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bric 23 路 24 april 2010 london BRIC_Covers singole.indd 1

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lot 340. vik muniz

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lot 6. erik bulatov

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lot 18. subodh gupta

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lot 9. zhang xiaogang

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BRIC

5 pm friday 23 april 2010 london

evenIng sale lots 1 - 32

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1 Os GÊmeOs b. 1974 Mauria, Esmeraldo, Pomela, Naciacimento, Valdelios, Amildala, 2008. Acrylic, latex, spray paint, sequins and electrical light on wooden table top. 109.2 × 154.9 × 12.7 cm (43 × 61 × 5 in). This work is accompanied by a certificate of authenticity. proVEnanCE Deitch Projects, New York; Private Collection, United Kingdom ExhibitEd New York, Deitch Projects, Os Gêmeos: Too Far Too Close, 28 June–9 August 2008 Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ Ω

Mauria, Esmeraldo, Pomela, Naciacimento, Valdelios, Amildala (2008) is Os Gêmeos’ representation of people who exist between two vibrant worlds. These are the people who make up the diverse social fabric of the identical twin brothers’ hometown, Sao Paulo; yet, simultaneously, they are the inhabitants of the surreal world the two have created in their shared artistic vision. Much like Sao Paulo, the world of Os Gêmeos is bright and energetic: nothing is dull, and every image is the start of another story. Everything and everyone is unique, but, in some unfathomable way, all the people and stories overlap to create the story of the world of Os Gêmeos.

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2 Ai WeiWei b. 1957 Nine Coloured Pots, 2006. Painted Neolithic vessels. Variable dimensions; smallest: 33 × 107 cm (13 × 42 1/8 in); largest: 39 × 117.2 cm (15 2/5 × 46 1/8 in). proVEnanCE Galerie Urs Meile, Lucerne; Private Collection Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0 ‡

Known throughout the world as one of the most outspoken artists in China, Ai Weiwei works across a wide range of media, encompassing installation, sculpture, photography, video and architecture. Throughout his long and acclaimed career, Ai has always followed a trajectory slightly ahead of China’s avant-garde, for instance exhibiting subversive paintings of Mao Zedong as early as 1985. During the 1980s, Ai lived in New York City, where his radical conceptual practice was influenced by Jasper Johns, Andy Warhol and Jeff Koons – all prominent American explorers of artistic territory first opened up by Marcel Duchamp, the founder of Dada. The present lot, a sublime installation of nine brightly-painted Chinese Neolithic pots, belongs to a body of work which Ai began in Beijing in 1993 upon his return from America. Echoing Marcel Duchamp’s Fountain of 1917, Ai acquired nine ready-mades – hand crafted ceramic vessels dating from approximately 5000 BCE – and altered them by dipping them in vats of industrial house paint. The result is not only visually stunning, but intellectually stimulating. With the simplest of gestures, Ai has transformed an art-historical object into a conceptual work of art. Thus, a work of craft – or of ‘low art’ in the context of antiquity – has been elevated to the condition of ‘high art’, a contemporary masterpiece fit for a modern art museum.

“[Ai Weiwei’s] gestural practice of defacing and destroying these ancient objects to transform them into works of contemporary art, provide the illusion of clarity alongside the persistent specter of ambiguity. What appears at first like the sublimation of an ancient object’s financial value and cultural worth into a different yet parallel carrier of updated value and worth also serves as a satire of the ruling regime’s approach to its patrimony, and of contemporary China’s curious relation to its past, a situation where destruction of historical artifacts happens almost daily.”

(Philip Tinari, in exhibition catalogue, Arcadia University Art Gallery, Ai Weiwei: Dropping the Urn Ceramic Works, 5000 BCE–2010 CE, Philadephia, 2010) 146

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(i)

3 RAshid RAnA b. 1968 Three works: (i) Ommatidia I (Hrithik Roshan), 2004; (ii) Ommatidia II (Salman Khan), 2004; (iii) Ommatidia III (Shahrukh Khan), 2004. Colour coupler print, Diasec mounted. (i) 85 × 76 cm (33 1/2 × 30 in); (ii) 79 × 76 cm (31 1/8 × 30 in); (iii) 81 × 76 cm (31 7/8 × 30 in). These works are from an edition of 20. proVEnanCE Wedel Fine Art, London ExhibitEd London, Wedel Fine Art, Face East: Contemporary Asian Portraiture, 13 December 2007 – 2 February 2008 Estimate £ 3 0,0 0 0 – 4 0,0 0 0 $4 5,6 0 0 – 6 0, 8 0 0 € 3 3,0 0 0 – 4 4,0 0 0 †

Rashid Rana is a master at addressing political and social issues through ironic juxtaposition. His mosaic-like composite images appear to vacillate between micro and macro under the viewer’s gaze, being made up of thousands of pixel-like miniaturized photos. Rana cleverly relates this technique back to the history of art in Pakistan, his native country.

A graduate of the National College of Arts, Lahore – the world’s most respected traditional miniature painting program – Rana deviated from his peers by moving into digital media and photography and away from the traditional painting techniques taught at the school. Yet, in spite of his embrace of new media, Rana has wryly preserved the idea of the miniature in his use of tiny photographs.

In the present lot, the Ommatidia series, Rana depicts in his characteristic pixellated format three current Bollywood stars: Shah Rukh Khan, Salman Khan and Hrithrik Roshan. These kaleidoscopic portraits, each a mosaic of images of average men from the streets of Pakistan, comment on the construction of national and cultural identities, and question how meaning is misconstrued in our media-orientated society. In each case, there is an ironic tension set up between the large overall image of the Bollywood actor and the minute faces of ordinary Pakistanis from which it is assembled. While the latter may appear to gaze at their idols in adulation, Rana suggests that such huge celebrities are merely the invention of the viewing public – a Detail

public who investigate their own imaginations via the hyperreal lives of their heroes.

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(iii)

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4 Jitish KAllAt b. 1974 Untitled (Eclipse), 2007. Triptych: acrylic on canvas. Overall: 213.3 × 501.9 cm (84 × 197 5/8 in).

Titled ‘Untitled (Eclipse)’ upper centre of left panel. Signed, titled and dated ‘2007 JITISH KALLAT UNTITLED (ECLIPSE)’ on the overlap of each panel. proVEnanCE Arario Gallery, Beijing; Wedel Fine Art, London Estimate £12 0,0 0 0 –15 0,0 0 0 $18 2,0 0 0 – 2 2 8 ,0 0 0 €13 2,0 0 0 –16 5,0 0 0 †

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Indian artist Jitish Kallat manipulates the languages of pop and agitprop in order to

series. Against a stylized cadmium-orange sunset, reminiscent of a propaganda

address, both aesthetically and intellectually, issues of human struggle and survival

poster, four hugging children grin as if posing for a picture. Malnourished and

in modern India. In his paintings, sculptures, photographs and installations, Kallat

dressed in rags, their smiles betray an altogether darker, more unsettling existence, a

presents imagery which deliberately undermines the perceived ‘slickness’ of the

reality in which these dispossessed youths are left to fend for themselves in the

advertisements and graphic design pervading today’s visual landscape, instead

sewers of Mumbai. Speaking about his inspiration for the series, the artist has said:

showcasing a gritty realism lifted from the crowded streets and rain-streaked

‘The city street is my university. One finds all the themes of life and art – pain,

facades of Mumbai. Taking as subjects people whose dreams of a better life have

happiness, anger, violence and compassion – played out here in full volume. Scale is

given way to apathy and anger, he presents an unflinching look at the widening gulf

merely one of the many tools one can deploy in the creation of meaning, and

between the good intentions of the powers-that-be and the bitter realities of

decisions such as big, small, lifesize, etc., are as much acts of meaning creation as

ordinary folk. In doing so, he captures the psychological stress of life in a mega-city,

they may be retinal or aesthetic considerations.’ (Jitish Kallat, quoted in The Asian Art

combining a contemporary style of presentation with eternal questions of existence.

Newspaper, February 2010)

The present lot is a monumental, billboard-sized canvas from his recent Eclipse 151

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5 YUE MINJUN b. 1962 99 Idol Series No. 73, 1996. Oil on canvas. 25.5 × 20 cm (10 × 7 7/8 in). PROVENANCE Schoeni Art Gallery, Hong Kong; acquired directly by the present owner from the above ExhibitEd Beijing, Schoeni Art Gallery, Beijing Inaugural Exhibition/10th Anniversary Celebration, 16 March – 16 April 2002 litERAtuRE Exhibition catalogue, Schoeni Art Gallery, Beijing Inaugural Exhibition/10th Anniversary Celebration, Beijing/Hong Kong, 16 March – 16 April 2002 Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 ‡

“I’m actually trying to make sense of the world. There’s nothing cynical or absurd in what I do. I developed this painting where you see someone laughing. At first you think he’s happy, but when you look more carefully, there’s something else there. A smile doesn’t necessarily mean happiness; it could be something else.

“In China there’s a long history of the smile. There is the Maitreya Buddha who can tell the future and whose facial expression is a laugh. Normally there’s an inscription saying that you should be optimistic and laugh in the face of reality.

There were also paintings during the Cultural Revolution period, those Soviet-style posters showing happy people laughing. But what’s interesting is that normally what you see in those posters is the opposite of reality. I’m not laughing at anybody else, because once you laugh at others, you’ll run into trouble, and can create obstacles. This is the way to do it if you want to make a parody of the things that are behind the image… It’s not a denial of reality but a questioning of it. And that laugh – anybody who’s gone through Chinese recent experience would understand it.”

(Yue Minjun, quoted in Richard Bernstein, ‘An Artist’s Famous Smile: What Lies Behind It?’, New York Times, 13 November 2007) 152

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6 ERIK BULATOV b. 1933 ENTRANCE – NO ENTRANCE, 1994–95. Oil on canvas.

180 × 180 cm (70 7/8 × 70 7/8 in). Signed, titled in Cyrillic and dated ‘Bulatov 95 ENTRANCE – NO ENTRANCE’ on the reverse. PROVENANCE Acquired directly from the artist; Private Collection, Europe ExhibitEd Wilhelm-Hack Museum, Ludwigshafen, March– April 1995; Documenta, Kassel, May–June 1995; Museum Lindenau, Altenburg, July– September 1995; Manezh Gallery, Moscow, December 1995–January 1996 litERAtuRE A. Erofeer & J-H. Martin, Kunst im Verborgenen: Nonkonformisten Russland 1957–1995, Munich & New York, 1995, p. 88 (illustrated) Estimate £ 3 5 0,0 0 0 – 4 5 0,0 0 0 $5 3 2,0 0 0 – 6 8 4,0 0 0 € 3 8 5,0 0 0 – 49 5,0 0 0 ♠ ‡

Pyatigorsk is far away Khripanka Pekhorka Macedonka too but you can jump off any hill you want By the bridge past the pines as high as you want Moscow is cool it is super cool but too bad it is red But that is how it is as long as it is red the sun sets it sets but if it sets It rises too It sets and so it rises Way in no way in but no but no a way in.

Vsevolod Nekrasov 154

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Erik Bulatov’s practice is charged with a constant

sharp diagonals and the blue of the word Vhod

awareness of his background and a deep understanding

(Entrance) are blocked by the horizontal of Vhoda Net

of the historical circumstances shaping contemporary

(No Entrance), creating a visual frustration at the

Russia. Being an émigré (based since 1989 in New York,

inability to see beyond the phrase. As with Bulatov’s

then Paris) has not deterred him from using his

other works, it demonstrates the artist’s power to

homeland as subject-matter, nor does it lessen the

visualize the wall-like grid that can be created by the

subconscious empathy his work arouses in the viewer.

subconscious blockages, restraints and difficulties experienced in our lives. The three-dimensional effect

The present work, entitled Entrance – No Entrance (Vhod

created by the text and the use of perspective can be

– Vhoda Net) was painted by Bulatov in 1994–95 after a

compared to Lucio Fontana’s Attese canvases, whose cut

request from the Russian Ministry of Culture. The

surfaces lead the viewers’ gaze beyond the flatness of

painting is a repeat version of Entrance – No Entrance

the picture plane and at the same time emphasize its

(Vhod – Vhoda Net) from 1974 –1975 which was acquired

boundaries.

by the Centre Georges Pompidou. The emotive juxtaposition of the words ‘Entrance’ and ‘No Entrance’

“This work [the original painting from 1974–75] was

edges the observer towards catharsis by urging a

decisive in shaping the artist’s ideas, as it forced him to

personal reminiscence of past experiences. It reduces

solve the problem of space and flatness … The final

human existence to a simple, formulaic journey

meaning of the phrase ‘No Entrance’ is that entrance is

consisting only of ways in and no ways in – a string of

prohibited, yet it is placed in such a way that the end of

positive and negative outcomes. Its dynamic

the first word (‘da’ or ‘yes’) appears in the centre of the

composition and bold red, blue and white palette echo

composition, which completely contradicts the

the impact of propaganda posters such as those created

prohibitory phrase. Free will, wishes and dreams are set

by Rodchenko and Mayakovsky, giving the written

in opposition to the omnipresent ban. A similar meaning

message an emphasis that is impossible to ignore. The

can be found in one of Bulatov’s most beautiful works,

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the 1975 painting I’m Coming. The word is written as inner subjectivity. The white letters soar into a gloriously blue, clouded sky.”

(B. Lorquin, ‘Erik Bulatov: A Genealogy’, Erik Bulatov, Moscow, 2006) One of Bulatov’s main sources for inspiration was the poetry of Vsevolod Nekrasov, whose poems have been described as visual and minimalist, with words in a carefully arranged pattern and often graphic elements.

When discussing his work, Bulatov states: ‘My goal is to represent our life in the way that my eyes see it, not trying to interpret it in a specific way. As Vsevolod Nekrasov put it: ‘Although I do not want it, do not seek it, I live and I see…’ To find an image for this life, to give it a name – that’s what I see as my goal. Because in order to be freed from something, you need to call it by its name.

And that name must be true, and not one that you would like to call it. So that everyone who lives now and in this place could say – yes, this is my life. And if it’s liked or not – that’s one’s own affair’ (translated from E. Bulatov, ‘Of Painting and the Self’, Iskusstvo, July/August 2003).

Opposite: Lucio Fontana, Concetto spaziale, Attesa, 1960 Top: Erik Bulatov, I’m Coming, 1975 Above: Vladimir Mayakovsky/Alexander Rodchenko, Trade Union is a Defender of Female Labour, 1925 157

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Detail

7 Oleg VassilieV b. 1931 At the Seaside, 1989. Oil on canvas. 153.5 × 120 cm (60 × 47 1/4 in). Signed, titled in Cyrillic and dated ‘O. Vassiliev At the Seaside 89’ on the reverse. provenance Phyllis Kind Gallery, New York; Private Collection, France Estimate £70,0 0 0 – 9 0,0 0 0 $10 6,4 0 0 –13 6, 8 0 0 €77,0 0 0 – 9 9,0 0 0 ♠

“A metaphysician by nature, (in a certain sense his visual attitude to the world of visible phenomena may be compared to that of Kant or Schopenhauer), and concerned with space from the very beginning of his work, Oleg Vassiliev solves the problem of interpreting vision and synthesising the picture in a visual-spatial vein. As a result of his persistent experiments throughout the 1960s, he constructed a complex, visually abstract space which joins two inversely-symmetrical and spectrally coloured spatial structures into a single field of light. Reflecting the structures of the picture as such, this space is used by Vassiliev as an inner foundation supporting the whole visual layer, that is, all the visual images and fragments introduced into the picture which corresponds to reality. Like Schopenhauer’s world will, the light energy of this space permeates and joins the objects in the picture, breathing inner life into it, giving it depth and importance. The relationship between inner space and outer visual layer is the essence of Vassiliev’s pictures, and it enables the artist to convey his intricate and profound emotions.”

(A-Ya: Unofficial Russian Art Review, No. 2, Moscow/Paris/New York, 1980 p. 29–30) 158

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8 WANG GUANGYI b. 1957 Disney from the Great Criticism series, 2006. Oil on canvas. 200 × 160 cm (78 3/4 × 63 in). Signed in Chinese and Pinyin and dated ‘2006 Wang Guangyi’ on the reverse. PROVENANCE Acquired directly from the artist Estimate £12 0,0 0 0 –18 0,0 0 0 $18 2,0 0 0 – 274,0 0 0 €13 2,0 0 0 –19 8 ,0 0 0 ‡

The vast legacy of propaganda that resulted from Mao Zedong’s Cultural Revolution has greatly impacted on Wang Guangyi and other contemporary Chinese artists interested in critically examining China’s recent visual history.

Political Pop, as the movement is loosely known, appropriates the visual tropes of propaganda from the Cultural Revolution, reworking them in the flat, colourful style associated with American Pop of the same era. The ideological antagonism that exists between China’s traditional socialist ideology and the materialistic mentality of a western society seen as invading and changing it is powerfully exposed in Wang Guangyi’s Great Criticism series. These large-scale canvases combine famous western brand names with the idealized figures of Mao’s workers and farmers, which the artist covers with hundreds of little numbers in repetitive sequences reminiscent of barcodes or serial numbers – a reference to the standardization and numeric symbols of the codifying systems of consumerism.

“It was Wang Guangyi’s Great Criticism series that caught the imagination of the western art world and confirmed his position as leader of the avantgarde. In these paintings, the clashing ideologies of socialism and consumerism meet. Wang Guangyi unabashedly appropriated images from socialist propaganda art that depicted China striding towards an ideal tomorrow. Across these, he slapped various logos of famous western brand names to represent the concerns of consumerism.”

(K. Smith, Wang Guangyi, Hong Kong, 2003) 160

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9 ZHANG XIAOGANG b. 1938 Amnesia and Memory, 2006. Oil on canvas.

160 × 200 cm (63 × 78 3/4 in). Signed and dated ‘Zhang Xiaogang 2006’ in Chinese lower right. PROVENANCE Acquired directly from the artist Estimate £2 2 0,0 0 0 – 3 2 0,0 0 0 $3 3 4,0 0 0 – 4 8 6,0 0 0 €242,0 0 0 – 3 52,0 0 0 ‡

Concerned with the portrayal of history, Zhang Xiaogang’s Amnesia and Memory series examines how portraits obscure an already hidden past. Influenced by artists such as Gerhard Richter and Salvador Dalí, Xiaogang paints in a surreal but photorealist manner, examining what portraits allow us to understand of the past. Often rigid and formal, portraits document passages of time within our lives – yet such fragments of history exist without conveying the emotion or reality of the actual moment. The viewer is given no insight into any underlying drama or tension, being instead presented with the individual’s attempt to portray their ‘best self’.

Sometimes, as in the case of a graduation or an honour bestowed, we are given a clue as to why a particular moment was documented; but more usually, the only information given is a formal indication of who the subject is, and an impression of their approximate age and appearance at that time. Xiaogang further obscures this depersonalized sense of personal history to create a collective history, painting his figures in a mysterious, otherworldly manner.

We are encouraged to recognise these figures as individuals, although without being given a formal name they become relocated to a more general history – and the viewer is asked to think critically about what portraits can really tell us of our past.

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10 XIANG JING b. 1968 Your Body, 2005. Paint on reinforced fibreglass. 267.5 × 158.5 × 148.6 cm (105 1/4 × 62 1/2 × 58 1/2 in). Signed in Chinese and dated ‘Xiang Jing 2005’ and numbered of 3 on the upper right thigh reverse.

PROVENANCE Jack Tilton Gallery, New York ExhibitEd London, Saatchi Gallery, The Revolution Continues: New Chinese Art, 9 October 2008 –18 January 2009 (another example exhibited) litERAtuRE Exhibition catalogue, Saatchi Gallery, London, The Revolution Continues: New Chinese Art, pp. 242 – 45 (another example illustrated); Keep in Silent – Xiang Jing, 2005, pp. 22, 36, 63 – 67 (another example illustrated) Estimate £12 0,0 0 0 –18 0,0 0 0 $18 2,0 0 0 – 274,0 0 0 €13 2,0 0 0 –19 8 ,0 0 0 ‡ 164

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“I [overflowed] with inspiration and energy and she was created in a very short period of time. I left her eyes to the end and when she was almost finished, I held a stick and stood [away] from her, turned quickly [to] where her eyes should be, and it turned out exactly how I wanted. I was thrilled and promised myself to stop working on her.”

(Xiang Jing, interview with Wang Yin, Southern Weekly, 10 March 2006) “Your Body is a perishable gift … it retains an acute injury mark: scars on the abdomen imply possibly appendicitis and subsequent surgery, wounds of sharp blade; this life-saving wound somehow harmoniously co-exists with lasting pain and remorse. On the other hand, the memories of the body, the swelling curves, accumulating fat and sagging breasts uncompromisingly denote the scar of passing years. This wound not only reveals the body’s fatigue, but also divulges the body’s emptiness and helplessness. As time goes by, she grows as well as decays.”

(Gao Shiming, Poetics of Body – Review of Xiang Jing’s Sculpture, Tang Contemporary, Beijing) Xiang started work on the Virgin series after relocating to Shanghai in 1999.

Springing from her feelings at moving into a fast-paced cosmopolitan city, these pieces capture the disjointed loneliness of newly urbanized women in modern Chinese society. They depict mainly naked, pre-adolescent females in various awkward positions, empathizing with both their internal and external discomforts – an exposure which exudes much power. The body is incapable of lying: it tells us everything, candidly. Hinting the secrets of the creator, it is a medium for the outside world to communicate with a soul which is unreachable otherwise. The present lot, which confronts the contemporary perception of beauty and femininity, shares certain concerns with Xiang’s western contemporary, Jenny Saville. Both depict non-standard and exaggerated figures; their attitude seems to critique not only the prelapsarian body, but also contemporary stereotypes of ‘perfect form’.

Xiang is dedicated to creating situations – the psychological atmosphere The present lot, Your Body, is of pivotal importance in Xiang Jing’s career.

surrounding individual works. Your Body grabs the audience like a snapshot in

Dating from 2005, this hyperrealistic, psychologically expressive sculpture

time. On her message board at www.x-q.com, Xiang has stated: ‘I’m most

marks the start of a new chapter in her practice – the Virgin series. A three-

concerned about the deepest part of human nature, I never wanted to make

metre-high seated female nude, formerly exhibited prominently at London’s

works which others cannot understand; I want to try to communicate with

Saatchi Gallery, Your Body is hand-made from start to finish, and represents

other lonely individuals and their souls. If you cast aside the technicality of the

the first time the artist had ever worked on such a scale. Xiang originally chose

works, please treat them as people.’ In this sense, the figures are props within

to work in fibreglass – rather than the more traditional wood, metal or marble

the artist’s constructed world, each inhabiting his or her own transitional

– because of the material’s relative affordability. Later, she continued to work

space – much akin to the live spectators they meet. This setting parallels, for

with the medium because of the subtle colour options it offers; for instance, as

example, Louise Bourgeois’ abstract sculptures in her 1949 and 1950 Peridot

opposed to the voluptuous pink of a new-born infant, Your Body’s ivory-pale

Gallery exhibitions. Both feature totemic objects loosely grouped and forming

skin tone captures a subdued, cold and enduring silence. Yet despite this

a collective ‘social space’, as if the sculptures have been given licence to

seeming passivity, the oversized subject, with her unremarkable features and

temporarily partake of our quotidian lives. As viewers pass among the works,

perpetually vacuous gaze, displays the scar on her lower abdomen with

their accumulated experiences become a ritual part of the overall atmosphere.

extreme candour.

“Xiang can transfer the most delicate emotions through her fingertips into her works directly. She subsequently creates a complete language pattern – the likeness of form for modern sculptures. I think this pattern is a creative derivative from the western intrusion of realism. The language system she created is very similar to traditional Chinese ink paintings which seek to capture a spirit with basic devices and subtle fragrances. In this sense, she is a genius.”

(Li Xianting, interview with Wang Yin, Southern Weekly, 10 March 2006)

Top: Jenny Saville, Hem, 1998–99 Above: Installation view of Your Body at Shanghai Art Museum, 2005 Right: Installation view of Louise Bourgeois: Sculptures at the Peridot Gallery, New York, 1949 166

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11 LI TIANBING b. 1974 Autoportrait TB Jaune, 2007. Oil on canvas. 200 × 200 cm (78.7 × 78.7 in). Signed and dated ‘Tianbing 2007’ lower right; titled and dated on the reverse. PROVENANCE Private Collection, Spain; Private Collection, Hong Kong Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0 ‡

More archetypal than individual, Li Tianbing’s portraits are a looking glass through which the artist begins rewinding personal memory and examining the human toll of the one-child-per-family policy instituted in China in 1979. For all the meticulously rendered differences in their features, the children he portrays are surprisingly alike: uniformly detached, and offering little hint of an interior life. They confront the world with deadpan expressions, evoking passport and police photos, or the stares of the traumatized and vulnerable.

These images look back to a not-so-distant period in which untold millions of people, the artist’s family among them, faced extremes of material and spiritual hardship. They spring from a society where even the intimacies of human reproduction have been controlled in the name of collective survival; one where, to this day, millions of hei haizi – non-declared children born outside the one-child quota – exist without any official legal status.

Using as a point of departure photographs he has chanced across, or taken himself, Li Tianbing conjures an impression of remembered time. The paintings’ surfaces appear mildewed and weathered, suggesting worn snapshots rescued from a long-forgotten box found languishing in a damp cellar. The young faces peer out from the past through the faded emulsion and peeling paper as though, one by one, they have been snatched from the edge of memory before vanishing forever. It is this solitary status, each child alone in the world, that the artist captures for posterity.

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12 T. V. SANThOSh b. 1968 Enemies’ Enemy II, 2008. Diptych: oil on canvas.

183 × 244 cm (72 × 96 in). Signed ‘TV Santhosh’ on the reverse of each panel.

PROVENANCE The Guild Art Gallery, New York ExhibitEd Wolverhampton, Initial Access, Frank Cohen Collection: Passage to India II, 17 March – 1 August 2009 Estimate £10 0,0 0 0 –15 0,0 0 0 $152,0 0 0 – 2 2 8 ,0 0 0 €110,0 0 0 –16 5,0 0 0 †

T. V. Santhosh’s work seeks to question the influence of politics and the media, most notably their representation and manipulation of such global issues as violence, injustice, war and terrorism. The present lot, a vibrant diptych which combines elements of photorealism with abstraction, is a prime example of the artist’s unique ability to create poignant paintings full of biting critique and subversion. Executed using his emblematic solarization technique – in which tonal values are reversed in neon pinks, purples and greens – Enemies’ Enemy II depicts an armed soldier making an arrest in the busy streets of modern-day India. After appropriating the photographic image from a mass-market publication and performing his negative makeover, Santhosh has crossed out the composition with bright yellow brushstrokes, in clear sign of defiance. The work’s technique as much as its suggestive title highlights Santhosh’s desire to uncover the concealed truths of war and terrorism and foreground the notion that every coin has two sides, every sword two edges.

“More recently, I have been appropriating in my works the logic of turning a positive photographic image into its negative. Negative images evoke the inverse aspects of the phenomena. As certain elements get deleted and become unrecognizable, they reveal an event’s hidden implications. In the process, the elements of ‘local’ lose their specificity, attaining instead a universal significance and vice versa. Marking a shift from my earlier painting and its linguistic concerns, which dealt with a world as seen through the pages of history that tells its stories through the images of metaphors, my recent works deals with the kind of devised ‘glimpses’ of much larger, unresolved stories of immediate happenings.”

(T. V. Santhosh, quoted in the press release for False Promises, Grosvenor Gallery, London, 2005) 170

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Alternative view

13 SATYENDRA PAKhALÉ b. 1967 ‘Flower Offering’ chair, 2007. Twenty-four carat gold-glazed ceramic. 85 × 74 × 70 cm (33 1/2 × 29 1/8 × 27 1/2 in). Produced by Gabrielle Ammann Gallery, Cologne. Number one from the edition of seven plus three artist’s proofs. Back edge of seat signed in black marker with artist’s signature and numbered ‘1/7’. PROVENANCE Private Collection, Switzerland Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0

This work is among the few limited edition pieces that renowned industrial designer Satyendra Pakhalé has created to date. Active within the sphere of industrial and architectural design, Pakhalé incorporates organic motifs and craftsmanship with elements from his Indian cultural heritage. The bulbous base of the chair is offset by the narrow, pillar-like supports that function as vases holding flowers. The Indian tradition of ritualistic offering is incorporated into the unique design, forming a union between east and west.

172

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000

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14 SuboDh GuPTA b. 1964 Untitled #12, 2006. Cast aluminium. 23.9 × 104.9 cm × 27.9 cm (9 1/2 × 41 2/5 × 11 in). This work is from an edition of three. PROVENANCE Art and Public, Geneva; acquired from the above by the present owner litERAtuRE Fabrice Bousteau, ed., Made by Indians, Paris, 2007, p. 450 (illustrated) Estimate £ 3 5,0 0 0 – 4 5,0 0 0 $5 3, 2 0 0 – 6 8 ,4 0 0 € 3 8 ,5 0 0 – 49,5 0 0

“My work is about where I come from, but at the same time the expansion of the art world means that to a certain extent, everything is shrinking together, and you have to be aware of international discourse in your work.”

(Subodh Gupta) The above quotation reflects the deep sense of cultural entanglement present in Subodh Gupta’s work, as an artist who aims to pay homage to the traditional accoutrements of the Indian rural and urban landscape whilst retaining a sense of unease over the integration of Indian culture into the wider, Western capitalist cultural bloc.

By taking found objects and making them the subject of his art, Gupta magnifies the symbolic significance of otherwise quotidian artefacts and contextualizes them within the framework of Indian cultural dilution. Gupta’s focus on mundanities such 174

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as the milk bucket, the cutlery set, the bicycle and, in this instance, the baby pram,

the Indian working classes, whose perpetual migration leaves them in a constant

allows him, via the study of a single object, to draw universal conclusions about the

state of travel. Furthermore, we are left to wonder, is the pram itself ever intended

current state of Indian society. By using items associated with travel, such as the

for use or not? Does it play an active role as a usable object? Is it merely a subject

baby pram, Gupta alludes to the staggering levels of outward migration in India.

of fascination? Throughout these interpretations rests the underlying cultural

Being a vehicle into which infants are harnessed, it also highlights the preference

contrapposto to which Gupta so astutely points: that India is a country with a

of young, mobile Indian families to leave their native land, trading their culture

booming, youthful, and mobile population, in which the traditional symbols of Indian

for higher wealth and living standards. Yet Gupta’s image simultaneously makes

modesty – the spinning wheel, the dhoti, etc – are being replaced by the technically

reference to returning natives, temporary migrants who left the family unit in order

progressive innovations enjoyed by the Western consumer.

to find employment and provide for their loved ones. The returning worker, having been exposed to an outside culture, comes back with the material manifestations of

Ultimately, Gupta’s sculptures force the viewer to contemplate widespread cultural

gifts – which come in the form of commodities.

phenomena through the lens of singular objects. These objects not only highlight the radical shift in both rural and urban symbols of daily life,

In this composition we notice that the pram is folded and not in a functional state,

but the shift in cultural, economic and traditional values therein.

alluding in part to the fact that it is in transit – much like its human counterparts, 175

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15 LYGiA CLARK 1920–1988 Bicho, c. 1960. Aluminium. Dimensions variable, approx. 55 × 36 × 36 cm (21 5/8 × 14 1/8 × 14 1/8 in). PROVENANCE Galerie Hauser & Wirth, Zurich Estimate £18 0,0 0 0 – 2 2 0,0 0 0 $274,0 0 0 – 3 3 4,0 0 0 €19 8 ,0 0 0 – 242,0 0 0 ‡ 176

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177

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In 1959, Brazilian artist Lygia Clark was one of the founders of the NeoConcretist group, an avant-garde movement also numbering Hélio Oiticica, Lygia Pape and Ivan Serpa among its instigators. Strongly influenced by Marcel Duchamp and Dada, the Neo-Concretists defined art as subjective and organic, believing that an artwork should be manipulated by the spectator, and that during this interaction the object and person would become a single entity. Begun in 1959, Clark’s Bicho pieces, of which the present lot is a strong example, synthesize the formal innovations of the Neo-Concretists and poignantly express their radical vision for the social role of art. By human interaction with these kinetic, geometric forms, art could now become a multi-sensory experience involving the spectator as an active participant.

Clark began her artistic career as a geometric abstract painter but gradually became more interested in collapsing notions of top and bottom, front and back, the traditional elements we take for granted in a two dimensional picture plane. These concerns eventually led her to create the Bichos, which are essentially foldable, kinetic sculptures made of hinged aluminium sheets. In its flattened state, Bicho may look as if it could hang on the wall, but Clark intended such sculptures to be opened, folded and reconfigured by her Alternative arrangement

audience into a range of different shapes – all of which can move, and none of which need remain static. Ultimately, there is no right or wrong way to display Bicho, because there is no determined front or back, inside or outside. This approach has been described as the death of the art object and, accordingly, Bicho can be interpreted as a visual representation of Lygia Clark’s lifelong obsessions with the existential issues of life and death.

“When we play with Bichos, we un-learn the traditional dialogue of artist/art and spectator, in which the spectator is synonymous with receptor. When the spectator or rather initiator plays with Bichos, he plays with life, he identifies himself with it, feeling it in its totality, participating in a unique and total moment, he exists. The gesture is not the gesture of the artist when he is creating, but is the very dialogue of the work with spectator.”

(Lygia Clarke, quoted in exhibition catalogue, Lygia Clark, 1998, p. 122)

Top: Walt Disney Concert Hall, Los Angeles, designed by Frank Gehry Above left: Hélio Oiticica, B02 Box Bolide 02 Platonic-Portuguese Platônico, 1963 Above right: Pablo Picasso, Violin and bottle on a table, 1915 178

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Alternative arrangements

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Reverse

16 AlexAnder rOdCHenKO 1891–1956 Maquette for a box of Esmeralda cigarettes, 1925. Gouache and paper collage on cardboard box. 9.6 × 12.7 × 2.3 cm (3 3/4 × 5 × 7/8 in). Signed in Cyrillic and dated ‘Rodchenko 1925’ on the underside.

Inscribed in Cyrillic ‘Maquette project for a cigarette box by A. Rodchenko made in 1925’ on the inside of the upper half of the box. PROVENANCE Private Collection, Moscow; Private Collection, USA ExhibitEd London, Tate Modern, Rodchenko & Popova: Defining Constructivism, 12 February – 17 May 2009 litERAtuRE Exhibition Catalogue, Tate Modern, Rodchenko & Popova: Defining Constructivism, London, pl. 140 (illustrated) Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 Ω

The present work is a maquette for a cigarette box

went hand in hand with his passion for Constructivism

designed by Alexander Rodchenko in 1925. The

and its ideals. The boldness of colour and sharpness

box is an important example from Rodchenko’s

of line and text which the box displays is innate to

formative years, when his style manifested itself

Rodchenko’s style. The precision and attention to detail

in the incorporation of text within a Constructivist

seen even on the edges and on the underside of the box

composition. The design for the cigarette box shows the

are also typical of his Constructivist aesthetic.

versatility of the artist and his ability to grasp new ideas and media: from painting, photography, photomontage

“Rodchenko was drawn to just this less developed area

and collage to maquette. Rodchenko remembered

of the new artistic culture; an area that was at the time,

with pride the collective energy and enthusiasm of

the least gratifying for an artist … There were not any

this period: ‘We were not chewing over nature again in

artists and architects who were prepared to throw in

our paintings, like a cow with its cud. We have created

their lot with a field that offered such limited practical

a new concept of beauty and we have expanded

potential. But any phase of application on a mass scale

the confines of art. We have made posters, written

would have to be preceded by an experimental period of

slogans and decorated squares and buildings. Even the

elaboration and preparation … Through his experiments

typefaces, so precise and persuasive, were invented by

in the field of painting, Rodchenko had turned his

us, and they are the ones that are still in use today … We

attention to three-dimensional constructions. He went

made new objects whose utility no one questions any

on to apply the new forms that emerged from this

longer’ (Iskusstvo, issue 11, 1956, p. 58).

realm of objects, making a concrete contribution to the

Alternative view

formation of the new stylistic current.”

Rodchenko’s sensitivity to the social and cultural changes during this time can be seen in his passion to

(S. O. Khan-Magomedov, Rodchenko: The Complete Work,

design objects. Indeed, his need to construct objects

London, 1986, p. 169 & p. 224) 180

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181

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17 HéliO OitiCiCA 1937–1980 Limite-Lumificaças, 1958. Gouache on board.

45.1 × 53.7 cm (17 3/4 × 21 1/8 in). Signed, titled and dated in Portuguese ‘Helio Oiticica Limite-Lumificaças 1958’ on the reverse. PROVENANCE Acquired directly from the artist by the previous owner and then by descent.

Estimate £6 0,0 0 0 – 8 0,0 0 0 $91, 2 0 0 –12 2,0 0 0 € 6 6,0 0 0 – 8 8 ,0 0 0 ‡

As one of the most innovative Brazilian artists of his generation, Hélio Oiticica is a significant and influential figure in the development of contemporary art – a status confirmed by the critically acclaimed posthumous retrospective recently held at Tate Modern, London, and The Museum of Fine Arts, Houston. In his relatively short but fertile career, and working across an eclectic range of media, Oiticica produced a remarkable body of work ranging from abstract compositions to early environmental installations, continually seeking to challenge the way in which art could be experienced. As a co-founder, along with Lygia Clark, of the short-lived Neo-Constructionist movement, Oiticica liberated art from its traditional conceptual limits via his avant-garde aesthetic and working methods. The extremely rare-to-market Oiticica, whose oeuvre was tragically and dramatically reduced last year by a fire at his brother’s residence in Rio de Janeiro, is an inspirational forefather to an entire generation of performance artists working today.

The present lot, Limite-Lumificaças, is a very early 1958 abstract composition on paper which shows an obvious affinity with the masters of Modernism Paul Klee, Kazimir Malevich and Piet Mondrian. The work belongs to Oiticica’s Metaesquemas series, in which the twenty-year-old artist forged a more organic, experimental path towards the pure representation of space and colour than that of his Modernist predecessors. As the artist once explained, the Metaesquemas are ‘something that lies inbetween, that is neither painting nor drawing. It is rather an evolution of painting. I tried to cleanse colour, leaving the cardboard raw’ (M. C. Ramírez, ‘The Embodiment of Color – “From the Inside Out”’ in Hélio Oiticica: The Body of Color, Houston, The Museum of Fine Arts, 2007, p. 41).

An obsessive dissection of space, the rectangular shapes in the present lot are arranged in a grid-like structure without complete regularity, and seem to rhythmically shift and float slightly off the surface of the paper. This dynamic composition is further enhanced by Oiticica’s use of the mirror effect, which generates a sense of instability and movement, thus challenging the two-dimensionality of those most traditional of artistic materials – the paper and its support.

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18 SUBOdH GUPtA b. 1964 Idol Thief 1, 2006. Oil on canvas. 196.9 × 365.1 cm (77 1/2 × 143 3/4 in). Signed in Hindi and dated ‘Subodh Gupta 06’ on the reverse. PROVENANCE Arario Gallery, Beijing; acquired from the above by the previous owner Estimate £ 3 2 0,0 0 0 – 3 8 0,0 0 0 $4 8 6,0 0 0 – 578 ,0 0 0 € 3 52,0 0 0 – 418 ,0 0 0 ‡ 184

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185

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“I am the idol thief. I steal from the drama of Hindu life. And from the kitchen – these pots, they are like stolen gods, smuggled out of the country.

Hindu kitchens are as important as prayer rooms. These pots are like something sacred, part of important rituals, and I buy them in a market.

They think I have a shop, and I let them think it. I get them wholesale.”

(Subodh Gupta, quoted in C. Mooney, ‘The Idol Thief’, ArtReview, issue 17, December 2007) As undeniably India’s most celebrated and well-known contemporary artist, Subodh Gupta incorporates in his artistic practice everyday objects that are ubiquitous throughout his native India. Working across an eclectic range of media including sculpture, installation, painting, photography, performance and video, Gupta culls his imagery from such ordinary items as the steel tiffin boxes used by millions to carry their lunch, as well as the thali pans, bicycles and milk pails found in abundance throughout the subcontinent to create an oeuvre which deals resonantly with the economic transformation of India. Largely autobiographical, Gupta’s work reflects his memories of a childhood spent learning India’s rich and varied cultural traditions and rituals. The result is a dazzling tour de force in which appropriated everyday objects are turned into artistic icons, with their former meanings and functions dissolved.

