Contemporary Art Evening Sale by Phillips de Pury & Co.

Con temporary Art 4

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evening sale

Con temporary Art 4

MARCH

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7p m

ne w yo rk

Lots 1- 3 4 Viewing Saturday 27 February 10am – 6pm Sunday 28 February 12pm – 6pm Monday 1 March 10am – 6pm Tuesday 2 March 10am – 6pm Wednesday 3 March 10am – 6pm Thursday 4 March 10am – 12pm

Front & Back Covers Kelley Walker, Black Star Press, 2005, Lot 5 (detail) Inside Front & Inside Back Covers Adam McEwen, Kassel, 2007, Lot 2 (detail) Title Page George Condo, Trapped Priest, 2005, Lot 4

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1 AARON YOUNG b. 1972 Focus On The Four Dots In The Middle Of The Painting For Thirty Seconds, Close Your Eyes And Tilt Your Head Back (Frantic Fruit), 2007 Silkscreen on canvas. Diameter: 58 in. (147.3 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Bortolami, New York

Aaron Young plays with the suggestive power of subliminal imagery and pop culture in the present lot, Focus On The Four Dots In The Middle Of The Painting For Thirty Seconds, Close Your Eyes And Tilt Your Head Back (Frantic Fruit), 2007. The instructions in the title direct the audience to take their role in the mental visualization of the work in a ritualized, near religious, manner, while the parenthetical part of the title taken from the Bubblicious bubble gum flavor “Frantic Fruit” insists that this is an endeavor we enter with our perceptions influenced by our pop culture biases. Based on the predilection of the viewer the resultant optical image can vary from Jesus as seen in the Shroud of Turin, the now ironically capitalized image of the Marxist revolutionary Che Guevara, or the ominous stone-faced serial killer Charles Manson. Akin to Andy Warhol’s Rorschach paintings, Young critiques the objectification of psychological interpretation through the audience’s interpretation.

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2 Adam McEwen b. 1965 Kassel, 2006 Acrylic and chewing gum on canvas. 90 x 70 in. (228.6 x 177.8 cm). Signed and dated “A. McEwen 2006” on the stretcher.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Provenance Nicole Klagsbrun Gallery, New York Exhibited New York, Nicole Klagsbrun Gallery, Adam McEwen: 8.00 for 8.30, September

7 - October 14, 2006 Literature I. Scobie, “Death of the Installment Plan,” Artnet (online content) September

8, 2006 (illustrated); P. Eleey, “Adam McEwen,” Frieze Magazine, Milan, November/December 2006, p. 161; M. Amy, “Adam McEwen at Nicole Klagsbrun,” Art in America, January 2007, p. 147

McEwen’s paintings, named after German cities destroyed by England and the United States during WWII, present an aerial view of the devastated landscape. The chewed and glued gum blobs suggest the random patterns of falling munitions, and can resemble macabre stretched-out death’s heads or hairy splatters. The pictures also have a staccato elegance that is reminiscent of Larry Poons’ Op Art abstractions from the late 1960s. McEwen enlisted art students and friends of friends to help chew the gum, which was sugar-free. [The artist states,] “For somebody of my generation—the late ‘60s and early ‘70s—World War II was what boys knew about. There were these little war comics as well as military pornography floating around the school. We were taught war history. Britain’s identity as victors is very deep—you grow up with it, as well as funny, ridiculous and racist images of Nazi Germany. Vietnam meant nothing to us. It’s a practical thing. The effects of WWII are still here today.” As is the relevance of exploring war and victory during these turbulent times. I. Scobie, “Death of the Installment Plan,” Artnet (online content) September 8, 2006

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3 KAREN KILIMNIK b. 1955 Dinnertime Mt. Olympus, 2000 Water based oil color on canvas. 8 x 10 in. (20.3 x 25.4 cm). Signed, titled and dated “Karen Kilimnik Dinnertime Mt. Olympus ‘00” on the reverse.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Provenance 303 Gallery, New York Literature K. Kilimnik, Karen Kilimnik Paintings, Zurich/Berlin/New York, 2001, p. 258

(illustrated)

To me painting is like magic—it’s fun being able to paint a big house, or lots of animals and there they are as if they’re mine now…being so inspired by fairytales, mysteries, books, TV shows and ballets, etc., I like to make up characters myself as if I’m a playwright and these are characters and scenes I invented or observed. […] Probably I also liked the idea of nature and animals either ruling the world or at least still being around noticeably but I also love manicured gardens too…but I always like to make things more beautiful and perfect. K. Kilimnik, Karen Kilimnik Paintings, Zurich, 2001, p. 311 Karen Kilimnik’s paintings take her viewers deep into her woman-child imagination, touching an all-too-American sense of emptiness. The artist, who made an international name for herself in the early 1990s with seemingly random accumulations of cheap objects and materials that functioned a bit like three-dimensional rebuses, has taken her inspiration in her paintings from the medium’s past—the more romantic and picturesque, the better. Kilimnik’s works evoke a sense of nostalgia for a bucolic past filled with lush scenery, amorous characters and simplistic notions of happiness. Once her paintings are examined more closely, the artist engrosses her viewers with her elaborate collisions of narratives and the poignant sense of longing for contact, beauty and contentment that animate them.

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4 GEORGE CONDO b. 1957 Trapped Priest, 2005, cast 2006 Bronze. 28 x 22 x 19 1/2 in. (71.1 x 55.9 x 49.5 cm). Signed “Condo,” numbered of four and stamped and dated “06” by the foundry on the reverse. This work is from an edition of four.

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 Provenance Acquired directly from the artist; Private collection, New York Literature Luhring Augustine, ed., George Condo: Existential Portraits, Berlin, 2006, p.

53 (illustrated); J. Higgie, “Time’s Fool,” Frieze, London, May 2007, p. 117 (illustrated); Gary Tatintsian Gallery Inc., ed., George Condo, Moscow, 2008, p. 66

Back in 1968 as a priest in San Francisco, when he gave a communion a person would come up to the altar and kneel and he would place a drop of acid on their tongue. They called him the high priest. He is still operating today in remote areas of Argentina, last seen in the mid-70s wearing bell-bottoms, a headband and carrying various Hendrix albums into a small village in the Peruvian mountains—preaching the word of Jimi to the natives. George Condo quoted in George Condo, Moscow, 2008, p. 66 George Condo’s oeuvre has been largely based on the creation of cartoonlike characters, examining the psychology of human carnality and deformity through his dismantled visions of reality. His works evoke humor, encouraging viewers to revel in their own sardonic mirth. Condo’s sculptures share imagery with his paintings: imagery of characters that occupy the artist’s mind as archetypes of human conditions. Condo’s dissatisfaction with his Catholic childhood has preoccupied much of his work with, driving him to create imagery involving the vengeful mutilation of priests. Condo’s sculpture Trapped Priest is a golden reliquary to Condo’s experience with religion. A compressed, carcass-like figure sits locked within an overturned grocery cart with its wheels in the air, the cart itself a futile object that incapacitates the damaged priest. The work thus exaggerates the futility Condo sees in his childhood of religion.

(alternate view of the present lot)

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5 KELLEY WALKER b. 1969 Black Star Press, 2005 Silkscreened chocolate on digital print on canvas laid on board in three parts. 36 x 28 in. (91.4 x 71.1 cm) each. Initialed and dated â&#x20AC;&#x153;K 2005â&#x20AC;? on the reverse of the center panel.

Estimate $15 0 , 0 0 0 - 2 0 0 , 0 0 0 Provenance Galerie Catherine Bastide, Brussels

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Using potent images culled from mass media, Kelley Walker’s works

I think appropriation points to or suggests some sort of original—a locatable

appropriate iconic cultural images, utilizing them to highlight underlying

source that one appropriates and in many ways eclipses. With the Black Star

issues of politics and consumerism. In the present lot, Black Star Press,

Press pieces (the chocolate riots) I attempt to sidestep a familiar art source,

Walker blows up the image to fill the three canvases with an iconic

Warhol, as a starting point. Looking back at artists dealing with appropriation in

image of racial unrest. The original photographs were taken during

the ’80s, it seems the strategy of replicating in itself became the style or brand

the Birmingham race Riots in the 1960s, and were then later used by

of the artist using it. In my works, I don’t escape the effects of branding but

Andy Warhol for a portfolio of silkscreens. Kelly silkscreened over the

think of the processes associated with appropriation as a way of dealing with

images of a white policeman and black youth with a faux splatter of light

branding as a social space.

and dark chocolate, Walker’s gestures mimic violence and contrast,

Kelley Walker in Vincent Pécoil, “Kelley Walker,” Flash Art, n. 247, March

merging ethical corruption and graffiti pop. As a triptych, Black Star Press

- April 2006

desensitizes through repetition, recalling mass media as a barrage of anesthetised brutality.

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6 RICHARD PETTIBONE b. 1938 Sixteen Jackies 1964, 1996 Acrylic and silkscreen on canvas 10 x 8 in. (25.4 x 20.3 cm). Signed, titled, dated “Andy Warhol Sixteen Jackies 1964 Richard Pettibone 1996” on the overlap. This work is from an edition of 12.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 Provenance Curt Marcus Gallery, New York; Private collection, New York

The delicate intimacy of Richard Pettibone’s pocket-sized reproductions is a testament to his art historical prerogative, respect and overall understanding of the hallowed place which appropriation and taken in Modern and Contemporary Art. In the present lot, Pettibone reproduces in miniature Andy Warhol’s iconic Sixteen Jackies, 1964 which itself is comprised of appropriated news photographs of Jacqueline Kennedy. Pettibone’s unabashed Duchampian method of appropriating the appropriators is only fitting in a post Duchamp and Warhol world. “Pettibone is perfectly comfortable both with high-end craftsmanship and the canon of art history. In fact it is through his work that the long history of appropriation can be best traced: not just to Duchamp but also to Picasso, to Surrealism as well as Dada, and well beyond.” N. Princenthal, “Look Again: Surveying Richard Pettibone,” Art in America, March 2006 , p. 132

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(detail)

7 DOUG AITKEN b. 1968 i am in you, 2000 Video installation of five projections of three dvds. 11 minute, 3 second cycle. Installation dimensions variable. This work is from an edition of four plus two artist’s proofs and is accompanied by a certificate of authenticity signed by the artist.

