Contemporary Art Part II New York, May 15 2009 by Phillips de Pury & Co.

C O N T E M PO R A R Y A R T MAY

14 & 15

2009

N E W YO R K

PART II CONTEMPORARY ART MAY

2009

10am

NEW YORK

LOTS 101-303 Viewing Tuesday May 5 10am – 6pm Wednesday May 6 10am – 6pm Thursday May 7 10am – 6pm Friday May 8 10am – 6pm Saturday May 9 10am – 6pm Sunday May 10 12pm – 6pm Monday May 11 10am – 6pm Tuesday May 12 10am – 6pm Wednesday May 13 10am – 6pm Thursday May 14 10am – 12pm

101

SYLVIE FLEURY b. 1961 Garbage Can, 2003 24-karat gold leaf on steel. 14 x 12 x 9 3/4 in. (35.6 x 30.5 x 24.8 cm). Stamped with initials and date “SF 2003” and numbered of 25 on the underside. This work is from an edition of 25.

Estimate $10,000-15,000 PROVENANCE Published by Art-Tech, New York; Private collection, New York EXHIBITED New York, Kathleen Cullen Fine Arts, Luxury Goods: Retail Therapy,

May 30 – June 24, 2006 (another example exhibited); Houston, McClain Gallery, Small Works, November 2008 – January 2009 (another example exhibited)

102

NOBUYOSHI ARAKI b. 1940 Flowers, 1985 RP direct print flush-mounted to acrylic panel. 60 1/2 x 40 1/2 in. (153.7 x 102.9 cm). Signed “Nobuyoshi Araki” on the reverse. This work is accompanied by a certificate of authenticity signed by the artist. Printed in 2008.

Estimate $15,000-20,000 PROVENANCE Yoshii Gallery, New York; Private collection LITERATURE N. Araki, Araki, Cologne, 2002, p. 4 & back cover (illustrated); N.

Araki, Araki by Araki—The Photographer’s Personal Selection, Tokyo, 2003, p. 193 (illustrated); N. Araki, Self, Life, Death, London, 2005, p. 176 (illustrated); N. Araki, The Works of Nobuyoshi Araki, Vol. 17: Sensual Flowers, Tokyo, 1997, p. 5 (illustrated)

EXTEND TO FULL BLEED??

103

WALEAD BESHTY b. 1976 New York, New York, 2006 24-karat gold-plated steel, nickel and cast acrylic with a gold-plated metal and plywood, hardwood veneer and felt base in two parts. 52 x 19 1/2 x 18 1/4 in. (132.1 x 49.5 x 46.4 cm) overall. This work is from an edition of three.

Estimate $20,000-30,000 PROVENANCE Wallspace, New York; Private collection, New York EXHIBITED New York, Wallspace, The Maker and the Model, September 2006

(another example exhibited) LITERATURE D. Velasco, “Walead Beshty: Wallspace,” Artforum International,

XLV no. 4, December 2006, p. 310 (illustrated)

This work is based on a work of Man Ray, entitled New York 1917, which was comprised of a single tower of wooden strips held with a c-clamp.

104

KELLEY WALKER b. 1969 Untitled (Car Crash), 2006 Digital print and chocolate on canvas. 16 x 25 7/8 in. (40.6 x 65.7 cm).

Estimate $20,000-30,000 PROVENANCE Galerie Catherine Bastide, Brussels

(i)

(ii)

(iii)

PROPERTY SOLD TO BENEFIT THE ART PRODUCTION FUND, NEW YORK

105

DAN COLEN b. 1979 To Be Titled (Birdshit Triptych), 2007 Oil on canvas in three parts. (i) 28 1/4 x 21 3/4 in. (71.8 x 55.2 cm); (ii) 20 1/4 x 15 7/8 in. (51.4 x 40.3 cm); (iii) 28 1/2 x 22 3/8 in. (72.4 x 56.8 cm). Each signed and dated “Daniel Colen 2007” on the overlap.

Estimate $40,000-60,000 PROVENANCE Peres Projects, Los Angeles/Berlin LITERATURE M. Coomer, “Last Attraction Next Exit,” Modern Painters 98,

Summer 2007

106

RAYMOND PETTIBON b. 1957 No title (I loved not yet…), circa 2000s Ink and watercolor on paper. 14 x 11 in. (35.6 x 27.9 cm). Signed “Raymond Pettibon” on the reverse.

Estimate $8,000-12,000 PROVENANCE Acquired directly from the artist

107

RAYMOND PETTIBON b. 1957 No title (Noticing the wave…), 1998 Ink and watercolor on paper. 14 x 11 in. (35.6 x 27.9 cm). Signed and dated “Raymond Pettibon 1998” on the reverse.

Estimate $10,000-15,000 PROVENANCE Acquired directly from the artist

108

MATTHEW BARNEY b. 1967 Cremaster 3: Entered Novitiate, 2002 C-print in the artist’s acrylic frame. 54 x 44 in. (137.2 x 111.8 cm) overall. Signed and dated “Matthew Barney 02” and branded with the Cremaster 3 logo on the reverse of the frame. This work is from an edition of six plus two artist’s proofs.

Estimate $30,000-40,000 PROVENANCE Barbara Gladstone Gallery, New York EXHIBITED New York, Solomon R. Guggenheim Museum, Matthew Barney

Cremaster 3, June 19-24, 2002 (alternate format exhibited) LITERATURE N. Spector, Matthew Barney: The Cremaster Cycle, New York,

2002, p. 512

109

PAUL McCARTHY b. 1945 Masks (Small), from the Propo series, 1994 Portfolio of seven c-prints. 20 x 15 7/8 in. (50.8 x 40.3 cm) each. Each signed and dated “Paul McCarthy 1994” and numbered of nine on the reverse. This work is from an edition of nine plus four artist’s proofs.

Estimate $35,000-45,000 PROVENANCE Patrick Painter Editions, Hong Kong EXHIBITED New York, Lehmann Maupin Gallery, Patrick Painter Editions, October

18 – November 15, 1997 (another example exhibited); Cleveland, Cleveland Center for Contemporary Art, In Sequence: Selections from the Metropolitan Bank & Trust Photography Collection, May 19 – August 9, 1998 (another example exhibited); New York, Nyehaus, Paul McCarthy: Between Beauty and the Beast, October 28 – December 30, 2006 (another example exhibited) LITERATURE P. McCarthy & F. Nilson, Propo, Milan/New York, 1999,

n.p. (illustrated)

110

SUE WILLIAMS b. 1954 Portrait of the Artist as a Young Woman with an Eating Disorder, 2001 Oil on canvas. 19 7/8 x 15 7/8 in. (50.5 x 40.3 cm). Signed, titled and dated “Sue Williams 2001 Portrait of the Artist as a Young Woman with an Eating Disorder” on the reverse.

Estimate $12,000-18,000 PROVENANCE Acquired directly from the artist

111

NATE LOWMAN b. 1979

The image of the present lot derived from the winning entry in a

Untitled (President), 2006

nationwide contest for school children to produce a portrait of

Acrylic and the artist’s blood on canvas. 16 x 12 in. (40.6 x 30.5 cm). Signed and dated “Nate Lowman 06” on the overlap.

former President Ronald Reagan. The winner was a Puerto Rican student, which goes some length toward explaining the single-

Estimate $15,000-25,000 PROVENANCE Ileana Tounta Contemporary Art, Athens

starred flag—Boricua meets America’s preeminent celebucrat. Nate Lowman scanned and altered that image and finally reprinted

EXHIBITED Athens, Ileana Tounta Contemporary Art, Dark Victory, April 19 –

the portrait on canvas, adding his own blood to the acrylic

July 30, 2007

composition, altering the innocently intended original with a

LITERATURE D. Antonitsis, Dark Victory, Athens, 2007, p. 28 (illustrated);

A. Koroxenidis, “Art Which Reappraises Society,” Kathimerini (English edition), May 30, 2007

complex critical stance. Although Reagan enjoyed high approval ratings while in office, his legacy has been radically revised in light of the fallout of economic policy he championed—Untitled (President) is a pitch-perfect mirror of our times.

112

YAYOI KUSAMA b. 1929 Infinity Nets, 1991 Acrylic on canvas. 36 x 23 3/4 in. (91.4 x 60.3 cm). Signed and dated “Yayoi Kusama [in English and Japanese] 1991” on the reverse. This work is accompanied by the Yayoi Kusama Studio artwork registration card.

Estimate $35,000-45,000 PROVENANCE Private collection, Japan

113

SARAH MORRIS b. 1967 1984 [Rings], 2006 Household gloss paint on canvas. 60 x 60 in. (152.4 x 152.4 cm). Signed, titled and dated “S Morris ‘1984 [Rings]’ 2006” on the reverse.

Estimate $40,000-60,000 PROVENANCE Friedrich Petzel Gallery, New York EXHIBITED New York, Friedrich Petzel Gallery, Sarah Morris: Robert Towne, Ring

Paintings, and Origami, February 16 – March 17, 2007 LITERATURE “Sarah Morris,” The New Yorker, March 19, 2007

114

115

114

RYAN McGINNESS b. 1971

115

RYAN McGINNESS b. 1971

MKUltra, 2006

Arab Cadillac Generator, 2006

Acrylic on wooden panel. 48 in. (121.9 cm) diameter. Signed, titled and dated

“Ryan McGinness ‘MKUltra’ 2006” on the reverse.

“Ryan McGinness ‘Arab Cadillac Generator’ 2006” on the reverse.

Estimate $25,000-35,000

PROVENANCE Deitch Projects, New York

PROVENANCE Deitch Projects, New York LITERATURE J. Schumacher, ed., Ryan McGinness Works, New York, 2009,

p. 175 (illustrated)

116

NAM JUNE PAIK 1932-2006 Hello, Elephant, 2000 Television monitor, cast bronze, carved wood, steel and plastic umbrella and electrical fittings. 51 1/2 x 35 x 35 in. (130.8 x 88.9 x 88.9 cm). Signed “Paik” on the umbrella.

Estimate $30,000-40,000 PROVENANCE Art & Public, Geneva EXHIBITED New York, The Solomon R. Guggenheim Museum, The Worlds of

Nam June Paik, February 11 – April 26, 2000; Pittsburgh, Wood Street Galleries, Nam June Paik, June 6 – July 28, 2001

117

JIM HODGES b. 1957

The ethereal Wandering presents a hybrid use of the lampworking

Wandering, 2003

technique, with its anatomically accurate but still powerfully

Lampworked glass. 10 x 21 1/2 x 3 in. (25.4 x 54.6 x 7.6 cm). This work is unique from a series of 25 plus six artistâ&#x20AC;&#x2122;s proofs.

expressive composition. The figural elements recall some of Hodge's most enduring themes: spiderwebs and flowering

Estimate $18,000-25,000 PROVENANCE Published by Lisa Ivorian Gray, New York for the New Museum

branches, suspended and abstracted from their natural context. Another example from the Wandering series is in the collection of the Tang Teaching Museum at Skidmore College, Saratoga Springs, New York.

118

JENNIFER STEINKAMP b. 1958 Dervish 4, 2004 Video installation. Projection dimensions variable. This work is from an edition of one plus one artist’s proof. Included with the work are the artist’s installation instructions.

Estimate $25,000-35,000 PROVENANCE Lehmann Maupin, New York; Private collection, New York EXHIBITED New York, Lehmann Maupin, Jennifer Steinkamp: Dervish, January

10 – February 1, 2004; Laramie, University of Wyoming Art Museum, Jennifer Steinkamp: Dervish, September 16 – December 22, 2006 (another example exhibited); Cairo, 11th Cairo Biennale and West Hollywood, MAK Center for Art and Architecture, Jennifer Steinkamp: Dervish, December 20, 2008 – February 20, 2009 (another example exhibited) LITERATURE M. Wilson, “Jennifer Steinkamp,” Frieze, issue 82, April 2004

Details of the present lot

119

TONY FEHER b. 1956

120

SHAAN SYED b. 1975

Probably Best Seen in a Dark Room with the T.V. On, 1999

And When You’re (Really) High No. 2, 2007

Plastic drinking straws and nylon string. 39 x 42 1/4 x 1/4 in. (99.1 x 107.3 x .6 cm).

Oil on canvas. 73 x 64 in. (185.4 x 162.6 cm). Signed, titled and dated “Shaan

This work is accompanied by a certificate of authenticity signed by the artist.

Syed ‘And When You’re (Really) High No. 2’ 2007” on the reverse.

Estimate $6,000-8,000

Estimate $10,000-15,000

PROVENANCE D’Amelio Terras, New York

PROVENANCE Brown, London

EXHIBITED Andover, Phillips Academy, Addison Gallery of American Art,

EXHIBITED London, Brown, Shaan Syed: Arena, November 24, 2007 – January 12, 2008

Probably best seen in a dark room with the T.V. on, April 10 – May 23, 1999

120

121

RIRKRIT TIRAVANIJA b. 1961 Roller: Cinéma De Ville, 1998 Nylon tent with steel zippers, collapsible aluminum and cane poles, acrylic guy lines and plastic hardware, four dual-density foam mats, and one DVD (ten minute looped duration). Installation dimensions variable; 32 x 132 x 204 in. (81.3 x 335.3 x 518.2 cm) as illustrated. Signed and titled “R. Tiravanija Roller Cinéma De Ville” on the DVD.

Estimate $15,000-20,000 PROVENANCE Galerie Chantal Crousel, Paris

122

SEAN LANDERS b. 1962 Envy, 2001-2002 Oil on canvas in two parts. Striped element: 48 3/8 x 59 in. (122.9 x 149.9 cm); text element: 43 x 37 in. (109.2 x 94 cm). Striped element: signed, titled and dated “Sean Landers ‘Envy’ 2002” on the reverse; text element: signed, titled and dated “‘Envy’ ©2001 Sean Landers” lower right.

Estimate $40,000-60,000 PROVENANCE Rebecca Camhi Gallery, Athens EXHIBITED Athens, Rebecca Camhi Gallery, Sean Landers, March 13 – May 10, 2002

123

PETER HALLEY b. 1953 Bad Read, 1997 Acrylic, DayGlo®, pearlescent and metallic acrylic and Roll-a-Tex® on canvas. 75 x 74 in. (190.5 x 188 cm). Signed and dated “Peter 1997” twice on the reverse.

Estimate $80,000-120,000 PROVENANCE Acquired directly from the artist LITERATURE C. Reynolds, ed., Peter Halley: Maintain Speed, New York, 2000,

p. 138 (illustrated)

124

DAMIEN HIRST b. 1965 Bisphenol A, 1995 Gloss household paint on canvas. 10 x 9 in. (75.4 x 22.9 cm).

Estimate $100,000-150,000 PROVENANCE White Cube, London EXHIBITED Santa Monica, Ikon Ltd., Selected Works, October 1-29, 2005

Damien Hirst’s Pharmaceutical paintings are sometimes, as things turn out, remarkably attractive warning labels. In 1995, when the present lot was painted, the present-day household-name chemical BPA, short for Bisphenol A, was just another plastics additive, making its way without comment into nearly every canned or plastic-bottled product produced worldwide. In his ongoing effort to represent what he has described as “universal themes,” some have been uncovered in unlikely places, but perhaps none quite so humble and workaday as the kitchen cupboards and refrigerators of all our homes. When Nalgene®, a subsidiary of Thermo Fisher Scientifics, Inc., announced its ubiquitous polycarbonate water bottles would henceforth be free of BPA in the spring of 2008, it was front-page news; today nearly all high-end food-grade plastics manufacturers now prominently feature “PBA-Free” on their packaging and literature, and there are dozens of websites, blogs, and advocacy groups dedicated to informing consumers about the additive and its implications. Hirst’s Bisphenol A is a clear case for the artist’s argument that science is, in fact, an art. Amid growing concern, Rep. John Dingell (D–Mich.) chairman of the House Committee on Energy and Commerce, has launched an investigation into BPA, sending letters last month to the FDA and seven manufacturers of infant products sold in the U.S. requesting information on any BPA safety tests as well as specific levels in the baby goods. The companies that make Similac, Earth’s Best and Good Start have already responded, confirming that they coat the inside of their cans with BPA but that analyses did not detect it in the contents. They also emphasize that FDA has approved BPA for such use. “Based on the studies reviewed by FDA, adverse effects occur in animals only at levels of BPA that are far higher orders of magnitude than those to which infants or adults are exposed,” says FDA spokeswoman Stephanie Kwisnek. “Therefore, FDA sees no reason to ban or otherwise restrict the uses now authorized at this time.” from D. Biello, “Plastic (Not) Fantastic: Food Containers Leach a Potentially Harmful Chemical,” Scientific American (online content), February 18, 2008

125

DAMIEN HIRST b. 1965 Pharmaceutical Wall Painting, Five Blacks, 1993 150 tins of enamel paint with 150 brushes and a compass in a wooden crate. Installation dimensions variable. This work is accompanied by a certificate of authenticity signed by the artist. This work is from an edition of ten plus two artistâ&#x20AC;&#x2122;s proofs; each work in the edition is comprised of a unique combination of colors.

