Contemporary Art Day Auction NY

PART II Con temporary Art Incl udin g the hal se y Min or C ollectio n 14

MAY

2 010

NEW YORK

PART II Con temporary Art

Incl udin g the hal se y Min or C ollectio n 14

MAY

2 0 10

10 a m & 2 p m

NE W YO RK

Lots 2 01- 5 6 6 Viewing Saturday 1 May, 10am-6pm Sunday 2 May, 12pm - 6pm Monday 3 May, 10am-6pm Tuesday 4 May, 10am-6pm Wednesday 5 May, 10am-6pm Thursday 6 May, 10am-6pm Friday 7 May, 10am-6pm Saturday 8 May, 10am-6pm Sunday 9 May, 12pm-6pm Front Cover Takashi Murakami, Jellyfish Eyes—MAX & Shimon in the Strange Forest, 2004, Lot 211 (detail) Inside Front Cover Florian Maier-Aichen, The Best General View, 2007, Lot 202 (detail) Title Page Alice Neel, Sabrina, 1976, Lot 343 (detail) Inside Back Cover Florian Maier-Aichen, The Best General View, 2007, Lot 202 (detail) Back Cover Jim Lambie, Bananarama, 2009, Lot 234 (detail)

Monday 10 May, 10am-6pm Tuesday 11 May, 10am-6pm Wednesday 12 May, 10am-6pm Thursday 13 May, 10am-6pm SESSION I

10am

Lots 201-363

Lots 2 01-2 3 3

the hal se y Minor Collection

201 MARK GROTJAHN b. 1968 Untitled, 2004 Colored pencil and graphite on paper mounted to panel. 30 x 22 in. (76.2 x 55.9 cm).

Estimate $60,000-80,000 Provenance Blum & Poe, Los Angeles

“…Grotjahn’s works assault you with heavily abstracted and sometimes multiplying eyes that combine with line work to overtly borrow from and reminisce about Picasso’s own lifting of styles and moves from “primitive” art. But as Picassoid as they are, Grotjahn’s paintings also are reminiscent of work by a number of proto- and early modernists, as well as a host of primitive-by-way-of-Picasso–inspired artists from Klee to Pollock to Basquiat.

And as much as Grotjahn’s paintings might be considered sums of parts that descend and derive from precedents, they might also be considered as homeradicalized fusions of Grotjahn’s own tendencies previously evinced in more disparate bodies of work ranging from his cartoon-inspired works, to his mask drawings, to his “butterfly” paintings and drawings in which combinations of line and color deliver abstract compositions that register as nonobjective, but which also trigger that part of your brain that begins to recognize depth in a space that seems almost like it’s unfolding between a butterfly’s opening wings. Add to this dashes of both expressionist heat and some Warholian cool, and you begin to get a sense of Grotjahn’s personal code.”

C. Miles, “Mark Grotjahn and J.B. Blunk at Blum + Poe”, LA Weekly, March 25, 2010

202 FLORIAN MAIER-AICHEN b. 1973 The Best General View, 2007 C-print in the artist’s frame. 84 x 70 1/2 in. (213.4 x 179.1 cm). Signed, dated “Florian MaierAichen 2007” and numbered of six on a label adhered to the reverse. This work is from an edition of six plus two artist’s proofs.

Estimate $80,000-120,000 Provenance Blum & Poe, Los Angeles Exhibited Museum of Contemporary Art, Los Angeles, Florian Maier-Aichen: MOCA Focus,

June 26 – September 30, 2007 (another example exhibited) Literature G. Blank, “Florian Maier-Aichen: MOCA Focus”, Whitewall Magazine, Issue # 7, 2007

(illustrated); J. Tumlir, “Florian Maier-Aichen: Outside the Frame”, Aperture, Summer 2007 (illustrated)

The photography of German artist Florian Maier-Aichen allows for the subject matter of landscape photography to be re-discovered. Taken from a unique vantage point, the artist enhances the viewer’s scale of the mountain shot in The Best General View. This image demonstrates a tribute to his fellow German artist David Caspar Friedrich by incorporating hues of blues, grays and reds. This unique manipulation of color and scale of the original view leaves the viewer thinking directly of the romantic and gothic elements Caspar Friedrich displayed in his own landscape paintings. In The Best General View one contemplates the origins of nature and is transformed into another world where green trees are turned to red.

203 ED RUSCHA b. 1937 Pools, 1968/1997 Color coupler prints in nine parts. Each 16 x 16 in. (40.6 x 40.6 cm) image size. Each signed, dated “Ed Ruscha 1968 - 1997” and numbered of 10 on the reverse. This work is an artist’s proof from an edition of 30 plus 10 artist’s proofs.

Estimate $80,000-120,000 Provenance Gagosian Gallery, Beverly Hills Exhibited Bonn, Kunst Museum, June 17 - August 16, 1999; Miami, Museum of Contemporary

Art, Great Illusions: Thomas Demand, Andreas Gursky, Ed Ruscha; October 10 - November 28, 1999 (another example exhibited); Paris, Galerie Daniel Templon, Ed Ruscha: Parking Lots and Swimming Pools, December 13, 2003 - January 21, 2004 (another example exhibited); New York, Yancey Richardson Gallery, Ed Ruscha: Pools, Parking Lots, Gasoline Stations, and Sunset Strip, September 22 - November 5, 2005 (another example exhibited) Literature Kunst Museum Bonn, ed., Great Illusions: Thomas Demand, Andreas Gursky, Ed

Ruscha, Bonn, 1999, pp. 71-75 (illustrated); S. Engberg and C. Phillpot, Edward Ruscha Editions 1959-1999 Catalogue Raisonné, Minneapolis, 1999, pp. 50-53 (illustrated); S. Wolf, ed., Ed Ruscha and Photography, New York, 2004, pp. 156-157 (details illustrated)

“Unlike the lush handling of paint and spontaneous assembly of materials by New York artists Jasper Johns and Robert Rauschenberg, West Coast artists made paintings, photographs, and objects in a broad range of styles that asserted their autonomy as individuals forging a new frontier. […] California was an oasis at the edge of the continent. It was a land of dreams where swimming pools, billboards, urban sprawl, and automobiles were the markers of postwar prosperity.” In Ruscha’s bucolic 1968 photographs of swimming pools, “the only hint of human activity in these pictures—in the form of wet footsteps on a diving board—feels at once playful and ominous.”

With works such as the present lot, Ruscha proves himself as a monumental influence on the emergence of what the art critic William Jenkins called “a new topographic style, which was anthropological rather than critical, scientific rather than artistic. A topographic map renders a threedimensional landscape in two dimensions. It lists elevations and indicates their relief with flat contour lines. It also notes the position of natural and man-made features. Ruscha’s books of California subjects can be seen as a topographic map with many features, each one describing a different experience of the place. Together, they chart a distinctly American landscape, one that casts a dry, analytical eye on the nation in the post war years.” (S. Wolf, “California Topographic”, Ed Ruscha and Photography, 2004, New York, pp. 128, 154 and 169)

204 TODD EBERLE b. 1963 “The Red Rooster” Brewster, New York, August, 2006, 2006 Digital c-print. 49 x 59 1/2 in. (124.5 x 151.1 cm). This work is from an edition of three.

Estimate $8,000-12,000 Provenance Gagosian Gallery, Beverly Hills

205 TODD EBERLE b. 1963 American Flag Millerton, New York, August 2006, 2006 Digital c-print. 59 5/8 x 48 3/4 in. (151.4 x 123.8 cm). This work is from an edition of three.

Estimate $8,000-12,000 Provenance Gagosian Gallery, Beverly Hills Exhibited Beverly Hills, Gagosian Gallery, Todd Eberle, January 6 - February 3, 2007 (another

example exhibited); New York, P.S. 1 Contemporary Art Center, That Was Then‌This Is Now, June 22 - October 5, 2008 (another example exhibited)

206 DAVID HOCKNEY b. 1937 Gregory in the Pool 1 (Paper Pool 4), 1978 Hand-colored pressed paper pulp. 32 1/4 x 50 1/4 in. (81.9 x 127.6 cm). Initialed and dated “D.H. 78.” lower right; signed “David Hockney” and numbered and lettered “4-N” on the reverse.

Estimate $250,000-350,000 Provenance Baldwin Gallery, Aspen; Private collection, Europe Literature N. Stangos, ed., David Hockney, Paper Pools, London, 1980, pp. 32-37 (illustrated,

with detail illustrations on front and back cover); K. E. Tyler, Tyler Graphics: Catalogue Raisonné, 1974-1985, Minneapolis, 1987, p.103, no. 231DH (another variation illustrated)

“If there is one image that more than any other is conventionally associated with David Hockney’s art, it is the image of the swimming pool. There are many reasons for this. He has painted, drawn, photographed or made prints containing images of swimming pools from the mid 1960s to the present day.

His rise to public prominence more than twenty years ago was coincident with the first appearance of this image in his work. As an expatriate living principally in Los Angeles, he is easily associated with the commonplace clichés of that sunny clime, the swimming pool among them” (C. Knight, “Composite Views: Themes and Motifs in Hockney’s Art”, Los Angeles County Museum of Art, David Hockney: A Retrospective, 1988, Los Angeles, p. 23)

207 ED RUSCHA b. 1937 Three O’Clock, 1975 Gunpowder and pastel on paper. 22 3/4 x 28 3/4 in. (57.8 x 73 cm). Signed and dated “Edward Ruscha 1975” lower right and again on the reverse.

Estimate $150,000-250,000 Provenance Ruth S. Schaffner Gallery, Los Angeles; Private collection, California; Gagosian

Gallery, New York

This work will be included in a forthcoming volume of Edward Ruscha: Catalogue Raisonné of the Works on Paper.

“Well, I was trained and sort of programmed to think like an Abstract Expressionist, and I was part of that for a while…and, looking back, I can see that Abstract Expressionism is vital painting…it’s realy…and I still love it. So I don’t find it foreign to me. But it’s only a step towards my direction. I think an artist has to negate one thing in order to move on to something else. So, it became a question of either loading the brush with color and attacking a canvas that was pure white, or something else…almost preconceived. I took the second way. My paintings were almost dreamed about in advance, rather than painted on the spot. I began to plan my work…funnily enough it all seems to come from a source…even abstract painting, in a way, has an approach and some connection to reality.”

Ed Ruscha taken from an interview with Bernard Blistène in E. Ruscha, Edward Ruscha: Paintings, Rotterdam, 1990, p. 128

208 DAVID SMITH 1906 - 1965 Untitled, 1962 Spray enamel on paper. 15 1/2 x 20 1/2 in. (39.4 x 52.1 cm). Stamped with the artist’s estate seal and numbered 73.62.181 on the reverse.

Estimate $50,000-70,000 Provenance Estate of the artist, New York; Gagosian Gallery, New York Exhibited New York, Gagosian Gallery, David Smith Sprays, January 17 - February 23, 2008

209 DAVID SMITH 1906 - 1965 Untitled, 1962 Spray enamel on paper. 15 1/2 x 20 1/2 in. (39.4 x 52.1 cm). Stamped with the artist’s estate seal and numbered 73.62.181 on the reverse.

Estimate $50,000-70,000 Provenance Estate of the artist, New York; Gagosian Gallery, New York

210 Yoshitomo Nara b. 1959 Untitled, 2004 Acrylic and pastel on paper. 53 1/4 x 47 in. (135.3 x 119.4 cm).

Estimate $150,000-250,000 Provenance Blum & Poe, Los Angeles

Nara’s reductive and straight-forward drawings delve deep beyond the surface to consider emotions that as humans we must face on a day-today basis. He touches on one of the primary philosophical, and arguably most difficult, concerns of the human condition—growing old and leaving childhood and adolescence behind.

“On the surface, Nara’s kids appear uncomplicated, even bored at times, yet one doesn’t have to look far to uncover the layers of mischief and emotion bubbling beneath—it’s as if the harder you look, the more these children seem to know and the more you have to learn. Through the faces of his subjects, Nara invites us to linger, to leave the rules at the door and enter the more fluid and uninhibited world of children. While many of his contemporaries embrace the escapism afforded by the futuristic fantasy and play of anime, Nara does not retreat entirely into the make-believe. Rather, he provides a conduit to another world—a world hopefully still within reach— through the immediacy and directness of children. He invites us to reconnect with the imaginative and imaginary possibilities in their distant but once familiar land” (K. Chambers, “A Visit to Naraland,” Nothing Ever Happens, Cleveland, 2003, p. 28).