Top: Subodh Gupta, Curry, 2005 (detail) Above: Giorgio Morandi, Natura Morte, 1929 186

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The present lot, Idol Thief 1, is a monumental billboard-like hyperrealist canvas in which a myriad of stainless steel kitchen pots and pans seem to be falling and tumbling through space. As one of the standout works from his acclaimed 2006 Idol Thief series, the present lot is a masterful contemporary rendition of that age-old artistic tradition attempted by all great painters, the still life genre. Indeed, in addition to sharing a similar subject matter of domestic-ware, Idol Thief 1 is compositionally and tonally suggestive of the Italian modern master Giorgio Morandi. Another clear reference is the American Pop artist James Rosenquist and his long horizontal paintings of banal everyday imagery, shown tightly cropped and in extreme closeup. Turning to Gupta’s contemporaries, the shimmering of the utensils’ highly reflective surfaces gives Idol Thief 1 a sumptuous sense of luxury and craft reminiscent of the work of his fellow art world luminaries, Damien Hirst and Jeff Koons.

What is most fascinating about Gupta’s art is that while other South Asian artists ironize or sentimentalize Indian iconography and stereotypes, Gupta successfully transforms them into recognisable trademarks. If Mondrian owns geometry, Beuys felt and Duchamp urinals, then Gupta owns cow-dung patties, milk buckets, cooking pots and tiffin carriers. As the art historian Peter Nagy explains, ‘Subodh is very good at selecting icons and symbols. There is something of the way Gandhi worked here. Gandhi used the very simple elements of salt or homespun cotton to overturn a colonial empire. Subodh uses pots, bicycles and milk pails to talk about the great changes occurring in India today’.

Top: James Rosenquist, Industrial Cottage, 1977 Above: Subodh Gupta, Spill, 2007 Left: Subodh Gupta, Line of Control (1), 2008 187

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19 CAi GUO QiAnG b. 1957 Firework book, 1991. Gunpowder drawing on book in presentation case. 29 × 235 cm (11 3/8 × 92 1/2 in). Signed ‘Cai Guo Qiang’ in Chinese on the last page. Dated ‘1991’ on the reverse. PROVENANCE Tokyo Gallery, Beijing Estimate £6 0,0 0 0 – 8 0,0 0 0 $91, 2 0 0 –12 2,0 0 0 € 6 6,0 0 0 – 8 8 ,0 0 0 ‡

Cai Guo-Qiang’s famed and acclaimed gunpowder drawings are the byproducts of his extensive, explosive performances. These are executed with gunpowder and lengths of fuses arranged on specially made Japanese hemp paper which, when ignited, send lines of fire speeding through the paper like flaming snakes. In the present lot, the mesmerizing result is an abstract, charred landscape, a feathery depiction of pine needles and branches evoking traditional Chinese and Japanese brush painting. Indebted to the American tradition of Land Art, Cai’s ephemeral performances are beautifully and evocatively recorded with an honest spontaneity rarely seen in contemporary art. Drawing too on China’s political past, his gunpowder works can be interpreted as a reflection on Mao Zedong’s famous tenet: ‘destroy nothing, create nothing’.

“I use the kind of destruction that occurs in gunpowder explosions to help me release myself; the accidental outcome of explosions subverts a certain kind of conservative and normative form. Through the accidental nature of explosive projects, the repression and pressure embedded in traditions of a culture are challenged in a groundbreaking manner.”

(Cai Guo-Qiang) 188

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Alternative view

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20 ATUL DODIYA b. 1959 Fallen Leaves – A Stroll #2, 2006. Oil on dried leaf, powder coated mild steel, auto body solder and red oxide. Overall: 123 × 155 × 4.5 cm (48 1/2 × 61 × 2 in). PROVENANCE Arario Gallery, Beijing ExhibitEd Wolverhampton, Initial Access, Frank Cohen Collection: Passage to India, 15 March – 2 August 2008 Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0 † 190

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191

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21 OLEG VASSILIEV b. 1931 In memory of Efim Moiseevich Royak, 1987. Oil on fibreboard.

90 × 68.5 cm (35 1/2 × 27 in). Signed, titled and dated in Cyrillic ‘O. Vassiliev “in memory of Efim Moiseevich Royak X–87” on the reverse. PROVENANCE Acquired directly from the artist; Private Collection, Europe Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0 ♠ ‡

Oleg Vassiliev’s paintings have the distinct quality of a nostalgic sensitivity that was present in traditional Russian 19th-century landscape painting and German Romanticism as well as an awareness of geometric abstraction that was characteristic of the Russian avant-garde. This ability to connect the past and the present is an aspect that is unique to the work of Oleg Vassiliev. In the foreground of the present lot, foliage is depicted in various stages of decline, from autumnal red leaves still upon the branch to shrivelled and discoloured upon the ground. In the painting, Vassiliev commemorates a fellow artist Efim Moiseevich Royak, who died in September 1987. Royak was one of the students of Marc Chagall in Vitebsk Art School and later belonged to Kazimir Malevich’s art group UNOVIS, an abbreviation of the phrase ‘The Champions of New Art’. The group was focused on promoting the idea of Suprematist aesthetic, and instrumental in advancing the avant-garde movement in Russia. Royak was also one of the victims of the labour camps, having spent ten years there, and his record was only rehabilitated posthumously.

The leaves depicted here can be seen as a reference to the death of Efim Moiseevich Royak as well as a sentimental allusion to the passing of time and the remnants of the dissolved Soviet Union. The composition itself is reminiscent of a tombstone. “[Oleg Vassiliev’s paintings] seem to tear the viewer out of everyday life and transfer him into an extra-temporal state in which he perceives images that are at once real and fantastic. There is something wonderful and mysterious in his works and, looking at them, we gain an insight into the most intimate and innermost recesses, which both frighten and attract us in our lives and the lives of other people. In paintings with the simplest subjects, be it a village house in a spring forest or a path in a summer field, we always sense more troubling or dramatic intonations: recollections of the past, an intimation of fate or death. Perhaps it was for the sake of this feeling that the artist’s individual style took so long to crystallize. In any case, Oleg Vassiliev’s art is deeply and intimately psychological.” (A-Ya: Unofficial Russian Art Review, No. 2, Moscow/Paris/New York, p. 30) 192

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193

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22 ZENG FANZHI b. 1964 Untitled No. 10, 2004. Oil on canvas. 150 × 200 cm (59 × 78 3/4 in). Signed in Pinyin and Chinese and dated ‘Zeng Fanzhi 2004’ lower right. PROVENANCE ShanghART, Shanghai Estimate £10 0,0 0 0 –15 0,0 0 0 $152,0 0 0 – 2 2 8 ,0 0 0 €110,0 0 0 –16 5,0 0 0 ‡

Zeng Fanzhi has always been preoccupied with themes of suffering and redemption, of loneliness and fear. Even in his early Hospital and Meat series, his sensitivity towards the strained relationship of modern society and spirituality is evident. The expressive, almost chaotic technique found in Untitled No. 10 clearly marks the artist’s venting of frustration. Painted with multiple brushes simultaneously, this landscape is transformed into a nearly abstract field. Zeng’s unruly arrangement of lines and colour emphasizes the naturalistic element in painting, with searing brushstrokes suggesting the influence of Chinese calligraphy. They also create a hypnotic effect that, provocatively, hints at sensations of aggression and alienation; as if, by liberating himself in violent abstraction, Zeng achieves a kind of release. The picture, seemingly filled with anxiety, is thus a powerful statement of solitary, poetic feeling.

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23 SHI XINNING b. 1969 Double Annotation for Impossibility, 2006. Oil on canvas. 279 × 477 cm (109 3/4 × 187 3/4 in). Signed in Chinese and dated ‘Shi Xinning 2006’ lower right and on the reverse.

PROVENANCE Wedel Fine Art, London; Private Collection ExhibitEd Beijing, Today Art Museum, Black and white a conscious cultural stance, Beijing, 21 July–15 August 2007 litERAtuRE Exhibition catalogue, Today Art Museum, Black and white a conscious cultural stance, Beijing, 2007 (illustrated) Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0

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Shi Xinning’s work is influenced by the traditions of Social Realism and Western

In Double Annotation for Impossibility, a dramatic arrangement of wooden beams

history painting. By fusing together artistic and journalistic elements in scenes of

stretches in front of Beijing’s most familiar sight – the Gate of Heavenly Peace. What is

actual and imagined events, Shi’s paintings are a witty commentary on China’s

supposedly one of the busiest squares in China’s capital is shown utterly devoid of

societal flux in recent years. Taking his imagery from iconic press photos, Shi’s

human presence. As in the haunting visions of Anselm Kiefer, a surreal impression of

canvases are seemingly faithful representations of the world as we know it; but there

grandiose decay resonates. The beams are reminiscent of pillars that have fallen from

is always a twist. In Shi’s fictitious world, history is altered and re-interpreted.

an ancient temple; and the muted shades of grey impart a sense of lifelessness. Here, the very symbol of Beijing has been ‘impossibly’ presented by the artist’s imagination.

197

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24 T. V. SANTHOSH b. 1968 Counting Down, 2008. Thirty fibreglass dogs, steel, L.E.D. counters, L.E.D. strips and paint. Dimensions variable. PROVENANCE Gallery Nature Morte, New Delhi ExhibitEd Wolverhampton, Initial Access, Frank Cohen Collection: Passage to India, 15 March 2008 – 2 August 2008; London, Royal Academy of Arts, GSK Contemporary: Dark Materials, 13 December 2008–19 January 2009 Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0 †

198

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Throughout an acclaimed career encompassing a wide range of media, T. V. Santhosh

faithfulness keep a silent, fixed vigil over three slowly-scrolling digital text displays,

deals with the violence and injustice of terrorism and war. As the present lot attests,

whose glimmering red lights reflect off their chrome flanks like constellations in a

creating an oeuvre around the everyday realities of our broken world allows the artist

night sky. As it endlessly loops, the text recounts the eyewitness testimony of

to make poignant political statements. In dealing with the American nuclear bombing

Yoshitaka Kawamoto, who at the age of thirteen was sitting in his classroom when

of Hiroshima, T. V. Santhosh’s evocative large-scale multimedia installation tackles

the city of Hiroshima fell into an atomic firestorm. It is a story of a day transformed

one of the one most controversial and significant moments in world history. Deeply

into night, a single moment exploding into a fireball beyond reckoning. Mounted on

layered in artistic and historical meaning, Counting Down is one of the most

the back of each metallic, modern Cerberus is a clock apparatus with another red

accomplished and important works to date from an influential figure in the Indian

digital display, this one a reference to the use of dogs as suicide bombers in World

contemporary art world.

War II (when the Soviets strapped explosives to their backs and sent them out to destroy tanks). The numbers count down out of synch – some for one minute, some

Counting Down is comprised of 30 identical chrome-bodied guard dogs, standing in

for over an hour – and repeat themselves, thereby invoking the eventuality of the end

rows of six across and five deep. These quintessential symbols of loyalty and

of time.

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25 AlexAnder KosolApov b. 1943 Russian Revolutionary Porcelain, 1989–90. Nine parts: Enamel paint on glazed porcelain. Each: 46.5 × 32 × 35.5 cm (18 1/4 × 12 5/8 × 14 in). Each signed and dated ‘KOSOLAPOV 89’ on the reverse and, in addition one signed and dated ‘KOSOLAPOV 89–90’ on the reverse.

PROVENANCE Sammlung Bierfreund Collection, Germany; Private Collection, USA ExhibitEd New York, Nakhamkin Fine Arts, Transit: Russian Artists Between the East and West, 1990; Groningen, The Netherlands, Groninger Museum, Ex USSR, 1992; Moscow, Lenin Museum, Sots Art, 1992 litERAtuRE E. Andreeva, SOTS ART: Soviet Artists of the 1970s and 1980s, Sydney/Amsterdam, 1995, p. 67 (illustrated); H. P. Riese, The Red House, Cologne, 2000, p. 147 (illustrated); A. Kosolapov, SOTS ART, Bielefeld/Leipzig, 2009, pp. 148–51 (illustrated) Estimate £12 0,0 0 0 –18 0,0 0 0 $18 2,4 0 0 – 273,6 0 0 €13 2,0 0 0 –19 8 ,0 0 0 ♠ ‡

The present lot, Russian Revolutionary Porcelain, is a forceful conceptual installation by

polarized subjects, the East and the West: not an easy fusion to digest, and yet one

the acclaimed Russian avant-garde artist Alexander Kosolapov. Comprised of nine

that forces the viewer to meditate upon this uncomfortable union. In the words of the

painted urinals, it immediately provokes a myriad of associations: Kasimir Malevich

artist, the installation addresses ‘a double system: the heroic and the lyrical; the

meets Marcel Duchamp in this fusion of two emblematic works by the forerunners of

political and the vulgar; the revolutionary and the bourgeois; the collective and the

modern art. Marcel Duchamp’s 1917 Fountain is arguably the most influential work of

personal, which confront each other in the aesthetic realm. I was particularly

art of the 20th century. However this honour could certainly be rivalled by Malevich’s

interested in the construction of such binary structures, and it was my trademark.’

Suprematist Compositions, pioneering geometric works which are recognized as

founding bodies within one of the most important movements in the modern canon,

“For me, Sots Art began in Moscow sometime around 1973. At first, it was the

abstraction.

manifestation of an interest in a topic. The topic which was foundational for art both in Europe and Russia, which captivated people throughout the 20th century – the

As a major representative of the Sots Art movement, which he co-founded in 1973,

problem of social and cultural overhaul and change. What came of it all is another

Alexander Kosolapov’s oeuvre features satirical treatments of Soviet symbols,

matter altogether. We are the children of that culture which, having experienced

Socialist Realist art, Communist Party slogans, and the ideologies of Soviet-style

temptation by revolution, the collapse of all of its illusions, and social upheavals, was

mass production. Having emigrated from the USSR to the city of New York in 1975,

reborn into a post-modern culture, partly iconoclastic, partly cynical and

Kosolapov is also well versed in the American artistic traditions of Pop, Appropriation

pragmatically market-driven. But beside this broad theme, there is also the specific

and Conceptual art. The present lot neatly combines the artist’s dual backgrounds,

material. For a Russian artist, this material can be something of his own, something

producing a postmodernist interpretation of the philosophical ideal of freedom

that lies at the source of his culture. For me, this material is the Russian avant-garde,

represented by Malevich and Duchamp. But, by employing elements of parody and

Mayakovsky, and Stalin-era art, which combined Renaissance and avant-garde

irony, Kosolapov frees these giants of modern art from their traditional associations

aesthetics with the policing technologies of a totalitarian state – a historically

while creating his own installation laden with multiple layers of symbolic meaning.

unprecedented alloy” (Alexander Kosolapov).

In Russian Revolutionary Porcelain, Kosolapov creates a convergence between 200

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Detail

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26 WAnG GUAnGYI b. 1957 Rolex, 2003. Oil on canvas. 200 × 200 cm (78 3/4 × 78 3/4 in).

Signed in Chinese and Pinyin and dated ‘2003 Wang Guangyi’ on the reverse.

PROVENANCE Robert & Li Art Gallery, Taiwan; Anon. sale, Christie’s Hong Kong, 28 May 2006, lot 336 ExhibitEd Jakarta, Indonesia National Gallery, 1st CP Open Biennale, 6 September – 5 October 2003; Taiwan, Robert & Li Art Gallery, Face to Face, Taiwan, May 2004 litERAtuRE Exhibition catalogue, Robert & Li Art Gallery, Face to Face, Taiwan, May 2004 (illustrated) Estimate £10 0,0 0 0 –15 0,0 0 0 $152,0 0 0 – 2 2 8 ,0 0 0 €110,0 0 0 –16 5,0 0 0 ‡

As a leading protagonist of the post-1989 Political Pop movement, Wang Guangyi’s work is characterized by the conflicting elements of socialist ideology and western capitalism. In Wang’s Great Criticism series, propagandistic motifs are fused with foreign brand logos. His playful appropriation of images from propaganda and advertising reveals the tension between China’s ideological past and commercial present. As such, Wang Guangyi’s work serves as both a celebration and a critique of the economic, social and cultural developments of China in recent years.

“My feeling now is that when you look at an artist’s work, you are seeing a view of his personal history; but it also represents a whole generation. This is one value of the artist in the overall structure of society. At the same time that an artist criticizes society, he also acts to alert it, to awaken it, to the awareness that there may be many things spreading forever through one’s consciousness.

[This awareness] may perhaps be the starting point for the revival of a nation and a people.”

(Wang Guangyi, quoted in The Materialist Series Artist Statement, Hanart TZ Gallery, Hong Kong, 2004) 202

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27 YAnG sHAoBIn b. 1963 Untitled No. 12, 1998. Oil on canvas. 160 × 140 cm (63 × 55 1/8 in). Signed, titled and dated ‘No 12 Yang Shaobin 1998’ left centre; signed and dated ‘Yang Shaobin 1998’ in English and Pinyin on the reverse.

PROVENANCE Private Collection, China litERAtuRE Yang Shaobin, Xin Dong Cheng Publishing House, China, 2004 Estimate £10 0,0 0 0 –15 0,0 0 0 $152,0 0 0 – 2 2 8 ,0 0 0 €110,0 0 0 –16 5,0 0 0 ‡

Together with Yue Minjun and Fang Lijun, Yang Shaobin is an artist at the forefront of Chinese contemporary painting. His harrowing portraits oscillate between the figurative and the abstract, their psychological intensity and fascination with distorting the human body recalling the powerful, even disturbing qualities of Francis Bacon’s work. Yang says his art aims to elicit feelings of pain in the viewer; his hallmark palette of deep reds and luscious pinks draws allusions to the bloody struggles and brutal conflicts of modern life. Both physically and emotionally, the viewer is drawn into this world of highly charged paintings.

Yang Shaobin’s portraits are at once violent and poignant. The figure in this work is isolated and exposed: his outline is disjointed, appearing as if in a void. He wears an expression of estrangement and anguish; he is trapped in eternal recession. By presenting such an unforgiving portrayal of man, Yang Shaobin reveals the absurdity of everyday life – and, ultimately, the frailty of human existence.

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(i)

28 GrIsHA BrUsKIn b. 1945 Three figures: Untitled from Birth of the Hero, 1987–90. Plaster. (i) 38 × 23 × 29.5 cm (15 × 9 × 11 5/8 in); (ii) 37.5 × 14 × 12 cm (14 3/4 × 5 1/2 × 4 3/4 in); (iii) 40 × 12 × 18 cm (15 3/4 × 4 3/4 × 7 in).

PROVENANCE Acquired directly from the artist; Private Collection, Europe Estimate £15 0,0 0 0 – 2 0 0,0 0 0 $2 2 8 ,0 0 0 – 3 0 4,0 0 0 €16 5,0 0 0 – 2 2 0,0 0 0 ♠ ‡ 206

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(ii)

(iii)

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“Long ago, living in communist Russia, it seemed to me that communism was

Grisha Bruskin sees himself as a kind of ‘cultural archaeologist’. His sculptures

unshakable, that the army was incredibly strong, that the KGB was everywhere, and

and paintings present a plethora of mythological archetypes, laden with symbolism

that Soviet power, like Egypt under the Pharaohs, would last for a few thousand years.

derived from a wide range of sources including ancient Egypt, Judaism, Kabbalah

I wanted to look into the mythological space that I inhabited, but from the side, taking

and the Soviet Union. Within this overarching anthology, each series of works can

the position of a scientist who has unexpectedly discovered an unknown African tribe.

be seen as a separate book that anticipates and complements the next, with titles

I liked the oscillating position of author, when on the one hand I was a dispassionate

such as Alphabet (1984), Lexicon (1986), Logia (1988), The Birth of a Hero (1987–1990) and

researcher, and on the other a member of the tribe being studied. My idea was to send

Metamorphoses (1993). To Bruskin, letters and words are symbolic in their own right,

a message to the man of the future. To propose that he look at my art the same way

and his characters form a type of alphabet or vocabulary. Although every figure is part

that we look at the art of ancient Egypt. But the message that I sent would have to be

of an order and hierarchy created by the artist, each possesses an air of individual

false and deceptive since the true artefact of the Communist myth was the art that

autonomy, as it bears no resemblance to any of the other players. The artist states: ‘To

created that myth: the art of Social Realism. When the historical magician waved his

me, each personage has a specific meaning. All of them make up a kind of text. Each

wand and Russia’s communist pyramid came crashing down, the circle closed. The

personage is a letter in my own alphabet.’

man of the future turned out to be me. Circumstances made me into a guide, a kind of Virgil inviting travellers to take a look at the world of the submerged Atlantis of which I was once a citizen.”

(Grisha Bruskin, in press release for Twilight of the Gods, Marlborough Gallery, New York, 2009)

Above: Grisha Bruskin in his studio Right: Grisha Bruskin as a child dressed as a rabbit, 1953 Opposite, top left: Vera Mukhina, Worker and Kolkhoz Woman, 1937 Opposite, top right: amulet of Egyptian goddess Sekhmet, 664–535 BC 208

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Bruskin graduated from the Art Department at the Moscow Textile Institute in 1968.

The present lot consists of three sculptures from the series The Birth of a Hero from

The following year he became a member of the Soviet Artists’ Union; there followed

1987–90. The works belong to a series of fifteen sculptures inspired by the white

three exhibitions, all of which were prematurely closed by the Soviet authorities.

plaster statues that were a trademark presence in most Soviet parks. As a child

Bruskin’s work was recognized internationally when, in 1988, his pivotal work

growing up in the Soviet Union, Bruskin saw such monuments as an important symbol

Fundamental Lexicon sold for a record price at Sotheby’s first Russian Avant-Garde

of Soviet ideology. In recreating them on a small scale he gives them the mystique of

and Soviet Contemporary Art auction in Moscow (the painting was also the cover lot

an ancient artefact: a relic reminding us of a dissolved, forgotten culture now become

of the catalogue). The artist emigrated to New York shortly after the auction. In 1999

myth. There is the idealized soldier, holding a banner which ironically states that

Bruskin was chosen to represent Russia at the home of the German parliament, by

Socialism is invincible. The mythological beast with human features and an all-seeing

contributing a permanent installation to the redesigned Reichstag in Berlin.

eye can be paralleled with Egyptian deities – lioness-headed Sekhmet, perhaps, or jackal-headed Anubis. The schoolgirl wearing a hat with rabbit’s ears and holding a Star of October (a badge and rank given to children when they start school) can be seen as a reference to the artist’s own childhood, as well as a symbol of idealized Soviet youth growing up with a pure belief in the ideology. Bruskin himself remembers that, as a child, he ‘thought Stalin was god’. Each figure is independent and yet their odd coexistence can be seen as a time capsule, a successful demonstration of the artist’s goal ‘to look at Socialism from the future and to create a fundamental lexicon of Soviet types’.

Detail

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29 KOMAR & MELAMID b. 1943 & b. 1945 Meeting Between Solzhenitsyn and Böll at Rostropovich’s Country House from Sots Art Series, 1972. Oil, gold foil and paper collage on canvas. 175 × 120 cm (68 7/8 × 47 1/4 in). PROVENANCE Ronald Feldman Fine Arts Inc., New York; Private Collection, London ExhibitEd New York, Ronald Feldman Fine Arts, Vitaly Komar and Alexander Melamid, 7 February–20 March 1976 Estimate £10 0,0 0 0 –15 0,0 0 0 $152,0 0 0 – 2 2 8 ,0 0 0 €110,0 0 0 –16 5,0 0 0 ‡

This canvas was made as a part of the Sots-Art Series, one of the milestones in the history of unofficial art of the Soviet period. Created in the summer of 1972, the series subsequently turned into a movement in Russian Art that went on to include a number of artists such as Leonid Sokov, Alexander Kosolapov, Rostislav Lebedev, Boris Orlov and Dmitry Prigov.

Komar & Melamid belong to a generation formed by the ‘thaw’ of the 1960s thus they did not want to be underground artists but were seeking ways into the public space. They believed that launching an artistic movement would be the appropriate strategy to achieve publicity for artists who were deprived of institutions. The key principle behind the movement was the ironic combination of different styles within one picture. The Meeting between Solzhenitsyn and Böll at Rostropovitch’s Country House is one of the richest examples of this sprightly juxtaposition of various styles in the hierarchy of Soviet art school curriculum. The composition of the work is derived from the pompous, late official Social Realism manner, with its exaggerated gestures of heroes under a heavy red banner. The ghostly figure of Rostropovitch is made in the ‘highly spiritual’ style of dissident art of the early thaw. At the same time, the treatment of Heinrich Böll’s clothing goes back as far as Russian icon painting of the fifteenth century and the sky outside the window – to the gold of Byzantine mosaic. The still life on the table is a rather crude assortment of -isms: realism, impressionism, cubism and abstract art and references Old Master painting.

The multiplicity of art styles refers to the eclectic life-style of the Soviet intelligentsia that divided its time between the ideological restrictions of public life and the secret freedom of private experience. So, as Pop art in the West tried to blur the line between high art and mass culture, Sots art made an attempt to cross the border between private and public. ‘We rely not on the individual perceptions of the artist, but to his or her social experience’, stated the Sots art Manifesto of 1972. The subject matter of the picture commemorates the vain desire of Soviet intelligentsia to be in touch with their colleagues in the West. Two Nobel laureates are shaking hands, as Böll is seen to be walking by, he does not see Solzhenitsyn although the latter is looking at Böll with hope. At the time both writers were more glorified abroad than in their home countries: Solzhenitsyn was exiled from Russia and Böll’s books were published in Eastern Europe more widely then in West Germany. The Meeting between Solzhenitsyn and Böll at Rostropovitch’s Country House is a double reflection of cultural

relationships between East and West during the Cold War, an imaginative dual sight from two sides of the Iron Curtain.

Dr Elena Zaitseva 210

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30 MIKhAIL ShvARtSMAn 1926–1997 Envoy, 1982. Gesso and tempera on linen mounted on wooden panel. 77.1 × 51.4 cm (30 3/8 × 10 1/4 in). Signed in Cyrillic ‘SHVARTSMAN’ lower left. Signed, titled in Cyrillic and dated ‘MIKHAIL SHVARTSMAN 1982 ENVOY’ on the reverse. PROVENANCE Acquired directly from the artist; Private Collection, Europe litERAtuRE J. Kiblitsky, Mikhail Shvartsman, St Petersburg: Palace Editions, 2005, p. 373 (illustrated) Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 – 91, 2 0 0 €55,0 0 0 – 6 6,0 0 0

Mikhail Shvartsman is a Russian metaphysical painter who has been described as a ‘muralist, mystic and philosopher … [whose] creative oeuvre was the landmark on a way to a new art language’. He referred to his artworks as ‘hieraturas’, a name derived from ‘Hieratism’, a term used by the artist to describe his overall concept. It echoes the English word ‘hieratic’, literally meaning ‘of or concerning priests’, but also used to describe certain traditional styles of Egyptian and Greek religious art. Its ultimate root is the ancient Greek term hieros – meaning the sacred, the spiritual, the sacredsignificant or the innermost significant.

“All my early works were linked to the hieratic concept. The relationship with the experience of man in life and his experience in death. In life man creates an icon of himself; in the face of death, he leaves an iconic trace of himself entombed. This is like a spiritual birth in death, which also creates its own countenance, its own icon … Besides professional mastery and free historical orientation, I believed it very important to achieve a high degree of spiritual concentration.”

(Mikhail Shvartsman, quoted in J. Kiblitsky, Mikhail Shvartsman, St Petersburg, 2005, p. 9) After completing military service, Shvartsman studied at the Higher School of Art and Industry (the former Straganov School) in Moscow and later became a founder and teacher of the well known Moscow graphic design school.

Reacting against the popular taste of his times, he became interested in Byzantine and old Russian art, particularly icons and frescoes. He was also influenced by cubism and surrealism, and as his work developed, complex philosophical and religious ideas became central to his oeuvre.

“Sometime around the mid 1960s, I crossed over to my current emblematicarchitectonic hieratures. Work proceeded not mechanically, but organicallymetamorphically, first surging forwards, then going backwards. These symbols appeared at the same time as the countenances. While the stylistic links were clearly visible in the early hieratures, the sign gradually acquired independent and theological meaning.”

(Mikhail Shvartsman, quoted in J. Kiblitsky, Mikhail Shvartsman, St Petersburg, 2005, p. 9) 212

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31 FAng LIjun b. 1963 Untitled No. 16, 1996. Colour woodcut on paper on 3 scrolls. Each: 244 × 122 cm (96 × 48 in); overall: 244 × 366 cm (96 × 144 1/8 in). Signed in Chinese, titled and dated ‘Fang Lijun 1996 NO 16’ and numbered of 2. This work is from an edition of 2.

PROVENANCE Galerie de France, Paris litERAtuRE Fang Lijun, Changha, Hunan: Hunan Fine Arts Publishing House (another example illustrated) Estimate £6 0,0 0 0 – 8 0,0 0 0 $91, 2 0 0 –12 2,0 0 0 € 6 6,0 0 0 – 8 8 ,0 0 0

Born in 1963 at the height of Chairman Mao’s reign, Fang Lijun grew up despising the false utopian ideals promised by a regime he saw as being inherently flawed. He suffered particular hardship when he was forced, under Mao’s program of rectification, to denounce his own once-prosperous grandfather. As an escape from the harsh realities of the Cultural Revolution, Fang began drawing cynical cartoons of China’s past and present leaders. However, it was not until 1985 – several years after the end of the Cultural Revolution and Chairman Mao’s death – that he properly enrolled in art school, studying printmaking at the Central Academy in Beijing. Here, 214

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he developed his stylized, instantly recognizable theme of shaven-headed men and

The present lot comes from a significant series in Fang’s oeuvre, Swimmer. Started in

women wearing peasant clothing and, 1989 – while still a student – participated in the

the late 1990s, the works always depict a lone swimmer ploughing across vast

groundbreaking exhibition of Chinese contemporary art, China/Avant-Garde. By the

expanses of water, sometimes breaking the surface to gasp for air. This solitary figure

early 1990s, Fang had become the leading proponent of China’s Cynical Realism

is often interpreted as the Chinese Everyman’s introspective struggle for survival amid

movement and, with the critical acclaim awarded him at the 45th Venice Biennale in

a merciless tide of societal change, at a time when China is undergoing rapid

1993, his arrival on the international art scene was confirmed. While Fang Lijun’s early

economic and cultural transformation.

oeuvre can be read as deeply pessimistic, satirizing and parodying the destructive policies of Mao’s totalitarian regime, his more recent canvases offer an optimistic outlook for the Chinese people, hinting at a better future.

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32 Liu Wei b. 1965 President Mao crossing Yangtze river, 1991. Oil on wooden panel in artist’s frame. 32 × 39 cm (12 5/8 × 15 3/8 in). Signed in Chinese and dated ‘1991’ upper left. PROVENANCE Acquired directly from the artist by the present owner Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0

China entered a period of significant economic and cultural transformation in the years of post-Mao reform. Emerging from this era of change was a group of artists who challenged the Maoist legacy of ideologically-laden, politically controlled works of art. Liu Wei became a prominent figure in the Cynical Realism movement with his reaction against the repressive artistic modes of previous decades. The deliberate accentuation of garish colours and exaggerated forms in Liu Wei’s work is reminiscent of Cultural Revolution posters, but the almost caricatured appearance of his paintings reveal concerns beyond the façade of propaganda, and embody the disenchanted mood that prevailed in China after the Tiananmen Square tragedy in 1989.

The male figure in this painting bears a striking resemblance to both Chairman Mao and the artist’s father. Indeed, Mao famously swam across the Yangtze River in 1966 as an act of propaganda. Mao’s performance was seen as a public display of his health, and by association, the prosperity of his fellow comrades. Rather than being an idealistic image of health and exercise, however, this work reveals an undeniable undercurrent of scepticism, which has literally overflowed into the painted frame.

The motif of the swimmer would later be adopted in Liu Wei’s Swimmers series, a group of ten larger canvases that appeared in the 1994 Sao Paulo Biennale. A year later, Liu participated in the 46th Venice Biennale of 1995, becoming one of the first Chinese artists to do so.

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C

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BRIC

11a m saturday 24 april 2010 london

CHINA

Lots 33 - 154 Bai, Y. 41 Burri, r. 82 BurtYnskY, E.

kaWs 124 koZik, F. 125 78

Cai, G. 50, 51 CanG, X. 129 Cao, a. G. 86, 87 ChEn, F. 104 ChEn, J. 79, 80 Chi, P. 131 CouturiEr, s. 92 Cui, G. 108 DinG, Y. 115 Don, h. 117, 118 FEnG, Z.

61, 101, 149, 150, 151

GanG, h. 42 Gao BrothErs 94 Gao, Y. 106 GEnG, J. 43, 146, 147 Guo, W. 148 hai, B. 141 hE, h. 96 hE, s. 62 hiroJi, k. 81 honG, h. 91, 140 honG, L. 119 hu, J. 134 huanG, Y. 35, 114 hui, X. 133 hunG, t. 110 Ji, X. 97 Jin, n. 124

LEE, s-D. 123, 135 Li, s. 103 Li, t. 130 LianG, s. 55 Lin, t. 56, 57 Liu, B. 137 Liu, h. 113 Liu, r. 74, 75 Liu, W. 64 Liu, X. 65 Liu, Y. 124 Lu, h. 121 Luo BrothErs 136 Luo, Q. 71 Ma, L. 37 MaLEonn 76 Man, F. 52 Miao, X. 73 Mok, Y. 53 Morris, D. 132 ou, Y. Pan, D.

105 68

Qiu, Z. 36 Qui, s. 58 riBouD, M.

83, 84

sChEr, P. 90 shEn, L. 55 shEnG, Q. 44, 45, 120 shi, J. 54

tu, h.

107

WanG, G. 48 WanG, k. 49 WanG, Q. 46, 70, 72 WEi, J. 122 Xia, X. 109 XuE, s. 69, 128 Yan, h.

Yan, L. YanG, F. YanG, L. YanG, Q. YanG, s.

YanG, Y. YuE, M.

114, 152, 153, 154 47, 116 85 95 88, 143, 144, 145 38, 66 77 124

ZEnG, F. 63 ZEnG, L. 99 ZhanG, D. 112, 138 ZhanG, h. 39, 93 ZhanG, J. 98 ZhanG, P. 33, 34, 60 Zhao, B. 100 Zhao, G. 111, 139 Zhao, X. 127 ZhEnG, L. 126 Zh0nG, B. 67 Zhou, C. 59, 124 Zhou, t. 124 , 142 Zhu, W. 102 ZhuanG, h. 89 ZuoXiao, Z. 40

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33 ZhanG PEnG b. 1981 Yi Fan No.1, 2006. Colour coupler print. 120 × 120 cm (47 1/4 × 47 1/4 in).

This work is from an edition of 8 and is accompanied by a certificate of authenticity. proVEnanCE 10 Chancery Lane Gallery, Hong Kong, acquired from the above by the present owner Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 ‡ 221

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35

34 Zhang Peng b. 1981 Red No. 5, 2007. Colour coupler print. 105.5 × 205.5 cm (41 1/2 × 80 7/8 in). This work is from an edition of 8 and is accompanied by a certificate of authenticity. PROVENANCE Private Collection, Europe Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0

35 hUang Yan b. 1966 Chinese Landscape – Tattoo No. 10, 1999. Colour coupler print.

119 × 158 cm (46 7/8 × 62 1/4 in). Signed, titled in Chinese, dated and numbered 2/12 in pencil on the recto. PROVENANCE Private Collection, Europe Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 222

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36

THiS LoT iS SoLd wiTH no rESErvE 36 Qiu ZhiJiE b. 1969 Tattoo 3, 2000. Colour coupler print. 100.6 × 79.4 cm (39 5/8 × 31 1/4 in).

Signed in Chinese, titled and annotated 3/10 in ink on the verso. proVEnanCE Acquired directly from the artist litEraturE A Strange Heaven, Chinese Contemporary Photography, Galerie rudolfinum: Prague, 2003, p. 19 Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 ‡

•

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37 Ma LiuMinG b. 1969 Painting No. 14, 2005 – 2006. oil on canvas. 300 × 200 cm (118 1/8 × 78 3/4 in).

Signed in Pinyin, titled in English and dated ‘no. 14, Ma Liuming, 2005–2006’ on the reverse. proVEnanCE Long March Space, Beijing Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ‡ 224

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38 YanG shaoBin b. 1963 Fighting No. 3, 2001. oil on canvas. 90 × 80 cm (35 1/2 × 31 1/2 in).

Signed and dated ‘Yang Shaobin, 2001– 8 – 20’ left centre. proVEnanCE Private Collection, USA Estimate £ 3 0,0 0 0 – 4 0,0 0 0 $4 5,6 0 0 – 6 0, 8 0 0 € 3 3,0 0 0 – 4 4,0 0 0 ‡ 225

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40

39 ZHANG HUAN b. 1965 Chickenpox, 2000. Six colour coupler prints. Each: 63 × 52 cm (24 3/4 × 19 3/4 in). Each signed, titled in Chinese ‘Zhang Huan Chickenpox’ and numbered of 25 on a label adhered to the reverse. These works are from an edition of 25. PROVENANCE Barry Friedman Ltd., New York Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 ‡

40 ZUoxiAo ZUZHoU b. 1970 To Add One Metre to an Anonymous Mountain, 1995. Colour coupler print. 112 × 168 cm (44 × 66 1/8 in). Signed, dated and numbered lower right. This work is from an edition of 21. This is a collaborative work by the Beijing East Village artists, including: Wang Shihua, Cang Xin, Gao Yang, Zuoxiao Zuzhou, Ma Zongyin, Zhang Huan, Ma Liuming, Zhang Binbin, Zhu Ming and Lü Nan PROVENANCE Acquired directly from the artist EXHIBITED New York, Asia Society, Zhang Huan – Altered States, 6 September–20 January 2008; Hamburg, Museum Bochum, Zhang Huan, November 2002–June 2003; San Francisco, San Francisco Museum of Modern Art, Inside Out: New Chinese Art, 26 February–1 June 1999 (other examples exhibited) LITERATURE Zhang Huan – Altered States, Milan 2007: M. Chiu, ‘Altered Art: Zhang Huan’, p. 16; E. Heartney, ‘Zhang Huan: Becoming the Body’, p. 42; Z. Huan, ‘A Piece of Nothing’, pp. 64–65, 102–03 (illustrated) Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ‡ 226

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41

41 BAi YiLUo b. 1968 Shell, 2004. Silk thread and silver gelatin prints printed on vinyl with plastic buttons and a metal hanger. 128.2 × 76.2 × 24.2 cm (50 1/2 × 30 × 9 1/2 in). Signed, titled in Chinese, dated ‘Bai Yiluo Shell 2004’ and numbered of 3 on the inside of the jacket. This work is from an edition of 3. PROVENANCE Galerie Urs Meile, Lucerne Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 ‡

227

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42

42 GANG HUANG b. 1961 Untitled (Jewish Star), 2007. Acrylic, enamel and printing blocks on panel. 84.5 × 198.1 cm (33 1/4 × 78 in). Signed in Pinyin and Chinese ‘Huang Gang’ lower right. PROVENANCE Galerie Adler, Paris Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 91, 2 0 0 €4 4,0 0 0 – 6 6,0 0 0 ‡ 228

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229

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43

44

43 GENG JIANYI b. 1962 Untitled, 1993. Oil on canvas. 95 × 70 cm (37 1/4 × 27 3/4 in).

Signed in Pinyin and Chinese and dated ‘Geng Jianyi 1993’ on the reverse.

PROVENANCE Professor Achille Bonito Oliva, Italy ExhibitEd XLV Esposizione Internationale D’Arte La Biennale di Venezia, 13 June – 10 October 1993 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0

44 SHENG QI b. 1965 National Parade – Tank (Red & Black), 2007. Diptych: acrylic on canvas.

Overall: 80 × 220 cm (31 1/2 × 86 5/8 in). Each signed in Chinese and Pinyin and dated ‘Sheng Qi 2007’ on the reverse. PROVENANCE 798 Avant Gallery, New York Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ‡

230

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45

46 (i)

46 (ii)

45 SHENG QI b. 1965 Soldiers, 2006. Acrylic on canvas. 80 × 100 cm (31 1/2 × 39 3/8 in).

Signed in Chinese and Pinyin and dated ‘Sheng Qi 2006’ on the reverse.

PROVENANCE 798 Avant Gallery, New York Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 ‡

46 WANG QINGSONG b. 1966 Two works: (i) Another Battle Series No. 4, 2001; (ii) Another Battle Series No. 2, 2001. Colour coupler print. (i) 99.7 × 66.7 cm (39 1/4 × 26 1/4 in); (ii) 59.7 × 100 cm (23 1/2 × 39 3/8 in). Each signed and dated in English and Chinese ‘Wang Qingsong 2001’ and numbered of 20 lower right. These works are from an edition of 20.

PROVENANCE Private Collection, New York Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 ‡ 231

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47

47 YAN LEI b. 1965 Super Lights, 2005. Oil on canvas. 200 × 300 cm (78 3/4 × 118 1/8 in).

Signed in Chinese, titled in Chinese and English, and dated ‘Super Lights Yan Lei 2005’ on the reverse. PROVENANCE Acquired directly from the artist by the present owner Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ‡ 232

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48

48 WANG GUANGYI b. 1957 Belief Series (Man), 1998. Oil on canvas. 50 × 40 cm (19 3/4 × 15 3/4 in). Signed in Chinese and Pinyin and dated ‘Wang Guangyi 98’ on the reverse.