Estimate $15 0 , 0 0 0 - 2 0 0 , 0 0 0 Provenance Galerie Eva Presenhuber, Zurich Exhibited Zurich, Galerie Hauser & Wirth & Presenhuber, i am in you, June 17 - July 29,

2000 (another example exhibited); Berlin, Kunst-Werke Institute for Contemporary Art, Doug Aitken, February 18 - April 8, 2001 (another example exhibited); Barcelona, La Caixa Foundation, July 7 - September 26, 2004; and Bilbao, Sala Rekalde, October 14 - December 5, 2004, Doug Aitken: We’re safe as long as everything’s moving (another example exhibited); Humlebæk, Louisiana Museum of Modern Art, Doug AItken: RISE, June 4 - September 22, 2002 (another example exhibited); Kanazawa, 21st Century Museum of Contemporary Art, Encounters in the Twenty-First Century: Polyphony— Emerging Resonances, October 9, 2004 - March 21, 2005 (another example exhibited); Munich, Summlung Goetz, Doug Aitken, November 22, 2004 - May 21, 2005 (another example exhibited) Literature D. Birnbaum, “Top Ten,” Artforum, New York, December 2000, p. 127

(illustrated); U. Verkoeper, “I Am In You,” Ausstellungen, Spring 2000; D. Birnbaum, A. Sharp and J. Heiser, Doug Aitken, New York/London, 2001, p. 15, 108-117 (illustrated); Louisiana Museum of Modern Art, ed., Doug Aitken: RISE, Humlebæk, 2003, p. 4-14 (illustrated on the back cover); 21st Century Museum of Contemporary Art, ed., Encounters in the Twenty-First Century: Polyphony— Emerging Resonances, Kyoto/Tokyo, 2005, pl. 23 (illustrated)

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(detail)

“You got to run as fast as you can all of the time” and “You got to be sharp!,”

to an LED-display ‘S’: a set of five screens, three parallel from front to back,

whispers the girl in the opening scene of i am in you, 2000. She is maybe ten or

the second of them free-standing in the center of the space, the remaining two

eleven (though the age seems unimportant), but sitting there cross-legged in

staggered to the left and right. The whispered “run” suddenly sounds a lot like

the red gloom, with her eyes moving fast, at first in sharp focus, then half-closed

“learn,” as the girl’s multiplied image alternates quickly with what looks like roof

while she comfortably undulates her shoulders, she seems so deep in relined

trusses fanned out against a black background and lit up in a precise staccato.

concentration that it sounds like wishes to be granted by no one but herself.

She herself seems to be a flash camera capturing the geometrical forms that rule

“You got to run as fast as you can all of the time.” The “you” is suddenly you,

their statics. “Pattern recognition” is what sociologists zealously call this, often

the beholder, as you move through the piece, trying to keep up with the quick

imagining themselves as the parents defining the conditions of the experiment.

changing orchestration continually unfolding all around. It emits light, it hums,

In i am in you, it’s like an early learning high chair game is set free from parental

images bleed through one another, ghost images of what seems other moments

guidance, and has developed dramatically into a complex set of sequences

in time, other places. This is not chaos, there’s a rhythm to it that you haven’t

smoothly collapsing into one another.

quite locked into yet, but you know you will in an instant. It’s not the legs that

J. Heiser, “Beginning to Understand: Doug Aitken’s i am in you,” Doug

run but your perceptive processes, you navigate a ground plan somewhat similar

Aitken, New York/London, 2001, p. 108

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8 JEPPE HEIN b. 1977 Continuity In-Between, 2002 Water, metal and plastic tubing, pump, motor and two basins. Installation dimensions variable. This work is from an edition of three plus two artist’s proofs and is accompanied by a certificate of authenticity signed by the artist.

Continuity In-Between merges art with architecture, a kinetic aestheticism that is wonderfully magical and deliberately participatory. The piece, a jet of streaming water bridged between two walls has an optical effect, likened to a well-executed science experiment. Upon first glance, viewers are enraptured with the piece, which in and of itself can only be experienced through the

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

viewer’s lens. Hence, they share an enriching symbiotic relationship.

Provenance Johann König, Berlin Exhibited Tokyo, SCAI The Bathhouse, Jeppe Hein: Inbetween, January 19 - March 3, 2007

In my opinion, artists are more attentive to the fact that it is necessary to create

(another example exhibited); Aarhus, ARoS Aarhus Kunstmuseum, Jeppe Hein: Sense City,

a link between an artwork and its surroundings. They more and more recognize

October 9 - February 23, 2010 (another example exhibited) Literature D. Eichler, “Jeppe Hein,” Frieze Magazine, London, March 2003; P. Ekroth,

“Jeppe Hein,” Artforum, New York, November 2003

which features artworks should have when exhibited in a public space. Instead of placing an artwork without reference or connection to architecture and audience, many artists now deal with social aspects, trying to create or enhance a dialogue between object, space and observers. J. Hein, quoted in G. Aloi, “Interview,” Whitehot Magazine, September 2008. The object-viewer relationship created by Hein extends beyond mutual symbiosis and sensorial forms and functions to playful social commentary on psychology and physicality. It extends beyond the limits of visual inertia to an inherently timeless, transitory realm that blends childhood ingenuity with adult refinement.

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9 JOHN BALDESSARI b. 1931 Vertical Series: Attempt, 2003 Archival digital print mounted on sintra in artist’s frame. 78 x 19 1/4 in. (198 x 49 cm).

Estimate $ 9 0 , 0 0 0 -12 0 , 0 0 0 Provenance Bernier/Eliades Gallery, Athens Exhibited Athens, Bernier/Eliades Gallery, John Baldessari: Vertical/Horizontal Series,

December 11, 2003 - January 31, 2004

At a certain point I had these huge folders, each one classified according to subject matter or genre…Then I cropped the cheap, recycled imagery to give exhausted images new meaning, or at least something other than their original meaning. I’m basically reassembling atoms to give them a meaning that’s more au courant. I realized—and maybe we share something here—that you can tap into a language that might be more universal than art. People go to movies and have them in their minds. John Baldessari quoted in T. Griffin, “In Conversation: John Baldessari & Jeremy Blake” Artforum, 2004 John Baldessari’s work has played a large role in defining conceptual art: experimenting with various media to illuminate ideas over product, Baldessari has challenged his viewers’ perspectives of fine art as a creative vehicle. He has long examined the qualities of absence—through reappropriating images removed from context; and by enhancing the missing parts of recognizable images through color and shape. He often inserts words or phrases subjectively, ironically and often humorously, encouraging viewers to consider their own biases and cultural interpretations. The present lot exemplifies this use of language and found imagery by juxtaposing a photograph of a gymnast with the word “ATTEMPT”—her concentrated expression is reduced to futility by a word that alludes to impending failure. Indeed Baldessari succeeds here in illuminating the manipulative qualities of language.

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10 BANKS VIOLETTE b. 1973 Lovesongs for Assholes (Jack Daniels), 2005 Salt, cast salt and epoxy. 3 x 45 x 50 in. (7.62 x 114.3 x 127 cm) approximately as illustrated. Installation dimensions variable. This work is from an edition of one plus one artistâ&#x20AC;&#x2122;s proof and is accompanied by a certificate of authenticity signed by the artist.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Provenance Galerie Rodolphe Janssen, Brussels Exhibited Brussels, Galerie Rodolphe Janssen, on black wings/six-channel bleed

(with Stephen Oâ&#x20AC;&#x2122;Malley), November 18, 2005 - January 7, 2006

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My work proposes to analyze a particular event or phenomenon in a way I would

The delicate contours and stark white substances which form Lovesongs for

call literary or operatic. Mostly I end up referring to things in the world that

Assholes (Jack Daniels) lie in direct contrast with the gloomier subject matter

get read too easily or become miscues, models of information in transition.

referenced here and throughout the artist’s work—the shady underpinnings

For example, murders related to heavy metal culture are about a sort of overt

of American youth culture. Violette’s infatuation with teenage angst, heavy

theatrical excess that gets literally enacted. When singing figuratively about

metal, suicide, violence, and drug abuse reflect upon his childhood, and

killing turns into a literal command—I should really kill somebody—it becomes a

this work is no exception. The artist plays with the idea of duality, black and

miscue. And, ideally, the same potential for misreading is set up for the audience

white, and the grey area in between where good and bad, healthy and sickly,

of my work (hopefully not to the point of inspiring someone to go stab their

light and dark are indistinguishable.

sister), but it has to be grey and fuzzy enough to go wrong in some way. Banks Violette quoted in J. Tumlir, “Banks Violette,” Artforum, October 2004

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11 STEVEN PARRINO 1958-2005 Scab Noggin, 1988 Acrylic on canvas. 72 x 72 in. (182.9 x 182.9 cm). Signed, titled and dated “S. Parrino ‘Scab Noggin’ 1988” on the reverse; stamped “Steven Parrino” on the right side.

Estimate $ 4 0 0 , 0 0 0 - 6 0 0 , 0 0 0 Provenance Galleria Massimo de Carlo, Milan; Private collection, Italy Exhibited Moscow, Gagosian Gallery, for what you are about to receive, September

18 - October 25, 2008; New York, Stellan Holm Gallery, The Unforgiven, November 7 – December 6, 2008; Zurich, Galerie Andrea Caratsch, Steven Parrino, February 15 April 4, 2008 Literature W. Robinson, “Art Market Watch,” Artnet Magazine (online content)

September 13, 2007; M. Sahakian, “Review: Steven Parrino,” Artkrush (online content) March 19, 2008; Gagosian Gallery, ed., for what you are about to receive, Moscow, 2008, p. 111 (illustrated)

Even when Parrino’s works are nearly flat, they are as much about sculpture, mass, form and volume as they are about painting. He understood that sculpture and painting are both intrinsically about space (and this includes the space of the gallery), and his hybrid objects—disrupted canvas surfaces, paintings removed from stretchers and bound up on the floor, overlapped leaning panels—play with spatial aspects and thereby seem to ‘perform’. B. Nickas, “Steven Parrino,” ArtForum, New York, September 2007 The present lot by Steven Parrino is an exemplary highlight of the artist’s fascination with tools of contortion within the medium of painting resulting in deconstructed artworks reminiscent of artists such as Lucio Fontana and Piero Manzoni. In Scab Noggin, Parrino presents a canvas which after being painted, has been literally pulled and twisted away from the “figure” of the stretcher and crumpled. Raw canvas that ordinarily would be pinned behind the painting is suddenly revealed, expressing an aggressive new foreground. The result of this process yields a response inherent to Parrino’s attitude towards his art: autonomous, uncompromising and tough as nails.