211 TAKASHI MURAKAMI b. 1963 Jellyfish Eyes—MAX & Shimon in the Strange Forest, 2004 Acrylic on canvas mounted on board. 59 x 59 in. (150 x 150 cm). Signed and dated “Takashi 04” on the reverse.

Estimate $400,000-600,000 Provenance Blum & Poe, Los Angeles

“We want to see the newest things. That is because we want to see the future, even if only momentarily. It is the moment in which, even if we don’t completely understand what we have glimpsed, we are nonetheless touched by it. This is what we have come to call art.” (T. Murakami, Superflat, Tokyo, 2000) Breaking the barriers of Japanese contemporary art, Takashi Murakami is best known to represent his culture by applying Japanese animation onto canvas. In a Warhol fashion, Murakami takes the everyday mundane and turns it into fine art. Similar to the “Pop” pioneer, Murakami displays his oeuvre of work through painting, sculpture, and printmaking as well. In Jellyfish eyes—Max & Shimon in the Strange Forest, Murakami demonstrates a Zen-like composition of evenly dispersed graphics surrounding the comiclike subject matter of the animated characters Max & Shimon. The colorful graphics based on a galaxy black background not only enhances the fantasyworld of Japanese animation but the viewer is embraced with the emotions of the subject matter. In its “Superflat” style, the artist becomes the creator of his fantasy work and at the same time, directly represents Japanese contemporary culture in an art form which can be comprehended by a mass audience around the globe.

(c) 2004 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

212 GAJIN FUJITA b. 1972 Tail Whip, 2007 Spray-paint, acrylic, felt-tip pen, gold and silver leaf and Mean Streak on six panels.

48 x 96 in. (121.9 x 243.8 cm) overall. Signed, titled and dated “Gajin Fujita Tail Whip 2007” on the reverse.

Estimate $30,000-40,000 Provenance L.A. Louver Gallery, Los Angeles

213 GAJIN FUJITA b. 1972 Gold State Warriors, 2002 Spray paint, acrylic, and gold and white gold leaf on 12 wood panels. 60 x 192 in. (152.4 x 487.7 cm) overall. Signed, titled and dated “Gajin Fujita Gold State Warriors 2002” on the reverse.

Estimate $50,000-70,000 Provenance L.A. Louver Gallery, Los Angeles Exhibited Los Angeles, L.A. Louver Gallery, Wicked Beauty, September 12 - October 12, 2002 Literature D. Pagel, “A Wild Ride Through Fujita’s Sex and Violence,” The Los Angeles

Times, September 20, 2002

214 RYAN MCGINNESS b. 1971 Sexes (Factum II), 2006 Acrylic on wooden panel. 48 x 48 in. (121.9 x 121.9 cm). Signed, titled and dated “’Sexes Factum II’ Ryan McGinness 2006” on the reverse.

Estimate $20,000-30,000 Provenance André Simoens Gallery, Knokke; Private collection, Brussels; Gagosian Gallery,

New York

215 MIKE KELLEY b. 1954 Garbage Drawing #37, 1988 Ink and acrylic on paper. 24 x 32 in. (61 x 81.3 cm). Titled “37” on the reverse.

Estimate $20,000-30,000 Provenance Metro Pictures, New York; Collection Fredrik Roos, Stockholm; Private Collection

216 DIRK SKREBER b. 1961 Untitled, 2000 Oil on canvas. 110 1/4 x 165 3/8 in. (280 x 420.1 cm).

Estimate $200,000-300,000 Provenance Private collection, Europe

Dirk Skreber’s Untitled belongs to a series of large scale disaster paintings, or rather in this case impending disaster paintings that the artist has been involved with for much of his career. Like many others from the series, Skreber portrays a seemingly ordinary image, one which might be seen in magazines or postcards, on an enormous scale. Here though the images of mundane subject matter are re-contextualized. As the artist once said in an interview, he is able to develop an enthusiasm for everything in which the masses take part without giving much thought to it. In a painting like Untitled, the original material is clearly recognizable as something familiar and most probably taken directly from the world of the media, but at the same time— the meaning or importance is relatively unclear.

217 FLORIAN MAIER-AICHEN b. 1973 Untitled, 2007 C-print. 43 1/4 x 31 in. (109.9 x 78.7 cm) image size. Signed, dated “Florian Maier-Aichen 2007” and numbered of six on the reverse. This work is from an edition of six.

Estimate $30,000-40,000 Provenance Blum & Poe, Los Angeles literature J. Tumler, “Outside the Frame: Florian Maier-Aichen,” Aperture, New York,

Summer 2007, p. 50 (illustrated) EXHIBITED Brussels, Baronian Francey, Florian Maier-Aichen, January 11 - March 1, 2008 (another

example exhibited)

218 FLORIAN MAIER-AICHEN b. 1973 Rügenlandschaft (Complaints landscape), 2007 C-print. 31 x 64 1/2 in. (78.7 x 163.8 cm). Signed, dated “Florian Maier-Aichen 2007” and numbered of six on the reverse. This work is from an edition of six.

Estimate $40,000-60,000 Provenance Blum & Poe, Los Angeles EXHIBITED Brussels, Baronian Francey, Florian Maier-Aichen, January 11 - March 1, 2008 (another

example exhibited)

219 WALTON FORD b. 1960 La Fontaine, 2006 Watercolor, gouache, graphite, and ink on paper. 60 x 120 in. (152.4 x 304.8 cm). Titled “La Fontaine” upper left; initialed “W.F.” lower right.

Estimate $250,000-350,000 PROVENANCE John Berggruen Gallery, San Francisco EXHIBITED San Francisco, John Berggruen Gallery, Walton Ford, June 1 – July 8, 2006; Brooklyn

Museum, Tigers of Wrath: Watercolors of Walton Ford, November 3, 2006 – January 28, 2007; West Palm Beach, Norton Museum of Art, Tigers of Wrath: Watercolors of Walton Ford, June 16 – August 26, 2007 literature B. Taschen, ed., Walton Ford: Pancha Tantra, Cologne, 2009, pp. 262-263 (illustrated)

Ford’s combination of historical fact, natural history and surreal compositions inhabited by the birds, primates, reptiles and big cats among countless others come together to create a new kind of painting. It’s not historical or even nature painting per se, but rather an examination of the exploitation of the environment and a satire on political oppression. From a very early age, Ford was extremely fascinated with the wildlife and nature exhibits at New York’s Museum of Natural History. So much so that early on he began a study of John James Audubon’s works. Building upon that body of work, Ford has, since the 1990s, been searching for a way to utilize his love of nature and this type of classical illustration to comment on current societal views and critiques on nature and the environment.

220 LEON KOSSOFF b. 1926 The Judgment of Solomon #1, 1999 Hand colored etching and drypoint. 22 1/4 x 30 in. (56.5 x 76.2 cm) paper size. Initialed and dated “LK 99� on the reverse. This work is from an edition of 20.

Estimate $20,000-30,000 Provenance L.A. Louver Gallery, Los Angeles

221 DAVID SMITH 1906 - 1965 Untitled, 1962 Spray enamel on paper. 18 x 22 5/8 in. (45.7 x 57.5 cm). Stamped with the artist’s estate seal and numbered 73.62.204 on the reverse.

Estimate $60,000-80,000 Provenance Estate of the artist, New York; Gagosian Gallery, New York Exhibited New York, Gagosian Gallery, David Smith Sprays, January 17 - February 23, 2008

222 DIRK SKREBER b. 1961 Untitled (Compound), 1999 Oil and weather stripping tape on canvas. 63 1/4 x 157 1/2 in. (160.7 x 400.1 cm).

Estimate $120,000-180,000 Provenance Blum & Poe, Los Angeles; Private collection, Los Angeles Exhibited Los Angeles, Blum & Poe, Dirk Skreber: Painspotting, November 21 - December 20, 2003 Literature Cream 3 : Contemporary Art in Culture : 10 Curators, 100 Contemporary Artists, 10

Source Artists, London, 2003, p. 362 (illustrated)

“Skreber works with this manipulative potential of paintings. Their stories give him an occasion to trigger an interest in the picture per se: ‘the idea is to find a point from which the story can take off from’ … Skreber is ultimately only interested in reasserting the status of painting. It is amazing to see what stages the artist has passed through in his painting until now. At the very moment one believes to have found the final point of his painting Skreber once again takes off … Skreber derives his motifs from his (and our) everyday life, processing these ‘views’ that have become ingrained in collective memory through the pervasive influence of the mass media but at the same time are pale and without a fixed location. These images have lost some of their impact somewhere along the way through the various information channels of our visual culture. In the process of painting, the artist reinvests them with their incredible fascinating quality and dramatic thrust.” (M. Lübbke-Tidow on Dirk Skreber, reproduced at http://www.engholmengelhorn.com)

223 ED RUSCHA b. 1937 Busted Glass #8, 2007 Acrylic on museum board paper. 12 1/4 x 9 1/4 in. (31.1 x 23.5 cm). Signed and dated “Ed Ruscha 2007” lower right. This work is registered under the artist’s studio number D.2007.82.

Estimate $30,000-50,000 Provenance Gagosian Gallery, London

224 ED RUSCHA b. 1937 Busted Glass #10, 2007 Acrylic on museum board paper. 12 1/8 x 9 1/4 in. (30.8 x 23.5 cm). Signed and dated “Ed Ruscha 2007” lower right. This work is registered under the artist’s studio number D.2007.84.

Estimate $30,000-50,000 Provenance Gagosian Gallery, London

225 DENNIS HOPPER b. 1936 Ed Ruscha, 1964 Gelatin silver print. 15 3/4 x 24 in. (40 x 61 cm). Signed, dated “D. Hopper 1964” and numbered on the reverse. This work is an artist’s proof from an edition of 15.

Estimate $7,000-9,000 Provenance ACE Gallery, Los Angeles Exhibited New York, FLAG Art Foundation, WALL ROCKETS: Contemporary Artists and

Ed Ruscha, October 3, 2008 - April 18, 2009 (another example exhibited) Literature A. Schwartz, Ed Ruscha’s Los Angeles, Cambridge, 2010 (illustrated)

226 DENNIS HOPPER b. 1936 Double Standards, 1961 Gelatin silver print. 30 x 44 1/2 in. (76.2 x 113 cm) paper size. Signed, dated “D. Hopper 1961” and numbered of five on the reverse. This work is from an edition of five.

Estimate $20,000-30,000 Provenance ACE Gallery, Los Angeles Literature D. Hopper, “Standard Bullshit,” Parkett, Zurich, 1988, No. 18, p. 49; K. Brougher,

Ed Ruscha, Zurich, p. 159 (illustrated); M. Francis, Les Années Pop 1956-1968, Paris, 2001, pl. 62.83

227 ED RUSCHA b. 1937 10 works from Twentysix Gasoline Stations , 1962/1989 10 gelatin silver prints laid down on board. Each 19 1/2 x 23 in. (49.5 x 58.4 cm) paper size.

Each stamped with individual location and numbered of 25 on the reverse. This work is from an edition of 25.

Estimate $80,000-120,000 Provenance Gagosian Gallery, New York Exhibited San Francisco Museum of Modern Art, The Works of Edward Ruscha, 1982 (another

example exhibited); Paris, Centre Georges Pompidou, Edward Ruscha, 1990 (another example exhibited); Montreal Museum of Fine Arts, The “POP ART” Exhibition, October 1992 - January 1993 (another example exhibited); Literature P. Plagens, “Ed Ruscha, Seriously,” The Works of Edward Ruscha, San Francisco,

1982, p. 33 (illustrated); D. Cameron, “Love in Ruins,” Edward Ruscha, Paris, 1990, p. 16 (illustrated); Edward Ruscha Editions 1959-1999, Catalogue Raisonné, vol. 1 and 2, Minneapolis, 1999, pp. 53-55, nos. 187-196 (illustrated)

In the documentary Reyner Banham Loves Los Angeles, made for BBC

Although we know that gas stations don’t look the way Ruscha paints them,

television in 1972, the eponymous Peter Reyner Banham, then professor

these dramatic images, with their extreme diagonal perspective and intense

of architecture at University College London, drives around LA, boyishly

colors, capture the essence of what we would like all gas stations to be. They

appreciating the things that ‘Europeans’ supposedly find so vacuous

are Platonic forms. Elsewhere, he has given mountains and sunsets the same

and vulgar about American west coast culture: freeways, custom cars,

treatment. Mary Voelz Chandler quotes him as saying, ‘I don’t paint horses

surfboards, and so on.

and pioneers. I paint the idea of horses and the idea of pioneers. I’m the product of communications and propaganda.’