PROVENANCE Private Collection, Hong Kong Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 ‡ 233

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49

49 WANG KEPING b. 1949 Untitled 1 – WK09, 2002. Wood. Height: 104 cm (41 in). Signed on the reverse. PROVENANCE 10 Chancery Lane Gallery, Hong Kong; acquired from the above by the present owner Estimate £ 3 0,0 0 0 – 4 0,0 0 0 $4 5,6 0 0 – 6 0, 8 0 0 € 3 3,0 0 0 – 4 4,0 0 0 ‡ 234

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50

51

51 CAI GUO-QIANG b. 1957 Man, Eagle and Eye in the Sky, Siwa, Egypt (no. 16), 2003.

Gunpowder on cardboard and artist book in signed wooden box. Wooden box: 53 × 67 × 12 cm (20 7/8 × 26 3/8 × 4 3/4 in); gunpowder drawing: 15 × 32 cm (5 5/8 × 12 5/8 in).

Signed, titled and dated on the wooden box. PROVENANCE Private Collection, London Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡

50 CAI GUO-QIANG b. 1957 Man, Eagle, and Eye in the Sky, Siwa, Egypt (no.18), 2003.

Gunpowder on cardboard and artist book in signed wooden box. Wooden box: 53 × 67 × 12 cm (20 7/8 × 26 3/8 × 4 3/4 in); gunpowder drawing: 16 × 44 cm (6 3/8 × 17 3/8 in).

Signed, titled and dated on the wooden box. PROVENANCE Private Collection, London Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡ 235

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52

53

53 Mok Yat-San b. 1968 Borrowed Stone, 2007. Stainless steel. 57 × 25 × 30 cm (22 1/2 × 9 7/8 × 11 7/8 in). This work is unique. PROVENANCE Private Collection, Europe Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0

52 Man Fung Yi b. 1968 C & WG Stars, 2008. 43 × 36 × 33 cm (17 × 14 1/8 × 13 in).

This work is unique. PROVENANCE Private Collection, Europe Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 236

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54

54 Shi JianMin b. 1962 ‘Love me do’, 2005. Cast and hand-cut polished metal. 162 × 78 × 70 cm (63 3/4 × 30 3/4 × 27 1/2 in). Incised in Chinese ‘Shi Jianmin’ and numbered of 22 on the underside.

This work is from an edition of 22. PROVENANCE Private Collection, Switzerland Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 237

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55

55 ShEn Liang b. 1976 Opera, 2003. Oil on linen. Signed in Chinese and titled in Chinese and English on the reverse. PROVENANCE Private collection, London Estimate £ 4,0 0 0 – 8 ,0 0 0 $6,10 0 –12, 2 0 0 €4,4 0 0 – 8 , 8 0 0 56 Lin tianMiao b. 1961 ‘Focus XXIII A’, 2006–07. Lithograph and silkscreen with embossing on STPI handmade paper. 127 × 101 cm (50 × 39 3/4 in). Signed and dated ‘Lin Tianmiao 2007’ and numbered of 20 lower right. This work is from an edition of 20. PROVENANCE Private Collection, Switzerland Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0

56 238

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57

58

57 Lin tianMiao b. 1961 ‘Focus XV A’, 2006–07. Lithograph and silkscreen with embossing on STPI handmade paper. 127 × 101 cm (50 × 39 3/4 in). Signed and dated ‘Lin Tianmiao 2007’ and numbered of 20 lower right. This work is from an edition of 20. PROVENANCE Private Collection, Switzerland Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0

58 Qiu Shihua b. 1940 Untitled, 2005. Oil on canvas. 185 × 360 cm (73 × 142 in).

Signed in Chinese and dated ‘Qiu Shihua 2007’ on the overlap. This work is accompanied by a certificate of authenticity signed by the artist. PROVENANCE Galerie Urse Meile, Lucerne Estimate £ 3 5,0 0 0 – 4 5,0 0 0 $5 3, 2 0 0 – 6 8 ,4 0 0 € 3 8 ,5 0 0 – 49,5 0 0 ‡

239

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59

60

60 Zhang Peng b. 1981 Red No. 4, 2007. Colour coupler print. 89.5 × 205.5 cm (35 1/4 × 80 7/8 in). This work is from an edition of 8 and is accompanied by a certificate of authenticity. pROVENANCE Private Collection, Europe Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0

59 ZhOU ChUnYa b. 1955 Scratching, 2006. Bronze. 13 × 25 × 15 cm (5 1/8 × 9 3/4 × 5 7/8 in). Incised ‘Zhou Chunya 2006’ on the back. pROVENANCE Private Collection, Beijing ExhibitEd Beijing, Today Art Museum, Zhou Chunya, Blooming Stories, March 2007 litERAtuRE Exhibition catalogue, Today Art Museum, Zhou Chunya, Blooming Stories, Beijing, p. 112 (Illustrated in colour) Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ‡ 240

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61

61 Feng ZhengJIe b. 1968 Untitled, 2004. Oil on canvas. 149.8 × 149.8 cm (59 × 59 in).

Signed in English and dated ‘Feng Zhengjie 2004’ lower right. pROVENANCE Xin Dong Cheng Space for Contemporary Art, Beijing; Galerie Albert Benamou, Paris Estimate £ 3 0,0 0 0 – 4 0,0 0 0 $4 5,6 0 0 – 6 0, 8 0 0 € 3 3,0 0 0 – 4 4,0 0 0

241

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62

62 HE SEN b. 1968 Two Girls Smoking, 2003. Oil on canvas. 200 × 249.5 cm (78 3/4 × 98 1/4 in).

Signed in Pinyin and Chinese and dated ‘He Sen 2003’ lower left. PROVENANCE Primo Marella Gallery, Milan; Private Collection, Brescia; acquired from the above by the previous owner litERAtuRE L. Sassoli De Bianchi, Cina-Pittura Contemporanea, Bologna, 2004, p. 62 (illustrated) Estimate £ 4 5,0 0 0 – 55,0 0 0 $6 8 ,4 0 0 – 8 3,6 0 0 €49,5 0 0 – 6 0,5 0 0 ‡ 242

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243

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63

63 ZENG FANZHI b. 1964 Untitled No. 6, 2004. Oil on canvas. 40 × 135 cm (15 3/4 × 53 1/8 in).

Signed in Chinese and Pinyin and dated ‘Zeng Fanzhi 2004’ lower right. PROVENANCE ShanghART, Shanghai Estimate £6 0,0 0 0 – 8 0,0 0 0 $91, 2 0 0 –12 2,0 0 0 € 6 6,0 0 0 – 8 8 ,0 0 0 ‡ 244

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245

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64

64 LIU WEI b. 1965 You Like Me Why Not, 1996. Oil on canvas. 30 × 40 cm (11 3/4 × 15 3/4 in).

Signed, titled and dated ‘Liu Wei 1996 You Like Me’ along the upper and lower edges in Chinese and English. PROVENANCE Schoeni Art Gallery, Hong Kong; acquired from the above by the present owner ExhibitEd Hong Kong, Schoeni Art Gallery, 8+8-1: Selected Paintings by 15 Contemporary Artists, 19 June–7 July 1997; London, Connaught Brown, 1998; Berlin, Vierte Etage Galerie, 1998 litERAtuRE Exhibition catalogue, Schoeni Art Gallery, 8+8-1: Selected Paintings by 15 Contemporary Artists, Hong Kong, 1997 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ‡ 246

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65

66 65 LIU XIAODONG b. 1963 Sleeping and Insomnia Series No. 17, 1996. Oil on canvas.

33 × 38 cm (13 × 15 in). PROVENANCE Schoeni Art Gallery, Hong Kong; acquired from the above by the present owner ExhibitEd Hong Kong, Schoeni Art Gallery, 8+8-1: Selected Paintings by 15 Contemporary Artists, 19 June–7 July 1997; London, Connaught Brown, 1998; Berlin, Vierte Etage Galerie, 1998 litERAtuRE Exhibition catalogue, Schoeni Art Gallery, 8+8-1: Selected Paintings by 15 Contemporary Artists, Hong Kong, 1997 Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 ‡

66 YANG SHAOBIN b. 1963 Family, 1992. 100 × 100 cm (39 3/8 × 39 3/8 in).

PROVENANCE Schoeni Art Gallery, Hong Kong; acquired from the above by the present owner ExhibitEd Hong Kong, Schoeni Art Gallery, Faces Behind the Bamboo Curtain, Works by Yue Minjun & Yang Shaobin, 6 July–6 August 1994 litERAtuRE Exhibition catalogue, Schoeni Art Gallery, Faces Behind the Bamboo Curtain, Works by Yue Minjun & Yang Shaobin, Hong Kong, 1994 Estimate £ 3 5,0 0 0 – 5 5,0 0 0 $5 3, 2 0 0 – 8 3,6 0 0 € 3 8 ,5 0 0 – 6 0,5 0 0 ‡ 247

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67 67 ZHONG BIAO b. 1968 A Day Trip to Singapore, 1996. Oil on canvas. 130 × 97 cm. (51 1/8 × 38 1/8 in).

Signed and credited in English and Chinese, titled in Chinese and dated ‘A Day Trip to Singapore 1996 Zhong Biao’ on the reverse. PROVENANCE Schoeni Art Gallery, Hong Kong; acquired from the above by the present owner ExhibitEd Hong Kong, Schoeni Art Gallery, The Fable of Life: Oil Paintings by Zhong Biao, 1997 litERAtuRE Exhibition catalogue, Schoeni Art Gallery, The Fable of Life: Oil Paintings by Zhong Biao, Hong Kong, 1997 Estimate £2 0,0 0 0 – 3 0,0 0 0 $3 0,4 0 0 – 4 5,6 0 0 €2 2,0 0 0 – 3 3,0 0 0 248

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68

68 PAN DEHAI b. 1956 Floating No. 4, 2002. Oil on canvas. 300 × 150 cm (118 1/8 × 59 in). PROVENANCE Schoeni Art Gallery, Hong Kong; acquired from the above by the present owner ExhibitEd Duisberg, Museum Kueppersmuehle Sammlung Grothe, ChinArt, 30 October 2002–12 January 2003; Rome, Museo Arte Contemoranea di Roma, 2003; Budapest, Ludwig Museum, 2003; Bydgoszcz, Stadtgalerie, 2004; Palma de Mallorca, La Lonja, 2004 litERAtuRE Exhibition catalogue, ChinArt, Bonn: Stiftung für kunst und kultur, 2002 Estimate £ 3 5,0 0 0 – 5 5,0 0 0 $5 3, 2 0 0 – 8 3,6 0 0 € 3 8 ,5 0 0 – 6 0,5 0 0 ‡ 249

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69

69 XUE SONG b. 1965 Walking on Air, 2005. Collage, ash and oil on canvas. 184 x 135 cm (72 3/8 x 53 1/8 in). Signed in Pinyin and Chinese, titled in Chinese and dated ‘Walking on Air Xue Song 2005’ on the reverse. PROVENANCE Private Collection, United States Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 250

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20/03/10 09:34

70

71

70 Wang Qingsong b. 1966 Heaven, 2003–05. Digital colour coupler print, flush-mounted to aluminium. 66.2 × 99.7 cm (26 × 39 1/4 in). Signed in Pinyin and Chinese, dated ‘Wang Qingsong 2003 – 2005’ and numbered of 20 lower right. This work is from an edition of 20.

PROVENANCE Acquired directly from the artist; Private Collection, London Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0

71 LUo Qing b. 1970 Four works: Migrant Workers, 2002–04. Oil on canvas. Thee works: 145 × 58 cm (57 × 22 7/8 in); one work: 145 × 69 cm (57 × 27 1/8 in). Two works signed on the reverse; two works signed lower right. PROVENANCE Acquired directly from the artist by the present owner Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ‡

251

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20/03/10 14:26

72

72 WaNG QiNGSONG b. 1966 Dormitory, 2005. Digital colour coupler print flush-mounted to aluminium. 177.8 × 406.4 cm (70 × 160 in). Signed in Pinyin and Chinese, dated ‘Wang Qingsong 2005’ and numbered of 6 lower right. This work is from an edition of 6 plus 2 artist’s proofs. PROVENANCE Acquired directly from the artist; Private Collection, London litERAtuRE K. Roach, ed., Wang Qingsong, Ostfildern-Ruit, 2006, pp. 112–113 (another example illustrated) Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 252

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20/03/10 09:35

253

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73

74

73 MiaO XiaOCHUN b. 1964 The Deluge from H20 Series, 2007. Digital colour coupler print. 105.4 × 305.4 cm (41 1/2 × 120 1/4 in). Signed, titled in Chinese, dated and numbered 9/12 in ink on the recto. PROVENANCE Osage Gallery, Hong Kong Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 ‡

74 LiU REN b. 1980 Someday Somewhere 01, 2005. Colour coupler print.

70 × 100 cm (27 1/2 × 39 3/8 in). This work is from an edition of 6 plus 1 artist’s proof.

PROVENANCE Acquired directly from the artist by the present owner Estimate £1,5 0 0 – 2,5 0 0 $2, 3 0 0 – 3, 8 0 0 €1,70 0 – 2, 8 0 0 ‡ 254

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75

75 LiU REN b. 1980 Someday Somewhere 11, 2005. Colour coupler print. 100 × 100 cm (39 3/8 × 39 3/8 in).

This work is the artist’s proof from an edition of 6 plus 1 artist’s proof. PROVENANCE Acquired directly from the artist by the present owner Estimate £1, 2 0 0 –1, 8 0 0 $1, 8 0 0 – 2,70 0 €1, 3 0 0 – 2,0 0 0 ‡ 255

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76

77

76 MaLEONN (Ma LiaNG) b. 1972 Postman No. 2, 2008. Lambda print, printed 2009 and flush-mounted. 90 × 135 cm (35 7/16 × 53 1/8 in). Signed, titled, dated and numbered 2/6 on the reverse of the frame. Accompanied by a signed certificate of authenticity.

PROVENANCE Acquired directly from the artist; Private Collection, Europe ExhibitEd Shanghai, MoCA, The World of Other’s, 24 June – 24 July 2008 (another example exhibited); Shanghai, Shanghai Art Museum, Garden of Mirrors, 2009 (another example exhibited) litERAtuRE Maleonn: The Kingdom of Illusions, Timezone 8, 2008, p. 12 Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0

77 YaNG Yi b. 1971 Uprooted #14, South River, 2007. Lambda print, printed 2009 and flushmounted. 105 × 150 cm (41 5/16 × 59 in). Signed, titled, dated and numbered 4/6 on a label affixed to the reverse of the frame. PROVENANCE Acquired directly from the artist; Private Collection, Europe litERAtuRE Yang Yi – Uprooted, Timezone 8, 2008 Estimate £ 4,0 0 0 – 5,0 0 0 $6,10 0 –7,6 0 0 €4,4 0 0 – 5,5 0 0

256

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78

78 EDWaRD BURTYNSKY b. 1955 Three Gorges Dam Project, Feng Jie #5, Yangtze River, China, 2002. Colour coupler print, printed 2003 and mounted. 68.6 × 86.4 cm (27 × 34 in). Signed in ink, printed title, date and number 1/10 on a label affixed to the reverse of the frame.

PROVENANCE Flowers, London ExhibitEd Lisbon, Calouste Gulbenkian Foundation, Ingenuity: Photography and Engineering 1846–2006, 8 February – 29 April 2007 (another example exhibited) Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 257

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79

80

79 CHEN JIAGANG b. 1962 Temptation #22, Beauty, 2008. Lambda print, printed 2009 and flush-mounted. 110 × 180 cm (43 5/16 × 70 7/8 in). Signed, titled, dated and numbered 9/12 in the margin. PROVENANCE Acquired directly from the artist; Private Collection, Europe litERAtuRE Chen Jiagang –The Great Third Front, Timezone 8, 2008, p. 155 Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0

80 CHEN JIAGANG b. 1962 The Great Third Front #16, Frosted Dormitory, 2008. Lambda print, printed 2009 and flush-mounted. 110 × 180 cm (43 5/16 × 70 7/8 in). Signed, titled, dated and numbered 3/12 in the margin. PROVENANCE Acquired directly from the artist; Private Collection, Europe litERAtuRE Chen Jiagang –The Great Third Front, Timezone 8, 2008, p. 188 Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 258

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20/03/10 10:57

81

82

81 HiROJi KUBOTa b. 1939 Terracotta soldiers of the Qin Dynasty, China, 1985. Dye-transfer print, printed 1994. 18 × 56 cm (7 1/8 × 22 in). Signed, dated and annotated ‘Xi’an, China’ in pencil on the verso. PROVENANCE Magnum Photos, London Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0

82 RENÉ BURRi b. 1933 Wilted Lotus Blossoms, former Summer Palace, Kunming Lake, Beijing, China, 1964. Gelatin silver print, printed later. 28.4 × 41.8 cm (11 3/16 × 16 7/16 in).

Signed, titled and dated in ink in the margin. PROVENANCE Acquired directly from the artist litERAtuRE René Burri Photographs, London: Phaidon, 2004, pp. 362–63 Estimate £1, 8 0 0 – 2, 2 0 0 $2,70 0 – 3, 3 0 0 €2,0 0 0 – 2,4 0 0 Ω

259

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83

83 MARC RIBOUD b. 1923 Chinese actress Gong Li during the filming of “To Live”, 1993. Baryte print, printed 2008. 45 × 30 cm (17 3/4 × 11 3/4 in). Signed, titled, dated in ink in the margin; credit stamp on the verso. PROVENANCE Acquired directly from the artist; Private Collection, Europe litERAtuRE Marc Riboud in China: Forty Years of Photography, London: Thames and Hudson, 1997, p. 69 Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 260

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20/03/10 10:00

84

85

84 MARC RIBOUD b. 1923 Dance at the University of Peking, Beida, 1957. Baryte print, printed 2008. 30 × 45 cm (11 3/4 × 17 3/4 in). Signed, titled, dated in ink in the margin; credit stamp on the verso. PROVENANCE Acquired directly from the artist litERAtuRE Marc Riboud in China: Forty Years of Photography, London: Thames and Hudson, 1997, p. 78; Visions of China: Photographs by Marc Riboud 1957–1980, New York: Pantheon Books, 1981, pl. 69 Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0

85 YAng FUDOng b. 1971 Ms. Huang at M. Last Night, 2006. Lambda print on Kodak Endura paper. 48 × 73 cm (18 7/8 × 29 1/2 in). This work is from an edition of 60.

PROVENANCE Private Collection, Europe Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0

261

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87

86

Detail

Detail

This loT is sold wiTh no reserve

This loT is sold wiTh no reserve

86 ALEX GUOFENG CAO b. 1969 Marilyn vs Brigitte Bardot, 2009. digital colour coupler print, diasec mounted. 152.4 × 101.6 cm (60 × 40 in). signed, dated and numbered 12/18 in ink on a certificate of authenticity affixed to the reverse of the flush-mount. one from an edition of 18. PROVENANCE Acquired directly from the artist Estimate £1,5 0 0 – 2,5 0 0 $2, 3 0 0 – 3, 8 0 0 €1,70 0 – 2, 8 0 0 ‡

87 ALEX GUOFENG CAO b. 1969 Hepburn vs Dietrich, 2009. digital colour coupler print, diasec mounted. 152.4 × 101.6 cm (60 × 40 in). signed, dated and numbered 11/18 in ink on a certificate of authenticity affixed to the reverse of the flush-mount. one from an edition of 18. PROVENANCE Acquired directly from the artist Estimate £1,5 0 0 – 2,5 0 0 $2, 3 0 0 – 3, 8 0 0 €1,70 0 – 2, 8 0 0 ‡

•

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88

89

89 ZHUANG HUi b. 1963 One and Thirty – Peasant, 1995 – 96. Two gelatin silver prints. each: 58.8 × 48.6 cm (22 3/8 × 18 3/8 in). each signed, titled in Chinese, dated ‘Zhuang hui one and Thirty – Peasant 1995–1996 and numbered of 3 on the reverse. This work is from an edition of 3. PROVENANCE Private Collection, new York Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 ‡

88 YANG QiAN b. 1959 Matchmaking Book Manufacture No 4, 2009. oil and shredded paper on canvas. 200 × 150 cm (78 3/4 × 59 in). signed on the reverse. PROVENANCE Acquired directly from the artist by the present owner Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ‡ 263

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90

91 (i)

(ii)

90 PAULA SCHER b. 1948 China, 2008. Hand-pulled screenprint on Deluxe Lanaquarelle paper. Image: 91.7 × 113.7 cm (36 1/8 × 44 3/4 in), sheet: 102.2 × 124.5 cm (41 1/4 × 49 in).

Signed, dated and numbered 55/90 in pencil (there were also 10 artist’s proofs), published by Stendhal Gallery, New York.

Estimate £1, 8 0 0 – 2,5 0 0 $2,70 0 – 3, 8 0 0 €2,0 0 0 – 2, 8 0 0 ‡

91 HONG HAO b. 1965 Two works: (i) My Things No. 2; (ii) My Things No. 4, 2002. Colour coupler prints. Each: 55.6 × 97.2 cm (27 7/8 × 38 1/4 in). (i) Signed, titled and numbered ‘Hong Hao My Things No. 2 5/15’ on the reverse; (ii) signed, titled, numbered and dated ‘Hong Hao No. 4 5/15 2002’ on the reverse. These works are from an edition of 15.

PROVENANCE Private Collection, Miami Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 ‡ 264

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20/03/10 10:01

92

92 STÉPHANE COUTURIER b. 1957 Pekin – Monument #3 from Monuments, 2001. Colour coupler print, Diasec mounted. 200 × 148 cm (78 3/4 × 58 1/4 in). Signed, titled, dated and numbered 2/5 in ink on a label affixed to the reverse of the frame. PROVENANCE Acquired directly from the artist ExhibitEd Paris, Bibliothèque Nationale de France, Stéphane Couturier: Photographies,15 June – 29 August 2004 (another example exhibited); Moscow, 6ème Biennale internationale de la Photographie: Architecture Museum Chussev, Stéphane Couturier, 23 March –15 May 2006 (another example exhibited) litERAtuRE Stéphane Couturier – Photographies, Paris: Editions Adam Biro, 2004, p. 117 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 † 265

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93

93 ZHANG HUAN b. 1965 Seeds of Hamburg, 2002. Colour coupler print in twelve parts. Each: 50.8 × 40.6 cm (20 × 16 in). Signed, titled in Chinese, dated ‘Zhang Huan 2002’ and numbered of 25 on a label adhered to the reverse of each. This work is from an edition of 25. PROVENANCE Private Collection, New York ExhibitEd Hamburg, Kunstverein in Hamburg, Zhang Huan, November 2002–February 2003 litERAtuRE E. Heartney, ‘Zhang Huan: Becoming the Body’, in M. Chiu, ed., Zhang Huan – Altered States, Milan 2007, p.45; Z. Huan, ‘A Piece of Nothing’, in M. Chiu, ed., Zhang Huan – Altered States, Milan 2007, pp.94–95 (illustrated); M. Gisbourne, Zhang Huan: Palimpsest Writing on the Body, Germany, 2006; Y. Dziewior, Seeds of Hamburg, Kunstverein in Hamburg, Hamburg 2003 Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ‡ 266

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20/03/10 09:42

94

95

THiS loT iS SolD wiTH No rESErvE 94 GAo BrotHers b. 1956 & b. 1962 Sense of Space: Waiting, 2000. 80 × 100 cm (31 1/2 × 39 3/8 in). Signed, dated and numbered of 10 lower right. This work is from an edition of 10. PROVENANCE Private Collection, United Kingdom Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0

95 YANG LIU b. 1982 Untitled, 2007. oil on canvas. 190.5 × 150.5 cm (75 × 59 1/4 in). Signed in Chinese and dated ‘liu Yang 2007.4’ lower right. PROVENANCE Acquired directly from the artist by the previous owner Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 267

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96

97

98

99

THiS loT iS SolD wiTH No rESErvE

THiS loT iS SolD wiTH No rESErvE

96 He HoNGPeI b. 1969 Coin Series No. 2, 2007. oil on canvas. 160 × 130 cm (63 × 51 1/8 in). Signed and dated lower right. PROVENANCE Acquired directly from the artist by the present owner Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡

97 JI XIAoFeNG The Rose are Opening Up No. 2, 2007. oil on canvas. 140 × 140 cm (55 1/8 × 55 1/8 in). Signed and dated lower left. PROVENANCE Acquired directly from the artist by the present owner Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡

THiS loT iS SolD wiTH No rESErvE

THiS loT iS SolD wiTH No rESErvE

98 ZHANG JIsHeNG b. 1966 Living a Good Life, 2005. oil on canvas. 112 × 146 cm (44 1/8 × 57 1/2 in). Signed and dated lower right. PROVENANCE Acquired directly from the artist by the present owner Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 ‡

99 ZeNG LINGXIN b. 1983 My Lovely Baby – Prosperous Serpant, 2008. oil on canvas.

130 × 150 cm (51 1/8 × 59 in). Signed and dated lower right. PROVENANCE Acquired directly from the artist by the present owner Estimate £1,5 0 0 – 2,5 0 0 $2, 3 0 0 – 3, 8 0 0 €1,70 0 – 2, 8 0 0 ‡

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•

268

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100

101

101 FeNG ZHeNGJIe b. 1968 Untitled, 2007. Colour screenprint on wove paper. 113.5 × 113.5 cm (44 5/8 × 44 5/8 in). Signed in Pinyin and Chinese, dated ‘Feng Zhengjie 2007’ and numbered of 58 lower edge. This work is from an edition of 58. PROVENANCE Private Collection, london Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0

THiS loT iS SolD wiTH No rESErvE 100 ZHAo Bo b. 1974 Station No. 1, 2003. oil on canvas. 100 × 100 cm (39 3/8 × 39 3/8 in).

Signed and dated on the reverse. PROVENANCE Acquired directly from the artist Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡

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102 (i)

102 (ii)

102 Zhu Wei b. 1966 Two works: (i) New Pictures of the Strikingly Bizarre # 1, 2004; (ii) New Pictures of the Strikingly Bizarre # 2, 2004. Staining stencil, woodcut, lithograph and screenprint on STPI handmade paper. Each 127 × 102 cm (50 × 40 in).

Each signed, dated ‘Zhu Wei’ and numbered of 20 in the lower margin. These works are from an edition of 20.

PROVENANCE Tyler Print Institute, Singapore Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 270

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103

103 Li Shuang b. 1957 L’Age d’Or, 2004. Oil on canvas. 81 × 65 cm (31 7/8 × 25 5/8 in). Signed and dated ‘Li Shuang 2004’ lower left. PROVENANCE Galerie Bellefroid, Paris Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0

271

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104

105

104 CHEN FEI b. 1983 The Reaper, 2009. Acrylic on canvas. 240 × 200 cm (94 1/2 × 78 3/4 in).

Signed, titled in Chinese and dated ‘The Reaper Chen Fei 2009’ on the reverse.

PROVENANCE Private Collection, Beijing Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 ‡

105 OU YANGCHUN b. 1974 Afraid of Painting, 2005. Oil on canvas. 180 × 250 cm (70 7/8 × 98 1/2 in). Signed, titled in Chinese and dated ‘Afraid of Painting Ou Yangchun 2005’ on the reverse. PROVENANCE Private Collection, Beijing Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ‡

272

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106

106 GAO YU b. 1981 Ultimate Taste of Capitalism, 2009. Acrylic on canvas. 100 × 100 cm (39 3/8 × 39 3/8 in). Signed, titled in Chinese and dated ‘Ultimate Taste of Capitalism Gao Yu 2009’ on the reverse. PROVENANCE Private Collection, Beijing Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ‡ 273

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107

107 TU HONGTAO b. 1976 Sleepless Night, 2007. Oil on canvas. 150 × 210 cm (59 × 82 5/8 in). Signed, titled and dated in Chinese ‘Sleepless Night Tu Hong Tao 2007’ on the reverse. PROVENANCE Private Collection, United States Estimate £18 ,0 0 0 – 25,0 0 0 $27,4 0 0 – 3 8 ,0 0 0 €19, 8 0 0 – 27,5 0 0 ‡ 274

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20/03/10 10:20

275

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108

109

This loT is sold wiTh no reserve 108 CUI GUOTAI b. 1964 My Lost Studio 1, 2003. oil on canvas. 96.8 × 130.3 cm (38 × 51 1/4 in). PROVENANCE white space, Beijing Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0

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109 XIA XING b. 1974 05.1.30.XX, 2005. oil on canvas. 69 × 98.5 cm (27 1/8 × 38 3/4 in).

Titled ‘05.1.30.XX’ on the turnover. PROVENANCE Galerie Urs Meile, lucerne Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 276

20/03/10 10:22

110

110 HUNG TUNGLU b. 1968 Evangelion: Ajanami Rei; Lynn Minmay; Pretty Soldier: Sailor Moon; Street Fighter: Chun Li, 1999. Four colour coupler prints, flush-mounted to aluminium. each: 121 × 96 cm (47 1/2 × 37 3/4 in). each signed, dated and numbered of 8 on the reverse. This work is from an edition of 8.

PROVENANCE Acquired directly from the artist Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ‡ 277

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20/03/10 10:22

111

112

111 ZHAO GANG b. 1961 Mao (1965 November), 2006. Oil on linen. 60 × 80 cm (23 5/8 × 31 1/2 in). Signed and dated ‘Gang Zhao 06’ along the overlap.

PROVENANCE Private Collection, Beijing Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡

112 ZHANG DA ZHONG b. 1953 Summer Afternoon, 2005. Oil on canvas. 120 × 100 cm (47 1/4 × 39 3/8 in). This work is accompanied by a certificate of authenticity. PROVENANCE Connoisseur Art Gallery, Hong Kong Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 278

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20/03/10 10:24

113

113 Liu HuNG b. 1948 Bride 1, 2005. Mixed media with resin on wood panel. 41 × 41 cm (16 1/8 × 16 1/8 in). Signed, titled in Chinese and English and dated ‘Bride 1 Liu Hung 2005’ on the reverse. PROVENANCE Walter Maciel Gallery, Los Angeles Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 279

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114

114 HUANG YAN b. 1966 Chinese Landscape – Tattoo No. 9, 1999. Fuji Crystal Archive print. 84.2 × 109.2 cm (33 1/8 × 43 in). Titled in Chinese and dated ‘Chinese Landscape – Tattoo No. 9 1999’ and numbered of 12 lower left. This work is from an edition of 12. PROVENANCE Private Collection, Miami Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡

280

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20/03/10 10:26

115

116

117

118

ThiS LoT iS SoLd wiTh No rESErvE 115 DING YIjUN Ordinary Dream, 2005. oil on canvas. 129.5 × 130 cm (50 3/4 × 51 2/5 in).

PROVENANCE Acquired directly from the artist’s studio ExhibitEd Shanghai, MoCA Shanghai, Entry Gate: Aesthetics of Heterogeneity, 6 September–15 November 2006 Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0

116 YAN LEI b. 1965 Untitled, 2004. oil on canvas. 90.2 × 120 cm (35 1/2 × 47 1/4 in).

Signed in Chinese and dated ‘Yan Lei 2004’ on the reverse. PROVENANCE Private Collection, Beijing Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ‡

117 DON HONG-OAI 1929–2004 At Play, Tianzi Mountain, 1986. Sepia toned gelatin silver print. 50.2 × 40 cm (19 3/4 × 15 3/4 in). Signed in Chinese in ink and stamped on the recto; signed in Chinese in pencil and copyright credit stamp on the verso. PROVENANCE Acquired directly from the artist litERAtuRE Photographic Memories: Images from China and Vietnam, Custom & Limited Editions, 2000, p. 65 Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 Ω

118 DON HONG-OAI 1929–2004 Floating In Spring, 1990. Sepia toned gelatin silver print, printed 1992. 40 × 50.2 cm (15 3/4 × 19 3/4 in). Signed in Chinese in ink and stamped on the recto; signed in English and Chinese in ink and copyright credit stamp on the verso.

PROVENANCE Acquired directly from the artist Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 Ω

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281

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20/03/10 10:27

119 (i)

(ii)

120

121

119 HONG LEI b. 1960 (i) Breath, 2006 (ii) The Story of Liu Garden, 2006. oil, graphite and collage on canvas. Each 69.8 × 99.7 cm (27 1/2 × 39 1/4 in). PROVENANCE Chambers Fine Arts, New York Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ‡

121 LU HAO b.1969 Disappearing Homeland No. 31, 2006. oil on canvas. 89.5 × 69.8 cm (35 1/4 × 27 1/2 in). Signed, titled in Chinese and dated ‘Lu hao disappearing homeland No. 31 2006’ on the reverse. PROVENANCE Private Collection, Beijing Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡

120 SHENG QI b. 1965 History in Black and Red, 2008. oil on canvas. 80 × 60 cm (31 1/2 × 23 5/8 in). Signed in English and Chinese and dated ‘Sheng Qi 2008’ on the reverse. PROVENANCE Acquired directly from the artist Estimate £ 5,0 0 0 – 6,0 0 0 $7,6 0 0 – 9,10 0 €5,5 0 0 – 6,6 0 0 282

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20/03/10 10:28

122

122 WEI jIA b. 1975 Shining on the Horse, 2009. Acrylic on canvas. 200 × 150 cm 78 3/4 × 59 in). Signed, titled in Chinese and dated ‘Shining on the horse wei Jia 09’. PROVENANCE Private Collection, Beijing Estimate £25,0 0 0 – 3 0,0 0 0 $3 8 ,0 0 0 – 4 5,6 0 0 €27,5 0 0 – 3 3,0 0 0 ‡ 283

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123

123 LEE SUN-DON b. 1959 Color Traverse Time / Grand Fortune is Springing Up, 2010. Mixed media. 59 × 59 × 70 cm (23 1/8 × 23 1/8 × 27 5/8 in). Initialled and dated ‘S. D. L. 2010’ lower right. PROVENANCE X-Power Gallery, New York ExhibitEd Miami, Art Palm Beach, 15–19 January 2010; New York, SCOPE New York Art Show, 3–7 March 2010 litERAtuRE Art Investment, no. 30; Chinese Contemporary Art News, no. 63 Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 91, 2 0 0 €4 4,0 0 0 – 6 6,0 0 0 ‡ 284

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20/03/10 10:30

124

YUE MINJUN & KAWS, LIU YE, JIN NU, ZHOU TIEHAI & ZHOU CHUNYA b. 1962 & b. 1974, b. 1978, b. 1984, b. 1966 & b. 1955 Untitled (5 works

124

from Art for the Masses), 2008. Cast and crystal resin, porcelain, botanic fluff, acrylic and metallic paint. Variable dimensions. Smallest 18.5 × 27 × 29 cm (7.5 × 10 3/4 × 11 3/4 in). Largest 31.5 × 15 × 11.5 cm (12 3/8 × 5 29/32 × 4.5 in). Each signed and numbered of 100 on the underside. These works are from an edition of 100 and are accompanied by two certificates of authenticity signed by the artist, a laser etched glass cube noting the edition number and a wooden exhibition box. PROVENANCE Museum of Tomorrow, Taipei ExhibitEd Taipei, Museum of Tomorrow, Art for the the Masses, 27 June – 27 July 2008 Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 Ω 285

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20/03/10 10:31

125

126

125 FRAnK KOZIK b. 1962 Mao, 2009. Painted fibreglass. 69.2 × 48.3 × 38.1 cm (27 1/4 × 19 × 15 in). This work is from an edition of 25. PROVENANCE Acquired directly from the artist Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 ‡

126 Zheng Lu b. 1978 Mao Never Down, 2007. Resin. 75 × 45 × 40 cm (29 1/2 × 17 3/4 × 16 in).

Signed in Chinese, dated ‘Zheng Lu 2007’ and numbered 2/8 on the reverse. This work is from an edition of 8. PROVENANCE F2 Gallery, Beijing Estimate £ 3,0 0 0 – 4,0 0 0 $4,6 0 0 – 6,10 0 € 3, 3 0 0 – 4,4 0 0 ‡ 286

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127

127 ZhAO XIAOJIA b. 1970 Untitled, 2003. Oil on canvas. 200 × 150 cm (78 3/4 × 59 in).

Signed in Pinjin and dated ‘Zhao Xiaojia 2003’ on the reverse. PROVENANCE Private Collection, China; Private Collection, Switzerland Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ‡ 287

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128

128 Xue Song b. 1965 Twin Towers, 2002. Acrylic and charred paper collage on canvas in three parts.

Overall: 179 × 442 cm (76 1/2 × 174 in). PROVENANCE Walsh Gallery, Chicago Estimate £ 3 0,0 0 0 – 4 0,0 0 0 $4 5,6 0 0 – 6 0, 8 0 0 € 3 3,0 0 0 – 4 4,0 0 0 ‡ 288

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20/03/10 10:08

289

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129

129 CANG XIN b. 1967 Communication Series No. 2, 1999. Six colour coupler prints.

Each: 59.7 × 49.5 cm (23 1/2 × 19 1/2 in). Each signed, titled, dated ‘Cang Xin Communication Series No. 2 1999’ in English and Chinese and numbered of 10. These works are from an edition of 10. PROVENANCE Private Collection, New York litERAtuRE H. Du, Existence in Translation, Beijing, 2002, pp. 41 and 42 (illustrated) Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡ 130 LI TIANbING b. 1974 Untitled, 2004. Oil on canvas. 55 × 46 cm (21 5/8 × 18 1/8 in).

Signed and dated ‘Tianbing Li 2004’ on the reverse. PROVENANCE Acquired directly from the artist Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0

130 290

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20/03/10 12:09

132

133

131 CHI Peng b. 1981 Sprinting Forward 3, 2004. Digital colour coupler print, flushmounted. 217.8 × 72.7 cm (85 3/4 × 28 5/8 in). Accompanied by a signed certificate of authenticity. Number 4 from an edition of 5. PROVENANCE Private Collection Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 132 DennIS MoRRIS b. 1953 China Doll 1, 2008. Lambda print. 101.6 × 76.2 cm (40 × 30 in).

Accompanied by a signed certificate of authenticity. Number 2 from an edition of 6.

PROVENANCE Acquired directly from the artist ExhibitEd Beijing, Today Art Museum, Building Bridges: 8 visions, one dream, July 2008 litERAtuRE Exhibition catalogue, The Red Mansion Foundation, Building bridges: 8 visions, one dream, London, 2008, p. 158 Estimate £ 3,5 0 0 – 4,5 0 0 $5, 3 0 0 – 6, 8 0 0 € 3,9 0 0 – 5,0 0 0 133 HuI XIn b. 1977 Tobacco Mosaic, 2007. Acrylic on canvas. 120 × 100 cm (47 1/4 × 39 3/8 in). Signed and dated on the reverse. PROVENANCE Acquired directly from the artist Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡

131 291

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20/03/10 10:10

134

135

134 HU JIEMING b. 1957 Raft of the Medusa, 2002. Colour coupler print. 125 × 177 cm (49 1/4 × 69 5/8 in). This work is from an edition of 5. PROVENANCE ShanghART, Hong Kong Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 ‡

135 LEE SUN-DON b. 1959 Treasure Gate /The Legend Begins, 2010. Mixed media. 84 × 164 cm (33 × 65 in). Initialled and dated ‘S.D.L. 2010’ on lower right. PROVENANCE X-Power Gallery, New York ExhibitEd Miami, Art Palm Beach, 15–19 January 2010; New York, SCOPE New York Art Show, 3–7 March 2010 litERAtuRE Art Investment no. 30; Chinese Contemporary Art News no. 63 Estimate £ 3 0,0 0 0 – 4 0,0 0 0 $4 5,6 0 0 – 6 0, 8 0 0 € 3 3,0 0 0 – 4 4,0 0 0 ‡ 292

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136

136 LUO BrOtHErS b. 1963, b. 1964 & b. 1972 Welcome to the World Famous Brand, 2007.

Lacquer and enamel on printed rice paper mounted on wooden panel. 183 × 97 cm (72 × 38 1/8 in). Signed in Chinese and Pinyin and dated ‘Luo Brothers 2007’ on a label adhered to the reverse. PROVENANCE Private Collection, Europe Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 293

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137

137 LIU BOLIN b. 1973 Hide in the City #65, Telephone Booth, 2008. Lambda print, printed 2009 and flush-mounted. 95 × 120 cm (37 3/8 × 47 1/4 in). Signed, titled, dated and numbered 3/8 on a label affixed to the verso. One from an edition of 8 plus 2 artist’s proofs. PROVENANCE Acquired directly from the artist; Private Collection, Europe litERAtuRE Liu Bolin, Timezone 8, 2008, p. 52 Estimate £2,5 0 0 – 3,5 0 0 $3, 8 0 0 – 5, 3 0 0 €2, 8 0 0 – 3,9 0 0 138 ZHANG DALI b. 1963 Untitled, 2001. Colour coupler print. Image: 149.8 × 99.7 cm (59 × 39 1/4 in); sheet: 169 × 118 cm (66 1/2 × 46 1/2 in). Signed in Chinese, dated and inscribed in English and Chinese ‘Zhang Dali 2001 314a ‘ and numbered of 10 lower right and on the reverse. This work is from an edition on 10. PROVENANCE Private Collection, Beijing Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡

138 294

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20/03/10 10:11

139

139 ZHAO GANG b. 1961 Untitled, 2005. Oil on linen. 90 × 120 cm (35 1/2 47 1/8 in). Signed and dated ‘Gang Zhao 2005’ on the reverse. PROVENANCE Private Collection, Beijing Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡ 295

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20/03/10 10:12

140

141 (i)

141 (ii)

140 HONG HAO b. 1965 Hello Mr. Hong, 1998. Colour coupler print. 69.2 × 57.8 cm (27 1/4 × 22 3/4 in). Titled ‘Hello Mr. Hong [in English and Chinese]’ along the upper edge; signed, titled, numbered and dated ‘Hong Hao Hello Mr. Hong 13/15 1998’ on the reverse. This work is from an edition of 15. PROVENANCE Private Collection, New York Estimate £1,5 0 0 – 2,5 0 0 $2, 3 0 0 – 3, 8 0 0 €1,70 0 – 2, 8 0 0 ‡

141 HAI BO b. 1962 Friendship, 1999 and 1996. Chromogenic print and gelatin silver print. Each 39.7 × 56.2 cm (15 5/8 × 22 1/8 in). (i) Signed, numbered and dated ‘Hai Bo [in English and Chinese] 11/18 1999’ on the reverse; (ii) titled and dated ‘Friendship [in Chinese] 96.10.31’ upper left. This work is from an edition of 18.