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12 ISA GENZKEN b. 1948 Schwules Baby, 1997 Steel and aluminum. 43 x 16 1/8 x 13 3/4 in. (109 x 41 x 35 cm). This work is unique.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Provenance Magnani Gallery, London Exhibited Paris, Galerie Chantal Crousel, Sémiocirque: Le signe, la trace, l’écrit comme

image, September 22 - October 22, 2009 Literature Kunsthalle Zurich, ed., Isa Genzken: Catalogue Raisonné 1992-2003, Cologne,

2003, pp. 101 and 153, pl. 69 (illustrated)

Genzken’s approach, which includes recourse to photography, video, film, collages, and collage books, does represent a continuous examination of the classic themes of sculpture: the ordering of masses and volumes; the relations between construction, surface design, and materials; the conception of and relation between objects, space, and the viewer. And regardless of the medium— from series executed in painted wood, plaster, and concrete to the more recent epoxy-resin hoods and lamps; assemblages of metal household utensils; and stelae—the artist questions the contemporary meaning of sculpture by taking up its vocabulary of forms, then expanding, discarding, and reinterpreting it. What the “traditional sculptor” label can’t quite capture, however, is Genzken’s remarkable ruthlessness--the manner in which her work underlines the rejection of traditional understandings of sculpture and space while reflecting on and disclosing the specific circumstances of their production and reception. The integration of a range of references—personal, social, and institutional—with the question of the (im)possibility of exchange and communication constitutes the second pole of Genzken’s working process. A. Wege, “Isa Genzken,” Artforum, New York, October 2000

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13 RICHARD PRINCE b. 1949 Untitled (Publicity), 2003 Ink on color and black and white photographs in three parts and printed paper in the artist’s frame. 41 x 61 in. (104.1 x 154.9 cm). Signed, titled and dated “R. Prince 2003 untitled” on the reverse.

Estimate $ 8 0 , 0 0 0 -10 0 , 0 0 0 Provenance Gladstone Gallery, New York LITERATURE R. Brooks, J. Rian, and L. Sante, Richard Prince, London, 2003 (another

example of photograph on left illustrated on the cover)

In the present lot, Untitled (Publicity), 2006, Richard Prince juxtaposes one of his iconic cowboy photographs with two publicity photographs of topless cowgirls. The cowboy photograph on the left is an example of Richard Prince’s “rephotography,” his technique of photographing an advertisement, in this case a Marlborough ad, giving the mass-produced image a new life reframing it as high art. Similarly his found publicity photographs, here a pin-up photographed by Bunny Yeager and pop musician Sheryl Crow, take on new scrutiny when framed alongside his own re-photograph, with the repetition of the cowgirl emphasized, and the images that pop culture presents as truth repositioned to reveal their superficiality. Prince collects these glossy photographs—some of which are inscribed with authentic signatures, while others are clearly marked in his own hand. As today’s stars are no longer just movie actors, but fashion models, socialites, musicians, and athletes, the range of subjects is increasingly wide, the circle of identification ever expanding. As with Gangs, Prince creates discrete sets of select images, called Publicities, frequently basing their combinations on incidental formal relationships…And whether intended to or not, the endless array of cheesecake poses by barely clad women in numerous Publicities begs the question whether this photographic trope, which reduces its subject to nothing more than a physical object, will ever be rejected, replaced, or rethought. N. Spector, “Nowhere Man,” Richard Prince, New York, 2007, p. 47

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14 MIKE KELLEY b. 1954 Animation 6 (Baby), 2007 20 minute loop animation on a flat screen monitor with speakers. 22 x 14 x 3 in. (55.9 x 35.6 x 7.6 cm). This work is from an edition of five and is accompanied by a certificate of authenticity signed by the artist.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Provenance Jablonka Galerie, Cologne/Berlin

The pulsating animation of the present lot contains the iconic image of a bottled city from Mike Kelley’s series Kandor. Kandor is the capital of comic book hero Superman’s home planet Krypton that was miniaturized by nemesis Braniac and kept safe in a bottle by Superman. With the pop sensibility of its comic book style imagery and the cooing baby noises emanating from the bottle, Mike Kelley mines our pop culture mythology to create the psychologically compelling work, Animation 6 (Baby).

It serves Kelley as abstract code for the fact that Kandor, as a lost paradise, also stands for a feeling of insurmountable Otherness (not just for Superman, the alien who will always remain an outsider on Earth). And for depression—Kelley also mentioned Sylvia Plath’s novel The Bell Jar (1963), in which she writes: ‘Wherever I sat…I would be sitting under the same glass bell jar, stewing in my sour air.’ The evocation of a clean, airtight prison had to be perfect. And is Kelley himself, whose own underdog biography is so often projected onto his work, not a kind of Superman of contemporary art? “Superman,” says David Carradine in Quentin Tarantino’s Kill Bill Vol. 2 (2004), “is the only superhero born with his superhuman powers—he must disguise himself as a little nobody to get by on Earth.” Kelley uses the ruins of formerly popular myths to address major questions on a grand scale, examining the link between narcissism and alienation, tragedy and buffoonery, trash and art. H. Liebs, “Mike Kelley,” Frieze, London January/February 2008

(alternate view of the present lot)

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15 JONATHAN MEESE & ALBERT OEHLEN b. 1970 and b. 1954 Storm, 2004 Oil and inkjet print on panel. 81 1/2 x 110 1/2 in. (207 x 280.7 cm). Signed and dated “J. Meese A. Oehlen 03” lower right.

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 Provenance Contemporary Fine Arts, Berlin

Johanna Adorjan: A practical question: How do two artists work together? Empty canvas. Someone starts. How? What gets discussed and agreed in advance? Albert Oehlen: It works more or less like this interview. Jonathan Meese: Yes, you kick the ball in a certain direction and… AO: …then watch where it goes out of the corner of your eye. JM: And sometimes it comes back. Adorjan: One of you says “Collage!” and then waits to see how the other will react? AO: At the start, we didn’t know what we were going to do. The idea that a collaboration might be worthwhile came from the material Meese had been using. There was a connection. J. Adorjan, “We are a Reproach to Art History: Albert Oehlen, Jonathan Meese,” Rheingold III, Frankfurt am Main, 2005, p. 75

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16 Ryan McGinness b. 1971 An(n)us Mirabilis, 2006 Acrylic on linen laid on board. 96 x 96 in. (243.8 x 243.8 cm). Signed, titled and dated “Ryan McGinness ‘An(n)us Mirabilis’ 2006” on the reverse.

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 Provenance Deitch Projects, New York Literature L. Beatrice, “I Trionfi Barocchi di Ryan McGinness,” Arte Pittura, October

2006, p. 83 (illustrated); L. Bradbury, “Transgressive Beauty,” Arkitip Magazine, Issue No. 48, 2008, p. 2; Royal Academy of Arts, ed., USA Today, London, 2006, p. 242 (illustrated); J. Shumacher, ed., Ryan McGinness: Works., New York, 2009, p. 185 (illustrated)

The arabesque “black hole” paintings—reminiscent of the interlaced configurations of classical Islamic design—draw you in with their beautiful spiraling geometric patterns. The artist’s true intent is subtly revealed in the title of the first work, An(n)us Mirabilis, 2006. It translates from the Latin as a year notable for disasters or wonders and McGinness uses it to refer to Albert Einstein’s Annus Mirabilis Papers, where the scientist laid out some of the founding principles for space, time, and matter, which would give rise to our understanding of black holes. According to McGinness, however, the paintings “are really rainbow colored assholes.” As a viewer you can stay on the surface of McGinness’ work or delve into the worlds within worlds that he presents. Surreal scale shifts simulate the psychedelic experience and reveal the true fractal-based model of the universe. The pattern, color and shapes are tantalizing enough to hold one’s attention. Once satiated you can delve into the layers beneath the surface and discover symbols simultaneously familiar and foreign. You know the language, but you have never seen these words. Visually rich, the surface patterns stand in dramatic tension with the explicit content of many of the symbols. Underneath the populist vocabulary lies a critical message that comments on our consumer obsessed, media-crazed society. L. Bradbury, ”Transgressive Beauty,” Arkitip Magazine, Issue No. 48, 2008, p. 2

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17 MARTIN EDER b. 1968 Schattendusche, 2004 Oil on canvas. 70 7/8 x 94 1/2 in. (180 x 240 cm).

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 Provenance Galerie EIGEN + ART, Leipzig/Berlin

Eder’s paintings are not about kitsch and cliché…He uses the familiar visual paradigms as elements of his own visual language, which appeals with unchecked strength to our unsophisticated instincts on one hand, while it can also always be recognized, particularly in such intensified form, as highly socially encoded and restricted emotion. U. Grosenick, Ed., Art Now, Vol 2, Cologne, 2005, p. 132

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18 OLAFUR ELIASSON b. 1967 Striped Eye Lamp, 2005 Metal, glass, and electrical fittings. 116 1/2 x 38 2/3 x 33 2/3 in. (295.9 x 98.2 x 85.5 cm). This work is from an edition of 10 and is accompanied by a certificate of authenticity signed by the artist.

Estimate $70 , 0 0 0 - 9 0 , 0 0 0 Provenance neugerriemschneider, Berlin Exhibited Sweden, Lund Konsthall, The Light Setup, September 10, 2005 - January 8, 2006

(another example exhibited); New York, PS1 Contemporary Art Center, Take your time: Olafur Eliasson, April 13 - June 30, 2008

Eliassonâ&#x20AC;&#x2122;s work is positioned within an urban realm, yet it evokes natural phenomena; it is assisted by the most minimal and clear of constructions, leaving little formal imprint, yet it brims with rich, unpredictable detail and tactility; it knowingly and explicitly collapses the natural and the artificial, the evanescent and the concrete, the literal and the metaphoric; and it constitutes itself finally in the eye, which is imbricated in the body. M. Grynsztejn, ed., Olafur Eliasson, New York, 2002, p. 53 Olafur Eliasson is best known for his incredible ability to blend together art, nature and science in such an organic way that the main focus falls on the viewer. Like most of his works, Striped Eye Lamp is rooted in Eliassonâ&#x20AC;&#x2122;s fascination with how humans perceive and react to sensorial stimuli, in this case light and color. Constructed of a multi-colored glass cylinder mounted to a tripod the lamp projects horizontal bands of colored light across a room. Rather than being hidden behind the scenes, these utilitarian materials become an integral part of experiencing the artwork. By having access to the mehanical parts that make up the ephemeral whole, the viewer is given carte blanche to interact with the art. Depending on where the viewer enters the room or where they stand in relation to Striped Eye Lamp or to a wall, the visual input will vary. Therefore, by walking through a room and changing their perspective, the viewer will experience a continually evolving understanding of the piece as the colors emanate in different directions and shift around them. This essential participation is the central principal of Eliassonâ&#x20AC;&#x2122;s work.

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19 TOM WESSELMANN 1931-2004 Study for Bedroom Painting #2, 1967 Oil on canvas. 8 x 10 in. (20.4 x 25.8 cm). Signed, titled and dated “Wesselmann Study for Bedroom Painting #2, 1967” on the reverse.