At one point he visits Tiny Naylor’s Drive-In on Sunset Boulevard, where he asks Ed Ruscha and Mike Salisbury (then art editor of West magazine) what

Is there anything essentially or uniquely Californian or LA about all this?

architecture a visitor should go to see in Los Angeles. Ruscha (looking very

Ruscha has certainly resisted his status as the archetypal west-coast artist.

cool in a Peter Fonda, Easy Rider kind of way) says, ‘Gas stations.’

‘Whatever comes out of my work is based on my exposure to the damned universe,’ he once said.

Banham asks what are the virtues of gas stations and Ruscha says, ‘The fact that they can just put ’em together in about three days.’ As the conversation

Ruscha’s attitude is understandable. Like any self-respecting artist he wants

continues, there’s no sense that Ruscha’s telling people to look at gas

to think of himself as sui generis, not as a representative of any single style or

stations as a provocation, as a deadpan Warholian put-on. He is clearly

period. I think he probably protests too much. Much of his art uses distinctly

interested in the look and the depiction, indeed the very idea of gas stations,

local imagery; the Hollywood sign, buildings on the Sunset Strip, the Los

which is why he paints and photographs them so eagerly.

Angeles County Museum. The fact that these images have a more than local significance is of course what makes them so resonant. I think it’s also fair to

It’s also an inevitable consequence of making art out of something as

say that Ruscha’s selection of specifically west coast themes is the very thing

impermanent as a gas station that the depiction outlasts the gas station

that drew people to his work. But also, having absorbed Ruscha’s Platonic

itself. Ruscha’s artist’s book Twentysix Gasoline Stations (1963), consisting of

versions of gas stations, parking lots and so on, we look at the real thing with

26 blank, artless snapshots of gas stations along Route 66, is close to 50 years

brand new eyes. There are days when LA looks like an installation designed

old. His oil painting Standard Station, Amarillo, Texas and the screenprints

by Ed Ruscha.

derived from it are only a few years younger, though their imagery is anything but blank and artless.

By Geoff Nicholson (excerpt from a longer essay)

228 DENNIS HOPPER b. 1963 Bruce Conner’s Physical Services, 1964 Gelatin silver print. 16 x 24 in. (40.6 x 61 cm). Signed, dated “Dennis Hopper 1964” and numbered of 15 on the reverse. This work is from an edition of 15.

Estimate $7,000-9,000 Provenance ACE Gallery, Los Angeles

229 DENNIS HOPPER b. 1963 Andy Warhol and Members of the Factory, 1964 Gelatin silver print. 16 x 24 in. (40.6 x 61 cm). Signed, dated “Dennis Hopper 1964� and numbered of 15 on the reverse. This work is from an edition of 15.

Estimate $7,000-9,000 Provenance ACE Gallery, Los Angeles

230 DENNIS HOPPER b. 1936 Dennis Hopper, 1962 Gelatin silver print. 15 3/4 x 24 in. (40 x 61 cm). Signed, dated “Dennis Hopper 1962� and numbered of 15 on the reverse. This work is from an edition of 15.

Estimate $7,000-9,000 Provenance ACE Gallery, Los Angeles

231 DENNIS HOPPER b. 1936 John Wayne and Dean Martin, 1962 Gelatin silver print. 16 x 24 in. (40.6 x 61 cm). Signed, dated “D. Hopper 1962� and numbered of 15 on the reverse. This work is from an edition of 15.

Estimate $7,000-9,000 Provenance ACE Gallery, Los Angeles

232 Michael Eastman b. 1947 Horse #115, 2000 Inkjet print on paper. 24 1/4 x 44 in. (61.6 x 111.8 cm). Signed, titled “Michael Eastman Horse #115” and numbered of 25 along lower edge; blindstamped “ME 00” in margin. This work is from an edition of 25.

Estimate $5,000-7,000 Provenance David Floria Gallery, Aspen

233 WALTON FORD b. 1960 Dying Words, 2005 Six copper plates, hardground etching, aquatint, spit-bite aquatint, drypoint, scraping and burnishing on paper. 14 x 18 in. (35.6 x 45.7 cm) image size. Signed and dated “Walton Ford 05” lower right; titled “Dying Words” upper left. This work is from an edition of 75.

Estimate $4,000-6,000 Provenance John Berggruen Gallery, San Francisco Exhibited Des Moines Art Center, Prints & People: Celebrating Twenty-five Years of Print Club,

May 10 - September 23, 2007 (another example exhibited); Lincoln (Massachusetts), DeCordova Sculpture Park, Going Ape: Confronting Animals in Contemporary Art, September 2, 2006 January 7, 2007 (another example exhibited); New York, Paul Kasmin Gallery, Walton Ford, May 8, 2008 - July 3, 2008 (another example exhibited)

Proceeds of the sale of this lot to Benefit Disaster Relief for the Victims of the Samoan Tsunami

234 Jim Lambie b. 1964 Bananarama, 2009 Record sleeves, silver foil, adhesive, duct tape and collaged photographs. 49 3/8 x 49 3/8 in.

(125.4 x 125.4 cm). Signed, titled and dated “Jim Lambie Bananarama 2009� on the reverse.

Estimate $25,000-35,000 Provenance Gifted by the artist to the present owner

235 Jim Hodges b. 1957 Untitled, 1995 Ink, ink wash and decal on paper. 11 1/4 x 9 3/8 in. (28.6 x 23.8 cm). Signed and dated “Jim Hodges 2-10-95� on a label adhered to the reverse of the backing board.

Estimate $8,000-12,000 Provenance CRG Art Incorporated, New York

236 Glenn Ligon b. 1960 I Live On My Shadow #1, 2007 Oilstick, coal dust and gesso on paper. 12 x 9 in. (30.5 x 22.9 cm). Signed, titled and dated “Glenn Ligon I Live On My Shadow #1 2007� on the reverse.

Estimate $15,000-20,000 Provenance Regen Projects, Los Angeles

237 David Ratcliff b. 1970 Puppet Show, 2005 Acrylic on canvas. 72 x 96 in. (182.9 x 243.8 cm). Signed, titled and dated “David Ratcliff, Puppet Show, October 2005” on the overlap.

Estimate $12,000-18,000 Provenance team (gallery inc.), New York

238 Alexander Ross b. 1960 Untitled, 1998 Oil on canvas. 32 x 48 in. (81.3 x 121.9 cm). Signed and dated “Ross 98� on the reverse.

Estimate $15,000-20,000 Provenance Stephen Friedman Gallery, London

239 Ivan Navarro b. 1972 Black Hole of Light, 2004 Glass, fluorescent light bulbs, mirrors, and electrical wiring in wood frame. 5 1/2 x 43 1/8 x 43 3/8 in. (14 x 109.5 x 110.2 cm).

Estimate $15,000-20,000 Provenance Roebling Hall, New York

240 Anselm Reyle b. 1970 Untitled, 2007 Silver PVC foil on canvas in Plexiglas box. 56 3/8 x 47 1/2 x 7 1/8 in. (143.2 x 120.7 x 18.1 cm).

Estimate $60,000-80,000 Provenance Galerie Almine Rech, Paris

241 Marylin Minter b. 1948 Twins, 2006 C-print. 50 x 36 in. (127 x 91.4 cm). This work is from an edition of five plus two artist’s proofs.

Estimate $25,000-35,000 Provenance Private collection, California

242 Elmgreen & Dragset b. 1961 and 1968 Credit Crunch. Everyone is Broke, 2009 Gilded white marble. 53 x 47 1/8 x 1 in. (134.6 x 119.7 x 2.5 cm). This work is from an edition of three.

Estimate $30,000-40,000 Provenance Galleria Massimo de Carlo, Milan Literature K. Donoghue, “Wish List- Massimiliano Gioni”, Whitewall Magazine (online

content), March 8, 2009 (illustrated); B. Davis, “The Twitter Esthetic”, artnet Magazine (online content), March 13, 2009 (illustrated); O. Bennett, “Jay Jopling: the man who became a pain in the arts”, The Sunday Times, March 23, 2009

243 Yayoi Kusama b. 1929 Cloudy Evening, 1978 Spray paint on board. 10 5/8 x 9 3/8 in. (27 x 23.8 cm). Signed and dated “Yayoi Kusama 1978� lower right and again on the reverse.

Estimate $15,000-20,000 Provenance Robert Miller Gallery, New York

244 Bosco Sodi b. 1970 Organic Pink, 2009 Sawdust, glue and pure organic pigment on canvas. 73 1/2 x 74 in. (186.7 x 188 cm). Signed twice and dated “Bosco NY-09� on the reverse.

Estimate $15,000-20,000 Provenance Acquired directly from the artist

245 Keith Tyson b. 1969 Nature Painting, 2006 24 x 24 in. (61 x 61 cm). Signed, titled and dated “K. Tyson Nature Painting 2006� on the reverse.

Estimate $40,000-60,000 Provenance Haunch of Venison, London

246 Jenny Holzer b. 1950 Die Fast and Quiet… (from The Survival Series), 1983-1985 Cast marble. 17 1/4 x 23 x 15 3/4 in. (43.8 x 58.4 x 40 cm). Inscribed “JH 969” and numbered of 10 on the underside. This work is from an edition of 10.

Estimate $60,000-80,000 Provenance Private collection, Cologne

249

247 no lot

248 no lot

249 Jenny Holzer b. 1950 Jesse 2, 2005 Polaroid. 33 x 22 in. (83.8 x 55.9 cm). Signed “Jenny Holzer” lower right. This work is unique.

Estimate $7,000-9,000 Provenance 2005 Free Arts NYC Benefit Auction, New York

250

250 Rirkrit Tiravanija b. 1961 Self Portrait, circa 1981 Drawing on black and white photograph. 10 x 8 in. (25.4 x 20.3 cm). Signed “Rirkrit (John) Tiravanija” on the reverse.

Estimate $6,000-8,000 Provenance Gifted by the artist to the present owner

251 Sarah Lucas b. 1962 Black & White Bunny #3, 1997 Black and white photograph. 48 x 35 7/8 in. (121.9 x 91.1 cm). This work is from an edition of three plus one artist’s proof.

Estimate $18,000-25,000 Provenance Barbara Gladstone Gallery, New York Exhibited London, Sadie Coles HQ, Bunny Gets Snookered, May 12 - June 20, 1997 (another

example exhibited) Literature Y. Dziewior, B. Ruf., eds., Sarah Lucas, Ostfildern-Ruit, 2005, pp. 49, 87 and 144

(illustrated)

252

253

252 Jeremy Blake b. 1971 Bungalow 8: Façade, 1998 Formica laminated digital c-print. 36 x 84 in. (91.4 x 213.4 cm). Signed “Jeremy Blake” on a label adhered to the reverse. This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $10,000-15,000 Provenance Feigen Contemporary, New York

253 Walead Beshty b. 1976 The Phenomenology of Shopping, 2001 - 2003 Color photograph face mounted to Plexiglas. 67 3/4 x 47 3/4 in. (172.1 x 121.3 cm). This work is from an edition of four.

Estimate $7,000-9,000 Provenance Wallspace, New York

254 Louise Lawler b. 1947 You Could Hear a Rat Piss on Cotton—Charlie Parker, 1987 Cibachrome print. 26 x 39 in. (66 x 99.1 cm). This work is from an edition of five.

Estimate $20,000-25,000 Provenance Metro Pictures, New York

255 Ruud van Empel b. 1958 World #5, 2005 C-print mounted to aluminum with Plexiglas face. 40 3/8 x 59 in. (102.6 x 149.9 cm). Signed, titled and dated “Ruud van Empel World #5 2005” and numbered of nine on the reverse.

This work is from an edition of nine.