PROVENANCE Private Collection, New York Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡ 296

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142

142 ZHOU TIEHAI b. 1966 Liu Xiaoqing, 2005. Acrylic airbrush on canvas.

200 × 150 cm (78 3/4 × 59 in). Signed and dated ‘ZHOUTIEHAI 2005’ on the reverse. PROVENANCE ShanghART Gallery, Shanghai Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –7,6 0 0 € 8 , 8 0 0 –13, 2 0 0 ‡

297

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143

146

144

145

147

148

143 YANG QIAN b. 1959 Water Drop Untitled (grey), 2009. Mixed media archival inkjet print and screenprint in colours on MFA archival custom paper. Image: 81.2 × 60.7 cm (32 × 23 7/8 in); sheet: 99 × 78.8 cm (39 × 31 in). Signed, dated and numbered 37/200 in pencil (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 ‡

144 YANG QIAN b. 1959 Water Drop #27 (brown), 2009. Mixed media archival inkjet print and screenprint in colours on MFA archival custom paper. Image: 81.3 × 61 cm (32 × 24 in); sheet: 101.7 × 81.3 cm (40 × 32 in). Signed, dated and numbered 185/200 in pencil (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimates £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 ‡

145 YANG QIAN b. 1959 Water Drop Untitled (blue), 2009. Mixed media archival inkjet print and screenprint in colors, on MFA archival custom paper. Image: 81.3 × 61 cm (32 × 24 in); sheet: 99 × 78.7 cm (39 × 31 in). Signed, dated and numbered 10/200 in pencil (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 ‡

146 GUO WEI b. 1960 Tireur de pistolet No. 4, 2009. Screenprint in colours, on smooth custom paper. Image: 85.5 × 76 cm (33 5/8 × 29 7/8 in); sheet: 99.7 × 89 cm (39 1/8 × 35 in).

Signed, dated and numbered 189/200 in pencil (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 ‡

147 GUO WEI b. 1960 Ami No. 4, 2009. Screenprint in colours, on smooth custom paper.

Image: 85.5 × 75.8 cm (33 5/8 × 29 7/8 in); sheet 99 × 88.8 cm (39 × 35 in). Signed, dated and numbered 22/200 in pencil (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 ‡

148 GUO WEI b. 1960 Chambre avec nuage No. 3, 2009. Screenprint in colours, on smooth custom paper. Image: 85.5 × 76 cm (33 5/8 × 29 7/8 in); sheet 99.5 × 88.9 cm (39 1/8 × 35 in).

Signed, dated and numbered 133/200 in pencil (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 ‡ 298

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149

152

150

151

153

149 FENG ZHENGJIE b. 1968 Chinese Portrait Series No. 38, 2008. Screenprint in colours, on smooth custom paper. 80 × 80.7 cm (31 1/2 × 31 3/4 in). Signed, dated and numbered 26/200 in silver ink (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡ 150 FENG ZHENGJIE b. 1968 Chinese Portrait Series No. 56, 2008. Screenprint in colours, on smooth custom paper. 80.7 × 81 cm (31 3/4 × 31 7/8 in). Signed, dated and numbered 40/200 in silver ink (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡ 151 FENG ZHENGJIE b. 1968 Chinese Portrait Series No. 53, 2008. Screenprint in colours, on smooth custom paper. 80.7 × 105.7 cm (31 3/4 × 41 5/8 in). Signed, dated and numbered 189/200 in silver ink (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ‡ 152 HUANG YAN b. 1966 Mao with Dragons, 2008. Mixed media archival inkjet print and screenprint in colours, on MFA archival custom paper. Image: 88.4 × 81 cm (34 3/4 × 31 7/8 in); sheet: 108 × 86.5 cm (42 1/2 × 34 in). Signed, dated and numbered 43/200 in pencil (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 ‡ 153 HUANG YAN b. 1966 Temple of Heaven, 2008. Mixed media archival inkjet print and screenprint in colours, on MFA archival custom paper. Image: 70 × 101.2 cm (27 1/2 × 39 7/8 in); sheet: 87.6 × 119 cm (34 1/2 × 46 7/8 in). Signed, dated and numbered ‘A.P. 14/20’ in pencil (an artist’s proof, the edition was 200), published by Exhibit A Editions, New York.

Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 ‡ 154 HUANG YAN b. 1966 Self Portrait, 2008. Mixed media archival inkjet print in colours with hand-applied pochoir, on MFA archival custom paper. Image: 81.2 × 60.7 cm (32 × 23 7/8 in); sheet: 99 × 78.1 cm (39 × 30 3/4 in). Signed, dated and numbered 51/200 in pencil (there were also 20 artist’s proofs), published by Exhibit A Editions, New York.

Estimate £1, 8 0 0 – 2, 2 0 0 $2,70 0 – 3, 3 0 0 €2,0 0 0 – 2,4 0 0 ‡

154

299

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BRIC

1 pm saturday 24 april 2010 london

IndIa

Lots 155 - 224 AgArwAl, r. 223 Arni, C. & PushPAmelA n.

mCCurry, s.

168, 198, 199

211, 212, 220 newton souzA, F.

BAnerjee, r. 159, 160, 161, 162, 163 Bendiksen, j. 201 BhAllA, A. 202

PAnde, A. 209 PonmAny, j. 176 PushPAmAlA n. 155, 218 PushPAmelA n. & Arni, C.

gill, g. 196 goswAmi, d. 169, 222 guPtA, P. 205, 207 guPtA, s. 200 guPtA, s. 213, 214

211, 212, 220

rAhmAm, r. 195 rAi, r. 177, 178, 215, 216 rAj singh, s. 157 rAm, r. 171 rAnjendrAn, s. 173 rAqs mediA ColleCtive 221

hAll, t. 194 husAin, m. F. 172 jeAnneret, P. 179, 180, 181, 182, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192 jeAnneret, P. & le CorBusier 193 kAllAt, r. 210 kAPoor, A. 164, 167 kersey, A. 208 komu, r. 170 le CorBusier & jeAnneret, P. lyon, m. 197

206

sAlgAdo, s. 224 sCAriA, g. 174, 175 sCAvullo, F. 217 sen, m. 166 sikkA, B. 203, 204 thukrAl & tAgrA

158, 219

vArdhAnA, s. h. 165 vilAsini, v. 156

193

302

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155

155 PushPAmAlA n b. 1956 Motherland – The Festive Tableau, 2009. Archival inkjet print. 114 × 76 cm (44 7/8 × 29 7/8 in).

Signed, titled, dated and numbered 1/6 in pencil on the reverse of the frame. proVEnanCE Galerie Krinzinger, Vienna and Nature Morte, New Delhi Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 303

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156

157

156 VIVEK VILASINI b. 1964 Between One Shore And Several Others II, 2009. Seven digital prints on archival paper. Each 112.1 × 81 cm (44 1/8 × 31 7/8 in). Each signed, dated and numbered 3/9 on the recto. PROVENANCE Pundole Art Gallery, Mumbai Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡

157 SAMARAENDRA RAJ SINGH b. 1967 Blood, Sweat & Spangle, 2008. Oil, acrylic and foil on canvas. 152 × 274 cm (60 × 108 in). PROVENANCE Acquired directly from the artist by the present owner Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ‡ 304

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158

158 THUKRAL & TAGRA b. 1976 & b. 1979 Somnium Genero -Self, 2008. Oil on metal.

Diameter 193 cm (75.98 in), depth 30.5cm (12 in). PROVENANCE Acquired directly from the artist by the present owner Estimate £18 ,0 0 0 – 2 2,0 0 0 $27,4 0 0 – 3 3,4 0 0 €19, 8 0 0 – 24, 2 0 0 ‡ 305

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159

160

161

162

159 Rina BaneRjee b. 1963 My Sugar pot grew and grew, bloomed with oriental flavors shampooed magic mountains, and grassy, 2007. Acrylic, ink, newspaper collage and glass beads on hand-made paper. 41.9 × 30.5 cm (16 × 12 in). Signed and titled ‘Rina Banerjee’ on the reverse PROVENANCE Galerie Volker Dehl, Berlin Estimate £2,0 0 0 – 4,0 0 0 $3,0 0 0 – 6,10 0 €2, 2 0 0 – 4,4 0 0 ‡

160 Rina BaneRjee b. 1963 On the day of her arrival six seapoys and a dozen horsemen attended to her ceremonial tongue in complete displeasure, 2007. Acrylic and ink on paper.

70.5 × 50.2 cm (27 3/4 × 19 3/4 in). Signed, titled and dated ‘Rina Banerjee, 2007’ on the reverse PROVENANCE Galerie Volker Dehl, Berlin Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡

161 Rina BaneRjee b. 1963 Heredity lingered in her minds eye with blind spots and green entrails as in-laws and enemies made way, 2007. Acrylic and ink on paper. 76 × 56 cm (29 7/8 × 22 in). Signed, titled and dated ‘Rina Banerjee, 2007’ on the reverse.

PROVENANCE Galerie Volker Dehl, Berlin Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡

162 Rina BaneRjee b. 1963 A curious rain with its dropping from the sky placed and played such hairy rings – grew wilder to seed ugly orange flowers, this she observed for others, 2007.

Ink, acrylic and watercolour on hand-made paper. 76 × 56 cm (29 7/8 × 22 in).

PROVENANCE Galerie Volker Dehl, Berlin Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡ 306

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163

163 Rina BaneRjee b.1963 With Verve the creed and language of others sang high with misfortune disguised, 2007. Acrylic, ink and glass beads on paper. 75.5 × 57.8 cm (29 3/4 × 22 3/4 in). Signed, titled and dated ‘Rina Banerjee 2007’ on the reverse. PROVENANCE Galerie Volker Dehl, Berlin Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡ 307

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164

165

164 Anish KApoor b. 1954 Black Form on Red, 2007. Two-colour etching and aquatint on Somerset paper. 49.3 × 65.2 cm (19.41 × 25.67 in). This work is signed ‘Anish Kapoor’ in pencil on the lower right margin and is from an edition of 40. PROVENANCE Private Collection, London Estimate £2,5 0 0 – 3,5 0 0 $3, 8 0 0 – 5, 3 0 0 €2, 8 0 0 – 3,9 0 0 ♠ †

ThiS LoT iS SoLd wiTh no reServe 165 s. hArshA VArDhAnA b. 1958 Untitled 16, 2006. Mixed media on paper. 76 × 122 cm (29 7/8 × 48 in).

Signed and dated ‘S. harsha vardhana 2006’ on the reverse. PROVENANCE Private Collection, London Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0

•

ThiS LoT iS SoLd wiTh no reServe 166 MiThU sEn b. 1971 Wild, 2007. iron, fibreglass and hair. 93 × 5 cm (36 5/8 × 2 in).

PROVENANCE Chemould Prescott road Gallery, Mumbai Estimate £1,5 0 0 – 2,0 0 0 $2, 3 0 0 – 3,0 0 0 €1,70 0 – 2, 2 0 0

•

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166 308

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167

167 Anish KApoor b. 1954 Untitled, 1986. Gouache and ink on paper. 44.7 × 59.9 cm (17 1/2 × 23 1/2 in).

PROVENANCE Lady Latymer, Majorca; Lisson Gallery, London ExhibitEd London, The Tate Gallery, Anish Kapoor Drawings, 1990 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ♠ 309

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168

169

168 STEVE M c cURRY b. 1950 Red Boy during Holi festival, 1996. Dye destruction print, printed later. 38.7 × 57.2 cm (15 1/4 × 22 1/2 in). Signed in ink on the recto; credit stamp on the verso. PROVENANCE Magnum Photos, London ExhibitEd London, Magnum Print Room, Steve McCurry: Asia, 9 April–16 May 2008; UAE, Sharjah Art Museum, Faces of Asia, 7 May–11 June 2008; Schleswig, Stadtmuseum Schleswig, Steve McCurry: Retrospective, 13 February–17 May 2009 (each another example exhibited) litERAtuRE Steve McCurry South Southeast, London: Phaidon, 2000, n.p.; A. Bannon, Steve McCurry, London: Phaidon, 2005, cover Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0

169 DEbESh GoSwaMi b. 1965 Position VI, 2003. Dye destruction print, Diasec and flushmounted. 22 × 30 cm (8 5/8 × 11 3/4 in). Initialled, dated ‘DG / 2003’ and numbered of 15 on the reverse of the flush mount. This work is from an edition of 15 and accompanied by a certificate of authenticity. PROVENANCE Private Collection, Europe Estimate £1,0 0 0 – 2,0 0 0 $1,5 0 0 – 3,0 0 0 €1,10 0 – 2, 2 0 0

310

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170

170 RiYaS KoMU b. 1971 Hey, Why Should Everyone Look Like Mao?, 2007. Oil on canvas.

183 × 152 cm (72 × 59 7/8 in). Signed, titled and dated ‘Riyas Komu Hey, Why Should Everyone Look Like Mao? 2007’ on the reverse. PROVENANCE Wedel Fine Art, London ExhibitEd Wolverhampton, Initial Access, Frank Cohen Collection: Passage to India, 15 March 2008 – 2 August 2008 Estimate £18 ,0 0 0 – 24,0 0 0 $27,4 0 0 – 3 6,9 0 0 €19, 8 0 0 – 2 6,4 0 0 † 311

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171

171 RajESh RaM b. 1978 Heavy Load, 2008. Painted fibreglass and metal. 108 × 50.2 × 81.3 cm (42 1/2 × 19 3/4 × 32 in). . PROVENANCE Vadehra Art Gallery, New Delhi ExhibitEd New Delhi, Vadehra Art Gallery, Travancore House, Urgent, 14–27 August 2008 Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 † 312

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172

172 MaQbooL FiDa hUSaiN b. 1915 Horse, Rider and Nude, 1981. Acrylic on canvas.

81.3 × 61 cm (32 × 24 in). This work is accompanied by a certificate of authenticity.

PROVENANCE Galerie Jourdan, Montreal; Private Collection, Montreal Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 91, 2 0 0 €4 4,0 0 0 – 6 6,0 0 0 ‡ 313

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173

174

175

173 SUMEDH RANJENDRAN b. 1972 More Dead than Alive, 2008. Wood, steel, ceramic tiles, stone and artificial leather. 145 × 200 × 36 cm (57 1/8 × 78 3/4 × 14 1/8 in).

PROVENANCE Private Collection, Berlin Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0

174 GIGI SCARIA b. 1974 Someone left a horse on the shore, 2007. Digital print on archival paper. 91.4 × 136.8 cm (35 × 53 7/8 in). Signed, dated and numbered 4/5 in ink in the margin. Accompanied by a certificate of authenticity. One from an edition of 5 plus 2 artist’s proofs. PROVENANCE Galerie Christian Hosp, Berlin Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 175 GIGI SCARIA b. 1974 Post Land, 2008. Digital print on archival paper. 109.2 × 163.5 cm (43 × 64 3/8 in). Signed, dated and numbered 4/5 in pencil in the margin. Accompanied by a certificate of authenticity. One from an edition of 5 plus 2 artist’s proofs. PROVENANCE Galerie Christian Hosp, Berlin Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 314

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176

177

178

176 JUSTIN PONMANY b. 1974 Kundali, 2008. Acrylic and holographic pigment on canvas in two parts. Overall: 190.5 × 325.1 cm (75 × 128 in). PROVENANCE Acquired directly from the artist by the present owner Estimate £18 ,0 0 0 – 2 2,0 0 0 $27,4 0 0 – 3 3,4 0 0 €19, 8 0 0 – 24, 2 0 0 ‡

178 RAGHU RAI b. 1942 Among the Goddesses, Calcutta, 1991. Archival pigment print, printed 2010. 50.8 × 76.5 cm (20 × 30 1/8 in). Signed in ink in the margin. Number 4 from an edition of 10. PROVENANCE Magnum Photos, London Estimate £ 3,0 0 0 – 4,0 0 0 $4,6 0 0 – 6,10 0 € 3, 3 0 0 – 4,4 0 0

177 RAGHU RAI b. 1942 Road Side Scene, Shimla, 1992. Archival pigment print, printed 2010. 50.8 × 75.2 cm (20 × 29 5/8 in). Signed in ink in the margin. Number 5 from an edition of 10. PROVENANCE Magnum Photos, London Estimate £ 3,0 0 0 – 4,0 0 0 $4,6 0 0 – 6,10 0 € 3, 3 0 0 – 4,4 0 0

315

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Furniture oF Chandigarh 1952 – 1956

During the Partition of India in 1947, Punjab lost Lahore, its capital, to Pakistan. In his

Aided by admiring Indian colleagues, Jeanneret built a series of residential and civic

haste to quit the heat, Border Commissions chair Sir Cyril Radcliffe had drawn a

buildings including the dramatic Ghandi Bhawan, the library of Ghandian studies at

reckless line through towns, fields, even houses. In the Punjab alone, ten million

Punjab University. Its canted roofs, like wings, expressed the lofty aspirations of the

Muslims, Hindus, and Sikhs were displaced. Radcliffe had never been to India before

project. For Jeanneret, no detail was too small; he designed lampposts, manhole

and only stayed five weeks.

covers, paddle boats—everything. Out of necessity, and with respect for his surroundings, he employed local craftsmen to build with local materials.

Addressing the urgent need for a Punjabi capital, Prime Minister Nehru commissioned the planning and construction of Chandigarh, a model city to be built

Unlike Sir Radcliffe’s recess, Jeanneret’s fifteen year stay in India was a lifetime.

in the foothills of the Himalayas. Named for the Hindu goddess Chandi (bearer of

Architectural critic Patwant Singh wrote: ‘His solutions were not impatient

lotus and lightning), Chandigarh would function as the symbol of a progressive and

impositions.’ Jeanneret helped build by hand what Radcliffe’s arbitrary sweep could

auspicious Indian future.

not: a modern India. When Jeanneret returned to Europe in 1965, ill and unable to work, he reportedly lamented, ‘I am leaving my home and going to a foreign country’.

American planner Albert Mayer and Polish architect Matthew Nowicki drafted the

His ashes, returned to Chandigarh, were scattered on Lake Sukhna.

first drawings of the city, a rectangular grid of ‘superblocks’ intended to house 500,000 residents. Nowicki died in a plane crash in 1950, and Mayer withdrew from the project. In their stead, Le Corbusier and his cousin Pierre Jeanneret undertook the design and completion of the capital complex, including ‘sectors’ for housing, government offices, industry, and commerce. Jeanneret became chief architect after

Le Corbusier and Prime minister Nehru with Pierre Jeanneret to the right of Nehru, on the building’s official opening, showing chairs of this design

© FLC/ADAGP, Paris and DACS, London 2010

© FLC/ADAGP, Paris and DACS, London 2010

Le Corbusier’s own departure in 1959.

Interior of eight courtrooms as seen in 1997 showing Judge’s desks and reader’s tables

316

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179

179 PIERRE JEANNERET 1896–1967 Pair of ‘Bridge’ chairs, from High Court, Chandigarh, India, 1952–56. Teak, vinyl. Each: 88 cm (34 1/4 in) high. One stretcher painted ‘H. C. 29,/8’, and the other stretcher ‘H.C. 28/21’ (2). PROVENANCE High Court, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June –12 July 2009 litERAtuRE Le Corbusier, My Work, London, 1960, p. 241 Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 317

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180

180 PIERRE JEANNERET 1896–1967 Pair of ‘Easy’ armchairs, from Punjab University, Chandigarh, India, 1952–56. Teak, cane. (2.). Each: 74 cm (29 in) high. PROVENANCE Punjab University, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 litERAtuRE Norma Evenson, Chandigarh, Los Angeles, 1966, pls. 82–83; Sarbjit Bahga and Surinder Bahga, Le Corbusier and Pierre Jeanneret: Footprints on the Sands of Indian Architecture, New Delhi, 2000, p. 258; Kiran Joshi, ed., Corbusier’s Concrete: Challenges of Conserving Modern Heritage, New Delhi, 2005 pp.158–59 Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 318

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181

181 PIERRE JEANNERET 1896–1967 Writing table, from High Court, Chandigarh, India, 1952–56. Teak-veneered wood, teak. 73.5 × 187 × 189.5 cm (29 × 73 1/2 × 74 1/2 in).

PROVENANCE High Court, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 319

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182

183

182 PIERRE JEANNERET 1896–1967 Coffee table, from Chandigarh, India, 1952–56. Teak, glass. 42 × 125 × 46 cm (16 1/2 × 49 1/4 × 18 1/8 in). PROVENANCE Administrative building, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0

183 PIERRE JEANNERET 1896–1967 Side unit, from Chandigarh, India, 1952–56. Teakveneered wood, teak. 53 × 46 × 45.5 cm (20 7/8 × 18 1/8 × 17 7/8 in). Side of unit painted with text and ‘137’. PROVENANCE Administrative building, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 Estimate £1,5 0 0 – 2,0 0 0 $2, 3 0 0 – 3,0 0 0 €1,70 0 – 2, 2 0 0 320

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184

184 PIERRE JEANNERET 1896–1967 Sofa set, from Punjab University, Chandigarh, India, 1952–56. Teak, fabric. Each chair: 82.5 cm (32 1/2 in) high; sofa: 81 × 158 × 64 cm (31 7/8 × 62 1/4 × 25 1/4 in). Comprising two chairs and one sofa (3). PROVENANCE Punjab University, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 4,0 0 0 €16,5 0 0 – 2 2,0 0 0 321

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185, 186

185 PIERRE JEANNERET 1896–1967 Pair of ‘Senate’ chairs, from High Court, Chandigarh, India, 1952–56. Teak, vinyl (2). Each: 92.5 cm (36 1/2 in) high. pROVENANCE High Court, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 litERAtuRE Norma Evenson, Chandigarh, Los Angeles, 1966, pls. 114–15; Philippe Sers, ed., Le Corbusier Œuvre Tissé, Paris, 1987, p. 80; Willy Boesiger, ed., Le Corbusier et Son Atelier rue de Sevres 35, Œuvre Complète 1957–1965, New York, 1990, p. 91 Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0

186 PIERRE JEANNERET 1896–1967 Straight leg bench, from High Court, Chandigarh, India, 1952–56. Teak, vinyl. 85.5 × 140 × 58.5 cm (33 3/4 × 55 × 23 in). pROVENANCE High Court, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0

322

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187

187 PIERRE JEANNERET 1896–1967 Clerk’s desk and ‘Conference’ chair, from Chandigarh, India, 1952–56. Desk: Indian rosewood, leather; chair: teak, cane. Desk: 72.5 × 122 × 84 cm (28 5/8 × 48 × 33 in); chair: 79 cm (31 in) high. Front edge of desk painted with ‘CS/OT 1442’. pROVENANCE Administrative building, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 323

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188, 189

190

190 PIERRE JEANNERET 1896–1967 Pair of ‘Library’ chairs, from Punjab University, Chandigarh, India, 1952–56. Teak, cane. Each: 78 cm (30 3/4 in) high. Back edge of one seat painted ‘C–6 211’ (2). PROVENANCE Punjab University, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 litERAtuRE Norma Evenson, Chandigarh, Los Angeles, 1966, pl. 78; Kiran Joshi, Documenting Chandigarh: Volume 1, Ahmedabad, 1999, p. 225, fig. 3 Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0

188 PIERRE JEANNERET 1896–1967 Dining table, from Chandigarh, India, 1952–56.

Teak-veneered wood, teak. 71 × 90.5 × 90.5 cm (28 × 35 1/2 × 35 1/2 in).

PROVENANCE Administrative building, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 189 PIERRE JEANNERET 1896–1967 Set of four ‘Conference’ chairs, from Chandigarh, India, 1952–56. Teak, cane. Each: 79 cm (31 in) high. Each back seat edge and leg painted with circular mark, text and ‘25’ (4). PROVENANCE Administrative building, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 324

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22/03/10 14:50

191, 192

191 PIERRE JEANNERET 1896–1967 Work table, from Chandigarh, India, 1952–56. Teak.

73 × 99 × 58.5 cm (28 3/4 × 39 × 23 in). One side of desk painted with ‘J140’.

PROVENANCE Administrative building, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0

192 PIERRE JEANNERET 1896–1967 ‘Clerk’s’ chair, from Chandigarh, India, 1952–56. Teak, cane. 86 cm (33 7/8 in) high. Stretcher painted with ‘C–8/ 87 A.P. edu’. PROVENANCE Administrative building, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 325

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© FlC/AdAGP, Paris and dACS, london 2010 © FlC/AdAGP, Paris and dACS, london 2010

Interior of a courtroom showing a Judge’s desk and reader’s table

Early courtroom drawing signed by Le Corbusier

326

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20/03/10 10:57

193

193 LE CORBUSIER AND PIERRE JEANNERET 1887–1965; 1896–1967 Judge’s and reader’s table, from High Court, Chandigarh, India, 1952–56. Teak-veneered wood, teak (2). 74 × 323 × 252.5 cm (29 1/8 × 127 1/4 × 99 1/4 in).

PROVENANCE High Court, Chandigarh, India ExhibitEd P3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009 litERAtuRE Philippe Sers, ed., Le Corbusier Œuvre Tissé, Paris, 1987, p. 17; Chris Gordon and Kris Kilian, Chandigarh: Forty Years After Le Corbusier, Amsterdam, 1992, p. 31; Willy Boesiger, ed., Le Corbusier et Son Atelier rue de Sevres 35, Œuvre Complète 1957–1965, New York, 1990, pp. 66–67; Jean-Louis Cohen and Tim Benton, Le Corbusier Le Grand, London, 2008, p. 489 Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 327

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22/03/10 14:51

194

195

194 TIM HALL b. 1966 Varanasi Rooftops from Pilgrimage, 2002. Archival pigment print, printed 2010. 101.6 × 101.6 cm (40 × 40 in). Accompanied by a signed certificate of authenticity. Number 4 from an edition of 5. PROVENANCE Acquired directly from the artist Estimate £1,5 0 0 – 2,5 0 0 $2, 3 0 0 – 3, 8 0 0 €1,70 0 – 2, 8 0 0 †

195 RAM RAHMAN b. 1955 Wrestlers, Dangal Maidan, Jama Masjid, Dehli, 1992. Gelatin silver print. 38.7 × 48.3 cm (15 1/4 × 19 in). Signed, titled, dated and numbered 1/25 in pencil on the reverse of the mount. PROVENANCE Galerie Krinzinger, Vienna and Nature Morte, New Delhi Estimate £ 8 0 0 –1, 2 0 0 $1, 2 0 0 –1, 8 0 0 €9 0 0 –1, 3 0 0 ‡ 328

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20/03/10 14:29

196

197

196 GAURI GILL b. 1970 Ballika Mela # 13, 2003. Gelatin silver print, printed 2010. 71.1 × 104.1 cm (28 × 41 in). Signed, dated ‘2010’ and numbered 2/7 in pencil on the verso.

PROVENANCE Galerie Krinzinger, Vienna and Nature Morte, New Delhi Estimate £1,5 0 0 – 2,5 0 0 $2, 3 0 0 – 3, 8 0 0 €1,70 0 – 2, 8 0 0 ‡

197 MARCUS LYON b. 1965 Ghatkophar Wadi, Mumbai, India from The BRICs Series, 2008.

Digital colour coupler print, flush-mounted. 76.8 × 115.6 cm (30 1/4 × 45 1/2 in). Signed in ink, printed title, date and number 8/10 on a label affixed to the reverse of the frame.

PROVENANCE Acquired directly from the artist Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 † 329

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20/03/10 10:58

198

199

198 STEVE MccURRY b. 1950 Uttar Pradesh, India, 1983. Dye destruction print, printed later. 33 × 49.5 cm (13 × 19 1/2 in). Signed in ink on the verso. PROVENANCE Acquired directly from the artist litERAtuRE Steve McCurry South Southeast, London: Phaidon, 2000, n.p.

Estimate £1,5 0 0 – 2,0 0 0 $2, 3 0 0 – 3,0 0 0 €1,70 0 – 2, 2 0 0 Ω

199 STEVE MccURRY b. 1950 Reflection, Agra, India, 1999. Dye destruction print, printed later. 33 × 49.5 cm (13 × 19 1/2 in). Signed in ink on the verso. PROVENANCE Acquired directly from the artist litERAtuRE Steve McCurry South Southeast, London: Phaidon, 2000, n.p.

Estimate £1,5 0 0 – 2,0 0 0 $2, 3 0 0 – 3,0 0 0 €1,70 0 – 2, 2 0 0 Ω 330

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20/03/10 09:56

200

201

200 Shilpa GUpTa b. 1976 There are No Borders Here, 2006. Archival print flush-mounted to aluminium. 79 × 105.8 cm (31 1/8 × 41 5/8 in). This work is from an edition of 10.

PROVENANCE Acquired directly from the artist; Private Collection, London Estimate £1,5 0 0 – 2,0 0 0 $2, 3 0 0 – 3,0 0 0 €1,70 0 – 2, 2 0 0

201 JONaS BENDiKSEN b. 1977 A little girl playing in Laxmi Chawl, Dharavi from The Places We Live, 2006. Archival pigment print, printed 2009. 40.6 × 61 cm (16 × 24 in). Signed and numbered 2/20 in ink on the verso. PROVENANCE Magnum Photos, London ExhibitEd Oslo, Nobel Peace Centre, The Places We Live, 6 June 2008 – 1 February 2009 (another example exhibited) litERAtuRE Aperture, J. Bendiksen, The Places We Live, 2008, cover Estimate £1,0 0 0 – 2,0 0 0 $1,5 0 0 – 3,0 0 0 €1,10 0 – 2, 2 0 0 ♠ 331

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202

202 ATUL BHALLA b. 1964 River Crossing, 2008. Archival pigment print. 121.6 × 114.3 cm (47 7/8 × 45 in). Signed and dated in pencil on the recto; signed, dated and numbered 4/5 in pencil on the verso. PROVENANCE Galerie Espace, New Delhi Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 ‡ 332

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20/03/10 11:00

203

204

203 BHARAT SIKKA b. 1973 Oil Tanker, Goa, 2006. Archival inkjet print, flush-mounted. 102 × 127 cm (40 1/8 × 50 in). Signed in ink on a label affixed to the reverse of the frame.

Number 4 from and edition of 6. PROVENANCE Galerie Krinzinger, Vienna and Nature Morte, New Delhi Estimate £2,0 0 0 – 4,0 0 0 $3,0 0 0 – 6,10 0 €2, 2 0 0 – 4,4 0 0

204 BHARAT SIKKA b. 1973 Metro Bridge, Dwarka, 2006. Archival inkjet print, flushmounted. 102 × 127 cm (40 1/8 × 50 in). Signed in ink on a label affixed to the reverse of the frame. Number 3 from and edition of 6. PROVENANCE Galerie Krinzinger, Vienna and Nature Morte, New Delhi Estimate £2,0 0 0 – 4,0 0 0 $3,0 0 0 – 6,10 0 €2, 2 0 0 – 4,4 0 0 333

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20/03/10 11:00

205

206

205 PROBIR GUPTA b. 1960 Eggs and Anxiety, 2006. Acrylic on canvas. 198.2 × 193 cm (78 × 76 in). Signed, titled and dated ‘Eggs & Anxiety ’06 Probir’ on the reverse. This work is accompanied by a certificate of authenticity. PROVENANCE Bodhi Art, Mumbai ExhibitEd New York, Bodhi Art, Probir Gupta: To Whomsoever it may concern, 16 May–16 June 2007 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0

206 FRAncIs newTOn sOUzA 1924 – 2002 Portrait of a Man, 1956. Gesso and ink on paper.

67.3 × 50.5 cm (26 1/2 × 19 7/8 in). Signed ‘Souza 56’ upper left. PROVENANCE Ragnar Zedell Kunst & Antik, Stockholm Estimate £14,0 0 0 –18 ,0 0 0 $3 2, 3 0 0 – 27,4 0 0 €15,4 0 0 –19, 8 0 0 †

334

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207

207 PROBIR GUPTA b. 1960 Anti-Colonial Inputs, 2006. Three parts: acrylic on canvas in two parts and seven gelatin silver prints in artist’s wooden frame. Overall: 212.5 × 243.7 cm (83 5/8 × 96 in). Signed and dated ‘Probir 06’ on the reverse of each, titled ‘anti-colonial inputs’ on the reverse of left panel. PROVENANCE Bodhi Art, New Delhi; Wedel Fine Art, London ExhibitEd New Delhi, Bodhi Art, Gallery Collection, 4 – 31 October 2007 Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 91, 2 0 0 €4 4,0 0 0 – 6 6,0 0 0 † 335

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208

208 ALEXIS KERSEY b. 1976 On Reflection, 2008. Mixed media on canvas and artist’s wooden frame. 137 × 168 cm (53.9 × 66 in). PROVENANCE Acquired directly from the artist by the present owner Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 336

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20/03/10 10:04

209

209 ADITYA PANDE b. 1976 Vore 2: The Circus of Faith, 2008. Giclée and enamel paint on paper. 111.7 × 167.6 cm (44 × 66 in). Signed and dated ‘PANDE 08’ lower right.

PROVENANCE Acquired directly from the artist by the present owner Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 337

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20/03/10 10:04

210

210 Reena Kallat b. 1973 Synonym 5 2008. Acrylic paint and rubberstamps on Plexiglas.

190 × 146 × 31 cm (75 × 57 1/2 × 12 in). PROVENANCE Chemuld Prescott Gallery, Mumbai Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 2 2,0 0 0 €16,5 0 0 – 2 2,0 0 0 ‡ 338

BRIC_PP338-346_revise.indd 338

20/03/10 12:17

211

212

211 PUSHPaMala n. & ClaRe aRnI b. 1956 & b. 1962 Cracking the Whip Contact Sheet D from Native Women of South India (Manners and Customs), The Ethnographic Series, 2000– 04. Sepia toned gelatin silver contact sheet. 30.2 × 22.7 cm (11 7/8 × 8 15/16 in). Signed, dated, numbered 10/20 and annotated ‘Whip Contact Sheet D’ in pencil on the verso.

PROVENANCE Galerie Krinzinger, Vienna and Nature Morte, New Delhi ExhibitEd London, Saatchi Gallery, The Empire Strikes Back: Indian Art Today, 29 January – 7 May 2010 (another example exhibited) litERAtuRE India Foundation for the Arts, Pushpamala N. and Claire Arni, Native Women of South India: Manners & Customs, Banglore, 2004, p. 63– 64; Exhibition catalogue, The Empire Strikes Back: Indian Art Today, London: Saatchi Gallery and Jonathan Cape, 2009, pp. 94–95 Estimate £ 8 0 0 –1, 2 0 0 $1, 2 0 0 –1, 8 0 0 €9 0 0 –1, 3 0 0 ♠

212 PUSHPaMala n. & ClaRe aRnI b. 1956 & b. 1962 Four Toda Prints from Native Women of South India (Manners and Customs), The Ethnographic Series, 2000–04. Four sepia toned gelatin silver prints. Three prints 13 × 8.9 cm (5 1/8 × 3 1/2 in) and one print 11.4 × 8.9 cm (4 1/2 × 3 1/2 in). Each signed, dated, numbered 10/20 and annotated ‘Toda D–14’, ‘Toda H–5’, ‘Toda B–21’ or ‘Toda A–10’ in pencil on the verso. PROVENANCE Galerie Krinzinger, Vienna and Nature Morte, New Delhi ExhibitEd London, Saatchi Gallery, The Empire Strikes Back: Indian Art Today, 29 January – 7 May 2010 (another example exhibited) litERAtuRE India Foundation for the Arts, Pushpamala N. and Claire Arni, Native Women of South India: Manners & Customs, Banglore, 2004, pp. 66–67; Exhibition catalogue, The Empire Strikes Back: Indian Art Today, London: Saatchi Gallery and Jonathan Cape, 2009, p. 94–95 Estimate £ 8 0 0 –1, 2 0 0 $1, 2 0 0 –1, 8 0 0 €9 0 0 –1, 3 0 0 ♠

339

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20/03/10 10:06

213

214 213 SUnIl GUPta b. 1953 Pavitr from the series Mr Malhotra’s Party, 2007. Inkjet print, printed 2008. 106.7 × 106.7 cm (42 × 42 in). Signed, titled, dated ‘2008’ and numbered 1/5 in pencil in the margin. PROVENANCE Private Collection, UK ExhibitEd Street and Studio: an urban history of photography: London, Tate Modern, 22 May–31 August 2008 and Essen, Museum Folkwang, 11 October 2008 –11 January 2009 (each another example exhibited) litERAtuRE Exhibition catalogue, Tate, Street and Studio: an urban history of photography, London: Tate Publishing, 2008, p. 134 Estimate £2,5 0 0 – 3,5 0 0 $3, 8 0 0 – 5, 3 0 0 €2, 8 0 0 – 3,9 0 0

214 SUnIl GUPta b. 1953 Bikram from the series Mr Malhotra’s Party, 2007. Inkjet print, printed 2008. 106.7 × 106.7 cm (42 × 42 in). Signed, titled, dated ‘2008’ and numbered 1/5 in pencil in the margin. PROVENANCE Private Collection, UK ExhibitEd Street and Studio: an urban history of photography: London, Tate Modern, 22 May–31 August 2008 and Essen, Museum Folkwang, 11 October 2008 –11 January 2009 (each another example exhibited) litERAtuRE Exhibition catalogue, Street and Studio: an urban history of photography, London: Tate Publishing, 2008, p. 211 Estimate £2,5 0 0 – 3,5 0 0 $3, 8 0 0 – 5, 3 0 0 €2, 8 0 0 – 3,9 0 0

340

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215

216

215 RaGHU RaI b. 1942 Dusk Time at Mahabalipuram, 1996. Archival pigment print, printed 2010. 50.8 × 76.5 cm (20 × 30 1/8 in). Signed in ink in the margin. One from an edition of 10.

PROVENANCE Magnum Photos, London Estimate £ 3,0 0 0 – 4,0 0 0 $4,6 0 0 – 6,10 0 € 3, 3 0 0 – 4,4 0 0

216 RaGHU RaI b. 1942 Morning Rituals On The River Front, Kolkata, India, 2004.

Archival pigment print, printed 2010. 50.8 × 77.2 cm (20 × 30 3/8 in). Signed in ink in the margin. Number 3 from an edition of 10. PROVENANCE Magnum Photos, London litERAtuRE Raghu Rai’s India: Reflections in Colour, Haus Publishing, 2008, cover Estimate £ 3,0 0 0 – 4,0 0 0 $4,6 0 0 – 6,10 0 € 3, 3 0 0 – 4,4 0 0

341

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217

218 THIS LOT IS SOLD WITH NO rESErVE 217 FRanCeSCO SCaVUllO 1921–2004 Ravi Shankar, 1977. Gelatin silver print, printed 2004. 54.6 × 44.5 cm (21 1/2 × 17 1/2 in). Signed, numbered 148/150 in ink and copyright credit stamp on the verso. PROVENANCE Art Beaufort, Hamburg Estimate £70 0 – 9 0 0 $1,10 0 –1,4 0 0 €75 0 –1,0 0 0

218 PUSHPaMala n. b. 1956 Nurse (from the Mumbai photo studio series), 2000 – 03. Black and white coupler print. 45.5 × 61.5 cm (17.91 × 24.21 in). image 50.7 × 68.5 cm paper.

Signed, titled and numbered in pencil along the lower edge of the reverse. This work is from an edition of ten. PROVENANCE Private Collector, New Delhi Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 342

BRIC_PP338-346_revise.indd 342

•

20/03/10 10:06

219

219 tHUKRal & taGRa b. 1976 & b. 1979 Morpheus – 5, 2007. Acrylic and oil on canvas.