Estimate $40,000-60,000 PROVENANCE Tanya Bonakdar Gallery, New York EXHIBITED New York, Museum of Modern Art, Color Chart: Reinventing Color,

1950 to Today, March â&#x20AC;&#x201C; May 2008 (another example exhibited) LITERATURE J. Schellmann, ed., Wall Works: Wall Installations in Editions, New

York, 1993, p. 54 (illustrated); D. Hirst, I want to spend the rest of my life everywhere, one to one, always, forever, now, London, 1997, p. 246; J. Schellmann, ed., Wall Works: Site-Specific Wall Installations, New York/Munich, 1999, pp. 90-93 (illustrated)

126

JIM LAMBIE b. 1964 Kebabylon, 2002 Hairbands and fabric-backed adhesive tape. Installation dimensions variable; 54 x 39 3/4 x 39 3/8 in. (137.2 x 101 x 100 cm). This work is accompanied by a certificate of authenticity.

Estimate $30,000-40,000 PROVENANCE The Breeder, Athens EXHIBITED Athens, The Breeder, Jim Lambie, October 17, 2002 – January 10,

2003; Edinburgh, Inverleith House, Royal Botanic Garden, Jim Lambie: Kebabylon, January 25 – March 23, 2003 LITERATURE J. Thatcher, “Jim Lambie: Kebabylon,” Contemporary, issue 50, April

2003

127

KELLEY WALKER b. 1969 I See Skull & Bones, 2004 Mirrored acrylic in four parts. 87 3/4 x 93 in. (222.9 x 236.2 cm) overall. This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $80,000-120,000 PROVENANCE Paula Cooper Gallery, New York EXHIBITED New York, Paula Cooper Gallery, Last One On Is a Soft Jimmy,

November 6 â&#x20AC;&#x201C; December 18, 2004 LITERATURE Y. Aupetitallot, Kelley Walker, Zurich, 2007, p. 41 (illustrated)

128

DAMIEN HIRST b. 1965 Happy Head, 2007 Gloss household paint on resin skull with metal hardware. 7 x 4 1/2 x 6 1/8 in. (17.8 x 11.4 x 15.6 cm). Signed “Damien Hirst” on the back of the skull. This work is from a series of 20 unique Happy Heads.

Estimate $60,000-80,000 PROVENANCE Other Criteria, London

129

ANSELM REYLE b. 1970 Untitled, 2007 Bronze with chrome enamel finish and makassa wood plinth. Bronze: 13 1/2 x 11 x 5 1/4 in. (34.3 x 27.9 x 13.3 cm); plinth: 47 1/4 x 11 3/4 x 11 3/4 in. (120 x 29.8 x 29.8 cm).

Estimate $70,000-90,000 PROVENANCE Gavin Brownâ&#x20AC;&#x2122;s enterprise, New York; Private collection, Europe

130

MARILYN MINTER b. 1948 Raspberry, 2005 C-print. 36 x 50 in. (91.4 x 127 cm). This work is from an edition of five.

Estimate $18,000-25,000 PROVENANCE Donated by the artist to Charles Cowles Gallery, New York,

ACRIA Benefit Auction, Unframed, May 20, 2008

131

SARAH MORRIS b. 1967 Kiss, 1996 Household gloss paint on canvas. 58 x 96 in. (147.3 x 243.8 cm). Signed, titled and dated “S Morris ‘Kiss’ ‘96” on the overlap.

Estimate $35,000-45,000 PROVENANCE White Cube, London

132

133

132

SHARON CORE b. 1965 Bakery Counter, 2004

133

SHARON CORE b. 1965 Pies, Pies, Pies, 2003

C-print. 55 x 72 in. (139.7 x 182.9 cm). Signed and dated “Sharon Core 2004” and

C-print. 20 1/4 x 30 1/4 in. (51.4 x 76.8 cm). Signed and dated “Sharon Core 2003”

numbered of seven on the reverse. This work is from an edition of seven.

and numbered of five on the reverse. This work is from an edition of five.

Estimate $12,000-18,000

Estimate $7,000-9,000

PROVENANCE Bellwether, New York

LITERATURE M. Egan, “Cake Masters,” The New York Times, March 28, 2004; TJ

EXHIBITED New York, Bellwether, Sharon Core: Thiebauds, February 13 –

Demos, Vitamin Ph: New Perspectives in Photography, London, 2006, p. 60

March 22, 2004 LITERATURE A. Robinson, “Sharon Core,” Gay City News (online content),

February 2004; M. Egan, “Cake Masters,” The New York Times, March 28, 2004; TJ Demos, Vitamin Ph: New Perspectives in Photography, London, 2006, p. 60

134

WILL COTTON b. 1965 Cotton Candy Cloud—Sandra, 2005 Oil on linen. 60 x 80 in. (152.4 x 203.2 cm). Signed, titled and dated “Will Cotton Cotton Candy Cloud—Sandra 2005” on the reverse.

Estimate $40,000-60,000 PROVENANCE Michael Kohn Gallery, Los Angeles EXHIBITED Los Angeles, Michael Kohn Gallery, Will Cotton: Paintings and Works

on Paper, November 4 – December 21, 2005 LITERATURE S. N. Dambrot, “Will Cotton, Michael Kohn Gallery,” Modern

Painters, February 2006

135

JULIA JACQUETTE b. 1964 Women: Worried, Sad (Self-portrait with Mother) , 2003

136

BILLY SULLIVAN b. 1946 Missy and Nathan, 2002

Oil on linen. 30 x 30 in. (76.2 x 76.2 cm). Signed, titled and dated “Julia

Oil on canvas. 21 x 30 in. (53.3 x 76.2 cm). Signed and dated “Billy Sullivan 2002”

Jacquette Women: Worried, Sad (Self-portrait with Mother) 2003” on the

on the reverse.

reverse.

Estimate $8,000-12,000 Estimate $8,000-12,000 PROVENANCE Private collection, New York PROVENANCE Private collection, New York

136

137

MUNTEAN/ROSENBLUM b. 1962 Untitled (But Mostly There Was…), 2002 Acrylic on canvas. 79 1/4 x 117 1/4 in. (201.3 x 297.8 cm). Signed and dated “Mun/Ros. 02” on the reverse.

Estimate $30,000-40,000 PROVENANCE Maureen Paley, London EXHIBITED León, Museo de Arte Contemporáneo de Castilla y León, September

23, 2006 – January 7, 2007; Leipzig, Galerie für Zeitgenössische Kunst, July 13 – October 7, 2007; Barcelona, Centre d’Art Santa Mònica, November 6 – December 3, 2007: Make death listen LITERATURE L. Bovier, D.R.D. Roncero, & A.P. Rubio, eds., Make death listen,

Zurich, 2006, p. 27 (illustrated); C. Mullins, Painting People: Figure Painting Today, New York, 2006, p. 57; G. Coulter-Smith, “Abstraction, Genius and the Decline of Painting,” artintelligence (online content), May 30, 2008 (illustrated)

138

CHRISTOPH SCHMIDBERGER b. 1974 I Am Open For Everything, Don’t Get Me Wrong, 2005 Oil on canvas. 70 3/4 x 51 in. (179.7 x 129.5 cm). Signed and dated “Christoph Schmidberger 2005” three times on the overlap.

Estimate $20,000-30,000 PROVENANCE Goff + Rosenthal, New York

139

MARTIN EDER b. 1968 Verbrenne die Brücken (Burn Bridges), from the Images of the Human Body series, 2002 Oil on canvas laid on board. 51 3/8 x 39 3/8 in. (130.5 x 100 cm). Signed and dated “Martin Eder 2002” lower left.

Estimate $70,000-90,000 PROVENANCE Private collection, Germany EXHIBITED Lingen, Kunstverein Lingen Kunsthalle, Martin Eder: Die Kalte Kraft,

August 15 – October 10, 2004 LITERATURE M. Eder, T. Girst & H. Schepers, Martin Eder: Die Kalte Kraft,

Ostfildern, 2004, p.62 & p.148 (illustrated)

140

McDERMOTT & McGOUGH b. 1952 and 1958 The Queen of Outer Space 1960, 2006 Oil on canvas. 60 x 48 in. (152.4 x 121.9 cm). Signed “McDermott & McGough” lower right.

Estimate $40,000-60,000 PROVENANCE Acquired directly from the artists

141

ED PASCHKE 1939-2004 Santa Caballo, 1988 Oil on linen. 50 x 78 in. (127 x 198.1 cm). Signed and dated “E. Paschke ‘88” lower left; signed, titled and dated “Ed Paschke ‘Santa Caballo’ ‘88” on the strainer.

Estimate $50,000-70,000 PROVENANCE Phyllis Kind Gallery, Chicago EXHIBITED Paris, Musee National d’art Moderne, Centre Georges Pompidou,

December 13, 1989 – February 11, 1990; Dallas, The Dallas Museum of Art, May 13 – July 15, 1990; Chicago, The Art Institute of the Chicago, October 10, 1990 – January 2, 1991: Ed Paschke: Paintings LITERATURE “Ed Paschke,” Artforum International, XXVII, no. 2; October 1988,

(illustrated); N. Benezra, Ed Paschke, New York, 1990, p. 58 (illustrated)

142

DANA SCHUTZ b. 1976 Chris’s Rubber Soul, 2001 Oil on canvas. 42 1/8 x 47 1/4 in. (107 x 120 cm). Signed and dated “Dana Schutz 2001” on the reverse.

Estimate $80,000-120,000 PROVENANCE Zach Feuer Gallery (LFL), New York EXHIBITED New York, Zach Feuer Gallery (LFL), Holly Coulis and Dana Schutz,

January 11 – February 16, 2002 LITERATURE R. Smith, “Art in Review: Holly Coulis/Dana Schutz,” The New York

Times, February 8, 2002; M. Dailey, “Laying it on Thick,” Artforum International, April 2004; J. Lenhart, “Dana Schutz,” Tampa Bay and Beyond (online content), November 15, 2007; A. Field, Rubber Soul, Ungovernable Press, 2008 (detail illustrated as cover)

I decided against it [fictionalizing] because I felt it was more interesting and more uncomfortable for me to have to stand behind these paintings and my decision to paint them in the way that I chose to. I also started painting objects that would wash up from the world: things that would no longer have a clear function if they were broken, like a record player. What then does that object become? Does it acquire another function? I usually want a starting point to make a painting. Whether it’s an invented framework, or a situation in the world. D. Schutz, from an interview with M. Chin, Bomb, issue 95, Spring 2006 A painting of a sculpture, Chris’s Rubber Soul ably encapsulates Dana Schutz’s amalgamation of stylistic techniques, and provides a window onto her subject-selection process. The image has the artist recalling a period from her graduate work at Columbia University, as with another 2001 oil on canvas, Project at Kensington: a sculpture graveyard, where students put failed projects out to pasture. Schutz’s work has been compared to late-period Guston, and their shared qualities lie not just in bold, expressive brushwork but also with a tendency to anthropomorphize inanimate objects. The crab-like shape perched atop an elongated record spindle in the present lot seems angled as if caught in mid-leap, a bounding prairie arthropod.

143

RICHARD PRINCE b. 1949

144

Untitled (Head), 1997

RICHARD PRINCE b. 1949 Untitled (Head), 1996

Ink, Conté crayon, graphite and acrylic on paper in two parts. 22 x 16 in.

Ink, Conté crayon, graphite, acrylic and watercolor on paper. 8 1/4 x 11 in.

(55.9 x 40.6 cm) overall. Signed and dated “R Prince 1997” and inscribed

(21 x 27.9 cm). Signed and dated “R Prince 1996” lower right.

“To my friend Martin Kippenberger” lower right.

Estimate $7,000-9,000 Estimate $15,000-20,000 PROVENANCE Barbara Gladstone Gallery, New York PROVENANCE Barbara Gladstone Gallery, New York

144

145

CINDY SHERMAN b. 1954 Untitled #124 A, 1983

ROBERT GOBER b. 1954 Two works: Untitled, 1993-1994

Color photograph. 25 1/4 x 33 in. (64.1 x 83.8 cm). Signed and dated “Cindy

Color coupler prints. 4 1/4 x 5 1/8 in. (10.8 x 13 cm) each. Signed and dated

Sherman 1983” and numbered of 18 on the reverse. This work is from an

“R. Gober ‘93-4” and numbered of 15 on the reverse. Each work is from an

edition of 18.

edition of 15.

Estimate $20,000-30,000

Estimate $18,000-25,000

PROVENANCE Galerie Bob van Orsouw, Zurich

PROVENANCE Paula Cooper Gallery, New York

LITERATURE M. Schiavoni, “The Eye of Women,” Digimag 32 (online content),

March 2008

146

147

148

147

SHARON ELLIS b. 1955 Morning, 1998 Alkyd on canvas. 40 x 30 in. (101.6 x 76.2 cm). Signed, titled, and dated “Sharon Ellis Morning 1998” on the reverse.

Estimate $20,000-30,000 PROVENANCE Christopher Grimes Gallery, Santa Monica; Private collection,

New York EXHIBITED Santa Monica, Christopher Grimes Gallery, Sharon Ellis: Times of the

Day, February 21 – April 3, 1999; Long Beach Museum of Art, Sharon Ellis, January 20 – April 21, 2002 LITERATURE H. Drohojowska-Philp, “Seeing the Light Within,” The Los Angeles

Times, February 21, 1999; M. Duncan, “Sharon Ellis at Christopher Grimes,” Art in America, December 1999

148

NANCY GRAVES 1940-1995 Conjuncture, 1982 Bronze with polychrome patina. 72 x 28 x 25 in. (182.9 x 71.1 x 63.5 cm). Inscribed with “N.S. Graves Conjuncture” on the underside of a leaf.

Estimate $20,000-30,000 PROVENANCE M. Knoedler & Co., New York EXHIBITED New York, M. Knoedler & Co., Nancy Graves: New Sculpture, October

16 – November 11, 1982; New York, The Whitney Museum of American Art, Biennial Exhibition: Painting, Sculpture, Photography, Installations, Film, Video, March 29 – May 22, 1983 LITERATURE G. Glueck, “Art: Botanical Bronzes from Nancy Graves,” The New

York Times, October 22, 1982; E. A. Carmean, Jr., L. L. Cathcart, R. Hughes, & M. E. Shapiro, The Sculpture of Nancy Graves: A Catalogue Raisonné, Manchester, 1987, p. 95, no. 88 (illustrated)

149

150

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SULING WANG b. 1968 Irrigation Plots, 2005 Oil and acrylic on canvas. 94 3/4 x 78 1/4 in. (240.7 x 198.8 cm). Signed and dated “Suling Wang [in English and Chinese] 2005” on the overlap.

Estimate $20,000-30,000 PROVENANCE Lehmann Maupin, New York; Private collection, New York EXHIBITED New York, Lehmann Maupin, Suling Wang, September 8 – October 22, 2005

150

TILL GERHARD b. 1971 Transsylvania, 2006 Oil on canvas. 31 1/2 x 21 1/2 in. (80 x 54.6 cm). Initialed, titled and dated “TG Transsylvania 2006” on the reverse.

Estimate $6,000-8,000 PROVENANCE Stellan Holm Gallery, New York EXHIBITED New York, Stellan Holm Gallery, Till Gerhard—Black Nostalgia,

May 6 – June 24, 2006

151

MATT GREENE b. 1971

152

NATE LOWMAN b. 1979

As Tangible as Revelrie (Reverie), 2004

Untitled, 2008

Encaustic and oil with graphite and ink on cut paper on canvas. 60 x 84 in.

Ink on canvas. 12 x 13 in. (30.5 x 33 cm).

(152.4 x 213.4 cm). Signed, titled and dated “M. Greene As Tangible as Revelrie” on the reverse.

Estimate $7,000-9,000

Estimate $12,000-18,000

PROVENANCE United Artists, Ltd., Marfa

PROVENANCE Peres Projects, Los Angeles

Young, April 18 – August 31, 2008

EXHIBITED Los Angeles, Peres Projects, Matt Greene: She Who Casts the Darkest

LITERATURE L. Fitzpatrick, “Nate Lowman,” Interview (online content), January 2009

EXHIBITED Marfa, United Artists, Ltd., Nate Lowman, Agathe Snow and Aaron

Shadow on Our Dreams, October 30 – December 18, 2004; Los Angeles, Hammer Museum, Eden’s Edge: Fifteen LA Artists, May 13 – September 2, 2007 LITERATURE M. Kushner and R. Greene, Matt Greene: She Who Casts the Darkest

Shadow on Our Dreams, Los Angeles, 2004; J. Meyers, “Matthew Greene,” Frieze, issue 89, March 2005; G. Garrels, Eden’s Edge: Fifteen LA Artists, Los Angeles, 2007; D. Walsh, “Exhibit shows the diversity of current L.A. artists,” The OC Register, August 11, 2007

152

153

154

153

DAN COLEN b. 1979 The Awesome Power of Nature, 2006 Wood, canvas, oil, paper adhesive tape and metal hardware. 23 1/8 x 18 1/4 in. (58.7 x 46.4 cm).