Estimate $40,000-60,000 Provenance TZR Galerie Kai Brückner, Düsseldorf Literature F. Busdraghi, “The Fantastic World of Ruud van Empel,” Camera Obscura (online

content), December 2007 (illustrated)

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

Estimate $40,000-60,000 Provenance Phyllis Kind Gallery, Chicago Exhibited Paris, Musée National d’art Moderne, Centre Georges Pompidou, December 13,

1989 - February 11, 1990; The Dallas Museum of Art, May 13 - July 15, 1990; Chicago, The Art Institute of the Chicago, Ed Paschke: Paintings, October 10, 1990 - January 2, 1991 Literature “Ed Paschke,” ArtForum International XXVII, no. 2; October 1988, (illustrated);

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

257 Douglas Gordon b. 1966 Blind Liz Taylor (Mirror), 2004 Photograph with mirrored cutouts in the artist’s frame. 25 5/8 x 24 in. (65.3 x 61 cm). Signed and dated “Douglas Gordon 2004” on a label adhered to the reverse. This work is unique.

Estimate $20,000-30,000 Provenance Yvon Lambert, Paris

258 Matthew Barney b. 1967 OTTOshaft (manual) E , 1993 Gelatin silver print in the artist’s self-lubricating plastic frame. 12 3/4 x 11 3/4 x 1 1/4 in.

(32.4 x 29.8 x 3.2 cm). This work is from an edition of six.

Estimate $25,000-35,000 Provenance Barbara Gladstone Gallery, New York

259 Matthew Barney b. 1967 Cremaster 5: The Menagerie of the Queen of Chain, 1996 C-print in the artist’s self-lubricating acrylic frame. 27 1/4 x 23 1/4 in. (69.2 x 59.1 cm). This work is from an edition of 30 plus six artist’s proofs.

Estimate $10,000-15,000 Provenance Barbara Gladstone Gallery, New York Literature M. Barney, Cremaster 5, New York, 1997, n.p. (detail illustrated); N. Spector, The

Cremaster Cycle, New York, 2002, pp. 330 and 478 (illustrated); S. Cerigo, artloversnewyork (online content), November 4, 2005 (illustrated)

260 Matthew Barney b. 1967 Cremaster 2: The World Exposition, 1999 C-print in the artist’s self-lubricating acrylic frame. 43 x 43 1/4 in. (109.2 x 109.9 cm). Signed and dated “Matthew Barney ‘99” on the reverse. This work is from an edition of six plus one artist’s proof.

Estimate $25,000-35,000 Provenance Barbara Gladstone Gallery, New York Literature N. Spector, Matthew Barney: The Cremaster Cycle, New York, 2003, p. 511

261

262

261 Gregory Crewdson b. 1962

262 Gregory Crewdson b. 1962

Untitled, 1998

Untitled, 1996

Laser direct c-print. 48 1/4 x 60 in. (122.6 x 152.4 cm). Signed “Gregory Crewdson� on a label

Gelatin silver print. 20 x 24 in. (50.8 x 61 cm). This work is from an edition of six.

adhered to the reverse. This work is from an edition of 10.

Estimate $6,000-8,000

Estimate $15,000-20,000 Provenance Luhring Augustine, New York Provenance Luhring Augustine, New York

263 Gregory Crewdson b. 1962 Untitled, 1999 Digital c-print. 48 x 60 in. (121.9 x 152.4 cm). Signed “Gregory Crewdson” on a label adhered to the reverse. This work is an artist’s proof from an edition of 10 plus two artist’s proofs.

Estimate $18,000-25,000 Provenance Luhring Augustine, New York Literature S. Berg, Gregory Crewdson 1985-2005, 2005, Ostfildern-Ruit, pl. 50 (illustrated)

(c) 2005 Chinatsu Ban/Kaikai Kiki Co., Ltd. All Rights Reserved.

264 Chinatsu Ban b. 1973 To You, Far Away, 2005 Acrylic on canvas. 102 1/4 x 76 1/4 in. (259 x 194 cm). Signed and dated “Chinatsu Ban 2005” on the reverse.

Estimate $15,000-20,000 Provenance Marianne Boesky Gallery, New York

(c) 2005 Chiho Aoshima/Kaikai Kiki Co., Ltd. All Rights Reserved.

265 Chiho Aoshima b. 1974 City Glow, 2005 Five-channel DVD installation. Duration: seven minutes. Signed, dated “Chiho Aoshima 05� and numbered of five on each DVD. This work is from an edition of five and is a collaboration with animation designer Bruce Ferguson.

Estimate $40,000-60,000 Provenance Blum & Poe, Los Angeles Exhibited Houston, The Museum of Fine Arts, Chiho Aoshima: City Glow, January 23 -

December 30, 2007 (another example exhibited) (DVD box)

(Actual size)

266 Damien Hirst b. 1965 1.- Bromoadamantane, 1996 Gloss household paint on canvas. 4 1/2 x 4 in. (11.4 x 10.2 cm). Titled “1.- Bromoadamantane� on the reverse.

Estimate $40,000-60,000 Provenance White Cube, London Literature D. Hirst, I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One,

Always, Forever, Now, London, 2006 (reduced edition), p. 242 (illustrated)

267 Damien Hirst b. 1965 Happy Head, 2007 Gloss household paint on resin skull with metal hardware. 6 1/2 x 5 3/8 x 8 1/4 in. (16.5 x 13.7 x 21 cm). Signed “Damien Hirst� on the reverse. This work is from a series of 20 unique works.

Estimate $50,000-70,000 Provenance Other Criteria, London

268 Tal R b. 1967 “Alis” No. 9, 2001 Graphite, oil and metallic paint on paper. 22 1/4 x 29 1/4 in. (56.5 x 74.3 cm). Signed, titled and dated “Tal R ‘Alis’ No. 9 2001” upper right.

Estimate $10,000-15,000 Provenance Contemporary Fine Arts, Berlin; Modern Art, London

269 Nicola Tyson b. 1960 Untitled #1, 1997 Oil on linen. 72 x 66 in. (182.9 x 167.6 cm). Signed, titled and dated “N. Tyson Untitled #1, 1997 97� on the overlap.

Estimate $25,000-35,000 Provenance Friedrich Petzel Gallery, New York Exhibited New York, Basilico Fine Arts, Project Painting, September - October, 1997

270 Josh Smith b. 1976 Untitled , 2006 Oil on canvas. 60 x 48 in. (152.4 x 121.9 cm). Signed and dated “Josh Smith 2006” twice on the overlap.

Estimate $12,000-18,000 Provenance Galerie Catherine Bastide, Brussels Exhibited Kunsthalle Zürich, Wade Guyton, Seth Price, Josh Smith, Kelley Walker, April 8 - May

28, 2006

271 Josh Smith b. 1976 Untitled, 2007 Oil on canvas. 60 x 48 in. (152.4 x 121.9 cm). Signed and dated “Josh Smith 2007� on the reverse.

Estimate $15,000-20,000 Provenance Luhring Augustine, New York

272 Paul McCarthy b. 1945 Untitled, 1992 Ink and felt-tip pen on paper. 23 3/4 x 19 in. (60.3 x 48.3 cm). Signed and dated “Paul McCarthy 92� on the reverse.

Estimate $18,000-22,000 Provenance

Galerie Krinzinger, Vienna

273 Richard Prince b. 1949 Untitled, 1993 - 1995 Ink, graphite, colored pencil, felt-tip pen, acrylic, charcoal and paper collage on paper.

30 1/8 x 22 1/4 in. (76.5 x 56.5 cm). Initialed and dated “RP 1993” lower right; signed and dated “R Prince 1995 Feb 11, 1995” lower center.

Estimate $20,000-30,000 Provenance Barbara Gladstone Gallery, New York

274 Wim Delvoye b. 1965 Marble Floor #64, 1999 Cibachrome print. 43 3/8 x 94 1/4 in. (110.2 x 239.4 cm). Signed, titled and dated “Wim Delvoye Marble Floor #64 1999” on the reverse. This work is unique.

Estimate $12,000-18,000 Provenance Sperone Westwater, New York Exhibited New York, Sperone Westwater, Wim Delvoye: Marble Floors, March 7 - April 27, 2002 Literature D. Cameron, ed., Wim Delvoye Cloaca—New & Improved, Waregem, 2001, p. 97

(illustrated)

275 Wim Delvoye b. 1965 Kiss 4, 2000 Cibachrome print. 49 1/4 x 39 3/8 in. (125.1 x 100 cm). Signed, titled, dated “Wim Delvoye Kiss 4 2000� and numbered of six on the reverse. This work is from an edition of six.

Estimate $12,000-18,000 Provenance Sperone Westwater, New York Exhibited New York, Sperone Westwater, Wim Delvoye: Gothic Works, September 13 - October

26, 2002

276 Hiroshi Sugimoto b. 1948 Napoleon Bonaparte, 1999 Gelatin silver print. 58 1/2 x 47 in. (148.6 x 119.4 cm). Signed “H Sugimoto� on a label adhered to the reverse. This work is from an edition of five.

Estimate $50,000-70,000 Provenance Acquired directly from the artist; Private Collection

277 Hiroshi Sugimoto b. 1948 Salvador Dalí, 1999 Gelatin silver print. 58 1/2 x 47 in. (148.6 x 119.4 cm). Signed “H Sugimoto” on a label adhered to the reverse. This work is from an edition of five.

Estimate $50,000-70,000 Provenance Acquired directly from the artist; Private Collection Literature T. Kellein, N. Spector, eds., Sugimoto: Portraits, 2003, p. 39

278 Richard Prince b. 1949 Untitled (gold and silver watches), 1979 Diptych: ektachrome photographs. 20 x 24 in. (50.8 x 61 cm) each paper size. Gold: signed, dated “Richard Prince 1979” and numbered of 10 on the reverse; silver: dated “1979” and numbered of 10 on a label adhered to the reverse of the backing board. This work is from an edition of 10 plus one artist’s proof.

Estimate $70,000-90,000 Provenance Barbara Gladstone Gallery, New York Literature L. Phillips, Richard Prince, New York, 1992, p. 3 (detail illustrated)

279

280

279 Richard Prince b. 1949

280 Richard Prince b. 1949

Untitled (Cowboy) from Cowboys and Girlfriends, 1992

Untitled (Publicity), 1999 - 2000

Ektacolor print. 20 x 24 in. (50.8 x 61 cm) paper size. Initialed “RP” on the reverse. This work

Ink on publicity photographs. 7 7/8 x 19 3/4 in. (20 x 50.2 cm) overall. Signed “Prince”

is from an edition of 26 numbered letter A - Z.

lower right. This work is accompanied by certificates of authenticity for each publicity

Estimate $10,000-15,000

photograph adhered to the reverse of the backing board.

Estimate $12,000-18,000 Provenance Jack Hanley Gallery, San Francisco; Private collection, Texas Literature R. Prince, Richard Prince Adult Comedy Action Drama, New York, 1995, p. 231 (illustrated)

Provenance Barbara Gladstone Gallery, New York; Jablonka Galerie, Cologne

281 Richard Prince b. 1949 Untitled (from Sunsets), 1981 Ektacolor print. 30 x 48 in. (76.2 x 121.9 cm) paper size. Signed and dated “Richard Prince 1981” and numbered of five on the reverse of the backing board. This work is from an edition of five.

Estimate $30,000-40,000 Provenance Barbara Gladstone Gallery, New York Exhibited New York, Whitney Museum of American Art, May 1 - July 12, 1992; Düsseldorf,

Kunstverein, December 4 - January 20, 1993; San Francisco Museum of Modern Art, April 29 July 25, 1993; Rotterdam, Museum Boymans-van Beuningen, Richard Prince, October 3 - November 27, 1993 Literature J. G. Ballard and R. Prince, Spiritual America, Valencia, 1989, p. 83 (illustrated);

L. Phillips, Richard Prince, New York, 1992, pp. 56-57 (illustrated)

282 Robert Longo b. 1953 Untitled from Men In The Cities (Janet), 1981/1998 C-print. 43 7/8 x 30 3/4 in. (111.4 x 78.1 cm). This work is from an edition of 10.

Estimate $15,000-20,000 Provenance Metro Pictures, New York

283 Robert Longo b. 1953 Untitled from Men in The Cities (Barness), 1981/1998 C-print. 44 x 30 3/4 in. (111.8 x 78.1 cm). This work is from an edition of 10.