96.5 × 71.1 cm (38 × 28 in). PROVENANCE Wedel Fine Art, London ExhibitEd Wolverhampton, Initial Access, Frank Cohen Collection: Passage to India, 15 March 2008 – 2 August 2008 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 † 343

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20/03/10 10:07

220

220 PUSHPAMALA N. & CLARE ARNI b. 1956 & b. 1962 The Ethnographic Series from the project Native Women of South India (Manners & Customs), 2000–04. Forty-five sepia-toned gelatin silver prints. Thirty-two prints 14.5 × 10.2 cm (5 3/4 × 4 in); ten prints 23.5 × 15 cm (9 1/4 × 5 7/8 in) and three prints 30 × 22.8 cm (11 3/4 × 9 in). Each signed, dated, numbered of 20 and annotated in pencil on the reverse. These works are from an edition of 20. PROVENANCE Galerie Krinzinger, Vienna and Nature Morte, New Delhi Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ♠ ‡ 344

BRIC_PP338-346_revise.indd 344

20/03/10 12:41

345

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20/03/10 15:17

221

222

221 RAQS MEDIA COLLECTIVE founded 1992 Brazen (Pittsburgh Torpedo), 2008. Archival digital print, Diasec mounted. 152.4 × 101.6 cm (60 × 40 in). PROVENANCE Acquired directly from the artist by the present owner Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0

222 DEbESh GOSwAMI b. 1965 Stupa II, 2007. Dye destruction print, Diasec and flushmounted. 33 × 100 cm (13 × 39 3/8 in). Initialled, dated ‘DG / 2007’ and numbered of 10 on the reverse of the flush mount. This work is from an edition of 10 and accompanied by a certificate of authenticity. PROVENANCE Private Collection, Europe Estimate £2,5 0 0 – 3,5 0 0 $3, 8 0 0 – 5, 3 0 0 €2, 8 0 0 – 3,9 0 0 346

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223

224

223 RAVI AGARwAL b. 1958 River Bank I, 2007. Archival inkjet print. 106.7 × 152.4 cm (42 × 60 in). Signed, dated and numbered 4/5 in pencil on the verso. PROVENANCE Galerie Espace, New Delhi Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡

224 SEbASTIÃO SALGADO b. 1944 Indian Woman, 2003. Gelatin silver print, printed 2007.

35.2 × 52.4 cm (13 7/8 × 20 5/8 in). Blindstamp in the margin; signed, titled ‘India’ and dated in pencil on the verso. PROVENANCE Acquired directly from the artist Estimate £2,5 0 0 – 3,5 0 0 $3, 8 0 0 – 5, 3 0 0 €2, 8 0 0 – 3,9 0 0 ♠ Ω 347

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20/03/10 10:42

BRIC_RUSSIA_348-349_open.indd 348

20/03/10 11:22

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BRIC

3p m saturday 24 april 2010 london

RUSSIA LotS 225 - 331

AES+F 302, 311 ALPERIN, S. 254 ALPERT 255 ANONYMOUS 261, 262 BAKHAREV, N. 315, 316 BAKHCHANYAN, V. 237, 238 BALTERMANTS, D. 303, 304 BENDIKSEN, J. 306 BLUE NOSES 294 BRATKOV, S. 324 BRUSKIN, G. 265, 267 BRUSILOVSKY, A. 266 BULATOV, E. 289, 322 CARTIER-BRESSON, H. 307, 308 CHELKOVSKI, I. 239, 240 CHILIKOV, S. 330 CHUIKOV, I. 280, 282 DIAMENT, R. 263 DUBOSSARSKY, V. & VINOGRADOV, A. 281, 292, 299 FRIDLAND, S. 260

KOPYSTIANSKY, I. 298 KORDA, A. 305 KOSOLAPOV, A. 309 KOSTROMA, A. 287, 326 KOVALSKY, S. 329 KUDRYASHOV, O. 268 KULIK, O. 314 LUBENNIKOV, I. 296 MAYAKOVSKY, V. & RODCHENKO, A. 241 MIKHAILOV, B. 310 NAPPELBAUM, M. 257, 258 NESTEROVA, N. 297 NOVIKOV, T. 291 OSHERKOV, M. 256 OSMOLOVSKY, A. 293 OSTRETSOV, G. 325 PEPPERSTEIN, P. 301 PETROV, A. 230 PG GROUP 300 POPOVA, L. 250 PURYGIN, L. 269

SHABELNIKOV, Y. & KHOROVSKY, Y. 331 SHABLAVIN, S. 278 SHAGIN, I. 276 SHVARTSMAN, M. 249 SMIRNOFF, V. 327 SOKOV, L. 323 STEINBERG, E. 270, 271 STRAUKAS, V. 319, 320, 321 SUNDUKOV, A. 245, 246 SVESHNIKOV, B. 328 TARKOVSKY, A. 312 TIMOFEEVA, V. & VRUBEL, D. 290 TROFYMOR, A. 317 TSELKOV, O. 248 TYSHLER, A. 228, 229 VASSILIEV, O. 225, 226, 277, 288 VKHUTEMAS WORKSHOPS 251, 252, 253 VINOGRADOV, A. & DUBOSSARSKY, V. 281, 292, 299 VOLKOV, S. 231, 283 VOLKOV, V. A. 286 VRUBEL, D. & TIMOFEEVA, V. 290 YANKILEVSKY, V. 242, 244

GUSOV, S. 318 KABAKOV, I. 279 KHALDEI, Y. 264, 273, 275 KELLER, E. 285, 295 KHOROVSKY, Y. & SHABELNIKOV, Y. 331

RABIN, O. 227, 243 RAMBACH 274 RODCHENKO, A. & MAYAKOVSKY, V. 241 RODCHENKO, A. 232, 233, 234, 235, 236 RUKHIN, E. 284

ZAKHAROV, V. 272 ZELMA, G. 259 ZAKHAROV, A. 247 ZVEZDOCHETOV, K. 313

350

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225

225 OLEG VASSILIEV b. 1931 Path to the Lake, 2001. Oil on canvas. 146.3 × 93.2 cm (57 5/8 × 36 3/4 in). Signed with artist’s monogram and dated ‘01’ lower right. Signed, titled and dated ‘O. Vassiliev “PATH TO THE LAKE” 2001’ on the reverse. proVEnanCE Acquired directly from the artist; Private Collection, Europe litEraturE K. Vassilieva and N. Kolodzei, Oleg Vassiliev. Memory Speaks, St Petersburg: Palace Editions, 2004, p. 148 (illustrated) Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 6 6,0 0 0 €4 4,0 0 0 – 6 6,0 0 0 ♠ 351

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226

226 OLEG VASSILIEV b. 1931 Awaiting, 1994. Coloured pencil on paper. 54 × 38 cm (21 1/4 × 15 in). Signed with artist’s monogram and dated ‘94’ lower right. proVEnanCE Acquired directly from the artist; Private Collection, Europe Estimate £ 8 ,0 0 0 –10,0 0 0 $12, 2 0 0 –15, 2 0 0 € 8 , 8 0 0 –11,0 0 0 ♠ 352

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227 OSCAR RABIN b. 1928 Untitled, 1967. Oil on canvas. 41 × 72 cm (16 1/8 × 28 3/8 in).

Signed in Cyrillic and dated ‘RABIN 67’ lower left. proVEnanCE Acquired directly from the artist’s family; Private Collection, Europe Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 91, 2 0 0 €4 4,0 0 0 – 6 6,0 0 0 ♠ ‡ 353

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228 ALExANDER TYSHLER 1898 – 1980 The Poet, 1971. Oil on canvas. 60 × 60 cm (23 5/8 × 23 5/8 in).

Signed in Cyrillic and dated ‘A.Tyshler 71’ lower left. proVEnanCE Acquired directly from the artist and then by descent; International Images Ltd, Sedwickly, Pennsylvania Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0 ‡ 354

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229 ALExANDER TYSHLER 1898 – 1980 Family Portrait, 1979. Oil on canvas. 60 × 60 cm (23 5/8 × 23 5/8 in). Signed in Cyrillic and dated ‘A.Tysher 79’ lower right. proVEnanCE Acquired directly from the artist and then by descent; International Images Ltd, Sedwickly, Pennsylvania Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €5 5,0 0 0 –7 7,0 0 0 ‡ 355

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230 ARKADI PETROV b. 1940 Shooting gallery, 1984. Oil on fibreboard. 55.8 × 65.1 cm (22 × 25 5/8 in).

Signed in Cyrillic ‘Arkadi Petrov’ lower right. Signed, titled in Cyrillic and dated ‘Arkadi Petrov “Shooting Gallery” 1984’ on the reverse. proVEnanCE Acquired directly from the artist; Private Collection, Europe Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 ♠ 356

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231 SERGEY VOLKOV b. 1956 Untitled (Hares), 1987. Oil on canvas. 200 × 150 cm (78 3/4 × 59 in). Signed and titled in Cyrillic and dated ‘S. Volkov Untitled (Hares) 1987’ on the reverse. proVEnanCE Anon. sale Sotheby’s Moscow, Russian Avant-garde & Soviet Contemporary Art, 7 July 1988, lot 108; acquired at the above sale by the present owner Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ ‡ 357

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232 ALExANDER RODCHENKO 1891–1956 Actress, Producer, Poet, 1930. Gelatin silver print. 7.5 × 10.5 cm (2 15/16 × 4 1/8 in). Signed, inscribed in Cyrillic and dated ‘Y. Solntseva – actress, director A. Dorzhenko... third, me A. Kruchenykh.

Photographer A. Rodchenko. 13/ IV 1930. To my dear nephews in remembrance. 26/ XII/’ by Alexei Kruchenykh in ink on the verso. proVEnanCE Acquired directly from the collection of the poet, Alexei Kruchenykh; Private Collection, USA litEraturE A. Lavrentiev, Alexander Rodchenko: Photography, 1924–1954, New Jersey: Knickerbocker Press, 1996, p. 105 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 Ω 358

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233 ALExANDER RODCHENKO 1891–1956 Mayakovsky with Scottie, 1924. Gelatin silver print. 43.8 × 32.1 cm (17 1/4 × 12 5/8 in). Two credit stamps and credit, title, date in an unidentified hand in pencil on the verso. proVEnanCE Rodchenko/Stepanova Archives, Moscow; Howard Schickler Fine Art, New York; Private Collection, USA litEraturE A. Lavrentiev, Alexander Rodchenko: Photography, 1924–1954, New Jersey: Knickerbocker Press, 1996, p. 137; G. Shudakov et al., Pioneers of Soviet Photography, London: Thames and Hudson, 1983, p. 217; Revolution in Photography, Moscow: Moscow House of Photography, 2008, p. 42 Estimate £18 ,0 0 0 – 2 2,0 0 0 $27,4 0 0 – 3 3,4 0 0 €19, 8 0 0 – 24, 2 0 0 Ω

Vladimir Vladimirovich Mayakovsky (1893 –1930) was one of the leading poets and activists of his time, and also one of Rodchenko’s first and most familiar subjects to go before his camera. The original purpose of this photograph was to be one of a series of posed images for use in Rodchenko and Mayakovsky’s future collaborations. One story records that ‘Mayakovsky arrived in the late afternoon, when there was little light, which is why the shot was taken outdoors. Kotik the dog, who loved ice-dream, had eaten everything that Mayakovsky had bought, which is why the poet is holding him in his arm like a baby.

Mayakovsky easily identified with dogs. His nickname was “Shchen” (“little dog”), which was how he signed letters and telegrams’ (from Memoirs of Lili Brik, in G. Shudakov et al., Pioneers of Soviet Photography, London: Thames and Hudson, 1983, p. 217).

359

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234

360

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234 ALExANDER RODCHENKO 1891–1956 Rodchenko Museum Series Portfolio #2: Portraits.

Rodchenko/Stepanova Archives, Moscow and Howard Schickler Fine Art, New York, 1997: Twenty-eight gelatin silver prints, printed later by Alexander Lavrientiev and Yuri Plaksin. Varying sizes from 15.2 × 22.2 cm (6 × 8 3/4 in) to 24.1 × 18.4 cm (9 1/2 × 7 1/4 in) or the reverse. Each numbered Portfolio no. ‘18’, ‘1–28’ sequentionally in an unidentified hand in ink on a label affixed to the reverse of the mount. Colophon. Contained in a leather clamshell case. Number 18 from an edition of 30 plus 5 hors de commerce.

Including: The poet Vlamidir Mayakovsky, 1924; Lily Brik, 1924; The Painter Alexander Shevchenko, 1924; Artist and Architect Alexander Vesnin, 1924; Artist, Producer and Publisher Alexei Gan, 1924; Artist and Designer Liubov Popova, 1924; The critic Osip Brik, 1924; Actor and Producer Vitaly Zhemchuzhny, 1924; Yevgenia Zhemchuzhnaya, 1924; The Sculptor Anton Lavinsky, 1924; The writer Elsa Triolet (sister of Lily Brik), 1924; Documentary Film-maker Esther Schub, 1924; The Worker’s Faculty Student, 1924; Varvara Stepanova, 1925; In the

workshop of Rodchenko and Stepanova, 1925; The Film-maker Lev Kuleshov, 1927; The poet Nikolai Aseev, 1927; Vkhutemas Student Ivan Morozov, 1927; Varvara Stepanova, 1928; The Artist’s mother at the Table, 1928; Poet and Writer Sergei Tretyakov, 1928; Driver, 1929; Pioneer Girl, 1930; Actress Julia Solntseva, Producer Alexander Dovzhenko and Futurist-poet Alexei Kruchenykh, 1930; Professor Boris Schvetsov, 1930; Photo-reporter Vadim Kovrigin at the Moscow-Volga Canal, 1934; Photojournalist Georgy Petrusov, 1934; Field Flowers, 1937. proVEnanCE Private Collection, USA litEraturE G. Shudakov et al, Pioneers of Soviet Photography, London: Thames and Hudson, 1983, v.p.; Sergei Morozov, Soviet Photography 1917–1940: The New Photojournalism, London: Orbis, c. 1984, v.p.; S. O. Khan Magomedov, Rodchenko: The Complete Work, London: Thames and Hudson, 1986, v.p.; C. Carrell & K. Young, The Rodchenko Family Workshop, Glasgow: New Beginnings, 1989, v.p.; A. Lavrentiev, Alexander Rodchenko: Photography, 1924 –1954, New Jersey, 1996, p. 105 Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 Ω 361

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235

236

235 ALExANDER RODCHENKO 1891–1956 Portrait of daughter Varvara, 1938. Gelatin silver print. 17.8 × 11.9 cm (7 × 4 11/16 in). Signed, dated and annotated in Cyrillic in pencil by Varvara Rodchenko with credit stamp on the verso. proVEnanCE Rodchenko/ Stepanova Archives, Moscow; Private Collection, USA Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 Ω

236 ALExANDER RODCHENKO 1891–1956 Varvara with her pet, c. early 1930s. Gelatin silver print. 17.8 × 12 cm (7 × 5 1/16 in). Titled, dated and annotated ‘vintage photo by A. Rodchenko identified by Alexander Laurentiev’ in an unidentified hand in pencil on the verso. proVEnanCE Rodchenko/Stepanova Archives; Private Collection, USA Estimate £1,5 0 0 – 2,5 0 0 $2, 3 0 0 – 3, 8 0 0 €1,70 0 – 2, 8 0 0 Ω 362

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237

237 VAGRICH BAKHCHANYAN 1938–2009 Vladimir Nabokov Lolita (with Stalin), 1975/2007.

Paper collage and digital print on paper. 28 × 21.5 cm (11 × 8 1/2 in). Signed and inscribed in Cyrillic ‘Repeat copy. Original from 1975 lost. V. Bakhchanyan’ lower margin. proVEnanCE Acquired directly from the artist; Private Collection, Europe Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠

238 VAGRICH BAKHCHANYAN 1938–2009 Vladimir Nabokov Lolita (with Lenin), 1975/2007.

Paper collage and digital print on paper. 28 × 21.5 cm (11 × 8 1/2 in). Signed and inscribed in Cyrillic ‘Repeat copy. Original from 1975 lost. V. Bakhchanyan’ lower margin. proVEnanCE Acquired directly from the artist; Private Collection, Europe Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠ 363

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240

239 IGOR CHELKOVSKI b. 1937 Untitled, 1980. Household gloss paint on carved wood.

24.7 × 29.8 × 7 cm (9 3/4 × 11 3/4 × 2 3/4 in). Signed and dated ‘CHELKOVSKI 80’ on the reverse. proVEnanCE Acquired directly from the artist; Private Collection, Europe Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠

240 IGOR CHELKOVSKI b. 1937 Untitled, 2000. Oil on bronze. 14 × 16 × 26.7 cm (5 1/2 × 6 1/4 × 10 1/2 in). Incised ‘CHELKOVSKI’ on lower edge, dated ‘00’ and numbered of eight on adjacent edge. This work is from a series of eight sculptures, each with unique colouring. proVEnanCE Acquired directly from the artist; Private Collection, Europe Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠ 364

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241

242

241 ALExANDER RODCHENKO & VLADIMIR MAYAKOVSKY 1891–1956 & 1893–1930 Lux Cigarettes, 1923/1925. Gouache and India ink on cardboard. 17.2 × 41 cm (6 3/4 × 16 1/8 in). Signed in Cyrillic ‘MAYAKOVSKY–RODCHENKO’ lower right.

This work is accompanied by a certificate of authenticity issued by the Rodchenko Stepanova Archives. proVEnanCE Private Collection, Moscow; Private Collection, USA Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 Ω

242 VLADIMIR YANKILEVSKY b. 1938 Self-Portrait, 1999. Pastel, acrylic, graphite and paper collage on cardboard. 60 × 80 cm (23 5/8 × 31 1/2 in). Signed in Cyrillic and dated ‘V. Yankilevsky 99’ upper right. proVEnanCE Acquired directly from the artist; Private Collection, Europe Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠

365

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ManfrEd SchoEni and ThE SchoEni arT GallEry

Manfred Schoeni was born in Switzerland in 1946. He graduated in Hotel

In parallel to Manfred Schoeni’s legendary reputation as a pioneer in Chinese

Management at the Heidelberg Hotel School in Germany, and his life-long

contemporary art, only a few knew that he also began the gallery with a strong

engagement with Asia began in 1975, when he moved to Hong Kong to take up

focus on Russian contemporary art. He discovered his admiration for Russian art

a position at the Hyatt Regency. From 1976 to 1978, Manfred Schoeni travelled

while he was travelling in San Francisco, where he fell in love at first sight with the

throughout Asia, which led eventually to him becoming a dealer in antique Chinese

work of Oleg Tselkov, which he immediately purchased at the Russian gallery. As

furniture and to the founding of the Schoeni Fine Oriental Art Company in 1979.

a result of his new-found obsession, in the late 1980s Manfred Schoeni travelled to

Moscow accompanied by a Russian artist, and visited a large number of artists in

Being a keen painter himself, art has always been Schoeni’s passion. The story

their studios. He was struck by their enormous talent and, as with his experience

of Schoeni Art Gallery actually began in November 1991, when he travelled to

in China, he felt that these artists were pursuing their dreams in rather ‘poor’

Shanghai with Gerard Bregnard, a well-known Swiss artist. Having visited a local

conditions and, more importantly, required a decent platform of representation. In

art fair, it became apparent to Schoeni that the various art schools were exhibiting

one interesting anecdote, Schoeni was taken to the residence of an artist, which

many different styles of painters from their academies without any form of system

merely consisted of a room full of paintings with a single light bulb above a flight of

or representation. Thus, the idea was born to open a gallery in Hong Kong, which

stairs that was on the verge of collapsing. Here, he was invited to enjoy a homemade

had always been his dream, and in 1992, the Schoeni Art Gallery was founded.

Russian meal and, with the help of a generous quantity of vodka, they finally

For the past 17 years, Schoeni has steadily nurtured an artistic environment in

managed to break through their mutual language barrier.

which international interest in the Chinese contemporary artistic scene has grown to unparalleled heights through countless exhibitions and the publication of an

Upon establishing this personal connection with his new artist friends, and

extensive array of catalogues. Schoeni has also been the key figure behind the

being as ardent an art lover as he had always been, Manfred Schoeni began

organisation and curatorship of several significant touring exhibitions of Chinese

collecting Russian art. Thus, he endeavoured to promote this unique genre

contemporary art, including China! and ChinArt.

through exhibitions held at Schoeni Art Gallery, including solo exhibitions by Alexei Sundukov and Alexander Zhacharov amongst many others. Over the years, the

Manfred Schoeni has led his gallery relentlessly, exploring the contemporary

Schoeni Collection has acquired an extensive number of contemporary Russian

Chinese art scene with pure passion and vision, at a time when this art form

pieces – collected personally by Manfred Schoeni with his instinctive flair for art

was still unknown and unaccepted by the West. He proudly presented the debut

and its potential – a rare selection of which will be presented for auction at BRIC for

overseas exhibition for Yue Min Jun and Yang Shao Bin, Faces Behind the Bamboo

the very first time.

Curtain, in 1994. Many of Yue Min Jun’s paintings, as well as works by several other iconic artists of the genre from the 90s, were sold at Schoeni Art Gallery; the number of times the gallery’s name is listed as provenance in auction catalogues certainly validates Schoeni’s visionary role. For instance, Yue Min Jun’s Execution, sold by Schoeni in 1998, was auctioned at Sotheby’s London in October 2007 and broke the record of £3 million – the highest ever amount to be paid for a piece of contemporary Chinese art to at that time, exceeding bids placed on works by Mark Rothko and Francis Bacon in the same sale. Gweong Gweong, another Yue Min Jun piece, was auctioned at Christie’s Hong Kong in May 2008 and fetched a total of HK$ 54,087,500 (US$6.9 million).

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243 OSCAR RABIN b. 1928 Manhattan view from Jersey City, 1985. Oil on canvas. 89.5 × 109.5 cm (35 1/4 × 43 1/8 in). Titled in Cyrillic and dated ’Manhattan view from Jersey City 1985’ on the reverse. proVEnanCE Schoeni Collection, Hong Kong Estimate £2 0,0 0 0 – 3 0,0 0 0 $3 0,4 0 0 – 3 3,0 0 0 €2 2,0 0 0 – 3 3,0 0 0 ♠ ‡ 367

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244 VLADIMIR YANKILEVSKY b. 1938 Tryptich N10, 1970. Oil and acrylic on fibreboard and wood. Overall: 100 × 439.5 × 24 cm (39 3/8 × 173 × 9 1/2 in). Signed, titled in Cyrillic and dated ‘Triptych N10 1970 V. Yankilevsky’ on the reverse of each panel. proVEnanCE Schoeni Collection, Hong Kong Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0 ‡ 368

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245 ALExEI SUNDUKOV b. 1952 Big Pendulum, 1991. Oil on canvas. 203 × 203 cm (79 7/8 × 79 7/8 in). proVEnanCE Eduard Nakhamkin Fine Art, New York; Schoeni Collection, Hong Kong ExhibitEd Hong Kong, Schoeni Art Gallery, Alexei Sundukov, 1993 litEraturE Exhibition catalogue, Schoeni Art Gallery, Alexei Sundukov, Hong Kong, 1993 Estimate £2 0,0 0 0 – 3 0,0 0 0 $3 0,4 0 0 – 4 5,6 0 0 €2 2,0 0 0 – 3 3,0 0 0 ♠ ‡

370

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247

246 ALExEI SUNDUKOV b. 1952 The Essence of Being, 1988. Oil on canvas. 57 × 76 cm (22 1/2 × 29 7/8 in). Signed in Cyrillic and dated ‘A. Sundukov 88’ lower right. Signed and titled in Cyrillic ‘Sundukov Alexei Alexeevich The Essence of Being’ on the reverse. proVEnanCE Eduard Nakhamkin Fine Art, New York; Schoeni Collection, Hong Kong ExhibitEd Hong Kong, Schoeni Art Gallery, Alexei Sundukov, 1993 litEraturE Exhibition catalogue, Schoeni Art Gallery, Alexei Sundukov, Hong Kong, 1993 Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ♠ ‡

247 ALExANDER ZAKHAROV b. 1960 The Summer, 1993. Oil on wooden panel in artist’s frame. 20 × 57 cm (7 7/8 × 22 1/2 in). proVEnanCE Acquired directly from the artist; Schoeni Collection, Hong Kong ExhibitEd Hong Kong, Schoeni Art Gallery, Origin of Man, 1994 litEraturE Exhibition catalogue, Schoeni Art Gallery, Origin of Man, Hong Kong, 1994 Estimate £1,5 0 0 – 2,0 0 0 $2, 3 0 0 – 3,0 0 0 €1,70 0 – 2, 2 0 0 ♠ ‡ 371

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248 OLEG TSELKOV b. 1934 Man with Cat and Dragonfly, 1989. Oil on canvas. 190 × 235 cm (74 7/8 × 92 1/2 in). Signed, titled and dated ‘Oleg Tselkov 1989 with cat and dragonfly’ on stretcher bar. proVEnanCE Eduard Nakhamkin Fine Art, New York, Schoeni Collection, Hong Kong Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0 ♠ ‡ 372

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373

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249 MIKHAIL SHVARTSMAN 1926–1997 Untitled, 1984. Gouache on paper laid on cardboard.

65 × 95 cm (25 5/8 × 37 3/8 in). Signed in Cyrillic and dated ‘M Shvartsman 1984’ on the reverse. proVEnanCE Acquired directly from the artist and then by descent; Private Collection, Europe Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ‡ 374

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250 LIUBOV POPOVA 1889–1924 Photomontage of a painting, 1915. Gelatin silver print.

11.1 × 12.5 cm (4 3/8 × 4 15/16 in). Signed, annotated in Cyrillic and dated in pencil on the verso. proVEnanCE Khan-Magomedov Archives, Moscow; Private Collection, USA Estimate £1, 2 0 0 –1, 8 0 0 $1, 8 0 0 – 2,70 0 €1, 3 0 0 – 2,0 0 0 Ω 376

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An acronym in Russian for the Higher State Artistic and Technical Institute established in 1920, VKhUTEMAS was the Russian equivalent of the Bauhaus; Moholy-Nagy, Kandinsky and Lissitzky were the conduits for the affinities shared by the two schools. Like the German school, VKhUTEMAS included departments of architecture, printing, typography, graphic arts, posters, furniture making and techniques of materials.

252

253

251 VKHUTEMAS WORKSHOPS From The Space and Volume Discipline, c. 1920s. Gelatin silver print. 10.8 × 7.6 cm (4 1/4 × 3 in). proVEnanCE Khan-Magomedov Archives, Moscow; Private Collection, USA Estimate £1,000 –1,500 $1,500 –2,300 €1,100 –1,700 Ω

252 VKHUTEMAS WORKSHOPS From The Space and Volume Discipline, c. 1920s. Gelatin silver print, mounted. 5.4 × 7.9 cm (2 1/8 × 3 1/8 in). proVEnanCE Khan-Magomedov Archives, Moscow; Private Collection, USA Estimate £1,0 0 0 –1,50 0 $2,3 0 0 –1,70 0 €1,10 0 –1,70 0 Ω

253 VKHUTEMAS WORKSHOPS Three student models of parking garages from The Space and Volume Discipline, c. 1920s. Gelatin silver print. 5.2 × 14.9 cm (2 1/16 × 5 7/8 in). proVEnanCE Khan-Magomedov Archives, Moscow; Private Collection, USA Estimate £1,000 –1,500 $1,500 –2,300 €1,100 –1,700 Ω

377

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254

This group of prints by various Soviet photographers from between the two World Wars was collected over the past twenty years. Vintage prints from this period are rare as most of these photographers worked for state-sponsored press agencies and newspapers and print files were generally purged every few years. In some cases the individual photographers held small groups of their work for personal reasons and it is from these photographers that these prints were collected. Prints were not available outside of the USSR, even though the images were seen by the general public through the international propaganda publication USSR in Construction during the 1930–41 period. After the war there were few opportunities for international exhibitions. Rarely has a group of this size of vintage prints been offered at public auction. (This group also includes Lots 254–264, 273–276.)

254 S. ALPERIN After the Battle, c. 1943. Gelatin silver print. 59.4 × 45.4 cm (23 3/8 × 17 7/8 in).

Signed, titled in Cyrillic in ink and pencil on the reverse of the flush-mount. PROVENANCE Acquired directly from the artist and then by descent; Private Collection, USA Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 Ω 378

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255

256

255 ALPERT (BROTHER OF MAX ALPERT) Max Alpert photographing from a train window, c. late 1920s. Gelatin silver print. 7.9 × 11 cm (3 1/8 × 4 5/16 in). PROVENANCE Acquired directly from the artist and then by descent; Private Collection, USA Estimate £1, 2 0 0 –1, 8 0 0 $1, 8 0 0 – 2,70 0 €1, 3 0 0 – 2,0 0 0 Ω

256 MIKHAIL OSHERKOV Maxim Gorky, c. 1930. Gelatin silver print. 28.6 × 23.8 cm (11 1/4 × 9 3/8 in). Signed in ink, titled and dated ‘July, 1934’ in Cyrillic in pencil on the verso.

PROVENANCE Acquired directly from the artist in the 1990s; Private Collection, USA Estimate £1,5 0 0 – 2,5 0 0 $2, 3 0 0 – 3, 8 0 0 €1,70 0 – 2, 8 0 0 Ω 379

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257

258

259

260

257 MOISEI NAPPELBAUM 1869–1958 Yakov Sverdlov, Bolshevik Party Leader, c. 1918. Gelatin silver print. 22.4 × 16 cm (8 13/16 × 6 5/16 in). Signed in ink on the verso. PROVENANCE Acquired directly from the artist and then by descent; Private Collection, USA Estimate £1,0 0 0 – 2,0 0 0 $1,5 0 0 – 3,0 0 0 €1,10 0 – 2, 2 0 0 Ω

259 GEORGI ZELMA 1906–1984 General Frunze and Semyon Budennyi, late 1920s. Gelatin silver print. 26.7 × 24.4 cm (10 1/2 × 9 5/8 in). Credit stamp on the verso. PROVENANCE Acquired directly from the artist and then by descent; Private Collection, USA Estimate £1,0 0 0 – 2,0 0 0 $1,5 0 0 – 3,0 0 0 €1,10 0 – 2, 2 0 0 Ω

258 MOISEI NAPPELBAUM 1869–1958 Ida Nappelbaum, the photographer’s daughter, c. 1921.

Bromide print. 14.9 × 10.2 cm (5 7/8 × 4 in). PROVENANCE Acquired directly from the artist and then by descent; Private Collection, USA Estimate £2,5 0 0 – 3,5 0 0 $3, 8 0 0 – 5, 3 0 0 €2, 8 0 0 – 3,9 0 0 Ω

260 SIMON FRIDLAND 1905–1964 Driver, c. 1930. Gelatin silver print. 7.8 × 7.6 cm (3 1/16 × 3 in). Signed in Cyrillic in pencil on the verso. PROVENANCE Acquired directly from the artist and then by descent; Private Collection, USA Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 Ω 380

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261

262

261 ANONYMOUS Panorama of Soviet and American War Photographers at Nuremberg, 1945. Gelatin silver print triptych. 44.8 × 14.9 cm (17 5/8 × 5 7/8 in) overall. Signed in Cyrillic and dated 1945 by Yevgeni Khaldei in ink on the verso. Including the photographers Max Alpert, Galina Sanko, Olga Lander, and Yevgeni Khaldei. It is believed that the man smoking in uniform at the rear is Robert Capa. PROVENANCE Acquired directly from Yevgeni Khaldei; Private Collection, USA Estimate £2,000 – 4,000 $3,000 – 6,100 €2,200 – 4,400 Ω

263

262 ANONYMOUS Stalin and Inner Circle with union of photojournalists, c. late 1920s. Gelatin silver print, mounted.

10.8 × 10.5 cm (4 1/4 × 4 1/8 in). Annotated in Cyrillic and dated ‘1939’ in ink on the mount. Including the photographers Loskutov, Evzerikhin, Kuleshov, Khalip, Zelma, Shagin, and Fridland. PROVENANCE Private Collection, Moscow; Private Collection, USA Estimate £1,000 –2,000 $1,500 – 3,000 €1,100 –2,200 Ω

263 ROBERT DIAMENT 1907–1987 Escort, c. 1940. Gelatin silver print. 49.5 × 34.3 cm (19 1/2 × 13 1/2 in). Signed in ink, titled in Cyrillic in pencil on the verso. PROVENANCE Acquired directly from the artist and then by descent; Private Collection, USA Estimate £2,500 – 4,500 $3,800 – 6,800 €2,800 –5,000 Ω

381

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264

382

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Yevgeni Khaldei, heralded as the Russian Robert Capa, provided extensive photographic coverage of the Second World War, the war between Germany and the Soviet Union. Some of his images are world-famous and have become icons in the history of photography. Khaldei is known primarily for his spectacular documentary photos of the Second World War and the staged hoisting of the red flag of the Soviet Union on the top of the Reichstag building in Berlin in 1945, but also for the photos he took at the Potsdam Conference and during the Nuremberg Trials.

264 YEVGENI KHALDEI 1917–1997 Selected Russian Images, c. 1944–45. Seven gelatin silver prints, printed c. 1960s. Varying sizes from 15.2 × 21.6 cm (6 × 8 1/2 in) to 34.9 × 49.8 cm (13 3/4 × 19 5/8 in). Each signed in ink or pencil; two annotated in ink, all in Cyrillic on the verso. Including: Raising of the Soviet Flag over the Reichstag, Berlin, May 1945; Bulgarian Freedom Fighter Kotcha Karadjov, Lovech, Bulgaria, September, 1944; Stalin, Truman, and Churchill, Potsdam Conference, July, 1945; Navy Guard, Cinema Scala, Bucharest, Romania, 1944; Victory March through Bucharest, Romania, 1944; Budapest, Hungary, 1945 PROVENANCE Acquired directly from the artist; Private Collection, USA litERAtuRE Witness to History: The Photographs of Yevgeny Khaldei, New York: Aperture, c. 1987, v.p.

Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 Ω 383

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265

266

266 AnAtoli Brusilovsky b. 1932 Untitled, 1989. Spraypaint and mixed media collage on cardboard. 48 × 54 cm (18 7/8 × 21 1/4 in). Signed in Cyrillic and dated ‘A. BRUSILOV 89’ lower right. PROVENANCE Acquired directly from the artist; Private Collection, Europe Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 ♠

265 GrisHA Bruskin b. 1945 Untitled, 1988. Lithograph in colours. 96.5 × 71.4 cm (38 × 28 1/8 in). Signed in Cyrillic, numbered of 100 and dated ‘Grisha Bruskin 88’ in lower margin. This work is from an edition of 100. PROVENANCE Landfall Press, Chicago Estimate £6 0 0 – 9 0 0 $9 0 0 –1,4 0 0 € 6 5 0 –1,0 0 0 ♠ ‡

•

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267

267 GrisHA Bruskin b. 1945 Mentally Yours, 2005. Aluminium, digital print on Plexiglas, electrical lights. Lightbox: 87 × 47 × 47 cm (34 1/4 × 18 1/2 × 18 1/2 in).

Pedestal: 109 × 61 × 61 cm (42 7/8 × 24 × 24 in). PROVENANCE Acquired directly from the artist; Private Collection, Europe Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 ♠

Detail 385

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268

268 oleG kudryAsHov b. 1932 Construction, plate N2344, 1995. Drypoint and gouache on constructed three-dimensional collage on paper. 43.8 × 35.7 × 17.7 cm (17 1/4 × 14 × 7 in).

Signed in Cyrillic and dated ‘Kudryashov 95’ lower right; titled in Cyrillic ‘Plate N2344’ lower left. PROVENANCE Acquired directly from the artist; Private Collection, London Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠ 386

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269

269 leonid PuryGin 1951–1995 4th May 1985 Dunya is born, 1985. Oil on canvas and artist’s wooden frame.

78.8 × 58.3 cm (31 × 23 in). Signed in Cyrillic ‘Brilliant Lenya Purygin from Nara’ upper left of canvas, numbered N°1985715 lower right of canvas. Inscribed and titled in Cyrillic ‘The painting was painted by brilliant Lenya Purygin from Nara 4 May 1985 DUNYA IS BORN’ lower wooden panel. PROVENANCE Acquired directly from the artist; Private Collection, Europe Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 387

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270

270 edouArd steinBerG b. 1937 Composition, 1988. Oil on canvas. 89 × 89 cm (35 × 35 in).

Initialled in Cyrillic and dated ‘ES 1988’ lower right. Signed, titled in Cyrillic and dated ‘Composition E. Steinberg March 1988’ on the reverse. PROVENANCE Acquired directly from the artist; Private Collection, Europe Estimate £2 0,0 0 0 – 3 0,0 0 0 $3 0,4 0 0 – 4 5,6 0 0 €2 2,0 0 0 – 3 3,0 0 0 ♠

388

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271

271 edouArd steinBerG b. 1937 Composition, 1993. Oil on canvas. 180 × 181 cm (70 7/8 × 71 1/4 in).

Initialed in Cyrillic and dated ‘ES 1993’ lower right. Signed, titled in Cyrillic and dated ‘Composition (E. Steinberg – Jan 1993) Paris’ on the reverse. This work is accompanied by a certificate of authenticity signed by the artist. PROVENANCE Michael Soskine Inc., New York ExhibitEd Madrid, Michael Soskine Inc., Eduard Steinberg, 12 April – 26 May 2007 litERAtuRE H. P. Riese, Eduard Steinberg: Monographie, Cologne, 1998, p. 114 (illustrated) Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 91, 2 0 0 €4 4,0 0 0 – 6 6,0 0 0 ♠ ‡ 389

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272

272 vAdiM ZAkHArov b. 1959 Reproductions, N1; N3; N4; N5, 1987–88. Four parts: oil and enamel on canvas. Each: 150 × 200 cm (59 × 78 3/4 in). Each signed, titled in Cyrillic and dated ‘V. Zakharov Reproduction 87–88’ on the reverse.

PROVENANCE Acquired directly from the artist, Private Collection, Switzerland ExhibitEd Bern, Kunstmuseum, Ich Lebe – Ich Sehe, 1988 litERAtuRE H. C. von Tavel, Ich Lebe Ich Sehe: Künstler der Achtziger Jahre in Moskau, Bern, 1988, p. 131 (the full installation of eight panels illustrated) Estimate £ 5 0,0 0 0 –70,0 0 0 $76,0 0 0 –10 6,0 0 0 €55,0 0 0 –7 7,0 0 0 ♠ ‡ 390

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391

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273

274

275

273 yevGeni kHAldei 1917–1997 Battleship docked on Moscow river, c. late 1940s–early 1950s. Gelatin silver print.

47.9 × 41.3 cm (18 7/8 × 16 1/4 in). Signed in Cyrillic in ink on the verso. PROVENANCE Acquired directly from the artist; Private Collection, USA Estimate £2,000 –3,000 $3,000 – 4,600 €2,200 –3,300 Ω

274 rAMBACH Riga, 1912. Silver bromide print. 16.5 × 10.8 cm (6 1/2 × 4 1/4 in). Signed, titled and dated in pencil on the mount. PROVENANCE Private Collection, Moscow; Private Collection, USA Estimate £1,000 –2,000 $1,500 – 3,000 €1,100 –2,200 Ω

275 yevGeni kHAldei 1917–1997 Park Scene in Winter, c. late 1940s–early 1950s. Gelatin silver print. 28.3 × 38.4 cm (11 1/8 × 15 1/8 in). Signed in Cyrillic in ink on the verso.

PROVENANCE Acquired directly from the artist; Private Collection, USA Estimate £1,000 –2,000 $1,500 – 3,000 €1,100 –2,200 Ω

392

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276

276 ivAn sHAGin 1904–1982 The Poor Artist, London, c. late 1940s – early 1950s. Gelatin silver print. 46.4 × 29.8 cm (18 1/4 × 11 3/4 in). Signed in ink, titled in pencil, all in Cyrillic on the verso. PROVENANCE Acquired directly from the artist and then by descent; Private Collection, USA Estimate £2,0 0 0 – 4,0 0 0 $3,0 0 0 – 6,10 0 €2, 2 0 0 – 4,4 0 0 Ω 393

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277

277 oleG vAssiliev b. 1931 Untitled, 1988. Gouache and graphite on paper.

45.7 × 34.9 cm (18 × 13 3/4 in). Signed ‘O. Vassiliev 88’ and dated in Cyrillic lower right.

