmineyan@phillips.com

+44 20 7318 4039 iendo@phillips.com

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

International Specialists & Regional Directors. Europe. Laurence Calmels

Clara Rivollet

Maria Cifuentes

Laurence Barret-Cavy

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

+33 142 78 67 77 mcifuentes@phillips.com

+33 633 12 32 04 lbarret-cavy@phillips.com

+33 686 408 515 lcalmels@phillips.com

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

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

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

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

Specialist, 20th Century & Contemporary Art, Moscow

+39 338 924 1720 clanfranchi@phillips.com

+351 917 564 427 mmarvao@phillips.com

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

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

+7 905 741 15 15 kfenina@phillips.com

Americas. CĂ˘ndida SodrĂŠ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Representative, Chicago

Senior Specialist, 20th Century & Contemporary Art, Denver

Regional Director, Los Angeles

Specialist, Miami

+55 21 999 817 442 csodre@phillips.com

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

Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Regional Director, Consultant, Mexico

Regional Director, Palm Beach

Regional Director, Seattle

+52 1 55 5413 9468 clafan@phillips.com

+1 508 642 2579 maurasmith@phillips.com

+1 206 604 6695 scwaltner@phillips.com

Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Alicia Zhang

Cindy Yen

Regional Director, Japan

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

Associate Regional Representative, Korea

Regional Director, Shanghai

Associate Regional Representative, Shanghai

+82 10 7305 0797 sshin@phillips.com

+86 13911651725 wenjiazhang@phillips.com

+86 139 1828 6589 aliciazhang@phillips.com

Senior Specialist, Watches & Jewellery, Taiwan

+1 917 657 7193 mdekoning@phillips.com

+1 323 383 3266 bkoh@phillips.com

+1 917 583 4983 vgarcia@phillips.com

+1 773 230 9192 cehlers@phillips.com

Asia.

+81 90 2245 6678 khattori@phillips.com

+82 10 7389 7714 jyy@phillips.com

Meiling Lee

Christine Fernando

Sandy Ma

International Specialist, Taiwan

Associate Regional Representative, Singapore

International Specialist, South East Asia

+886 908 876 669 mlee@phillips.com

+65 9128 6277 christinefernando @phillips.com

+852 2318 2025 sma@phillips.com

+886 2 2758 5505 cyen@phillips.com

Edition Schellmann: 1969–2019

In celebration of Edition Schellmann’s 50th anniversary, Phillips is proud to present works from their archives in Fify Are Better Than One, an auction to beneft the Ars Publicata® project. Standing out as a publisher who has challenged tradition in both his choice of artists and in the technical freedom he has ofered them, Jörg Schellmann’s main goal has been the democratisation of art through wide distribution, achievable through editioned works. In an extension of this vision, the Ars Publicata® project, an ambitious and selfess endeavour, will create a global online directory of reference information for artist editions and their publishers. Afer opening his frst gallery in Munich in 1969, Jörg Schellmann started publishing limited edition artworks in the following decade during the advent of Conceptual art. Infuenced by his surroundings, instead of being inclined to only work with talented drafsmen, Schellmann embarked on a journey along which he has consistently published works by artists who have focused on the idea behind the work of art rather than the fnished object alone. His frst signifcant collaboration under Edition Schellmann (later Schellmann & Klüser, then Schellmann Art) was with Joseph Beuys, resulting in an extensive creative relationship that lasted until the artist’s death in 1986. Throughout the 1970’s, Schellmann published mainly European artists, but his attraction to Pop Art and especially his fascination with the New York art scene drew him to the US, where in 1980 he published his frst of over twenty projects with Andy Warhol: a portfolio of three screenprints of his frst artistic partner entitled, Joseph Beuys. Following his own aesthetic orientation towards an art that responds to contemporary life, and fostering his interest in the leading Conceptual artists of his time, Schellmann went on to work with Hanne Darboven, Peter Halley and Gerhard Merz, creating works of highly socio-political and conceptual frameworks. His free-thinking approach to materials, making and crafmanship, including works of wood, neon, and steel, saw ideas by Keith Haring, Dan Flavin and Donald Judd come to fruition in the 1980s and early 1990s. The variety of objects like Haring’s plywood Dog (1986) and Judd’s extruded aluminium works (1991) demonstrate the versatility of Schellmann’s publishing and originality in ‘making’, even in the early stages of his career.

The Wall Works project commenced in the 1990’s and aimed to establish a relationship with architecture, presenting art in the context of a surrounding space. This series - made up of sitespecifc, and unique wall installations in which artists created a conceptual design executed on walls of varying sizes and proportions – was born of Schellmann’s interest in architectural installations, and how this could be realised as an edition. The project celebrates architecture as a fusion of arts. Inspired by de Kooning’s Door Cycle series, exhibited at the Whitney Museum of American Art in 1996, Schellmann considered the formal and poetic qualities of the door – its metaphoric values, its measurements corresponding to the human size, and its appearance and dimensions representing a canvas – and concluded the door to be an appropriate contemporary object to make works in editions. Schellmann thus invited a group of artists to create works on prefabricated hollow-core doors, resulting in the Door Cycle, 2006. The variety and originality of Edition Schellmann’s output is unparalleled and some of the more eccentric and idiosyncratic projects that Jörg Schellmann supported include a fbreglass treetrunk chair by Franz West, a handmade collage by Ellen Gallagher, and an installation of bathroom cosmetics by Sylvie Fleury. Viewed alongside more traditional printmaking techniques, this collection demonstrates the richness of Jörg Schellmann’s contribution to edition making and publishing, and his continual search for the unexpected and the innovative. To celebrate the 40th anniversary of Edition Schellmann, a catalogue of their publications was produced entitled Forty Are Better Than One 1969–2009, in reference to the serial concept of editions and alluding to the Andy Warhol painting Thirty Are Better Than One, 1963, which depicts a series of Mona Lisa reproductions: a tongue-in-cheek comment on the worshipped aura of unique works of art versus the mass-production and global distribution of images in our time. A decade on, Fify Are Better Than One continues this heritage and fuels an exciting new endeavour for Edition Schellmann in the Ars Publicata® project.

Jörg Schellmann in conversation with Anne Schneider-Wilson, 2019

Anne Schneider-Wilson: Why and how did you start publishing editions? Jörg Schellmann: In 1969, when I was a law student, I was fascinated by the Pop Art happening in London and New York. Afer a trip to New York, where I spontaneously visited Larry Rivers and Andy Warhol in their studios, I had the idea to open an art store and deal with signed and unsigned Pop Art works and those of other artists of the time. Soon, it was evident that I wanted to be involved in art publishing and not just buy and sell. ASW: You say that when you started in art you were more interested in architecture, industrial, and graphic design – did your personal artistic preferences infuence your choice of artists to work with and the editions you produced? JS: Yes and no. Obviously, Andy Warhol was an excellent graphic designer and Don Judd was close to architectural design. And obviously, too, I was never really interested in painterly and fgurative art although I did work with some artists of that kind. When being in business, new experiences, judgements and personal relationships with artists became more signifcant than my initial attitude. ASW: You worked with some of the most infuential artists of the 20th century. Who is/are the artist/s with whom you didn’t work but would have liked to? JS: It’s a long list! To name just a few I tried over and over again: Rauschenberg, Oldenburg, Twombly, Basquiat, Richter, Polke. With both Richard Hamilton and Damien Hirst I wish I could have done more… ASW: And what is your favourite print or edition that you wish you had published? JS: The extended series of woodcuts (1987-93) by Donald Judd, which Brooke Alexander ended up publishing. ASW: Which edition featured in this sale was the most challenging to create? JS: Likely the Judd extruded aluminium pieces. They were very tricky to produce and impossible to manufacture without little defects, which fnally Don Judd ended up accepting as being part of the production process.

ASW: How much do the works tend to develop and change from initial proposal to fnal product? JS: A change of ideas within the creative process seems totally normal to me – it is the nature of creativity. ASW: What did you enjoy about publishing the conceptual series such as Wall Works and the Door Cycle, as opposed to regular editions? JS: It is very challenging to frame an interesting subject matter and act as a “director” within such a project. It gives the feeling of creating. ASW: Do you feel that a work with a large edition number is just as special as one with a small number? JS: Absolutely. It’s just fgures. ASW: Where do you think edition publishing is headed in the future? Purely digital and conceptual works, or a return to traditional printmaking? JS: Who can predict? I see one tendency: the distinction between “original = unique” works as opposed to works “in editions” will continue to lose signifcance. Artists will produce a piece once, twice, or many times, by hand or using outsourced technical processes, just as it appears adequate for the work. Since the special machines and crafsmanship of the classical printing workshops have lost importance, the artists now have all kinds of production techniques available without the publisher’s help. The future “publisher” will mainly function as a production assistant and sales agent for special projects. ASW: So what’s next for Edition Schellmann? JS: We are currently involved in some selected new productions with artists we have been working with in the past and will be going live with our new online editions directory, Ars Publicata®, which documents and celebrates the medium we are discussing here and that I have been working with for 50 years: contemporary art in editions.

The Wall Works Series ‘Increasingly the limitation of fne art editions to prints and objects did not seem to refect the technical possibilities and the recent developments in artistic strategies and actual art production. Installation in architecture had become an important issue both in theory and artistic practice. Edition Schellmann was trying to develop an idea as to how the concept of installation in a given architectural space could be realised as an edition. The result was the Wall Works project. It celebrates the basic idea of architecture being the ‘mother, the synthesis of the arts’. From the cave drawing on, in the development of the work of art, it has been an integral part of architecture.’ Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 396

1. Richard Artschwager

1923-2013

Corner Splat, from Wall Works, 1993 Acrylic paint in colours on unique cut-out Mylar, to be installed on a wall, in or at a corner. Signed, titled, dated and numbered 1/20 in black ink on the accompanying Certifcate of Authenticity (only edition numbers 1-6 and 3 artist’s proofs were realised), published by Edition Schellmann, Munich and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. 74 x 53.5 cm (29 1/8 x 21 1/8 in.) Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, pp. 23-27 (other examples illustrated) Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 12-13 (other examples illustrated) and p. 400 Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 141 (another example illustrated)

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

View of another installation

Richard Artschwager sketch for Corner Splat II, 2009 © ARS, NY and DACS, London 2019

2. Richard Artschwager

1923-2013

3. John Baldessari

b. 1931

Corner Splat II, 2009 Laminate printed in colours, fush-mounted to two uniquely shaped aluminium sheets, to be adjoined at the centre and mounted on a wall, in or at a corner. Signed, dated and numbered 6/20 in black felt-tip pen on the reverse, from the edition of unique variants (there were also 5 artist’s proofs), published by Schellmann Sprüth Magers Art Production, Berlin. one part 33 x 35 cm (12 7/8 x 13 3/4 in.) one part 26.5 x 29 cm (10 3/8 x 11 3/8 in.)

Eyebrow, 2009 Chromogenic print laminated with Lexan, fush-mounted to shaped aluminium painted in pink acrylic. Signed in black ink and numbered ‘4/4 APs’ (printed) on the accompanying label (an artist’s proof aside from the edition of 25), published by Schellmann Sprüth Magers Art Production, Berlin. 38.1 x 126 x 15.2 cm (15 x 49 5/8 x 5 7/8 in.)

Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000

plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 14-15

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, p. 14 (another example illustrated)

Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000

4. Georg Baselitz

b. 1938

Melancholie, drei Rosen (Melancholy, Three Roses), 1999 Etching and aquatint in colours, on BFK Rives paper, with full margins. Signed, dated and annotated ‘h.c.’ in pencil (one of 5 hors commerce impressions, the edition was 50 and 6 artist’s proofs in Roman numerals), published by Edition Schellmann, Munich and New York, on the occasion of the 20th anniversary of art magazine, Hamburg, framed. I. 43.5 x 33.2 cm (17 1/8 x 13 1/8 in.) S. 66.2 x 50.2 cm (26 1/8 x 19 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, pp. 16-17 and p. 413

5. Georg Baselitz

b. 1938

Frau am Abgrund, zwei Rosen (Woman at Abyss, Two Roses), 1999 Etching and aquatint in colours, on BFK Rives paper, with full margins. Signed, dated and annotated ‘h.c.’ in pencil (one of 5 hors commerce impressions, the edition was 50 and 6 artist’s proofs in Roman numerals), published by Edition Schellmann, Munich and New York, on the occasion of the 20th anniversary of art magazine, Hamburg, framed. I. 42.6 x 33 cm (16 3/4 x 12 7/8 in.) S. 66.5 x 50.2 cm (26 1/8 x 19 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 16-17 and p. 413

6. Bernd and Hilla Becher 1931-2007 and 1934-2015 Kies-und Schotterwerke (Gravel Plants), image III, from Typologies series, 2006 Digital pigment print (Ditone), on Hahnemühle Baryta paper, with full margins. Signed by both artists and annotated ‘A.C.’ in pencil on the reverse (an ‘archive copy’, the edition was 40 plus 10 in Roman numerals and 8 artist’s proofs), published by Edition Schellmann, Munich and New York, framed. I. 70 x 93.2 cm (27 1/2 x 36 3/4 in.) S. 90 x 112.3 cm (35 3/8 x 44 1/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 23

7. Bernd and Hilla Becher 1931-2007 and 1934-2015 Gasbehälter (Gas Tanks), image VII, from Typologies series, 2008 Digital pigment print (Ditone), on Hahnemühle Baryta paper, with full margins. Signed ‘B + H Becher’ by Hilla Becher and annotated ‘AC’ in pencil on the reverse (an ‘archive copy’, the edition was 40 plus 10 in Roman numerals and 8 artist’s proofs), published by Edition Schellmann, Munich and New York, framed. I. 70 x 93 cm (27 1/2 x 36 5/8 in.) S. 90.1 x 112 cm (35 1/2 x 44 1/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 25

8. Bernd and Hilla Becher 1931-2007 and 1934-2015 Fachwerkhäuser, Siegener Industriegebiet (Framework Houses, Industrial District of Siegen) 1959–1973, 1993 The complete set of 12 duotone ofset prints, on Ikonorex paper, with full margins. All signed by both artists, each numbered consecutively from ‘I’ to ‘XII’ and all annotated ‘ARCHIVE COPY’ in pencil on the reverse (the edition was 50 and 10 artist’s proofs), co-published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse of sheet ‘I’), and Sonnabend Sundell Editions, New York, all framed. all I. 40.4 x 30.8 cm (15 7/8 x 12 1/8 in.) all S. 63 x 50 cm (24 3/4 x 19 5/8 in.) Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 20

ʻIn the late 1960’s, during Pop Art times, when the art world and I were fascinated by the new images coming from London and New York, there was a German artist both gallerists and collectors of acquired taste were talking about: a man who made sensitive drawings of deer and mountains and used basic materials like felt, fat and copper in his sculptures and objects. Just a complete contrast to the striking world of industrial signs and consumer products the Pop artists were celebrating. In 1970, my gallery partner at the time, Bernd Klüser, and I decided to go and visit this artist, Joseph Beuys, to sugest to him a show of about thirty multiples that he had realised by that time. This visit to an impressive personality ended with plans for several projects at once – a show of his multiples including the frst Catalogue Raisonné of these works and the frst edition that we made with Beuys. For the next meeting, we had designed two exhibition posters for him to choose from. Beuys sugested printing both: two posters for a small show of some thirty multiples in a little backyard gallery. This was the enthusiastic beginning of a long and seminal collaboration, which had a deep impact on both my further work as a publisher and on my personal life.ʼ Jörg Schellmann, 2019

Joseph Beuys with Jörg Schellmann installing Zeige Deine Wunde (Show Your Wound) at Lenbachhaus, Munich, 1980 © DACS 2019

9. Joseph Beuys

1921-1986

Sonnenscheibe (Sun Disc), 1973 Record matrix (nickel-plated copper) with die-cut hole, two felt pads stamped with brown paint, contained in original black cardboard box. Signed and numbered V/VII in pencil on the label afxed to the front of the box (one of 7 artist’s proofs aside from the edition of 77 in Arabic numerals), published by Edition Schellmann, Munich. 37.5 x 37.5 x 4.5 cm (14 3/4 x 14 3/4 x 1 3/4 in.) Estimate £5,000-7,000 $6,500-9,100 €5,800-8,100 ♠

10. Joseph Beuys

1921-1986

zeige deine Wunde (Show Your Wound), 1977 Six photographic negatives, one (Browncross) with two holes and additions in brown paint, the full sheets. Signed and annotated ‘H.C.’ in pencil and stamped Hauptstrom on the accompanying label (one of 5 hors commerce copies, the edition was 28 plus 5 in Roman numerals and 3 artist’s proofs), published by Verlag Schellmann & Klüser, Munich, all contained between a transparent and opaque glass plate (as issued) in an iron frame specifed by the artist. all S. approx. 23.8 x 33 cm (9 3/8 x 12 7/8 in.) framed 107 x 79.4 x 5 cm (42 1/8 x 31 1/4 x 1 7/8 in.)

plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 85 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 28-29

Estimate £12,000-18,000 $15,700-23,500 €14,000-20,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 218 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 38-39

11. Joseph Beuys

1921-1986

Cuprum 0.3% unguentum metallicum praeparatum, 1978-86 Cast beeswax multiple with fnely distributed copper. Incised ‘Joseph Beuys A.P.’ on the right side, signed by Wenzel Beuys (Executor of the Estate of Joseph Beuys) and annotated ‘A.P.’ in black ink on the accompanying Certifcate of Authenticity, with the Beuys Estate stamp (one of 5 artist’s proofs aside from the edition of 18), co-published by Edition Schellmann, Munich and New York, and Galerie Bernd Klüser, Munich. 19.5 x 10.5 x 10.5 cm (7 5/8 x 4 1/8 x 4 1/8 in.) Estimate £15,000-20,000 $19,600-26,100 €17,500-23,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 556 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 44

‘The sculpture consists of a rectangular block of wax bearing an impression in negative relief of the crystalline form of a miner’s lamp. This ‘image’ represents a combination of archaic signs and naturally occuring forms. Bowl, fame, pentagram, sun disc and crystal converged into a single shape, evoking a multiplicity of interpenetrating levels of meaning and potential associations. The title of the piece is the name of a homeopathic salve which Beuys ofen used himself.’ Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 44

Joseph Beuys’ Cuprum 0.3% unguentum metallicum praeparatum in the artist’s studio, Dusseldorf © DACS 2019 © Schellmann Art

12. Joseph Beuys

1921-1986

Painting Version 1-90, 1976 Oil paint and butter, on BFK Rives paper, the full sheet, with torn hole. Signed, titled and numbered ‘I’ in pencil on the front, inscribed ‘2 Schafsköpfe/Loch/Fett 1961/75’ in pencil on the reverse, one of 12 impressions in Roman numerals (the edition was 90 and approximately 3 unnumbered artist’s proofs), published by Verlag Schellmann & Klüser, Munich, framed. S. 75.9 x 56.1 cm (29 7/8 x 22 1/8 in.)