Estimate $15,000-20,000 Provenance Metro Pictures, New York

284 Chris Burden b. 1946 Gold Bullets, 2003 10 gold bullets in two wood and Plexiglas vitrines. Each vitrine: 6 1/8 x 10 1/8 x 5 7/8 in.

(15.6 x 25.7 x 14.9 cm). Signed, titled, dated “Chris Burden GOLD BULLETS 2003� and numbered of 10 on the underside of each vitrine. This work is from an edition of 10.

Estimate $15,000-20,000 Provenance Gagosian Gallery, Beverly Hills Exhibited Beverly Hills, Gagosian Gallery, Chris Burden Bridgets and Bullets, July 10 - September

13, 2003 (another example exhibited); The Cleveland Museum of Art, Needful Things: Recent Multiples, September 19, 2004 - January 2, 2005 (another example exhibited); Miami, The Rubell Family Collection, Red Eye: L.A. Artists from the Rubell Family Collection, December 4, 2006 - May 31, 2007 (another example exhibited)

285 Chris Burden b. 1946 Victoria Falls Bridge, 2003 Stainless steel reproduction Mysto Type I Erector parts and wood base. 25 3/4 x 78 x 12 in.

(65.4 x 198.1 x 30.5 cm). This work is from an edition of six plus three artist’s proofs.

Estimate $40,000-60,000 Provenance Gagosian Gallery, New York

286 Terence Koh b. 1977 Untitled 12 (3 Stacks of Towels and a White Horse), 2003 Sculpture comprised of three stacks of white towels (five towels per stack), plastic horse, synthetic hair, acrylic, adhesive and flat household paint on wooden shelf.

11 x 43 1/4 x 10 1/4 in. (27.9 x 109.9 x 26 cm). This work is from an edition of three plus two artist’s proofs.

Estimate $30,000-50,000 Provenance Peres Projects, Berlin

287 Terence Koh b. 1977 The Voyage of Lady Midnight Snowdrops through Double Death Star (The Comet I Destroyed Again and Again, II), 2005 Acrylic, porcelain, mirror, mixed media, lacquered MDF and black acrylic base with a clear acrylic vitrine sized to fit the work. 23 3/4 x 19 1/4 x 46 7/8 in. (60.3 x 48.9 x 119.1 cm) as installed. Signed and dated “Koh ‘05” on the underside of mirror.

Estimate $35,000-45,000 Provenance Peres Projects, Los Angeles Exhibited Los Angeles, Peres Projects, Terence Koh: The Voyage of Lady Midnight Snowdrops

through Double Death Star, March 26, 2005 Literature M. N. Holte, “The Voyage of Lady Midnight Snowdrops through Double Death

Star,” Frieze, Issue 92, June - August 2005

288 Olafur Eliasson b. 1967 Holo lamp, 2005 Stainless steel, holo lens, mirror and light. 78 1/4 x 59 x 31 in. (198.8 x 149.9 x 78.7 cm). This work is from an edition of 10 and is accompanied by a certificate of authenticity signed by the artist.

Estimate $70,000-90,000 Provenance neugerriemschneider, Berlin Exhibited Pasadena, The Jamie Residence, Olafur Eliasson, April 21 - May 31, 2005 (another

example exhibited); Stockholm, Magasin 3 Stockholm Konsthall, Here Comes the Sun, August 27 - December 4, 2005 (another example exhibited); Aosta (Italy), Forte di Bard, In Cima alle Stelle.

L’Universo tra Arte, Archeologica e Scienza, April 4 - September 2, 2007 (another example exhibited) Literature D. Birnbaum, R. Martinez, J. Sans and S. Shapira, eds., Here Comes the Sun,

Stockholm, 2005, p. 8 (illustrated); O. Eliasson, ed., Your Engagement Has Consequences: On the Relativity of Your Reality, Baden, 2006, p. 182 (illustrated); In Cima alle Stelle. L’Universo tra Arte, Archeologica e Scienza, Silvana 2007, pp. 250-251 (illustrated); O. Eliasson, ed., Studio Olafur Eliasson: An Encyclopedia, Cologne, 2008, p. 95 (illustrated)

“My primary interest comes from investigations into how the eye functions and how one can use color to explore the difference is what wee see. Our experience of color, light and darkness is of course not a purely biological matter – it also depends on how our vision has been cultivated… That discrepancy is interesting because it contests the idea of rationalized vision that’s sill predominant today; a way of seeing that has ruled out the notion of difference.” (Olafur Eliasson taken from an interview with Philip Ursprung in O. Eliasson, ed., Studio Olafur Eliasson: An Encyclopedia, Cologne, 2008, p. 93) In the present lot, Holo Lamp, a circular mirror reflects light from a bulb onto a vertically mounted holographic glass disc. This divides the light into colors of the spectral range. Viewed at eye level, the glass disc is blue; when viewed from above or below, its color changes to others in the spectrum.

289 Olafur Eliasson b. 1967 Garden Mirror, 2005 Sculpture comprised of steel, mirror and glass and paint. 47 1/8 x 49 x 3 3/8 in. (119.7 x 124.5 x 8.6 cm). This work is from an edition of nine and is accompanied by a certificate of authenticity signed by the artist.

Estimate $35,000-45,000 Provenance i8 gallery, ReykjavĂ­k; Private Collection

290 Robert Longo b. 1953 Study for Black Flag 2C, 1990 Tempera, gesso, silkscreen ink and charcoal on paper. 28 7/8 x 41 1/8 in. (73.3 x 104.5 cm).

Titled “Study for Black Flag 2C” lower left; signed and dated “Robert Longo 90” lower right.

Estimate $30,000-40,000 Provenance Baronian Francey, Brussels

291 Mathew Cerletty b. 1980 Untitled, 2006 Oil on canvas. 48 x 38 in. (121.9 x 96.5 cm). Signed and dated “Mathew Cerletty 06� on the reverse.

Estimate $7,000-9,000 Provenance Rivington Arms, New York

292 Mathew Cerletty b. 1980 Untitled, 2005 Oil on linen. 74 x 72 in. (188 x 182.9 cm). Signed and dated “Cerletty 2005� on the reverse.

Estimate $7,000-9,000 Provenance Rivington Arms, New York

293

294

293 Cheyney Thompson b. 1975

294 Cheyney Thompson b. 1975

1998, 2004

1998, 2004

Acrylic on linen. 24 x 24 in. (61 x 61 cm). Signed, titled and dated “Cheyney Thompson ‘1998’

Acrylic on linen. 24 x 26 in. (61 x 66 cm). Signed, titled and dated “Cheyney Thompson ‘1998’

2004” on the overlap.

2004” on the overlap.

Estimate $4,000-6,000

Estimate $4,000-6,000

Provenance Andrew Kreps Gallery, New York

Provenance Andrew Kreps Gallery, New York

295 Hiroshi Sugito b. 1970 The Battle, 1996 Oil on canvas. 24 x 28 1/2 in. (61 x 72.4 cm). Signed, titled and dated “H. Sugito ‘The Battle’ 1996” on the overlap.

Estimate $18,000-25,000 Provenance Marc Foxx, Los Angeles

296

297

296 Jim Lambie b. 1964

297 Pae White b. 1963

Flowers of Romance, 2006

Web Sampler, 2000

Duct tape, t-shirt and staples on medium-density fiberboard. 30 x 65 1/2 in. (76.2 x 166.4 cm).

Glitter and adhesive on gold paper. 30 5/8 x 20 1/2 in. (77.8 x 52.1 cm).

Estimate $8,000-12,000

Estimate $6,000-8,000

Provenance Mizuma Art Gallery, Tokyo

Provenance neugerriemschneider, Berlin

Exhibited Tokyo, Mizuma Art Gallery, Jim Lambie P.I.L., April 12 – May 13, 2006

298 Karen Kilimnik b. 1955 Fairy poppy, 1999-2000 Oil and glitter on canvas. 9 7/8 x 8 in. (25.1 x 20.3 cm). Signed, titled and dated “Karen Kilimnik fairy poppy July 19 ‘99 Feb 7 2000” on the reverse.

Estimate $30,000-40,000 Provenance 303 Gallery, New York

299 Udomsak Krisanamis b. 1966 Love Forever, 1999 Acrylic and noodle on canvas. 72 x 48 in. (182.9 x 121.9 cm).

Estimate $15,000-20,000 Provenance Gavin Brown’s enterprise, New York Exhibited 11th Biennale of Sydney, Every Day, September 18 - November 8, 1998

300 Michael Raedecker b. 1963 Thirteen Feelings, 2002 Acrylic, thread and wool on canvas. 39 3/8 x 27 1/2 in. (100 x 69.9 cm). Signed, titled and dated “Michael Raedecker 2002 thirteen feelings� on the overlap.

Estimate $15,000-20,000 Provenance Andrea Rosen Gallery, New York Exhibited Basel, Museum fur Gegenwarstkunst, February 15 - April 21, 2003; Rome, Centro

nazionale per le arti contemporanee, Instinction, September 23 - November 18, 2003

301 Katja Strunz b. 1970 Untitled, 2004 Painted wood in two parts. 48 1/2 x 27 x 4 3/4 in. (123.2 x 68.6 x 12.1 cm). Signed and dated “Katja Strunz 2004� on interior of black element. This work is accompanied by installation instructions signed by the artist.

Estimate $15,000-20,000 Provenance Galerie Giti Nourbakhsch, Berlin

302 Keith Sonnier b. 1941 Depose II, 1997 Sailcloth, argon, neon, metal rod and blower. 84 x 24 x 12 in. (213.4 x 61 x 30.5 cm). This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $20,000-30,000 Provenance Marlborough Gallery, New York

303 Cosima von Bonin b. 1962 Okay, 2003 Stitched cotton, felt, silk scarf and thread. 91 x 60 3/4 in. (231.1 x 154.3 cm).

Estimate $20,000-30,000 Provenance Galerie Neu, Berlin

304 Sergej Jensen b. 1973 Untitled, 2002 Oil and varnish on jute. 48 1/4 x 72 in. (122.6 x 182.9 cm).

Estimate $20,000-30,000 Provenance Galerie Neu, Berlin

305 ERIC FREEMAN b. 1970 Red Inside Green (Happiness), 2005 Oil on linen. 96 x 96 in. (243.8 x 243.8 cm). Signed, titled and dated “Red Inside Green (Happiness) Eric Freeman 2005” on the reverse.

Estimate $15,000-20,000 Provenance Mary Boone Gallery, New York

Paying homage to artists such as Joseph Albers and Marc Rothko, Eric Freeman’s Red Inside Green re-devises the metaphysical qualities of abstract painting for a contemporary age. Using contrasting hues, Red Inside Green offers subtle deception through colour perspective, its geometric forms continuously bulging and receding in illusionary space. Seamlessly painted in oil, Freeman’s canvas possesses an artificial vivacity; its ethereal glow reminiscent of plasma screen technology, creating an electrifying aura that is both spiritual and synthetic.

(Courtesy of Patricia Ellis)

306

307

306 Karin Davie b. 1965 Untitled, 1995 Gouache on paper in two parts. 41 1/2 x 29 1/4 in. (105.4 x 74.3 cm) each; 41 1/2 x 58 1/2 in.

(105.4 x 148.6 cm) overall. Signed and dated “Davie 95” lower right of left sheet.

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

307 Karin Davie b. 1965 Untitled, 1991 Gouache on paper. 40 1/2 x 29 1/2 in. (102.9 x 74.9 cm). Signed and dated “Davie 1991” lower right.

Estimate $10,000-15,000 Provenance Acquired directly from the artist; Private Collection

308 Karin Davie b. 1965 Pushed, Pulled, Depleted and Duplicated, 2003 Oil on canvas. 30 1/4 x 40 in. (76.8 x 101.6 cm). Signed, titled and dated “Davie Pushed, Pulled, Depleted and Duplicated 2003� on the reverse.

Estimate $20,000-30,000 Provenance Evo Gallery, Santa Fe Exhibited SITE Santa Fe, Karin Davie, April 26 - July 6, 2003

309 JULIAN STANCZAK b. 1928 Interaction, 1964 Acrylic on canvas in the artist’s frame. 37 1/4 x 37 1/2 in. (94.6 x 95.3 cm). Signed and dated “Stanczak 1964” on the reverse.