Estimate $15,000-20,000 PROVENANCE Gagosian Gallery, New York EXHIBITED New York, Gagosian Gallery, Potty Mouth Potty War Pot Roast Pot Is a

Reality Kick, 2006

154

DASH SNOW b. 1981 Dreams Die Hard, 2006-2007 Cut printed paper collage. 13 3/8 x 10 1/4 in. (34 x 26 cm). Signed “Dash Snow” on the reverse of the backing board.

Estimate $2,000-3,000 PROVENANCE Contemporary Fine Arts, Berlin EXHIBITED Berlin, Contemporary Fine Arts, Dash Snow: The End of Living, The

Beginning of Survival, April 28 – June 23, 2007 LITERATURE P.K. Koch, “Dash Snow,” /100 (online content), July 2007

(illustrated); C. Lange, “Dash Snow,” Frieze (online content), September 12, 2007

155

YEHUDIT SASPORTAS b. 1969 The Forest’s Curtain, 2004 Felt-tipped ink marker on paper. 78 3/4 x 43 1/4 in. (200 x 109.9 cm). Signed and dated “Yehudit Sasportas 2004” on the reverse.

Estimate $12,000-18,000 PROVENANCE Galerie Eigen + Art, Berlin/Leipzig

156

JULES DE BALINCOURT b. 1972 Untitled, 2006 Oil on board. 14 x 16 in. (35.6 x 40.6 cm).

Estimate $15,000-20,000 PROVENANCE Private collection, London

156

157

ANDRÉ BUTZER b. 1973 Heimkunft Nach N (Homecoming to N), 2006 Oil on canvas. 98 3/8 x 78 3/4 in. (249.9 x 200 cm). Signed “A. Butzer” upper right. Signed, titled and dated “A. Butzer ‘Heimkunft Nach N’ ‘06” on the reverse.

Estimate $30,000-40,000 PROVENANCE Galerie Max Hetzler, Berlin LITERATURE “Selected by the Stars,” The Art Newspaper, June 16, 17, 18,

2006 (illustrated)

158

HERNAN BAS b. 1978 Hope, 2004 Oil, graphite and photographic collage on board. 31 x 23 7/8 in. (78.7 x 60.6 cm). Initialed and dated “HB 04” lower right and again on the reverse; titled “Hope” on the reverse.

Estimate $50,000-70,000 PROVENANCE Sandroni.Rey, Los Angeles EXHIBITED Los Angeles, Sandroni.Rey, Hernan Bas, October 1 – November 30, 2004 LITERATURE The Saatchi Gallery, eds., The Triumph of Painting, London, 2005, p.

320 (illustrated)

159

MARLENE DUMAS b. 1953 The Revenge of Echo, 2000 Oil on canvas. 15 3/4 x 19 5/8 in. (40 x 49.8 cm). Signed, titled and dated “M Dumas The Revenge of Echo 2000” on the reverse.

Estimate $70,000-90,000 PROVENANCE Jack Tilton Gallery, New York

Still from video

160

FRANCIS ALŸS b. 1959 The Last Clown, 2000 Black and white video projection and an acrylic and graphite work on paper. Installation dimensions variable; video: 10 minute looped duration; drawing 10 7/8 x 13 7/8 in. (27.6 x 35.2 cm). Drawing signed “F. Alÿs” lower right and titled “Study for ‘The Last Clown’” lower left. This work is from an edition of four.

Estimate $40,000-60,000 PROVENANCE Lisson Gallery, London EXHIBITED Barcelona, Fundacio La Caixa, Francis Alÿs: The Last Clown, June –

July 2000 (another example exhibited) LITERATURE D. G. Torres, ed., Francis Alÿs: The Last Clown, Barcelona, 2000; M.

Desilets, “Francis Alÿs: The Last Clown,” Parachute: Contemporary Art Magazine, July 2000

161

FRANCIS ALŸS b. 1959 Paisaje—Burro (Landscape—Donkey), 1992 Oil on found canvas. 10 3/8 x 13 in. (26.4 x 33 cm). Dated “1992” lower left; signed and dated “Francis Alÿs 1992” on the reverse.

Estimate $80,000-120,000 PROVENANCE Galeria Ramis Barquet, New York; Private collection, New York

162

GABRIEL OROZCO b. 1962 Helicóptero (Helicopter), 2005 C-print. 16 x 20 in. (40.6 x 50.8 cm). Signed, titled and dated “Gabriel Orozco Helicóptero 2005” and numbered of six on the reverse. This work is from an edition of six.

Estimate $15,000-20,000 PROVENANCE kurimanzutto, Mexico City EXHIBITED Mexico City, Museo del Palacio de Bellas Artes, Gabriel Orozco,

November 29, 2006 – February 26, 2007 (another example exhibited) LITERATURE B. Buchloh, Museo del Palacio de Bellas Artes, eds., Gabriel

Orozco, Mexico City, 2006

163

GABRIEL OROZCO b. 1962 Araña en Tepalcate (Spider on Ancient Plate), 2005 C-print. 16 x 20 in. (40.6 x 50.8 cm). Signed, titled and dated “Gabriel Orozco Araña en Tepalcate 2005” and numbered of six on the reverse. This work is from an edition of six.

Estimate $15,000-20,000 PROVENANCE kurimanzutto, Mexico City

MATCH WALL COLOR WITH OPPOSITE

164

ABRAHAM CRUZVILLEGAS b. 1968 La Providencia (The Providence), 2002 Soap, shell and stone beads, string and fiberglass and foam rubber fishing pole. Installation dimensions variable; 96 x 71 x 54 in. (243.8 x 180.3 x 137.2 cm) as illustrated.

Estimate $10,000-15,000 PROVENANCE Private collection, Miami LITERATURE J. Scarborough, “Baby, Baby, Where Did Our Love Go?,” NY Arts

Magazine (online content), April 2003

165

JUAN MUÑOZ 1953-2001 Untitled (Balcony), 1991 Steel, stained wood, galvanized screen and metal hardware. 28 x 41 1/2 x 14 in. (71.1 x 105.4 x 35.6 cm).

Estimate $60,000-80,000 PROVENANCE Galerie Konrad Fischer, Düsseldorf LITERATURE A. Melo, “Die Kunst Der Konversation,” Parkett, no. 43, 1995, p. 31

166

JENNY HOLZER b. 1950 Truism Footstool, 1988 Granite. 16 x 23 x 15 3/4 in. (40.6 x 58.4 x 40 cm). This work is from an edition of 40.

Estimate $25,000-35,000 PROVENANCE Published by Barbara Gladstone Gallery, New York for the

New Museum

167

RICHARD PRINCE b. 1949 American English (Karate is a Thing of the Spirit), 2005 ®

Two hardcover books in a plywood case with Bondo and acrylic. 42 1/2 x 23 x 17 in. (108 x 58.4 x 43.2 cm) overall. Signed and dated “R. Prince 2005” beneath the left book.

Estimate $80,000-120,000 PROVENANCE Barbara Gladstone Gallery, New York LITERATURE G.B. Kvaran, Richard Prince: Canaries in the Coal Mine, Oslo, 2007,

p. 53; R. Prince, Richard Prince: America Goes To War…Swimming In The Afternoon…, London, 2008, n.p.

168

LARRY BELL b. 1939 Cube #37, 2007 Colored glass coated with Inconel® and the artist’s acrylic glass pedestal. Cube: 15 x 15 x 15 in. (38.1 x 38.1 x 38.1 cm); pedestal: 35 x 15 x 15 in. (88.9 x 38.1 x 38.1 cm).

Estimate $20,000-30,000 PROVENANCE Danese, New York EXHIBITED New York, Danese, Larry Bell: New Sculpture, September 7-29, 2007

169

KATJA STRUNZ b. 1970 Echo, 2005 Welded and powder coated steel in 12 parts. Installation dimensions variable; 123 x 86 x 16 1/4 in. (312.4 x 218.4 x 41.3 cm) as illustrated.

Estimate $30,000-40,000 PROVENANCE Gavin Brown’s enterprise, New York EXHIBITED Pittsburgh, Carnegie Museum of Art, Life on Mars, May 3, 2008 –

January 11, 2009 LITERATURE D. Fogle, Carnegie Museum of Art, eds., Life on Mars, Pittsburg, 2008

170

ANDY WARHOL 1928-1987 Greco-Roman Figures, 1986 Six gelatin silver prints stitched with thread. 31 3/4 x 27 1/4 in. (80.6 x 69.2 cm) overall. Signed and dated “Andy Warhol 86” on the reverse. This work is unique.

Estimate $40,000-60,000 PROVENANCE Cheim & Read, New York EXHIBITED New York, Cheim & Reid, Andy Warhol, Edward Ruscha & Robert

Mapplethorpe: Three Catholics, April 29 – June 27, 1998; New York, The International Center for Photography, Andy Warhol: Photography, January 11 – March 18, 2001 LITERATURE H. Cotter, “A Tour Through Chelsea, the New Center of Gravity,”

The New York Times, May 15, 1998; W. V. Ganis, Andy Warhol’s Serial Photography, London, 2004

171

ANDY WARHOL 1928-1987 Man on Motorcycle, 1982-1987 Four gelatin silver prints stitched with thread. 21 1/4 x 27 1/4 in. (54 x 69.2 cm) overall. Stamped with the Estate and Foundation seals and numbered “FL05 .00068” on the reverse. This work is unique.

Estimate $25,000-35,000 PROVENANCE Galerie Bruno Bischofberger, Zurich LITERATURE W. V. Ganis, Andy Warhol’s Serial Photography, London, 2004

172

173

Actual size

172

RICHARD PETTIBONE b. 1938

173

MIKE BIDLO b. 1953

Andy Warhol (Marilyn), circa 1975

Not Warhol (Marilyn), 1984

Synthetic polymer and silkscreen inks on canvas. 3 1/2 x 3 in. (8.9 x 7.6 cm).

Screenprint and felt-tipped ink marker on paper. 27 x 18 3/4 in. (68.6 x 47.6 cm).

Signed “Richard Pettibone” on the overlap.

Signed “Mike Bidlo” lower right.

Estimate $12,000-18,000

Estimate $6,000-8,000

PROVENANCE OK Harris Works of Art, New York

PROVENANCE Acquired directly from the artist; Private collection EXHIBITED New York, Nathan A. Bernstein & Co., Ltd., East Meets West Pop, May 1 –

July 28, 2006

174

175

174

STURTEVANT b. 1926

175

ANDY WARHOL 1928-1987

Warhol Flowers, 1990

Daisies, 1967-1971

Synthetic polymer screenprint on paper. 50 3/4 x 50 3/4 in. (128.9 x 128.9 cm).

Nine lenticular color photographs. 12 x 11 in. (30.5 x 27.9 cm) each. Each

Signed and dated “Sturtevant ‘90” lower right; titled “‘Warhol Flowers’” lower left.

stamped with the Andy Warhol Art Authentication Board, Inc. seal and numbered “A150.999,” “A159.999,” “A161.999,” “A163.999,” A175.999,” “A182.999,”

Estimate $20,000-30,000

“A185.999,” “A188.999” and “A190.999” respectively on the reverse.

PROVENANCE Private collection, New York

Estimate $30,000-40,000

LITERATURE B. Hainley, “Erase and Rewind,” Frieze, issue 53, June – August 2000 PROVENANCE Private collection, Germany LITERATURE Tokyo Museum of Contemporary Art, eds., Andy Warhol 1956-1986:

Mirror of his Time, Tokyo, 1996, p. 183 (illustrated); M. Wrbican, “Andy Warhol: A Documentary Film,” American Masters, (pbs.org online content), September 20, 2006 EXHIBITED Osaka, United States Pavilion, Expo ‘70, 1970 (other examples exhibited)

176

177

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ANDY WARHOL 1928-1987 Self-Portrait (Fright Wig), 1986

177

DENNIS ADAMS b. 1948 Patricia Hearst A thru Z, 1990

Polaroid® photograph. 4 1/8 x 3 3/8 in. (10.5 x 8.6 cm). Blindstamped with

Portfolio of 26 two-color serigraphs with four printed text sheets in a galvanized

“© Andy Warhol” lower right. Stamped with the Andy Warhol Art

steel box. Each serigraph 20 x 16 in. (50.8 x 40.6 cm); 128 x 80 in. (325.1 x 203.2 cm)

Authentication Board, Inc. seal and numbered “A158.0410” on the reverse.

overall. Signed and dated “D. Adams 90” and numbered of 30 on a title page. This work is from an edition of 30.

Estimate $8,000-12,000 Estimate $8,000-12,000 PROVENANCE The Andy Warhol Foundation for the Visual Arts, Inc., New York;

Private collection, Europe

PROVENANCE Kent Fine Art, Inc., Kent, Connecticut EXHIBITED New York, Alternative Museum, 1987; Munich, The Orangerie,

Englischer Garten, 1991; New York, Whitney Museum of American Art, Variations on Themes: Recent Print Acquisitions, 1991; New York, International Center of Photography, Special Collections: The Photographic Order from Pop to Now, 1992; Lausanne, Deutsch Fondation; Evanston, Northwestern University, Block Gallery; Tempe, Arizona State University Art Museum; Norfolk, Virginia, The Chrysler Museum; Miami Beach, Bass Museum of Art; New York, The Museum at Stony Brook; Lincoln, Nebraska, Vancouver Art Gallery, Sheldon Memorial Art Gallery: 1992; Pully/Lausanne, FAE Musée d’Art Contemporain; Torino, Castello di Rivoli, Museo d’Arte Contemporanea; Athens, Deste Foundation for Contemporary Art; Hamburg, Deichtorhallen: Post Human, June 1992 –, Hannover, Sprengel Museum, Konstruktion Zitat: Kollektive Bilder in der Fotografie, 1993; Munich, Stadtische Galerie im Lenbachhaus, American Art, 1996; New York, P.S.1 Contemporary Art Center, The Promise of Photography; Frankfurt, Schirn Kunsthalle, a.M., 1999; New York, Museum of Modern Art, Open Ends/One Thing After Another, 2001; Long Beach, University Art Museum; San Diego, Museum of the Photographic Arts: Double Vision: Photographs from the Strauss Collection, 2001-2002 (another example exhibited in each case) LITERATURE J. Bowsher, Patricia Hearst—A thru Z, Minneapolis, 1979; P.

D’Agostino, & L. Thomas, eds., Still Photography: the Problematic Model, San Francisco, 1981, pp. 111-115; P. C. Phillips, Building Against Image 1979-1987, New York, 1987; E. Leffingwell, & K. Marta, eds., Modern Dreams: The Rise and Fall and Rise of Pop Art, New York/Cambridge/London, 1988, pp. 6, 9, 110-117; M. A. Staniszewski, The Architecture of Amnesia, New York, 1990, pp 18-19; C. Stainback, Special Collections: The Photographic Order from Pop to Now, New York, 1992; F. Bex, Transactions, Antwerp, 1994, pp. 20-21; J. Deitch, Post Human, Lausanne/Torino/Athens/Hamburg, 1992; T. Weski & S. Iglhaut, Konstruktion Zitat: Kollektive Bilder in der Fotografie, Hannover, 1993; J. Fitch, Double Vision: Photographs from the Strauss Collection, Long Beach, 2000; M. Flugge, & F. Meschede, Warum, Berlin, 2003

178

ANDY WARHOL 1928-1987 Four works: Untitled (Mother Goose, Santa, Mammy, and Dracula), 1978-79 Polaroid® photographs. 4 1/4 x 3 3/8 in. (10.8 x 8.6 cm) each except Mammy, 3 3/8 x 4 1/4 in. (8.6 x 10.8 cm). Each blindstamped “© Andy Warhol” in the lower margin (except Mammy) and stamped with the Andy Warhol Art Authentication Board, Inc. seal and numbered “A174.009” (Mother Goose), “A177.009” (Santa), “A178.009” (Mammy), and “A174.009” (Dracula) on the reverse. These works are each unique.

Estimate $12,000-18,000 PROVENANCE Estate of Rupert Jasen Smith, New York

Rupert [Jasen Smith] was back from being out looking for…pictures for the New Myths series…(b)ut I think the best thing we decided to do is have people come and dress up in the costumes and we’ll take the pictures ourselves, because that way there’s no copyright to worry about. A. Warhol, The Andy Warhol Diaries, New York, 1989, pp. 333 & 354

179

ANDY WARHOL 1928-1987 Electric Chair, circa 1978 Screenprint on paper. 17 1/2 x 22 5/8 in. (44.5 x 57.5 cm). Stamped with “© Andy Warhol” lower left; stamped with the Estate and Foundation seals and numbered “VF UP47. 22” on the reverse. This work is unique.

Estimate $12,000-15,000 PROVENANCE The Andy Warhol Foundation for the Visual Arts, Inc., New York;

Paul Kasmin Gallery, New York

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181

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ANDY WARHOL 1928-1987 Ingrid Bergman (Herself), 1983 Screenprint on Lenox Museum board. 38 x 38 in. (96.5 x 96.5 cm). Stamped with “© Andy Warhol 1983” on the reverse. This work is an artist’s proof from an edition of 250 plus 20 artist’s proofs, five printer’s proofs, 30 hors commerce proofs, and 30 trial proofs.