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

Literature Jörg Schellmann 186 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 32-35

Joseph Beuys working on Painting Version 1-90 at Matthieu printshop, Zurich, 1976 ÂŠ DACS 2019 ÂŠ Schellmann Art

13. Joseph Beuys

1921-1986

4 Bücher aus: “Projekt Westmensch” (4 Books, from: “Project West Man”), 1958/1992 A facsimile edition containing four sketchbooks with granolithographs in colours, on Scholars writing paper, the full sheets, bound (as issued), with 454 out of a total 1168 pages bearing imagery and notations. Each book stamp-numbered ‘299’ in black ink on a label afxed to the end page, from the edition of 365 (there were also 35 hors commerce copies), published by Edition Schellmann, Munich and New York, all contained together in the original black dust jacket with printed label. all books 30 x 22 x 2 cm (11 3/4 x 8 5/8 x 0 3/4 in.) overall 31.5 x 22.3 x 9 cm (12 3/8 x 8 3/4 x 3 1/2 in.) Estimate £1,500-2,000 $2,000-2,600 €1,700-2,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 46-49 From 1958 to 1965 Joseph Beuys worked on four sketchbooks collectively titled Projekt Westmensch. Exhibiting a wide range of artistic vocabulary, the pages of these books are flled with drawings, texts, watercolours, lists of words and notions, concepts and themes for both past and future projects and ideas. While many pages relate directly to other artworks, there are some whole enigmatic forms and conceptual references that reveal the artist’s universal thinking.

14. Joseph Beuys

1921-1986

Triptychon (Triptych), 1981 The complete set of three lithographs, on light cardstock, the full sheets. All signed and numbered 78/90 in pencil (there were also a few artist’s proofs), published by Edition Schellmann & Klüser, Munich, all framed. all S. 76 x 56 cm (29 7/8 x 22 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 373-375 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 42 Including Geschnatter unterhalb der Hütte (Quacking underneath the Hut), Sternbild des Bären (Constellation of the Bear), and Junger Elch über dem Hans des alten Müllers (Young Elk above the Old Miller’s House).

Lot 15

The Sequences portfolio ʻBeing a publisher of editions, I was and am – of course – interested in series; the series being not only a number of pieces in an edition, but also an artistic method to convey ideas by accumulating images and producing them in a row, by variations, by suites or sequences. I was intrigued by the series as a contemporary quasiflmic way to produce and consume images. This is why I asked artists to conceive some prints for Sequences of either two or three images. The concept worked out well. The artists seemed to like the idea as it corresponded to a common working mode (working in series) that was present in the art at the time and still is now. In many cases, a singular image does not express what the artist has to say, but a sequence of several images does. The convincing works and the success of Sequences made me try a similar concept later with Double Exposure (2002) and the “leporellos” from the portfolio Forty Are Better Than One (2008/09).ʼ Jörg Schellmann, 2019

Lot 16

15. Daniel Buren

b. 1938

1 + 2 = 3 (Triptych), from Sequences, 1998 The complete set of three woodcuts in blue, on Somerset Satin paper, the full sheets. Signed and numbered ‘H.C. 6/6’ in black ink on the accompanying Certifcate of Authenticity (an hors commerce set, the edition was 60 plus 10 in Roman numerals and 12 artist’s proofs), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. This work has specifc installation instructions as detailed on the accompanying certifcate. all S. 50 x 40 cm (19 5/8 x 15 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

16. Daniel Buren

b. 1938

1 + 2 = 3 (Triptych), from Sequences, 1998 The complete set of three woodcuts in yellow, on Somerset Satin paper, the full sheets. Signed and numbered ‘A.P. 12/12’ in black ink on the accompanying Certifcate of Authenticity (an artist’s proof set aside from the edition of 60 plus 10 in Roman numerals and 6 hors commerce sets), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. This work has specifc installation instructions as detailed on the accompanying certifcate. all S. 50 x 40 cm (19 5/8 x 15 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, p. 60 and pp. 376-377

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 60 and pp. 376-377

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

17. Daniel Buren

b. 1938

25 Enamel Plates, from Wall Works, 1993 The complete set of 25 steel plates with red and white baked enamel, to be installed on a wall with each plate equidistant in fve rows of fve plates and fve columns of fve plates. Signed and numbered ‘1/1 BAT’ in blue ink on the accompanying Certifcate of Authenticity (the bon à tirer or ‘good to print’ set before the edition of 15 colour variants and 3 artist’s proofs), published by Edition Schellmann, Cologne and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. each plate 43.5 x 43.5 cm (17 1/8 x 17 1/8 in.) installation size variable and according to wall Estimate £10,000-15,000 $13,100-19,600 €11,600-17,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, pp. 29-33 Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, pp. 58-59 and p. 400 Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 143 (another example illustrated)

Daniel Buren sketch for 25 Enamel Plates, 1993 © DB - ADAGP Paris and DACS, London 2019

18. Vanessa Beecrof

b. 1969

Vogue Hommes (Vogue Men), from Double Exposure, 2001/02 The complete set of two digital pigment prints in colours, on Hahnemühle photo rag paper, the full sheets. Signed in black ink and numbered ‘16/45’ (printed) on the accompanying Certifcate of Authenticity (there were also 10 artist’s proofs), published by Edition Schellmann, Munich and New York, both unframed. both S. 60.8 x 48.7 cm (23 7/8 x 19 1/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 382

19. Glenn Brown

b. 1966

Sympathy for the Poor, 2003 Digital pigment print in colours, on Hahnemühle paper, with full margins, layered underneath a transparency printed in colours fush-mounted to Plexiglas. Signed in pencil on the front and annotated ‘A.C.’ in pencil on the reverse (an ‘archive copy’, the edition was 60 and 18 artist’s proofs), published by Edition Schellmann, Munich and New York, for La Biennale di Venezia, 2003, framed. I. 47.1 x 36.3 cm (18 1/2 x 14 1/4 in.) S. 68.1 x 56.2 cm (26 3/4 x 22 1/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 418

20. Maurizio Cattelan

b. 1960

Bregenz, 2008 Digital pigment print in colours (Ditone), on rag paper, with full margins. Signed and numbered 12/45 in pencil (there were also 10 impressions in Roman numerals and 8 artist’s proofs), published by Edition Schellmann, Munich and New York, for Kunsthaus Bregenz, 2008, framed. I. 57 x 40 cm (22 1/2 x 15 3/4 in.) S. 67 x 50 cm (26 3/8 x 19 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 68 and p. 423

21. Francesco Clemente

b. 1952

Peso (Weight), 1983 Unique lithograph in black and red, on Okawara paper, with full margins. Signed, dated and annotated ‘T.P.’ in pencil (one of 7 trial proofs in varying compositions before the edition of 50 and 15 artist’s proofs), printed by F. Versaggi, Handworks, New York, published by Edition Schellmann & Klüser, Munich, framed. I. 37.8 x 78.4 cm (14 7/8 x 30 7/8 in.) S. 66.5 x 181 cm (26 1/8 x 71 1/4 in.)

Estimate £1,000-2,000 $1,300-2,600 €1,200-2,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature see Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 76

22. Jake and Dinos Chapman b. 1966 and b. 1962 Explaining Christians to Dinosaurs, 2005 Etching, on rag paper, with full margins. Signed and annotated ‘ARCHIVE COPY’ in pencil on the reverse (a proof aside from the edition of 60 plus 10 in Roman numerals and 6 artist’s proofs), published by Edition Schellmann, Munich and New York, for Kunsthaus Bregenz, 2005, framed. I. 20.9 x 29.7 cm (8 1/4 x 11 3/4 in.) S. 39.7 x 50 cm (15 5/8 x 19 5/8 in.) Estimate £800-1,200 $1,000-1,600 €930-1,400 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 68 and p. 421

23. Tony Cragg

b. 1949

Palette, from For Joseph Beuys, 1986/89 Wooden palette covered with coloured plastic granules. Signed and numbered III/XXX in black ink on the accompanying Certifcate of Authenticity (one of 30 copies in Roman numerals, the edition was 90 and 3 artist’s proofs), co-published by Galerie Bernd Klüser, Munich, and Edition Schellmann, New York. 75 x 58 x 1.5 cm (29 1/2 x 22 7/8 x 0 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 80-81 and p. 373

24. Michael Craig-Martin

b. 1941

Signs of Life, 2006 Duratrans colour flm mounted to glass contained in a black painted aluminium electrical light box. Signed, dated and numbered ‘AP IV/V’ in black felt-tip pen on the reverse (one of 5 artist’s proofs aside from the edition of 30), published by Edition Schellmann, Munich and New York, for Kunsthaus Bregenz, 2006. 49.5 x 67 x 3.5 cm (19 1/2 x 26 3/8 x 1 3/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 80 and p. 421

Anne Schneider-Wilson in conversation with Christo on his collaboration with Edition Schellmann, 2019

Anne Schneider-Wilson: Good afernoon Christo, thank you so much, I really appreciate you talking to me about Fify Are Better Than One. Christo: Very good, tell me, what would you like to know? ASW: In this auction, to commemorate 50 years of Edition Schellmann, we are ofering some of your works published by Edition Schellmann, including Wrapped Payphone and Show Window. We would like to know how the collaboration between you and Jörg came about. Christo: Jörg has been a very dear friend of mine for many years and he also knew Jeanne-Claude very well. I knew about him for some time but met him probably in the early eighties or late seventies, and afer that we became very close friends and made many editions together. We know each other like a family, everything we have been discussing for so many years together – you cannot invent that, the special relationship that we have. Jörg did not only publish editions for me but also made them, because you know, sometimes my works are not very easy to produce and are very elaborate and intricate. Many editions are made with fabric and rope, into collages. Jörg is very devoted and resourceful. ASW: Yes, Jörg is a publisher who has always pushed boundaries. Christo: Yes, and of course he enjoys that very much – to fnd a way to realise how I want to have a project done. Sometimes, it involves very ordinary paper other times fabric and glue, paper, and twine, and a variety of other things. I am very stubborn and ofen I like to have an edition that no other maker could do, except him. ASW: So is Jörg personally involved in the process of making your editions? Christo: Yes of course; this is really how we do it. I do a very elaborate prototype, as an original work, like a collage, and afer that the work is taken apart into small pieces which need to be handmade by people only he can fnd. I remember he had a great team of crafsmen and architectural designers who sometimes helped him to glue, cut out, and twine, and glue again all of these things. He also did not use normal printing techniques but rather would tweak things to

a diferent way of being printed, or sometimes printing needed to be done by hand. There are many editions I did with him and of course the objects, like real sculptures, turned into 3-dimensional sculptures, very interesting work, like the old fashioned Payphone. ASW: We are very excited to be ofering the Payphone and Show Window in this auction. Christo: The Show Window and the Payphone - they are almost like unique pieces, done in a very small edition because they need to be done by hand. The Payphone took several pieces of heavy fabric and polyethylene to be mounted over that phone and bound with diferent kinds of rope, and that gives the freshness and the clumsiness of the work. Editions today, they’re really clean and very hygienically done and don’t have this really handmade dimension. Show Window was done to help fnance the updated third edition of the Catalogue Raisonnée of all my works in editions that Jörg kept doing since the 1980s - it is a sculpture, there are only a very small number of them. ASW: They defnitely have a very unique and personal character. Please can you tell us more about works published in larger editions and Jörg’s commitment to making them available to a wider audience in a very democratic way. Christo: All of my editions are related to projects that were not realised. In over 50 years we realised 23 projects but we failed to get permission for 47. Once a project was refused, we would lose interest, but Jörg made these into editions. He did several projects in editions that never happened in reality. Projects like the Reichstag and Pont Neuf take a long time and they are fnanced through the selling of the drawings and collages. But the not realised works, were very unusual works I did – very unusual, very incredible stories – like a project we would have liked to do in ‘62, which was a dream project, which involved the wrapping of the Arc de Triomphe. ASW: Yes, we are very excited for you that this project has fnally been authorised and will be realised next year. Thank you very much for your time, it was a pleasure talking with you.

ʻI am very stubborn and often I like to have an edition that no other maker could do, except him.ʼ Christo, 2019 Christo and Jörg Schellmann in his studio with another variant of Wrapped Payphone, New York © Christo and Jeanne-Claude © Schellmann Art

25. Christo and Jeanne-Claude b. 1935 and 1935-2009 Wrapped Payphone, 1988 New York City payphone (steel), wrapped in sackcloth and transparent polyethylene with rope and twine. Signed, dated and numbered ‘H.C. 1/2’ in brown felt-tip pen on a fabric label afxed to the reverse (an hors commerce copy, the edition was 30 and 8 artist’s proofs, all unique variants), published by Edition Schellmann, Munich and New York. 54 x 21 x 23 cm (21 1/4 x 8 1/4 x 9 in.) Estimate £20,000-30,000 $26,100-39,200 €23,300-34,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 139 Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, pp. 74-75 The buyer of this lot will receive a signed copy of Christo and Jeanne-Claude’s prints Catalogue Raisonné, edited by Jörg Schellmann

26. Christo and Jeanne-Claude b. 1935 and 1935-2009 Show Window, 2012-13 Wooden frame painted with enamel in colours with fabric under Plexiglas. Signed and annotated ‘FABRICATOR’S PROOF’ in pencil on a label afxed to the reverse (a proof aside from the edition of 35 and 10 artist’s proofs), published by Schellmann Art Production, Munich and New York. 61 x 91.5 x 7.5 cm (24 x 36 x 2 7/8 in.) Estimate £8,000-10,000 $10,400-13,100 €9,300-11,600 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 206 The buyer of this lot will receive a signed copy of Christo and Jeanne-Claude’s prints Catalogue Raisonné, edited by Jörg Schellmann. This image is the cover of the third updated Catalogue Raisonné published by Schellmann Art, Munich, 2013.

27. Christo and Jeanne-Claude b. 1935 and 1935-2009 Red Store Front, Project, 1977 Screenprint in colours, with collage of brown wrapping paper, on white board, the full sheet. Signed and numbered 1/110 in pencil (there were also 10 artist’s proofs in Roman numerals), co-published by Edition Schellmann & Klüser, Munich, and Verlag Gerd Hatje, Stuttgart, framed. S. 71 x 55.5 cm (27 7/8 x 21 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 93 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 72

28. Christo and Jeanne-Claude b. 1935 and 1935-2009 Wrapped Automobile, Project for Volvo 122 S Sport Sedan, 1984 Lithograph in colours, with collage of fabric and twine, on BFK Rives paper fush-mounted to museum board (as issued), the full sheet. Signed, dated and numbered 80/100 in pencil (there were also 20 impressions in Roman numerals and 20 artist’s proofs), with the artist’s copyright inkstamp on the reverse, co-published by the artist and Edition Schellmann & Klüser, Munich and New York, framed. S. 56.8 x 71.2 cm (22 3/8 x 28 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 113 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 73

Lot 29

29. Chuck Close

b. 1940

Phil (Philip Glass), 2002 The complete set of three relief prints with embossing, on handmade white, grey and black papers, with full margins. The white and grey sheets signed, dated and numbered ‘P.P.IV’ in pencil, the black sheet signed, dated and numbered ‘P.P.IV/V’ in white crayon (one of 5 printer’s proof sets, the edition was 40 and some artist’s proofs), co-published by Edition Schellmann, Munich and New York, and Harry Jancovici, Paris, all framed. all I. 50.5 x 41.5 cm (19 7/8 x 16 3/8 in.) all S. 67.5 x 55.5 cm (26 5/8 x 21 7/8 in.)

30. Chuck Close

b. 1940

Self Portrait, 1999 Relief etching, on Okawara paper, the full sheet. Signed, dated and numbered ‘SP I/V’ in pencil (one of 5 studio proofs aside from the edition of 99 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, on the occasion of the 20th anniversary of art magazine, Hamburg, framed. S. 100 x 75.3 cm (39 3/8 x 29 5/8 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 78-79 and p. 413

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 78

Lot 30

31. Marlene Dumas

b. 1953

United Europe, 2003/05 Digital pigment print in colours, on rag paper, with full margins. Signed, titled, dated, and numbered 10/75 in pencil (there were also 20 artist’s proofs), published by Edition Schellmann, Munich and New York, for La Biennale di Venezia, 2005, framed. I. 28 x 23.3 cm (11 x 9 1/8 in.) S. 37 x 28 cm (14 5/8 x 11 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 419

32. Tacita Dean

b. 1965

Lord Byron Died, 2003 The complete set of six black and white digital prints, on Baryta paper, the full sheets. Signed, titled, dated and numbered 1/33 in black ink on the accompanying Certifcate of Authenticity (there were also 10 artist’s proofs), published by Edition Schellmann, Munich and New York, for La Biennale di Venezia, 2003, all framed. all S. 39.9 x 59.4 cm (15 3/4 x 23 3/8 in.) Estimate £1,500-2,000 $2,000-2,600 €1,700-2,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 94 and p. 418

33. Thomas Demand

b. 1964

Pile (Stapel), from Double Exposure, 2001-02 The complete set of two Lambda prints in colours, on photo paper, with full margins. Both signed, dated and numbered ‘AP 8/8’ in black ink on the reverse (an artist’s proof set aside from the edition of 45), published by Edition Schellmann, Munich and New York, both framed. one I. 44.7 x 58 cm (17 5/8 x 22 7/8 in.) one I. 51.7 x 48 cm (20 3/8 x 18 7/8 in.) both S. 50 x 60 cm (19 5/8 x 23 5/8 in.) one vertical Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 94-95 and pp. 382-383

34. Thomas Demand

b. 1964

Five Drafs (Simulator), 2004 The complete set of fve digital pigment prints in colours, on Hahnemühle photo rag paper, with full margins. One sheet signed, dated and annotated ‘BAT’ in pencil, all further annotated ‘ok’ in pencil (the bon à tirer or ‘good to print’ set, the edition was 60 plus 10 in Roman numerals and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, for Kunsthaus Bregenz, 2004, all framed. all I. 24 x 24 cm (9 1/2 x 9 1/2 in.) all S. 28 x 28 cm (11 x 11 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 94-95 and p. 420

ʻHanne’s work is located somewhere between books and drawings. One day, the book publisher Lothar Schirmer called me up and said that Hanne was interested in making some portfolios out of a number of her thousands of sheets of paper that she had carefully written on and illustrated with photos. My frst visit to her studio in Hamburg – the traditional home of the Darboven Cofee producing family – was very weird. Hanne frst gave me instructions for where to place my briefcase and what the schedule of my visit would be. A totally organized life and work! She gave me a tour through her house that was flled to the top with books and objects referring to all sorts of cultural subjects: from art to kitsch, from science to kitchen. Eventually, she opened heavy folios flled with thousands of lines of accurate handwriting. Although the lines – often written in pseudoscript – kept repeating themselves with hardly noticeable variations, she was turning the pages very slowly to give me time to read every line. When the day was over, I sensed I had become part of her realm of script and objects, and it felt absolutely natural to me reading pages of “waves” that described and archived history. The minimal beauty of her systems and her ideas of order had infected me.ʼ Jörg Schellmann, 2019

Hanne Darboven in her studio, Hamburg-Harburg ÂŠ Hanne Darboven ÂŠ Schellmann Art

January

February

35. Hanne Darboven

1941-2009

Sunrise - Sunset (To: New York), 1996 The complete portfolio of 96 prints comprised of twelve sets of eight laser prints in colours, each set representing one month of the year, one of each set with attached chromogenic print, on logarithmic paper, with full margins. The twelve sheets with chromogenic print signed with initials in black ink and stamp-numbered 07/10 (there were also 2 artist’s proofs), published by Edition Schellmann, Munich and New York, all unframed. all I. 24 x 33 cm (9 1/2 x 12 7/8 in.) all S. 29.6 x 37.6 cm (11 5/8 x 14 3/4 in.)