PROVENANCE Acquired directly from the artist by the previous owner; Private Collection, Switzerland Estimate £ 8 ,0 0 0 –10,0 0 0 $12, 2 0 0 –15, 2 0 0 € 8 , 8 0 0 –11,0 0 0 ♠ ‡ 394

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278

278 serGey sHABlAvin b. 1944 Bus Stop, 1987. Oil on canvas. 80.5 × 100.3 cm (31 3/4 × 39 1/2 in). Signed with artist’s monogram and dated ‘87’ lower right. Signed, titled in Cyrillic and dated ‘S. Shablavin Bus Stop 1987’ on the reverse. PROVENANCE Acquired directly from the artist; Private Collection, Europe Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ♠ 395

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279

279 ilyA kABAkov b. 1933 Flight from the album Flying Komarov, 1973. Coloured pencil and ink on paper. 19 × 26 cm (7 1/2 × 10 1/4 in). Signed in Cyrillic and dated ‘I. Kabakov 73’ lower right. PROVENANCE Acquired from the artist’s family; Private Collection, Europe Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ♠ ‡ 396

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280

° 280 IVAN CHUIKOV b. 1935 Fragment No. 3, 1982. Enamel on fibreboard. 131 × 180 cm (51 1/2 × 71 in). Signed in Cyrillic and dated ‘Iv Chuikov 82’ lower right. Titled in Cyrillic ‘Fragment N 3’ upper right. Signed and titled in Cyrillic ‘FRAGMENT N 3 Iv Chuikov’ on the reverse. PROVENANCE Phyllis Kind Gallery, New York LITERATURE B. Groys, ‘Ivan Chuikov’, A-Ya Unofficial Art Review, No. 7, 1986, p. 15 (illustrated) Estimate £2 0,0 0 0 – 3 0,0 0 0 $3 0,4 0 0 – 4 5,6 0 0 €2 2,0 0 0 – 3 3,0 0 0 ♠ ‡ 397

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281

281 vlAdiMir duBossArsky & AleXAnder vinoGrAdov b. 1964 & b. 1963 In the Blue Yonder, 2008. Oil on canvas. 145.5 × 195 cm (57 1/4 × 76 3/4 in). Signed in Cyrillic and dated ‘Vinogradov Dubossarsky 08’ lower right; signed, titled in Cyrillic and dated ‘Vinogradov A Dubossarsky V “In the Blue Yonder” 2008’ on the reverse. PROVENANCE Private Collection, London litERAtuRE A. Obukhova, ed., Vladimir Dubossarsky Alexander Vinogradov Works 1994 – 2008, Moscow, 2009, pl. 410 (illustrated) Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ 398

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282

282 ivAn CHuikov b. 1935 Window LXXII, 2007. Oil on wooden window frame with metal handle. 148.8 × 101.6 × 5.7 cm (59 × 40 × 2 1/4 in). Signed, titled in Cyrillic and English and dated ‘Window LXXII 2007 Iv Chuikov’ on the reverse. PROVENANCE Acquired directly from the artist Estimate £2 0,0 0 0 – 3 0,0 0 0 $3 0,4 0 0 – 4 5,6 0 0 €2 2,0 0 0 – 3 3,0 0 0 ♠ ‡ 399

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283

283 serGey volkov b. 1956 Untitled – Fenstergitter, 1987. Oil on canvas.

200 × 150 cm (78 3/4 × 59 1/8 in). PROVENANCE Acquired directly from the artist Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠ 400

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284

284 EVGENY RUKHIN 1943–1976 Untitled (Composition with Icon), 1972. Oil, wood collage and synthetic polymer paint on canvas in the artist’s frame. 99 × 96.5 cm (39 × 38 in). Signed in Cyrillic and dated ‘E.Rukhin 72’ lower centre. PROVENANCE Acquired directly from the artist by the previous owner; Private Collection, New York Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 91, 2 0 0 €4 4,0 0 0 – 6 6,0 0 0 ‡ 401

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285

285 elenA keller b. 1951 Dispute, 1992. Oil on canvas. 119.4 × 149.3 cm (47 × 58 3/4 in).

Signed, titled in Cyrillic and dated ‘Keller E.M. Dispute 1992’ on the reverse.

PROVENANCE Acquired directly from the artist; Private Collection, Europe Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ♠ 402

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286

286 vAlery A volkov b. 1928 Nocturnal Arabesque, 1988. Triptych: oil on canvas. Left: 101 × 80.7 cm (39 3/4 × 31 3/4 in); middle: 101 × 50.2 cm (39 3/4 × 19 3/4 in); right: 101 × 80.7 cm (39 3/4 × 31 3/4 in).

Each signed in Cyrillic and dated ‘V. Volkov / 88’ lower right, lower left and upper left, respectively.

Signed and titled in Cyrillic, and dated ‘V. Volkov Nocturnal Arabesque 1988’ on the reverse of each panel. PROVENANCE Acquired directly from the artist; Private Collection, New York Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ♠ ‡ 403

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287

287 AleXei kostroMA b. 1962 Brown Moth, 2008. Tempera on canvas. 150.2 × 100.4 cm (59 1/8 × 39 1/2 in). Signed, titled and dated ‘Alexei Kostroma “Brown Moth” 2008’ on the reverse. PROVENANCE Acquired directly from the artist Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠ 404

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288

288 oleG vAssiliev b. 1931 Familiar Features, 1990. Oil on canvas. 81 × 81 cm (31 7/8 × 31 7/8 in). Signed, titled and dated ‘O. Vassiliev 1990 Familiar Features’ on the reverse.

PROVENANCE Private Collection, Moscow Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ ‡ 405

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289

289 erik BulAtov b. 1933 Weg (Road), 1988. Coloured pencil on paper. 28 × 23 cm (11 × 9 in). Signed in Cyrillic and dated ‘Bulatov 88’ lower right. PROVENANCE Inge Becker Gallery, Berlin Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 ♠ 406

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290

290 dMitry vruBel & viCtoriA tiMoFeevA b. 1960 & b. 1969 Portrait of Roman Abramovich, 2005–06. Acrylic on canvas. 130 × 105 cm (51 1/8 × 41 3/8 in). PROVENANCE Guelman Gallery, Moscow ExhibitEd Moscow, Guelman Gallery, Dmitry Vrubel & Victoria Timofeeva, May 18 – 20 June 2007 Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ♠ ‡ 407

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291

291 TIMUR NOVIKOV 1958–2002 Egypt, 1987. Acrylic on fabric. 104.1 × 106.7 cm (41 × 42 in). Signed, titled in Cyrillic and dated ‘TIMUR EGYPT 1987’ lower centre.

Provenance Richard Fraumeni, St. Petersburg LITeraTUre N. Podgorskaya, Timur Novikov, Moscow/St Petersburg, 2002, p. 458 (illustrated) Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ‡ 408

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292

292 VLADIMIR DUBOSSARSKY & ALEXANDER VINOGRADOV b. 1964 & b. 1963 Der Spiegel, 1996.

Oil on canvas. 70 × 60 cm (27 5/8 × 23 5/8 in). Signed in Cyrillic and dated ‘Vinogradov Dubossarsky 96’ lower left. Provenance Acquired directly from the artists; Private Collection, Europe Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 ♠ ‡ 409

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293

293 AnAtoly osmolovsky b. 1969 Bread from The Pagan series, 2009. 21 parts: household paint on carved wood. Installation dimensions variable. Largest: 150 × 90 × 7 cm (59 × 35 1/2 × 2 3/4 in); smallest: 25 × 35 × 7 cm (9 7/8 × 13 3/4 × 2 3/4 in).

Provenance Acquired directly from the artist eXHIBITeD Lille, Lille 3000 EXPO FRANCE, Werk Nu Z33, Center of Contemporary Art & Design, 28 July 2009 Estimate £6 0,0 0 0 – 8 0,0 0 0 $91, 2 0 0 –12 2,0 0 0 € 6 6,0 0 0 – 8 8 ,0 0 0 ‡ 410

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411

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294

294 Blue Noses b. 1962 & b. 1965 Our Daily Bread from Hit-or-Miss Art (How to Create Works of Art Just in the Kitchen) series, 2004. Lambda print. 75 × 100 cm (29 1/2 × 39 1/4 in). Signed on a label adhered to the reverse. This work is from an edition of ten. PROVENANCE In SITU, Paris EXHIBITED Paris, In SITU, Mind Games, 29 November 2007–12 January 2008 LITERATURE A. Erofeev & M. Guelman, Blue Noses, Moscow, 2006, p. 159 (illustrated) Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠ 412

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295

295 eleNA KelleR b. 1951 The Fire Dance, 1997. Oil and canvas collage on canvas. 149.8 × 149.8 cm (59 × 59 in). Signed ‘Keller’ lower right; signed, titled and dated ‘Elena Keller “Fire Dance” 1997’ on the reverse. PROVENANCE Acquired directly from the artist; Private Collection, New York Estimate £2 0,0 0 0 – 25,0 0 0 $3 0,4 0 0 – 3 8 ,0 0 0 €2 2,0 0 0 – 27,5 0 0 413

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296

296 IVAN luBeNNIKoV b. 1951 Thaw, 2003. Oil on canvas. 200 × 160 cm (78 3/4 × 63 in). Signed with artist’s monogram and dated ‘03’ upper left. Signed, titled and dated in Cyrillic and French on the reverse.

PROVENANCE Acquired directly from the artist; Private Collection, Russia EXHIBITED Moscow, State Tretyakov Gallery, Inhabited Islands, 7 February–12 March 2006 LITERATURE Exhibition catalogue, State Tretyakov Gallery, Inhabited Islands, Moscow, 2006, p. 65 (illustrated) Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ♠ ‡ 414

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297

297 NAtAlyA NesteRoVA b. 1944 Judas’s Kiss, 1990. Oil on canvas.

137.5 × 137.5 cm (54 1/8 × 54 1/8 in). Signed, titled and dated ‘1990 Nesterova N. Judas’s Kiss’ on the reverse. PROVENANCE Int Art, New York; Private Collection, USA Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ ‡ 415

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298

∆ 298 IGoR KoPystIANsKy b. 1954 Restored Painting, 1988. Oil on canvas collage.

195.6 × 248.9 cm (77 × 98 in). Signed, titled in Cyrillic and dated ‘I. Kopystiansky Restored Painting 1988’ on the reverse. PROVENANCE Acquired directly from the artist by previous owner Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ♠ ‡ 416

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299

299 VlAdImIR duBossARsKy & AlexANdeR VINoGRAdoV b. 1964 & b. 1963 Upside Down Masterpieces, 2006. Oil on canvas. 194.5 × 294.5 cm (76 5/8 × 116 in). Signed in Cyrillic and dated ‘Vinogradov Dubossarsky 2006’ lower right. Signed, titled in Cyrillic and dated ‘Vinogradov & Dubossarsky “Upside down masterpieces” 2006’ on the reverse.

PROVENANCE Aicon Gallery, London Estimate £ 3 5,0 0 0 – 4 5,0 0 0 $5 3, 2 0 0 – 6 8 ,4 0 0 € 3 8 ,5 0 0 – 49,5 0 0 ♠ ‡ 417

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300

000 301

300 PG GROUP Boris Borisovitch, 2008. Graphite on paper. 41.5 × 30 cm (16 3/8 × 11 3/4 in). PROVENANCE Galerie Rabouan Moussion, Paris Estimate £ 8 0 0 –1, 2 0 0 $1, 2 0 0 –1, 8 0 0 €9 0 0 –1, 3 0 0 ♠ ‡

301 PAVEL PEPPERSTEIN b. 1966 Multicoloured Beads, 2008. Ink and watercolour on paper. 30 × 42 cm (11 3/4 × 16 1/2 in). Initialled and dated ‘PP 2008’ lower right.

PROVENANCE Galerie Iragui, Moscow Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠ ‡ 418

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302

302 AES +F b. 1955, b. 1958, b. 1957, b. 1956 The Bridge, 2007. Digital print on canvas.

170 × 210 cm (66 7/8 × 82 5/8 in). This work is from an edition of three and is accompanied by a certificate of authenticity. PROVENANCE Triumph Gallery, Moscow Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 91, 2 0 0 €4 4,0 0 0 – 6 6,0 0 0 ♠ ‡ 419

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303

305

304

303 DMITRI BALTERMANTS 1912–1990 Yuri Gagarin with family, 1961. Gelatin silver print. 59.7 × 50.5 cm (23 1/2 × 19 7/8 in). Signed, titled in Cyrillic in ink and ‘Photo by D. Baltermants, Magazine Ogoniok’ stamp on the verso.

PROVENANCE White Space Gallery, London Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0

304 DMITRI BALTERMANTS 1912–1990 Sculptor S. Konenkov, 1951. Gelatin silver print. 58.7 × 47.9 cm (23 1/8 × 18 7/8 in).

Signed, titled in Cyrillic in ink and ‘Photo by D. Baltermants, Magazine Ogoniok’ stamp on the verso.

PROVENANCE White Space Gallery, London Estimate £1,5 0 0 – 2,5 0 0 $2, 3 0 0 – 3, 8 0 0 €1,70 0 – 2, 8 0 0

305 ALBERTO KORDA 1928–2001 Fidel Castro shooting pheasant with Kruschev, c. 1960s. Gelatin silver print.

12.1 × 10.8 cm (4 3/4 × 4 1/4 in). Titled ‘Fidel en la URSS’ in ink and Korda studio stamp on the verso.

PROVENANCE Art Beaufort, Hamburg Estimate £70 0 – 9 0 0 $1,10 0 –1,4 0 0 €75 0 –10 0 0

420

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306

306 JONAS BENDIKSEN b. 1977 The Jewish Autonomous Region from Satellites, 1999. Archival pigment print, printed 2009. 40.6 × 61 cm (16 × 24 in). Signed and numbered 1/20 in ink on the verso. PROVENANCE Magnum Photos, London litERAtuRE J. Bendiksen, Satellites: Photographs from the Fringes of the Former Soviet Union, New York: Aperture, 2006 Estimate £1,0 0 0 – 2,0 0 0 $1,5 0 0 – 3,0 0 0 €1,10 0 – 2, 2 0 0 ♠ 421

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307

308

307 HENRI CARTIER-BRESSON 1908–2004 Canteen for workers constructing the Hotel Metropole, Moscow, 1954. Gelatin silver print, printed later. 24.1 × 36.2 cm (9 1/2 × 14 1/4 in).

Signed in ink and blindstamp credit in the margin. PROVENANCE Acquired directly from the artist litERAtuRE Henri Cartier-Bresson: Photographer, London: Thames and Hudson, 1999, pl. 72 Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0

308 HENRI CARTIER-BRESSON 1908–2004 Swan Lake at the Bolshoi Theatre, 1954. Gelatin silver print, printed later. 29.8 × 44.6 cm (11 3/4 × 17 9/16 in). Signed in ink and blindstamp credit in the margin. PROVENANCE Acquired directly from the artist litERAtuRE Jean Clair, Henri Cartier-Bresson: Europeans, London: Thames and Hudson, 1998, p. 192 Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 422

BRIC_RUSSIA_350-439.indd 422

20/03/10 12:18

309

309 ALExANDER KOSOLApOv b. 1943 Molotov Cocktail, 1997. Acrylic on canvas. 96.5 × 127 cm (38 × 50 in).

Signed, titled and dated ‘A. Kosolapov 97 Molotov Cocktail’ on the reverse. PROVENANCE Galerie Karenina, Vienna ExhibitEd Passau, Stiftung Wörlen, Museum Moderner Kunst, Russlands Zweite Avantgarde, 1998 litERAtuRE Exhibition catalogue Museum Moderner Kunst, Russlands Zweite Avantgarde, Passau, 1998 Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ ‡ 423

BRIC_RUSSIA_350-439.indd 423

20/03/10 12:19

310

310 BORIS MIKHAILOV b. 1938 Untitled from Case History Series, 1997–98. Colour coupler print. 149.9 × 98.4 cm (59 × 38 3/4 in). Signed in ink, printed title, date and number 3/5 on a label affixed to the reverse of the frame. PROVENANCE Private Collection, London ExhibitEd Paris, Jeu de Paume, Corpus Christi, 4 October 2002 – 5 January 2003 (another example exhibited) Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 424

BRIC_pp424-425_revise.indd 424

20/03/10 11:33

311

311 AES + F b. 1955, b. 1958, b. 1957, b. 1956 Last Riot: The Cathedral, 2007. Digital print on canvas. 170 × 210 cm (66 7/8 × 82 5/8 in). This work is from an edition of five and is accompanied by a certificate of authenticity. PROVENANCE Triumph Gallery, Moscow Estimate £2 0,0 0 0 – 3 0,0 0 0 $3 0,4 0 0 – 4 5,0 0 0 €2 2,0 0 0 – 3 3,0 0 0 ♠ ‡ 425

BRIC_pp424-425_revise.indd 425

20/03/10 11:33

312 ANDREY TARKOVSKY 1932–1986 Polaroids, 1979–84. Twenty-five colour coupler prints. Twenty 30.5 × 30.2 cm (12 1/8 × 11 7/8 in), five 22.5 × 30.2 cm (8 7/8 × 11 7/8 in) or the reverse. White Space Gallery/Tarkovsky Foundation: Tarkovsky Foundation blindstamp in the margin; signed and numbered 12/12 in ink on the verso of each print. Each contained in a paper sleeve, each numbered ‘12’ and sequentially numbered 1–25 in pencil. PROVENANCE Private Collection, London ExhibitEd London, White Space Gallery, Bright Bright Day – Polaroids by Andrey Tarkovsky, 22 November 2007 – 20 January 2008 litERAtuRE Exhibition catalogue, Bright Bright Day – Polaroids by Andrey Tarkovsky, London: White Space Gallery Ltd and The Tarkovsky Foundation, 2007, v.p.

Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0

312

426

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20/03/10 12:21

313 (i)

313 (ii)

313 KONSTANTIN ZVEZDOCHETOV b. 1958 Two works: Untitled from Perdo series, 1988.

Gouache and oil on paper laid on canvas. (i) 59.6 × 69.8 cm (23 1/2 × 27 1/2 in); (ii) 60 × 79.5 cm (23 5/8 × 31 1/4 in). PROVENANCE Livet Reichard Inc., New York Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠ ‡ 427

BRIC_RUSSIA_350-439.indd 427

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314

314 OLEG KULIK b. 1963 Family of the Future, 5, 1997.

Gelatin silver print. 47.9 × 48.3 cm (18 7/8 × 19 in). Signed, titled, dated and numbered 1/9 in ink on the verso.

PROVENANCE Private Collection, London Estimate £4,000 – 6,000 $6,100 –9,100 €4,400 – 6,600 ♠

315 NIKOLAY BAKHAREV b. 1946 #49 from The Relationship Series, 1991–93. Gelatin silver print. 28.9 × 29.2 cm (11 3/8 × 11 1/2 in). Signed, titled in Cyrillic, dated and numbered 3/8 in ink on the verso. PROVENANCE Private Collection, London Estimate £1,500 –2,000 $2,300 – 3,000 €1,700 –2,200 ♠

316 NIKOLAY BAKHAREV b. 1946 #96 from The Relationship Series, 1998–99. Gelatin silver print. 28.9 × 28.9 cm (11 3/8 × 11 3/8 in). Signed, titled in Cyrillic, dated and numbered 3/8 in ink on the verso. PROVENANCE Private Collection, London ExhibitEd Moscow, Gallery.Photographer.ru, Nikolay Bakharev: Public and Private, 27 November 2008 – 15 January 2009 litERAtuRE Exhibition catalogue, N. Milovzrova, ed., People in Town N, Moscow: Photographer.Ru, 2008, p. 59 Estimate £1,500 –2,000 $2,300 –3,000 €1,700 –2,200 ♠

428

BRIC_RUSSIA_350-439.indd 428

20/03/10 12:21

315

316 429

BRIC_RUSSIA_350-439.indd 429

20/03/10 12:22

317

318

317 ANTON TROFYMOR b. 1967 MacDonald Avenue, South Brooklyn, New York, 2007. Gelatin silver print. 102.9 × 88.3 cm (40 1/2 × 34 3/4 in). Signed, dated and titled in ink on the recto.

PROVENANCE Art Beaufort, Hamburg Estimate £ 8 0 0 –1, 2 0 0 $1, 2 0 0 –1, 8 0 0 €9 0 0 –1, 3 0 0

318 SASHA GUSOV b. 1960 Taganrog, Russia, 2005. Gelatin silver print. 24.1 × 35.6 cm (9 1/2 × 14 in). Signed, dated, numbered 1/5 and annotated ‘Russia’ in pencil on the verso.

PROVENANCE Acquired directly from the artist litERAtuRE Locusts by Gusov, London: Thames and Hudson, 2008, p. 101 Estimate £1,0 0 0 –1,5 0 0 $1,5 0 0 – 2, 3 0 0 €1,10 0 –1,70 0 430

BRIC_RUSSIA_350-439.indd 430

20/03/10 12:23

319

320

319 VACLOVAS STRAUKAS b. 1923 Untitled (Football Team), 1972. Gelatin silver print. 51.8 × 49.7 cm (20 3/8 × 19 9/16 in).

Signed, annotated in Lithuanian and dated in pencil on the verso. PROVENANCE Private Collection, London Estimate £1,800 –2,200 $2,700 – 3,300 €2,000 –2,400 ♠

321

320 VACLOVAS STRAUKAS b. 1923 Confession, 1969.

Gelatin silver print. 24.4 × 23.8 cm (9 5/8 × 9 3/8 in). Signed and annotated ‘Foggy morning’ in Lithuanian in pencil on the verso. PROVENANCE Private Collection, London litERAtuRE Vaclovas Straukas Photographs, Klaipeda: The Lithuanian Union of Photoartists, 2007, p. 40 Estimate £1,200 –1,800 $1,800 –2,700 €1,300 –2,000 ♠

321 VACLOVAS STRAUKAS b. 1923 Klaipeda, Lithuania, 1978 from The Last Bell Series (1975–84). Gelatin silver print. 23.5 × 23.8 cm (9 1/4 × 9 3/8 in). Signed, titled in Lithuanian and dated in pencil on the verso. PROVENANCE Private Collection, London Estimate £1,200 –1,800 $1,800 –2,700 €1,300 –2,000 ♠

431

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322

323

322 ERIK BULATOV b. 1933 USSR–GDR FRIENDSHIP FOREVER, 1980. Graphite and coloured pencil on paper. 23.4 × 18.1 cm (9 1/4 × 7 1/8 in). Signed in Cyrillic and dated ‘Bulatov 80’ lower right. PROVENANCE Sammlung Bierfreund Collection, Germany; Private Collection, USA Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ♠ ‡

323 LEONID SOKOV b. 1941 Marilyn and Bear, 1990. Mixed media screenprint, rope and cardboard. 78.8 × 57.9 cm (31 × 22 3/4 in). Signed and dated ‘Leonid Sokov 1990’ lower right. Numbered of 30 lower left. This work is from an edition of 30. PROVENANCE Acquired directly from the artist; Private Collection, Europe Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 432

BRIC_RUSSIA_350-439.indd 432

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324

324 SERGEY BRATKOV b. 1960 Change, 2008. Lambda print. This work is unique.

46.4 × 40 cm (18 1/8 × 15 3/4 in). PROVENANCE Regina Gallery, Moscow Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 ‡

433

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20/03/10 12:25

325

325 GOSHA OSTRETSOV b. 1967 Order of Freedom, 2009. Acrylic on canvas. 200 × 160 cm (78 3/4 × 63 in).

Signed and dated ‘Gosha 2009’ lower right. PROVENANCE Paradise Row, London ExhibitEd London, Paradise Row, The Adventures of Robbing Good, 3 April–2 May 2009 Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ♠ this work can be purchased with or without the installation at the purchaser’s discretion

434

BRIC_pp434-435_revise.indd 434

Installation view

20/03/10 11:33

326

326 Alexei KostromA b. 1962 Yellow Beetle, 2009. Thirteen parts: tempera on MDF. Overall: 280 × 260 cm (110 1/4 × 102 3/8 in). Signed, titled and dated ‘Alexei Kostroma “Yellow Bug (Yellow Beetle)” 2009’ on the reverse. PROVENANCE Acquired directly from the artist Estimate £18 ,0 0 0 – 2 2,0 0 0 $27,4 0 0 – 3 3,4 0 0 €19, 8 0 0 – 24, 2 0 0 ♠ 435

BRIC_pp434-435_revise.indd 435

20/03/10 13:34

327

328

327 VERONICA SMIRNOFF b. 1979 Attention on the Bridge, 2008. Diptych: egg tempera on wood. Overall: 80 × 360 cm (31 1/2 × 141 3/4 in). PROVENANCE Acquired directly from the artist ExhibitEd Moscow, Baibakov Art Projects, Invasion: Evasion, 12 December 2008–1 February 2009; London, Christie’s King Street, Women to Watch, 15–20 September 2009 litERAtuRE Exhibition catalogue, Baibakov Art Projects, Invasion: Evasion, Moscow, 2009, pp. 36–39 (illustrated) Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0

328 BORIS SVEShNIkOV 1927–1998 Otherworldly Glance, 1996. Ink and gouache on paper.

25 × 32.3 cm (9 7/8 × 12 3/4 in). Signed with artist’s monogram and dated ‘96’ lower right.

Signed, titled in Cyrillic and dated ‘B. SVESHNIKOV “OTHERWORLDLY GLANCE” 96’ on the reverse. PROVENANCE Acquired directly from the artist; Private Collection, Europe Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0

436

BRIC_RUSSIA_350-439.indd 436

20/03/10 12:26

329

329 SERGEI kOVALSkY b. 1948 You are Not in Chicago, 1993. Oil and collage on canvas. 94 × 104 cm (37 × 41 in). Signed, titled and dated in English and Cyrillic ‘Sergei Kovalsky “YOU ARE NOT IN CHICAGO” 1993’ on the reverse.

PROVENANCE Acquired directly from the artist ExhibitEd Self-definition: Aspects of the Art of Saint Petersburg of 1970s – 1990s, Kiel, Berlin, Oslo, Sopot, Saint Petersburg, Copenhagen, 1994 – 1996; Saint Petersburg, The Museum of Non-Conformist Art, I drank the sea, 12 May – 24 June 2007 litERAtuRE The Museum of Non-Conformist Art, Sergei Kovalsky: Works 1969–2000, Saint Petersburg, 2000, p. 39 (illustrated) Estimate £ 5,0 0 0 –7,0 0 0 $7,6 0 0 –10,6 0 0 €5,5 0 0 –7,70 0 ♠ ‡ 437

BRIC_RUSSIA_350-439.indd 437

20/03/10 12:26

330

330 SERGEY ChILIkOV b. 1953 Selected Images, 1994–95. Four coupler coupler prints.

Each 11.1 × 11.4 cm (4 3/8 × 4 1/2 in). Each signed in pencil on the verso, variously dated or annotated in pencil or ink in Cyrillic on the verso or reverse of the mount.

PROVENANCE Private Collection, London Estimate £ 3,5 0 0 – 4,0 0 0 $5, 3 0 0 – 6,10 0 € 3,9 0 0 – 4,4 0 0 ♠ 438

BRIC_RUSSIA_350-439.indd 438

20/03/10 12:28

331

331 YURI ShABELNIkOV & YURI khOROVSkY b. 1959 & b. 1946 Project the End, Bedroom, 2008.

Acrylic on canvas and porcelain sculpture. Wall piece: 175 × 212 cm (68 7/8 × 83 1/2 in); floor piece: 38 × 22 × 40 cm (15 × 8 5/8 × 15 3/4 in). The floor piece is from an edition of three.

PROVENANCE Acquired directly from the artists; Private Collection, Paris ExhibitEd Paris, Orel Art, Yuri Shabelnikov, The End, 8 January–27 February 2009 Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ♠ 439

BRIC_RUSSIA_350-439.indd 439

Installation view

20/03/10 12:28

BRIC_BRAZILONE_pp440-487.indd 440

22/03/10 17:55

BRIC_BRAZILONE_pp440-487.indd 441

22/03/10 17:55

BRIC

5 pm saturday 24 april 2010 london

BRAZIL

Lots 332 - 438 AmAdor, L. 365 Anonymous 333, 334 BABinski, m. 415 BArAnek, F. 406 BArBey, B. 346 BArdi, L. B. 367 BArreto, L. m. 420 BArrio, A, 336, 399, 414 BLAss, t. 432 BrAgA, L. 435 BrAnco, m. r. 385, 386, 387 Bruscky, P. 339, 397 cALdAs, J. Z. 363, 364 cAmArgo, s. 354, 362 cAmPAnA, F. & H. 360, 361 cHAves, m. 427 cidAde, m. 425 coLAres, r. 359 cordeiro, W. 338 corrÊA, W. 437 costi, r. 434 dArdot, m. 431 de BArros, g. 438 de cAstro, A. 353 de FreitAs, L. 393 decorAcoes, c. 368 detAnico, A. & LAin, r. 428 di cAvALcAnti, e. 351 diAs, c. 349

eisLer, m. & HAuner, c.

366

FrAnÇA, H. 372 FrAnco, s. 413 gonPer, F. 424 grAnAto, i. 416 gross, c. 389 gruBer, m. 412 HAuner, c. & eisLer, m 366 iAneLLi, A.

392

JAguAriBe, c. 430 komAtsu, A. 429 krAntZ, J. 373, 375 LAgunA, L. 421 LAin, r. & detAnico, A. 428 Lee, W. d. 384 Leirner, n. 395 LeoniLson, J 383, 408, 409, 410, 411 LescHer, A. 400 mAioLino, A. m. 337, 391 mAnueL, A. 357 mArePe 433 meireLes, c. 398 miLHAZes, B. 332 muniZ, v. 340, 401, 402, 403, 405

oiticicA, H. 347, 348 os gÊmeos 396 PAPe, L. 390 PittA, t. r. 407 PiZA, A. L. 335 reiseWitZ, c. 417, 418, 419 resende, J. 388 rocHA, e. 423 rodrigues, s. 374, 376, 377, 378, 381 rosA, d. m. 358 sALgAdo, s. 341, 342, 343, 344, 345 scAPineLLi, g. 380 scHendeL, m. 350, 352, 382, 436 scHoeLLer, m. 404 senise, d. 394 tenreiro, J. 369, 370, 371, 379 tungA 426 ucHoA, d.

422

voLPi, A.

356

WiLLiAms, n. 355

442

BRIC_BRAZIL_pp442-443_revise_Index.indd 442

22/03/10 18:56

332

332 BeAtriZ miLHAZes b. 1960 O Sábado, 2000. Colour screenprint on paper. 103 × 60.5 cm (40 1/2 × 23 3/4 in). Signed, dated ‘B. Milhazes 2000’ and numbered of 35. This work is from an edition of 35. proVEnanCE Durham Press, Pennsylvania Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 ♠ 443

BRIC_BRAZIL_pp442-443_revise_Index.indd 443

22/03/10 18:56

334

333

333 Anonymous Plumario Head Dresses, c. 1950. Feathers, coloured threads and wooden sticks. 50 × 40 cm (19 5/8 × 15 3/4 in). PROVENANCE Private Collection, São Paulo.

Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠ ‡

334 Anonymous Plumario Head Dresses, c. 1950. Feathers, coloured threads and wooden sticks. 50 × 40 cm (19 5/8 × 15 3/4 in). PROVENANCE Private Collection, São Paulo Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ‡ 444

BRIC_BRAZIL_pp444-445_revise.indd 444

22/03/10 18:07

335

336

Cover

335 Arthur Luis PizA b. 1928 Untitled, c. 1980. Paper construction. 50 × 40 cm (19 5/8 × 15 3/4 in). Signed ‘Piza’ and annotated with archive number 265 on the verso. PROVENANCE Marcia Barrozo do Amaral Galeria de Arte, Rio de Janeiro.

Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ♠ ‡

336 Artur BArrio b. 1945 Notebook, 1969–72. Ink, graphite and paper collage on cardboard notebook . 17 × 28 cm (6 3/4 × 11 in). Signed ‘ARTUR BARRIO’ lower left front cover. PROVENANCE Acquired from the artist by the present owner.

Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ♠ ‡

445

BRIC_BRAZIL_pp444-445_revise.indd 445

22/03/10 18:07

337

338 (i)

338 (ii)

338 (iii)

338 Waldemar Cordeiro b. 1925 Three works: (i) Derivades de uma imagen: Transformação em Grau 1, 1969; (ii) Derivadas de uma imagem: Transformação em Grau 0, 1969; (iii) A Mulher que Nao EBB, 1971. Offset lithograph. Each: 61 × 44.5 cm (24 × 17 1/2 in). (i) Signed ‘Analina Cordeiro’ and annotated on the reverse; (ii) signed ‘Analina Cordeiro’ and annotated on the reverse; (iii) signed ‘Waldemar Cordeiro’ and numbered of 300 lower right; signed ‘Analina Cordeiro’ and annotated on the reverse. This work is from an edition of 300. PROVENANCE Luciana Brito, Galeria, São Paulo.

Estimate £ 3 0,0 0 0 – 4 0,0 0 0 $4 5,6 0 0 – 6 0, 8 0 0 € 3 3,0 0 0 – 4 4,0 0 0 ♠ ‡

337 aNNa maria maioliNo b. 1942 Ponto a Ponto, 1976–89. Paper notebook and thread.

28 × 22 × 2 cm (11 × 8 2/3 × 3/4 in). Signed. This work is from an edition of 100.

PROVENANCE Galeria Millan, São Paulo Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 ♠ ‡

446

BRIC_BRAZIL_pp446-447_revise.indd 446

22/03/10 19:19

339 (i)

339 (ii)

339 Paulo BrusCky b. 1949 Two works: (i) The issue is… balance, 1976; (ii) Bureaucracy, 1977. (i) Offset lithograph; (ii) Xerox and stamp on paper. (i) 30 × 21 cm (11 3/4 × 8 1/4 in); (ii) 33 × 21 cm (13 × 8 1/4 in). (i) Stamped ‘PAULO BRUSCKY’ lower left; (ii) signed ‘Paulo Bruscky’ lower right.

These works are unique. PROVENANCE Acquired directly from the artist Estimate £2 2,0 0 0 – 2 8 ,0 0 0 $3 3,4 4 0 – 42,6 0 0 €24, 2 0 0 – 3 0, 8 0 0 ♠ ‡ 447

BRIC_BRAZIL_pp446-447_revise.indd 447

22/03/10 18:08

340 VIK MUNIZ b. 1961 Pelé from Football Players, 2004. Colour coupler print, flush-mounted. 128 × 150.8 cm (50 3/8 × 59 3/8 in). Signed, dated in ink, printed title, number 1/20 on an artist’s label and signed in ink by Pelé on a certificate of authenticity label, both accompanying the work.

PROVENANCE Private Collection Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ♠

340 448

BRIC_BRAZILONE_pp440-487.indd 448

22/03/10 17:56

449

BRIC_BRAZILONE_pp440-487.indd 449

22/03/10 17:56

341

341 SEBASTIÃO SALGADO b. 1944 Gold mine, Serra Pelada, Brazil (Backs), 1986. Gelatin silver print, printed later. 52.4 × 34.9 cm (20 5/8 × 13 3/4 in). Blindstamp in the margin; signed, titled ‘Brasil’ and dated in pencil on the verso. PROVENANCE Acquired directly from the artist litERAtuRE S. Salgado, Workers: Archaeology of the Industrial Age, London: Phaidon, 1993, p. 316 and back cover; S. Salgado, An Uncertain Grace, London: Thames and Hudson, 1990, p. 18 Estimate £ 3,0 0 0 – 4,0 0 0 $4,6 0 0 – 6,10 0 € 3, 3 0 0 – 4,4 0 0 ♠ Ω 450

BRIC_BRAZILONE_pp440-487.indd 450

22/03/10 17:57

342

342 SEBASTIÃO SALGADO b. 1944 Gold mine, Serra Pelada, Brazil (figure eight), 1985. Gelatin silver print, printed later. 51.4 × 34.3 cm (20 1/4 × 13 1/2 in). Blindstamp in the margin; signed, titled ‘Brasil’ and dated in pencil on the verso. PROVENANCE Acquired directly from the artist litERAtuRE M. Haworth-Booth, The Folio Society Book of the 100 Greatest Photographs, London, 2006, p. 201; S. Salgado, Workers: Archaeology of the Industrial Age, London: Phaidon, 1993, p. 314; S. Salgado, An Uncertain Grace, London: Thames and Hudson, 1990, p. 17 Estimate £ 3,5 0 0 – 4,5 0 0 $5, 3 0 0 – 6, 8 0 0 € 3,9 0 0 – 5,0 0 0 ♠ Ω 451

BRIC_BRAZILONE_pp440-487.indd 451

22/03/10 17:58

343

344 343 SEBASTIÃO SALGADO b. 1944 Gold mine, Serra Pelada, Brazil, 1996. Gelatin silver print, printed later. 29.8 × 45.1 cm (11 3/4 × 17 3/4 in). Signed, titled ‘Brasil’ and dated in pencil on the verso. PROVENANCE Acquired directly from the artist Estimate £2,5 0 0 – 3,5 0 0 $3, 8 0 0 – 5, 3 0 0 €2, 8 0 0 – 3,9 0 0 ♠ Ω

344 SEBASTIÃO SALGADO b. 1944 Fishing in the Piulaga Laguna during the Kuarup ceremony of the Waura Group, Upper Xingu, Mato Grosso, Brazil, 2005. Gelatin silver print. 36.8 × 50.8 cm (14 1/2 × 20 in). Blindstamp in the margin; signed, titled ‘Brasil’ and dated in pencil on the verso. PROVENANCE Acquired directly from the artist Estimate £ 3,0 0 0 – 4,0 0 0 $4,6 0 0 – 6,10 0 € 3, 3 0 0 – 4,4 0 0 ♠ Ω 452

BRIC_BRAZILONE_pp440-487.indd 452

22/03/10 17:58

345

346 345 SEBASTIÃO SALGADO b. 1944 Etat d’Amazonas, Brésil, 2002. Gelatin silver print, printed later. 34 × 52.4 cm (13 3/8 × 20 5/8 in). Blindstamp in the margin; signed, titled ‘Brasil’ and dated in pencil on the verso. PROVENANCE Acquired directly from the artist Estimate £ 3,0 0 0 – 4,0 0 0 $4,6 0 0 – 6,10 0 € 3, 3 0 0 – 4,4 0 0 ♠ Ω

346 BRUNO BARBEY b. 1941 The Amazon River, Leticia, Amazonas, Brazil, 1966. Dye-transfer print, printed c. 1985. 44.8 × 68.3 cm (17 5/8 × 26 7/8 in). Signed, dated and annotated ‘Amazone Brazil’ in pencil on the verso. PROVENANCE Magnum Photos, London litERAtuRE Jean Lacouture et al., In Our Time: The World as Seen by Magnum Photographers, New York & London: Norton, 1989, pp. 330–31 Estimate £ 4,0 0 0 – 5,0 0 0 $6,10 0 –7,6 0 0 €4,4 0 0 – 5,5 0 0 ♠ 453

BRIC_BRAZILONE_pp440-487.indd 453

22/03/10 17:58

347

347 HÉLIO OITICICA 1932–1980 Romero Cavalcanti wearing P32 Parangolé Cape 25, New York, 1972. Colour print from 35 mm slide. 11.7 × 7.8 cm (4 5/8 × 3 1/8 in). Signed, inscribed and annotated extensively on the verso. This work is from an edition of 4. PROVENANCE Acquired directly from the artist by the present owner. litERAtuRE S Roseler, Hélio Oiticica: A Pintura Depois do Quadro, Rio de Janeiro: Edições de Arte, 1962 Estimate £2 0,0 0 0 – 3 0,0 0 0 $3 0,4 0 0 – 4 5,6 0 0 €2 2,0 0 0 – 3 3,0 0 0 ‡ 454

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22/03/10 17:59

348 348 HÉLIO OITICICA 1937–1980 Omar Salomão wearing P31 Parangolé Cape 24 ‘Escrerbuto’, 1972. Black and white photograph. 24.5 × 16.8 cm (9 1/2 × 6 5/8 in). Signed on verso. This work is unique. PROVENANCE Acquired directly from the artist by the present owner. litERAtuRE S Roseler, Hélio Oiticica: A Pintura Depois do Quadro, Rio de Janeiro: Edições de Arte, 1962 Estimate £2 0,0 0 0 – 3 0,0 0 0 $3 0,4 0 0 – 4 5,6 0 0 €2 2,0 0 0 – 3 3,0 0 0 ‡ 455

BRIC_BRAZILONE_pp440-487.indd 455

22/03/10 17:59

349

349 CÍCero Dias 1907 – 2003 Untitled (Woman and Boat), c. 1920. Watercolour on paper.

51 × 36.5 cm (20 1/8 × 14 3/8 in). Signed ‘Cícero Dias’ lower right. PROVENANCE Romero Pimenta de Figueiredo Collection, Belo Horizonte litERAtuRE S. de Assis, Cícero Dias: Una vida pela pintura, Brazil, 2000, p. 79 (illustrated) Estimate £6 0,0 0 0 – 8 0,0 0 0 $91, 2 0 0 –12 2,0 0 0 € 6 6,0 0 0 – 8 8 ,0 0 0 ‡ 456

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350

350 Mira sChenDel 1919 – 1988 Experiência textura, c. 1960. Tempera on jute.

30 × 25 cm (11 3/4 × 9 7/8 in). PROVENANCE Private Collection, São Paulo.

Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 ‡

457

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Reverse

The work of Tarsila do Amaral, Cícero Dias and Emiliano di Cavalcanti should be considered within the context of the Semana de Arte Moderna [Week of Modern Art] of 1922 – an event that took place in the Municipal Theatre of São Paulo and served as a proclamation of Brazil’s cultural independence from Portugal and Europe. Although purporting to depart from European tradition, the artists embraced several of the continent’s aesthetic tendencies, including Post-Impressionism, Expressionism and Cubism, as languages to express their art. Mostly narrative, their pictorial worlds sought to create an awareness of Brazil’s unique identity and cultural diversity.

In Emiliano de Cavalcanti’s Mulatas, which dates from the late 1920s, this notion of Brazilian identity mingles with European canons of representation. Somewhat reminiscent of scenes by Georg Grosz and his fellow German post-World War I artists, the painting here depicts a woman – a prostitute, a mulata – in some sort of alley or street, overtly engaging with the spectator. Her eyes do not reflect the horrors of war; instead, she invites the viewer’s attention with a coquettish glance. The colours, shapes and shades of the composition display the painter’s knowledge of European schools, but the somewhat naïve representation alludes to the freshness and and joie de vivre of Brazilian culture.

The verso of the painting depicts a truly ideal mulata, a woman at the height of beauty and sensuality. Though presenting her back to the viewer, her head is turned towards us. Her dress, her posture and her body are a paean to her sisters and their country: voluptuous, generous and joyful, she succinctly embodies all that is Brazil.

351 Emiliano di CavalCanti 1897–1976 Mulatas, c. 1928–29. Watercolour, ink, pastel and graphite on paper. 52.3 × 57.7 cm (20 1/2 × 22 3/4 in). Signed ‘Di Cavalcanti’ lower right. provenance Private Collection, Brazil Estimate £2 2 0,0 0 0 – 2 8 0,0 0 0 $3 3 4,4 0 0 – 425,6 0 0 €242,0 0 0 – 3 0 8 ,0 0 0 ‡

351 458

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459

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352

353 352 Mira Schendel 1919–1988 (i) Untitled, 1965; (ii) Untitled, 1964. Oil on rice paper.

Each: 47 × 23 cm (18 1/2 × 9 in). Each signed and dated lower right. PROVENANCE Gabinete de Arte Raquel Arnaud, São Paulo litERAtuRE M. E. Marques, Mira Schendel, São Paulo: Cosac & Naif Edições, 2001, p. 66 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ‡

353 aMilcar de caSTrO 1920–2002 Untitled (3325). Wood. 60.1 × 70.3 × 40 cm (23 2/3 × 27 2/3 × 15 3/4 in). Signed. PROVENANCE Galeria Millan, São Paulo Estimate £ 3 5,0 0 0 – 4 5,0 0 0 $5 3, 2 0 0 – 6 8 ,4 0 0 € 3 8 ,5 0 0 – 49,5 0 0 ‡

460

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354

354 SergiO caMargO 1930 – 1990 Untitled, c. 1960. Painted wood. 19.6 × 9.6 × 5.3 cm (7 3/4 × 3 3/4 × 2 1/8 in). PROVENANCE Rubens Gerchman Collection, Rio de Janeiro.

Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 91, 2 0 0 €4 4,0 0 0 – 6 6,0 0 0 ‡ 461

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355 Neil Williams 1934–1988 Bloco de Troncoso, 1982. Acrylic on canvas and wood.

260 × 193 cm (102 3/8 × 76 in). Provenance Kim Esteve Collection, São Paulo Literature E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003 (illustrated); C. von Schmidt, Neil Williams, Works from Brazil, 1982–1988, 20th São Paulo International Biennial, 14 October–10 December 1989, São Paulo: Kim Steve and Lana Jokel, 1989, p. 14 (illustrated) Estimate £12 0,0 0 0 –18 0,0 0 0 $18 2,0 0 0 – 274,0 0 0 €13 2,0 0 0 –19 8 ,0 0 0 ‡

Neil Williams, who once shared a studio with Frank Stella, was one of the first American artists to explore the potential of working on irregularly shaped canvases. Initially experimenting with hard-edged geometric forms, he later turned to a more abstract, painterly style, and became much admired by his peers. Although mainly based in New York, Williams learned to love Brazil after being invited to exhibit in a São Paulo biennial, and this Brazilian experience was pivotal to his career. He discovered an ongoing and profound connection with the country’s lushness and diversity that resulted in a series of riotously coloured and textured abstractions, eventually synthesizing the landscape and floral elements encountered on his visits. While continuing to emphasize the structural integrity of the support, Williams developed, as one critic put it, ‘[a] technique of sculptural collage whereby he applied the dried skin of acrylic paint directly to the canvas … In Brazil Williams fused the tropical and the urban concrete’ (Edward Leffingwell, ‘São Paulo Diary’, Art in America 77 (January 1989), pp. 55–56).

462

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355

463

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356

356 ALFREDO VOLPI 1896–1988 Fachada. Tempera on canvas. 24.1 × 33 cm (9 1/2 × 13 in).

Signed ‘A. Volpi’ on the reverse. PROVENANCE Private Collection, São Paulo Estimate £ 4 5,0 0 0 – 55,0 0 0 $6 8 ,4 0 0 – 8 3,6 0 0 €49,5 0 0 – 6 0,5 0 0 ♠ ‡ 464

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357

357 ANTONIO MANUEL b. 1947 Untitled, 1967. Indian ink on newspaper on Fabriano paper.

67.3 × 45.7 cm (26 1/2 × 18 in). Signed and dated ‘Antonio Manuel 1967’ lower right.

PROVENANCE Private Collection, São Paulo Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ ‡ 465

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358

358 DUDI MAIA ROSA b. 1946 Untitled, 1984. Pigment and resin on canvas. 105 × 245 cm (59 1/8 × 96 1/2 in). PROVENANCE The Kim Esteve Collection, São Paulo litERAtuRE E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003 Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 ♠ ‡ 466

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359

359 RAyMUnDO COlAReS 1944–1986 Untitled, 1970. Acrylic and varnish on masonite on panel. 30 × 30 cm (11 3/4 × 11 3/4 in). Signed and dated ‘Colares 70’ on the reverse.

PROVENANCE Private Collection, São Paulo Estimate £18 ,0 0 0 – 25,0 0 0 $27,4 0 0 – 3 8 ,0 0 0 €19, 8 0 0 – 27,5 0 0 ‡ 467

BRIC_BRAZIL_pp466-467_revise.indd 467

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360

360 FERNANDO AND HUMBERTO CAMPANA b. 1961 & b. 1953 ‘Kaiman Jakaré’ sofa, 2006. Velvet, polyurethane, PVC. 140 × 420 × 400 cm (55 1/8 × 165 3/8 × 157 1/2 in). Produced by Edra, Italy.

Each zipper cast with ‘Edra’. literature Exhibition catalogue, Antibodies – Fernando & Humberto Campana 1989–2009, Vitra Design Museum, Weil am Rhein, 2009, p. 35 for a study and pp. 38–39 and 106–07 Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ♠ 468

BRIC_BRAZIL_pp468-469_revise.indd 468

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361

361 FERNANDO AND HUMBERTO CAMPANA b. 1961, b. 1953 Mixed ‘Banquete’ chair, c. 2006.

Stuffed toy animals, brushed tubular steel. 90 cm (35 in) high. Manufactured by Estudio Campana, Brazil. Number 30 from the edition of 150 plus five artist’s proofs and three prototypes. One octopus embroidered with ‘Campanas Nº 30’. literature ‘Qu’est-ce que le Design? (Aujourd’hui)’, Beaux Arts Magazine, Paris, 2004, p. 93, fig. 1 for a similar example; Exhibition catalogue, Antibodies – Fernando & Humberto Campana 1989–2009, Vitra Design Museum, Weil am Rhein, 2009, p. 96 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ♠ Ω 469

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22/03/10 19:46

362

362 Sergio Camargo 1930–1990 Untitled, 1980. Carrara marble. 25 × 65 × 31 cm 5/8 × 12 1/4 in). PROVENANCE Gabinete de Arte Raquel Arnaud, São Paulo Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0

(9 7/8 × 25

470

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22/03/10 18:32

471

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363

363 JOSÉ ZANINE CALDAS 1919–2001 Pair of armchairs, c. 1954. Cabreúva, fabric, metal. Each: 81.5 cm (32 in) high. Manufactured by Móveis Artisticos Z, Brazil (2). literature Patricia Burrowes, Brazilian Modern Design: When Furniture Becomes Art, Rio de Janeiro, 2009, p. 155, fig. 88 Estimate £2,0 0 0 – 4,0 0 0 $3,0 0 0 – 6,10 0 €2, 2 0 0 – 4,4 0 0 ♠ Ω 472

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22/03/10 20:05

364

364 JOSÉ ZANINE CALDAS 1919–2001 Occasional table, c. 1970. Quariquara, glass. 78.5 cm (31 in) high, 91.5 cm (36 in) diameter. PrOVeNaNCe Acquired directly from the Caldas family, Brazil Estimate £18 ,0 0 0 – 2 2,0 0 0 $27,4 0 0 – 3 3,4 0 0 €19, 8 0 0 – 24, 2 0 0 ♠ Ω 473

BRIC_BRAZILONE_pp440-487.indd 473

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365

366

365 LUIS AMADOR Sculptural two-part bench, 1970s. Stack-laminated blonde Brazilian wood. Variable height × 236 × 48 cm (93 × 19 in). Underside with approximately 25 Brazilian postage stamps. PROVENANCE Originally installed in the Sapataria Gambier shoe store, Brazil Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ♠ Ω

366 MARTIN EISLER AND CARLO HAUNER 1913–1977 & 1927–1997 Coffee table, model no.

5316, 1955–64. Jacaranda. 18 × 70 × 70 cm (7 × 27 1/2 × 27 1/2 in). Manufactured by Forma, Brazil. Underside with paper label ‘FORMA S / A – Móveis e Objetos de Arte/SÃO PAULO/MESA/Nº 5316/Industria Brasileira’.

Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 474

BRIC_BRAZILONE_pp440-487.indd 474

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367

367 LINA BO BARDI 1914–1992 Rare set of four ‘Bola’ chairs, c. 1951. Painted tubular metal, hand-stitched leather, brass, string (4). Each: 84.5 cm (33 1/4 in) high. litERAtuRE Olívia Fernandes de Oliveira, 2G: Lina Bo Bardi: Obra construida: Built work, Barcelona, 2002, pp. 36–37 and 227; Olivia de Oliveira, Subtle Substances: The Architecture of Lina Bo Bardi, São Paulo, 2006, pp. 59–60 Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 475

BRIC_BRAZILONE_pp440-487.indd 475

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368

368 CELINA DECORACOES Sofa with integrated side tables, 1960s. Jacaranda, marble, fabric.

70 × 381 × 84 cm (27 1/2 × 150 × 33 in). Manufactured by Celina Decoracoes, Brazil.

Estimate £ 4,5 0 0 – 6,5 0 0 $6, 8 0 0 – 9,9 0 0 €5,0 0 0 –7, 2 0 0 ♠ Ω 476

BRIC_BRAZILONE_pp440-487.indd 476

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477

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369

369 JOAQUIM TENREIRO 1906–1992 Room divider with integrated sofa and sideboard, 1950s.

Jacaranda, Jacaranda-veneered wood, painted wood, fabric, plastic laminate-covered wood, brass. 254.5 × 358.5 × 120 cm (100 × 141 × 47 in). litERAtuRE Joaquim Tenreiro, Joaquim Tenreiro: Madeira/Arte e Design/Organizadores, Rio de Janeiro, 1985, p. 150 for a similar form; Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 46 for a similar form Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 ♠ 478

BRIC_BRAZILONE_pp440-487.indd 478

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Alternative view

479

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370

370 JOAQUIM TENREIRO 1906–1992 Coffee table, c. 1950. Painted wood, glass.

34 × 152.5 × 67.5 cm (13 1/4 × 60 × 26 5/8 in). litERAtuRE Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 99 Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠ Ω 480

BRIC_BRAZILONE_pp440-487.indd 480

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371

371 JOAQUIM TENREIRO 1906–1992 Pair of sliding door panels, 1950s. Glass, coloured glass, jacaranda (4). Each: 203 × 155 × 16 cm (80 × 61 × 6 1/4 in). litERAtuRE Joaquim Tenreiro, Joaquim Tenreiro: Madeira/Arte e Design/Organizadores, Rio de Janeiro, 1985, p. 23 for a similar example Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 ♠ 481

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372

372 HUGO FRANçA b. 1954 ‘Anele’ armchair, 2008. Pequi. 72 cm (28 in) high.

Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ♠

482

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373

373 JULIA KRANTZ ‘Mesa Baum’ dining table with inset bowl, 2005. Stack-laminated sumauma wood, glass. 75 × 180.5 × 131 cm (29 1/2 × 71 × 51 1/2 in). Self-production, Brazil. Artist’s proof number one. Side of base impressed with ‘JULIA KRANTZ/MOVELARIA/ARTIST PROOF 1’.

Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 ♠ Ω 483

BRIC_BRAZILONE_pp440-487.indd 483

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374

374 SERGIO RODRIGUES b. 1927 ‘Tonico’ sofa, c. 1963. Jacaranda, leather. 96.5 × 231. × 80 cm (38 × 91 × 31 1/2 in). From the Ajorge line. literature Soraia Cals, Sergio Rodrigues, Rio de Janeiro, 2000, p. 58 for the ‘Tonico’ chair Estimate £7,0 0 0 –11,0 0 0 $10,6 0 0 –16,70 0 €7,70 0 –12,10 0 ♠ Ω 484

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375

376

375 JULIA KRANTZ ‘Mesa Baum’ side table, 2005. Stack-laminated sumauma wood, glass.

38 × 128.5 × 81.5 cm (15 × 50 1/2 × 32 in). Self-production, Brazil. Artist’s proof number one. Side of base impressed with ‘JULIA KRANTZ/MOVELARIA/ARTIST PROOF 1’.

Estimate £2,5 0 0 – 3,5 0 0 $3, 8 0 0 – 5, 3 0 0 €2, 8 0 0 – 3,9 0 0 ♠ Ω

376 SERGIO RODRIGUES b. 1927 ‘Eleh’ side table/bench, c. 1965. Jacaranda-veneered wood, jacaranda, chrome-plated metal. 37 × 150 × 69 cm (14 1/2 × 59 × 27 1/8 in). From the Arcos line. literature Soraia Cals, Sergio Rodrigues, Rio de Janeiro, 2000, p. 272; Patricia Burrowes, Brazilian Modern Design: When Furniture Becomes Art, Rio de Janeiro, 2009, p. 196, fig. 140 Estimate £1, 8 0 0 – 2, 2 0 0 $2,70 0 – 3, 3 0 0 €2,0 0 0 – 2,4 0 0 ♠ 485

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377

377 SERGIO RODRIGUES b. 1927 Short ‘Mucki’ bench, c. 1958. Jacaranda, jacaranda-veneered wood. 34.5 × 182 × 60 cm (13 1/2 × 71 5/8 × 23 5/8 in). literature Soraia Cals, Sergio Rodrigues, Rio de Janeiro, 2000, pp. 94–95 and 253 for the long version Estimate £2,0 0 0 – 4,0 0 0 $3,0 0 0 – 6,10 0 €2, 2 0 0 – 4,4 0 0 ♠ Ω 486

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378

378 SERGIO RODRIGUES b. 1927 ‘Stella’ sofa, c. 1956. Jacaranda, fabric. 78.5 × 196 × 79 cm (31 × 77 1/4 × 31 in). From the Stella line. literature Soraia Cals, Sergio Rodrigues, Rio de Janeiro, 2000, p. 125 for the ‘Stella’ armchair Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 ♠ Ω 487

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379

379 JOAQUIM TENREIRO 1906–1992 Set of eight dining chairs, c. 1948. Jacaranda, cane (8).

Each: 87 cm (34 1/4 in) high. literature Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 124 for a similar example Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ♠ Ω 488

BRIC_BRAZILTWO_pp488-531.indd 488

22/03/10 19:02

489

BRIC_BRAZILTWO_pp488-531.indd 489

22/03/10 20:04

380

380 GIUSEPPE SCAPINELLI Sideboard, 1950s. Jacaranda-veneered wood, Jacaranda.

77 × 243 × 53 cm (30 1/4 × 9 3/4 × 21 in). literature Patricia Burrowes, Brazilian Modern Design: When Furniture Becomes Art, Rio de Janeiro, 2009, p. 111, fig. 40 for another sideboard by Scapinelli Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 490

BRIC_BRAZILTWO_pp488-531.indd 490

22/03/10 19:02

381

381 SERGIO RODRIGUES b. 1927 ‘Darcy’ sofa, c. 1963. Jacaranda, fabric, leather. 77 × 198 × 86.5 cm (30 1/4 × 78 × 34 in). From the UNB line. literature Soraia Cals, Sergio Rodrigues, Rio de Janeiro, 2000, pp. 38 and 148 Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ♠ 491

BRIC_BRAZILTWO_pp488-531.indd 491

22/03/10 19:03

382

382 Mira Schendel 1919 – 1988 Composição, 1963. Oil on canvas. 30 × 22 cm (11 3/4 × 8 5/8 in).

PROVENANCE Private Collection, São Paulo. litERAtuRE G. Souza Dias, Mira Schendel: do Espirituel à Corporeidade, Cosac & Naify, São Paulo, 2009, p. 214 (illustrated) Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 ‡ 492

BRIC_BRAZIL_pp492-493_revise.indd 492

22/03/10 18:59

383

384

384 WeSleY duke lee b. 1931 Telephos Meets Auge, 2003. Acrylic on canvas.

190 × 150 cm (74 7/8 × 59 in). PROVENANCE Kim Esteve Collection, São Paulo, Brazil litERAtuRE E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003 Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 55,0 0 0 ♠ ‡

383 JOSé leOnilSOn 1957–1993 Braço de Ferro, 1983. Acrylic on canvas. 72 × 155 cm (28 3/8 × 61 in). Dated ‘83’ lower right. PROVENANCE Private collection, São Paulo ExhibitEd São Paulo, Thomas Cohn Gallery, Leonilson, 1998 Estimate £ 4 0,0 0 0 – 6 0,0 0 0 $6 0, 8 0 0 – 91, 2 0 0 €4 4,0 0 0 – 6 6,0 0 0 ‡ 493

BRIC_BRAZIL_pp492-493_revise.indd 493

22/03/10 19:00

385

386

385 MIGUEL RIO BRANCO b. 1946 Havana, Cuba, 1994. Dye destruction print, printed 2008 and flush-mounted. 76.2 × 76.2 cm (30 × 30 in). Signed and numbered in ink on a label accompanying the work. One from an edition of 7. PROVENANCE Magnum Photos, London ExhibitEd Magnum Print Room, London, Cuba: 50 Years of Revolution, 3 December 2008 – 30 January 2009 (another example exhibited) litERAtuRE Silent Book, Cosac & Naify Edições: São Paulo, 1997, n.p.

Estimate £1, 8 0 0 – 2, 2 0 0 $2,70 0 – 3, 3 0 0 €2,0 0 0 – 2,4 0 0 ♠

386 MIGUEL RIO BRANCO b. 1946 Havana, Cuba, 1994. Dye destruction print, printed 2008 and flush-mounted. 76.2 × 76.2 cm (30 × 30 in). Signed and numbered in ink on a label accompanying the work. One from an edition of 7. PROVENANCE Magnum Photos, London ExhibitEd Magnum Print Room, London, Cuba: 50 Years of Revolution, 3 December 2008 – 30 January 2009 (another example exhibited) litERAtuRE Silent Book, Cosac & Naify Edições: São Paulo, 1997, n.p.

Estimate £1, 8 0 0 – 2, 2 0 0 $2,70 0 – 3, 3 0 0 €2,0 0 0 – 2,4 0 0 ♠ 494

BRIC_BRAZILTWO_pp488-531.indd 494

22/03/10 19:31

387

387 MIGUEL RIO BRANCO b. 1946 Kyoto Offerings, 2004. Inkjet print in two parts.

Overall 160 × 80 cm (62 × 31 in). Signed on a label affixed to the reverse. This work is from an edition of 5. provenance Galeria Millan, São Paulo Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠ ‡

495

BRIC_BRAZILTWO_pp488-531.indd 495

22/03/10 19:32

388

388 JOSé RESENDE b. 1945 Untitled, 1991. Leather, wax, string and metal. 285 × 400 cm (112 1/4 × 157 1/2 in). PROVENANCE The Kim Esteve Collection, São Paulo litERAtuRE P. Correa, José Resende, Cosac & Naify, Brazil, 2004, p.83 (illustrated) Estimate £10 0,0 0 0 –15 0,0 0 0 $152,0 0 0 – 2 2 8 ,0 0 0 €110,0 0 0 –16 5,0 0 0 ♠ ‡ 496

BRIC_BRAZILTWO_pp488-531.indd 496

22/03/10 19:41

497

BRIC_BRAZILTWO_pp488-531.indd 497

22/03/10 19:42

389

389 Carmela Gross b. 1946 A Negra, 2009. Nylon, tulle and iron. 132 × 90 × 45 cm (31 1/2 × 118 1/8 × 78 3/4 in). This work is from an edition of 10. PROVENANCE Gabinete de Arte Raquel Arnaud, São Paulo Estimate £6,5 0 0 –7,5 0 0 $9,9 0 0 –11,4 0 0 €7, 2 0 0 – 8 , 3 0 0 ♠ ‡ 498

BRIC_BRAZILTWO_pp488-531.indd 498

22/03/10 19:45

390

390 lyGia PaPe 1927 – 2004 Memória Tuinambá, 1999. Polypropylene and feathers. Diameter 53 cm (20 7/8 in). PROVENANCE Acquired directly from the artist by the present owner. litERAtuRE Lygia Pape, Gávea de Tocaia, Cosac & Naify, Brazil, 2000, pp. 278–79, another example illustrated.

Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,4 0 0 € 3 3,0 0 0 – 5 5,5 0 0 ‡ 499

BRIC_BRAZILTWO_pp488-531.indd 499

22/03/10 19:45

391

391 ANNA MARIA MAIOLINO b. 1942 Untitled, from the series Continuous, 2008. Moulded plaster and metal table. Each: 30 × 22 cm (11 3/4 × 8 2/3 in). Table: 34 × 55 × 70 cm (13 3/8 × 21 2/3 × 27 2/3 in).

Signed on the plaster and table elements. PROVENANCE Galeria Millan, São Paulo Estimate £ 3 5,0 0 0 – 4 5,0 0 0 $5 3, 2 0 0 – 6 8 ,4 0 0 € 3 8 ,5 0 0 – 49,5 0 0 ♠ ‡ 500

BRIC_BRAZILTWO_pp488-531.indd 500

22/03/10 19:07

392

392 ARCANGELO IANELLI b. 1922 Untitled, 1965. Oil on canvas. 88 × 61 cm (34 1/2 × 24 in).

Signed and dated ‘Ianelli 1965’ lower right. PROVENANCE Collection Giulio Carlo Argan, Italy Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠ 501

BRIC_BRAZILTWO_pp488-531.indd 501

22/03/10 19:07

393

393 LoLe De Freitas b. 1945 Untitled, 2009. Polycarbonate sheet and stainless steel bar.

775 × 130 × 265 cm (305 1/8 × 51 1/8 × 104 3/8 in). PROVENANCE Galeria Laura Marsiaj, Rio de Janeiro.

Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ ‡

502

BRIC_BRAZIL_pp502-503_revise.indd 502

22/03/10 19:00

394

394 DaNieL seNise b. 1955 Untitled, 1992. Mixed media on canvas. 160 × 122 cm (63 × 48 in).

Signed, dated and annotated ‘Daniel Senise, 1992 DS-257-92’ on the reverse.

PROVENANCE The Kim Esteve Collection, São Paulo litERAtuRE E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003 Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 ♠ ‡ 503

BRIC_BRAZIL_pp502-503_revise.indd 503

22/03/10 19:00

395

396 (i)

396 (ii)

395 NelsoN leirNer b. 1932 Romaria, 2000. Painted wood, plastic and ceramics.

31 × 77.5 × 21 cm (12 1/4 × 30 1/2 × 8 1/4 in). Signed and dated ‘Nelson Lierner 2000’ on the underside. PROVENANCE Private Collection, São Paulo Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ ‡

396 os GêMeos b. 1974 (i) Untitled (Peephole) (ii) Untitled (Yellow Box), 2003. Acrylic, metallic paint and graphite on found wood. (i) 50.5 × 18.5 × 6.5 cm (19 7/8 × 7 1/4 × 2 1/2 in); (ii) 31.1 × 28.56 × 9.8 cm (12 1/4 × 11 1/4 × 38 7/8 in). PROVENANCE Private Collection, United Kingdom; New Image Art, Los Angeles ExhibitEd Los Angeles, New Image Art Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 ♠ 504

BRIC_BRAZIL_pp504-505_revise.indd 504

22/03/10 19:29

397

397 Paulo Bruscky b. 1949 It is a drug, 1971–2004. Cardboard boxes assemblage. 45.4 × 33 × 18.1 cm (17 7/8 × 13 × 7 1/8 in). Signed ‘Bruscky’ on the front. PROVENANCE Acquired directly from the artist ExhibitEd IV Salão de Arte Universitária UFMG, 1972 litERAtuRE C. Freire, Paulo Bruscky – Arte, Arquivo e Utopia, São Paolo, 2006, pp.20–21 Estimate £ 3 0,0 0 0 – 4 0,0 0 0 $4 5,6 0 0 – 6 0, 8 0 0 € 3 3,0 0 0 – 4 4,0 0 0 ♠ ‡ 505

BRIC_BRAZIL_pp504-505_revise.indd 505

22/03/10 19:29

398

399

398 Cildo Meireles b. 1948 Sal Sem Carne, 1975. Offset lithograph, vinyl 33 rpm LP record with 8-track recording. 30 × 30 cm (11 3/4 × 11 3/4 in). Signed on the record cover.

PROVENANCE Private Collection, Brazil litERAtuRE C. Meireles, The Tate, 2008, p. 97 (illustrated).

Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ♠ ‡

399 Artur BArrio b. 1945 Untitled from the series Desenhos Heterodoxos, 1973–2009.

Mixed media on paper. 50 × 67 × 3 cm (19 5/8 × 26 3/8 × 1 1/8 in). Signed upper right.

PROVENANCE Galeria Millan, São Paulo Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ♠ ‡ 506

BRIC_BRAZIL_PP506-507_revise.indd 506

22/03/10 19:43

400

400 Artur lesCher b. 1962 Untitled, 2007. Polyester resin, car paint and steel cable. 200 × 30 cm (78 3/4 × 11 3/4 in). This work is from an edition of 5 plus 1 artist’s proof and is accompanied by a certificate of authenticity. PROVENANCE Acquired directly from the artist Estimate £18 ,0 0 0 – 2 2,0 0 0 $27,4 0 0 – 3 3,4 0 0 €19, 8 0 0 – 24, 2 0 0 ♠ ‡ 507

BRIC_BRAZIL_PP506-507_revise.indd 507

22/03/10 19:44

401

401 Vik Muniz b. 1961 After Motherwell (Pictures of Ink), 2002. A portfolio of 8 Iris prints with silkscreen varnish. Signed and dated ‘VIK MUNIZ 2002’ and numbered of 40 on the reverse of each. PROVENANCE Pace Prints, New York Estimate £ 4,0 0 0 – 6,0 0 0 $6,10 0 – 9,10 0 €4,4 0 0 – 6,6 0 0 ♠

508

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22/03/10 20:07

402

403

404

402 Vik Muniz b. 1961 Manzoni from the series Pictures of Chocolate, 1999. Digital colour coupler print. 88.9 × 76.2 cm (35 × 30 in). Signed and dated Vik Muniz 1999 on a label adhered to the reverse. This work is from an edition of three. PROVENANCE Brent Sikkema Gallery, New York Estimate £18 ,0 0 0 – 25,0 0 0 $27,4 0 0 – 3 8 ,0 0 0 €19, 8 0 0 – 27,5 0 0 ♠ ‡

404 MARTin SCHOELLER b. 1968 Pelé, 2005. Colour coupler print. 101 × 127 cm (39 3/4 × 50 in). Signed in ink on a certificate of authenticity affixed to the reverse of the flushmount. Number 1 from an edition of 3.

Estimate £2,5 0 0 – 3,5 0 0 $3, 8 0 0 – 5, 3 0 0 €2, 8 0 0 – 3,9 0 0 ♠

403 Vik Muniz b. 1961 Barry Le Va (Omitted Section of a Section Omitted) from the series Pictures of Dust, 2000. Colour coupler print flush-mounted to foam core. 101.6 × 101.6 cm (40 × 40 in). This work is from an edition of 7. PROVENANCE Acquired directly from the artist; Private Collection, London ExhibitEd New York, Whitney Museum of Art, The Things Themselves: Pictures of Dust by Vik Muniz, 27 January–20 May 2001 Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠ 509

BRIC_BRAZILTWO_pp488-531.indd 509

22/03/10 19:48

405

405 VIK MUNIZ b. 1961 Viewing from Chernobyl, Ukraine – Longitude: 30° 15’00” Latitude: 59° 17’00”– 4/26/1986 – 1:24 PM (LOCAL) – Gaze: AZ: 266° 42.919’ Alt: 90° 0.000’ from Pictures of Air, 2001. Dye destruction print, flush-mounted. 233.7 × 182.2 cm (92 × 71 3/4 in). Accompanied by a signed certificate of authenticity. AP2 from an edition of 3 plus 3 artist’s proofs.

PROVENANCE Private Collection, Europe ExhibitEd Rome, Museo d’Arte Contemporanea di Roma (MACRO), Vik Muniz, 27 September 2003 – 4 January 2004 (another example exhibited) litERAtuRE Exhibition catalogue, MACRO, G. Celant, Vik Muniz, Rome, 2003, p. 166 Estimate £12,0 0 0 –16,0 0 0 $18 , 2 0 0 – 24, 3 0 0 €13, 2 0 0 –17,6 0 0 ♠ 510

BRIC_BRAZIL_pp510-511_revise.indd 510

22/03/10 19:56

406

407

406 Frida Baranek b. 1961 Willow Hammock, 2004. Silk and copper. 400 × 240 × 120 cm (157 1/2 × 94 1/2 × 47 1/4 in). PROVENANCE Gabinete de Arte Raquel Arnaud, São Paulo Estimate £ 4,5 0 0 – 5,5 0 0 $6, 8 0 0 – 8 ,4 0 0 €5,0 0 0 – 6,10 0 ♠

407 Thiago rocha PiTTa b. 1980 Prototide, 2008. Digital print diptych. Each: 55 × 49 cm (21 5/8 × 19 1/4 in). Signed on the reverse. These works are from an edition of 5.

PROVENANCE Galleria Millan, São Paulo Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠ ‡

511

BRIC_BRAZIL_pp510-511_revise.indd 511

22/03/10 20:13

408

409

410

408 josé LeoniLson 1957 – 1993 Foguete na Garagem da Ana I, 1980. Coloured pencil and ink on paper. 20 × 30.5 cm (7 7/8 × 12 in). Signed with monogram, dated and titled ‘10 10 80 FOGUETE NA GARAGEM DA ANA I’ lower margin in pencil. PROVENANCE Private Collection, Brazil ExhibitEd Madrid, Casa do Brasil, 1980 Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0

410 josé LeoniLson 1957 – 1993 Ollares Atentos, 1980. Coloured pencil and ink on paper. 35 × 50 cm (13 3/4 × 19 5/8 in). Signed and dated ‘1 05 80’ lower margin in pencil.

PROVENANCE Private Collection, Brazil ExhibitEd Madrid, Casa do Brasil, 1980.

Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0

409 josé LeoniLson 1957 – 1993 Untitled, 1980. Coloured pencil and ink on paper. 35 × 50 cm (13 3/4 × 19 5/8 in). Signed with monogram lower left. PROVENANCE Private Collection, Brazil ExhibitEd Madrid, Casa do Brasil, 1980 litERAtuRE Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 512

BRIC_BRAZILTWO_pp488-531.indd 512

22/03/10 19:53

411

411 josé LeoniLson 1957 –1993 Eight works: Untitled, 1984. Coloured pencil and ink on paper. 35 × 80 cm (13 3/4 × 31 1/2 in). Each initialled and dated ‘L.M. 84’.

PROVENANCE Private Collection, Brazil Estimate £ 4 5,0 0 0 – 55,0 0 0 $6 8 ,4 0 0 – 8 3,6 0 0 €49,5 0 0 – 6 0,5 0 0 513

BRIC_BRAZILTWO_pp488-531.indd 513

22/03/10 19:54

412

412 MARIO GRUBER b. 1927 Untitled, 1981. Oil on wood. 220 × 160 cm (86 5/8 × 63 in).

Signed and dated ‘Gruber 81’ lower right. PROVENANCE The Kim Esteve Collection, São Paolo litERAtuRE E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ♠ ‡ 514

BRIC_BRAZILTWO_pp488-531.indd 514

23/03/10 11:31

413

413 SIRON FRANCO b. 1947 Peles, 1990. Oil on canvas. 110 × 90 cm (43 1/4 × 35 3/8 in).

Signed ‘Siron’ lower left. PROVENANCE The Kim Esteve Collection, São Paulo litERAtuRE E. Leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: Editora Terceiro Nome, 2003 Estimate £ 3 0,0 0 0 – 5 0,0 0 0 $4 5,6 0 0 –76,0 0 0 € 3 3,0 0 0 – 5 5,0 0 0 ♠ ‡

BRIC_BRAZILTWO_pp488-531.indd 515

23/03/10 11:31

414

415

414 ARTUR BARRIO b. 1945 Portrait of Picasso with Greek Profile, 1986. Acrylic on canvas.

129 × 146 cm (50 3/4 × 57 1/2 in). Signed and dated ‘A Barrio 86’ upper left and titled ‘RetRAto de PicASSo com PeRfil GReco’ along the top and bottom edges.

PROVENANCE the Kim esteve collection, São Paulo litERAtuRE e. leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: editora terceiro Nome, 2003 Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ ‡

415 MACIEJ BABINSKI b. 1931 Untitled, 1980. oil on canvas. 105 × 150 cm (41 3/8 × 41 3/8 in).

PROVENANCE the Kim esteve collection, São Paulo litERAtuRE e. leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: editora terceiro Nome, 2003 Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ ‡

516

BRIC_BRAZIL_pp516-517_revise.indd 516

22/03/10 19:57

416

416 IVALD GRANATO b. 1949 Go Back, 1989. Acrylic on canvas. 194 × 143 cm (76 3/8 × 56 1/4 in).

PROVENANCE the Kim esteve collection, São Paolo litERAtuRE e. leffingwell, The Keeper’s Memory, The Kim Esteve Collection and a Narrative History of Chácara Flora, São Paulo: editora terceiro Nome, 2003 Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ♠ ‡

517

BRIC_BRAZIL_pp516-517_revise.indd 517

22/03/10 19:57

417

418

417 CAIO REISEWITZ b. 1967 Real Gabinete Português de Leitura I, Rio de Janeiro, 2004.

Colour coupler print, Diasec mounted. 228.6 × 181.6 cm (90 × 71 1/2 in). Signed, titled, dated, numbered 3/3 and annotated ‘135/04’ in ink on the reverse of the frame.

PROVENANCE Galeria Brito Cimino, São Paulo Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠

418 CAIO REISEWITZ b. 1967 Camâra Municipal de São Paulo (Palácio Anchieta), 2004.

Colour coupler print, Diasec mounted. 179.5 × 225.5 cm (70 3/8 × 88 3/4 in). Signed, titled, dated, numbered 1/3 and annotated ‘CR 123/04’ in ink on the reverse of the frame.

PROVENANCE Galeria Brito Cimino, São Paulo Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ♠ 518

BRIC_BRAZIL_pp518-519_revise.indd 518

22/03/10 19:58

419 419 CAIO REISEWITZ b. 1967 Teatro Heredia IV, Cartagena de Indias, 2007. Colour coupler print, Diasec mounted. 164 × 124 cm (65 1/2 × 48 7/8 in). Signed ‘Caio Reisewitz 2007’ on the reverse. This work is from an edition of five. PROVENANCE Luciana Brito Galeria, São Paulo. ExhibitEd São Paulo, SESC Paulista, Réliquas e Ruînas, 16 May–13 July 2008 litERAtuRE F. Cocchiarale, Caio Reisewitz: Parece Verdade, Rio de Janeiro: Centro Cultural Banco do Brasil, 2010 Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠ ‡ 519

BRIC_BRAZIL_pp518-519_revise.indd 519

22/03/10 19:58

420

421

420 Lia Menna Barreto b. 1959 Bordado Manhã de Domingo (Sunday morning embroidery), 2007. Plastic, metal and fabric. 120 × 120 cm (47 1/4 × 47 1/4 in).

PROVENANCE Galeria Laura Marsiaj, Rio de Janeiro Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠ ‡

421 Lucia Laguna b. 1941 Paisagem n° 31 (Postais), 2010. Oil and acrylic on canvas.

110 × 180 cm (43 1/4 × 70 7/8 in). Signed, titled and dated ‘PAISAGEM – no 31 (Postais) ANO-2010 Lucia Laguna’ on the reverse. PROVENANCE Galeria Laura Marsiaj, Rio de Janeiro Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠ ‡ 520

BRIC_BRAZILTWO_pp488-531.indd 520

22/03/10 20:36

422

423

422 DeLson uchÔa b. 1956 Basculante, 2007. Resin, coagulated acrylic, cellophane, wood and acrylic on canvas. 177 × 175 cm (69 5/8 × 68 7/8). PROVENANCE Luciana Brito Galeria, São Paulo litERAtuRE Delson Uchea, Brazil: Carta Editorial, 2009, pp. 100–01 (illustrated in colour) Estimate £ 3 0,0 0 0 – 4 0,0 0 0 $4 5,6 0 0 – 6 0, 8 0 0 € 3 3,0 0 0 – 4 4,0 0 0 ♠ ‡

423 eLDer rocha b. 1961 Justaposição polar (Polar Juxtaposition), 2008. Oil on canvas.

180 × 280 cm (70 7/8 × 110 1/4 in). Signed, titled and dated ‘ELDER ROCHA 2009 Justaposição Polar’ on the reverse. PROVENANCE Galeria Laura Marsiaj, Rio de Janeiro. Estimate £ 5,5 0 0 – 6,5 0 0 $8 ,4 0 0 – 9, 8 0 0 € 6,10 0 –7, 2 0 0 ♠ ‡

521

BRIC_BRAZILTWO_pp488-531.indd 521

22/03/10 20:36

424

425 424 FABIANO GONPER b. 1970 Untitled from the series O Manipulador, 2009. Pencil on canvas. 160 × 220 cm (62 7/8 × 86 5/8 in). Signed on the reverse. PROVENANCE Maria Baro Galeria, São Paulo Estimate £ 9,0 0 0 –12,0 0 0 $13,70 0 –18 , 2 0 0 €9,9 0 0 –13, 2 0 0 ♠ ‡

425 MARcElO cIdAdE b. 1979 Esquerda Direita, 2007. Chromed steel shopping carts. 120 × 400.1 × 89.9 cm (47 1/4 × 157 1/2 × 35 3/8 in). This work is an artist’s proof and is accompanied by a certificate of authenticity signed by the artist.

PROVENANCE Galeria Vermelho, São Paulo ExhibitEd São Paulo, Itaú Cultural, Futuro de Presente, 2007–08 litERAtuRE Exhibition catalogue, Itaú Cultural, Futuro de Presente, São Paulo, 2007 Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 ♠ ‡ 522

BRIC_BRAZIL_pp522-523_revise.indd 522

22/03/10 19:59

426 426 TUNGA b. 1952 Dark Table with Light, 2007. Wood, cast brass, brass screen, resin and electrical fixtures. 139 × 177 × 98 cm (54 3/4 × 69 3/4 × 38 5/8 in). PROVENANCE Luhring Augustine, New York Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ♠

523

BRIC_BRAZIL_pp522-523_revise.indd 523

22/03/10 20:00

427

428

429

427 MARCOS CHAVES b. 1961 Laughing Mask, 2005. DVD. 1' 50" loop. Signed on the certificate of authenticity. This work is from an edition of 5 plus 2 artist’s proofs. provenance Private Collection, Brazil exhibited Sunderland, Northern Gallery of Contemporary Art, The Fool, 2009; London, Butcher’s, 12 October–15 November 2008 Estimate £6,0 0 0 – 8 ,0 0 0 $9,10 0 –12, 2 0 0 € 6,6 0 0 – 8 , 8 0 0 ♠ ‡ 428 ANGELA DETANICO AND RAFAEL LAIN b. 1974 & b. 1973 Five Stars, 2007. Paper collage.

Each: 42.5 × 42.5 × 4 cm (16 1/2 × 16 1/2 × 1 3/8 in). Signed on the certificate of authenticity.