Estimate $18,000-25,000 PROVENANCE Galerie Börjeson, Malmö; Barrington Gallery of London Ltd.,

London LITERATURE F. Feldman & J. Schellmann, Andy Warhol Prints: A Catalogue

Raisonné 1962-1987, New York, 2003, p. 135, II.313 (illustrated)

181

ANDY WARHOL 1928-1987 Still-life: Flowers and Fruit, circa 1957 Ballpoint pen on paper. 16 3/4 x 13 7/8 in. (42.5 x 35.2 cm).

Estimate $10,000-15,000 PROVENANCE Private collection, London

182

EDWARD RUSCHA b. 1937 Untitled (1/3), 2001 Acrylic and ink on printed security paper. 10 1/2 x 7 5/8 in. (26.7 x 19.4 cm). Signed and dated “Ed Ruscha 2001” lower right.

Estimate $35,000-45,000 PROVENANCE EVO Gallery, Santa Fe

This work is to be included in a forthcoming volume of the artist’s catalogue raisonné of works on paper.

183

ANDY WARHOL 1928-1987 Hammer and Sickle, 1978-79 Screenprint on paper. 39 3/4 x 26 in. (101 x 66 cm). Stamped with the Estate and Foundation seals and numbered “JF WP890.32” on the reverse. This work is unique.

Estimate $50,000-70,000 PROVENANCE Estate of Rupert Jasen Smith, New York

184

ANDY WARHOL

1928-1987

Hamburger, 1985-1986 Acrylic and silkscreen ink on canvas. 10 x 12 in. (25.4 x 30.5 cm). Stamped with the Estate and Foundation seals and numbered “PA10.222” on the overlap.

Estimate $80,000-120,000 PROVENANCE The Estate of Andy Warhol, New York; The Andy Warhol

Foundation for the Visual Arts, Inc., New York; Jasco Fine Arts, Inc., Laguna Nigel, California; Hamilton Selway, Fine Art, West Hollywood; Private collection

Tuesday, April 11, 1978 And the guy from the hamburger place came by. I’m doing a portrait of a hamburger…I can’t remember the name. Not McDonald’s, not Burger King, not Wendy’s, not Wetson’s—something else. A. Warhol, The Andy Warhol Diaries, New York, 1989, p. 123

Still from A. Warhol, How to Eat a Hamburger, 1968

185

ROBERT INDIANA b. 1928 Love, 1966-2000 Polychromed aluminum. 36 x 36 x 18 in. (91.4 x 91.4 x 45.7 cm). Engraved with “©1966-2000 R Indiana” and numbered of four artist’s proofs lower left side edge. This work is an artist’s proof from an edition of six plus four artist’s proofs.

Estimate $300,000-400,000 PROVENANCE Salama-Caro Gallery, New York

Robert: I was the least Pop of all the Pop artists. But Pop was also called New Realism. Tom Wesselmann, one of the Pop people, painted nudes of his wife. Now, is she a mass-produced image? In fact, I was mainly influenced by Ellsworth Kelly, who used hardedged forms and bold colors straight from the tube. Kelly and I were in a show together in Washington called Formalists. We both fit that bill, whereas you could hardly call [James] Rosenquist a formalist. Then the Europeans decided we were all Vulgarians anyway. … Steve: What about the postage stamps? My mother used those for years. Robert: While a lot of other people’s mothers were busy needlepointing LOVE pillowcases. I got a thousand dollars from the Postal Service for three hundred and thirty million stamps. It was the most popular stamp ever issued, barring Christmas stamps. R. Indiana, from an interview with S. Lafreniere, “Robert Indiana,” Index 43, April 2004

186

ROBERT RAUSCHENBERG 1925-2008 Tibetan Garden Song, 1986 Wooden cello, Chinese scroll-maker’s brush, chrome-plated metal basin, glycerin, plastic, adhesive tape, acrylic and mirrored acrylic glass. 43 x 18 1/4 x 18 1/4 in. (109.2 x 46.4 x 46.4 cm). Signed and dated “Rauschenberg 86” on side of cello and numbered of 25. Of the planned edition of 25, only 20 examples were produced by Graphicstudio, Florida.

Estimate $40,000-60,000 PROVENANCE Published by Graphicstudio, Florida LITERATURE M. L. Kotz, Rauschenberg: Art and Life, New York, 2004, p. 2 (illustrated)

187

ROBERT MOTHERWELL 1915-1991 The Red & the Black #14, 1987 Acrylic and paper collage on paper. 31 1/4 x 24 3/4 in. (79.4 x 62.9 cm). Signed and dated “Motherwell 87” and blindstamped with “© Robert Motherwell” lower right.

Estimate $40,000-60,000 PROVENANCE M. Knoedler & Co., Inc., New York; Private collection, New York EXHIBITED New York, M. Knoedler & Co., Robert Motherwell: The Summer 1987 Collage

Series: “The Red and Black” and Other Unexhibited Works, April 23 – May 12, 1988

188

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188

SOL LEWITT 1928-2007 Horizontal Lines Not Straight Not Touching, 1990 Graphite on paper. 7 1/4 x 11 1/8 in. (18.4 x 28.3 cm). Signed, titled and dated “S. Lewitt 1990 Horizontal Lines Not Straight Not Touching” along the lower edge.

Estimate $7,000-9,000 PROVENANCE Vivian Horan Fine Art, New York EXHIBITED New York, Vivian Horan Fine Art, Minimalism: On and Off Paper,

September 28 – November 17, 2006

189

SOL LEWITT 1928-2007 Untitled, 1999 Gouache, watercolor and graphite on paper. 11 1/2 x 7 1/2 in. (29.2 x 19.1 cm). Signed and dated “S. Lewitt 99” lower right.

Estimate $7,000-9,000 PROVENANCE Gifted by the artist to the present owner

190

SOL LEWITT 1928-2007 Untitled, 2003 Gouache and graphite on paper. 11 1/2 x 29 3/8 in. (29.2 x 74.6 cm). Signed and dated “S. Lewitt 03” lower right.

Estimate $15,000-20,000 PROVENANCE Gifted by the artist to the present owner

191

AGNES MARTIN 1912-2004 Untitled, circa 1985 Watercolor, ink and graphite on onionskin paper. 9 3/4 x 9 7/8 in. (24.8 x 25.1 cm).

Estimate $120,000-180,000 PROVENANCE EVO Gallery, Santa Fe

Moments of perfection are indescribable but a few things can be said about them. At such times we are suddenly very happy and we wonder why life ever seemed troublesome. In an instant we can see the road ahead free from all difficulties and we think that we will never lose it again. All this and a great deal more in barely a moment, and then it is gone. â&#x20AC;ŚPerfection, of course, cannot be represented. The slightest indication of it is eagerly grasped by observers. The work is so far from perfection because we ourselves are so far from perfection. The oftener we glimpse perfection or the more conscious we are in our awareness of it the farther away it seems to be. Or perhaps I should say the more we are aware of perfection the more we realize how very far away from us it is. That is why art work is so very hard. It is a working through disappointments and a growing recognition of failure to the point of defeat. But one still wakes in the morning, and there is the inspiration and one goes on. from D. Schwarz, ed., Agnes Martin: Writingsâ&#x20AC;&#x201D;Schriften, Ostfildern-Ruit, 1991, pp 68-69

192

GERHARD RICHTER b. 1932 Entwurf für Grund (Basic Draft), 1978 Oil and acrylic on wooden panel. 27 5/8 x 39 1/2 in. (70.2 x 100.3 cm). Signed, titled and dated “G. Richter Entwurf für Grund 1978” on the reverse.

Estimate $120,000-180,000 PROVENANCE Private collection, Germany

It is probably Cézanne’s intensely thoughtful and painfully hesitant painting that most closely corresponds to Richter’s reflectiveness, the kind that appears spontaneous but which actually has been executed with extreme precision and which has kept his Abstrake Bilder free from any kind of compulsiveness. Even when traces of Romanticism resonate in them or when emotions seem to emerge and the abstract forms seem to fill the painting’s ground with a Baroque dynamic, these have been carefully calculated. Their complex structures emerge from a variety of precisely thought-out work processes that guide random elements in the painting and counteract the influence of the unconscious. They aim at a coherent network of composed associations, and coincidences, of both clear and inexplicable elements in order to finally reach a state Richter has described as ‘planned spontaneity.’ His work is both carefully thought through and carefully painted. He applies layer upon layer of paint and then if necessary, he removes it or scrapes it back down to the canvas in order to start again. The surface structures produced by this vary greatly and show how the painter attempts to get to the very heart of painting and how he materializes his confrontation with the forms of paint on the canvas. The creation of these pictures involves a fundamental tension in deciding where the palette knife should apply paint and where it should remove it. Unexpected developments, which either cover over figurative elements in the picture or suggest object in the repertoire of abstract forms, serve to produce paintings that benefit as much from unplanned incidents as from a strict visual logic that sets about eradicating chance events. from “On the Desire to Paint Something Beautiful,” G. Adriani, ed., Gerhard Richter: Paintings from Private Collections, Ostfildern, 2008, p. 29

193

ALBERT OEHLEN b. 1954 Untitled, 2006 Oil on canvas. 47 1/4 x 59 1/2 in. (120 x 151.1 cm). Signed, titled and dated “A. Oehlen O.T. 2006” on the reverse.

Estimate $100,000-150,000 PROVENANCE Acquired directly from the artist

There is this general image that one has of Surrealism’s big spaces and little figures, of the funny dream stuff, impossible things doing impossible things. I like that because for me that is just the kind of crazy bullshit that is food for artists. On the other hand I see Surrealism as the first artistic movement, or group of artists, that really intensely thought about method. That is the main thing. So when I talk about Surrealism, I am more interested in Dali than Max Ernst. I see him as the strongest person there, but all the others…the little soldiers…they also did interesting things. Thinking about method and the other aspects they became involved in, I see these as the road to a lot of things that came afterwards. Not Sean Scully, but I could make a connection to Jeff Koons, or to Conceptual Art. A lot of the political stuff could be seen as sharing some thinking with the Surrealists. I definitely see myself as linked to them—my thinking comes from there, although it looks very different. A. Oehlen, in conversation with A. Tarsia, from A. Oehlen, I Will Always Champion Good Painting/I Will Always Champion Bad Painting, London, 2006

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DIRK SKREBER b. 1961 Untitled (House), 2003 Oil and bubble jet print on canvas. 66 7/8 x 31 1/2 in. (169.9 x 80 cm). Signed and dated “Skreber ‘03” and numbered of nine on the overlap. This work is from an edition of nine plus three artist’s proofs.

Estimate $20,000-30,000 PROVENANCE Galerie Luis Campaña, Cologne; James Cohan Gallery, New York

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ERIK PARKER b. 1968 Untitled (Can’t Explain), 2002 Oil on canvas. 90 x 66 in. (228.6 x 167.6 cm). Signed and dated “Erik Parker 2002” on the overlap.

Estimate $20,000-30,000 PROVENANCE Leo Koenig, Inc., New York; Private collection, New York EXHIBITED New York, Leo Koenig, Inc., You Paint the Picture, October 15 – November

16, 2002; Los Angeles, The Happy Lion Gallery, Hit the Lights, May 3 – June 7, 2003 LITERATURE K. Johnson, “Art in Review: Erik Parker,” The New York Times,

November 8, 2002; K. Rosenberg, “Erik Parker,” Frieze, issue 73, March 2003; M. Kuntz, “Erik Parker at Leo Koenig,” Art in America, April 2003

196

TAL R b. 1959 Palace Imorgen, 2004 Oil and paper collage on canvas. 78 3/4 x 78 3/4 in. (200 x 200 cm). Signed, titled and dated “Tal R Palace Imorgen 04” on the reverse.

Estimate $80,000-100,000 PROVENANCE Zach Feuer (LFL) Gallery, New York EXHIBITED New York, Zach Feuer (LFL) Gallery, Tal R: Last Drawing Before Mars,

May 8 – June 6, 2004 LITERATURE O.C. Humpl, Tal R: Prince Fruit, Klosterneuberg/Vienna, 2008,

n.p. (illustrated)

Traditional forms of pictorial design are abandoned in favor of personal order. …The picture breaks with its own tradition, taking the lie that is perspective back into the two-dimensional reality of the support. The strips of color are thus not caught up in the illusion…but become decoration reminiscent of a neo-hippie disco era aesthetic. The figuration tips over into abstraction and back again. from J.H. Wentrup, “Tal R: The Lord of Waste,” Flash Art, July – September 2003, p. 81

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WILHELM SASNAL b. 1972

198

MARCEL DZAMA b. 1974

Grave, 2002

Ghosts of the Past, 2004

Oil on canvas. 43 3/8 x 51 1/8 in. (110.2 x 129.9 cm). Signed and dated “Wilhelm

Acrylic and paper collage on canvas. 16 x 20 in. (40.6 x 50.8 cm). Signed “Marcel

Sasnal 2002” on the overlap.

Dzama” lower left.

Estimate $20,000-30,000

Estimate $12,000-18,000

PROVENANCE Anton Kern Gallery, New York; Private collection, Miami

PROVENANCE Private collection, London

199

ALEX KATZ b. 1927 Raft, 2008 Oil and oil-based inks on canvas. 64 x 84 3/4 in. (162.6 x 215.3 cm). Signed “Alex Katz” and numbered of seven lower left. This work is from a series of seven unique works executed in different colors.

Estimate $70,000-90,000 PROVENANCE Acquired directly from the artist

200

LARRY RIVERS

1923-2002

Untitled, 1955 Pastel, ink, charcoal and graphite on paper. 16 7/8 x 14 in. (42.9 x 35.6 cm). Signed and dated “Rivers ‘55” lower left.

Estimate $6,000-8,000 PROVENANCE Private collection, Oregon

201

CECILY BROWN b. 1969 Trouble in Paradise, 1999 Watercolor on paper. 21 1/8 x 29 7/8 in. (53.7 x 75.9 cm). Signed and dated “Cecily Brown ‘99” lower right.

Estimate $10,000-15,000 PROVENANCE Donated by the artist to The New Museum of Contemporary Art

Benefit Auction, New York (1999)

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202

VIJA CELMINS b. 1938

203

MARLENE DUMAS b. 1953

Untitled, circa 1960s

The Beginning of Tiranny, 1989

Oil and watercolor on paper. 20 1/8 x 28 in. (51.1 x 71.1 cm). Signed “Vija Celmins”

Watercolor, ink and graphite on paper. 9 3/8 x 10 1/2 in. (23.8 x 26.7 cm).

lower right.

Signed “Marlene Dumas” lower left and again on the reverse; titled and dated “(The Beginning of Tiranny) 1989” lower right.

Estimate $18,000-25,000 Estimate $15,000-20,000 PROVENANCE Private collection, New York PROVENANCE Galerie Paul Andriesse, Amsterdam

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204

JAMES NARES b. 1953

205

Untitled, 2002

ROSS BLECKNER b. 1949 Two works: Untitled, 2001

Oil and wax on Strathmore Bristol paper. 39 7/8 x 29 7/8 in. (101.3 x 75.9 cm).

Oil on canvas. (i) 17 7/8 x 14 in. (45.4 x 35.6 cm); (ii) 17 7/8 x 13 7/8 in. (45.4 x 35.2 cm). Each signed and dated “Ross Bleckner 2001” on the reverse.

Estimate $8,000-12,000 Estimate $15,000-20,000 PROVENANCE Hamiltons, London EXHIBITED London, Hamiltons, James Nares: New Paintings, May 1 – June 14, 2002

PROVENANCE Lehmann Maupin, New York; Galerie Daniel Templon, Paris

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(i)

(ii)

206

JAMES BROWN b. 1951 Stella Maris XI, 1985 Enamel and stain on canvas. 77 3/4 x 65 1/2 in. (197.5 x 166.4 cm). Signed, titled and dated “James Brown Stella Maris XI 1985” on the reverse.

Estimate $35,000-45,000 PROVENANCE Maloney Gallery, Santa Monica EXHIBITED Stockholm, Heland Wetterling Gallery, James Brown: Stella Maris,

January 1988 LITERATURE D. Carrino, ed., James Brown: Stella Maris, Stockholm 1988,

n.p. (illustrated)

207

LOUISE NEVELSON 1899-1988 Untitled, 1974 Painted wood and metal wire collage on cardboard. 22 x 18 in. (55.9 x 45.7 cm). Signed and dated “Louise Nevelson 74” lower right.

Estimate $8,000-12,000 PROVENANCE Pace Gallery, New York

208

MAYA LIN b. 1959 Ecliptic, 1999 Pewter. 13 1/2 x 12 3/4 x 4 3/4 in. (34.3 x 32.4 x 12.1 cm). Incised by hand with initials “M,SL” and engraved with date “1999” and numbered of 30 on the reverse. This work is from an edition of 30 plus three artist’s proofs and three publisher’s proofs.

Estimate $5,000-7,000 PROVENANCE Published by Gagosian Gallery, New York for the New Museum

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209

GERHARD RICHTER b. 1932 Uran (Uranium), 1989 Gelatin silver print. 39 x 27 3/8 in. (99.1 x 69.5 cm). Incised by hand with signature and date “Richter 1989” and numbered of fifty lower left. This work is from an edition of 50 numbered 1-50 plus an additional six numbered I-VI.