Estimate £5,000-7,000 $6,500-9,100 €5,800-8,100 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 90-91 Four out of twelve sets illustrated above

March

April

Lot 36

Lot 37

36. Hanne Darboven

1941-2009

37. Hanne Darboven

1941-2009

ABC-Arbeit (A-Ω), 2007/08 The complete set of six plywood scale models on MDF boards, with accompanying 68 pages of reproduced notations and three photographs, contained in plastic sleeves within a black binder. All models titled and numbered ‘1’ from the edition of 12 (indicated by the clock face) in black felt-tip pen (there was also 1 artist’s proof), published by Edition Schellmann, Munich and New York. pair A. 38 x 50 x 6 cm (14 7/8 x 19 5/8 x 2 3/8 in.) pair B. 62 x 50 x 6 cm (24 3/8 x 19 5/8 x 2 3/8 in.) pair C. 50 x 50 x 6 cm (19 5/8 x 19 5/8 x 2 3/8 in.) binder 32 x 29 x 2 cm (12 5/8 x 11 3/8 x 0 3/4 in.)

24 Gesänge (24 Chants), 1990 Two screenprints in colours, one with paper collage, on Arches paper, with full margins. One print signed with initials and annotated ‘HC’ in pencil (one of a few hors commerce sets, the edition was 33 and 7 artist’s proofs), published by Edition Schellmann, Munich and New York, both framed. both I. 120.4 x 128.3 cm (47 3/8 x 50 1/2 in.) both S. 155.5 x 133 cm (61 1/4 x 52 3/8 in.)

Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 88-89 (No. 5)

plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 90-91 The six models are three-dimensional diagrammatical representations of Darboven’s notations, which catalogue her interpretations of date/time calculations. Only the frst (A) and last (Ω) notations were used for the editions.

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

38. Hanne Darboven

1941-2009

Geigensolo (Violin Solo), 1992 Miniature varnished wooden violin, string bow and red velvet lined case, on black lacquered wooden column, with accompanying two A4 pages of hand-written sheet music titled Geigensolo. Signed, dated and numbered ‘ap 1/5’ in black ink on the accompanying card printed ‘Polis, grch., Burg, Berg, Staat’, further signed and numbered in black ink on the sheet music (an artist’s proof aside from the edition of 28), published by Edition Schellmann, Munich and New York. Violin 23 x 8.2 x 4 cm (9 x 3 1/4 x 1 5/8 in.) Violin case 28.5 x 9.5 x 5.5 cm (11 1/4 x 3 3/4 x 2 1/8 in.) Column 102 x 33 x 33 cm (40 1/8 x 12 7/8 x 12 7/8 in.)

Estimate £1,500-2,000 $2,000-2,600 €1,700-2,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 88

39. William Eggleston

b. 1939

Untitled (Mayfeld, Kentucky) ca. 1999-2000, 2002 Transparency printed in colours contained in an aluminium electrical light box. Signed and numbered 1/20 in blue ink on a label afxed to the reverse (there were also 5 artist’s proofs), published by Edition Schellmann, Munich and New York, for Documenta 11, Kassel. 45.8 x 60.4 x 2.5 cm (18 x 23 3/4 x 0 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 416

40. Olafur Eliasson

b. 1967

Jökulsgilskvisl (Glacier Canyon Fork), from Double Exposure, 2003 The complete set of two chromogenic prints, on photo paper fush-mounted to Forex board (as issued), the full sheets. Both signed in black ink and numbered ‘H.C. 2/2’ in pencil on a label afxed to the reverse (one of 2 hors commerce sets, the edition was 45 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, both framed. both S. 40 x 60 cm (15 3/4 x 23 5/8 in.) Estimate £1,500-2,000 $2,000-2,600 €1,700-2,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 96 and pp. 382-383

The Door Cycle Project ʻBetween 1964 and 1966 Willem de Kooning painted a series of female fgures on hollow-core wood doors, which were later exhibited at the Whitney Museum of American Art, March 14 through May 26, 1996. The doors which de Kooning used as painting surfaces had previously been installed in his studio, however the artist was dissatisfed with them and had

them replaced with sturdier doors. Afer the hollow-core doors had been stored in his studio for years, de Kooning decided to paint on them. The resulting works were called the Door Cycle. Using a door – an object charged with metaphoric values – as a painting surface seemed particularly appropriate as its measurements correspond with the human size; at the

same time it's appearance and dimensions represent a painter’s canvas. Thinking about these formal and poetic qualities of a door, Before The Law by Franz Kafka came to mind, also works by Marcel Duchamp (door of Etant donnes, 1948-50) and Joseph Beuys (Door, 1854/56). With its fat, empty surface, light weight and painting-size,the mass-produced door panel seemed to be

an appropriate contemporary product to make work in editions with. Afer two years of consideration, Edition Schellmann invited a group of artists to create works of art on prefabricated hollow-core doors. The 16 works that resulted – painting, object, silkscreen, sculpture, relief, and other techniques, on wood, glass, steel and even paper – were produced in editions of 15.ʼ Jörg Schellmann ed., Forty Are Better Than One, Munich/New York, 2009, p. 406

Lots 50, 132, 58, 157, 131

41. Olafur Eliasson

b. 1967

Sunset Door, from Door Cycle, 2006 Painted wooden door panel with curved colour efect glass flter and galvanised steel bucket with light ftting. Signed and annotated ‘A.C.’ in black ink on the accompanying label (an ‘archive copy’, the edition was 15 and 2 artist’s proofs), published by Edition Schellmann, Munich and New York. 210 x 90 x 12.2 cm (82 5/8 x 35 3/8 x 4 3/4 in.) light flter 60 x 8.2 cm (23 5/8 x 3 1/4 in.) bucket 26.3 x 36 x 31.5 cm (10 3/8 x 14 1/8 x 12 3/8 in.) Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 96-97 and p. 406

42. Elmgreen & Dragset

b. 1961 and b. 1969

Belly Door, from Door Cycle, 2006 Fibreglass resin covered polyurethane foam on wooden door panel, painted in white acrylic, with silver chrome metal door handle and lock. Signed and numbered ‘#15’ in black ink on the accompanying label, from the edition of 15 (there were also 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 200 x 90.2 x 40 cm (78 3/4 x 35 1/2 x 15 3/4 in.) Estimate £10,000-15,000 $13,100-19,600 €11,600-17,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 98 and p. 406

‘While walking foors as a guard in the American Museum of Natural History, I crammed my uniform pockets with notes for an electric light art. “Flavin, we don’t pay you to be an artist,” warned the custodian in charge. I agreed and quit him.’ Dan Flavin, 1965

In the late spring of 1963, Dan Flavin took a standard 8f-long yellow fuorescent lighting unit and fxed it to the wall of his studio at a 45-degree angle, with the lowest corner of the unit’s housing just touching the foor. It was not the frst time the artist had worked with light fttings, having previously attached short strip lights and small incandescent bulbs (some fashing) to simple, painted, boxy structures. These icons, as he called them, were intended as memorials, with their tragic pathos tempered by the comic and ironic kitsch quality of an electrifed Catholic shrine. Each one was beautifully and laboriously crafed, whereas mounting the fuorescent strip light to the wall took almost no time or efort at all. Describing the work in his 1965 ‘autobiographical sketch’, Flavin recalled that “it seemed to sustain itself directly, dynamically, dramatically on my workroom wall – a buoyant and insistent gaseous image which, through brilliance, somewhat betrayed its physical presence into approximate invisibility.” The Diagonal of Personal Ecstasy, as this work became known, was an epiphany for Flavin – a single, simple gesture that launched the rest of his artistic career. For the following thirty-three years of his life, Flavin worked solely within a rigorously simplistic set of criteria. His pieces were created strictly from standard, mass-produced fuorescent light fttings that could be purchased from any hardware store, and he limited himself to the palette of ten commercially available colours (four types of white, pink, yellow, blue, green, red, and fltered ultra-violet) in standard 4f, 6f, and 8f lengths. Despite the constraints of his choice in materials, Flavin quickly discovered that his medium was infnitely variable and by the late 1960’s, Flavin had come to master the numerous subtle, and not-so-subtle possibilities of constructing arrangements and environments in fuorescent light.

43. Dan Flavin

1933-1996

Untitled (to Mary Elizabeth), 1992 Daylight and warm white fuorescent light. Signed in black ink and numbered ‘1 of 5’ (printed) on the accompanying Certifcate of Authenticity (only 3 examples were fabricated), published by Edition Schellmann, Munich and New York. 21 x 122 x 61 cm (8 1/4 x 48 x 24 in.) Estimate £100,000-120,000 $131,000-157,000 €116,000-140,000

Dedicated to the nurse who cared for Dan Flavin during a period of illness in the early 1990’s, the present lot, Untitled (to Mary Elizabeth), 1992, exemplifes and distils the artist’s nuanced approach to colour. Throughout his career, Flavin experimented with the chromatic and perceptual possibilities aforded by the four commercially available variations of ‘white’ fuorescent light: cool white, daylight, warm white, and sof white. Here, he uses daylight on the outer fxtures, with two protruding arms bracketing the hazy glow of the inner warm white light. The hypnotic central bar appears like the core of a shimmering sun, the edges burning into pure white that disperses gently across the wall.

plus Buyer’s Premium and VAT*

Literature Michael Govan and Tifany Bell, Dan Flavin: The Complete Lights 1961-1996, New York, 2004, p. 399 (cat no. 643) Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 100-101

Flavin’s chosen whites remain disparate, separated by their metal housings, which allow the subtle diferentiation from pale amber to pale blue to seep into the gaps between the bulbs and spill over to the space in which the work inhabits. The resulting efect of elegant tranquillity, elevates the prosaic nature of the fuorescent bulbs – long familiar from numberless ordinary bathrooms and institutional corridors – to that of the elegiac. Afer decades of refnement, Flavin’s ‘situations’ (as he preferred to call his works) transmute the impetus of his early icons from tangible memorial, to pictorial space that is felt as much as it is seen. As with the present lot, the artist ofers us an experience that is as all-encompassing as it is transformative.

44. Dan Flavin

1933-1996

Untitled, 1994 The complete set of three aquatints in colours with yarn, printed on both sides of handmade Twinrocker paper, the full sheets, curled and stitched (as issued). All signed, dated and numbered 5/15 in pencil (there were also 6 artist’s proofs), published by Edition Schellmann, Munich and New York, all contained in the original artist specifed Plexiglas cases. all 75.5 x 21.6 x 17.8 cm (29 3/4 x 8 1/2 x 7 in.) all cases 82 x 54 x 23.2 cm (32 1/4 x 21 1/4 x 9 1/8 in.) Estimate £15,000-20,000 $19,600-26,100 €17,500-23,300 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 104

45. Dan Flavin

1933-1996

Projects 1963-95, 1996-97 The complete set of ten etching and aquatints in colours, three with Chine-collé, on Rives rag paper, the full sheets, with colophon. All signed by the artist’s son, Stephen Flavin, dated and numbered ‘3/8 A.P.’ in pencil on the reverse (an artist’s proof set aside from the edition of 36), with the Dan Flavin Estate blindstamp, published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. all S. 52 x 66 cm (20 1/2 x 25 7/8 in.)

Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 108-109

46. Dan Flavin

1933-1996

Untitled (Triptych), from Sequences, 1996-98 The complete set of three aquatints in colours, on handmade Twinrocker paper, the full sheets. Each signed by the artist’s son, Stephen Flavin, dated and numbered ‘1/10 A.P.’ in pencil on the reverse (an artist’s proof set aside from the edition of 60 plus 10 in Roman numerals), with the Dan Flavin Estate blindstamp, published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. all S. approx. 50 x 40 cm (19 5/8 x 15 3/4 in.) Estimate £1,500-2,000 $2,000-2,600 €1,700-2,300 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 104-105 and pp. 376-377 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

47. Günther Förg

1952-2013

Untitled, from 9 Farben (9 Colours), 2000 Unique multiple comprised of acrylic paint in colours on aluminium plate with folded upper and lower edges (as issued). Signed, dated, and inscribed ‘eines von vierzig’ (one of forty) in black felt-tip pen on the reverse, from the edition of 40 unique colour variants, published by Edition Schellmann, Munich and New York. 50 x 60 x 3 cm (19 5/8 x 23 5/8 x 1 1/8 in.) Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 114-115 (other examples illustrated)

Lot 48

Lot 49

48. Günther Förg

1952-2013

Leaves, 1999 The complete set of four etchings in colours, on Zerkall rag paper, with full margins. All signed, dated and numbered ‘AP 1/12’ in pencil (an artist’s proof set aside from the edition of 50), published by Edition Schellmann, Munich and New York, all framed. all I. 73.4 x 55.4 cm (28 7/8 x 21 3/4 in.) all S. 84.5 x 63.7 cm (33 1/4 x 25 1/8 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

49. Günther Förg

1952-2013

Coda, from Sequences, 1996-98 The complete set of three etchings in colours, on BFK Rives paper, with full margins. All signed, dated and numbered ‘hc 1/5’ in pencil (an hors commerce set, the edition was 60 plus 10 in Roman numerals and 5 artist’s proofs), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. all I. 45.8 x 36.6 cm (18 x 14 3/8 in.) all S. 50 x 39.8 cm (19 5/8 x 15 5/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 114

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 114 and p. 378 This triptych was titled afer a poem by Ezra Pound.

Lot 50 side A

Lot 50 side B

50. Katharina Fritsch

b. 1956

Lexikonzeichnung (2. Serie: Mensch) (Lexicon Drawing (2nd series: Human)), from Door Cycle, 2006 Screenprint on both sides of a white Amphibolin primed wooden door panel. Signed and annotated ‘AC’ in blue ink on the accompanying label (an ‘archive copy’, the edition was 15 and 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 200 x 90 x 4 cm (78 3/4 x 35 3/8 x 1 5/8 in.) Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 116-117 and p. 407

51. Sylvie Fleury

b. 1961

ICÔNE (ICON), 2001 Wall-hanging mirror with ten cosmetic products on a glass shelf supported by two chrome brackets. Signed and numbered ‘A.P. 3/3’ in black ink on the accompanying Certifcate of Authenticity (an artist’s proof aside from the edition of 12), published by Edition Schellmann, Munich and New York. overall 123 x 60 x 16 cm (48 3/8 x 23 5/8 x 6 1/4 in.) Estimate £1,500-2,000 $2,000-2,600 €1,700-2,300 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 110-111

52. Sylvie Fleury

b. 1961

Happy Clinique, from Sequences, 1996-98 The complete set of three ofset lithographs with screenprint in colours, on heavy gloss paper, with full margins. All signed in pencil on the front and numbered ‘PP 2/2’ in pencil on the reverse (a printerʼs proof set, the edition was 60 plus 10 in Roman numerals and 10 artist’s proofs), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. all I. approx. 41 x 27 cm (16 1/8 x 10 5/8 in.) all S. 50 x 40 cm (19 5/8 x 15 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700

53. Ellen Gallagher

b. 1965

Boufant Pride, 2003 Photogravure with die-cuts, collage, paint, Plasticine, and toy eye additions, on rag paper, the full sheet. Signed, dated and numbered 1/20 in pencil on the reverse (there were also 4 artist’s proofs), published by Edition Schellmann, Munich and New York, for La Biennale di Venezia, 2003, framed. S. 34.4 x 26.7 cm (13 1/2 x 10 1/2 in.) Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 110-111 and p. 377

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 119 and p. 148

54. Gilbert & George

b. 1943 and b. 1942

The Singing Sculpture 1969-91, 1993 Relief print in colours, on aluminium foil (Dufex) fush-mounted to museum board, with screenprint, with full margins. Signed and numbered 20/100 in gold ink (there were also 20 artist’s proofs), published by Edition Schellmann, Munich and New York, framed. I. 46 x 59.9 cm (18 1/8 x 23 5/8 in.) S. 78.4 x 86 cm (30 7/8 x 33 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 118-119

Jörg Schellmann with Gilbert & George signing the edition The Singing Sculpture, 1969-91, Edition Schellmann, Cologne, 1994 © Gilbert & George © Schellmann Art

55. Gilbert & George

b. 1943 and b. 1942

Hearts of Plane, 2007 Chromogenic print, on photo paper fushmounted to card (as issued), with full margins. Signed and numbered ‘17’ in black felt-tip pen, from the edition of 100, published by Edition Schellmann, Munich and New York, for Haus der Kunst, Munich, 2007, contained in a metal frame specifed by the artist. framed 77 x 102 x 3 cm (30 3/8 x 40 1/8 x 1 1/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 119 and p. 424

56. Gilbert & George

b. 1943 and b. 1942

Fingers of Fate, 2007 Chromogenic print, on photo paper fushmounted to card (as issued), with full margins. Signed and numbered ‘17’ in black felt-tip pen, from the edition of 100, published by Edition Schellmann, Munich and New York, for Haus der Kunst, Munich, 2007, contained in a metal frame specifed by the artist. framed 77 x 102 x 3 cm (30 3/8 x 40 1/8 x 1 1/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 119 and p. 424

Anne Schneider-Wilson in conversation with Liam Gillick, on his collaboration with Edition Schellmann, 2019

Anne Schneider-Wilson: Why and how did you come to work with Jörg Schellmann? Liam Gillick: Jörg approached me. He had worked with key artists who take quite diferent positions - from Beuys to Judd. It was very easy to say yes and an honour to become part of such a history. ASW: Did working with Jörg change your approach to later works? LM: Jörg likes to push the limits of production quality. He does not like to restrict the artist. He can identify the strengths of an artist and see what might be missing. Jörg allowed me to experiment with ideas and that always afects what comes next.