Estimate $10,000-15,000 Provenance Martha Jackson Gallery, New York; Private collection, New York; Private

collection, Birmingham (Michigan) Exhibited New York, Martha Jackson Gallery, Julian Stanczak: Optical Paintings, 1964

310 Donald Moffett b. 1955 Lot 102807X (yellow), 2007 Acrylic, polyvinyl acetate with rayon and steel zipper on linen. 72 x 72 in. (182.9 x 182.9 cm) open; 46 x 46 in. (116.8 x 116.8 cm) closed.

Estimate $30,000-50,000 Provenance Anthony Meier Fine Arts, San Francisco

(Detail of lot with elements closed.)

311 Mike Bidlo b 1953 This is Not a Pollock, 1985-1987 Acrylic on canvas. 93 3/4 x 156 in. (238.1 x 396.2 cm).

Estimate $120,000-180,000 Provenance Acquired directly from the artist

“In the beginning I didn’t want it to be. It was this rebellious gesture to do the Pollocks, to destabalize the idolatry. And now it’s all been consumed, which is good because I always thought you couldn’t cause change from without, you had to be in the system to cause change. So maybe it’s all working in a way— for this minute—(laughs) Tomorrow is gonna be another story. But it’s still important that the work be controversial, something to do with freeing myself from the bondage of their tyranny.”

Mike Bidlo taken from an interview with Anna Bonney, Bomb Magazine, BOMB 45, Fall 1993

312 Ross Bleckner b. 1949 4 Yellow Hearts, 1995 Oil on canvas. 30 x 26 in. (76.2 x 66 cm). Signed, titled and dated “Ross Bleckner 4 Yellow Hearts 1995” on the reverse.

Estimate $15,000-20,000 Provenance Mary Boone Gallery, New York Exhibited Boston, Institute of Contemporary Art, Collectors Collect Contemporary: 1990-99,

March 30 - May 28, 1999 Literature J. Silver, “Visual Arts: Passion, power mark ICA show,” The Boston Herald, April 2, 1999

313 Donald Moffett b. 1955 Aluminium/White House Unmoored, 2004 Oil on linen and light loop with projector and DVD player. 45 x 60 3/8 in. (114.3 x 153.4 cm).

Estimate $40,000-60,000 Provenance Stephen Friedman Gallery, London

314 Darren Almond b. 1971 Transport Medium, 2000 Cast aluminum and oil paint. 9 7/8 x 39 1/8 in. (25.1 x 99.4 cm). Signed “Darren Almond� and numbered of three on the reverse. This work is from an edition of three.

Estimate $15,000-20,000 Provenance Matthew Marks Gallery, New York

315 Magdalena Abakanowicz b. 1930 NR 14, 1985 Cast fabric, sand and resin on the artist’s wooden base. 26 1/2 x 8 3/4 x 8 3/4 in. (67.3 x 22.2 x 22.2 cm). Inscribed “MA 85 ‘NR 14’” on underside of base.

Estimate $10,000-15,000 Provenance Marlborough Gallery, New York; Private Collection

316 Joseph Beuys 1921 - 1986 Green Violin, 1974 Painted violin. 23 1/2 x 8 1/2 x 4 in. (59.7 x 21.6 x 10.2 cm). Stamped “Fluxus Zone West” by the artist on face. This work is from a planned edition of 24 of which only about 12 were produced. Published by Edition Schellmann, Munich.

Estimate $12,000-18,000 Provenance Collection Maury Chaplick, Toronto; Roth Horowitz, New York; Diego Cortez

Arte Ltd., New York Exhibited Høvikodden (Norway), Henie Onstad Kunstsenter, Joseph Beuys— Multiples and

Prints, 1982 (another example exhibited) Literature H. Bastian, Joseph Beuys—Skulpturen und Objekte Katalog, Band 1, Munich, 1988,

p. 211, no. 67 (illustrated); J. Schellmann, ed., Joseph Beuys, The Multiples, 1997, Munich, pp. 152, no. 135, 449, no. 135, 539 and 545 (illustrated)

317 Günther Förg b. 1952 BLEIBILD 21/88, 1988 Acrylic on lead mounted on wooden panel in two parts. 70 7/8 x 47 1/8 in. (180 x 119.7 cm) overall. Signed, titled and dated “Förg 21/88 1988” on the reverse of each panel.

Estimate $50,000-70,000 Provenance Patrick De Brock Gallery, Knokke

318 Martin Kippenberger 1953 - 1997 Untitled (Garfield), 1990 Ink, crayon and pastel on hotel stationary. 11 1/2 x 8 1/8 in. (29.2 x 20.6 cm). Initialed and dated “M.K. 90� lower right.

Estimate $18,000-25,000 Provenance London Projects, London; Donated to the Jose Marin Family Fund at Works on

Paper, Los Angeles Exhibited Los Angeles, Works on Paper, The Jose Marin Family Fund, December 12 - 24, 2002

319 Martin Kippenberger 1953 - 1997 Die Qualle im Weltmeer segelt, es ist Quatsch wenn man im Wasser vögelt (The jellyfish is gliding in the sea—it’s nuts to make love in the water), 1995 Oil on canvas. 23 5/8 x 19 3/4 in. (60 x 50.2 cm). Titled “die Qualle im Weltmeer segelt, es ist Quatsch wenn man im Wasser vögelt” upper center. This work is accompanied by a photo certificate issued by Galerie Gisela Capitain.

Estimate $40,000-60,000 Provenance Galerie Gisela Capitain, Cologne; Hauser & Wirth, Zurich; Art & Public, Geneva

320 Jonathan Meese b. 1970 Balthymeese I, 2001 Oil on canvas. 63 x 47 1/4 in. (160 x 120 cm). Signed, titled and dated “Jonathan Meese ‘Balthymeese’ I 2001” on the reverse.

Estimate $30,000-40,000 Provenance Leo Koenig, Inc., New York Exhibited New York, Leo Koenig Inc., La Chambre de Balthus III, May 8 - June 9, 2001 Literature R. Smith, “Art in Review: Jonathan Meese”, The New York Times, June 8, 2001

321 Jonathan Meese b. 1970 “ICH” IV, 2001 Oil on canvas. 63 x 47 1/4 in. (160 x 120 cm). Signed, titled and dated “Jonathan Meese ‘ICH’ IV 2001” on the reverse.

Estimate $30,000-40,000 Provenance Leo Koenig, Inc., New York Exhibited New York, Leo Koenig Inc., La Chambre de Balthus III, May 8 - June 9, 2001

322 Martin Eder b. 1968 Das Atelier, 2006 Oil on canvas. 94 3/8 x 70 7/8 in. (239.7 x 180 cm). Signed and dated “Martin Eder 11 06” lower right; signed, titled, and dated “Martin Eder 11-2006 Berlin ‘Das Atelier’ WV2 805” on the reverse.

Estimate $70,000-90,000 Provenance Galerie Eigen + Art, Berlin

Artist, musician and photographer Martin Eder is a self-confessed “fundamentalist”. In his works he presents a curio of disturbing and masterful portraits capturing the fragile and violent beauty of disabled beauties, tormented figures, and lush imagery. The present lot juxtaposes disarming appeal with lust in a fantasy world only Eder can capture.

323 George Condo b. 1957 Old Lady with Nude, 2007 Graphite and charcoal on paper. 30 1/2 x 22 in. (77.5 x 55.9 cm). Signed and dated “Condo 07� upper left.

Estimate $12,000-18,000 Provenance Simon Lee Gallery, London; Private collection, New York

324 George Condo b. 1957 Big Bunny, 2007 Charcoal on paper. 50 x 38 3/8 in. (127 x 97.5 cm). Signed and dated “Condo 07� upper left.

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

325 George Condo b. 1957 Facial Forms, 1987 Oil on canvas. 72 3/4 x 78 1/2 in. (184.8 x 199.4 cm). Signed and dated “Condo 87.1� lower right.

Estimate $30,000-40,000 Provenance Galerie Bruno Bischofberger, Zurich

326 George Condo b. 1957 Green and Purple Composition, 1987 Graphite, charcoal, oil and paper collage on canvas. 76 3/4 x 45 in. (194.9 x 114.3 cm). Signed and dated “Condo 87” lower left; signed and dated “Condo 87.7.29” lower left.

Estimate $35,000-45,000 Provenance Vrej Baghoomian, New York; Private Collection

327 Daniel Spoerri b. 1930 Untitled, 1982 Sculpture comprised of wood and metal stand with wire, mesh and linen fencing mask with metal and sewn leather attachments, two metal saws with wooden handles on a custombuilt wooden plinth. 70 1/2 x 46 x 42 1/2 in. (179.1 x 116.8 x 108 cm) as installed. Inscribed and dated “Daniel Spoerri 82” on the reverse of the fencing mask’s base.

Estimate $10,000-15,000 Provenance Zabriskie Gallery, New York

328 Juan Uslé b. 1954 Untitled, 1997 Acrylic on canvas. 18 1/4 x 12 1/8 in. (46.4 x 30.8 cm). Signed and dated “Uslé 97” on the reverse.

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

329

329 BRYAN HUNT b. 1947 Untitled (Muse and Lake), 1990 Bronze with patina. 42 1/2 x 12 1/2 x 12 1/2 in. (108 x 31.8 x 31.8 cm). Inscribed and dated “B. Hunt 90” and numbered of three on base. This work is from an edition of three.

Estimate $20,000-30,000 Provenance

330

330 George Rickey 1907 - 2002 Weathervane, 1976 Kinetic sculpture comprised of stainless steel on marble base. 25 1/2 x 34 1/2 x 8 1/2 in.

(64.8 x 87.6 x 21.6 cm). Inscribed “Rickey 76” on base; inscribed “Rickey 76” and numbered of 47 along horizontal edge. This work is from an edition of 47.

Estimate $12,000-18,000 Provenance Private Collection

Private collection, Germany

331 LYNN CHADWICK 1914 - 2003 Maquette IV Two Watchers V, 1967 Bronze with black patina. 13 x 11 x 4 in. (33 x 27.9 x 10.2 cm). Inscribed “Chadwick” and numbered of four along rear lower edge. This work is from an edition of four.

Estimate $25,000-35,000 Provenance Lillian Heidenberg Fine Art, New York

332 Joel Shapiro b. 1941 Wedge, 1976 Bronze. 4 1/8 x 7 5/8 x 2 1/4 in. (10.5 x 19.4 x 5.7 cm). This work is unique.

Estimate $30,000-40,000 Provenance Gifted by the artist to the present owner

333 LOUISE NEVELSON 1899 - 1988 Maquette for Sky Landscape I (A), 1977 - 1979 Painted steel. 30 1/4 x 26 1/2 x 15 in. (76.8 x 67.3 x 38.1 cm). Inscribed “Nevelson� and numbered of six on the underside. This work is from an edition of six.

Estimate $50,000-70,000 Provenance The Pace Gallery, New York Exhibited New York, The Pace Gallery, Nevelson Maquettes for Monumental Sculpture,

May 2 - June 27, 1980 Literature The Pace Gallery, ed., Nevelson, New York, 1980, n.p. (illustrated)

334 Richard Serra b. 1939 Ishmael, 1987 Oilstick on paper. 71 3/8 x 37 in. (181.3 x 94 cm). Signed and dated “R Serra 87” on the reverse.

Estimate $120,000-180,000 Provenance Maeght Lelong Gallery, New York; Jean Bernier Gallery, Athens; R. Louis

Bofferding Fine Arts, New York; PaceWildenstein, New York Literature H. Janssen, Richard Serra: Drawings 1969-1990, Bern, 1991, p. 251, no. 330 (illustrated)

The present lot exists in direct correlation to the controversy surrounding the artist’s sculpture Tilted Arc. As with many of the artist’s drawings the line between drawing and sculpture is blurred—Richard Serra utilizes the power of pure form to define space and the relationship of the work, its viewer, and their shared environment.

Commissioned by the U.S. General Services Administration’s “Artsin-Architectures” program for the Federal Plaza in New York City and constructed in 1981, Tilted Arc was dismantled against the will of Richard Serra in 1989. The sculpture, measuring one hundred and twenty feet long by twelve feet high, was protested - hailed a nuisance and aid to potential terrorists. As stressed by Serra, the sculpture was only relevant in its intended setting, it could not be moved. The viewer should interact with the sculpture in terms of its environment, the piece constantly changing as one moved around it. A March 1985 public hearing settled the conflict in that Tilted Arc would be taken down. The sculpture would, however, continue to elicit dialogue long after its removal.