Estimate $ 2 0 0 , 0 0 0 - 3 0 0 , 0 0 0 Provenance Sidney Janis Gallery, New York; Private collection, New York; Vivian Horan

Fine Art, New York; Private collection, New York

Tom Wesselmann developed into one of America’s leading Pop Artist’s of the 20th century, rejecting abstract expressionism in favor of the classical representations of the nude, still life and landscape. Wesselmann’s art, defined by its flat forms and intense color fields, was able to retain and highlight the artist’s own unique language of images that defined not only a critical era in the history of art but pushed the boundaries of iconography, Pop aesthetic and representation into the next generation of art. Wesselmann worked constantly on the Bedroom Painting series, in which elements of his previous series’ such as the Great American Nude, Still Lifes and Seascapes were juxtaposed. With these works the artist began to concentrate on a few details of the figure such as hands, feet, and breasts, surrounded by flowers and objects. The Bedroom Paintings shifted the focus and scale of the attendant objects around a nude; these objects are small in relation to the nude, but become major, even dominant elements when the central element is a body part. By radically enlarging the still life elements in relation to the composition of the nude, Wesselmann intended these works to be confrontational, yet beautiful, expressions of the new openness and honesty about sexual matters that came to be associated with the 1960s.

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20 FRANZ ACKERMANN b. 1963 Cowardly Assault, 1999 Oil on canvas. 78 1/4 x 102 3/8 in. (198.8 x 260 cm).

Estimate $12 0 , 0 0 0 -18 0 , 0 0 0 Provenance Private collection, Miami

What may on the surface appear as an abstraction inflected by certain constructive or architectural aspects is in reality a representation of “places”— in fact, of cities. The importance of the notion of place in German culture is well known: Heidegger, for example, in his reflection on the origins of being, made it a concept as fundamental as it is mysterious. The idea seduces Ackermann, too; in his work it takes the form of a strange mental mapping in which sensations, impressions, atmospheres, predictions, and prophecies are concretized into color, line, and volume. The paintings are often flanked by photographic fragments that, for a moment, lead the mind to a definite place, a fragment of reality that contrasts with the magmatic delirium of the painting, which, instead, deliberately brings to mind a “non-place.” M. Meneguzzo, “Franz Ankermann,” Art Forum, April 2001

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21 LIAM GILLICK b. 1964 Discussion Island Research Screen, 1999 Anodized aluminum and Plexiglas. 24 x 94 1/4 x 16 1/4 in. (61 x 239.4 x 41.3 cm). Signed, titled and dated “Liam Gillick Discussion Island Research Screen 99” on the underside.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Acquired directly from the artist

“If we want to understand tendencies in art, we have to look at the structures that underscore the sharing of ideas. This is especially true when we consider discursive processes to be the base of self-conscious art practice. It is necessary to find a way to describe, map, and analogize the processes that have actually been taking place under the surface of recent models of curating and artistic practice. I’m trying for a moment to get away from

Exhibited Dallas, Turner and Runyon Gallery, Tang, June - July 1999

anecdotal, local, and geographical relationships to artistic activity and

Literature C. Rees, “Cool Your Eyes,” Dallas Observer, June 24, 1999

away from “special event” consciousness. At the same time, I want to look at echoes in the culture that might provide a clue to parallel productive techniques.” L. Gillick “Maybe it would be better if we worked in groups of three? Part 1 of 2: The Discursive,” e-flux (online content), Journal #2, February 2009

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22 Jules de Balincourt b. 1972 United We Stood, 2005 Oil and spray paint on panel. 20 x 28 in. (50.8 x 71.1 cm).

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Provenance Zach Feuer Gallery, New York Exhibited New York, P.S. 1 Contemporary Art Center, Greater New York 2005, March 13 -

September 26, 2005; London, Royal Academy of Arts, USA Today, October 6 - November 4, 2006 Literature B. Nickas, “Covert Operations,” Jules de Balincourt, New York, 2005, pp. 4

and 26 (illustrated); B. Nickas, Greater New York, New York, 2005, p. 65 (illustrated); P. Eleey, “Greater New York,” Frieze, Milan, May 2005, p. 114; D. Petrovich, “Art Week: A Five-Part Review of Greater New York,” n + 1 (online content), New York, June 14, 2005; D. Petrovich, “Art Week: A Five-Part Review of Greater New York: The State of Painting,” n + 1 (online content), New York, June 17, 2005; F. K. Miller, “When Politics Become Form,” Tema Celeste, Milan, July/August 2005, p. 38 (illustrated); T. De Ruyter, “The Realistic Naivety of Jules de Balincourt,” art press, Paris, February 2006, p. 32; Royal Academy of Arts, ed., USA Today, London, 2006, p. 45 (illustrated); P. Michell, “USA Today: A political outlook emerging amongst artists,” World Socialist Web Site wsws.org (online content), November 13, 2006; M. Egan, “Art Show: Jules de Balincourt,” Elle Decor, New York, June 2009, p. 42

Painted on board, de Balincourt’s works are incised to delineate simply rendered figures and scenes. Keyed-up colors and sprayed-on stencil-like effects give the paintings a handcrafted, “innocent” style that would seem to belie their intent, appearing more to belong to the genre of folky representation than of politically inspired provocation: a kind of homespun agitprop. They sometimes take the form of sign paintings, declarative yet open to multiple readings. United We Stood, 2005 turns the post-9/11 phrase “United We Stand” back on itself, reflecting America’s strained relations with its allies and the United Nations after the invasion of Iraq. It also contains echoes of other kinds of divisiveness in the country, such as those between political factions, couples, families, and friends. B. Nickas, Greater New York, New York, 2005, p. 64

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23 OLAFUR ELIASSON b. 1967 Sunset Kaleidoscope, 2005 Wood, steel, color-effect filter glass, mirrors and motor. 18 x 18 x 70 in. (45.7 x 45.7 x 177.8 cm). This work is from an edition of three.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 Provenance Gallerie Emi Fontana, Milan Exhibited San Francisco Museum of Modern Art, September 8, 2007 - February 24, 2008;

New York, PS1 Contemporary Art Center, April 13 - June 30, 2008; and Sydney, Museum of Contemporary Art, December 10, 2009 - April 11, 2010, Take your time: Olafur Eliasson (another example exhibited) Literature M. Grynsztejn, ed., Take Your Time: Olafur Eliasson, London 2007, pl. 220-221

and cover (illustrated); Studio Olafur Eliasson, ed., Studio Olafur Eliasson: An Encyclopedia, Cologne, 2008, p. 246, 352 (illustrated); D. Kunitz, “In Brilliant Color,” The New York Sun, April 18, 2008

Olafur Eliasson’s art is completely unparalleled in the world today,

Sunset Kaleidoscope is meant to be installed in an open window, thereby

challenging the viewer to become a part of the work through participation

both creating and distorting one’s view of the outside world. The outside

and engagement. The influence of nature on the Danish-born Eliasson is

of the kaleidoscope is an elongated wooden box while the interior of the

ever-present and the way he chooses to reveal this is what makes his work so

kaleidoscope is lined with mirrors that surround a rotating “sun” or yellow

profound. The harnessing of natural elements—movement, light, water, mist

disc within. The impact that these physical elements have on transforming

and color—is the main ingredient in each of his pieces. The second equally

the view from the window is something that depends entirely on the eyes

important component is the viewer. The viewer and the art should be and

looking through it. Eliasson creates art that entices both the most innocent

are in constant flux in Eliasson’s work. The way an engaged viewer perceives

of children and the most serious of art historians—he shows that not only

the work and the way this can vary from person to person is what interests

is reality entirely subjective from one person to the next but also that one

Eliasson the most. He pushes and challenges the accepted boundaries of

person’s reality can change depending on what lens or light they may be

art, blurring the lines between perception, representation and reality. His

seeing it through.

kaleidoscope works, including the present lot, do exactly this. Eliasson said: “My main interest is to show that our perceptual apparatus is a cultural construction. The way the eye functions is partially a construction, since it processes light from our surroundings, and the brain compresses and digests information around us, but we mistakenly tend to understand these complicated systems as a natural, given thing. The kaleidoscopes play with the fact that what we see can easily be disorganized or reconfigured. They playfully show us multiple ways of seeing the world, so you could say that a kaleidoscope constitutes a different perspective. […] Through our perceptions, we may thus change the surrounding reality,” (Studio Olafur Eliasson: An Encyclopedia, Cologne, 2008, p. 239).

Installation view at Jamie Residence, Emi Fontana West of Rome, Los Angeles, 2005 Photo: Fredrik Nilsen; Courtesy of the artist

Photo

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Photo: Fredrik Nilsen; Courtesy of the artist

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24 TAL R b. 1967 Fungusia, 2002 Oil paint, crayon, paper, pasteboard on canvas. 98 1/2 x 98 1/2 in. (250 x 250 cm). Signed, titled and dated “Tal R ‘Fungasia’ 2002” on the reverse.

Estimate $70 , 0 0 0 - 9 0 , 0 0 0 Provenance Victoria Miro Gallery, London Exhibited London, Victoria Miro Gallery, The Lords of Kolbojnik, May 17 - June 14, 2003 Literature Victoria Miro Gallery, ed., The Lords of Kolbojnik, London, 2003 (illustrated)

Tal R’s paintings draw on our prior knowledge of the Avant-garde and art developments of the past few decades. This collusion enables the artist to avoid both excessive sophistication and the calculated unconscious of the primitive. It is as if the infantile were a protective mechanism behind which he creates a secretive, often very gloomy pictorial world, full of hidden messages. Playmobil and Duplo, as Hans Werner Schmidt once commented, are one side of this. I myself would add the early Nintendo games with Supermario, in which evil came skipping onto the screen looking completely innocuous at first. Supermario and the similarly superficial games of the 1980s had a bar at the top of the screen in which points were collected and another at the bottom which formed a gateway to the void—rather like the Sephiroth in the Kabbalah. V. Loers, “Slutspil,” Tal R: fruitland, Mönchengladbach, 2002, n.p.

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25 JONATHAN MEESE b. 1970 Hagen v. Tronje’s Privatarmee “Scweinchen Dick de Monokeltennonon Zuckerpuppe am Madchen Kolibri”, 2004 Oil on canvas. 78 3/4 x 111 1/8 in. (200 x 282.3 cm). Signed, titled and dated “Meese Hagen v. Tronje’s Privatarmee Scweinchen Dick de Monokeltennonon Zuckerpuppe am Madchen Kolibri 2004” on the reverse.