57. Liam Gillick

b. 1964

Multiplied Discussion Structure, 2007 Aluminium multiple powder-coated in colours. One of three colour variants from the total edition of 100, fabricated by Thomas Huesmann, Berlin, published by Edition Schellmann, Munich and New York. 40.5 x 244 x 61 cm (15 7/8 x 96 1/8 x 24 in.) Estimate £7,000-9,000 $9,100-11,700 €8,100-10,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, p. 126 (another variant illustrated)

58. Liam Gillick

b. 1964

A short text on the possibility of creating an economy of equivalence, from Door Cycle, 2006 Laser-cut stainless steel on HPL laminated wooden door panel with screenprint in black. Signed and annotated ‘AC’ in black ink on the accompanying label, one of three colour variants (an ‘archive copy’, the edition was 15 and 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 200 x 90 x 4.2 cm (78 3/4 x 35 3/8 x 1 5/8 in.) Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 120-121 and p. 407

Lot 59

59. Liam Gillick

b. 1964

Weekday in Sochaux, 2006 Aluminium wall object comprised of four layered sheets anodized in four colours. Signed and annotated ‘HC’ in black ink on the accompanying label, one of four colour variants (an hors commerce copy, the total edition was 32 including 8 in each colour variant, there were also 2 artist’s proofs), published by Edition Schellmann, Munich and New York. 70 x 70 x 6 cm (27 1/2 x 27 1/2 x 2 3/8 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠

60. Liam Gillick

b. 1964

Shelf System A, 2008 The complete set of six aluminium shelves powdercoated in colours. One of three colour combinations from the total edition of 100, published by Edition Schellmann, Munich and New York. all 10 x 100 x 20 cm (3 7/8 x 39 3/8 x 7 7/8 in.) height from foor 180 cm (70 7/8 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 122

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 126-127

Lot 61

Lot 62

61. Jack Goldstein

1945-2003

Untitled #1; and #2, 1983 The complete set of two lithographs with screenprint in colours, on Arches 88 paper, the full sheets. Both signed, dated and numbered ‘A/P 12/12’ in pencil (an artist proof set aside from the edition of 55), published by Edition Schellmann & Klüser, Munich and New York (with their and the artist’s inkstamps on the reverse), both framed. both S. 76.5 x 101.8 cm (30 1/8 x 40 1/8 in.) Estimate £1,500-2,000 $2,000-2,600 €1,700-2,300

62. Nan Goldin

b. 1953

Joey in my mirror, Berlin 1992; and Joey in my vanity mirror, NYC 1999, from Double Exposure, 2002 The complete set of two Cibachrome prints, the full sheets. Joey in my mirror, Berlin 1992 signed and numbered ‘EP 2/2’ in black ink on a label afxed to the reverse, both further numbered ‘EP 2/2’ in pencil on the reverse (an ‘editor’s proof’ set, the edition was 45 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), both framed. both S. 51 x 61 cm (20 1/8 x 24 in.)

plus Buyer’s Premium and VAT*

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 129

plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 128 and pp. 382-283

‘I was trying to get away from the idea of an edition as a discrete object and to push it in the direction of an installation. These prints are the latest generation of a body of work I started in 1993. I am fascinated by how we can use the computer to continually transform imagery.’ Peter Halley (Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, p.82)

63. Peter Halley

b. 1953

Static Wallpaper, from Wall Works, 1998 A set of 48 screenprints in 16 colours, on wallpaper, the full sheets, to be installed pasted on a wall to cover it entirely. Signed and numbered III/III in pencil on the accompanying Certifcate of Authenticity (one of 3 artist’s proof sets aside from the edition of 15), published by Edition Schellmann, Munich and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. all 76.5 x 94.5 cm (30 1/8 x 37 1/4 in.) installation size variable and according to wall Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, pp. 83-87 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 136 and p. 401 Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 150 Please note Relief is sold separately as Lot 64

View of another installation, work varies depending on site

64. Peter Halley

b. 1953

Relief, 2001 Unique moulded fbreglass multiple with metallic acrylic in pink. Signed, dated and numbered 12/15 in black felt-tip pen on the reverse, from the edition of unique colour variants (there were also 5 artist’s proofs in Roman numerals), published by Edition Schellmann, Munich and New York. 82.5 x 91 x 5.5 cm (32 1/2 x 35 7/8 x 2 1/8 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 137

65. Peter Halley

b. 1953

Nowhere, 1992 Screenprint in colours with blue grid imprint, on Arches paper, with full margins. Signed, dated and annotated ‘BAT’ in pencil (the bon à tirer or ‘goodto-print’ proof before the edition of 50 and 11 artist’s proofs), published by Edition Schellmann, Munich and New York, 1993, framed. I. 81.7 x 121.9 cm (32 1/8 x 47 7/8 in.) S. 102 x 141.1 cm (40 1/8 x 55 1/2 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 134-135

66. Peter Halley

b. 1953

Elsewhere, 1992 Screenprint in colours with blue grid imprint, on Arches paper, with full margins. Signed, dated and annotated ‘B.A.T.’ in pencil (the bon à tirer or ‘goodto-print’ proof before the edition of 50 and 11 artist’s proofs), published by Edition Schellmann, Munich and New York, 1993, framed. I. 81.7 x 121.9 cm (32 1/8 x 47 7/8 in.) S. 101.5 x 140.9 cm (39 7/8 x 55 1/2 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 134-135

67. Peter Halley

b. 1953

Core; Display; and Fluke, 1991 The complete set of three screenprints with lithograph in colours, on Coventry rag paper, with full margins. All signed and numbered ‘AP XI’ in pencil (one of 12 artist’s proof sets aside from the edition of 50), co-published by Edition Schellmann, Munich and New York, and Spring Street Workshop, New York, all framed. all I. 61 x 86.2 cm (24 x 33 7/8 in.) all S. 66.5 x 96.8 cm (26 1/8 x 38 1/8 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 133

68. Peter Halley

b. 1953

A Tour of Monuments of Passaic, New Jersey, 1989 The complete set of fve relief etchings in colours, on Kitikata Japanese paper, with full margins. All signed, dated and numbered ‘AP IX’ in pencil (one of 12 artist’s proof sets aside from the edition of 50), co-published by Edition Schellmann, Munich and New York, and Pace Editions, New York, all framed. all I. various sizes all S. 40.7 x 51 cm (16 x 20 1/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 132-133

Jörg Schellmann and Keith Haring at the exhibition Prints and Wall Drawings held at Edition Schellmann Munich, March-May 1985 © The Keith Haring Foundation, 2019 © Schellmann Art

ʻIn 1985, Keith had made a series of drawings for a text by Brion Gysin and wanted to turn this material into a book. However, he did not succeed in fnding a publisher due to the heavy sexual imagery in his drawings. So he asked me if I could recommend a publisher in Germany. When I looked at the drawings, I could see the problem, but spontaneously ofered to publish the book myself if Keith were to do an object in an edition for me assuming that the book would hardly pay for its printing costs. Keith was very pleased and promised to come up with something – which indeed he did: he made the Dog multiple. As expected, the book sold slowly over the years, whereas the Dog garnered great popularity over the 30 years of its existence.ʼ Jörg Schellmann, 2019

69. Keith Haring

1958-1990

Dog, 1986 Unique screenprint in yellow on black enamel painted plywood. Signed, dated and annotated ‘TP’ in black felt-tip pen on the accompanying metal plaque (one of 3 unique colour variant trial proofs before the total edition of 35 comprising 15 white on black, 10 red on black, 10 black on yellow, and 7 artist’s proofs), published by Edition Schellmann, Munich and New York. 128 x 96 x 4 cm (50 3/8 x 37 3/4 x 1 5/8 in.) Estimate £150,000-200,000 $196,000-261,000 €175,000-233,000 plus Buyer’s Premium and VAT*

Literature see Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 141-143

70. Keith Haring

1958-1990

Dog, 1986-87 Lithograph, on BFK Rives paper, with full margins. Signed, dated and annotated ‘EP’ in red pencil (an ‘editor’s proof’, the edition was 40 and 10 artist’s proofs in Roman numerals), published by Edition Schellmann, Munich and New York, framed. I. 110 x 83 cm (43 1/4 x 32 5/8 in.) S. 116 x 89.8 cm (45 5/8 x 35 3/8 in.) Estimate £30,000-50,000 $39,200-65,300 €34,900-58,200 plus Buyer’s Premium and VAT*

Literature Klaus Littman, pp. 48-49 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 142-143

71. Keith Haring

1958-1990

Totem (Wood), 1988 Carved plywood wall relief painted with enamel in colours. Signed, dated and numbered 2/35 in black felt-tip pen on the accompanying metal plaque (there were also 7 artist’s proofs), fabricated and published by Edition Schellmann, Munich and New York. 183.8 x 55.8 x 4.9 cm (72 3/8 x 21 7/8 x 1 7/8 in.) Estimate £70,000-100,000 $91,400-131,000 €81,400-116,000 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 144-145

Keith Haring and Jörg Schellmann looking at a prototype for Totem, at Hans Meyer Gallery, Dusseldorf, 1987 © The Keith Haring Foundation, 2019 © Schellmann Art

72. Keith Haring

1958-1990

Totem (Concrete), 1989 Unique cast concrete wall relief painted in black. Signed, dated and annotated ‘T.P.’ in black felt-tip pen on the accompanying metal plaque (one of a few unique variant trial proofs before the edition of 25 plus 5 in Roman numerals and 7 artist’s proofs), published by Edition Schellmann, Munich and New York. 180.3 x 54.5 x 5 cm (70 7/8 x 21 1/2 x 1 7/8 in.) Estimate £40,000-60,000 $52,200-78,300 €46,500-69,800 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 144-145

73. Keith Haring

1958-1990

Totem, 1989 Woodcut in black and red, on three sheets of Inshu-Kozu Japanese paper, with full margins. One sheet signed in pencil (an unnumbered archive proof aside from the edition of 60 and 12 artist’s proofs), published by Edition Schellmann, Munich and New York, framed. overall I. 183 x 55.5 cm (72 x 21 7/8 in.) each S. 65.5 x 88.5 cm (25 3/4 x 34 7/8 in.) overall S. 193.5 x 88.5 cm (76 1/8 x 34 7/8 in.) Estimate £15,000-20,000 $19,600-26,100 €17,500-23,300 plus Buyer’s Premium and VAT*

Literature Klaus Littmann, pp. 158-159 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 144 Lot 73

74. Keith Haring

1958-1990

Three Lithographs: one plate, 1985 Lithograph in black and red, on BFK Rives paper, with full margins. Signed, dated and annotated ‘HC’ in pencil (one of 3 hors commerce impressions, the edition was 80 and 20 artist’s proofs), published by Edition Schellmann, Munich and New York, framed. I. 96 x 77 cm (37 3/4 x 30 3/8 in.) S. 100 x 81.1 cm (39 3/8 x 31 7/8 in.)

Estimate £15,000-20,000 $19,400-25,100 €17,400-23,200 plus Buyer’s Premium and VAT*

Literature Klaus Littmann, p.41 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 142

Lot 75

Lot 76

75. Keith Haring

1958-1990

Three Lithographs: one plate, 1985 Lithograph in black and red, on BFK Rives paper, with full margins. Signed, dated and numbered ‘AP 16/20’ in pencil (an artist’s proof aside from the edition of 80), published by Edition Schellmann, Munich and New York, framed. I. 77 x 95.9 cm (30 3/8 x 37 3/4 in.) S. 81.1 x 100.4 cm (31 7/8 x 39 1/2 in.) Estimate £7,000-9,000 $9,000-11,600 €8,100-10,400 plus Buyer’s Premium and VAT*

76. Keith Haring

1958-1990

Three Lithographs: one plate, 1985 Lithograph in black and red, on BFK Rives paper, with full margins. Signed, dated and numbered ‘PP 1/3’ in pencil (a printer’s proof, the edition was 80 and 20 artist’s proofs), published by Edition Schellmann, Munich and New York, framed. I. 96.2 x 77.2 cm (37 7/8 x 30 3/8 in.) S. 100 x 81 cm (39 3/8 x 31 7/8 in.) Estimate £7,000-9,000 $9,100-11,700 €8,100-10,500 plus Buyer’s Premium and VAT*

Literature Klaus Littmann, p. 39 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 142

Literature Klaus Littmann, p. 40 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 142

77. Keith Haring

1958-1990

Pyramid, 1989 Anodized aluminium plate in yellow and blue. With incised signature, date and annotation ‘H.C’ on the reverse (an hors commerce copy, the edition was 30 and 6 artist’s proofs), published by Edition Schellmann, Munich and New York. 103 x 145.4 cm (40 1/2 x 57 1/4 in.) Estimate £30,000-50,000 $39,200-65,300 €34,900-58,200 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 146-147 (no. 17)

78. Keith Haring

1958-1990

Pyramid, 1989 Anodized aluminium plate in blue and yellow. With incised signature, date and annotation ‘H.C.’ on the reverse (an hors commerce copy, the edition was 30 and 6 artist’s proofs), published by Edition Schellmann, Munich and New York. 103 x 144.5 cm (40 1/2 x 56 7/8 in.) Estimate £30,000-50,000 $39,200-65,300 €34,900-58,200 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 146-147 (no. 20)

79. Keith Haring

1958-1990

Untitled (Free South Africa), 1985 The complete set of three lithographs in black and red, on BFK Rives paper, with full margins. All signed, dated and annotated ‘HC’ in pencil (one of 3 hors commerce sets, the edition was 60 and 15 artist’s proofs), published by Edition Schellmann, Munich and New York, all framed. all I. 77 x 96.2 cm (30 3/8 x 37 7/8 in.) all S. 81.2 x 100.1 cm (31 7/8 x 39 3/8 in.) one vertical

Estimate £15,000-20,000 $19,600-26,100 €17,500-23,300 plus Buyer’s Premium and VAT*

Literature Klaus Littmann, pp. 42-43 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 142

80. Keith Haring

1958-1990

Portrait of Joseph Beuys, from For Joseph Beuys, 1986-87 Screenprint in brown, on canvas. Signed and dated in black felt-tip pen (a proof aside from the edition of 90 and 6 artist’s proofs), co-published by Edition Schellmann, Munich and New York, and Galerie Bernd Klüser, Munich, framed. S. 79.5 x 60 cm (31 1/4 x 23 5/8 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Literature Klaus Littmann, pp. 60-61 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 373

81. Richard Hamilton

Lot 80

1922-2011

Bathroom - fg. 1, 1997 Computer-processed Iris giclée print in colours, on Somerset paper, with full margins. Signed, titled, and numbered 17/50 in pencil (there were also 25 impressions in Roman numerals), published by the artist, distributed by Edition Schellmann, Munich and New York, for documenta X, Kassel, 1997, and Alan Cristea Gallery, London, framed. I. 40 x 40 cm (15 3/4 x 15 3/4 in.) S. 61.5 x 55.5 cm (24 1/4 x 21 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Etienne Lullin 182 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 138-139 and p. 414

Lot 81

ʻJörg frst approached me to make an edition regarding my participation in Documenta 11 in 2002, when we created the work Set in Stone. We have since collaborated on several editions, my favourite being the one for Jörg’s Wall Works project where we created the mirrored work Puzzled, 2009. The installation instructions allow for certain choices to be made by the owner of the work in relation to the specifcity of the site.ʼ Mona Hatoum, 2019

Lot 82

View of another installation, work varies depending on site

82. Mona Hatoum

b. 1952

Puzzled, from Wall Works, 2009 The complete set of six mirror-polished aluminium plated MDF hardboard puzzle shaped elements, to be installed on a wall painted in matte white, grey, or black. Signed and numbered ‘AP 3/3’ in black ink on the accompanying Certifcate of Authenticity (an artist’s proof aside from the edition of 15), published by Schellmann Art Production, Munich and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. each element approx. 85 x 60 x 2.5 cm (331/2 x 235/8 x 07/8 in.) installation size variable and according to wall Estimate £20,000-30,000 $26,100-39,200 €23,300-34,900 ♠

83. Mona Hatoum

b. 1952

Set in Stone, 2002 Two Carrara marble forms with carved typography (East and West in Arabic) and string on an oak shelf. Signed and annotated ‘ARCHIVE PROOF’ in black ink on the accompanying Certifcate of Authenticity (the edition was 30 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, for Documenta 11, Kassel, 2002. This work has specifc installation instructions as detailed on the accompanying certifcate. 24 x 65 x 19.8 cm (9 1/2 x 25 5/8 x 7 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, pp. 148-149 and p. 401. Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 151

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, p. 148 and p. 416

Lot 83

84. Candida Höfer

b. 1944

Universitätsbibliothek Hamburg 2000 (University Library Hamburg 2000), from Double Exposure, 2002 The complete set of two chromogenic prints, on photo paper fush-mounted to Forex board (as issued), with full margins. Both signed and annotated ‘H.C.’ in black ink on a label afxed to the reverse (one of 2 hors commerce sets, the edition was 45 and 10 artist’s proofs in Roman numerals), published by Edition Schellmann, Munich and New York, both framed. both I. 45 x 45 cm (17 3/4 x 17 3/4 in.) both S. 61 x 61 cm (24 x 24 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 156-157 and pp. 382-382

85. Candida Höfer

b. 1944

Barock Brasilien 2005 (Baroque Brazil 2005), 2006 The complete set of three Lambda prints in colours, on photo paper fush-mounted to aluminium (as issued), with full margins. All signed and numbered III/XII in black ink on a label afxed to the reverse (one of 12 artist’s proof sets aside from the edition of 40), published by Edition Schellmann, Munich and New York, all framed. all I. approx. 39.9 x 53 cm (15 3/4 x 20 7/8 in.) all S. 62 x 73.5 cm (24 3/8 x 28 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 156-157

86. Jenny Holzer

b. 1950

Green Survival, 2004 Electronic LED sign with green diodes and anodized aluminium housing. Signed in black felt-tip pen and numbered 19/20 (printed) on a label afxed to the reverse (there were also 5 artist’s proofs), published by Edition Schellmann, Munich and New York. 41.8 x 4.9 x 1.3 cm (16 1/2 x 1 7/8 x 0 1/2 in.) Estimate £30,000-50,000 $39,200-65,300 €34,900-58,200 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 158-159 This work can be installed horizontally or vertically (LED switches orientation automatically)

87. Jenny Holzer

b. 1950

Amber Truisms Living, 2008 Semicircular electronic LED sign with amber Osram diodes and electro-polished aluminium housing with seamless light flter. Signed in black ink and numbered 14/25 (printed) on a label afxed to the reverse (there were also 5 artist’s proofs), published by Schellmann Sprüth Magers Art Production, Berlin. 4.8 x 53 x 27.6 cm (1 7/8 x 20 7/8 x 10 7/8 in.) Estimate £10,000-15,000 $13,100-19,600 €11,600-17,500 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 160-161

88. Jenny Holzer

b. 1950

Blue Laments Arno, 2008 Semicircular electronic LED sign with blue Osram diodes and electro-polished aluminium housing with seamless light flter. Signed in black ink and numbered 14/25 (printed) on a label afxed to the reverse (there were also 5 artist’s proofs), published by Schellmann Sprüth Magers Art Production, Berlin. 4.8 x 53 x 27.6 cm (1 7/8 x 20 7/8 x 10 7/8 in.) Estimate £10,000-15,000 $13,100-19,600 €11,600-17,500 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 160-161

Lot 89

89. Jenny Holzer

b. 1950

90. Axel Hütte

b. 1951

Truth Before Power, 2004 The complete set of four digital pigment prints, on Hahnemühle photo rag paper, with full margins. Signed and annotated ‘AC’ in pencil on the accompanying colophon (an ‘archive copy’ set, the edition was 40 plus 10 in Roman numerals and 7 artist’s proofs), published by Edition Schellmann, Munich and New York, for Kunsthaus Bregenz, 2004, all framed. all I. 50.1 x 40 cm (19 3/4 x 15 3/4 in.) all S. 55.5 x 45.1 cm (21 7/8 x 17 3/4 in.)