Estimate $7,000-9,000 PROVENANCE Private collection, Europe LITERATURE R. Blaum, S. Salzman & K. Kreul, Gerhard Richter: Editions

1965-1993, Munich, 1993, p. 146 (illustrated)

210

JON KESSLER b. 1957 X-Ray, 1987 Aluminum, glass, ceramic, plastic and metal hardware, with motor, eight light bulbs and electrical fittings. 19 1/2 x 11 1/8 x 13 in. (49.5 x 28.3 x 33 cm). This work is from an edition of six plus one artist’s proof and one printer’s proof.

Estimate $3,000-5,000 PROVENANCE Acquired directly from the artist

211

CLAES OLDENBURG b. 1929 Tilting Neon Cocktail, 1983 Stainless steel, plastic and painted wood with acrylic glass base. 18 3/4 x 6 1/4 x 7 in. (47.6 x 15.9 x 17.8 cm). Incised by hand with initials “C.O.” and engraved with title and date “Tilting Neon Cocktail 1983” and numbered of 50 on the base. This work is from an edition of 50.

Estimate $8,000-12,000 PROVENANCE Published by Brooke Alexander, Inc., New York for the New Museum LITERATURE V. Hsueh, “Drinking: A Love Story,” Lingua Franca, January –

February 1999, pp. 17-18; L. Edmunds, Martini, Straight Up: The Classic American Cocktail, Baltimore, 2003, p. 98; C. Kino, “Teaming With the Artists to Buoy the Bottom Line,” The New York Times, March 29, 2006

212

JEPPE HEIN b. 1977 Collage, 2004 Photo-collage on paper in 12 parts. 15 3/4 x 15 3/4 in. (40 x 40 cm) each. Each signed, titled and dated “Jeppe Hein Collage 2004” and numbered consecutively of 12 on the reverse.

Estimate $7,000-9,000 PROVENANCE

212

Johann König Gallery, Berlin

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SHERRIE LEVINE AND JOOST VAN OSS b. 1947 and 1956 Sculpture II, 1999 Rolled steel. 23 5/8 x 19 5/8 x 19 5/8 in. (60 x 49.8 x 49.8 cm). Engraved with signature and dated “SMLVANOSS 1999” on the underside. This work is one of three artist’s proofs aside from two separate works consisting of 24 numbered elements and six numbered hors commerce elements.

Estimate $15,000-20,000 PROVENANCE Acquired directly from the artists

214

JOHN BAUER b. 1971 My Fucking Brain, 2007 Oil and enamel on canvas. 94 x 72 in. (238.8 x 188 cm). Signed “John Bauer” lower right; signed and dated “John Bauer 2007” on the overlap and again on the stretcher bar.

Estimate $12,000-18,000 PROVENANCE Bellwether Gallery, New York EXHIBITED New York, Bellwether, John Bauer, April 19 – May 19, 2007

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PROPERTY SOLD TO BENEFIT THE CHILDREN’S CANCER AND BLOOD FOUNDATION

215

GORDON MATTA-CLARK 1943-1978

216

VITO ACCONCI b. 1940

Splitting, 1975

Roof like a Liquid Over the Plaza: Handsketches, 2001-2003

Gelatin silver photo-collage with graphite on paperboard. 20 x 30 in.

Graphite, ink and felt-tipped ink marker on vellum, paper and tissue and c-prints

(50.8 x 76.2 cm). Signed, titled and dated “Gordon Matta Clark ‘Splitting’ 1975”

with china marker laid on matboard in seven parts, including 31 total elements.

and numbered “15R-” along the lower edge.

3 1/2 x 5 in. (8.9 x 12.7 cm) – 11 1/2 x 19 1/4 in. (29.2 x 48.9 cm). Signed, titled and dated “Roof like a Liquid Over the Plaza: Handsketches 01-03 Vito Acconci”

Estimate $25,000-35,000

lower left of panel mounted with c-prints.

PROVENANCE London Projects, London

Estimate $10,000-15,000

EXHIBITED New York, Whitney Museum of American Art, February 22 – June 3,

2007; Los Angeles, Museum of Contemporary Art, September 16, 2007 – January 7,

PROVENANCE Acquired directly from the artist

2008; Chicago, Museum of Contemporary Art, February 2 – May 4, 2008: Gordon Matta-Clark: You Are the Measure LITERATURE E. Sussman, Gordon Matta-Clark: You Are the Measure, New York, 2007

These are sketches associated with the steel canopy design realized above the plaza at the Canon Performing Arts Center, Memphis, TN, which was completed in 2003.

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MARTIN KIPPENBERGER 1953-1997 Untitled (Goethe), 1983 Cut printed paper collage and graphite in two parts, one with men’s wristwatch. 11 1/2 x 8 in. (29.2 x 20.3 cm) each. Each signed and dated “Martin Kippenberger 83” lower right.

Estimate $10,000-15,000 PROVENANCE Galerie Max Hetzler, Berlin

218

MARTIN KIPPENBERGER 1953-1997 Hotel Drawing (Grunwalder-Hof) Milk-Roll-Diet After Dr. F.X. Mayr, 1992-98 Colored pencil, graphite and ink on printed paper. 11 3/4 x 8 1/8 in. (29.8 x 20.6 cm). Titled “Milk-roll-diet after Dr. F.X. Mayr” lower center.

Estimate $7,000-9,000 PROVENANCE Art + Public, Geneva EXHIBITED New York, Nyehaus, Martin Kippenberger—The Bermuda Triangle:

Syros, Paris Bar and Dawson City, March 5 – April 30, 2005 LITERATURE T. Nye, ed., Martin Kippenberger: The Bermuda Triangle, New York, 2005

219

THOMAS RUFF b. 1958 Nudes go 21, 2000 C-print with Diasec® face in the artist’s wooden frame. 55 1/2 x 47 1/4 in. (141 x 120 cm) overall. Signed and dated “Thomas Ruff 2000” and numbered of five on the reverse of the mount. This work is from an edition of five plus two artist’s proofs.

Estimate $25,000-35,000 PROVENANCE David Zwirner, New York EXHIBITED New York, David Zwirner, Thomas Ruff: Nudes, April 28 – May 27, 2000

(another example exhibited); Liverpool, Tate Liverpool, Thomas Ruff: 1979 to the Present, 2003 (another example exhibited) LITERATURE M. Houellebecq, Thomas Ruff Nudes, Munich, 2003, p. 66

(illustrated); M. Winzen, ed., Thomas Ruff: 1979 to the Present, New York, 2003, p. 237 (illustrated)

220

THOMAS RUFF b. 1958 Nudes ji 01, 2000 C-print with Diasec® face in the artist’s wooden frame. 54 7/8 x 39 1/2 in. (139.4 x 100.3 cm) overall. Signed and dated “Thomas Ruff 2000” and numbered of five on the reverse of the backing board. This work is from an edition of five plus two artist’s proofs.

Estimate $30,000-40,000 PROVENANCE Hauser & Wirth, Zurich LITERATURE M. Winzen, ed., Thomas Ruff: 1979 to the Present, New York, 2003,

p. 239 (illustrated)

221

NAN GOLDIN b. 1953 Joey at the Love Ball, NYC, 1991 Cibachrome. 27 1/2 x 40 in. (69.9 x 101.6 cm). Signed, titled and dated “Nan Goldin Joey at the Love Ball, NYC, 1991” and numbered of one artist’s proof on the reverse. This work is from an edition of 25 plus one artist’s proof.

Estimate $15,000-20,000 PROVENANCE Matthew Marks Gallery, New York EXHIBITED Berlin, DAAD Galerie, Nan Goldin 1972-1992, September – October 1,

1992 (another example exhibited); New York, The Whitney Museum of American Art, Nan Goldin: I’ll Be Your Mirror, October 3, 1996 – January 5, 1997 (another example exhibited); Torino, Guido Costa Projects, Nan Goldin: Stardust, May 30 – July 29, 2005 (another example exhibited) LITERATURE N. Goldin, with D. Armstrong & W. Keller, eds., Nan Goldin: The

Other Side, Zurich/Berlin/New York, 1993/2000, pp. 126-7 (illustrated); E. Sussman, Nan Goldin: I’ll Be Your Mirror, New York, 1996, pp. 304-5 (illustrated)

222

VANESSA BEECROFT b. 1969 VB43.090.TE (Triptych I), 2000 Digital prints in three parts. 1: 50 x 51 in. (127 x 129.5 cm); 2: 50 x 53 in. (127 x 134.6 cm); 3: 50 x 56 7/8 in. (127 x 144.5 cm). Numbered consecutively 1, 2 and 3 on a label affixed to the reverse of the mount of each; numbered of three on a label affixed to the reverse of the mount of the left panel. This work is from an edition of three.

Estimate $40,000-60,000 PROVENANCE Gagosian Gallery, London EXHIBITED London, Gagosian Gallery, Vanessa Beecroft: VB43 Photographs,

September 7 – October 7, 2000 (another example exhibited); Houston, Contemporary Arts Museum, Subject Plural: Crowds in Contemporary Art, March 10 – April 29, 2001 (another example exhibited); New York, Van de Weghe Fine Art, Accrochage, September 12 – October 12, 2002 (another example exhibited); RivoliTorino, Castello di Rivoli Museo d’Arte Contemporanea, October 8, 2003 – January 25, 2004, Bielefeld, Kunsthalle Bielefeld, May 9 – August 29, 2004: Vanessa Beecroft Performances 1993-2003 (another example exhibited) LITERATURE M. Beccaria, Vanessa Beecroft Performances 1993-2003, Milan, 2004,

pp. 272-77 (details illustrated)

223

NAN GOLDIN b. 1953 At the Bar: Toon, C, and So, Bangkok, 1992 Cibachrome. 27 3/8 x 40 in. (69.5 x 101.6 cm). Signed, titled and dated “Nan Goldin At the Bar: Toon, C, and So, Bangkok 1992” and numbered of 25 on the reverse. This work is from an edition of 25 plus one artist’s proof.

Estimate $15,000-20,000 PROVENANCE Jane Corkin Gallery, Toronto EXHIBITED New York, Whitney Museum of American Art, Nan Goldin: I’ll Be Your

Mirror, October 3, 1996 – January 5, 1997 (another example exhibited); Rivoli, Castello di Rivoli Museum of Contemporary Art, Nan Goldin: Devil’s Playground, October 23, 2002 – January 12, 2003 (another example exhibited) LITERATURE E. Sussman, Nan Goldin: I’ll Be Your Mirror, New York, 1996,

pp. 344-5 (illustrated); C. Driver, “Autumn 2002,” Circa, no. 102, Winter 2003, p. 24 (illustrated); M. Schiavoni, “The Eye of Women,” Digimag (online content), no. 32, March 2008 (illustrated)

224

THOMAS RUFF b. 1958 Nudes bd 07, 2001 C-print with Diasec® face in the artist’s wooden frame. 59 x 43 1/4 in. (149.9 x 109.9 cm) overall. Signed, titled and dated “Thomas Ruff bd 07 2000” and numbered of five on the reverse of the backing board. This work is from an edition of five plus two artist’s proofs.

Estimate $70,000-90,000 PROVENANCE Zwirner & Wirth, New York; Hauser & Wirth, Zurich LITERATURE M. Winzen, ed,. Thomas Ruff: 1979 to the Present, New York, 2003,

p. 240 (illustrated); M. Houellebecq, Thomas Ruff Nudes, New York, 2003, p. 128 (illustrated)

225

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PAUL PFEIFFER b. 1966 Four Horsemen of the Apocalypse (24), 2006 Digital c-print. 60 x 48 in. (152.4 x 121.9 cm). This work is from an edition of six plus one artist’s proof.

Estimate $20,000-30,000 PROVENANCE Gagosian Gallery, New York

226

RICHARD PRINCE b. 1949 Untitled (Movie Series), 1986 Polaroid® photograph. 32 1/4 x 21 5/8 in. (81.9 x 54.9 cm). Signed and dated “R. Prince 1986” lower right. This work is a unique artist’s proof.

Estimate $10,000-15,000 PROVENANCE Gagosian Gallery, New York

227

RICHARD PRINCE b. 1949 Untitled (Gang), 1989 C-print with china marker and acrylic spray paint. 48 x 96 in. (121.9 x 243.8 cm). This work is a unique artist’s proof.

Estimate $50,000-70,000 PROVENANCE Private collection, New York

The images appearing in this Gang are the source for the artist’s 1987-88 Ektacolor print Boyfriends. The artist’s notes to himself on how the men would be arranged in Boyfriends appear, barely legible, hovering between cogent direction and pure design.

228

229

228

MATTHEW BARNEY b. 1967

229

MATTHEW BARNEY b. 1967

Cremaster 2: The Executioner’s Song, 1998

Cremaster 2: The Royal Cell of Baby Fay, 1998

Laminated c-print in the artist’s acrylic frame. 28 x 24 in. (71.1 x 61 cm) overall.

Laminated c-print in the artist’s self-lubricating acrylic frame. 27 3/4 x 19 3/4 in.

Signed and dated “Matthew Barney 98” and branded with the Cremaster 2

(70.5 x 50.2 cm) overall. Signed and dated “Matthew Barney 98” and branded

symbol on the reverse of the frame. This work is from an edition of 40 plus six

with the Cremaster 2 symbol on the reverse of the frame. This work is from

artist’s proofs.

an edition of 40 plus six artist’s proofs.

Estimate $15,000-20,000

Estimate $8,000-12,000

PROVENANCE Barbara Gladstone Gallery, New York

PROVENANCE Barbara Gladstone Gallery, New York; Private collection,

EXHIBITED Minneapolis, Walker Art Center, Matthew Barney Cremaster 2:

New York

The Drone’s Exposition, July 18 – October 10, 1999 (alternate format exhibited);

EXHIBITED Cologne, Museum Ludwig, June 6 – September 1, 2002; Paris, Musée

Cologne, Museum Ludwig, June 6 – September 1, 2002; Paris, Musée d’Art

d’Art Moderne de la Ville de Paris, October 10 – January 10, 2002; New York,

Moderne de la Ville de Paris, October 10 – January 10, 2002; New York, Solomon

Solomon R. Guggenheim Museum, February 14 – May 11, 2003: Matthew Barney:

R. Guggenheim Museum, February 14 – May 11, 2003: Matthew Barney: The

The Cremaster Cycle (alternate format exhibited)

Cremaster Cycle (alternate format exhibited)

LITERATURE R. Flood, Matthew Barney: Cremaster 2, Minneapolis, 1999, n.p.

(illustrated); N. Spector, Matthew Barney: The Cremaster Cycle, New York, 2002, p. 511

(illustrated); N. Spector, Matthew Barney: The Cremaster Cycle, New York, 2002, p. 511; J. Lingwood, “Artist Project: Matthew Barney,” Tate Magazine, issue 2, November – December 2002

The Executioner’s Song is the title of a 1979 novel by Norman Mailer, which featured as its main character Gary Gilmore, one of the principles in Barney’s Cremaster Cycle. Mailer played the Harry Houdini character in Cremaster 2.

230

CINDY SHERMAN b. 1954 Untitled #184, 1988 C-print. 59 1/4 x 89 1/4 in. (150.5 x 226.7 cm). This work is from an edition of six.

Estimate $35,000-45,000 PROVENANCE Metro Pictures, New York EXHIBITED Chicago, Museum of Contemporary Art; Los Angeles, Museum

of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery; Bordeaux, CAPC Musée d’Art Contemporaine; Sydney, Museum of Contemporary Art; Toronto, Art Gallery of Ontario: Cindy Sherman: Retrospective, November 1997 – January 2000 (another example exhibited) LITERATURE R. Krauss, Cindy Sherman 1975-1993, New York, 1993, p. 160-161

(illustrated); A. Cruz, E. A. T. Smith & A. Jones, Cindy Sherman: Retrospective, London, 1997, p. 144, no. 100 (illustrated)

231

VIK MUNIZ b. 1961 Arrest (Illegal Alien), from the Pictures of Chocolate series, 1999 Cibachrome print flush-mounted to Dibond®. 30 1/2 x 38 1/4 in. (77.5 x 97.2 cm). Signed and dated “Vik Muniz 1999” on a label adhered to the reverse of the mount. This work is from an edition of three plus three artist’s proofs.

Estimate $25,000-35,000 PROVENANCE Rena Bransten Gallery, San Francisco EXHIBITED Raleigh, North Carolina Museum of Art, Far From Home,

February 17 – July 13, 2008

232

VIK MUNIZ b. 1961 Orphan Girl at the Cemetery, after Delacroix, from the Gordian Puzzles series, 2008 Digital c-print flush-mounted to Dibond®. 87 x 71 in. (221 x 180.3 cm). Signed and dated “Vik Muniz 2008” on a label adhered to the reverse of the mount. This work is from an edition of six.