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 Provenance Contemporary Fine Arts, Berlin

Saal is a very important word, because it means “hall.” Everything started in a hall—all revolutions started in a hall, like in Richard Wagner it’s this “Saal” where Hagen von Tronje is sitting in front to protect the hall. Adolf Hitler was also in this Brauhauskeller, which is a hall, too. It’s always a room, or a temple: this space where something happens. Johnathan Meese quoted in “Jonathan Meese with Sue de Beer and Felix Ensslin,” Issue Magazine, New York, March 2006 Hagen of Tronje is a half-human, half-beast mythical character from ancient Germanic and Norse folklore. He is deeply respected by Meese as a symbol of the quintessential antagonist who in the end, stands for what he believes and protects his kingdom represented by a hall, from being destroyed by invaders. Meese’s painting depicts several disfigured and contorted forms held for an instant, in an emotional gaze with the viewer. The viewer cannot focus and therefore becomes part of the pandemonium, pulled into the painting, eyes flinting from side to side. The disorder and deep suffering are calmed by a sense of surrender and humility, in which the ancient mythic creature Hagen becomes a truly humble hero.

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26 Inka Essenhigh b. 1969 Supergod, 2001 Oil enamel on canvas. 78 x 72 in. (198.1 x 182.9 cm). Signed, titled and dated “Inka Essenhigh Supergod 2001” on the reverse.

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 PROVENANCE Victoria Miro Gallery, London; Private collection, London EXHIBITED London, Victoria Miro Gallery, Inka Essenhigh, October 29 - December 7, 2002

Essenhigh sees her canvases as an arena for action. In her enamel paintings, the background or “stage” is always generic. The action is superimposed on these neutral surfaces. Essenhigh connects these figures with harnesses and wires, the lines of which often act as directional elements, such as arrows, that move the viewer’s eye around the composition. These lines “indicate a connection between a thing happening and the location where it’s happening, almost like a coordinate system,” (D. Hunt, “A New Grammer if Motion,” Flash Art, Milan, October 2000, p. 74). The lines connect the figures like the patterns of the zodiac or the diagrams art historians superimpose on old master paintings to demonstrate the overall design of the composition and the intended movement of the viewer’s eye. B. Clearwater, Inka Essenhigh, Miami, 2003, p. 10

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27 SHERRIE LEVINE b. 1947 Untitled, 2000 Graphite on wood. 21 1/4 x 2 5/8 in. (54 x 6.7 cm). Initialed and dated “SML 2000” on the reverse.

Estimate $18 , 0 0 0 - 2 5 , 0 0 0 Provenance Paula Cooper Gallery, New York

Since she came on the scene in the mid-1970s, Sherrie Levine has made art that couldn’t exist without that which came before it. Levine’s insistence on her project’s inherent secondhandness has meant that her work is often understood as illustrating the toppling of “originality” and “authenticity” by the bowling ball of postmodernism. Yet, as much as her infamous reworking of extant “masterworks” (by Walker Evans, Egon Schiele, Constantin Brancusi, and the like) have operated to critically account for inequities in art’s production and reception, they have succeeded, too, in nudging otherwise opposing strains into grudging conversation. Indeed, Levine’s oeuvre might be seen as what Deleuze would call a minor-and I would call a feminist-literature, constructed from the discords of the “major” it boldly siphons from. “I don’t think it’s useful to see dominant culture as monolithic,” Levine asserted in 2003. “I’d rather see it as polyphonic with unconscious voices that may be at odds with one another. If I am attentive to these voices, then maybe I can collaborate with some of them to create something almost new.” J. Burton, “Sherrie Levine,” Artforum, New York, Summer 2006, p. 351

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28 MIKE KELLEY b. 1954 Daddy, 1987 Felt collage. 92 1/2 x 67 in. (235 x 170.2 cm).

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 Provenance Collection of Joyce Eliason; Metro Pictures, New York Exhibited Chicago, The Renaissance Society, Mike Kelley: Three Projects: Half a Man, From

My Institution to Yours, and Pay for Your Pleasure, May 4 - June 30, 1988; New York, Nyehaus, California Maximalism, November 6 - January 9, 2010 Literature E. Sussman, Catholic Tastes, New York, 1993, p. 248

Daddy embodies established convention and personal evolvement—felt banners from the handicraft movement used to document genealogy and miscellaneous religiosity, which slowly evolved into a method of recording school sportsmanship and education. As such, Daddy is a conglomeration of traditional symbology, reductive shapes, and childhood color palettes and aesthetic. While Kelley is known for his infantile regression and preoccupation with morbid Freudian references, Daddy is comparatively sentimental with only slight Oedipus complex. The felt banners are reminiscent of the type found in church meeting halls and school classrooms. Derived from modernist sources such as Henri Matisse’s cutouts and Alexander Calder’s prints, their outward form elicits a joyous primitivism, a stylized adult misrepresentation of children’s art. Because they are used to preach to children, or to the child in us, we infer the rules of authority and the family—the patriarchy—hidden under the love exteriors of the banners. Mike Kelley quoted in Minor Histories: Statements, Conversations, Proposals, Cambridge, 2004, p. 14

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29 LEANDRO ERLICH b. 1973 Broken Mirror, 2005 Wood, ceramic tiles, ceramic sinks, and chrome filament and light fixture. Installation dimensions variable.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Provenance Gallerie 43, Buenos Aires Exhibited Milan, La Triennale di Milano, Timer: Intimità/Intimacy, March 30 - June 10, 2007

Leandro Erlich is a master of the double-take—a magician as much as an artist. His pieces puzzle the viewer until a second look grants full permission to understand the visual trickery at play. Broken Mirror is no exception. The piece is an average bathroom scene—a mirror affixed to a standing sink with a toothbrush and holder to one side and a small light fixture hovering above. However upon second glance, viewers see that in fact, no mirror exists and instead the piece is duplicated back to back to appear as though a one exists. If two people stand on either side of the piece, instead of a mirror holding their reflection, they see the other individual across the way. This inventive and unexpected use of trompe l’oeil is what makes Leandro Erlich such a provocative artist and what has garnered him such international acclaim. Erlich brings forth the unexpected from the most ordinary of objects: a mirror, a door, a window, or even a swimming pool. His work evokes philosophical challenges on reality such as those presented by other artists like Rene Magritte’s “Ceci n’est pas une pipe.” Erlich loves to engage his viewers with the ultimate goal, of course, to challenge them. His work entertains too with a touch of humor and irony that transcends the viewer experience from laissez-faire observation to engaged inquiry. Erlich has said: “I think it’s the simplicity—the fact that something extraordinary can happen in such a simple way, technically and conceptually. That’s an important factor in all of my projects. The viewer can trace the process; it’s recognizable. The trick is not presented to deceive the viewer, but to be understood and resolved by him. Such an engagement with the work involves the viewer’s participation and leads to the thought that reality is as fake and constructed as the art; it’s a fiction. Although it’s the fiction that we all agree to live in. I’m a very optimistic person, and understanding that reality can be many things at the same time increases our awareness of life, politics, and our surroundings in general,” (Artkrush (online content) October 29, 2008).

(alternate views of the present lot)

(deta

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30 SERGEJ JENSEN b. 1973 Untitled, 2007 Burlap. 70 7/8 x 51 1/8 in. (180 x 130 cm).

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 Provenance Galerie Neu, Berlin

Jensen enlists the visual idioms of Arte Povera to formulate his investigation of the semantic and ontological differences between a “picture” and a “painting”—a natural choice, perhaps, given the assertion by Germano Celant, who labeled the movement, that Arte Povera’s aim was to achieve the “pre-iconic,” that is, to de-differentiate the values conditioning reception and allow for a state of unlearned viewership. Stretching, warping, and sewing together the material constituents of his canvas, Jensen lays bare the temporal and material contingencies that guide reception. While his emphasis on the physical binding of fabric recalls Jannis Kounellis’ anti-painterly handling of burlap, Jensen’s canvases present an elegant aesthetic ambivalence. And while he makes it a point to use industrial bleach and chlorine, Jensen never leaves painting entirely; There is always more than mere gesture. Working largely in nearmonochrome bits of fabric appliqué, Jensen paradoxically weds his interest in process to the idom of self-reflective modernist painting in order to interrogate the work’s objecthood. Alex Gartenfeld, “Sergej Jensen New York,” Art Papers, September/October 2008

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31 DOUG AITKEN b. 1968 vanishing point, 2005 C-print. 48 x 60 in. (121.9 x 152.4 cm). Signed on a label adhered to the reverse. This work is from an edition of six.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Provenance Galerie Eva Presenhuber, Zurich

Aiken’s vanishing point emulates film quality aesthetics and captures a single moment in time. The photograph depicts an airplane missing its ‘nose’ set against a bright blue-hued background, thrusting viewers into a vortex of fantastical occurrences and augmented reality. The artist challenges our tendency to view visual culture in familiar context. Instead he juxtaposes proverbial subject matter within an intimate non-linear framework adding a sense of displacement and abstraction to his work. He experiments with different trajectories to create ethereal landscapes in human environments— stunning and temporal in nature. In this tradition, vanishing point dislocates viewers from the restless everyday minutiae into a lucid dream state. Both disturbing and charming, this contrast serves to create a melancholic mood where dark and light collide and then slowly, fuse together.

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32 PAUL PFEIFFER b. 1966 Live Evil (Kuala Lumpur), 2002 DVD, LCD screen and plastic armature. Screen: 1 1/2 x 2 in. (3.8 x 5 cm); armature: 2 5/8 x 3 1/2 x 4 1/4 in. (6.7 x 8.9 x 10.8 cm). Signed “Paul Pfeiffer” and numbered of six on the DVD. This work is from an edition of six plus two artist’s proofs and is accompanied by a certificate of authenticity.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Provenance Carlier/ Gebauer, Berlin Literature Museum of Contemporary Art, Chicago, ed., Paul Pfeiffer, Chicago/

Cambridge, 2003, p. 10 (illustrated) and p. 20

Live Evil presents a shadowy image of a dancing Michael Jackson split in half and reflected onto himself, producing a figure resembling a skeleton or a Rorschach pattern. […] The figure is both overemphasized and dissolved at once, creating an unsettling corporeal entropy. […] As it glides horizontally, the robotic, refracted image of Jackson similarly emits bursts of reflection and light (undoubtedly from one of his signature gilded costumes) that ultimately collapse back into the dark “center” of the figure. The ecstatic body, the agonized body, and the disappearing body coalesce into a single spectral form in Pfeiffer’s new representations of the human being. Paul Pfeiffer’s work uncovers and displays a new human being, an entity that is there and not there, represented yet absent, perpetually on the verge of being both uncomfortably present or imminently extinct. He provides a timely reminder that developing and retaining a sense of our bodily humanity is critical as we move further into a world of technological facility and representation. D. Molon, Corporealities, Paul Pfeiffer, New York, 2003, pp. 20-21

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33 GILBERT & GEORGE b. 1943 and b. 1942 Friend Fear, 1983 Acrylic and paper collage on paper in twelve parts in the artist’s metal frames. 71 1/4 x 79 1/2 in. (181 x 201.9 cm) overall. Signed, titled and dated “Gilbert + George Friend Fear 1983” lower right.