Sunset 1; and Sunset 2, from Double Exposure, 2002 The complete set of two Cibachrome prints, on photo paper fush-mounted to Plexiglas (as issued), with full margins. Both signed and numbered 1/1 in pencil, and annotated ‘AC’ (printed) on a label afxed to the reverse (an ‘archive copy’ set, the edition was 45 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, both framed. both I. 34.3 x 50 cm (13 1/2 x 19 5/8 in.) both S. 50 x 60 x .4 cm (19 5/8 x 23 5/8 x 0 1/8 in.)

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500

Estimate £1,800-2,200 $2,300-2,900 €2,100-2,600 ♠

plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, p. 158 and p. 420

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, p. 163 and pp. 382-383

Lot 90 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

91. Alfredo Jaar

b. 1956

Gold in the Morning, 1985/2002 Transparency printed in colours, fush-mounted to Plexiglas, in aluminium electrical light box. Signed, dated and annotated ‘ARCHIVE COPY’ in black felt-tip pen on the reverse of the transparency (the edition was 30 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, for Documenta 11, Kassel. 35.5 x 96.5 x 9 cm (13 7/8 x 37 7/8 x 3 1/2 in.) Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, p. 165 and p. 417

ʻAfter becoming a little frustrated that Don had not responded to some projects that I had sugested to him in 1989 and 1990, I changed tactics and asked him if there was anything else he would be interested in doing. Unexpectedly, his face turned friendly and he said: “There is something, an object that is simple to make, all made out of one piece with no welding or screwing but pretty expensive to do as it requires the production of an industrial tool”. In order not to miss out on an opportunity, I declared myself ready to bear the costs. Don explained that the factory in Switzerland needed to produce a minimum 200 metres of the unique aluminium profle that Don had in mind. He made a little sketch of the design on a restaurant receipt and I was immediately thrilled by the concept. The portcullis-like cross-sectional profle of this multiple does not appear in any other edition by Don, and is realised in twelve diferent anodized colours, each in an edition of twelve.

However, Don did reserve the right to use a few of the anodized pieces, several metres long each, for separate one-of works. When it came to the actual production at Alu Menziken, I asked Don to determine the colours. Don said: “that’s a business aspect of the pieces, so you choose the colors.” I was thrilled to do so although the colour chart proved to be pretty limited and mainly contained the spectrum of industrial anodizing tones. When the pieces were released in 1991, sales were pretty poor so I asked Don if we could lower the price a bit or ofer better discounts to dealers. He rejected the sugestion, so it took a few years until suddenly there was a great demand and prices went up. Looking back on the pieces today, I feel it is one of the most signifcant editions I have produced within my 50 years of publishing.ʼ Jörg Schellmann, 2019

Installation view of the 15 x 105 x 15 exhibition held at the Judd Foundation, 101 Spring Street, New York, 26 April- 28 July 2018 © Judd Foundation / ARS, NY and DACS, London 2019 © Schellmann Art

92. Donald Judd

1928-1994

Untitled, 1991 Extruded aluminium multiple anodized in clear. Incised with artist’s name, date, and number ‘H.C 5/6’ on a metal plate afxed to the inside of the reverse (an hors commerce copy, the edition was 12 and 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 15 x 105 x 15 cm (5 7/8 x 41 3/8 x 5 7/8 in.) Estimate £50,000-70,000 $65,300-91,400 €58,200-81,400 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann 28 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 170-173

93. Donald Judd

1928-1994

Untitled, 1991 Extruded aluminium multiple anodized in brown-red. Incised with artist’s name, date, and number ‘H.C 2/2’ on a metal plate afxed to the inside of the reverse (an hors commerce copy, the edition was 12 and 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 15 x 105 x 15 cm (5 7/8 x 41 3/8 x 5 7/8 in.) Estimate £50,000-70,000 $65,300-91,400 €58,200-81,400 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann 21 Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, pp. 170-173

Donald Judd sketch for Untitled (Wall Project), 1992 © Judd Foundation / ARS, NY and DACS, London 2019

94. Donald Judd

1928-1994

Untitled (Wall Project), from Wall Works, 1992 Two red Plexiglas sheets, to be installed in two recesses on a white painted wall. Signed by Flavin Judd, Rainer Judd, and Marianne Stockebrand (Directors of the Donald Judd Estate) and numbered 10/12 in black ink on the accompanying Certifcate of Authenticity (there were also 4 artist’s proofs), published by Edition Schellmann, Cologne and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. both Plexiglas sheets 60 x 85 cm (23 5/8 x 33 1/2 in.) installation size variable and according to wall Estimate £100,000-150,000 $131,000-196,000 €116,000-175,000 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, pp. 95-99 Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, pp. 176-177 and p. 402 (another example illustrated) Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 152 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

View of another installation, work varies depending on site

95. Donald Judd

1928-1994

Untitled, 1993 The complete set of four woodcuts printed in black, orange, yellow and ultramarine blue, on Japanese paper, the full sheets, each with an oil paint stripe on the glass of the original galvanized iron frames. All with the Judd Estate inkstamp and numbered ‘AP 7/10’ in pencil on the reverse of the sheet, also numbered in black ink on the reverse of the frames (an artist’s proof set aside from the edition of 25), published by Edition Schellmann, Cologne and New York. all S. 59.9 x 80 cm (23 5/8 x 31 1/2 in.) framed 61 x 81 x 2.5 cm (24 x 31 7/8 x 7/8 in.) Estimate £40,000-60,000 $52,200-78,300 €46,500-69,800 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann 298-301 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 178-179.

96. Donald Judd

1928-1994

Untitled (Folded Meters), 1982-83 The complete set of three folded stainless steel wall objects. All incised with artist’s surname, date and each numbered ‘81-101.46’, ‘81-101.49’, and ‘81-101.43’ respectively, with foundry mark ‘work executed by Lippincott North Haven Conn’ on a metal plate afxed to the reverse, from the edition of 3 (there was also 1 artist’s proof), co-published by Edition Schellmann & Klüser, Munich and New York, and Maximilian-Verlag, Munich. all 100 x 100 x 1 cm (39 3/8 x 39 3/8 x 3/8 in.) Estimate £150,000-200,000 $196,000-261,000 €175,000-233,000 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, p. 142 No. 10-12 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 168-169

97. Donald Judd

1928-1994

Untitled (Folded Meters): one work, 1982-83 Folded galvanized iron wall object. Incised with artist’s surname, date, number ‘81-101.14’ and foundry mark ‘work executed by Lippincott North Haven Conn’ on a metal plate afxed to the reverse, from the edition of 3 (there was also 1 artist’s proof), co-published by Edition Schellmann & Klüser, Munich and New York, and Maximilian-Verlag, Munich. 100 x 100 x 0.8 cm (39 3/8 x 39 3/8 x 3/8 in.) Estimate £50,000-70,000 $65,300-91,400 €58,200-81,400 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, p. 142 No. 8 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 168-169

Installation view of the Don Judd Folded Meters exhibition held at Edition Schellmann, Munich, April – May 1983 © Judd Foundation / ARS, NY and DACS, London 2019 © Schellmann Art

98. Anish Kapoor

b. 1954

Reverse Perverse, from Door Cycle, 2006 Red acrylic sculpture attached through a wooden door panel lacquered in pink. Signed and annotated ‘AC’ in black ink on the accompanying label (an ‘archive copy’, the edition was 15 and 4 artist’s proofs), published by Edition Schellmann, Munich and New York. door 200 x 90 x 4 cm (78 3/4 x 35 3/8 x 1 5/8 in.) sculpture 62 x 12 x 24 cm (24 3/8 x 4 3/4 x 9 1/2 in.) overall 200 x 90 x 24 cm (78 3/4 x 35 3/8 x 9 1/2 in.) Estimate £15,000-20,000 $19,600-26,100 €17,500-23,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 180-181 and p. 407

99. Anish Kapoor

b. 1954

Untitled (ring object), 2003 Sterling silver ring with red lacquer, contained in the original black card box. Signed in black ink and annotated ‘ARCHIVE’ in blue ink on the accompanying label (an ‘archive copy’ aside from the edition of 75), silversmithing by Silberfsch, Munich, published by Edition Schellmann, Munich and New York, for Kunsthaus Bregenz, 2002. ring 4 x 3 x 2.5 cm (1 5/8 x 1 1/8 x 7/8 in.) box 5.8 x 5.8 x 4.3 cm (2 1/4 x 2 1/4 x 1 3/4 in.) Estimate £800-1,200 $1,000-1,600 €930-1,400 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 420

100. Anish Kapoor

b. 1954

Svayambh (Selfsh), 2007 Transparency printed in colours fush-mounted to glass contained in an aluminium electrical light box. Signed in black felt-tip pen and numbered 64/80 in black ink on a label afxed to the reverse, published by Edition Schellmann, Munich and New York, for Haus Der Kunst, Munich, 2007. 45.8 x 60.5 x 2.5 cm (18 x 23 7/8 x 7/8 in.) Estimate £800-1,200 $1,000-1,600 €930-1,400 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 424

101. Imi Knoebel

b. 1940

IT, 1998 Aluminium multiple with pink acrylic paint. Signed, dated and numbered 6/VI in pencil and acrylic paint on the reverse (an artist’s proof aside from the edition of 24), published by Edition Schellmann, Munich and New York. 26 x 24.6 x 12.7 cm (10 1/4 x 9 5/8 x 5 in.) Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 185

102. Imi Knoebel

b. 1940

Mennige (Red Lead), 1988 Two plywood boards mounted together (as issued), painted on the inside with lead teroxide in red, varnished on the outside, with a hole in each corner. Signed and dated in pencil and numbered 1/21 in orange stencil-painting on the reverse (there were also 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 100 x 100 x 1 cm (39 3/8 x 39 3/8 x 3/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 182

103. Imi Knoebel

b. 1940

Gelbe Fahne (Yellow Flag), 1999 Screenprint in colours, on Arches paper, the full sheet. Signed, dated and numbered ‘AP 12/12’ in pencil on the reverse (an artist’s proof aside from the edition of 99), published by Edition Schellmann, Munich and New York, on the occasion of the 20th anniversary of art magazine, Hamburg, framed. S. 100 x 73 cm (39 3/8 x 28 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 413

104. Imi Knoebel

b. 1940

Tür und Tor (Door and Gate), from Sequences, 1998 The complete set of three prints including two screenprints with phosphorous pigment in colours, and one mezzotint, on BFK Rives paper, the full sheets. Signed and numbered ‘A.P. 10/10’ in pencil on the reverse of the mezzotint (an artist’s proof set aside from the edition of 60 plus 10 in Roman numerals), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. all S. 40 x 50 cm (15 3/4 x 19 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 182 and p. 379

105. Jef Koons

b. 1955

Puppy, 1999 Ofset lithograph and screenprint in colours, on Somerset paper, with full margins. Signed, dated and numbered ‘H.C. 4/5’ in pencil (an hors commerce impression, the edition was 75 and 15 artist’s proofs), published by Edition Schellmann, Munich and New York, framed. I. 97.9 x 57.5 cm (38 1/2 x 22 5/8 in.) S. 106.6 x 65 cm (41 7/8 x 25 5/8 in.) Estimate £1,500-2,000 $2,000-2,600 €1,700-2,300 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 194 This print is based on a test maquette for the large scale outdoor sculpture Puppy, 1992 (steel, live fowers and soil, height 12m), in front of the Baroque castle in Arolsen, Germany, for Documenta 9 in Kassel, 1992.

106. Jef Koons

b. 1955

FUN, from Sequences, 1998 The complete set of three grano-lithographs in colours, on light Biber GS coated board, with full margins. All signed, dated and numbered ‘PP 2/2’ in pencil (a printer’s proof set, the edition was 60 plus 10 in Roman numerals and 15 artist’s proofs), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. all I. various sizes all S. 50 x 40.1 cm (19 5/8 x 15 3/4 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 194 and p. 379 Lot 105

Lot 106

Lot 107

107. Jef Koons

b. 1955

Donkey (Colored), 1999 Grano-lithograph in colours, on Allegro card stock, with full margins. Signed, dated and numbered ‘A.P. 20/20’ in pencil (an artist’s proof aside from the edition of 99), published by Edition Schellmann, Munich and New York, on the occasion of the 20th anniversary of art magazine, Hamburg, framed. I. 75 x 56 cm (29 1/2 x 22 in.) S. 91 x 70 cm (35 7/8 x 27 1/2 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 195 and p. 413

108. Jef Koons

b. 1955

Jef Koons, 1995 The complete set of seven ofset lithographs in colours, on coated Biber GS board, with full margins, with wall hanging mirror-polished stainless steel box and infatable plastic elephant. All lithographs signed, dated and annotated ‘H.C.’ in pencil, further signed and annotated ‘H.C.’ in pencil on the accompanying label (an hors commerce copy, the edition was 50 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, the seven prints framed. all I. various sizes all S. 99.8 x 69.8 cm (39 1/4 x 27 1/2 in.) two horizontal box 102 x 72.5 x 5 cm (40 1/8 x 28 1/2 x 1 7/8 in.) elephant 97 x 76 x 38 cm (38 1/4 x 29 7/8 x 14 7/8 in.)

Estimate £20,000-30,000 $26,100-39,200 €23,300-34,900 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 190-193 Including Infatable Elephant, 1995, Infatable Flower (Tall white, Pink Bunny), 1979, Bourgeois Bust, 1991, Rabbit, 1986, New Hoover Deluxe Shampoo Polishers, 1980, One Ball Total Equilibrium Tank (Spalding Dr. J. 241 Series), 1985, Jim Beam - J.B. Turner Train, 1986, and Michael Jackson and Bubbles, 1988

109. Various Artists Re-Object/Mythos, 2007 The complete set of 8 prints in various media and on various supports, the full sheets and with margins. Five prints signed and seven numbered ‘HC 1/5’ in pencil or black felt-tip pen on the front or reverse (an hors commerce set, the edition was 45 plus 5 in Roman numerals and 6 artist’s proofs), published by Edition Schellmann, Munich and New York, on the occasion of the exhibitions Re-Object and Mythos at Kunsthaus Bregenz, all framed, lacking Merz folder and text. all I. various sizes all S. approx. 81 x 61 cm (31 7/8 x 24 in.) one horizontal Estimate £15,000-20,000 $19,600-26,100 €17,500-23,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 422 Including Marcel Duchamp Marcel Duchamp in the exhibition... 1965/2007, Joseph Beuys Tram Stop 1976, Douglas Gordon Forty, Damien Hirst Untitled, Jef Koons Girl with Lobster 2009, Matthew Barney Untitled, Gerhard Merz Untitled, and Cy Twombly Untitled (Detail of Painting) 2002/2007 Please see department for full cataloguing details.

ʻIn 1985 my gallery partner, Bernd Klüser, and I had arranged an exhibition with Jannis at our gallery. While installing the show, he used – to both our surprise and against our security concerns – open fre that he lit on the wooden gallery foor to apply smoke to several objects and to areas on the walls. After the show had shaped up, I asked him if he could do an edition for me. Instead of answering though, he started walking up and down the space looking left and right, at the foor and at the ceiling. Finally, he opened one of our tall classicist windows and dismounted a 181 x 64 cm window sash. Although I told him the window was part of a protected landmark building, he started to treat the window glasses with fre. The resulting piece became the prototype for an edition of twenty one windows with photoprocessed glasses. As in his work in general, Jannis had used poor basic and elementary material to create pieces that sugest remnants of history, fragments of lost culture and art, things of daily use – quotes from the past that Kounellis turned into contemporary signs.ʼ Jörg Schellmann, 2019

Jannis Kounellis working at Schellman & Klüser Gallery, Munich, 1982 © Jannis Kounellis © Schellmann Art

INSTALL SHOT

110. Jannis Kounellis

1936-2017

Untitled (Finestra), 1985 One clear and two photo-processed glass plates, in a white painted wooden framework with metal handle and hardware. Signed and annotated ‘./.’ in black ink on the accompanying brass plaque, from the edition of 21 (there were also 5 artist’s proofs), published by Edition Schellmann, Munich and New York. 181 x 64 x 10 cm (71 1/4 x 25 1/4 x 3 7/8 in.) Estimate £4,000-6,000 $5,200-7,800 €4,700-7,000 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 20 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 204

111. Jannis Kounellis

1936-2017

Untitled (Smoke), 1990 Etching, on Arches BFK rag paper, the full sheet, behind a sheet of smoked glass, all contained within the original galvanized iron and glass case. Incised with signature and numbered 1/25 on the reverse (there were also 2 artist’s proofs), published by Edition Schellmann, Munich and New York. 65.5 x 45.5 x 7.5 cm (25 3/4 x 17 7/8 x 2 7/8 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 24 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 204-205

112. Jannis Kounellis

1936-2017

Untitled, from Wall Works, 1993 Two pairs of William & Sons men’s size 7 black leather Oxford shoes, to be installed wall-mounted with two steel I-beams. Signed and numbered 1/10 in blue ball-point pen on the accompanying Certifcate of Authenticity (there were also 2 artist’s proofs), published by Edition Schellmann, Cologne and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. Shoes 11 x 29.5 x 10.5 cm (4 3/8 x 11 5/8 x 4 1/8 in.) installation size variable and according to wall Estimate £10,000-15,000 $13,100-19,600 €11,600-17,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, pp. 117-121 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 206-207 and p. 402 Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 155

‘I don’t want to delve into the past for archaeological pleasure...but because the past has a reality which conditions us deep-down. Then, if you bring it slowly to the surface, it’s full of possibilities.’ Jannis Kounellis (Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, p.116)

View of another installation, work varies depending on site

113. Jannis Kounellis

1936-2017

Frammenti di danza (Fragments of Dance), 1982 The complete set of six photogravures and one drypoint, one in colours, on Zerkall paper, with full margins. All signed and numbered 1/75 in pencil (the edition was originally planned to be 75, only 55 copies were printed), published by Edition Schellmann & Klüser, Munich, all framed. all I. various sizes all S. 92.8 x 75.8 cm (36 1/2 x 29 7/8 in.) two horizontal Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 12-18 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 201-203

114. Jannis Kounellis

1936-2017

Senza titolo (Untitled), Trittico (Triptych), from Sequences, 1998 The complete set of three lithographs with folded newspaper collage, on Sicars rag paper, the full sheets. All signed and numbered ‘A.P 12/12’ in pencil on the reverse (an artist’s proof set aside from the edition of 60 plus 10 in Roman numerals), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. all S. 50 x 40.1 cm (19 5/8 x 15 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 207 and p. 379

115. William Kentridge

b. 1955

Atlas Confessions (Maps), 2002 Collage of torn black Canson paper pieces, on pages from a Stielers Hand-Atlas book, with Chine-collé to BFK Rives paper, the full sheet. Signed and numbered I/X in pencil (one of 10 artist’s proofs aside from the edition of 45), co-published by the artist and Edition Schellmann, Munich and New York, for Documenta 11, Kassel, framed. S. 50.1 x 66.1 cm (19 3/4 x 26 in.) Estimate £1,800-2,000 $2,300-3,900 €2,100-3,500 plus Buyer’s Premium and VAT*

Literature David Krut, p. 121 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 417