Estimate $40,000-60,000 PROVENANCE Galeria Fortes Vilaça, São Paolo

233

MICHAL ROVNER b. 1957

234

LALLA ESSAYDI b. 1956

One Person Game Against Nature II 25-V, 1992

Converging Territories #10C, 2003

Color coupler print. 29 1/4 x 39 1/4 in. (74.3 x 99.7 cm). Signed, titled and dated

C-print. 34 3/4 x 41 1/2 in. (88.3 x 105.4 cm). Signed, titled and dated “Lalla Essaydi

and numbered of seven on the reverse of the frame. This work is from an edition

Converging Territories #10C 2003” and numbered of 15 on a paper label adhered

of seven.

to the reverse. This work is from an edition of 15.

Estimate $8,000-10,000

Estimate $8,000-12,000

PROVENANCE New Gallery, Houston

PROVENANCE Schneider Gallery, Chicago

EXHIBITED New York, The Whitney Museum of American Art, Michal Rovner:

EXHIBITED New York, Laurence Miller Galleries, Lalla Essaydi: Converging

The Space Between, July 11 – October 13, 2002 (other examples from the series

Territories, January 6 – February 26, 2005 (another example exhibited)

exhibited)

LITERATURE A. Carlson, Lalla Essaydi: Converging Territories, Brooklyn, 2005,

LITERATURE S. Wolf, Michal Rovner: The Space Between, New York/Göttingen,

p. 7 (illustrated); TJ Demos, Vitamin Ph: New Perspectives in Photography, London,

2002, n.p.

2006, p. 90

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235

RODNEY GRAHAM b. 1949 Ponderosa Pine IV, 1991 C-print in the artist’s pinewood frame. 84 3/8 x 72 1/2 in. (214.3 x 184.2 cm) overall. This work is from an edition of two.

Estimate $70,000-90,000 PROVENANCE Hauser & Wirth, Zurich EXHIBITED Munich, Galerie Rüdiger Schöttle, Ponderosa Pines, 1991 (another

example exhibited); Tokyo, Hara Museum of Contemporary Art; Hanover, KestnerGesellschaft; Paris, Centre National de la Photgraphie; Berlin, Akademie der Künst; Frankfurt, Schirn Kunsthalle Frankfurt, New York, P.S. 1: The Promise of Photography: Selected Works From the DG Bank Collection, October 1998 – March 2001 (another example exhibited) LITERATURE J. Gilbert, The Promise of Photography: The DG Bank Collection,

Munich/New York, 1988, pp. 148-149 (illustrated); É. Van Balberghe & Y. Gevaert, eds., Rodney Graham: Works from 1976 to 1994, Toronto, 1994, p. 75, no. 21.6; R. Smith, “Gazing in a Mirror: the Omniprescent camera,” The New York Times, September 10, 1999; D. Roelstraete & S. Watson, eds., Intertidal, Vancouver, 2005

236

DARREN ALMOND b. 1971 Infinite Betweens: Becoming Between, Phase 3, 2007 C-print face mounted to acrylic glass. 89 x 71 in. (226.1 x 180.3 cm). Signed “Almond” on a label affixed to the reverse of the mount. This work is from an edition of six plus two artist’s proofs.

Estimate $20,000-30,000 PROVENANCE Galerie Max Hetzler, Berlin EXHIBITED London, White Cube at Parasol Unit, Darren Almond: Fire Under

Snow, January 18 – March 30, 2008 (another example exhibited)

237

MIGUEL CALDERÓN b. 1971 Serie Historia Artificial (Artificial History Series) #19, 1995 C-print. 50 x 69 1/2 in. (127 x 176.5 cm). This work is unique from a series of one plus one artist’s proof and is accompanied by a certificate of authenticity signed by the artist.

Estimate $20,000-30,000 PROVENANCE kurimanzutto, Mexico City LITERATURE J. Rodrigues-Widholm, ed., Escultura Socio: A New Generation

of Art from Mexico City, New Haven, 2007, p. 92

238

NAN GOLDIN b. 1953 Jimmy Paulette on David’s Bike, N.Y.C., 1991 Cibachrome. 20 x 24 in. (50.8 x 61 cm). Signed, titled and dated “Nan Goldin Jimmy Paulette on David’s Bike, N.Y.C. 1991” and numbered of 25 on the reverse. This work is from an edition of 25 plus one artist’s proof.

Estimate $12,000-18,000 PROVENANCE Matthew Marks Gallery, New York EXHIBITED Berlin, DAAD Galerie, Nan Goldin 1972-1992, September – October

1992 (another example exhibited); New York, Whitney Museum of American Art; Wolfsburg, Stedelijik Museum; Winterthur, Fotomuseum; Vienna, Kunsthalle Wien; Prague, Gallery Rudolfinum Ceska Filharmonie: Nan Goldin: I’ll be your Mirror, October 1996 – March 1999 (another example exhibited) LITERATURE D. Armstrong, W. Keller, N. Goldin, Nan Goldin: The Other Side, New

York, Zurich, 1993, p. 64 (illustrated); E. Sussman, Nan Goldin: I’ll Be Your Mirror, New York, 1996, p. 310 (illustrated); C. Harper, “Pecha Cuba,” Textile: The Journal of Cloth and Culture, vol. 6, no. 2, 2008, pp.112-125

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240

239

DAVID LACHAPELLE b. 1964 The House at the End of The World, 2005-2007

240

MICHA KLEIN b. 1964 The Arrival of the Rainbow Children, 1999

Digital c-print flush-mounted to acrylic glass. 72 x 96 7/8 in. (182.9 x 246.1 cm).

C-print face-mounted to Perspex®. 39 1/2 x 39 1/2 in. (100.3 x 100.3 cm). Signed,

This work is from an edition of two.

titled and dated “Micha Klein ‘The Arrival of the Rainbow Children’ 1999” and numbered of five on the reverse of the backing board. This work is from an

Estimate $18,000-25,000

edition of five.

PROVENANCE Jablonka Galerie, Cologne

Estimate $4,000-6,000

EXHIBITED Cologne, Jablonka Galerie, David LaChapelle: Heaven to Hell,

November 30, 2006 – February 3, 2007 (another example exhibited); New York, Tony

PROVENANCE Robert Sandelson, London

Shafrazi Gallery, David LaChapelle: Awakened, February 24 – August 3, 2007

EXHIBITED London, Robert Sandelson, Micha Klein, Danielle Kwaaitaal,

(another example exhibited); Milan, Palazzo Reale, David LaChapelle, September

May – June 1999

25, 2007 – January 6, 2008 (another example exhibited); Paris, Monnaie de Paris,

LITERATURE Flash Art International, October 1999 (illustrated on front cover)

David LaChapelle: Retrospective, February 6 – May 31, 2009 (another example exhibited) LITERATURE G. Mercurio & F. Torres, eds., David LaChapelle, Milan, 2007

(illustrated); S. Tariq, “Shooting Star: David LaChapelle’s Search for Redemption,” The Guardian (online content), February 6, 2009 (illustrated); Photo, March 2009 (detail illustrated as front cover)

241

LORETTA LUX b. 1968 Hugo and Dylan 1, 2006 Ilfochrome. 14 x 12 in. (35.6 x 30.5 cm). Signed, titled and dated “Loretta Lux Hugo and Dylan 1 2006” and numbered of 20 on the reverse. This work is from an edition of 20.

Estimate $8,000-10,000 PROVENANCE Torch Gallery, Amsterdam

242

RUUD VAN EMPEL b. 1958 Dawn #4, 2008 Cibachrome face-mounted to acrylic glass and flush-mounted to Dibond®. 33 x 23 3/8 in. (83.8 x 59.4 cm). This work is accompanied by a label signed, titled and dated “Ruud Van Empel Dawn #4 2008.” This work is from an edition of 13.

Estimate $10,000-15,000 PROVENANCE Stefan Stux Gallery, New York EXHIBITED New York, Stefan Stux Gallery, Ruud van Empel: Souvenir, Dawn,

Moon, World, January 29 – March 21, 2009 (another example exhibited)

242

243

LAURIE SIMMONS b. 1949 The Instant Decorator (Pink and Green Bedroom/Slumber Party), 2003 Flex print face-mounted to acrylic glass. 48 x 60 in. (121.9 x 152.4 cm). Signed “Laurie Simmons” on a label adhered to the reverse of the backing board. This work is from an edition of five plus two artist’s proofs.

Estimate $20,000-30,000 PROVENANCE Sperone Westwater, New York EXHIBITED New York, Sperone Westwater, Laurie Simmons: The Instant

Decorator, February 27 – March 24, 2004 (another example exhibited) LITERATURE G. Glueck, “Laurie Simmons,” The New York Times, March 26, 2004;

E. Leffingwell, “Laurie Simmons at Sperone Westwater,” Art in America, October 2004, p. 158

244

245

244

JEREMY BLAKE b. 1971 Lamp Tree, 1998

245

SHARON LOCKHART b. 1964 Untitled, 1998

Digital c-print. 12 1/2 x 33 3/4 in. (31.8 x 85.7 cm). This work is from an edition

Color coupler print. 48 1/2 x 64 1/2 in. (123.2 x 163.8 cm). Signed and dated

of ten.

“S Lockhart 1997” and numbered of six on the reverse of the mount. This work is from an edition of six.

Estimate $5,000-7,000 Estimate $5,000-7,000 PROVENANCE Kinz + Tilou Fine Art, New York EXHIBITED New York, Kinz + Tilou Fine Art, Inglenook, June 19 – July 31, 1998

PROVENANCE Friedrich Petzel Gallery, New York EXHIBITED Chicago, Museum of Contemporary Art, March 3 – May 20, 2001; San

Diego, Museum of Contemporary Art, June 9 – September 2, 2001: Sharon Lockhart (another example exhibited); New York, The Whitney Museum of American Art, Whitney Biennial, March 12 – June 1, 1997 LITERATURE D. Molon and N. Bryson, Sharon Lockhart, Ostfildern, 2001,

p. 40 (illustrated); I. Blazwick, A. Cruz, et. al., Fresh Cream, New York, 2000, p. 386 (illustrated)

246

JAMES CASEBERE b. 1953 Two Bunk Cell, 1998 Dye destruction print flush mounted to aluminum. 60 x 48 in. (152.4 x 121.9 cm). This work is from an edition of five.

Estimate $30,000-50,000 PROVENANCE Sean Kelly Gallery, New York LITERATURE J. Casebere, James Casebere: The Spatial Uncanny, New York, 2001,

p. 135 (illustrated)

247

YOSHITOMO NARA b. 1959 Little Pilgrim (Night Walking), 2002 Acrylic on fiberglass. 10 1/2 x 6 1/4 x 5 3/4 in. (26.7 x 15.9 x 14.6 cm). Initialed and dated “YN. [in Japanese] 2002” and numbered of twenty on the underside.This work is from an edition of 20.

Estimate $12,000-18,000 PROVENANCE Blum & Poe, Los Angeles LITERATURE W. Phoenix, Plastic Culture: How Japanese Toys Conquered the

World, Tokyo, 1996, p. 91

248

HIROSHI SUGIMOTO b. 1948 Orange Drive-In, Orange, 1993 Gelatin silver print. 20 x 24 in. (50.8 x 61 cm). Signed “Hiroshi Sugimoto” on the mat. Blindstamped with title and date “Orange Drive-In, Orange 1993” and numbered of 25. This work is from an edition of 25.

Estimate

$20,000-30,000

PROVENANCE Jay Jopling, London; Private Collection LITERATURE H. Belting, Hiroshi Sugimoto: Theaters, New York, 2000,

p. 179 (illustrated)

249

Estimate $12,000-18,000 PROVENANCE Blum & Poe, Los Angeles LITERATURE W. Phoenix, Plastic Culture: How Japanese Toys Conquered the

World, Tokyo, 1996, p. 91

250

HIDEAKI KAWASHIMA b. 1969 Speed, 2005 Oil on canvas. 36 x 46 in. (91.4 x 116.8 cm). Signed, titled and dated “Kawashima [in Japanese] ‘Speed’ 2005” on the overlap.

Estimate $20,000-30,000 PROVENANCE Private collection, New York

251

MARIKO MORI b. 1967 Tom Na H-iu, 2006 Lucite. 21 1/2 x 6 1/2 x 4 in. (54.6 x 16.5 x 10.2 cm). This work is from an edition of ten.

Estimate $7,000-9,000 PROVENANCE Deitch Projects, New York EXHIBITED New York, Deitch Projects, Mariko Mori: Tom Na H-iu, November 8, 2007 –

January 19, 2008 LITERATURE E. Weiner, “Mariko Mori, ‘Tom Na H-iu,’” Time Out New York, issue

634, November 22-28, 2007; M.W. Pennings, “Mariko Mori: Tom Na H-iu,” EyelineContemporary Visual Arts, # 66, 2008, p. 66

252

MR. b. 1969 Two works: Okonomiyaki-chan/No. 4; Golympic-chan/No. 41, 2004 Acrylic on synthetic resin. 7 1/2 x 4 3/4 x 5 in. (19.1 x 12.1 x 12.7 cm) each. These works are unique. Artworks © 2004 Mr./Kaikai Kiki Co., Ltd. All Rights Reserved.

Estimate $6,000-8,000 PROVENANCE Tomio Koyama Gallery, Tokyo EXHIBITED Tokyo, Tomio Koyama Gallery, Mr.: Thank You for Your Hard Work,

July 10-31, 2004

252

253

NOBUYOSHI ARAKI b. 1940 67 Shooting Back (No.159), 2007 RP direct print flush-mounted to acrylic panel. 50 1/4 x 40 1/8 in. (127.6 x 101.9 cm). Signed “Nobuyoshi Araki” on the reverse. This work is accompanied by a certificate of authenticity signed by the artist. Printed in 2008.

Estimate

$10,000-15,000

PROVENANCE Yoshii Gallery, New York; Private collection LITERATURE N. Araki, 6 x 7 Counterattack Hangeki, Tokyo, 2007, p.163 (illustrated)

254

255

254

ZHANG HUAN b. 1965 To Add One Meter to an Anonymous Mountain, 1995 Gelatin silver print. 50 1/4 x 73 5/8 in. (127.6 x 187 cm). Signed “Zhang Huan [in Chinese]“ and numbered of 15 on the reverse. This work is from an edition of 15.

Estimate $15,000-20,000 PROVENANCE Barry Friedman, Ltd., New York EXHIBITED Hamburg, Museum Bochum, Zhang Huan, November 2002 – June 2003

(another example exhibited); New York, Asia Society and P.S. 1, September 15,

255

SHI GUORUI b. 1964

1998 – January 3, 1999, San Francisco, San Francisco Museum of Modern Art,

Himalayas, Everest, 2005

February 26 – June 1, 1999, Monterrey, Museo de Arte Contemporaneo, July 9 –

Camera obscura print. 50 3/4 x 78 3/4 in. (128.9 x 200 cm). Signed and titled

October 10, 1999, Seattle, Tacoma Art Museum and Henry Art Gallery, November

“Shi Guorui Himalayas Everest” on the reverse. This work is unique.

18, 1999 – March 7, 2000, Canberra, National Gallery of Australia, June 3 – August 13, 2000 and Hong Kong, Hong Kong Art Museum, September 22 – November 8,

Estimate $10,000-15,000

2000: Inside Out: New Chinese Art (another example exhibited); New York, Asia Society, Zhang Huan: Altered States, September 6, 2008 – January 20, 2008

PROVENANCE Chinese Contemporary, Ltd., London

(another example exhibited)

LITERATURE J. Finkel, “Standing in the Dark, Capturing the Light,” The New York

LITERATURE M. Gao, ed., Inside Out: New Chinese Art, New York and San

Times, October 22, 2006; A. Tan, “Time Well Spent,” NY Arts Magazine (online

Francisco, 1998, plate 49 (illustrated); Z. Qian, Performing Bodies, Art Journal,

content), November-December 2008

Summer 1999; M. Gao, Private Experience and Public Happenings, the Performance Art of Zhang Huan, Zhang Huan: Pilgrimage to Santiago, Santiago, 2000; B. Fibicher, ed., Mahjong, Ostfildern, 2006, p. 320 (illustrated); M. Chiu, Zhang Huan: Altered States, Milan, 2007, pp. 16, 42, 64-65, 102-103 (illustrated); H. Cotter, “Chinese Art, in One Man’s Translation,” The New York Times, September 7, 2007

256

ZHANG HUAN b. 1965 Foam Series, 1998 Fifteen c-prints. 70 x 49 3/4 in. (177.8 x 126.4 cm) each. Signed and dated and numbered of five artist's proofs on labels included with the work. This work is from an edition of 15 plus five artist's proofs.

Estimate $60,000-80,000 PROVENANCE Barry Friedman, Ltd., New York EXHIBITED San Francisco, San Francisco Museum of Modern Art, Supernova: Art

of the 1990s form the Kent Logan Collection, December 13, 2003 – May 23, 2004 (another example exhibited); New York, Asia Society, Zhang Huan: Altered States, September 6, 2008 – January 20, 2008 (another example exhibited) LITERATURE M. Grynzstejn, Supernova: Art of the 1990s form the Kent Logan

Collection, San Francisco, 2003, no.s 47-48, pp. 108-109 (illustrated); M. Chiu, Zhang Huan: Altered States, Milan, 2007, p. 72 (illustrated)

257

258

SHENG QI b. 1965

258

SHENG QI b. 1965

Mao and Workers, 2008

China Jam, 2007

Acrylic on canvas. 47 1/4 x 63 in. (120 x 160 cm). Signed and dated “Sheng Qi

Diptych: acrylic on canvas. 27 1/2 x 70 3/4 in. (69.9 x 179.7 cm) overall. Signed and

[in English and Chinese] 2008” on the reverse.

dated “Sheng Qi [in English and Chinese] 2007” on the reverse of each panel.