Estimate $15 0 , 0 0 0 - 2 5 0 , 0 0 0 Provenance Texas Gallery, Houston; Galleria In Arco, Turin Exhibited Bordeaux, CAPC Musée d’Art Contemporain de Bordeaux, May 9 - September 7,

1986; Basel, Kunsthalle Basel, September 28 - November 9, 1986; Brussels, Palais des Beaux Arts, November 21, 1986 - January 11, 1987; Madrid, Palacio de Velazquez, Parque del Retiro, February 4 - March 29, 1987; Munich, Städtische Galerie im Lenbachhaus, April 15 - June 14, 1987; and London, Hayward Gallery, July 9 - September 26, 1987; Gilbert & George: The Complete Pictures 1971-1985 Literature Gilbert & George, Gilbert & George: The Complete Pictures 1971-1985, Stuttgart,

1986, p. 192 (illustrated); Gilbert & George, Gilbert & George: The Complete Pictures 1971-2005 in Two Volumes, New York, 2007, p. 466 (illustrated)

Gilbert and George met in 1967 at St. Martin’s School of Art in London and since then have been an inseparable pair both in art and in life. Their work of the early 1980s is defined by combining their signature grid pattern with their new use of a vivid color palette. The present work, Friend Fear, painted in 1983, not only exemplifies this form and aesthetic but also the motifs that characterized this period, including the use of tribal images. Gilbert and George’s art has always been an interpretation of modern society but in particular, the work from this period presents a more specific focus on life and death and the hope and fear associated with this. This unique method of examining the broad spectrum of human emotions and existence is what so powerfully defines Gilbert and George. “Gilbert: ‘I don’t think we have changed our ideas. You can see them in our earliest works. The form changed, the way we present our ideas.’ George: ‘We’ve elaborated on them. But our intention has remained the same.’ Gilbert: ‘We believe in tradition.’ […] We think the artist is a priest, a philosopher, of life,” (C. Ratcliff, “Gilbert and George: The Fabric of Their World,” Gilbert & George: The Complete Pictures 1971-1985, 1986).

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34 GREGORY CREWDSON b. 1962 Dream House, 2002 12 digital c-prints with the artist’s original portfolio. 29 x 44 in. (73.7 x 111.8 cm) each. Signed “Gregory Crewdson” on the title page. This work is from an edition of 15 plus five artist’s proofs.

Estimate $70 , 0 0 0 - 9 0 , 0 0 0 Provenance Luhring Augustine Gallery, New York Exhibited San Francisco, John Berggruen Gallery, Gregory Crewdson: Dream House,

October 23 - November 22, 2003 (another example exhibited); Paris, Galerie Daniel Templon, Gregory Crewdson; Dream House, January 24 - February 28, 2004 (another example exhibited); Kunstverein Hannover, September 3 - October 30, 2005; Krefelder Kunstmuseum, Museen Haus Lange, Haus Esters, February 19 - May 14, 2006; Fotomuseum Winterthur, June 3 - August 20, 2006; Langesgalerie Linz, Hague Museum of Photography, December 2, 2006 February 25, 2007; Salamanca, DA2. Domus Artium 2002, March 30 - May 27, 2007; Goteborg, Hasselbald Center, September - October 2007; Rome, Palazzo delle Esposizioni, December 18 - March 2, 2008; Prague, Rudofinum Gallery, March 20 - May 25, 2008; Gregory Crewdson: 1985-2005 (another example exhibited); Milan, Galleria Photology, Dream House, September 18 - November 22, 2008 (another example exhibited) Literature J. Froelich, “Dream House Portfolio,” The New York Times Magazine, November

10, 2002 (illustrated on the cover and throughout); S. Berg, ed., Gregory Crewdson: 1985-2005, Ostfildern-Ruit, 2005, pl. 52-61 (illustrated); Galleria Photology, ed., Dream House, Milan, 2008, pp. 1-48 (illustrated throughout)

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Gregory Crewdson’s Dream House is perhaps one of his best-known series.

Crewdson’s photographs are the product of elaborately designed stage

His photographs depict idyllic suburban settings, disturbed by eerie and

sets and specifically directed shooting. The Dream House series was

somewhat unsettling details. The Dream House series is comprised of 12

photographed at an unoccupied house in Rutland, Vermont, casting some

photographs portraying the seemingly surreal along with a very real and

of Hollywood’s best known actors as the main characters—Gwyneth

disquieting view of the typical suburban family. This voyeuristic combination

Paltrow, Tilda Swinton, William H. Macy, Julianne Moore and Philip Seymour

can make the viewer feel profoundly uncomfortable perhaps because the

Hoffman. The somewhat macabre story behind the setting parallels the

images are eerily familiar of a memory or a dream. The faces of the figures

nature of Crewdson’s art: the owner of the house had died years before,

appear absent yet the setting and their body language express desire and

leaving the house fully furnished and untouched. Crewdson said: “Looking

anxiety. This element combined with the strange fantasy of the photographs,

back at the pictures now, I see a particular coming together of opposites.

flowers erupting out of the trunk of a car or a garage filled with moss, is

Perhaps more than in any of my other work, there is this old schism between

what Crewdson’s photographs are about. His interest in the dark side of the

the real and the imagined. The appearance of recognizable actors in these

wholesome American life is reminiscent of Diane Arbus’ photographs or

settings, serves to create another layer of illusion in this hall of mirrors. All

David Lynch’s films.

this helps to create a very defined and unique series of pictures. Although this project stands on its own, the photographs, I feel, exist in the same world as my larger body of work,” (Gregory Crewdson quoted in Dream House, Milan, 2008).

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INDEX

GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION

Ackermann, F. 20

The following pages are designed to offer you information on how to buy at auction at Phillips

Aitken, D. 7, 31

de Pury & Company. Our staff will be happy to assist you.

Baldessari, J. 9

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue

Condo, G. 4

govern the auction. Bidders are strongly encouraged to read them as they outline the legal

Crewdson, G. 34

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

de Balincourt, J. 22

acts as agent for the seller.

Eder, M. 17

BUYER’S PREMIUM

Eliasson, O. 18, 23

Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium,

Erlich, L. 29

on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of

Essenhigh, I. 26

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

Genzken, I. 12

and 12% of the portion of the hammer price above $1,000,000.

Gilbert & George 33 Gillick, L. 21

1 PRIOR TO AUCTION Catalogue Subscriptions

Hein, J. 8

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.

Jensen, S. 30 Pre-Sale Estimates Kelley, M. 14, 28

Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high

Kilimnik, K. 3

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,

Levine, S. 27

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

McEwen, A. 2

not include the buyer’s premium or any applicable taxes.

McGinness, R. 16 Pre-Sale Estimates In Pounds Sterling And Euros Meese, J. 25

Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues

Meese, J. & Oehlen, A. 15

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

Oehlen, A. & Meese, J. 15

sterling or euros as a guide only.

Parrino, S. 11

Catalogue Entries

Pettibone, R. 6

Phillips may print in the catalogue entry the history of ownership of a work of art, as well as

Pfeiffer, P. 32

the exhibition history of the property and references to the work in art publications. While we

Prince, R. 13

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

Tal R 24

of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Violette, B. 10 Condition Of Lots Walker, K. 5

Our catalogues include references to condition only in the descriptions of multiple works (e.g.,

Wesselmann, T. 19

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

Young, A. 1

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. 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. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful bidder.

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THE ESTATE OF MRS. HARRY N. ABRAMS PAINTINGS

WORKS ON PAPER

EDITIONS

SCULPTURE

PHOTOGRAPHS

RIVERS NEVELSON KISLING ARMAN STEINBERG BOMBOIS GROOMS CHRISTO GROSS DINE SOYER BURLIUK POMODORO LICHTENSTEIN WARHOL MORRIS PICASSO SAMARAS AVERY GIACOMETTI HARTLEY INDIANA ANUSZKIEWICZ KELLY TINGUELY MIRO ARP BONTECOU KLEE WESSELMANN TOLEDO KATZ RAUSCHENBERG MARISOL GROPPER JENSEN MOTHERWELL OLITSKI BEARDEN PASCIN MAURER EPSTEIN TAMAYO DEKOONING FRANKENTHALER SEGAL CALDER DELAUNAY JENKINS MAILLOL OLDENBERG JOHNSON APPEL MOORE DALI FRANCIS REINHARDT D’ARCANGELO WESLEY RAMOS ALBERS BEARD GOTTLIEB BRECHT BRAINARD LUCEBERT AUCTION 7 APRIL 2010 NEW YORK Viewing 27 March – 7 April

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1200 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

LUCAS SAMARAS

ROBERT INDIANA

JOHN WESLEY

ROY LICHTENSTEIN

ARMAN

ANDY WARHOL

TOM WESSELMANN

Robert Indiana: © 2010 Morgan Art Foundation / Artists Rights Society (ARS), New York Arman: © 2010 Artists Rights Society (ARS), New York / ADAGP, Paris Andy Warhol: © 2010 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

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∆ Property In Which Phillips de Pury & Company Has An Ownership Interest

a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part

make an announcement in the saleroom that interested parties may bid on the lot.

or has an economic interest in the lot equivalent to an ownership interest.

•

Consecutive and Responsive Bidding No Reserve

Unless indicated by a

•

The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The , 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

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.

below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

4 AFTER THE AUCTION

2 BIDDING IN THE SALE

Payment Buyers are required to pay for purchases immediately following the auction unless other

Bidding At Auction

arrangements are agreed with Phillips de Pury & Company in writing in advance of the

Bids may be executed during the auction in person by paddle or by telephone or prior to the

sale. Payments must be made in US dollars either by cash, check drawn on a US bank or

sale in writing by absentee bid.

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

BIDDING IN PERSON

US$10,000.

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

Credit Cards

original signature. We may also require that you furnish us with a bank reference. New clients

As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and

are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us

Mastercard to pay for invoices of $10,000 or less.

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.

Collection

Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury &

It is our policy to request proof of identity on collection of a lot. A lot will be released to the

Company staff member immediately. At the end of the auction, please return your paddle to the

buyer or the buyer’s authorized representative when Phillips de Pury & Company has received

registration desk.