116. William Kentridge

b. 1955

Atlas Confessions, 2002 Collage of torn black Canson paper pieces, on pages from a Stielers Hand-Atlas book, with Chine-collé to BFK Rives paper, the full sheet. Signed and numbered 1/45 in pencil (there were also 10 artist’s proofs in Roman numerals), co-published by the artist and Edition Schellmann, Munich and New York, for Documenta 11, Kassel, framed. S. 50 x 66 cm (19 5/8 x 25 7/8 in.) Estimate £1,200-1,800 $1,600-2,300 €1,400-2,100 plus Buyer’s Premium and VAT*

Literature David Krut, p. 120 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 417

117. Joseph Kosuth

b. 1945

L’Essence de la rhétorique est dans l’allégorie IV (The Essence of Rhetoric is in Allegory IV), from Sequences, 1998 The complete set of three heliogravure and aquatints in colours, on BFK Rives paper, the full sheets. montrer et nommer signed, dated and numbered ‘AP 10/10’ in pencil on the front, imiter et signifer and regarder et lire signed and dated in pencil on the reverse (an artist’s proof set aside from the edition of 60 plus 10 in Roman numerals), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. all S. 40 x 50.1 cm (15 3/4 x 19 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 198 and p. 379

118. Joseph Kosuth

b. 1945

Sigla, Finnegans Wake, from Wall Works, 1998 Ten letter-shaped warm white fuorescent lights, to be installed on a matte-satin black painted wall. Signed and numbered 1/12 in black ink on the accompanying Certifcate of Authenticity (there were also 2 artist’s proofs), published by Edition Schellmann, Munich and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. all lights approx. 12 x 12 x 4 cm (4 3/4 x 4 3/4 x 1 5/8 in.) installation size variable and according to wall Estimate £10,000-15,000 $13,100-19,600 €11,600-17,500 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, pp. 111-115 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 198-199 and p. 402 Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 154

View of another installation, work varies depending on site

119. Sherrie Levine

b. 1947

Pharmacie, from Wall Works, 1996 Two cast aluminium industrial lamps with red and green glass, to be installed on a mauve-painted wall. Signed and numbered ‘AP 3/4’ in pencil on the accompanying Certifcate of Authenticity (an artist’s proof aside from the edition of 12), published by Edition Schellmann, Munich and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. both lamps 22 x 11 x 13 cm (8 5/8 x 4 3/8 x 5 1/8 in.) installation size variable and according to wall Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, pp. 123-127 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 210-211 and p. 402 Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 155

‘I am interested in the physical and sensory, the contingent and the unstable. I am interested in that infra-thin diference between what was decided on but does not make its way into the work, and what makes its way into the work but was not decided on. I want to maximize the historical references and metaphorical possibilities so that the meaning of my work becomes so over determined and congealed that it implodes and brokers a new paradigm.’ Sherrie Levine (Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, p. 122)

120. Sol LeWitt

1928-2007

Wall Piece (16 Modules High), 1988 Pinewood construction painted in black. Signed and numbered ‘AP 1/9’ in pencil on the reverse (an artist’s proof aside from the edition of 20), published by Edition Schellmann, Munich and New York. 194.3 x 13.3 x 13.3 cm (76 1/2 x 5 1/4 x 5 1/4 in.) Estimate £30,000-50,000 $39,200-65,300 €34,900-58,200 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 214-215 Sol Lewitt sketch for Wall Piece (16 Modules High), 1988 © ARS, NY and DACS, London 2019

121. Sol LeWitt

1928-2007

Arcs and Bands in Color, 1999 The complete set of six linocuts in colours, on Somerset Velvet paper, with full margins. All signed and numbered ‘HC 1/4’ in pencil (an hors commerce set, the edition was 50 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, all framed. all I. 40.8 x 40.8 cm (16 1/8 x 16 1/8 in.) all S. 50.9 x 50.9 cm (20 x 20 in.) Estimate £7,000-10,000 $9,100-13,100 €8,100-11,600 plus Buyer’s Premium and VAT*

Literature Barbara Krakow Gallery 1999.11 Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, p. 219

122. Sol LeWitt

1928-2007

Red, Yellow, Blue, and Gray Squares Bordered by a Black Band, 1989 The complete set of four aquatints in colours, on Magnani paper, with full margins. All signed and numbered ‘AP 6/6’ in pencil (an artist’s proof set aside from the edition of 25), published by Edition Schellmann, Munich and New York, all framed. all I. 29.5 x 29.3 cm (11 5/8 x 11 1/2 in.) all S. 45.6 x 45.5 cm (17 7/8 x 17 7/8 in.)

Estimate £4,000-6,000 $5,200-7,800 €4,700-7,000 plus Buyer’s Premium and VAT*

Literature Barbara Krakow Gallery 1989.10 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 214

123. Sol LeWitt

1928-2007

Circles Divided into Eight Equal Parts with Colors Superimposed in Each Part, 1989 The complete set of four screenprints in 32-42 colours, on Arches Cover paper, the full sheets. All signed and numbered ‘AP 6/10’ in pencil (an artist’s proof set aside from the edition of 40), co-published by Edition Schellmann, Munich and New York, and Achenbach Graphics, Dusseldorf, all framed. all S. 76.1 x 76.1 cm (29 7/8 x 29 7/8 in.)

Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 plus Buyer’s Premium and VAT*

Literature Barbara Krakow Gallery 1989.07 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 214

124. Sol LeWitt

1928-2007

Wavy Lines on Gray, from Sequences, 1996-98 The complete set of three woodcuts in colours, printed with oil paint, on Awa-Kozo Japanese paper, the full sheets. Signed and numbered ‘EP 1/3’ in pencil on Plate #03 (an ‘editor’s proof’ set, the edition was 60 plus 10 in Roman numerals and 10 artist’s proofs), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. all S. 50 x 39.9 cm (19 5/8 x 15 3/4 in.) Estimate £5,000-7,000 $6,500-9,100 €5,800-8,100 plus Buyer’s Premium and VAT*

Literature Barbara Krakow Gallery 1998.06 Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, pp. 216-217

125. Richard Long

b. 1945

River Avon Mud Drawings, from Sequences, 1998 The complete set of three grano-lithographs in colours, on Rives rag paper, with full margins. All signed and numbered ‘AP 10/10’ in pencil (an artist’s proof set aside from the edition of 60 plus 10 in Roman numerals), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), all framed. all I. 45 x 32.5 cm (17 3/4 x 12 3/4 in.) all S. 50 x 40.1 cm (19 5/8 x 15 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 220-221 and p. 379

126. Robert Longo

b. 1953

Joanna and Larry, from Men in the Cities, 1983 The complete set of two lithographs, on Arches paper, the full sheets. Both signed, dated and numbered 2/48 in pencil (there were also 10 impressions in Roman numerals and 10 artist’s proofs), published by Edition Schellmann & Klüser, Munich and New York, both framed. both S. 183 x 91.5 cm (72 x 36 in.) Estimate £30,000-50,000 $39,200-65,300 €34,900-58,200 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 222

127. Robert Longo

b. 1953

Government, 1983 Screenprint in black and white, on wove paper, the full sheet, with grey-lacquered plastic multiple. Signed, dated and annotated ‘HC’ in pencil on the print (an hors commerce copy, the edition was 15 and 3 trial proofs in unique colour variants), published by Edition Schellmann & Klüser, Munich and New York, the print contained in a dark wooden frame with red Plexiglas specifed by the artist. framed print 141 x 71.3 x 5.8 cm (55 1/2 x 28 1/8 x 2 1/4 in.) overall 202.2 x 71.3 x 38.7 cm (79 5/8 x 28 1/8 x 15 1/4 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 222

128. Robert Longo

b. 1953

Essentials, from Forty Are Better Than One, 2009 Seven digital pigment prints (Ditone), on one sheet of Hahnemühle rag paper as a 7-part leporello, the full sheet. Signed in black ink and numbered 17/75 in pencil on a label afxed to the reverse (there were also 25 artist’s proofs), published by Schellmann Art Production, Munich and New York (with their inkstamp on the reverse), framed. all I. 24.5 x 31.5 cm (9 5/8 x 12 3/8 in.) overall S. 175 x 32 cm (68 7/8 x 12 5/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 391-392

129. Robert Longo

b. 1953

End of the Season, 1989 Linoleum covered plywood multiple with red lacquered aluminium and seven chrome-plated oval copper forms. Signed, dated and annotated ‘BAT’ in black ink on the accompanying label (the bon-à-tirer or ‘good to print’ copy before the edition of 11 and 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 116 x 118.8 x 14.5 cm (45 5/8 x 46 3/4 x 5 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 223

130. Robert Mapplethorpe

1946-1989

Mirror Image, 1987/88 Two laminated gelatin silver prints on either side of red mirror-polished Plexiglas. Signed and stamp-numbered 1/18 in black ink on the accompanying label, one of 5 colour variants (there were also 5 artist’s proofs), published by Edition Schellmann, Munich and New York, all contained in a black wooden frame specifed by the artist. both prints S. 37.8 x 48.3 cm (14 7/8 x 19 in.) mirror 37.8 x 24.1 cm (14 7/8 x 9 1/2 in.) overall 47.3 x 134.8 x 2.5 cm (18 5/8 x 53 1/8 x 0 7/8 in.) Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 230-231

131. Paul Morrison

b. 1966

Hilum, from Door Cycle, 2006 Polyurethane, CNC-milled, on wooden door panel lacquered in white. Signed and annotated ‘A.C.’ in black ink on the accompanying label (an ‘archive copy’, the edition was 15 and 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 199.5 x 90 x 4.9 cm (78 1/2 x 35 3/8 x 1 7/8 in.) Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 254 and p. 408

132. Sarah Morris

b. 1967

Endeavor (Los Angeles), from Door Cycle, 2006 Screenprint in colours on industrial steel door panel. Signed and numbered ‘III/III AP’ in black ink on the accompanying certifcate (one of 3 artist’s proofs aside from the edition of 15), published by Edition Schellmann, Munich and New York. 211 x 90.8 x 4.5 cm (83 1/8 x 35 3/4 x 1 3/4 in.) Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 247 and p. 408

133. Sarah Morris

b. 1967

William Morris (Los Angeles), 2005 Screenprint in colours, on Somerset paper, the full sheet. Signed with initials in pencil on the reverse (an unnumbered proof aside from the edition of 55 and 12 artist’s proofs), published by Edition Schellmann, Munich and New York, framed. S. 97 x 97 cm (38 1/4 x 38 1/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 248-249

134. Sarah Morris

b. 1967

1980 (Rings), 2009 Screenprint in colours, on Somerset paper, the full sheet. Signed, dated, titled ‘1980’ and numbered ‘9/9 A.P.’ in pencil on the reverse (an artist’s proof aside from the edition of 25), co-published by Schellmann Art Production, Munich and New York, and Monopol magazine, Berlin, framed. S. 60 x 60.1 cm (23 5/8 x 23 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 250

135. Tony Oursler

b. 1957

Fool, from Door Cycle, 2006 Metal door plate painted in blue with round glass framed window and metal door handle, with DVD player and screen mounted to the reverse, playing the DVD ‘Fool’ visible through the window. Signed and annotated ‘AC’ in black ink on the accompanying label (an ‘archive copy’, the edition was 15 and 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 198 x 98.5 x 24 cm (77 7/8 x 38 3/4 x 9 1/2 in.) window 38.8 cm (15 1/4 in.) diameter Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 260-261 and p. 408

136. Jorge Pardo

b. 1963

Untitled, from Door Cycle, 2006 Carved wooden door panel painted in colours with holes. Signed in black ink and annotated ‘ARCHIVE COPY’ in pencil on the accompanying label (a unique colour variant proof before the edition of 15 further variants and 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 203.2 x 106.8 x 9 cm (80 x 42 x 3 1/2 in.) Estimate £5,000-7,000 $6,500-9,100 €5,800-8,100 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 278-279 and p. 408

Lot 137

137. Sigmar Polke

1941-2010

S. schmeckt Pfrsich von H. (S. Tastes Peach from H.), 1996 Grano-lithograph in colours with embossing, on Bütten board, with full margins. Signed, dated and numbered X/X in pencil (one of 10 impressions in Roman numerals aside from the edition of 60 and 10 artist’s proofs), co-published by Edition Schellmann, Munich and New York, and Verlag Gruner + Jahr AG, Hamburg, for Capital Magazine, Cologne, on the ocassion of the release of Kunstkompass, framed. I. 49 x 65 cm (19 1/4 x 25 5/8 in.) S. 59.1 x 77.1 cm (23 1/4 x 30 3/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠

138. Nam June Paik

1932-2006

Video Sonata op. 56, 1995 Screenprint in colours on aluminium, with brass and rhinestone sculptural element. Signed and numbered ‘HC 1/8’ in black ink on a label afxed to the reverse (an hors commerce copy, the edition was 40 plus 10 in Roman numerals and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, for Capital Magazine, Cologne, on the occasion of the release of Kunstkompass. 48 x 56 x 3 cm (18 7/8 x 22 x 1 1/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT, ARR applies*

Literature Jürgen Becker and Claus von der Osten 121 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 282 and p. 412

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 266 and p. 412 This image of Lou Reed was taken from a still of the video Bye Bye, Kipling.

Lot 138

139. Nam June Paik

1932-2006

TV Tulips, 2000 Three unique inkjet prints in colours, on canvas mounted to a stretcher. All signed in black felt-tip pen on the reverse and each numbered ‘90’, ‘61’, and ‘13’ respectively in black felt-tip pen or pencil on the reverse of the stretcher, from the edition of 100 unique image variants, published by Edition Schellmann, Munich and New York. all 33 x 44 x 2 cm (12 7/8 x 17 3/8 x 3/4 in.) Lot 139

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 270-271

140. Nam June Paik

1932-2006

Born Again, 1991 Patinated cast bronze of a Kuba television with three television monitors, antennae, and plug. Signed in English and Korean and annotated ‘H.C.’ in black ink on the accompanying label (an hors commerce copy, the edition was 24 and 6 artist’s proofs), cast by Gießerei Kirchner, Ascholding/Munich, published by Edition Schellmann, Munich and New York. 45 x 55 x 14 cm (17 3/4 x 21 5/8 x 5 1/2 in.) Estimate £10,000-15,000 $13,100-19,600 €11,600-17,500 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 264-265

EXTEND BACKGROUND

141. Nam June Paik

1932-2006

Self-Portrait, 1989 1950’s Philco Predicta television cabinet containing bronze mask of the artist, video tape, antique TV cubes and circuit board, eggs, painted globe, watch, suspenders, pewter Buddha, magnet, painted toy piano, I-Ching page, silk fowers, and a pair of eye glasses. Signed in English and Korean and numbered 1/12 in black paint on the top (there were also 2 artist’s proofs), fabricated and co-published by Carl Solway Gallery, Cincinnati and Edition Schellmann, Munich and New York. 64 x 64 x 40.6 cm (25 1/4 x 25 1/4 x 15 7/8 in.) Estimate £10,000-15,000 $13,100-19,600 €11,600-17,500 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 264

142. Giulio Paolini

b. 1940

Vis-à-vis (Hera), from Wall Works, 1992 Two halves of a plaster bust on two white painted wooden pedestals, to be installed facing each other, spaced 35 cm apart. Signed, dated and numbered 1/10 in black ink on the accompanying Certifcate of Authenticity (there were also 2 artist’s proofs), published by Edition Schellmann, Munich and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. each bust 39.5 x 24 x 10.5 cm (15 1/2 x 9 1/2 x 4 1/8 in.) each plinth 130 x 27 x 15 cm (51 1/8 x 10 5/8 x 5 7/8 in.) installation size 169 x 90 x 15 cm (66½ x 35½ x 6 in.)

Estimate £20,000-30,000 $26,100-39,200 €23,300-34,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, pp. 173-177 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 276-277 and p. 404 Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 162

143. Michelangelo Pistoletto

b. 1933

Afresco - 5, from Wall Works, 1998 Five mirror-backed Plexiglas elements, to be installed on a wall painted in yellow, green, orange, blue, red or grey. Signed and numbered 1/12 in black ink on the accompanying Certifcate of Authenticity (there were also 2 artist’s proofs), published by Edition Schellmann, Munich and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. mirror fragments various sizes and shapes joined fragments overall 150 x 150 cm (59 x 59 in.) installation size variable and according to wall Estimate £20,000-30,000 $26,100-39,200 €23,300-34,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, pp. 179-183 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 280-281 and p. 404 Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 162

Views of other installations, work varies depending on site

ʻIn 1986, I saw three small photos in a group show of a public space. The photos showed interiors of lower middle class German apartments taken in an emphatic documentary and minimal manner, with no whif of arrogance, lending dignity to these generic bourgeois interiors. I decided to contact the artist behind these photos. Some months went by without communication until I saw Thomas Ruf ’s large-scale portraits at the Kunstverein, Munich. Now it was clear, I had to see this artist. I met Thomas in his little studio compartment in a municipal industrial building that he was sharing with a number of other artists at the time, which he now owns. We started working on editions together and have now been doing so for 30 years; always with the understanding that Schellmann Art publishes a set of prints for each subject or theme the artist explores - a wonderful working relationship realising over 150 works since 1988.ʼ Jörg Schellmann, 2019

144. Thomas Ruf

b. 1958

Portraits, 1989 The complete set of fve dye-transfer photographs, on photo paper, with full margins. All signed and numbered ‘A.P. 1/4’ in pencil on the reverse (an artist’s proof set aside from the edition of 12), published by Edition Schellmann, Munich and New York, all framed. all I. 24 x 17.9 cm (9 1/2 x 7 in.) all S. 37.1 x 30.1 cm (14 5/8 x 11 7/8 in.) Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Matthias Winzen S.248 Jörg Schelmann 4-8 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 291

145. Thomas Ruf

b. 1958

Nudes, 2001 The complete set of eight Iris prints in colours, on Somerset Velvet paper, with full margins. All signed and annotated ‘E.P.’ in pencil on the reverse (an ‘editor’s proof’ set, the edition was 50 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, all framed. all I. various sizes all S. 75 x 60 cm (29 1/2 x 23 5/8 in.) Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Matthias Winzen S.250 Jörg Schellmann 95-102 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 296-297

146. Thomas Ruf

b. 1958

l.m.v.d.r, 2004 The complete set of six chromogenic prints, on photo paper fush-mounted to aluminium (as issued), with full margins. All signed in blue ink and annotated ‘ARCHIVE COPY’ in pencil on a label afxed to the reverse (the edition was 40 and 8 artist’s proofs), published by Edition Schellmann, Munich and New York, all framed. all I. various sizes, largest 42 x 53 cm (161/2 x 207/8 in.) all S. 58 x 70 cm (22 7/8 x 27 1/2 in.) Estimate £5,000-7,000 $6,500-9,100 €5,800-8,100 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 128-133 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 300-301

147. Thomas Ruf

b. 1958

Houses, 1989 The complete set of fve dye-transfer photographs, on photo paper, with full margins. All signed and numbered ‘A.P. 1/4’ in pencil on the reverse (an artist’s proof set aside from the edition of 12), published by Edition Schellmann, Munich and New York, all framed. all I. various sizes all S. 45.1 x 55 cm (17 3/4 x 21 5/8 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Matthias Winzen S.248 Jörg Schellmann 9-13 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 290-291