Ishmael holds a relationship to the viewer and environment similar to that of Tilted Arc. The visual weight of the drawing anchors the space in which it is displayed. Although realized in oil stick on paper as a two-dimensional drawing, the lot at hand confronts the viewer in the same manner as a three-dimensional sculpture. The slightly angled, geometric composition of Ishmael also references Serra’s gravity-dependent work of the 1970’s.

335 Lawrence Weiner b. 1942 No. 586, 1988 Vinyl wall text. Installation dimensions variable. This work is accompanied by a certificate of authenticity signed by the artist and a letter from the artist to Hubert Winter regarding the conception of this piece. This work is recorded in the artist’s archives under number 586.

Estimate $40,000-60,000 Provenance Collection Hubert Winter, Vienna; Collection Coracle Press, Norfolk; Victoria

Miro Gallery, London; Private collection, Europe Exhibited Vienna, Kunstraum, London, John Hansard Gallery at the University of

Southampton; Glasgow, Third Eye Centre, Sculpturen Republik, 1988; Birmingham, Bourneville Chocolate Complex, In the Midst of Things, August - September 1999; York City Art Gallery, It Must be Abstract, It Must Change, It Must Give Pleasure, September - November, 2001 Literature Third Eye Centre, ed., Sculpturen Republik, Glasgow, 1988, pp. 70-71 (illustrated);

Bourneville Chocolate Complex, ed., In the Midst of Things, Birmingham, 1999, pp. 47-49 (illustrated); L. Weiner, Specific & General Works, Villeurbanne, 1993, no. 586, (illustrated)

336 Larry Bell b. 1939 Untitled (#12A06), 2006 Inconel coated glass with Plexiglas base. 58 x 20 x 20 in. (147.3 x 50.8 x 50.8 cm).

Estimate $40,000-60,000 Provenance Private Collection

337 Gregor Hildebrandt b. 1974 Valouria (Pixies—Bossanova), 2007 Cassette tape and adhesive on canvas. 107 7/8 x 74 1/2 in. (274 x 189.2 cm).

Estimate $20,000-30,000 Provenance Galerie Almine Rech, Paris

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

Estimate $25,000-35,000 Provenance Maloney Gallery, Santa Monica Exhibited Stockholm, Heland Wetterling Gallery, James Brown: Stella Maris, January 1988 Literature D. Carrino, ed., James Brown: Stella Maris, Stockholm 1988, n.p. (illustrated)

339 Bill Copley 1919 - 1996 Cat on a Hot Tin Roof, 1972-1973 Acrylic on linen. 59 1/4 x 45 in. (150.5 x 114.3 cm). Signed and dated “Copley 72-3” lower right; titled “Cat on a Hot Tin Roof” on the reverse.

Estimate $30,000-40,000 Provenance David Nolan Gallery, New York

340

340 Andy Warhol 1928 - 1987 The Runaway Pigeon, circa 1950 Ink and graphite on Strathmore paper. 12 x 10 in. (30.5 x 25.4 cm). Stamped with the Estate and Foundation seals and numbered “334.017” on the reverse.

Estimate $12,000-18,000 Provenance Andy Warhol Foundation for the Visual Arts, New York

341

341 Andy Warhol 1928 - 1987 Glove Holding Rose, circa 1950 Ink on Strathmore paper. 14 5/8 x 11 1/2 in. (37.1 x 29.2 cm). Stamped with the Estate and Foundation seals and numbered “342.004” on the reverse.

Estimate $12,000-18,000 Provenance Andy Warhol Foundation for the Visual Arts, New York

342 Andy Warhol 1928 - 1987 In the Bottom of my Garden (21 set portfolio), 1956 Hand colored offset lithograph with watercolor in 21 parts. 8 1/2 x 11 in. (21.6 x 27.9 cm) each.

Signed “Andy Warhol” lower right of cover; inscribed “Alice” upper left of cover. Stamped with the Authentication Board seal and numbered “A158.095” on the interior back cover.

Estimate $60,000-80,000 Provenance Gifted by the artist to the previous owner; Private collection, New York

343 Alice Neel 1901 - 1984 Sabrina, 1976 Oil on canvas. 38 x 25 in. (96.5 x 63.5 cm). Signed and dated “Neel 76” lower left.

Estimate $150,000-200,000 Provenance Acquired directly from the artist

The present lot, by American artist Alice Neel, is a stunning example of the enigmatic force and haunting quality that so define the artist’s mature realist style. Neel, a powerful figure in 20th century post-modern art not just as a successful female artist but as a dedicated figurative painter in an age where the avant-garde dominated critical theory and popular opinion, helped to redefine the notion of representing the “real” in painting.

This work of a child aged six captures the quiet intelligence and curiousness of the child while projecting a strong psychological tension of sexual ambiguity. At first glance, the child appears to be a young boy but after further contemplation of the compositional elements, as well as reflecting upon the title, proves Sabrina to be a thoughtful and defiant child. Here, Sabrina is painted in Neel’s famous sitting chair where the likes of the artist’s modern day contemporaries such as Andy Warhol sat for portraits. As was practice throughout her career, the artist strove for dynamism through imperfect pairing; nowhere is her use of unequal doubles more apparent than in her treatment of eyes, such as Sabrina’s, which never exactly mirror each other. For Neel, the gender ambiguity and unique maturity her sitter offered her was a vehicle through which she could record the manners and mannerisms of a particular moment in time, a form of “writing history.”

Her portraits, such as Sabrina, not only capture the body, posture, and physiognomy of individuals; they “embodied” the character of an era.

344 Thomas Ruff b. 1958 Porträt (B. Ochaim), 1989 Chromogenic print. 9 3/8 x 7 in. (23.8 x 17.8 cm). This work is from an edition of four plus one artist’s proof.

Estimate $20,000-30,000 Provenance Private Collection Literature M. Winzen, ed., Thomas Ruff 1979 to the Present, 2001, p. 187 (illustrated)

345 Mike Kelley b. 1954 Test Room Containing Multiple Stimuli Known to Elicit Curiosity and Manipulatory Responses (Full Cast) [2], 2001 Chromogenic print. 23 x 49 3/4 in. (58.4 x 126.4 cm) image size. Signed “M. Kelley� on a label adhered to the reverse. This work is from an edition of three.

Estimate $15,000-20,000 Provenance Patrick Painter Editions, Hong Kong

346 Doug Aitken b. 1968 Pacific ocean—atlantic ocean swimming the panama canal asleep, 1999 10 c-prints reverse mounted to Plexiglas. 39 x 50 1/2 in. (99.1 x 128.3 cm) sheet size. Signed “Doug Aitken” on the reverse.

Estimate $20,000-30,000 Provenance Victoria Miro, London Literature D. Birnbaum, A. Sharp and J. Heiser, Doug Aitken, New York/London, 2001, pp.

22-23 (illustrated); Louisiana Museum of Modern Art, ed., Doug Aitken: RISE, Humlebæk, 2003, pp. 20 (detail illustrated), 38-39 (illustrated)

347 Omer Fast b. 1972 Statisten (Spielberg’s List extras), 2003 C-print in eight parts. 3 7/8 x 5 7/8 in. (9.8 x 14.9 cm) and 5 7/8 x 3 7/8 in. (14.9 x 9.8 cm). Each signed “Omer Fast” and numbered of five on the reverse. This work is from an edition of five.

Estimate $10,000-15,000 Provenance Postmasters, New York

348 Gabriel Orozco b. 1962 Perro en Silla (Dog in Chair), 1995 Cibachrome print. 16 x 20 in. (40.6 x 50.8 cm paper size. Signed, titled, dated “Gabriel Orozco Perro en Silla 1995� and numbered of five on the reverse. This work is from an edition of five.

Estimate $10,000-15,000 Provenance Marian Goodman Gallery, New York

349 Rodney Graham b. 1949 Flanders Trees, 1993 Five black and white photographs in custom built wooden portfolio. Each: 14 x 10 7/8 in.

(35.6 x 27.6 cm) paper size. Signed and numbered “R Graham AP” on portfolio interior.

This work is an artist’s proof from an edition of 12.

Estimate $10,000-15,000 Provenance Galerie Micheline Szwajcer, Antwerp

350 James Welling b. 1951 Torso 22, 2005 - 2008 C-print. 45 7/8 x 34 1/4 in. (116.5 x 87 cm) image size. Titled, dated “Torso 22 2005 - 2008” and numbered of five on the reverse. This work is from an edition of five plus two artist’s proofs.

Estimate $15,000-20,000 Provenance David Zwirner, New York

351 James Welling b. 1951 Torso 6, 2005 - 2008 C-print. 45 7/8 x 34 1/4 in. (116.5 x 87 cm) image size. This work is from an edition of five plus two artist’s proofs.

Estimate $15,000-20,000 Provenance David Zwirner, New York Exhibited New York, David Zwirner, James Welling Works 1980-2008, April 5 - May 1, 2008

352 Vanessa Beecroft b. 1969 VB53.029.NT, 2004 Digital c-print mounted to Diasec. 99 3/4 x 70 in. (253.4 x 177.8 cm). This work is from an edition of three and is accompanied by a certificate of authenticity signed by the artist.

Estimate $15,000-20,000 Provenance Acquired directly from the artist Exhibited New York, Deitch Projects, The Garden Party, March 9 - May 13, 2006 (another

example exhibited) Literature F. Bonami, M.L. Frisa, eds., VB 53 Vanessa Beecroft, 2005, Milan, p. 6 (illustrated)

353 Vanessa Beecroft b. 1969 VB53.175.VB, 2004 Digital c-print mounted to Diasec. 30 x 40 in. (76.2 x 101.6 cm). This work is from an edition of three and is accompanied by a certificate of authenticity signed by the artist.

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

354 Michael Wolf b. 1954 Architecture of Density #13b, 2003 - 2005 Chromogenic print. 47 1/2 x 57 1/2 in. (120.7 x 146.1 cm). Signed “Michael Wolf” on a label adhered to the reverse. This work is from an edition of nine plus two artist’s proofs.

Estimate $15,000-20,000 Provenance Robert Koch Gallery, San Francisco Exhibited San Francisco, Robert Koch Gallery, Architecture of Density, January 6 - February

26, 2005 Literature K. Baker, “Fascinating, frightening glimpses of urban density,” SF Gate, January

22, 2005

355 Gelitin The B-Thing, 2001 Installation comprised of ink, felt-tip pen, colored pencil, crayon, adhesive and graphite on paper in 32 parts and 10 color photographs. Installation dimensions variable. Drawings: 11 1/2 x 8 in. (29.2 x 20.3 cm) - 15 x 19 3/4 in. (38.1 x 50.2 cm); photographs: 3 1/4 x 3 1/2 in.

(8.3 x 8.9 cm) - 75 x 49 3/4 in. (190.5 x 126.4 cm). Ink drawing of World Trade Center: signed and dated “Gelatin 2000” on the reverse; color photographs: each signed and dated “Gelatin 2001” and numbered of 20 on the reverse; large photograph: signed and dated “Gelatin 2001” and numbered of three on the reverse. The color photographs are each from an edition of 20 and the large photograph is from an edition of three.

Estimate $20,000-30,000 Provenance Leo Koenig Inc., New York Literature S. Dewan, “Balcony Scene (Or Unseen) Atop the World; Episode at World Trade

Center Assumes Mythic Qualities,” The New York Times, August 18, 2001; T. Rubinowitz, The B-thing, Cologne, 2001, n.p. (illustrated)

356 Zheng Delong b. 1976 Dog, 2003 Oil on canvas. 70 7/8 x 59 1/8 in. (180 x 150.2 cm). Signed and dated “Zheng Delong [in Chinese and English] 03.03� on the reverse.

Estimate $10,000-15,000 Provenance Private Collection

357 Liu Wei b. 1965 Untitled, 2005 Graphite, watercolor and gesso on paper. 26 3/4 x 22 1/8 in. (67.9 x 56.2 cm). Signed and dated “Liu Wei [in Chinese] 2005� upper center.