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

Bidding By Telephone

Island City, Queens, New York. All purchased lots should be collected at this location during

If you cannot attend the auction, you may bid live on the telephone with one of our multi-

our regular weekday business hours. As a courtesy to clients, we will upon request transfer

lingual staff members. This service must be arranged at least 24 hours in advance of the sale

purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York,

and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may

New York for collection within 30 days following the date of the auction. We will levy removal,

be recorded. By bidding on the telephone, you consent to the recording of your conversation.

interest, storage and handling charges on uncollected lots.

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

Loss or Damage

telephone.

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.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury

Transport and Shipping

& Company will be happy to execute written bids on your behalf. A bidding form can be found

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand

at the back of this catalogue. This service is free and confidential. Bids must be placed in the

carry only. We will, at the buyer’s expense, either provide packing, handling and shipping

currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible

services or coordinate with shipping agents instructed by the buyer in order to facilitate such

price taking into account the reserve and other bidders. Always indicate a maximum bid,

services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of

excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted.

the Conditions of Sale for more information.

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.

Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries

Employee Bidding

as to whether a license is required to export the property from the United States or to import

Employees of Phillips de Pury & Company and our affiliated companies, including the

it into another country. It is the buyer’s sole responsibility to comply with all import and export

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

laws and to obtain any necessary licenses or permits. The denial of any required license or

reserve when submitting their absentee bids and otherwise comply with our employee bidding

permit or any delay in obtaining such documentation will not justify the cancellation of the

procedures.

sale or any delay in making full payment for the lot.

Bidding Increments

Endangered Species

Bidding generally opens below the low estimate and advances in increments of up to 10%,

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

set below may be lowered to the next bidding increment.

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

$50 to $1,000

by $50s

license or certificate does not ensure the ability to obtain an import license or certificate in

$1,000 to $2,000

by $100s

another country, and vice versa. We suggest that prospective bidders check with their own

$2,000 to $3,000

by $200s

government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole

$3,000 to $5,000

by $200s, 500, 800

responsibility to obtain any necessary export or import licenses or certificates as well as any

(i.e. $4,200, 4,500, 4,800)

other required documentation. The denial of any required license or certificate or any delay

$5,000 to $10,000

by $500s

in obtaining such documentation will not justify the cancellation of the sale or any delay in

$10,000 to $20,000

by $1,000s

making full payment for the lot.

$20,000 to $30,000

by $2,000s

$30,000 to $50,000

by $2,000s, 5,000, 8,000

$50,000 to $100,000

by $5,000s

$100,000 to $200,000

by $10,000s

above $200,000

auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion. 3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. 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

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PHOTOGRAPHS AUCTION 16 APRIL 2010 10am & 2pm Viewing 9 – 15 April

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1245 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

AHMET ERTUG Teatro La Fenice, Venice Estimate $25,000-35,000

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CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship

between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on

is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone

the other hand. All prospective buyers should read these Conditions of Sale and Authorship

bidding is available for lots whose low pre-sale estimate is at least $1000. Phillips de Pury

Warranty carefully

& Company reserves the right to require written confirmation of a successful bid from a

before bidding.

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

1 INTRODUCTION

recording of the conversation.

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

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue

accepts personal liability to pay the purchase price, as described more fully in Paragraph 6

or other written material posted by Phillips de Pury & Company in the saleroom, in each case

(a) below, plus all other applicable charges unless it has been explicitly agreed in writing with

as amended by any addendum or announcement by the auctioneer prior to the auction.

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

By bidding at the auction, whether in person, through an agent, by written bid, by telephone

that we will only look to the principal for such payment.

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

(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

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

undertaking such activity, we cannot accept liability for failure to execute such bids except

all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

where such failure is caused by our willful misconduct.

2 PHILLIPS de PURY & COMPANY AS AGENT

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in

reserve when submitting their absentee bids and otherwise comply with our employee bidding

which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or

procedures.

financial interest in a lot as a secured creditor or otherwise. 5 CONDUCT OF THE AUCTION

•

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

(a) Unless otherwise indicated by the symbol

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

is the confidential minimum selling price agreed by Phillips de Pury & Company with the

such description is changed or supplemented, as provided in Paragraph 1 above) and in the

seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

each lot is offered subject to a reserve, which

condition that they are in at the time of the sale on the following basis. (b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent

lot for sale (including after the fall of the hammer) if he or she believes there may be error or

on information provided to us by the seller, and Phillips de Pury & Company is not able to

dispute and take such other action as he or she deems reasonably appropriate.

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,

she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place

we shall exercise such reasonable care when making express statements in catalogue

one or more bids on behalf of the seller up to the reserve without indicating he or she is doing

descriptions or condition reports as is consistent with our role as auctioneer of lots in

so, either by placing consecutive bids or bids in response to other bidders.

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

(d) The sale will be conducted in US dollars and payment is due in US dollars. For the

at the time any such express statement is made.

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,

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

estimates in pounds sterling or euros should be treated only as a guide.

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and

its description.

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,”

they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

“returned to owner” or “bought-in.”

prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale

imperfections of a lot, but bidders should note that lots may have other faults not expressly

and Authorship Warranty as if sold in the auction.

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

6 PURCHASE PRICE AND PAYMENT

convey full information as to the actual condition of lots.

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to

estimate, whether written or oral, and information in any catalogue, condition or other report,

and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

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

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable

the selling price or value of the lot and may be revised from time to time by Phillips de Pury

law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted

& Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our

exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale

affiliated companies shall be liable for any difference between the pre-sale estimates for any

certificates from US dealers as proof of exemption from sales tax. All foreign buyers should

lot and the actual price achieved at auction or upon resale.

contact the Client Accounting Department about tax matters.

4 BIDDING AT AUCTION

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or

following the auction regardless of any intention to obtain an export or import license or other

participation in the sale. All bidders must register for a paddle prior to bidding, supplying such

permit for such lot. Payments must be made by the invoiced party in US dollars either by cash,

information and references as required by Phillips de Pury & Company.

check drawn on a US bank or wire transfer, as follows:

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid

& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so

behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of

in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

weekday business hours.

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

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer

use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does

provides to us acceptable government issued identification. Checks and banker’s drafts

not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest

should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,

possible price taking into account the reserve and other bidders. Any absentee bid must be

please send the check or banker’s draft to the attention of the Client Accounting Department

received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid

at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is

received will take precedence.

written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

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CONTEMPORARY ART AUCTIONS NEW YORK PART I 13 MAY 2010 7pm PART II Viewing 7 – 13 May

14 MAY 2010 10am & 2pm

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

MARK TANSEY Redeployment, 1995 (detail) Estimate $1,500,000-2,500,000

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(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank

shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to

transfer details:

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

Citibank

the seller to commence legal proceedings to recover the amounts due and legal costs.

322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33

(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips

ABA Routing: 021 000 089

de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and

For the account of Phillips de Pury & Company LLC

the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in

Account no.: 58347736

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

Please reference the relevant sale and lot number.

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

(d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

to one of our affiliated companies, we will so notify the buyer. Our security interest in any

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

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.

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

7 COLLECTION OF PROPERTY

payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

buyer’s property has been delivered to an affiliated company by way of pledge.

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

10 Rescission by Phillips de Pury & Company

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

other terms as we in our sole discretion shall require, including completing any anti-money

without notice to the buyer if we reasonably believe that there is a material breach of the

laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

+1 212 940 1373 to arrange for collection of purchased property.

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

(b) The buyer must arrange for collection of a purchased lot within five days of the date of

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury &

the auction. Promptly after the auction, we will transfer all lots to our warehouse located

Company and the seller with respect to such rescinded sale..

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,

11 Export, Import and Endangered Species Licenses and Permits

Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots

Before bidding for any property, prospective buyers are advised to make their own inquiries

suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for

as to whether a license is required to export a lot from the United States or to import it into

collection within 30 days following the date of the auction. Purchased lots are at the buyer’s

another country. Prospective buyers are advised that some countries prohibit the import

risk, including the responsibility for insurance, from the earlier to occur of (i) the date of

of property made of or incorporating plant or animal material, such as coral, crocodile,

collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company

ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the

Accordingly, prior to bidding, prospective buyers considering export of purchased lots should

Purchase Price paid, subject to our usual exclusions for loss or damage to property.

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

lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling,

permit or delay in so doing will not justify the cancellation of the sale or any delay in making

insurance and shipping services or coordinate with shipping agents instructed by the buyer in

full payment for the lot.

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

12 Client Information

responsibility, and we will not be liable for acts or omissions of third party packers or shippers.

In connection with the management and operation of our business and the marketing and

Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924

supply of auction related services, or as required by law, we may ask clients to provide

6477 at least 24 hours in advance of collection in order to schedule pickup.

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

(d) Phillips de Pury & Company will require presentation of government issued identification

“sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may

prior to release of a lot to the buyer or the buyer’s authorized representative.

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

8 FAILURE TO COLLECT PURCHASES

consent. If you would like further information on our policies on personal data or wish to make

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of

corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to

the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and

receive details of future events please call the above number.

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

13 Limitation of Liability

authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction

(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our

or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

affiliated companies and the seller to the buyer in connection with the sale of a lot shall be

discretion. The proceeds of such sale will be applied to pay for storage charges and any other

limited to the Purchase Price actually paid by the buyer for the lot.

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

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any

two years of the original auction.

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

9 REMEDIES FOR NON-PAYMENT

any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement

or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our

fails to make payment of the Purchase Price for a lot in cleared funds within five days of the

affiliated companies in connection with the conduct of the auction or for any other matter

auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the

relating to the sale of any lot.

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

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de

damages; (iii) reject future bids from the buyer or render such bids subject to payment of a

Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.

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,

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our

exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

& Company and instruct our affiliated companies to exercise a lien over any of the buyer’s

the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss

property which is in their possession and, in each case, no earlier than 30 days from the date

or damage is characterized as direct, indirect, special, incidental or consequential, or for the

of such notice, arrange the sale of such property and apply the proceeds to the amount owed

payment of interest on the Purchase Price to the fullest extent permitted by law.

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

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of

by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any

reasonable discretion, it being understood that in the event such resale is for less than the

fraud or fraudulent misrepresentation made by any of us or in respect of death or personal

original hammer price and buyer’s premium for that lot, the buyer will remain liable for the

injury caused by our negligent acts or omissions.