Lot 148

148. Thomas Ruf

b. 1958

Zeitungsphotos (Newspaper Photographs), 1991 The complete set of 24 ofset lithographs with screenprint in colours, on heavy wove paper, with full margins. Five sheets signed, numbered ‘A.P. 3/8’ and each annotated from ‘I’ to ‘V’ respectively in pencil on the reverse (an artist’s proof set aside from the edition of 36), published by Edition Schellmann, Munich and New York, all unframed. all I. various sizes all S. 50 x 40 cm (19 5/8 x 15 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Matthias Winzen S.248 Jörg Schellmann 25-48 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 294-295

149. Thomas Ruf

b. 1958

Maschinen (Machines), 2005 The complete set of eight digital pigment prints (Ditone) in colours, on Hahnemühle photo rag paper, with full margins. All signed and annotated ‘ARCHIVE PROOF’ in pencil on the reverse (the edition was 30 and 6 artist’s proofs), published by Edition Schellmann, Munich and New York, all framed. all I. approx. 35 x 25 cm (13 3/4 x 9 7/8 in.) all S. 50 x 40 cm (195/8 x 153/ 4 in.) three horizontal Estimate £2,000-3,000 $2,600-3,900 €2,300-3,500 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 134-141 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 300-301 Including Maschinen 0946, 0947, 0980, 1220, 1553, 3262, 3397, and 3440 Lot 149

150. Thomas Ruf

b. 1958

Sterne (Stars), 1990 The complete set of eight grano-lithographs, on Ikonorex paper, with full margins. All signed and annotated ‘ARCHIVE COPY’ in pencil on the reverse (the edition was 40 and 8 artist’s proofs), published by Edition Schellmann, Munich and New York, all framed. seven I. 67.6 x 45 cm (26 5/8 x 17 3/4 in.) one I. 67.6 x 43.3 cm (26 5/8 x 17 in.) all S. 89.5 x 65 cm (35 1/4 x 25 5/8 in.) Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Matthias Winzen S.248 Jörg Schellmann 17-24 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 291-293 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

151. Thomas Ruf

b. 1958

Jpegs II, 2008 The complete set of seven digital pigment prints (Ditone), on photo paper, with full margins. All signed and numbered ‘A.P. 5/8’ in pencil on the reverse (an artist’s proof set aside from the edition of 45), published by Edition Schellmann, Munich and New York, all framed. all I. various sizes, largest 74.6 x 110 cm (293/8 x 431/ 4 in.) all S. 90.1 x 120.2 cm (35 1/2 x 47 3/8 in.) Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann 153-159 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 304-305

152. Ed Ruscha and Jean-Marc Bustamante b. 1937 and b. 1952 L’Horizon Chimérique (The Chimeric Horizon), 2009 Black MDF case with two yellow Plexiglas inserts and screenprint in colours on two outer Plexiglas sheets, with screenprinted colophon and built-in accompanying exhibition catalogue. Signed by both artists in ink, dated and numbered ‘1’ in pencil on the colophon, from the deluxe edition of 20 (there were also 7 artist’s proofs in Roman numerals), published by Schellmann Art Production, Munich and New York. 34.5 x 65.8 x 14 cm (13 5/8 x 25 7/8 x 5 1/2 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 308

Lot 153

Lot 154

153. Julian Schnabel

b. 1951

Malf, from Sequences, 1998 The complete set of three screenprints in colours, with monotype and poured resin, on primed Rising museum board, the full sheets. All signed, dated ‘97’ and numbered ‘EP 1/3’ in pencil (an ‘editor’s proof’ set, the edition was 60 plus 10 in Roman numerals and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, all framed. all S. 50 x 40 cm (19 5/8 x 15 3/4 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800

154. Cindy Sherman

b. 1954

Untitled, 1989 Two transparencies printed in colours, superimposed in a black painted aluminium electrical lightbox. Signed in blue ink and annotated ‘B.A.T.’ in black ink on the accompanying label (the bon á tirer or ‘good-to-print’ copy before the edition of 24 and 5 artist’s proofs), published by Edition Schellmann, Munich and New York. 80 x 60 x 8.5 cm (31 1/2 x 23 5/8 x 3 3/8 in.) Estimate £6,000-8,000 $7,800-10,400 €7,000-9,300 plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 312 and p. 381

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 312-313

Lot 155

155. Santiago Sierra

b. 1966

156. Santiago Sierra

b. 1966

Door Plate, 2006 Cast aluminium relief sign with black enamel paint and a hole at each corner. Signed and annotated ‘ARCHIVE PROOF’ in blue ink on the accompanying label (the edition was 15 and 3 artist’s proofs, both numbered in Roman numerals), published by Edition Schellmann, Munich and New York. 59 x 69 x 2 cm (23 1/4 x 27 1/8 x 3/4 in.)

Aviso Público (Public Notice), from Door Cycle, 2006 Cast aluminium relief sign with black enamel paint on a grey painted galvanised iron door plate with metal door knob and lock. Signed and annotated ‘ARCHIVE COPY’ in black ink on the accompanying label (the edition was 15 and 3 artist’s proofs), published by Edition Schellmann, Munich and New York. door 198.5 x 98 x 12 cm (78 1/8 x 38 5/8 x 4 3/4 in.)

Estimate £5,000-7,000 $6,500-9,100 €5,800-8,100 ♠

Estimate £4,000-6,000 $5,200-7,800 €4,700-7,000 ♠

plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 316-317

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 316-317 and pp. 408-409

157. Wilhelm Sasnal

b. 1972

Untitled, from Door Cycle, 2006 Screenprint on white painted wooden door panel. Signed in blue ball-point pen and annotated ‘ARCHIVE PROOF’ in pencil on the accompanying label (the edition was 15 and 3 artist’s proofs), published by Edition Schellmann, Munich and New York. 200 x 90 x 4 cm (78 3/4 x 35 3/8 x 1 5/8 in.) Estimate £5,000-7,000 $6,500-9,100 €5,800-8,100 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, Forty Are Better Than One, Munich/New York, 2009, pp. 408-409

158. Thomas Schütte

b. 1954

Regal (Shelf), from Door Cycle, 2006 Stained hollow-core wooden door panel construction. Signed in blue felt-tip pen and numbered ‘A.P. 2/2’ in pencil on the accompanying label (an artist’s proof aside from the edition of 6), published by Edition Schellmann, Munich and New York. 218 x 99.5 x 39 cm (85 7/8 x 39 1/8 x 15 3/8 in.) Estimate £4,000-6,000 $5,200-7,800 €4,700-7,000 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 408-409

159. David Salle

b. 1952

Theme for an Aztec Moralist, 1983/84 The complete set of six lithographs in colours, and one unique lithograph in colours, on Arches rag paper, the full sheets. All signed, one dated, six numbered ‘A.P 5/10’ and one annotated ‘T.P.’ in pencil (an artist’s proof set and one of 3 unique trial proofs aside from the edition of 40), published by Edition Schellmann and Klüser, Munich and New York, two framed. all S. 117 x 86.5 cm (46 1/8 x 34 in.) Estimate £1,200-1,800 $1,600-2,300 €1,400-2,100 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 309

160. Rosemarie Trockel

b. 1952

Bibliothek Babylon (Library Babylon), 1997 The complete set of three screenprints, on red, yellow and clear acetate with punched holes, with full margins. All signed, the red sheet dated, and all annotated ‘H.C.’ in black felt-tip pen (an hors commerce set, the total edition was 60 comprising 25 on red, 20 on yellow, 15 on clear, and 25 artist’s proofs), published by Edition Schellmann, Munich and New York, for documenta X, Kassel, all framed. all I. 92.9 x 83 cm (36 5/8 x 32 5/8 in.) all S. 118.7 x 89.2 cm (46 3/4 x 35 1/8 in.) Estimate £5,000-7,000 $6,500-9,100 €5,800-8,100 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 324 and p. 415

161. Rosemarie Trockel

b. 1952

Falling Blue, Rising Red, from Sequences, 1998 The complete set of two heliogravures in colours, on Rives rag paper, with full margins. Both signed and annotated ‘H.C.’ in pencil (an hors commerce set, the edition was 60 plus 10 in Roman numerals and 10 artist’s proofs), published by Edition Schellmann, Munich and New York (with their inkstamp on the reverse), both framed. both I. 35.8 x 27.8 cm (14 1/8 x 10 7/8 in.) both S. 50 x 40 cm (19 5/8 x 15 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 326 and p. 381

162. Luc Tuymans

b. 1958

Wenn der Frühling kommt (When Spring Comes), 2008 The complete set of 17 digital pigment prints in colours, on semi-transparent paper mounted to heavy rag paper, with full margins, with text by Sabine Brantl and colophon, the sheets loose (as issued), contained in the original card portfolio with linen spine and printed title. Signed and annotated ‘A.C.’ in pencil on the colophon, each sheet titled (printed) in black ink (an ‘archive copy’ set, the edition was 50 and 8 artist’s proofs), published by Edition Schellmann, Munich and New York, for Haus der Kunst, Munich, 2007. all I. various sizes all S. 50 x 40 cm (19 5/8 x 15 3/4 in.) three horizontal portfolio 50.8 x 41.2 x 1.5 cm (20 x 16 1/4 x 5/8 in.)

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 330-331 and p. 424 Including The Book, The Deal, Three Moons, The Valley, Wonderland, Secrets, Still Life, Studio, The Worshipper, Gold, Exhibit #3, Plant, Resentment, Flemish Village, Die Zeit, Our New Quarters, and Rear Mirror

163. Luc Tuymans

b. 1958

Altar, 2002 3D-collaged digital print in colours, behind sand blasted opaque Plexiglas, contained in a white painted wooden frame box. Signed and annotated ‘Archive Proof’ in black ink on a label afxed to the reverse (the edition was 50 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, for Documenta 11, Kassel. 59.5 x 80 x 4.5 cm (23 3/8 x 31 1/2 x 1 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 328-329 and p. 417

164. Luc Tuymans

b. 1958

Slide, from Door Cycle, 2006 Sublimation print in colours on security glass plate. Signed and numbered ‘A.P. 3/3’ in blue ink on the accompanying label (an artist’s proof aside from the edition of 15), published by Edition Schellmann, Munich and New York. 200 x 100 x 0.9 cm (78 3/4 x 39 3/8 x 3/8 in.) Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 328-329 and p. 408

165. Richard Tuttle

b. 1941

Onoma, 2000 Cast bronze multiple and brass screw, contained in the original wooden box with drill template and printed title. Signed and numbered ‘AP 5/5’ in black ink on the accompanying Certifcate of Authenticity (an artist’s proof aside from the edition of 15), published by Edition Schellmann, Munich and New York, 2003. This work has specifc installation instructions as detailed on the accompanying certifcate. 7.2 x 10.3 x 5.2 cm (2 7/8 x 4 x 2 in.) box 16 x 23 x 23 cm (6 1/4 x 9 x 9 in.) Estimate £3,000-5,000 $3,900-6,500 €3,500-5,800 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 327

166. Jef Wall

b. 1946

Torso, 1997 Contact photograph, on photo paper, with full margins. Signed with initials, dated and numbered 50/50 in pencil on the reverse (there were also 20 artist’s proofs), co-published by Edition Schellmann, Munich and New York, and Patrick Painter Editions, Vancouver, for documenta X, Kassel, 1997. I. 24.5 x 19.2 cm (9 5/8 x 7 1/2 in.) S. 43.3 x 37.2 cm (17 x 14 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 415

167. Franz West

1947-2012

Haini, 2003 Lacquered synthetic fberglass multiple. With artist’s name and title (printed), and incised numbering 50/60 on a metal plaque afxed to the inside, further numbered ‘50’ in blue felt-tip pen on the inside, published by Edition Schellmann, Munich and New York, for Kunsthaus Bregenz, 2003. 68 x 87.5 x 87.5 cm (26 3/4 x 34 1/2 x 34 1/2 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 420

168. Rachel Whiteread

b. 1963

Poly Shelf, 2009 One cast white polyurethane multiple. Signed and numbered ‘A.P. 12/30’ in black ink on the accompanying Certifcate of Authenticity (an artist’s proof aside from the edition of 500), published by Schellmann Furniture Production, Munich. 15 x 65.8 x 23 cm (5 7/8 x 25 7/8 x 9 in.) View from above

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,700 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 364-365

Detail

169. Rachel Whiteread

b. 1963

Untitled (Nets), 2002/03 The complete set of fve etched German silver (copper/ nickel/zinc) sheet metal gratings, mounted to white museum board (as issued). Net 1 signed and all annotated ‘ARCHIVE COPY’ in pencil on a label afxed to the inside of each window mount (the edition was 36 and 10 artist’s proofs), published by Edition Schellmann, Munich and New York, all framed. all metal sheets approx. 65 x 51.9 cm (25 5/8 x 20 3/8 in.) all mounts 83 x 69 cm (32 5/8 x 27 1/8 in.)

Estimate £20,000-30,000 $26,100-39,200 €23,300-34,900 ♠ plus Buyer’s Premium and VAT, ARR applies*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 358-361

170. Kara Walker

b. 1969

Pastoral, from Wall Works, 1998 Wall painting in black latex paint, to be installed using the provided cut-out adhesive stencil. Signed, dated and numbered ‘A.P.1’ in black ink on the accompanying Certifcate of Authenticity (one of 4 artist’s proofs aside from the edition of 15 ), published by Edition Schellmann, Munich and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. stencil 183 x 181 cm (72 x 71 1/4 in.) Estimate £15,000-20,000 $19,600-26,100 €17,500-23,300 plus Buyer’s Premium and VAT*

‘Right now I’m thinking about authenticity within the Black ‘‘community’’. Also I’m interested in the Fable as an unreliable method of transmitting cultural values, a task that has been ascribed to many a Negro in modern culture.’ Kara Walker (Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, p. 214)

Literature Jörg Schellmann, ed., Wall Works, Munich/New York, 1999, pp. 215-219 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 332-333 and p. 405 Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 166 View of another installation, work varies depending on site

171. Lawrence Weiner

b. 1942

Aphorism-Archimedes, from Wall Works, 2007 Two adhesive vinyls in colours, to be installed on a white painted wall. Signed and numbered ‘A.P. 2/3’ in black ink on the accompanying Certifcate of Authenticity (an artist’s proof copy aside from the edition of 15), published by Edition Schellmann, Munich and New York. This wall work to be installed according to the artist’s specifcations on the certifcate. Vinyls and installation size variable and according to wall Estimate £15,000-20,000 $19,600-26,100 €17,500-23,300 plus Buyer’s Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 356 and p. 405 Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014, p. 168 The wall vinyl forming part of this Lot will be printed afer the sale to the owner’s installation specifcations. View of another installation, work varies depending on site

‘In 1983, aware that Warhol increasingly and almost exclusively had been working on commissions in recent years, Bernd Klüser and I were considering what kind of subject matter we could suggest to him for paintings and a print portfolio. Although Andy had been predominantly painting celebrities of his time (he used Mona Lisa or Mao images for topical reasons), we were thinking of important Renaissance paintings or details of such. As we experimented with a few details, we recognised that the head of Venus by Botticelli was reminiscent of Marilyn Monroe, Liz Taylor, Ingrid Bergman, or Grace Kelly, or would at least resemble them once given the Warhol treatment. Ultimately, we suggested four subjects to Andy. He looked at them and without listening to our wordy explanations simply asked ‘can’t you fnd more famous paintings?’. We explained how famous these paintings were in Europe, which Andy accepted with a short, ‘okay, great’, and handed the transparencies over to Rupert Jasen Smith, his printer, for further treatment. Projecting images onto a piece of paper, Warhol traced the outline images, while Rupert produced halfone images, and both elements, along with a background colour, were processed on a printing screen. Afer a few weeks we received a call from New York: The frst proofs were done. How exciting! The rules were that the publisher could choose from the total proofs produced. That was not an easy task as there were so many beautiful and interesting images. For our selection, Andy only contributed: ‘I like the blue one.’ That was the one version that looked the most ‘normal’, the least ‘Warholian’, and so, of course, that was one we selected for the fnal portfolio. When looking at the portfolio and the proofs in retrospect, so many of the proofs seem to be more attractive than the images we had selected for the regular editions at the time. How could that be? Perhaps it is because afer about thirty years, the images are fnally ready for their own renaissance. The Rebirth of Venus, as it were.’ Jörg Schellmann (ed.), Andy Warhol Unique, Munich/New York, 2014, p. 99

Jörg Schellmann with Andy Warhol signing the exhibition poster for Prints, held at Kunstladen, Munich, 1970 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London © Schellmann Art

Lot 172

Lot 173

172. Andy Warhol

1928-1987

Neuschwanstein, 1987 Unique screenprint in colours, on Arches 88 paper, with full margins. Signed and annotated ‘TP’ in pencil (one of 25 unnumbered trial proofs in unique colour combinations, before the edition of 100 and 25 artist’s proofs), with the artist’s copyright inkstamp on the reverse, co-published by Edition Schellmann, Munich and New York, and Maximilian Verlag Sabine Knust, Munich, framed. I. 89.5 x 67 cm (35 1/4 x 26 3/8 in.) S. 109.5 x 77.5 cm (43 1/8 x 30 1/2 in.) Estimate £15,000-20,000 $19,600-26,100 €17,500-23,300

173. Andy Warhol

1928-1987

Details of Renaissance Paintings (Piero Della Francesca, Madonna del Duca da Montefeltro, circa 1472), 1984 Unique screenprint in colours, on Arches Aquarelle Cold Pressed paper, with full margins. Signed and numbered ‘TP 22/36’ in pencil (a trial proof in a unique colour combination, there was no edition), published by Edition Schellmann & Klüser, Munich and New York, framed. I. 63.5 x 94.5 cm (25 x 37 1/4 in.) S. 81.6 x 112 cm (32 1/8 x 44 1/8 in.) Estimate £8,000-12,000 $10,400-15,700 €9,300-14,000 plus Buyer’s Premium and VAT*

plus Buyer’s Premium and VAT*

Literature see Frayda Feldman and Jörg Schellmann IIB. 372 see Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 353

Literature see Frayda Feldmann and Jörg Schellmann 316A see Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 350-351 Jörg Schellmann, ed., Andy Warhol Unique, Munich/New York, 2014, p. 141

Production of paintings and prints for Details of Renaissance Paintings, at the Andy Warhol Factory, New York, 1983-84 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London © Schellmann Art

174. Andy Warhol

1928-1987

Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482), 1984 Unique screenprint in colours, on Arches Aquarelle Cold Pressed paper, with full margins. Signed and numbered ‘TP 29/36’ in pencil (a trial proof in a unique colour combination before the edition of 70 and 18 artist’s proofs), published by Edition Schellmann & Klüser, Munich and New York (with their and the artist’s copyright inkstamp on the reverse), framed. I. 63.6 x 94.1 cm (25 x 37 in.) S. 81.5 x 112.1 cm (32 1/8 x 44 1/8 in.) Estimate £50,000-70,000 $65,300-91,400 €58,200-81,400 plus Buyer’s Premium and VAT*

Literature see Frayda Feldman and Jörg Schellmann IIB. 316-319 see Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, pp. 344-345 Jörg Schellmann, ed., Andy Warhol Unique, Munich/New York, 2014, p. 111

175. Andy Warhol

1928-1987

Details of Renaissance Paintings (Paolo Uccello, St. George and the Dragon, 1460), 1984 Unique screenprint in colours, on Arches Aquarelle Cold Pressed paper, with full margins. Signed and numbered ‘TP 20/36’ in pencil (a trial proof in a unique colour combination before the edition of 50 and 12 artist’s proofs), published by Edition Schellmann & Klüser, Munich and New York (with their and the artist’s copyright inkstamp on the reverse), framed. I. 64 x 94.3 cm (25 1/4 x 37 1/8 in.) S. 81.4 x 112 cm (32 x 44 1/8 in.)