This work is unique. provenance Galeria Vermelho, São Paulo exhibited São Paulo, Galeria Vermelho, Ana Zero, 2007; Paris, Musée Zadkine, Inverse Times, 2007 literature Estimate £ 8 ,0 0 0 –12,0 0 0 $12, 2 0 0 –18 , 2 0 0 € 8 , 8 0 0 –13, 2 0 0 ♠ ‡

429 ANDRE KOMATSU b. 1978 Untitled (Armário) from the series Embutidos, 2005. Drawing on wooden panel. 46 × 36.8 × 7 cm (18 1/8 × 14 1/2 × 2 3/4 in). Signed, titled, dated and numbered ‘s/titulo (ARMÁRIO) 1/1 SÉRIE: Embutidos 2005 Andre Komatsu’ on the reverse. This work is unique and is accompanied by a certificate of authenticity. provenance Private Collection, São Paulo exhibited São Paulo, Galeria Vermelho, Solto, Cruzado e Junto, 2004 Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠ ‡

524

BRIC_BRAZIL_pp524-525_revise.indd 524

22/03/10 20:37

430

430 CLAUDIA JAGUARIBE b. 1955 Biblioteca from the series Quando Eu Vi, 2010. Digital print mounted on Plexiglas. 190 × 100 cm (73 3/4 × 39 3/8 in). This work is from an edition of 3. provenance Private Collection, Brazil exhibited São Paulo, Galeria Baró Cruz, Quando eu vi, 17 October–17 November 2007 Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠ ‡ 525

BRIC_BRAZIL_pp524-525_revise.indd 525

22/03/10 20:00

431

432

431 Marila DarDot b. 1973 Sob Neblina, 2004. Engraved glass and stainless steel. 50 × 34 cm (19 5/8 × 13 3/8 in). This work is unique and is accompanied by a certificate of authenticity signed by the artist. This work is from an edition of 1. PROVENANCE Galeria Vermelho, São Paulo ExhibitEd São Paulo, Galeria Vermelho, Solto, Cruzado e Junto, 2004 Estimate £2,0 0 0 – 3,0 0 0 $3,0 0 0 – 4,6 0 0 €2, 2 0 0 – 3, 3 0 0 ♠ ‡

432 tatiana Blass b. 1979 Alagado (delta del Tigre), 2008. Lacquer painting on wood and book. 27 5/8 × 35 3/8 × 11 3/4 in (70.2 × 89.9 × 29.8 cm). Signed on the book.

PROVENANCE Galeria Millan, São Paulo Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 ♠ ‡

526

BRIC_BRAZIL_pp526-527_revise.indd 526

22/03/10 20:38

433

433 MarEPE b. 1970 Untitled, 2003. Plastic. 83.8 × 67.9 × 58.4 cm (33 × 26 3/4 × 23 in).

PROVENANCE Galeria Luisa Strina, São Paolo; Private Collection, Paris Estimate £ 3,0 0 0 – 5,0 0 0 $4,6 0 0 –7,6 0 0 € 3, 3 0 0 – 5,5 0 0 ♠

527

BRIC_BRAZIL_pp526-527_revise.indd 527

22/03/10 20:01

434

435

434 Rochelle costi b. 1961 São Paulo Hotel, 2003. Colour coupler print, Diasec mounted. 100 × 150 cm (39 3/8 × 59 in). Signed and dated ‘Rochelle Costi 2003’ on the verso. This work is from an edition of 3. PROVENANCE Luciana Brito, Galeria, São Paulo Estimate £10,0 0 0 –15,0 0 0 $15, 2 0 0 – 2 2, 8 0 0 €11,0 0 0 –16,5 0 0 ♠ ‡

435 lUiZ BRAGA b. 1956 Circo, 2008. Pigment print on cotton paper. 70 × 105 cm (27 1/2 × 41 3/8 in). Signed on a label affixed to the verso. This work is from an edition of 5 plus 2 artist’s proofs. PROVENANCE Galeria Leme, São Paulo Estimate £7,0 0 0 – 9,0 0 0 $10,6 0 0 –13,70 0 €7,70 0 – 9,9 0 0 ♠ 528

BRIC_BRAZILTWO_pp488-531.indd 528

22/03/10 20:11

436

436 MiRA schendel 1919–1988 Untitled, c. 1980. Tempera and gold leaf on paper. 35.9 × 25.7 cm (14 1/8 × 10 1/8 in). PROVENANCE Andre Millan Collection, São Paulo litERAtuRE G. Souza Dias, Mira Schendel, do espiritual à corporeidade, Brazil: Cosac & Naify, 2009, p. 214 (illustrated) Estimate £25,0 0 0 – 3 5,0 0 0 $3 8 ,0 0 0 – 5 3, 2 0 0 €27,5 0 0 – 3 8 ,5 0 0 ‡ 529

BRIC_BRAZILTWO_pp488-531.indd 529

22/03/10 20:12

437

437 Walmor Corrêa b. 1960 Curupira, from the series Unheimlich, 2005. Acrylic and graphite on canvas. 195 × 130 cm (76 3/4 × 51 1/8 in). PROVENANCE Galeria Laura Marsiaj, Rio de Janeiro ExhibitEd Cape Town, Iziko: South African National Gallery, The Tropics: Views from the Middle of the Globe, 1 April–14 June 2009 Estimate £12,0 0 0 –18 ,0 0 0 $18 , 2 0 0 – 27,4 0 0 €13, 2 0 0 –19, 8 0 0 ♠ ‡ 530

BRIC_BRAZIL_pp530-531_revise.indd 530

22/03/10 20:01

438 (i)

(ii)

(iii)

438 Geraldo de Barros 1923 –1998 Three works: Untitled from the series Fotoformas.

Gelatin silver prints. (i) 35.2 × 45.5 cm (13 7/8 × 17 7/8 in); (ii) 45.5 × 35.2 cm (17 7/8 × 13 7/8 in); (iii) 30 × 40 cm (11 3/4 × 15 3/4 in). Each signed and stamped on the reverse.

PROVENANCE Private Collection, São Paulo Estimate £15,0 0 0 – 2 0,0 0 0 $2 2, 8 0 0 – 3 0,4 0 0 €16,5 0 0 – 2 2,0 0 0 ‡ 531

BRIC_BRAZIL_pp530-531_revise.indd 531

22/03/10 20:02

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A reserve is the confidential value established between Phillips de Pury & Company and

Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium.

the seller and below which a lot may not be sold. The reserve for each lot is generally set at

The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the ‘VAT

a percentage of the low estimate and will not exceed the low pre-sale estimate.

AND OTHER TAX INFORMATION FOR BUYERS’ section in this catalogue.

♠ Property Subject to the artist’s Resale Right Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of 1 PRIOR TO aUCTIOn

the hammer price and payable as part of the purchase price as follows:

Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury &

Portion of the Hammer Price (in EUR)

Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

From 0 to 50,000

4%

From 50,000.01 to 200,000

3%

Royalty Rate

Pre-Sale Estimates

From 200,000.01 to 350,000

1%

Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high

From 350,000.01 to 500,000

0.5%

and low estimate range should, in our opinion, offer a chance of success. However, many

Exceeding 500,000

0.25%

lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. It is advisable

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to

to contact us closer to the time of the auction as estimates can be subject to revision.

a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be

Pre-sale estimates do not include the buyer’s premium or VAT.

based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank.

Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction

†, §, ‡, or Ω Property Subject to VaT

catalogues may also be printed in US dollars and/or euros. Since the exchange rate is

Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’

that at the time of catalogue production and not at the date of auction, you should treat

in this catalogue for additional information.

estimates in US dollars or euros as a guide only.

Catalogue Entries Phillips de Pury & Company may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition of lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition.

The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company 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 de Pury & Company 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.

Pre-auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

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.

532

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JEWELS aUCTIOn 21 APRIL 2010 Viewing 16 – 21 April

nEW YORK

Viewing & auction location The Phillips de Pury & Company Boutique at the mark Hotel 992 Madison Avenue 77th Street New York Enquiries +1 212 940 1283 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

a magnificent Fancy Yellow Diamond

BRIC_Backmatter_532-543.indd 533

Estimate $300,000-350,000

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2 BIDDInG In THE SalE

4 aFTER THE aUCTIOn

Bidding at auction

Payment

Bids may be executed during the auction in person by paddle or by telephone or prior to

Buyers are required to pay for purchases immediately following the auction unless other

the sale in writing by absentee bid. Proof of identity in the form of government-issued

arrangements have been agreed with Phillips de Pury & Company in writing in advance of

identification will be required, as will an original signature. We may also require that

the sale. Payments must be made in pounds sterling either by cash, cheque drawn on a UK

you furnish us with a bank reference.

bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of the local currency equivalent of US$10,000.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to

Credit Cards

allow sufficient time for us to process your information. All lots sold will be invoiced to

As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and

the name and address to which the paddle has been registered and invoices cannot be

UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the

Collection

end of the auction, please return your paddle to the registration desk.

It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has

Bidding by Telephone

received full and cleared payment and we are not owed any other amount by the buyer.

If you cannot attend the auction, you may bid live on the telephone with one of our

After the auction, we will transfer all lots to our fine arts storage facility located at 110–112

multilingual staff members. This service must be arranged at least 24 hours in advance of

Morden Road, Mitcham, Surrey CR4 4XB and will so advise all buyers. Lots will be ready for

the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone

collection on Tuesday 27 April. Please contact the Shipping Department at (tel) +44 20

bids may be recorded. By bidding on the telephone, you consent to the recording of your

7318 4081 or (fax) +44 20 7318 4038 to arrange collection or to seek assistance with any

conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium

shipping requirements. Please note that all buyers have 30 days to collect their purchases,

and VAT, which we can execute on your behalf in the event we are unable to reach you

after which date Phillips de Pury & Company will levy for each uncollected lot an

by telephone.

administrative fee of £25, a storage fee of £3 per day and a pro rated insurance charge of 0.1% of the purchase price per month.

absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de

loss or Damage

Pury & Company will be happy to execute written bids on your behalf. A bidding form can

Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage

be found at the back of this catalogue. This service is free and confidential. Bids must be

to lots for a maximum of five days following the auction.

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

Transport and Shipping

a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand

accepted. Any absentee bid must be received at least 24 hours in advance of the sale.

carry only. We do not provide packing, handling or shipping services directly. However, we

In the event of identical bids, the earliest bid received will take precedence.

will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know

Export and Import licences

the reserve when submitting their absentee bids and otherwise comply with our employee

Before bidding for any property, prospective bidders are advised to make independent

bidding procedures.

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

Bidding Increments

with all import and export laws and to obtain any necessary licences or permits. The

Bidding generally opens below the low estimate and advances in increments of up to 10%,

denial of any required licence or permit or any delay in obtaining such documentation will

subject to the auctioneer’s discretion. Absentee bids that do not conform to the

not justify the cancellation of the sale or any delay in making full payment for the lot.

increments set below may be lowered to the next bidding increment.

Endangered Species UK£50 to UK£1,000

by UK£50s

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

UK£1,000 to UK£2,000

by UK£100s

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

UK£2,000 to UK£3,000

by UK£200s

require a licence or certificate prior to exportation and additional licences or certificates

UK£3,000 to UK£5,000

by UK£200s, 500, 800 (i.e., UK£4,200, 4,500, 4,800)

upon importation to any country outside the European Union (EU). Please note that the

UK£5,000 to UK£10,000

by UK£500s

ability to obtain an export licence or certificate does not ensure the ability to obtain an

UK£10,000 to UK£20,000

by UK£1,000s

import licence or certificate in another country, and vice versa. We suggest that

UK£20,000 to UK£30,000

by UK£2,000s

prospective bidders check with their own government regarding wildlife import

UK£30,000 to UK£50,000

by UK£2,000s, 5,000, 8,000

requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any

UK£50,000 to UK£100,000

by UK£5,000s

necessary export or import licences or certificates as well as any other required

UK£100,000 to UK£200,000

by UK£10,000s

documentation. The denial of any required licence or certificate or any delay in obtaining

above UK£200,000

at the auctioneer’s discretion

such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 THE aUCTIOn Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

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 de Pury & Company 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.

534

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PHOTO & COPYRIGHT: ATELIER VAN LIESHOUT

DESIGN aUCTIOn 28 APRIL 2010 4pm Viewing 21 – 28 April

lOnDOn

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 30 7318 4021 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com

aTElIER Van lIESHOUT Fisherman’s House, 2000 Estimate £35,000-55,000

BRIC_Backmatter_532-543.indd 535

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VaT anD OTHER Tax InFORmaTIOn FOR BUYERS The following paragraphs provide general information to buyers on the VAT and certain

Where the buyer carries purchases from the EU personally or uses the services of a third

other potential tax implications of purchasing property at Phillips de Pury & Company.

party, Phillips de Pury & Company will charge the VAT amount due as a deposit and

This information is not intended to be complete. In all cases, the relevant tax legislation

refund it if the lot has been exported within the timelines specified below and either

takes precedence, and the VAT rates in effect on the day of the auction will be the rates

of the following conditions are met:

charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is not usually treated as agent and most property is sold as if it is the property of Phillips de

• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules,

Pury & Company. In the following paragraphs, reference to VAT symbols shall mean those

Phillips de Pury & Company is provided with appropriate documentary proof of

symbols located beside the lot number or the pre-sale estimates in the catalogue (or

export from the EU within three months of the date of sale. Buyers carrying their

amending saleroom addendum).

own property should obtain hand-carry papers from the Shipping Department to facilitate this process.

1 PROPERTY WITH nO VaT SYmBOl Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s

• For lots sold under temporary admission, Phillips de Pury & Company is provided

Margin Scheme, and VAT will not normally be charged on the hammer price.

with a copy of the correct paperwork duly completed and stamped by HM Revenue & Customs which shows the property has been exported from the EU via the UK

Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will

within 30 days of payment date. It is essential for shippers acting on behalf of

charge an amount in lieu of VAT at 17.5% on the buyer’s premium. This amount will form

buyers to collect copies of original import papers from our Shipping Department.

part of the buyer’s premium on our invoice and will not be separately identified.

HM Revenue & Customs insist that the correct customs procedures are followed and Phillips de Pury & Company will not be able to issue any refunds where the

2 PROPERTY WITH a † SYmBOl

export documents do not exactly comply with governmental regulations. Property

These lots will be sold under the normal UK VAT rules, and VAT will be charged at 17.5%

subject to temporary admission must be transferred to another customs procedure

on both the hammer price and buyer’s premium.

immediately if any restoration or repair work is to be carried out.

Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business

Buyers carrying their own property must obtain hand-carry papers from the Shipping

person in a non-EU country then no VAT will be charged on the buyer’s premium. This is

Department, for which a charge of £20 will be made. The VAT refund will be processed

subject to Phillips de Pury & Company being provided with evidence of the buyer’s VAT

once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips

registration number in the relevant Member State (non-UK) or the buyer’s business status

de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK

in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence

or EU private residents unless the lot is subject to temporary admission and the property

not be provided then VAT will be charged on the buyer’s premium.

is exported from the EU within 30 days of payment date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20.

3 PROPERTY WITH a § SYmBOl Lots sold to buyers whose registered address is in the EU will be assumed to be remaining

Buyers intending to export, repair, restore or alter lots under temporary admission should

in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer

notify the Shipping Department before collection. Failure to do so may result in the import

advises us that the property is to be exported from the EU, Phillips de Pury & Company will

VAT becoming payable immediately and Phillips de Pury & Company being unable to

re-invoice the property under the normal VAT rules.

refund the VAT charged on deposit.

Lots sold to buyers whose address is outside the EU will be assumed to be exported from

6 VaT REFUnDS FROm Hm REVEnUE & CUSTOmS

the EU. The property will be invoiced under the normal VAT rules. Although the hammer

Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be

price will be subject to VAT, the VAT will be cancelled or refunded upon export. The

possible to seek repayment from HM Revenue & Customs (‘HMRC’). Repayments in this

buyer’s premium will always bear VAT unless the buyer is a relevant business person in

manner are limited to businesses located outside the UK and may be considered for example

the EU (non-UK) or is a relevant business person in a non-EU country, subject to Phillips

for Import VAT charged on the hammer price for lots sold under temporary admission.

de Pury & Company 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

All claims made by customers located in another member state to the UK will need to be

as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will

made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is

be charged on the buyer’s premium.

no longer in operation.

4 PROPERTY SOlD WITH a ‡ OR Ω SYmBOl

If you are located in an EU member state other than the UK you will now need to apply for a

These lots have been imported from outside the EU to be sold at auction under temporary

refund of UK VAT directly to your local tax authority. This is done via submission of an

admission. Property subject to temporary admission will be offered under the

electronically based claim form which should be accessed through the website of your

Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 17.5%,

local tax authority. As a result, your form may include VAT incurred in a number of

marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 17.5%

member states. Furthermore, from 1 January 2010 you should only submit one form per

on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin

year, rather than submitting forms throughout the year.

Scheme should notify the Client Accounting Department before the sale.

Please note that the time limits by which you must make a claim have been extended.

Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant

When making a claim for VAT incurred in another EU member state any claim will still be

business person in the EU (non-UK) or is a relevant business person in a non-EU country

made on a calendar year basis but must now be made no later than 30 September

then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury &

following that calendar year. This effectively extends the time by which claims should be

Company receiving evidence of the buyer’s VAT registration number in the relevant

made by three months (e.g. for VAT incurred in the year 1 January to 31 December 2010 you

Member State (non-UK) or the buyer’s business status in a non-EU country such as the

should make a claim to your local tax authority no later than 30 September 2011). Once you

buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be

have submitted the electronic form to your local tax authority it is their responsibility to

charged on the buyer’s premium.

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.

5 ExPORTS FROm THE EUROPEan UnIOn The following types of VAT may be cancelled or refunded by Phillips de Pury & Company

If you are located outside the EU you should apply for a refund of UK VAT directly to

on exports made within three months of the sale date if strict conditions are met:

HMRC (The rules for those located outside of the EU have not changed). Claim forms are • The amount in lieu of VAT charged on the buyer’s premium for property sold

only available from the HMRC website. Go to http://www.hmrc.gov.uk/index.htm, and

under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol);

follow Quick Links then Find a Form. The relevant form is VAT65A. Completed forms should be returned to: HM Revenue & Customs, VAT Overseas Repayment Directive, Foyle

• The VAT on the hammer price for property sold under the normal VAT rules

House, Duncreggan Road, Londonderry, Northern Ireland, BT48 7AE, (tel) +44 2871 305100

(i.e., with a † or a § symbol).

(fax) +44 2871 305101.

The following type of VaT may be cancelled or refunded by Phillips de Pury &

You should submit claims for VAT to HMRC no later than six months from the end of the

Company on exports made within 30 days of payment date if strict conditions are met:

12 month period ending 30 June (e.g. claims for the period 1 July 2009 to 30 June 2010 should be made no later than 31 December 2010).

• 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

Please note that refunds of VAT will only be made where VAT has been incurred for a business

Ω symbol) under the Auctioneer’s Margin Scheme.

purpose. Any VAT incurred on articles bought for personal use will not be refunded.

In each of the above examples, where the appropriate conditions are satisfied, no VAT

7 SalES anD USE TaxES

will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury &

Buyers from outside the UK should note that local sales taxes or use taxes may

Company to export the property from the EU. If such instruction is received after payment,

become payable upon import of lots following purchase. Buyers should consult their

a refund of the VAT amount will be made.

own tax advisors.

536

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COnDITIOnS OF SalE The Conditions of Sale and Authorship Warranty set forth below govern the relationship

(c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of

between bidders and buyers, on the one hand, and Phillips de Pury & Company and

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

sellers, on the other hand. All prospective buyers should read these Conditions of Sale

Telephone bidding is available for lots whose low pre-sale estimate is at least £500.

and Authorship Warranty carefully before bidding.

Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is

1 InTRODUCTIOn

accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

telephone, a bidder consents to the recording of the conversation.

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

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

catalogue or other written material posted by Phillips de Pury & Company in the saleroom,

accepts personal liability to pay the purchase price, as described more fully in Paragraph

in each case as amended by any addendum or announcement by the auctioneer prior to

6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing

the auction.

with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment.

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

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury &

of Sale, as so changed or supplemented, and Authorship Warranty.

Company to prospective buyers. While we undertake to exercise reasonable care in These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

undertaking such activity, we cannot accept liability for failure to execute such bids except

all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

where such failure is caused by our wilful misconduct.

2 PHIllIPS de PURY & COmPanY aS aGEnT

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own

the reserve when submitting their absentee bids and otherwise comply with our employee

a lot, in which case we will act in a principal capacity as a consignor, or may have a legal,

bidding procedures.

beneficial or financial interest in a lot as a secured creditor or otherwise.

5 COnDUCT OF THE aUCTIOn

•

3 CaTalOGUE DESCRIPTIOnS anD COnDITIOn OF PROPERTY

(a) Unless otherwise indicated by the symbol

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

which is the confidential minimum selling price agreed by Phillips de Pury & Company with

such description is changed or supplemented, as provided in Paragraph 1 above) and in

the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

, each lot is offered subject to a reserve,

the condition that they are in at the time of the sale on the following basis. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially

lot for sale (including after the fall of the hammer) if he or she believes there may be error

dependent on information provided to us by the seller, and Phillips de Pury & Company is

or dispute and take such other action as he or she deems reasonably appropriate.

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

(c) The auctioneer will commence and advance the bidding at levels and in increments he

investigations to satisfy themselves as to the lots in which they may be interested.

or she considers appropriate. In order to protect the reserve on any lot, the auctioneer

Notwithstanding the foregoing, we shall exercise such reasonable care when making

may place one or more bids on behalf of the seller up to the reserve without indicating he

express statements in catalogue descriptions or condition reports as is consistent with

or she is doing so, either by placing consecutive bids or bids in response to other bidders.

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

(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling.

opinions of relevant experts, in each case at the time any such express statement is made.

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.

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

Accordingly, estimates in US dollars or euros should be treated only as a guide.

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

appropriate given the nature and value of the lot and the bidder’s own expertise) have fully

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

inspected the lot prior to bidding and have satisfied themselves as to both the condition of

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk

the lot and the accuracy of its description.

and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(c) Prospective buyers acknowledge that many lots are of an age and type which means

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’,

that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company

‘returned to owner’ or ‘bought-in’.

may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of

particular imperfections of a lot, but bidders should note that lots may have other faults

Sale and Authorship Warranty as if sold in the auction.

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

6 PURCHaSE PRICE anD PaYmEnT

precise indications of size or to convey full information as to the actual condition of lots.

(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

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including

estimate, whether written or oral, and information in any catalogue, condition or other

£25,000, 20% of the portion of the hammer price above £25,000 up to and including

report, commentary or valuation, is not a representation of fact but rather a statement of

£500,000 and 12% of the portion of the hammer price above £500,000.

opinion held by Phillips de Pury & Company. 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

(b) VAT is payable in accordance with applicable law. All prices, fees, charges and

Phillips de Pury & Company at our absolute discretion. Neither Phillips de Pury &

expenses set out in these Conditions of Sale are quoted exclusive of VAT.

Company 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.

(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

4 BIDDInG aT aUCTIOn

undertake to the buyer to pay such amount to the artist’s collection agent. Lots subject to

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction

the Artist’s Resale Right are identified with the symbol ♠ next to the lot number.

or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company.

(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 licence or

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury

other permit for such lot. Payments must be made by the invoiced party in pounds

& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

sterling either by cash, cheque drawn on a UK bank or wire transfer, as follows:

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 de Pury &

(i) Phillips de Pury & Company will accept payment in cash provided that the total

Company. Bids must be placed in the currency of the sale. The bidder must clearly

amount paid in cash or cash equivalents does not exceed the local currency

indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and

equivalent of US$10,000.

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

(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and

an absentee bid at the lowest possible price taking into account the reserve and other

the buyer provides to us acceptable government-issued identification. Cheques

bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the

and banker’s drafts should be made payable to ‘PDEPL LTD’. If payment is sent by

event of identical bids, the earliest bid received will take precedence.

post, please send the cheque or banker’s draft to the attention of the Client 537

BRIC_Backmatter_532-543.indd 537

22/03/10 15:09

Accounting Department at Howick Place, London SW1P 1BB and ensure that the

which is in their possession and, in each case, no earlier than 30 days from the date of

sale number is written on the cheque. Cheques or banker’s drafts drawn by third

such notice arrange the sale of such property and apply the proceeds to the amount owed

parties will not be accepted.

to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company.

applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a

Bank transfer details are as follows:

reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s

Bank of Scotland

premium for that lot, the buyer will remain liable for the shortfall together with all costs

Gordon Street

incurred in such resale; (vii) commence legal proceedings to recover the hammer price

Glasgow

and buyer’s premium for that lot, together with interest and the costs of such proceedings;

G1 3RS

or (viii) 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.

For the account of PDEPL LTD Sort code: 80-54-01

(b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the

Account no.: 00440780

buyer’s property which is in our possession upon notification by any of our affiliated

SWIFT BIC: BOFSGB21138

companies that the buyer is in default of payment. Phillips de Pury & Company will notify

IBAN: GB36BOFS 8054 0100 4407 80

the buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury & Company, upon notification by any of our affiliated companies that the buyer is in default

(e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and

of payment, to pledge the buyer’s property in our possession by actual or constructive

UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de Pury &

been provided, and any earlier release does not affect the passing of title or the buyer’s

Company to instruct any of our affiliated companies in possession of the buyer’s property

unconditional obligation to pay the Purchase Price.

to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips de Pury & Company to hold the property on our behalf as security for the payment

7 COllECTIOn OF PROPERTY

of the Purchase Price and any other amount due and, no earlier than 30 days from the date

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

of written notice to the buyer, to sell the property in such manner and for such

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding

consideration as can reasonably be obtained on a forced sale basis and to apply the

amounts due to Phillips de Pury & Company or any of our affiliated companies, including

proceeds to any amount owed to Phillips de Pury & Company or any of our affiliated

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

companies after the deduction from sale proceeds of our standard vendor’s commission,

other terms as we in our sole discretion shall require, including completing any anti-

all sale-related expenses and any applicable taxes thereon.

money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, and no later than five days after the conclusion of the

10 RESCISSIOn BY PHIllIPS de PURY & COmPanY

auction, he or she should contact us at (tel) +44 207 318 4081 or (fax) +44 20 7318 4038 to

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

arrange for collection of purchased property.

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

(b) After the auction, we will transfer all lots to our fine arts storage facility located at

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

110–112 Morden Road, Mitcham, Surrey, CR4 4XB, and will so advise all buyers. Purchased

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the

collection or (ii) five days after the auction, whichever is the earlier. Until risk passes,

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

Phillips de Pury & Company will compensate the buyer for any loss or damage to a

& Company and the seller with respect to such rescinded sale.

purchased lot up to a maximum of the Purchase Price paid, subject to our usual 11 ExPORT, ImPORT anD EnDanGERED SPECIES lICEnCES anD PERmITS

exclusions for loss or damage to property.

Before bidding for any property, prospective buyers are advised to make their own (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap

enquiries as to whether a licence is required to export a lot from the United Kingdom or to

purchased lots for hand carry only. We do not provide packing, handling, insurance or

import it into another country. Prospective buyers are advised that some countries

shipping services. We will coordinate with shipping agents instructed by the buyer,

prohibit the import of property made of or incorporating plant or animal material, such as

whether or not recommended by Phillips de Pury & Company, in order to facilitate the

coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age,

packing, handling, insurance and shipping of property bought at Phillips de Pury &

percentage or value. Accordingly, prior to bidding, prospective buyers considering export

Company. Any such instruction is entirely at the buyer’s risk and responsibility, and

of purchased lots should familiarize themselves with relevant export and import

we will not be liable for acts or omissions of third party packers or shippers.

regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species

(d) Phillips de Pury & Company will require presentation of government-issued

licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify

identification prior to release of a lot to the buyer or the buyer’s authorized representative.

the cancellation of the sale or any delay in making full payment for the lot.

8 FaIlURE TO COllECT PURCHaSES

12 DaTa PROTECTIOn

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days

(a) In connection with the management and operation of our business and the marketing and

of the auction, the buyer will incur a late collection fee of £25, storage charges of £3 per

supply of auction related services, or as required by law, we may ask clients to provide

day and pro rated insurance charges of 0.1% of the Purchase Price per month on each

personal information about themselves or obtain information about clients from third parties

uncollected lot.

(e.g., credit information). If clients provide us with information that is defined by law as ‘sensitive’, they agree that Phillips de Pury & Company and our affiliated companies may use

(b) If a purchased lot is paid for but not collected within six months of the auction, the

it for the above purposes. Phillips de Pury & Company and our affiliated companies will not

buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item

use or process sensitive information for any other purpose without the client’s express

by auction or private sale, with estimates and a reserve set at Phillips de Pury &

consent. If you would like further information on our policies on personal data or wish to make

Company’s reasonable discretion. The proceeds of such sale will be applied to pay for

corrections to your information, please contact us at +44 20 7318 4010. If you would prefer not to

storage charges and any other outstanding costs and expenses owed by the buyer to

receive details of future events please call the above number.

Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited (b) In order to fulfil the services clients have requested, Phillips de Pury & Company may

unless collected by the buyer within two years of the original auction.

disclose information to third parties such as shippers. Some countries do not offer 9 REmEDIES FOR nOn-PaYmEnT

equivalent legal protection of personal information to that offered within the European

(a) Without prejudice to any rights the seller may have, if the buyer without prior

Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties

agreement fails to make payment of the Purchase Price for a lot in cleared funds within

respect the privacy and confidentiality of our clients’ information and provide the same

five days of the auction, Phillips de Pury & Company may in our sole discretion exercise

level of protection for client information as provided within the EU, whether or not they are

one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s

located in a country that offers equivalent legal protection of personal information. By

premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot,

agreeing to these Conditions of Sale, clients agree to such disclosure.

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

13 lImITaTIOn OF lIaBIlITY

interest at 12% per annum from the date payment became due until the date the Purchase

(a) Subject to sub-paragraph (e) below, the total liability of Phillips de Pury & Company,

Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien

our affiliated companies and the seller to the buyer in connection with the sale of a lot

over any of the buyer’s property which is in the possession of Phillips de Pury & Company

shall be limited to the Purchase Price actually paid by the buyer for the lot.

and instruct our affiliated companies to exercise a lien over any of the buyer’s property 538

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CONTEMPORARY ART aUCTIOnS nEW YORK PaRT I 13 MAY 2010 7pm PaRT II Viewing 8 – 13 May

14 MAY 2010 10am & 2pm

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

maRK TanSEY Redeployment, 1995 (detail) Estimate $1,500,000-2,500,000

BRIC_Backmatter_532-543.indd 539

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aUTHORSHIP WaRRanTY (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury &

Phillips de Pury & Company warrants the authorship of property in this auction catalogue

Company, any of our affiliated companies or the seller (i) is liable for any errors or

for a period of five years from date of sale by Phillips de Pury & Company, subject to the

omissions, whether orally or in writing, in information provided to prospective buyers by

exclusions and limitations set forth below.

Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer

otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection

of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty

with the conduct of the auction or for any other matter relating to the sale of any lot.

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

(c) All warranties other than the Authorship Warranty, express or implied, including any

assigns; (ii) property created prior to 1870, unless the property is determined to be

warranty of satisfactory quality and fitness for purpose, are specifically excluded by

counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive)

Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent

and has a value at the date of the claim under this warranty which is materially less than

permitted by law.

the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our

(d) Subject to sub-paragraph (e) below, none of Phillips de Pury & Company, any of our

attribution of authorship was on the date of sale consistent with the generally accepted

affiliated companies or the seller shall be liable to the buyer for any loss or damage

opinions of specialists, scholars or other experts; or (v) property whose description or

beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether

dating is proved inaccurate by means of scientific methods or tests not generally

such loss or damage is characterised as direct, indirect, special, incidental or

accepted for use at the time of the publication of the catalogue or which were at such time

consequential, or for the payment of interest on the Purchase Price to the fullest extent

deemed unreasonably expensive or impractical to use.

permitted by law. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability

reserves the right, as a condition to rescinding any sale under this warranty, to require the

of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of

buyer to provide to us at the buyer’s expense the written opinions of two recognized

any fraud or fraudulent misrepresentation made by any of us or in respect of death or

experts approved in advance by Phillips de Pury & Company. We shall not be bound by any

personal injury caused by our negligent acts or omissions.

expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship

14 COPYRIGHT

Warranty, we shall refund to the buyer the reasonable costs charged by the experts

The copyright in all images, illustrations and written materials produced by or for Phillips

commissioned by the buyer and approved in advance by us.

de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and, subject to the

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a

provisions of the Copyright, Designs and Patents Act 1988, such images and materials

claim for breach of the Authorship Warranty provided that (i) he or she has notified

may not be used by the buyer or any other party without our prior written consent. Phillips

Phillips de Pury & Company in writing within three months of receiving any information

de Pury & Company and the seller make no representations or warranties that the buyer of

which causes the buyer to question the authorship of the lot, specifying the auction in

a lot will acquire any copyright or other reproduction rights in it.

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

15 GEnERal

Phillips de Pury & Company in the same condition as at the time of its auction and is able

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1

to transfer good and marketable title in the lot free from any third party claim arising after

above, and Authorship Warranty set out the entire agreement between the parties with

the date of the auction.

respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

agreements.

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

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the

Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of

department in charge of the sale, quoting the reference number specified at the beginning

any other remedy available as a matter of law. This means that none of Phillips de Pury &

of the sale catalogue. Notices to clients shall be addressed to the last address notified by

Company, any of our affiliated companies or the seller shall be liable for loss or damage

them in writing to Phillips de Pury & Company.

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.

(c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer.

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 de Pury & Company, 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 de Pury & Company 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 de Pury & Company.

540

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AFRICA COnTEmPORaRY aRT aUCTIOn 15 MAY 2010 Viewing 8 – 15 May

PHOTOGRaPHS

DESIGn

EDITIOnS

nEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1234 themes@phillipsdepury.com Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

CHÉRI SamBa Les Capotes Utilisées, 1990 Estimate $25,000-35,000

BRIC_Backmatter_532-543.indd 541

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PHIllIPS de PURY & COmPanY

Chairman

Directors

advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Rodman Primack

Lady Elena Foster

Olivier Vrankenne

H.I.H. Francesca von Habsburg

Chief Executive Officer Bernd Runge

Marc Jacobs

Senior Directors

Malcolm McLaren

Michael McGinnis

Ernest Mourmans

Dr. Michaela de Pury

Aby Rosen Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

InTERnaTIOnal SPECIalISTS

Berlin Brussels Buenos aires

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva

Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

london

Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611

los angeles milan moscow Shanghai/Beijing Singapore Zurich/Israel

Maya McLaughlin, Contemporary Art +1 323 791 1771 Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805 Chin-Chin Yap, Specialist, Contemporary Art +1 347 784 6916 Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

GEnERal COUnSEl

manaGInG DIRECTORS

Patty Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORlDWIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +49 30 8800 1842 fax +49 30 8800 1843

LONDON

GENEVA

Howick Place, London SW1P 1BB, United Kingdom

23 quai des Bergues, 1201 Geneva, Switzerland

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +41 22 906 80 00 fax +41 22 906 80 01

542

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SPECIalISTS anD DEPaRTmEnTS

COnTEmPORaRY aRT Michael McGinnis, Senior Director

mODERn anD COnTEmPORaRY EDITIOnS

+1 212 940 1254

NEW YORK

and Worldwide Head, Contemporary Art

Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Jannah Greenblatt

+1 212 940 1332

Joy Deibert

+1 212 940 1333

LONDON Peter Sumner, Head of Sales, London

+44 20 7318 4063

Henry Allsopp

+44 20 7318 4060

Laetitia Catoir

+44 20 7318 4064

Judith Hess

+44 20 7318 4075

Leonie Moschner

+44 20 7318 4074

Ivgenia Naiman

+44 20 7318 4071

PHOTOGRaPHS LONDON Lou Proud

+44 20 7318 4018

Sebastien Montabonel

+44 20 7318 4025

Sarah Buchwald

+44 20 7318 4085

Catherine Higgs

+44 20 7318 4089

Alexandra Bibby

+44 20 7318 4087

George O’Dell

+44 20 7318 4093

Rita Almeida Freitas

+44 20 7318 4087

Raphael Lepine

+44 20 7318 4078

Helen Hayman

+44 20 7318 4092

Tanya Tikhnenko

+44 20 7318 4065

Emma Lewis

+44 20 7318 4092

Phillippa Willison

+44 20 7318 4070 NEW YORK

NEW YORK Aileen Agopian, New York Director

+1 212 940 1255

Sarah Mudge, Head of Part II

+1 212 940 1259

Jeremy Goldsmith

+1 212 940 1253

Vanessa Kramer, New York Director

+1 212 940 1243

Shlomi Rabi

+1 212 940 1246

Caroline Shea

+1 212 940 1247

Timothy Malyk

+1 212 940 1258

Carol Ehlers, Consultant

+1 212 940 1245

Jean-Michel Placent

+1 212 940 1263

Sarah Krueger

+1 212 940 1245

Rodman Primack

+1 212 940 1256

Roxana Bruno

+1 212 940 1229

Maria Bueno

+1 212 940 1261

Sara Davidson

+1 212 940 1262

Alexandra Leive

+1 212 940 1252

Peter Flores

+1 212 940 1223

(Uli) Zhiheng Huang

+1 212 940 1288

JEWElRY Nazgol Jahan, Worldwide Director

NEW YORK

PARIS Edouard de Moussac

+1 212 940 1283

Carmela Manoli

+1 212 940 1302

Emily Bangert

+1 212 940 1365

Heather Zises

+1 212 940 1290

+ 33 1 42 78 67 77 GENEVA

DESIGn Alexander Payne, Worldwide Director

Carolin Bulgari

+41 22 906 80 00

Veronica Lota

+41 22 906 80 00

+44 20 7318 4052 LONDON Lane McLean

LONDON Domenico Raimondo

+44 20 7318 4016

Ellen Stelter

+44 20 7318 4021

Ben Williams

+44 20 7318 4027

Marcus McDonald

+44 20 7318 4014

Marine Hartogs

THEmE SalES LONDON

+44 20 7318 4021

Tobias Sirtl, London Manager

+44 20 7318 4095

NEW YORK Alex Heminway, New York Director

+1 212 940 1269

Tara DeWitt

+1 212 940 1265

Meaghan Roddy

+1 212 940 1266

Marcus Tremonto

+1 212 940 1268

Alexandra Gilbert

+1 212 940 1268

Henry Highley

+44 20 7318 4061

Arianna Jacobs

+44 20 7318 4054

Siobhan O’Connor

+44 20 7318 4040

NEW YORK Corey Barr, New York Manager

+1 212 940 1234

Steve Agin, Consultant

+1 908 475 1796

Anne Huntington

+1 212 940 1210

Stephanie Max

+1 212 940 1301

PARIS Johanna Frydman

+44 20 7318 4032

+33 1 42 78 67 77 PRIVaTE SalES NEW YORK Andrea Hill

EDITORIal Karen Wright, Senior Editor Iggy Cortez, Assistant to the Editor

aRT anD PRODUCTIOn Fiona Hayes, Art Director LONDON Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager

+1 212 940 1238

maRKETInG NEW YORK Trish Walsh, Marketing Manager Gizelle Ferrer, Graphic Designer

NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager 543

BRIC_Backmatter_532-543.indd 543

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sALe inFoRmAtion

Auctions Friday 23 April 2010: Evening Sale, 5pm Saturday 24 April 2010: China Sale, 11am India Sale, 1pm Russia Sale, 3pm Brazil Sale, 5pm Viewing Sunday 18 –Friday 23 April, 10am – 6pm Viewing & Auction LocAtion The Saatchi Gallery, Duke of York’s HQ, King’s Road, London SW3 4SQ wAReHouse & coLLection LocAtion 110–112 Morden Road, Mitcham, Surrey CR4 4XB sALe DesignAtion When sending in written bids or making enquiries, please refer to this sale as UK000210 or BRIC tHeme sALes London +44 20 7318 4040 New York +1 212 940 1234 themes@phillipsdepury.com cAtALogues London +44 20 7318 4039 New York +1 212 940 1240 catalogues@phillipsdepury.com Catalogues £30/$60 at the Gallery Absentee AnD teLepHone biDs Anna Ho tel +44 20 7318 4045 fax +44 20 7318 4035 bids@phillipsdepury.com buyeRs Accounts Carolyn Whitehead +44 20 7318 4020 seLLeR Accounts Elliot Depree +44 20 7318 4072 cLient seRVices Harmony Johnston +44 20 7318 4010 Kathryn Walters +44 20 7318 4010 Charlotte Salisbury +44 20 7318 4010 wAReHouse & sHipping Kate Spalding + 44 20 7318 4081 Cláudia Gonçalves + 44 20 7318 4026 pHotogRApHy Byron Slater

back cover Grisha Bruskin, Untitled from Birth of the Hero (detail), 1987–90, Lot 28 inside back cover T. V. Santhosh, Enemies’ Enemy II (detail), 2008, Lot 12 544

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w w w. p h i l l i p s d e p u ry.c o m

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