Estimate $15,000-20,000

Estimate $7,000-9,000

PROVENANCE F2 Gallery, Beijing

259

HUANG GANG b. 1961 My Box, 2009 Acrylic, enamel and Tibetan printing blocks on wooden panel. 44 x 81 in. (41.8 x 205.7 cm).

Estimate $70,000-90,000 PROVENANCE F2 Gallery, Beijing

260

FENG ZHENGJIE b. 1968 Series G1, 2007 Oil on canvas. 62 x 62 in. (157.5 x 157.5 cm). Signed and dated “Feng Zhengjie [in English and Chinese] 2007” lower right.

Estimate $80,000-120,000 PROVENANCE Galerie Enrico Navarra, Paris

261

262

261

LIU BOLIN b. 1973 Small Red Hand, 2007

262

GAO XIAOWU b. 1976 Standard Times, 2006

Lacquered bronze in 15 parts. Each 19 1/2 in. (49.5 cm) in height. Signed and

Lacquered bronze in three parts. 45 x 40 x 23 in. (114.3 x 101.6 x 58.4 cm) each.

dated on the underside of one figure. This work is from an edition of eight.

Signed and dated on the underside of each element. This work is from an edition of 40.

Estimate $18,000-25,000 Estimate $15,000-20,000 PROVENANCE Galerie Enrico Navarra, Paris LITERATURE J. Batet, â&#x20AC;&#x153;Liu Bolin: Vigilance, survival instinct and simulation,â&#x20AC;?

Wynwood (online content), 2008

PROVENANCE Acquired directly from the artist

263

LU SHENGZHONG b. 1952 Human Brick, 2005 Cut paper on matboard and paper bound with silk thread and acrylic glass. Wall hanging: 39 1/2 x 59 in. (100.3 x 149.9 cm); brick: 6 x 11 3/4 x 4 3/4 in. (15.2 x 29.8 x 12.1 cm). Signed and dated “Lu Shengzhong [in Chinese] 2005” lower right of the wall hanging element.

Estimate $60,000-80,000 PROVENANCE Chambers Fine Art, New York EXHIBITED New York, Chambers Fine Art, Lu Shengzhong’s The Book of

Humanity, November 6, 2004 – January 8, 2005 (another example from the series

Detail of present lot

exhibited); Newark, The Newark Museum, The Quiet Gesture: Recent Chinese Art, June 13 – September 7, 2007 (another example from the series exhibited) LITERATURE C. Mao, ed., Lu Shengzhong’s The Book of Humanity, New York,

2004, pp. 90-91 (another example from the series illustrated)

264

LI TIANBING b. 1974 Blue Brother, Yellow Brother, Purple Brother, 2008 Triptych: oil on canvas. 51 x 51 in. (129.5 x 129.5 cm) each. Blue Brother: signed and dated “Tianbing Li 2008” lower left; Yellow Brother, Purple Brother: signed and dated “Tianbing Li 2008” lower right.

Estimate $80,000-120,000 PROVENANCE Acquired directly from the artist LITERATURE L & M Arts, eds., Tianbing Li: Me and My Brother, New York, 2008,

plate nos. 4, 5 & 6 (illustrated)

266

265

FENG MENGBO b. 1966

266

Q2006L02, 2006

MU JUN b. 1964 Self-Portrait, 2007

Acrylic and VeeJet® on canvas. 59 x 79 in. (149.9 x 200.7 cm). Signed, titled and

Oil on canvas. 59 1/4 x 39 1/4 in. (150.5 x 99.7 cm). Signed and dated “Mu Jun

dated “Feng Mengbo [in English and Chinese] Q2006L02 2006” on the reverse.

[in English and Chinese] 2007” lower left.

Estimate $10,000-15,000

Estimate $7,000-9,000

PROVENANCE Acquired directly from the artist

PROVENANCE F2 Gallery, Beijing

267

WU MINGZHONG b. 1968 Heil, Bill, 2006 Acrylic on canvas. 78 1/2 x 63 in. (199.4 x 160 cm). Initialed [in Chinese] and dated “2006” lower left; signed, titled and dated “Wu Mingzhong Hiel, Bill 2006” on the reverse.

Estimate $20,000-30,000 PROVENANCE Acquired directly from the artist EXHIBITED New York, 789 Avant Gallery, Focus on China, April 6-30, 2006

268

ZHONG BIAO b. 1968 Midday Sun, 2006 Acrylic and charcoal on canvas. 109 3/4 x 78 1/2 in. (278.8 x 199.4 cm). Signed and dated “Zhong Biao [in English and Chinese] 2006” lower center; signed, titled and dated “Zhong Biao Midday Sun [in English and Chinese] 2006” on the reverse.

Estimate $60,000-80,000 PROVENANCE Frey Norris Gallery, San Francisco EXHIBITED San Francisco, Frey Norris Gallery, Zhong Biao: American Debut,

May 3 – June 14, 2007

269

ELENA KELLER b. 1951 Waves, 1996-1997 Oil on fabric collage laid on canvas in three parts. 60 x 32 in. (152.4 x 81.3 cm) each; 60 x 96 in. (152.4 x 243.8 cm) overall. Initialed “ER” lower right of right panel. Signed, titled and dated “Elena Keller ‘Waves’ [in English and Cyrillic] 9697” on the reverse of the left panel; signed, titled and dated [in Cyrillic] on the reverse of the center and right panels.

Estimate $20,000-25,000 PROVENANCE Acquired directly from the artist

270

NATALIA NESTEROVA b. 1944 By the Pool, 1990 Oil on canvas. 50 1/2 x 55 in. (128.3 x 139.7 cm). Signed, titled and dated “Nesterova By the Pool [in Cyrillic] 1990” on the reverse.

Estimate $25,000-35,000 PROVENANCE Acquired directly from the artist; Private collection, USA

271

PYOTR BELENOK 1938-1991 Untitled, 1974 Oil and printed paper collage on paper laid on board. 32 x 22 in. (81.3 x 55.9 cm). Signed and dated “Belenok 74” lower right.

Estimate $25,000-35,000 PROVENANCE Acquired directly from the artist

272

VLADIMIR DUBOSSARSKY & ALEXANDRE VINOGRADOV b. 1964 and 1963 Raining (Apes), 2002 Oil on canvas. 49 x 79 in. (124.5 x 200.7 cm). Signed and dated “Dubossarsky Vinogradov 2002” lower right. Signed, titled and dated “Dubossarsky V. Vinogradov A. ‘Raining’ 2002” on the reverse.

Estimate $30,000-40,000 PROVENANCE Galerie Krinzinger, Vienna

273

274

273

MICHAEL BEVILACQUA b. 1966

274

RITA ACKERMANN b. 1968

Hallelujah: It’s a Girl, 2003

Black Butterflyes of the Night, 1993

Acrylic on linen. 65 x 105 1/8 in. (165.1 x 267 cm). Signed, titled and dated

Acrylic and ink with gauze on paper in the artist’s painted wooden frame.

“Michael Bevilacqua Hallelujah: It’s a Girl 2003” on the reverse.

36 1/2 x 26 1/2 in. (92.7 x 67.3 cm.) overall. Signed, titled and dated “Rita A. Black Butterflyes of the Night ‘93” on the reverse.

Estimate $15,000-20,000 Estimate $7,000-9,000 PROVENANCE Galleri Faurschou, Copenhagen EXHIBITED Copenhagen, Galleri Faurschou, Michael Bevilacqua: Happy

PROVENANCE Donated by the artist to The New Museum of Contemporary Art,

Nightmare Baby, April 24 – July 28, 2003; Humlebæk, Denmark, Louisiana Museum

17th Year Gala Benefit & Art Auction, New York (April 24, 1994, lot S101)

of Modern Art, Michael Bevilacqua, June – September 2005 LITERATURE M. Bevilacqua, P. E. Tøjner, M. Dailey & M. Juul Holm, Louisiana

Contemporary: Michael Bevilacqua, Humlebæk, 2005; H. Dannemand, “13 Malerier og en Racerbil,” Berlingske, June 17, 2005

275

CHRISTOPH RUCKHABERLE b. 1972 Trink Halle (Drink Hall), 2003 Oil on canvas. 73 1/4 x 110 1/8 in. (186.1 x 279.7 cm). Signed and dated “Ruckhaberle 2003” on the overlap.

Estimate $18,000-25,000 PROVENANCE LIGA Galerie, Berlin EXHIBITED Norwich, United Kingdom, EAST International, July 3 – August 21, 2004

276

277

276

RAYMOND PETTIBON b.1957 No title (Vavoom—The poetry of speech.), not dated Ink and watercolor on paper. 14 x 11 in. (35.6 x 27.9 cm). Signed “Raymond Pettibon” on the reverse.

Estimate $10,000-12,000 PROVENANCE Acquired directly from the artist

277

RAYMOND PETTIBON b.1957 No title (Nothing could now…), 1986 Ink on paper. 17 x 12 in. (43.2 x 30.5 cm). Signed and dated “Raymond Pettibon 86” on the reverse.

Estimate $4,000-6,000 PROVENANCE Acquired directly from the artist

278

CHRISTIAN MARCLAY b. 1955 Zzzz, 2006 Pigment print on Arches paper. 42 x 43 3/4 in. (106.7 x 111.1 cm). Signed and dated “Christian Marclay 2006” and numbered of five on the reverse of the mount.

Estimate $15,000-20,000 PROVENANCE White Cube, London EXHIBITED Vancouver, Vancouver Art Gallery, KRAZY!—The Delirious World of

Anime + Comics + Video Games + Art, May 17 – September 7, 2008 LITERATURE B. Grenville, ed., KRAZY!—The Delirious World of Anime + Comics

+ Video Games + Art, Berkeley, 2008

279

CHRISTIAN MARCLAY b. 1955

280

AMELIE VON WULFFEN b. 1966

The White Album (Listen For Your Footsteps), 1990

Untitled, 2003-2004

Embossing on cardboard record jacket. 12 1/2 x 24 1/2 in. (31.8 x 62.2 cm).

Acrylic, metallic paint, watercolor, ink and graphite on photographs and cut paper

Estimate $15,000-20,000

Signed and dated “Wulffen 2003” on the reverse.

PROVENANCE Private collection, Miami Beach

Estimate $7,000-9,000

collage with paper adhesive tape on paper. 39 1/4 x 66 7/8 in. (99.7 x 169.9 cm).

EXHIBITED New York, Solo Press Gallery, The White Album, November 29 –

December 29, 1990 (other examples from the series exhibited); Los Angeles, UCLA

EXHIBITED New York, Greene Naftali Gallery, Amelie von Wulffen: Couples,

for Curatorial Studies Museum, Bard College, September 28 – December 19, 2003;

Furniture, Landscapes, February 20 – March 20, 2004

Seattle, The Seattle Art Museum, February 5 – April 25, 2004; Thun, Kunstmuseum

LITERATURE J. Burton, “Amelie Von Wulffen: Greene Naftali,” Artforum

Thun, June 12 – September 6, 2004; Avignon, Collection Lambert, October 30, 2004

International, XLII, no. 9, May 2004, p. 211; P. Kaiser & R. Kersting, eds., Amelie

– January 9, 2005; London, Barbican Art Gallery, February 17 – May 2, 2005:

von Wulffen, Ostfildern, 2005, pp. 160, 205 (illustrated)

Christian Marclay (another example from the series exhibited) LITERATURE J. Gonzalez, K. Gordon & M. Higgs, Christian Marclay, London, 2005, p. 12

280

PROVENANCE Greene Naftali Inc., New York

Hammer Museum, May 31 – August 31, 2003; Annandale-on-Hudson, The Center

281

FRANZ ACKERMANN b. 1963 Untitled (Hey, City!) , 1997 Oil on canvas. 43 1/4 x 55 in. (109.9 x 139.7 cm).

Estimate $35,000-45,000 PROVENANCE Matthew Marks Gallery, New York; Private collection, Miami

282

283

282

JIM SHAW b. 1952 Dream Object (Oism Student Art: Tornado), 1999 Oil and acrylic screenprint ink on canvas. 24 x 24 in. (61 x 61 cm). Signed and dated “Jim Shaw 99” on the overlap.

Estimate $12,000-18,000 PROVENANCE Patrick Painter, Inc., Santa Monica

283

JIM SHAW b. 1952 Dream Object: Dreamt of Drawing (Flying Superheroes + Gorilla), 2001 Graphite on paper. 12 x 9 in. (30.5 x 22.9 cm).

Estimate $7,000-9,000 PROVENANCE Patrick Painter, Inc., Santa Monica

284

JIM SHAW b. 1952 Untitled (Large Semi-Abstract Airbush Drawing #1), 2004 Airbrush, ink and graphite on paper. 54 x 79 1/2 in. (137.2 x 201.9 cm). Signed and dated “Jim Shaw 2004” on the reverse.

Estimate $30,000-40,000 PROVENANCE Patrick Painter, Inc., Santa Monica

285

286

285

ROBERT LONGO b. 1953 Study for Friends, 1984 Acrylic, oilstick, colored dye and graphite on paper. 27 x 29 in. (68.6 x 73.7 cm). Signed and dated “R. Longo 84” lower right; titled “Study for Friends” lower left.

Estimate $12,000-18,000 PROVENANCE Metro Pictures, New York EXHIBITED Houston, The Menil Collection, Robert Longo, May – September 1988

286

LUCY MCKENZIE b. 1977 Tin Tin, 2005 Ink on paper. 21 3/4 x 15 in. (55.2 x 38.1 cm). Signed and dated “Lucy McKenzie 2005” on the reverse.

Estimate $7,000-9,000 PROVENANCE Metro Pictures, New York

287

CHRISTIAN HOLSTAD b. 1972

288

KARL HAENDEL b. 1976

Two works from Newspaper Drawings: Run On Sentences and

Untitled, 2001

Another Generation, 2003-2004

Graphite on paper. 22 x 30 in. (55.9 x 76.2 cm). Signed and dated “Haendel 2001”

Graphite on newsprint. 6 x 6 5/8 in. (15.2 x 16.8 cm); 7 3/4 x 10 3/4 in. (19.7 x 27.3 cm).

on the reverse.

Signed, titled and dated “Christian Holstad ‘Run On Sentences’ 2003” on the reverse; signed, titled and dated “Christian Holstad ‘Another Generation’ 2004” on the reverse.

Estimate $6,000-8,000 PROVENANCE Daniel Reich Gallery, New York

288

Estimate $6,000-8,000 PROVENANCE Anna Helwing Gallery, Los Angeles

289

SU-EN WONG b. 1973 Dark Painting with Girl as Child Bride, 1999 Acrylic and graphite on wooden panel in two conjoined parts. 72 x 40 in. (182.9 x 101.6 cm) overall. Signed, titled and dated “Su-en Wong Dark Painting with Girl as Child Bride 1999” on the reverse of the upper panel.

Estimate $7,000-9,000 PROVENANCE Stefan Stux Gallery, New York

290

RAYMOND PETTIBON b.1957 No title (We are safe here…), 1991 Acrylic on canvas. 30 x 15 in. (76.2 x 38.1 cm). Signed and dated “Raymond Pettibon 91” on the reverse.

Estimate $10,000-15,000 PROVENANCE Private collection, New York

291

292

291

DANIEL OATES b. 1964

292

SIMON PERITON b. 1964

Trophy (Ursula the Cow) I, 1991

Snatch 1, 2000

Polyester resin, urethane foam, latex, wood, steel and painted fiberglass with

Cut paper collage. 21 1/2 x 34 in. (54.6 x 86.4 cm). Signed and dated “Simon

acrylic yarn, extruded polystyrene, painted macaroni and plastic necklace.

Periton 2000” on the reverse.

16 x 17 1/2 x 17 1/4 in. (40.6 x 44.5 x 43.8 cm). This work is from an edition of five.

Estimate $3,000-4,000 Estimate $5,000-7,000 PROVENANCE Sadie Coles HQ, London PROVENANCE Private collection, New York

293

294

293

KENNY SCHARF b. 1958 Boxer Rain, 1983 Acrylic, oil and spray paint on canvas laid on shaped wooden panels with steel nails. 24 x 29 in. (61 x 73.7 cm).

Estimate $30,000-40,000 PROVENANCE Russeck Gallery, Palm Beach

294

KENNY SCHARF b. 1958 Untitled, 1983 Oil on found wooden panel. 24 x 13 in. (61 x 33 cm). Signed and dated “Kenny Scharf 83” on the reverse

Estimate $15,000-20,000 PROVENANCE Kantor Gallery, Los Angeles

295

RYAN McGINNESS b. 1971

296

JIN MEYERSON b. 1972

Two works: Untitled 5 and Untitled 7, from the series Ice Cream Trees, 2007

Untitled (Football Base), 2004

Unique screenprints. 45 3/4 x 34 in. (116.2 x 86.4 cm) each. Each signed and dated

Oil and acrylic on panel. 29 7/8 x 29 7/8 in. (75.9 x 75.9 cm). Initialed and dated

“Ryan McGinness 2007” lower right and blindstamped with the Lower East Side

“JM 2004” on the reverse.