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,500 plus Buyer’s Premium and VAT*

Literature see Frayda Feldmann and Jörg Schellmann IIB. 324-327 see Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 348-349 Jörg Schellmann, ed., Andy Warhol Unique, Munich/New York, 2014, p. 129

176. Andy Warhol

1928-1987

Details of Renaissance Paintings (Leonardo da Vinci, The Annunciation, 1472), 1984 Unique screenprint in colours, on Arches Aquarelle Cold Press paper, with full margins. Signed and annotated ‘T.P.’ in pencil (an unnumbered trial proof, F&S calls for 36 numbered trial proofs in unique colour combinations, before the edition of 60 and 15 artist’s proofs), published by Edition Schellmann & Klüser, Munich and New York (with their and the artist’s copyright inkstamp on the reverse), framed. I. 64 x 95.5 cm (25 1/4 x 37 5/8 in.) S. 81.5 x 112 cm (32 1/8 x 44 1/8 in.)

Estimate £10,000-15,000 $13,100-19,600 €11,600-17,500 plus Buyer’s Premium and VAT*

Literature see Frayda Feldman and Jörg Schellmann IIB. 320-323 see Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 346-347

177. Andy Warhol

1928-1987

Joseph Beuys, 1980-83 Unique screenprint with rayon fock in colours, on Lenox Museum Board, the full sheet. Signed and numbered ‘TP 24/45’ in pencil (a trial proof in a unique colour combination before the edition of 150 and 36 artist’s proofs), published by Edition Schellmann & Klüser, Munich (with their and the artist’s copyright inkstamps on the reverse), framed. S. 101.7 x 81.4 cm (40 x 32 in.) Estimate £12,000-18,000 $15,700-23,500 €14,000-20,900 plus Buyer’s Premium and VAT*

Literature see Frayda Feldman and Jörg Schellmann IIB. 242-244 see Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 340-341 Jörg Schellmann, ed., Andy Warhol Unique, Munich/New York, 2014, p. 36

‘Working with Joseph Beuys on editions and exhibitions since 1970, Bernd Klüser and I (as Schellmann and Klüser) had the idea in 1979 to suggest to Andy Warhol that he do a portrait of Joseph Beuys. Soon aferward we had arranged an appointment with the Factory in New York, but to our surprise we learned that Lucio Amelio, an art dealer in Naples, had already suggested the same idea to Warhol. When Andy realised our disappointment, he proposed that we do the project jointly with Amelio. As we had known Lucio for a long time, we arranged to do the project along with a number of small and large paintings, a print portfolio, and exhibitions in Naples, Geneva, and Munich. Years later, when Beuys had died, Klüser and I published the portfolio For Joseph Beuys [see lot 179] with works by thirty artists, which included a camoufage version of Warhol’s Beuys portrait.’ Jörg Schellmann (ed.), Andy Warhol Unique, Munich/New York, 2014, p. 28

Production of paintings and prints for Joseph Beuys (States II and III), at the Andy Warhol Factory, New York, 1983-84 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London © Schellmann Art

Andy Warhol and Joseph Beuys at Warhol’s exhibition Joseph Beuys, paintings and prints held at Schellmann & Klüser Gallery, Munich, 1980 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London © Schellmann Art

178. Andy Warhol

1928-1987

Joseph Beuys, 1980 Unique screenprint, with diamond dust, on Arches Cover black paper, the full sheet. Signed in pencil (an unnumbered trial proof, F&S calls for 13 numbered trial proofs in unique variants, before the edition of 90 and 15 artist’s proofs), published by Edition Schellmann & Klüser, Munich and New York, framed. S. 112.5 x 76.5 cm (44 1/4 x 30 1/8 in.) Estimate £12,000-18,000 $15,700-23,500 €14,000-20,900

179. Andy Warhol

1928-1987

Joseph Beuys in Memoriam, from For Joseph Beuys, 1986 Unique screenprint in colours, on Arches 88 paper, with margins. Signed in pencil, a rare unnumbered trial proof printed on a larger sheet, before the edition of 90 on the reduced sheet size (there were also 30 impressions in Roman numerals and 20 artist’s proofs), co-published by Galerie Bernd Klüser, Munich, and Edition Schellmann, Munich and New York, framed. I. 102.1 x 76.5 cm (40 1/4 x 30 1/8 in.) S. 110 x 77.6 cm (43 1/4 x 30 1/2 in.)

plus Buyer’s Premium and VAT*

Estimate £12,000-18,000 $15,700-23,500 €14,000-20,900

Literature see Frayda Feldman and Jörg Schellmann IIB. 245-247 see Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 338-339 Jörg Schellmann, ed., Andy Warhol Unique, Munich/New York, 2014, p. 52 (No. 21b)

plus Buyer’s Premium and VAT*

Literature see Frayda Feldmann and Jörg Schellmann IIB. 371 see Jörg Schellmann, ed., Forty Are Better Than One, Munich/ New York, 2009, p. 352 Jörg Schellmann, ed., Andy Warhol Unique, Munich/New York, 2014, p. 59

180. Andy Warhol

1928-1987

Goethe, 1982 Unique screenprint in colours, on Lenox Museum Board, the full sheet. Signed and numbered ‘TP 5/15’ in pencil (a trial proof in a unique colour combination before the edition of 100 and 22 artist’s proofs), copublished by Edition Schellmann & Klüser, Munich and New York, and Denise René/Hans Mayer, Dusseldorf (with their and the artist’s copyright inkstamp on the reverse), framed. S. 96.7 x 96.5 cm (38 1/8 x 37 7/8 in.) Estimate £30,000-50,000 $39,200-65,300 €34,900-58,200 plus Buyer’s Premium and VAT*

Literature see Frayda Feldmann and Jörg Schellmann IIB. 270-273 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 342-343 Jörg Schellmann, ed., Andy Warhol Unique, Munich/New York, 2014, p. 65

Sale Information Fify Are Better Than One Works from the Archives of Edition Schellmann Auction and Viewing Location 30 Berkeley Square, London W1J 6EX Auction 6 June 2019 Auction Lots 1–180, 4pm Viewing 30 May – 6 June 2019 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation In sending in written bids or making enquiries please refer to this sale as UK030319 or Fify Are Better Than One. Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

Sale Department Head of Sale, Senior Specialist Anne Schneider-Wilson +44 20 7318 4042 aschneider-wilson@phillips.com Head of Editions, Europe Robert Kennan +44 20 7318 4075 rkennan@phillips.com Specialist Rebecca Tooby-Desmond +44 20 7318 4079 rtooby-desmond@phillips.com Cataloguer Louisa Earl +44 20 7318 4069 learl@phillips.com Administrator Amelia Wooding +44 20 7318 4077 awooding@phillips.com Property Manager Surya Buck +447867 430097 sbuck@phillips.com Photographers Marta Zagozdzon Charlie Sheldon Alex Braun

Auctioneers Henry Highley Adam Clay Hugues Joffre Susanna Brockman Rebecca Tooby-Desmond 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 Kaur +44 20 7318 4072 Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt +44 20 7318 4047 Rita Matos +44 20 7901 7906 Creative Services Andrea Koronkiewicz, Director of Creative Services Orlann Capazorio, Director of Production Ben Marcus, Creative Services Manager Moira Gil, Graphic Designer Grace Neighbour, Graphic Designer Tirso Montan, Graphic Designer

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

Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the thirdparty guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the thirdparty guarantor is the successful bidder Phillips will report the purchase price net of any fees paid to the third-party guarantor. ∆ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. No Reserve •Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

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

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

Hammer Price

Buyer’s Premium

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

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

The Hammer Price: This is the final, highest bid which the auctioneer accepts by bringing down the auctioneer’s hammer. Buyer’s Premium: This is the commission Phillips charges the successful highest bidder and buyer of the lot. The Buyer’s premium is calculated on the hammer price of the lot at the following rates on a cumulative basis: • 25% on the portion of the hammer price up to and including £300,000; and • 20% on the portion of the hammer price above £300,000 up to and including £3,000,000 and • 13.5% on the portion of the hammer price above £3,000,000. Where VAT is payable on the Buyer’s premium the VAT inclusive Buyer’s Premium rates are 30%, 24% and 16.2% respectively. VAT Most items we sell are sold under UK Auctioneer’s Margin Scheme rules. This means that VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice. UK Auctioneer’s Margin Scheme lots have no VAT symbol. Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website ♠ Artist’s Resale Royalty (ARR) The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are resold for a hammer price of EUR 1,000 or more. Lots subject to ARR are marked with the symbol ♠. The ARR is calculated as a percentage of the hammer price on a cumulative basis as follows and is payable as part of the purchase price: Portion of the Hammer Price (in EUROS) From 0 to 50,000 From 50,000.01 to 200,000 From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000

Royalty Rate 4% 3% 1% 0.5% 0.25%

The total charge for ARR on any single lot cannot exceed Euros 12,500. To calculate the ARR, we use the pounds

sterling/euro reference exchange rate quoted on the date of the auction by the European Central Bank. Example To illustrate how the purchase price is calculated, please see the below example: UK Auctioneer’s Margin Scheme lot Hammer Price: £350,000 Buyer’s Premium including VAT @20% £102,000: 25% of first £300,000 of the hammer price = £75,000 + 20% on the balance of £50,000 = £10,000 Total BP = £85,000 VAT @ 20% on the total BP of £85,000 = £17,000 B) At The Auction Bidding Bids may be executed during the auction in person, by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of governmentissued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference. Undisclosed agreements between bidders to bid or abstain from bidding on lots are illegal. Please note that Phillips monitors its sales and bidding records to ensure that bidding is transparent and fair and will take appropriate action in the event of any suspected breach of this requirement. In Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk. By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at https://phillips.com. The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe FlashPlayer. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The

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

by UK£50s by UK£100s by UK£200s by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000 UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s above UK£200,000 at the auctioneer’s discretion The auctioneer may vary the increments during the course of the auction at his or her own discretion. Conditions Of Sale The auction is governed by the Conditions of Sale and Authorship Warranty which are available on our website. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive And Responsive Bidding; The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

No Reserve Lots If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. C) After The Auction Payment Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum. Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer directly to: Bank of Scotland, Gordon Street, Glasgow G1 3RS For the account of Phillips Auctioneers Ltd Account no. 00440780 Sort code: 80-54-01 SWIFT BIC: LOYDGB2LXXX IBAN: GB36BOFS 8054 0100 4407 80 Please reference the relevant invoice number. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. Title to each lot will not pass until the buyer has made full payment of the Purchase Price plus any applicable Artist Resale Royalty and all applicable taxes. Collection Once Phillips has received full and cleared payment of the total purchase price for the lot and any other amounts the buyer owes to Phillips, lots will be released for collection. To collect paid for lots buyers (or their authorised representatives) must provide proof of identity. Authorised Representatives should also bring a copy of a letter signed by the buyer authorising them to collect. Smaller items may be collected from our London gallery on the day of the auction. Please check with our staff when making payment. After the auction, lots will be transferred to offsite fine art storage facilities. The buyer information pack you will receive after the auction will confirm details of the storage facility where your lot is held for collection. Please contact us to make arrangements for collection. Storage Charges Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of

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

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

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

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

UK Auctioneer’s Margin Scheme sale

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

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

Basis

Treatment

Standard UK VAT rules

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

Imported lot under Temporary Admission (Low rate)

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

Imported lot under Temporary Admission (High rate)

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

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

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

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

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

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

(b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the Absentee Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders

must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. 5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no

liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 13.5% of the portion of the hammer price above £3,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction.

(b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the nationality of the artist, we will identify the lot with the symbol ♠ next to the lot number and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot, we become aware that information provided to us prior to the auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice. (d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in pounds sterling as follows: (i) Payments may be made by wire transfer to: Bank of Scotland, Gordon Street, Glasgow G1 3RS For the account of Phillips Auctioneers Ltd Account no. 00440780 Sort code: 80-54-01 SWIFT BIC: LOYDGB2LXXX IBAN: GB36BOFS 8054 0100 4407 80 Please reference the relevant invoice number. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. (e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any antimoney laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact us at +44 (0) 207 318

4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. After the auction, we will transfer all lots to our offsite fine art storage facilities and will so advise all buyers. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 Failure to Collect Purchases (a) Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to buyers in the buyer information pack they will receive after the auction. Purchased lots will not be released to the buyer until the Purchase Price and all charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in

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

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all salerelated expenses and any applicable taxes thereon. 10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 Export, Import and Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from the United Kingdom or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the item qualifes as an antique. This will require the buyer to obtain an independent appraisal certify the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. 12 Privacy (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our privacy policy from time to time as published at www.phillips.com or available by emailing dataprotection@phillips.com. (b) Our privacy policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect

of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes and will be filmed during the auction for simultaneous live broadcast on our and third party websites and applications. By remaining in these areas, you acknowledge that you may be photographed, filmed and recorded and grant your permission for your likeness and voice to be included in such recordings. If you do not wish to be photographed or filmed or appear in such recordings, please speak to a member of Phillips staff. Your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy available at www.phillips.com. 13 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot.

(b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to

Authorship Warranty the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.

(b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer. 16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of five years from date of sale by Phillips, subject to the exclusions and limitations set forth below. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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

In-person Absentee Bidding Telephone Bidding

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

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• 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.

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

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• 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.

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

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

Phone number to call at the time of sale (for Phone Bidding only) 1.

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

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

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

Brief description

In Consecutive Order

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

* Excluding Buyer’s Premium and VAT

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Sell With Us Evening & Day Editions London Auction, 12 September 2019 Phillips has been breaking auction records within the Editions category for over a decade. Continuing with this success, we are inviting consignments for our upcoming Evening and Day Editions auctions in London. Consignment deadline 28 June 2019 Enquiries editionslondon@phillips.com +44207 318 4077

Grayson Perry Map of Nowhere, 2008 Etching, an artist's proof aside from the edition of 68. ÂŠ Grayson Perry

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Index

Artschwager, R. 1, 2

Gallagher, E. 53

Oursler, T. 135

All lots listed below © Schellmann Art, images supplied by Jörg Schellmann. Image courtesy of Jörg Schellmann, ed., Wall Works, Munich/New York, 1999: Lot 1 (Location of illustration: Miro residence, London), Lot 94 (Location of illustration: Villa Chiari, Pescia, Tuscany), Lot 119 (Location of illustration: Edition Schellmann, Munich), Lot 170 (Location of illustration: Museum Villa Stuck, Munich).

Gilbert & George 54, 55, 56 Baldessari, J. 3

Gillick, L. 57, 58, 59, 60

Paik, N. J. 138, 139, 140, 141

Baselitz, G. 4, 5

Goldin, N. 62

Paolini, G. 142

Becher, B. and H. 6, 7, 8

Goldstein, J. 61

Pardo, J. 136 Pistoletto, M. 143

Beecrof, V. 18

Polke, S. 137

Beuys, J. 9, 10, 11, 12, 13, 14

Halley, P. 63, 64, 65, 66, 67, 68

Brown, G. 19

Hamilton, R. 81

Buren, D. 15, 16, 17

Haring, K. 69, 70, 71, 72, 73,

Ruf, T. 144, 145, 146, 147,

74, 75, 76, 77, 78, 79, 80

148, 149, 150, 151

Cattelan, M. 20

Hatoum, M. 82, 83

Ruscha, E. and

Chapman, J. & D. 22

Höfer, C. 84, 85

Bustamante, J-M. 152

Christo and Jeanne-Claude 25, 26,

Holzer, J. 86, 87, 88, 89

27, 28

Hütte, A. 90

Clemente, F. 21

Salle, D. 159

Image courtesy of Udo Kittelmann and Gabriele Knapstein, ed., Wall Works, Berlin, 2014: Lot 171

Sasnal, W. 157

Close, C. 29, 30

Jaar, A. 91

Schnabel, J. 153

Cragg, T. 23

Judd, D. 92, 93, 94, 95, 96, 97

Schütte, T. 158

Craig-Martin, M. 24

Sherman, C. 154 Kapoor, A. 98, 99, 100

Sierra, S. 155, 156

Darboven, H. 35, 36, 37, 38

Kentridge, W. 115, 116

Dean, T. 32

Knoebel, I. 101, 102, 103, 104

Trockel, R. 160, 161

Demand, T. 33, 34

Koons, J. 105, 106, 107, 108

Tuttle, R. 165

Dumas, M. 31

Kosuth, J. 117, 118

Tuymans, L. 162, 163, 164

Kounellis, J. 110, 111, 112, 113, 114 Eggleston, W. 39

Various Artists 109

Eliasson, O. 40, 41

Levine, S. 119

Elmgreen & Dragset 42

LeWitt, S. 121, 122, 123, 124, 125

Walker, K. 170

Long, R. 120

Wall, J. 166

Longo, R. 126, 127, 128, 129

Warhol, A. 172, 173, 174, 175,

Flavin, D. 43, 44, 45, 46

Image courtesy of Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009: Lot 82 (Location of illustration: Edition Schellmann, Munich), Lot 112 (Location of illustration: Villa Chiari, Pescia, Tuscany), Lot 118 (Location of image: Cais Gallery, Seoul, Korea), Lot 168 (Location of illustration: Studio Rachel Whiteread, London).

Fleury, S. 51, 52

176, 177, 178, 179, 180

Förg, G. 47, 48, 49

Mapplethorpe, R. 130

Weiner, L. 171

Fritsch, K. 50

Morris, S. 132, 133, 134

West, F. 167

Morrison, P. 131

Whiteread, R. 168, 169

Image courtesy of Schellmann Art: Lot 17, Lot 51, Lot 60, Lot 63, Lot 143 (Location of illustration: Edition Schellmann, Munich), Lot 165, and Lot 169 (view from above). Please note the following lot images are partly computer simulated installations: Lot 1, Lot 63, Lot 94, and Lot 170.

Sell With Us Our April 2019 sale in New York confrmed the continued demand for high quality, blue-chip Prints & Multiples.

97% Sold by lot. 99% Sold by value. 93% Sold within or above estimate. 30% Evening session lots achieved record prices. 92 of the 93 Evening session lots sold. © Estate of Roy Lichtenstein © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2019

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Editions & Works on Paper Auction October 2019, New York Consignment Deadline 15 July Enquiries editions@phillips.com +1 212 940 1220

138. Nam June Paik