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AFRICA CONTEMPORARY A RT PHOTOGRAPHS DESIGN EDITIONS AUCTION

15 MAY 2010

NEW YORK

Phillips de Pury & Company 450 Wes t 15 St reet New York 10011 Enquiries +1 212 940 1234 Cat alogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

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AUTHORSHIP WARRANTY 14 Copyright

Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a

The copyright in all images, illustrations and written materials produced by or for Phillips de

period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions

Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain

and limitations set forth below.

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

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of

& Company and the seller make no representations or warranties that the buyer of a lot will

record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not

acquire any copyright or other reproduction rights in it.

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

15 General

prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above,

less than 50 years ago with an intent to deceive) and has a value at the date of the claim under

and Authorship Warranty set out the entire agreement between the parties with respect to the

this warranty which is materially less than the Purchase Price paid; (iii) property where the

transactions contemplated herein and supersede all prior and contemporaneous written, oral

description in the catalogue states that there is a conflict of opinion on the authorship of the

or implied understandings, representations and agreements.

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

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department

whose description or dating is proved inaccurate by means of scientific methods or tests not

in charge of the sale, quoting the reference number specified at the beginning of the sale

generally accepted for use at the time of the publication of the catalogue or which were at

catalogue. Notices to clients shall be addressed to the last address notified by them in writing

such time deemed unreasonably expensive or impractical to use.

to Phillips de Pury & Company. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves (c) These Conditions of Sale are not assignable by any buyer without our prior written consent

the right, as a condition to rescinding any sale under this warranty, to require the buyer to

but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives.

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

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

produced by the buyer and reserve the right to consult our own experts at our expense. If

for any reason, the remaining provisions shall remain in full force and effect. No failure by any

Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall

party to exercise, nor any delay in exercising, any right or remedy under these Conditions of

refund to the buyer the reasonable costs charged by the experts commissioned by the buyer

Sale shall act as a waiver or release thereof in whole or in part.

and approved in advance by us.

16 Law and Jurisdiction

(a) ThThe rights and obligations of the parties with respect to these Conditions of Sale

for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury

and Authorship Warranty, the conduct of the auction and any matters related to any of the

& Company in writing within three months of receiving any information which causes the

foregoing shall be governed by and interpreted in accordance with laws of the State of New

buyer to question the authorship of the lot, specifying the auction in which the property was

York, excluding its conflicts of law rules.

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

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction

same condition as at the time of its auction and is able to transfer good and marketable title in

of the (i) state courts of the State of New York located in New York City and (ii) the federal

the lot free from any third party claim arising after the date of the auction.

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

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

and Authorship Warranty relate or apply.

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

connection with proceedings in any court by facsimile transmission, personal service, delivery

remedy available as a matter of law. This means that none of Phillips de Pury & Company, any

by mail or in any other manner permitted by New York law or the law of the place of service, at

of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy

the last address of the bidder or seller known to Phillips de Pury & Company.

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.

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phillips de pury & company

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Finn Dombernowsky

Janna Bullock

Patty Hambrecht

Lisa Eisner

Charlie Horne

Lapo Elkann

Thierry Nataf

Ben Elliot

Alexander Payne

Lady Elena Foster

Rodman Primack

H.I.H. Francesca von Habsburg

Olivier Vrankrenne

Marc Jacobs

Chief Executive Officer Bernd Runge

Senior Directors

Malcolm McLaren

Michael McGinnis

Ernest Mourmans

Dr. Michaela de Pury

Aby Rosen Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

International Specialists

Berlin Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42

Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Buenos Aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060 Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000 Los Angeles Maya McLaughlin, International Specialist, Contemporary Art +1 323 791 1771

London Leonie Moschner, International Senior Specialist +44 7815 050 461 Milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671 Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Paris Edouard de Moussac, International Specialist, Contemporary Art +33 6 64 23 27 81 Johanna Frydman, Specialist, Design +33 142 78 67 77 Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805 Hong Kong/Singapore Chin-Chin Yap, International Specialist, Contemporary Art +1 212 940 1250

Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86/32

marketing

General Counsel

Managing Directors

Thierry Nataf, Senior Vice President

Patty Hambrecht

Charlie Horne, New York/Americas Finn Dombernowsky, London/Europe

WORLDWIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +49 30 8800 1842 fax +49 30 8800 1843

LONDON

ZURICH

GENEVA

Howick Place, London SW1P 1BB, United Kingdom

Fraum端nsterstrasse 21, Postfach 2520, CH-8022

23 quai des Bergues, 1201 Geneva, Switzerland

tel +44 20 7318 4010 fax +44 20 7318 4011

Zurich, Switzerland

tel +41 22 906 80 00 fax +41 22 906 80 01

tel +44 7717 755 981

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SPECIALISTs AND DEPARTMENTS

CONTEMPORARY ART

Michael McGinnis, Senior Director +1 212 940 1254

and Worldwide Head, Contemporary Art

MODERN AND CONTEMPORARY EDITIONS New York Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

LONdON

Peter Sumner, Head of Sales, London +44 20 7318 4063

Jannah Greenblatt +1 212 940 1332

Joy Deibert +1 212 940 1333

Henry Allsopp +44 20 7318 4060

Laetitia Catoir +44 20 7318 4064

Judith Hess +44 20 7318 4705

Leonie Moschner +44 20 7318 4074

Lou Proud +44 20 7318 4018

Ivgenia Naiman +44 20 7318 4071

Sebastien Montabonel +44 20 7318 4025

Sarah Buchwald +44 20 7318 4085

Alexandra Bibby +44 20 7318 4087

Catherine Higgs +44 20 7318 4089

Emma Lewis +44 20 7318 4092

Raphael Lepine +44 20 7318 4078

Siobhan O’Connor +44 20 7318 4093

Tanya Tikhnenko +44 20 7318 4065

Phillippa Willison +44 20 7318 4070

New York

Aileen Agopian, New York Director +1 212 940 1255

Roxana Bruno +1 212 940 1229

Timothy Malyk +1 212 940 1258

Sarah Mudge +1 212 940 1259

Jean-Michel Placent +1 212 940 1263

PHOTOGRAPHS

LONDON

New York Vanessa Kramer, New York Director +1 212 940 1243

Shlomi Rabi +1 212 940 1246

Caroline Shea +1 212 940 1247

Sarah Krueger +1 212 940 1245

Carol Ehlers, Consultant +1 212 940 1245

JEWELRY

Nazgol Jahan, Worldwide Director +1 212 940 1283

Rodman Primack +1 212 940 1256

New York

Maria Bueno +1 212 940 1261

Carmela Manoli +1 212 940 1302

Sara Davidson +1 212 940 1262

Heather Zises +1 212 940 1290

Alexandra Leive +1 212 940 1252

Peter Flores +1 212 940 1223

(Uli) Zhiheng Huang +1 212 940 1288

DESIGN Alexander Payne, Worldwide Director +44 20 7318 4052

LONDON Domenico Raimondo +44 20 7318 4016

Ellen Stelter +44 20 7318 4021

Emily Bangert +1 212 940 1365

GENEVA

Carolin Bulgari +41 22 906 80 00

LONDON Lane McLean +44 20 7318 4032

THEME SALES LONDON

Tobias Sirtl, London Manager +44 20 7318 4095

Arianna Jacobs +44 20 7318 4054

George O’Dell +44 20 7318 4040

Ben Williams +44 20 7318 4027

Marcus McDonald +44 20 7318 4014

Marine Hartogs +44 20 7318 4021

New York

Corey Barr, New York Manager +1 212 940 1234

Anne Huntington +1 212 940 1210

Stephanie Max +1 212 940 1301

Private sales

New York

Alex Heminway, New York Director +1 212 940 1269 Tara DeWitt +1 212 940 1265

Meaghan Roddy +1 212 940 1266

Marcus Tremonto +1 212 940 1268

Alexandra Gilbert +1 212 940 1268

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PARIS Johanna Frydman +33 1 42 78 67 77

New York Andrea Hill +1 212 940 1238 BERLIN Christina Scheublein +49 30 886 250 57

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SALE INFORMATION

Auctions

Property Managers

Evening Sale, Thursday 4 March 2010 at 7pm

Jeffrey Rausch +1 212 940 1367 Barrett Langlinais +1 212 940 1362

Viewing Saturday 27 February 10am – 6pm

Photography

Sunday 28 February 12pm – 6pm

Kent Pell, Morten Smidt

Monday 1 March 10am – 6pm Tuesday 2 March 10am – 6pm

Catalogues

Wednesday 3 March 10am – 6pm

+1 212 940 1240

Thursday 4 March 10am – 12pm

Catalogues $60/£30 at the Gallery catalogues@phillipsdepury.com

Viewing & Auction Location 450 West 15 Street New York NY 10011

Absentee and Telephone Bids Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax

Sale Designation

bids@phillipsdepury.com

In sending written bids or making inquiries please refer to this sale as NY010010 or Contemporary Art Evening Sale.

client accounting Sylvia Leitao +1 212 940 1231

senior director and Worldwide head

Buyers Accounts

Michael McGinnis +1 212 940 1254

Nicole Rodriguez +1 212 940 1235 Seller Accounts

new york Director

Barbara Doupal +1 212 940 1232

Aileen Agopian +1 212 940 1255

Nadia Somwaru +1 212 940 1280

Specialists

Client Services

Rodman Primack +1 212 940 1256

+1 212 940 1200

Roxana Bruno +1 212 940 1229 Timothy Malyk +1 212 940 1258

Shipping

Sarah Mudge Head of Part II +1 212 940 1259

Beth Petriello +1 212 940 1373

Jean-Michel Placent +1 212 940 1263

Jennifer Brennan +1 212 940 1372

Dr. Michaela de Pury Berlin +49 17 289 73611 Olivier Vrankenne Brussels & Paris +32 486 43 43 44 Peter Sumner Head of Day Sales London +44 20 7318 4063 Henry Allsopp London +44 20 7318 4060 Laetitia Catoir London +44 20 7318 4064 Judith Hess London +44 20 7318 4705 Leonie Moschner London +44 7815 050 461 Ivgenia Naiman London +44 20 7318 4071 Brooke de Ocampo London +44 777 551 7060 Fiona Biberstein Zurich +41 43 344 86 32 Katie Kennedy Perez Geneva +41 22 906 8000 Svetlana Marich Moscow +7 495 225 88 22 Maya McLaughlin Los Angeles +1 323 791 1771 Chin-Chin Yap Hong Kong/Singapore +1 212 940 1250 Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804 Cataloguer Part I Sara Davidson +1 212 940 1262 Cataloguer Part II Maria Bueno +1 212 940 1261 Cataloguer theme sales Alexandra Leive +1 212 940 1252 Administrator Part I Peter Flores +1 212 940 1223 Administrator Part II (Uli) Zhiheng Huang +1 212 940 1288

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