Print Shop logo lower left.

Estimate $4,000-6,000 Estimate $12,000-16,000 PROVENANCE Zach Feuer Gallery (LFL), New York PROVENANCE Published by Lower East Side Print Shop, Inc., New York LITERATURE J. Schumacher, ed., Ryan McGinness Works, New York, 2009, p. 63

296

297

HERBERT FERBER 1906-1991

298

DAN KOPP b. 1974

George’s Series #17, 1988

Both Near and Far, 2002

Acrylic and sand on canvas. 59 1/2 x 90 in. (151.1 x 228.6 cm). Initialed “HF” lower

Acrylic on canvas. 47 x 58 1/4 in. (119.4 x 148 cm).

right; signed and titled “Ferber George’s Series #17” on the reverse.

Estimate $5,000-7,000 Estimate $8,000-12,000 PROVENANCE Daniel Silverstein Gallery, New York PROVENANCE M. Knoedler & Co., Inc., New York; Private collection, New York

EXHIBITED New York, Daniel Silverstein Gallery, Monuments, January – February, 2003 LITERATURE “Dan Kopp, Monuments,” The New York Times, January 31, 2003

298

299

TILL GERHARD b. 1971

300

DAN McCARTHY b. 1962

Schlecht Inkarniert (Bad Personified), 2003

Winter Stick, 2003-2004

Acrylic and watercolor on canvas. 61 x 59 in. (154.9 x 149.9 cm). Initialed, titled

Oil on canvas. 52 x 78 in. (132.1 x 198.1 cm). Signed, titled and dated

and dated “TG Schlect Inkarniert 2003” on the reverse.

“Dan McCarthy ‘Winter Stick’ 2003-2--4” on the reverse.

Estimate $15,000-20,000

Estimate $8,000-12,000

PROVENANCE Ikon, Ltd., Santa Monica

PROVENANCE Anton Kern Gallery, New York

EXHIBITED Santa Monica, Ikon, Ltd., Contemporary German Artists, November 5,

2005 – January 8, 2006

300

301

302

301

GEORG HEROLD b. 1947

302

LIZ LARNER b. 1960

Untitled, 1989

Cube, 1989

Caviar and resin on canvas. 7 x 9 in. (17.8 x 22.9 cm). Signed and dated “Herold

Steel with gun bluing finish and neoprene cord. 24 x 23 x 24 in. (61 x 58.4 x 61 cm).

89” on the overlap.

Estimate $10,000-15,000 Estimate $2,000-3,000 PROVENANCE 303 Gallery, New York PROVENANCE Private collection, New York

303

RUSSELL YOUNG b. 1960 Elvis, from the Pig Portraits Series, 2007 Screenprint on canvas. 63 1/2 x 49 1/2 in. (161.3 x 125.7 cm). Signed “Russell Young” on the reverse. This work is a unique BAT proof.

Estimate $8,000-12,000 PROVENANCE Acquired directly from the artist EXHIBITION Stockholm, Joakim von Ditmar Gallery, Celebrity Portraits,

September 11 – October 4, 2008

GUIDE FOR PROSPECTIVE BUYERS Buying at Auction The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you. Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller. Buyer’s Premium Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold.The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price.The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. Δ Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

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No Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold.The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low presale estimate.

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1 Prior to Auction 2 Bidding in the Sale Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010. Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition.The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips 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.

Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members.This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000.Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue.This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips 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 the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

M AG N I F I C E N T J E W E L S AUCTION

12 MAY 2009 4pm

GENEVA

Viewing 8 – 12 May

Exhibition & Sale Location Hôtel de la Paix 11, quai du Mont-Blanc, 1211 Genève Phillips de Pury & Company 23 quai des Bergues, 1201 Genève Catalogues & Enquiries +41 22 906 80 00 / +1 212 940 1283 www.phillipsdepury.com

A Jade and Gem-set ‘Maltese’ Cuff Bracelet VERDURA Estimate 18,000-22,000 CHF

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. 4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US 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 US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits.The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation.The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

P H OTO G R A P H S AUCTION

16 MAY 2009 3pm

LONDON

Viewing 9 – 16 May

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 20 7318 4092 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com

OLAFUR ELIASSON Untitled (Iceland Series), 2006 Estimate £50,000-70,000

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. 2 Phillips de Pury & Company as Agent Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a)The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by 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 appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. . (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips 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 Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & 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. 4 Bidding at Auction (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from

Phillips de Pury & Company. Bids must be placed in the currency of the sale.The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes.The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c)Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company.Telephone bidding is available for lots whose low pre-sale estimate is at least $1000. 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 accepted by the auctioneer.Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips 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. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) 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 the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 Conduct of the Auction (a) Unless otherwise indicated by the symbol each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.The reserve will not exceed the low pre-sale estimate at the time of the auction.

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(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, reoffer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c)The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d)The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a)The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”).The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

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(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street,Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d)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 been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b)The buyer must arrange for collection of a purchased lot within five days of the date of the auction. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers.Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de

Pury & Company’s reasonable discretion.The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a 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 premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; 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. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. 10 Rescission by Phillips de Pury & Company Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale.. 11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. 12 Client Information In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (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 it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client's express consent. If you would

DESIG N AUCTION

3 JUNE 2009 11am

NEW YORK

Viewing 27 May â&#x20AC;&#x201C; 2 June

Phillips de Pury & Company 450 West 15 Street New York Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

LUCIE RIE Sgraffito and inlay bowl, ca. 1965 Estimate $12,000-18,000

like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number. 13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips 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 otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips 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 such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 General (a)These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c)These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 16 Law and Jurisdiction (a)ThThe 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 laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York 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. (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 New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot.This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than 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 attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d)The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid.This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law.This means that none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

MODERN & CONTEMPORARY EDITIONS AUCTION

2 JUNE 2009 2pm

NEW YORK

Viewing 27 May â&#x20AC;&#x201C; 1 June

Phillips de Pury & Company 450 West 15 Street New York Enquiries +1 212 940 1220 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

JASPER JOHNS The Seasons, 1989 Etching and aquatint. Estimate $20,000-30,000; DONALD JUDD Untitled (New Museum Multiple),1986 Folded aluminum and black Plexiglas multiple. Estimate $25,000-35,000; CHUCK CLOSE Self Portrait, 2007 Screenprint. Estimate $50,000-70,000; CLAES OLDENBURG The Store (Poster), 1961 Letterpress in red and black. Estimate $1,200-1,800; BRUCE NAUMAN DEAD, 1975 Lithograph. Estimate $7,000-9,000

SPECIALIST & SERVICE DEPARTMENTS

Contemporary Art

Modern and Contemporary Editions

Michael McGinnis Worldwide Director +44 20 7318 4091

Kelly Troester Worldwide Co-Director +1 212 940 1221

Aileen Agopian Director New York +1 212 940 1255

Cary Leibowitz Worldwide Co-Director +1 212 940 1222

Jean-Michel Placent New York +1 212 940 1263

Jannah Greenblatt New York +1 212 940 1332

Timothy Malyk Head of Under the Influence New York +1 212 940 1258

Joy Deibert New York +1 212 940 1333

Chin-Chin Yap New York +1 212 940 1250 Christina Floyd New York +1 212 940 1340

Saturday@Phillips

Veronica Collins New York +1 212 940 1252

Tobias Sirtl Director +44 20 7318 4095

Sarah Mudge Head of Part II New York +1 212 940 1259

Alex W. Smith New York +1 212 940 1276

Roxana Bruno New York +1 212 940 1229

Anne Huntington New York +1 212 940 1210

Sara Davidson New York +1 212 940 1262

Arianna Jacobs London + 44 20 7318 4054

Derrick Mead New York +1 212 940 1272

George O’Dell London +44 20 7318 4040

Maria Bueno New York +1 212 940 1261

Steve Agin (Consultant) +1 908 475 1796

Peter Flores New York +1 212 940 1223

Balthasar de Pury (Consultant) Geneva +41 79 250 86 81

(Uli) Zhiheng Huang New York +1 212 940 1288 Eugenia Ballvé New York +1 212 940 1303

Chairman London

Anthony McNerney Head of Evening Sale London +44 20 7318 4067

Rodman Primack London +44 20 7318 4017

Peter Sumner Head of Day Sale London +44 20 7318 4063 Laetitia Catoir London + 44 20 7318 4064

Managing Directors

SilkeTaprogge London +44 20 7318 4012

Finn Dombernowsky London +44 20 7318 4034

Ivgenia Naiman London +44 20 7318 4071

Charlie Horne New York +1 212 940 1292

Fiona Biberstein London +44 20 7318 4013 Siobhan O’Connor London +44 20 7318 4093

Business Development

Catherine Higgs London +44 20 7318 4089

Alexander Gilkes New York +1 212 940 1398

Raphael Lepine London +44 20 7318 4078 TanyaTikhnenko London +44 20 7318 4065

Executive Assistant to Simon de Pury

Sarah Buchwald London +44 20 7318 4085

Helen Rohwedder London +44 20 7318 4042

Phillippa Willison London +44 20 7318 4070 Executive Assistant to Bernd Runge Jewelry

Johanna Frydman London +44 20 7318 4024

Nazgol Jahan Worldwide Director +1 212 940 1283 Carolin Bulgari Geneva +41 22 906 80 00

Private Sales

Carmela Manoli New York +1 212 940 1302

Christina Scheublein New York +1 212 940 1248

Heather Zises New York +1 212 940 1290 Lane Mclean London +44 20 7318 4032

Press and Public Relations

Veronica Lota Geneva +41 22 906 80 05

Ariel Childs Head London +44 20 7318 4028 Cécile Demtchenko Paris +33 1 42 78 67 77

Contemporary Jewelry Alia Varsano Worldwide Director +1 212 940 1293

Exhibitions

Rachel Mattes New York +1 212 940 1285

London +44 20 7318 4023 New York +1 212 940 1301

Photographs

International Specialists and Representatives

Charlie Scheips Worldwide Director +1 212 940 1244

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

Vanessa Kramer New York +1 212 940 1243

Olivier Vrankenne Brussels & Paris +32 486 43 43 44

Caroline Shea New York +1 212 940 1247

Leonie Moschner Paris +33 6 85 53 92 03

Sarah Krueger New York +1 212 940 1245

Tamara Corm Paris & London +33 6 75 07 04 71

Kelly Padden London +44 20 7318 4018

Ivgenia Naiman London +44 20 7318 4071

Ben Adams London +44 20 7318 4077

Brooke de Ocampo London +44 777 551 7060

Alexandra Bibby London +44 20 7318 4087

Laura Garbarino Milan +39 339 478 9671

Helen Hayman London +44 20 7318 4092

Eugenia Bertele Milan +39 02 3669 5895 Nadia Breuer Sopher New York & Australia +1 917 319 4741

Design

Mimi Won Techentin Los Angeles +1 310 600 9192

Alexander Payne Worldwide Director +44 20 7318 4052

Maya McLaughlin Los Angeles +1 323 791 1771

Marcus Tremonto New York +1 212 940 1268

Tatiana Beliaeva Moscow +7 985 969 9292

Alex Heminway Director New York +1 212 940 1269

Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804

Tara DeWitt New York +1 212 940 1265

Lulu Al-Sabah Dubai +44 77 9518 8878

Meaghan Roddy New York +1 212 940 1266

Lydia Limmerick Dubai +44 79 2048 1110

Stephanie Abraitis New York +1 212 940 1268 Ben Williams London +44 20 7318 4027 Domenico Raimondo London +44 20 7318 4016 Ellen Stelter London +44 20 7318 4021 Marcus McDonald London +44 20 7318 4014

SALE INFORMATION

CONTEMPORY ART

Auctions

Worldwide Director

Part I Sale,Thursday May 14 2009 at 7pm

Michael McGinnis +44 20 7318 4091

Part II Sale, Friday May 15 2009 at 10am Admission to this sale is by ticket only

Director, New York

Please call +212 940 1236

Aileen Agopian +1 212 940 1255

Viewing & Auction Locations

Specialists

450 West 15 Street New York NY 10011

Jean-Michel Placent New York +1 212 940 1263 Timothy Malyk Head of Under the Influence New York +1 212 940 1258

Viewing

Chin-Chin Yap New York +1 212 940 1250

Tuesday May 5 10am – 6pm

Christina Floyd New York +1 212 940 1340

Wednesday May 6 10am – 6pm

Veronica Collins New York +1 212 940 1252

Thursday May 7 10am – 6pm

Sarah Mudge Head of Part II +1 212 940 1259

Friday May 8 10am – 6pm

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

Saturday May 9 10am – 6pm

Olivier Vrankenne Brussels & Paris +32 486 43 43 44

Sunday May 10 12pm – 6pm

Laura Garbarino Milan +39 339 478 9671

Monday May 11 10am – 6pm

Leonie Moschner Paris +33 6 85 53 92 03

Tuesday May 12 10am – 6pm

Tamara Corm Paris & London +33 6 75 07 04 71

Wednesday May 13 10am – 6pm

Brooke de Ocampo London +44 777 551 7060

Thursday May 14 10am – 12pm

Anthony McNerney London +44 20 7318 4067 Peter Sumner London +44 20 7318 4063

Sale Designation

Laetitia Catoir London + 44 20 7318 4064

In sending written bids or making inquiries please refer to this sale as

Silke Taprogge London +44 20 7318 4012

NY010209 or Contemporary Art Part I Sale and NY010309 or Contemporary Art

Rodman Primack London +44 20 7318 4017

Part II Sale.

Ivgenia Naiman London +44 20 7318 4071 Fiona Biberstein London +44 20 7318 4013

Catalogues $60 at the Gallery / £30

Nadia Breuer Sopher New York & Australia +1 917 319 4741 Mimi Won Techentin Los Angeles +1 310 600 9192

Catalogue Subscriptions

Maya McLaughlin Los Angeles +1 323 791 1771

Allyson Melchor +1 212 940 1240 +44 20 7318 4039

Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804

catalogues@phillipsdepury.com Business Manager Client Services +1 212 940 1200

Roxana Bruno +1 212 940 1229

Principal Auctioneer

Cataloguer Part I

Simon de Pury 0874341

Sara Davidson +1 212 940 1262

Auctioneers

Cataloguer Part II

Aileen Agopian 1199037

Derrick Mead +1 212 940 1272

Christina L. Floyd 1238278 Sarah Mudge 1301805

Administrator Part I

Alexander Gilkes 1308958

Maria Bueno +1 212 940 1261

Ellen Stelter UK Rodman Primack UK

Administrator Part II Peter Flores +1 212 940 1223

E-mail Addresses All Phillips de Pury & Company e-mails are

Administrators

first initial and last name @phillipsdepury.com

Eugenia Ballve +1 212 940 1303

(e.g., mmcginnis@phillipsdepury.com)

(Uli) Zhiheng Huang +1 212 940 1288

www.phillipsdepury.com

Property Managers Jeffrey Rausch +1 212 940 1367

Front Cover Sherrie Levine, Buddha, 1996, Lot 9

Barrett Langlinais +1 212 940 1362

Back Cover Martin Kippenberger, New York Zum Russisch Abbinden (NYZRA), 1985, Lot 6 (detail)

Photography

Inside Front Cover Florian Maier-Aichen, Untitled, 2005, Lot 4 (detail)

Kent Pell

Title Page Anish Kapoor, Untitled, 2005, Lot 16

Morten Smidt

Inside Back Cover Ed Ruscha, Portland to Memphis, 2000, Lot 14 (detail)

PHILLIPS de PURY & COMPANY CONTACTS

Chairman

Advisory Board

Simon de Pury

Maria Bell Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Lapo Elkann Ben Elliot

Senior Partners

Lady Elena Foster

Michael McGinnis

H.I.H. Francesca von Habsburg

Dr. Michaela Neumeister

Marc Jacobs Malcolm McLaren

Partners

Ernest Mourmans

Aileen Agopian

Aby Rosen

Sean Cleary

Christiane zu Salm

Alexander Payne

Princess Gloria von Thurn und Taxis

Rodman Primack

Jean Michel Wilmotte

Olivier Vrankenne

Anita Zabludowicz

Tiffany Wood

WORLDWIDE OFFICES

NEW YORK

MUNICH

450 West 15 Street New York NY 10011 USA

Maximiliansplatz 12a 80333 Munich Germany

+1 212 940 1200 +1 212 924 5403 fax

Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax

LONDON

BERLIN

Howick Place London SW1P 1BB United Kingdom

Auguststrasse 19 10117 Berlin Germany

+44 20 7318 4010 +44 20 7318 4011 fax

Rolf Moritz Estermann Natalia Kazmierczak +49 30 880 018 42 +49 30 880 018 43 fax

PARIS 28, rue Michel Le Comte 75003 Paris France

GENEVA

CĂŠcile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax

23, quai des Bergues 1201 Geneva Switzerland Carolin Bulgari +41 22 906 80 00 +41 22 906 80 01 fax