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

358 Zhang Dali b. 1963 AK-47 (138), 2006 Acrylic on vinyl. 58 1/2 x 47 in. (148.6 x 119.4 cm). Signed, titled and dated “Zhang Dali [in English and Chinese] AK-47 (138) 2006� on the reverse.

Estimate $30,000-40,000 Provenance Chinese Contemporary, New York

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

Estimate $50,000-70,000 Provenance Frey Norris Gallery, San Francisco Exhibited San Francisco, Frey Norris Gallery, Zhong Biao: American Debut, May 3 - June 14, 2007

360

361

360 Hong Hao b. 1965

361 Hua Jiming b. 1964

Two works: My Things no. 2 and My Things no. 5—5000 Pieces of Rubbish for 2002, 2002-2003

Audi, 2006

and 2002

Oil on canvas. 57 x 78 1/4 in. (144.8 x 198.8 cm). Signed and dated “Hua Jiming 2006 [in

C-prints. 23 1/2 x 40 1/4 in. (59.7 x 102.2 cm) each paper size. Each signed, titled, dated and

English and Chinese]” lower right.

numbered of 15 on the reverse. These works are each from an edition of 15.

Estimate $4,000-6,000

Estimate $5,000-7,000 Provenance Acquired directly from the artist Provenance Private collection, New York

362

363

362 Chang Xugong b. 1957

363 Zeng Jianyong b. 1971

Untitled (Embroidery Portrait Series #4), 2006

Growing No. 3, 2008

Embroidery on canvas. 21 3/4 x 21 3/4 in. (55.2 x 55.2 cm). Signed and dated “Chang Xugong

Ink and watercolor on paper laid down on panel. 35 3/8 x 28 3/4 in. (89.9 x 73 cm). Signed

[in Chinese] 2006” on the overlap.

and dated “Zeng Jianyong [in Chinese] 2008” lower right. This work is accompanied by a

Estimate $5,000-7,000

certificate of authenticity signed by the artist.

Estimate $5,000-7,000 Provenance Xin Dong Cheng Space for Contemporary Art, Beijing Provenance Private collection, New York

SESSION II 2pm

Lots 3 6 4 - 5 6 6

364 Hiroshi Sugimoto b. 1948 Winnetka Drive-In, Paramount, 1993 Gelatin silver print. 20 x 24 in. (50.8 x 61 cm). Blindstamped with title, date and number “Winnetka Drive In, Paramount 711 1993” and numbered of 25 along lower edge. This work is from an edition of 25.

Estimate $20,000-30,000 Provenance Sonnabend Gallery, New York; Private Collection

365 Hiroshi Sugimoto b. 1948 Stadium Drive-In, Orange, 1993 Gelatin silver print. 20 x 24 in. (50.8 x 61 cm). Blindstamped with title and number “Stadium Drive-In 723” and numbered of 25 along lower edge; signed and numbered “Hiroshi Sugimoto 723” on the mount. This work is from an edition of 25.

Estimate $20,000-30,000 Provenance Gallery Koyanagi, Tokyo; Private Collection Literature H. Sugimoto, Theaters, New York, 2000, pp. 188-189 (illustrated)

366 Hiroshi Sugimoto b. 1948 Saint James New Zealand, 1991 Gelatin silver print. 18 1/2 x 23 in. (47 x 58.4 cm). Blindstamped with title and dated “Saint James New Zealand 1991” along lower edge; signed “Hiroshi Sugimoto” on the mount.

This work is from an edition of 25.

Estimate $20,000-30,000 Provenance André Simoens Gallery, Knokke

367 Hiroshi Sugimoto b. 1948 Ionian Sea, Santa Cesarea, 1990 Gelatin silver print. 20 x 24 in. (50.8 x 61 cm). Blindstamped with title, date and number “Ionian Sea Santa Cesarea 1990 357” and numbered of 25 along lower edge; signed “Hiroshi Sugimoto” on the mount. This work is from an edition of 25.

Estimate $25,000-35,000 Provenance Sonnabend Gallery, New York; Private collection, Europe

368 Hiroshi Sugimoto b. 1948 Tyrrhenian Sea Mount Polo, 1993 Gelatin silver print. 19 1/8 x 23 5/8 in. (48.6 x 60 cm). Blindstamped with title and date “Tyrrhenian Sea Mount Polo 1993” and numbered of 25 along lower edge; signed “Hiroshi Sugimoto” on mount. This work is from an edition of 25.

Estimate $25,000-35,000 Provenance Sonnabend Gallery, New York; Private Collection

369

369 Anya Gallaccio b. 1963

370

Nevertheless, 2003 Bronze. 4 3/4 x 34 1/4 x 7 in. (12.1 x 87 x 17.8 cm).

Estimate $8,000-12,000 Provenance Blum & Poe, Los Angeles

370 Jennifer Steinkamp b. 1958 Dance Hall Girl 5, 2004 Video installation comprised of hard drive, projector, power supply and cable. Dimensions variable; suggested height approximately 15 in. (38.1 cm). This work is from an edition of six.

Estimate $5,000-7,000 Provenance Lehmann Maupin, New York Exhibited Columbus Museum of Art, Drawn from Nature, October 8, 2005 - May 28, 2006

(another example exhibited)

371 Marc Quinn b. 1964 Italian Landscape 2, 2000 Pigment print on canvas. 19 1/2 x 29 1/8 in. (49.5 x 74 cm). Signed, titled, dated “Marc Quinn Italian Landscape 2 2000� and numbered of three on the reverse. This work is from an edition of three.

Estimate $20,000-30,000 Provenance Galerie Maximillian, Aspen

372

373

372 Christian Schumann b. 1970

373 Jay Davis b. 1975

Globus, 2000

It’s Time to Go, 2002

Acrylic on canvas. 84 x 60 in. (213.4 x 152.4 cm). Signed, titled and dated “Christian

Acrylic on vinyl. 54 x 72 in. (137.2 x 182.9 cm). Signed, titled and dated “Jay Davis It’s Time To

Schumann ‘Globus’ 2000” on the overlap.

Go 2002” on the overlap.

Estimate $15,000-20,000

Estimate $4,000-6,000

Provenance carlier | gebauer, Berlin

Provenance Mary Boone Gallery, New York

Exhibited Berlin, carlier | gebauer, .32 caliber cowboy hat: the art of christian schumann,

Exhibited New York, Mary Boone Gallery, Jay Davis, January 10 - March 1, 2003

April 15 - May 27, 2000

Literature M. Kerr, “Jay Davis, at Mary Boone”, Flash Art, New York, March - April 2003, no.

229 (illustrated); PragueBiennale.org (online content), Jay Davis, n.p. (illustrated)

374

375

374 Mark Lombardi 1951 - 2000

375 Mark Lombardi 1951 - 2000

George W.Bush Harken Energy and Jackson Stephens, c. 1979 - 91 4th version, 1998

BNL, Reagan, Bush, Thatcher and the Arming of Iraq c. 1979-90, 2nd version, 1995

Graphite on paper. 18 1/2 x 43 in. (47 x 109.2 cm). Initialed, titled and dated “George W. Bush,

Graphite on paper. 9 7/8 x 27 1/2 in. (25.1 x 69.9 cm). Initialed, titled and dated “ML ©

Harken Energy and Jackson Stephens, c. 1979 - 91 4th version ML” center left.

MCMXCV BNL, Reagan, Bush, Thatcher and the Arming of Iraq c. 1979-90, 2nd version”

Estimate $20,000-30,000

upper left.

Estimate $5,000-7,000 Provenance Acquired directly from the artist Exhibited Turin, Ex Lanificio Bona, Versus IV, June 21 - July 26, 1998

Provenance Gifted by the artist to the present owner

376

377

376 Virgil Marti b. 1962

377 Joyce Pensato

Two works: Grow Room Fragment #65 and Grow Room Fragment #61, 2002

Untitled Donald, 1993

Ink on mirror mylar and velcro. Each 55 x 18 in. (139.7 x 45.7 cm). Signed, titled and dated

Enamel and acrylic on paper. 29 x 23 in. (73.7 x 58.4 cm). Signed, titled and dated “Joyce

“Virgil Marti 2002 #65” and Virgil Marti 2002 #61” on the reverse.

Pensato Untitled Donald 1993” on the reverse.

Estimate $7,000-9,000

Estimate $2,500-3,500

Provenance Elizabeth Dee, New York

Provenance Max Protetch, New York; Elga Wimmer PCC, New York

378

379

378 Paul Winstanley b. 1954

379 Jan Vercruysse b. 1948

Study for Pavilion 1, 2002

Tombeaux, 1989

Oil on linen. 12 x 16 in. (30.5 x 40.6 cm). Signed, titled and dated “Winstanley Study for

Black pigmented matte varnish on wood. 25 1/2 x 23 5/8 x 16 3/8 in. (64.8 x 60 x 41.6 cm).

Pavilion 1 2002� on the reverse.

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

Estimate $5,000-7,000

Estimate $4,000-6,000

Provenance Galerie Vera Munro, Hamburg

Provenance Acquired directly from the artist; Galerie Joost Declercq, Ghent

380 DASH SNOW 1981 - 2009 Untitled, 2006 Diptych: digital c-prints. Left panel: 48 x 39 1/2 in. (121.9 x 100.3 cm) paper size; right panel: 49 1/2 x 38 3/4 in. (125.7 x 98.4 cm). This work is from an edition of three.

Estimate $15,000-20,000 Provenance The Proposition, New York

381

381 Aleksandra Mir b. 1967 SAS-Douglas DC-9, 2005 Felt-tip pen on paper. 36 1/2 x 70 3/4 in. (92.7 x 179.7 cm). Signed, titled and dated “Aleksandra Mir SAS-Douglas DC-9 2005” lower right.

Estimate $7,000-9,000 Provenance Gavlak Gallery, Palm Beach

383

Exhibited Barcelona, Galeria Joan Prats, Aeropuerto, September 29 - November 12, 2005

382

382 David Korty b. 1971

383 Marilyn Minter b. 1948

Two works: Untitled (Fireworks) and Untitled (Dodger Stadium), 2003

Study for Teaser, 1993

Watercolor on paper. 11 1/2 x 9 1/2 in. (29.2 x 24.1 cm) and 14 1/8 x 14 3/8 in. (35.9 x 36.5 cm).

Enamel on metal. 24 x 12 in. (61 x 30.5 cm). Signed, titled and dated “M. Minter ‘Study for

Each signed and dated “David Korty 2003” on the reverse.

Teaser’ 1993” on the reverse.

Estimate $3,000-4,000

Estimate $2,000-3,000

Provenance Sadie Coles HQ, London and China Art Objects, Los Angeles

Provenance White Columns, New York

384

384 Tim Lokiec b. 1977

385 Dan McCarthy b. 1962

Wilderness Childbirth Projet, 2005

High Stepper, 2007

Ink, felt-tip pen, paper collage, glitter and pastel on paper. 72 x 83 3/4 in. (182.9 x 212.7 cm).

Oil on canvas. 71 x 49 1/8 in. (180.3 x 124.8 cm). Signed, titled and dated “D. McCarthy High

Signed and dated twice and titled “Tim Lokiec Wilderness Childbirth Projet” on the reverse.

Stepper 3.07” on the reverse.

Estimate $6,000-8,000

Estimate $5,000-7,000

Provenance Zach Feuer Gallery (LFL), New York

Provenance Anton Kern Gallery, New York

386 DR. LAKRA b. 1972 Three works: Black Gordman, 2003; Especial a Go Go and Preacher’s Lil Gal, 2003 Ink and oil on vintage magazine; gouache, ink and collaged photographs on vintage magazine and gouache and ink on vintage magazine. 18 1/2 x 13 5/8 in. (47 x 34.6 cm); 14 1/8 x 10 1/4 in. (35.9 x 26 cm) and 11 7/8 x 9 1/4 in. (30.2 x 23.5 cm). Signed and dated “Dr Lacra MM3” lower left; signed “Lakra” upper left; signed “Dr Lacra” lower left.

Estimate $6,000-8,000 Provenance Kate MacGarry, London

387

388

387 Till Gerhard b. 1971

388 Andrew Guenther b. 1976

Pinky, 2006

If It Makes You Feel Better, 2006

Oil on canvas. 86 1/2 x 78 3/4 in. (219.7 x 200 cm). Initialed, titled and dated “TG Pinky 2006”

Oil on canvas. 71 1/2 x 58 1/4 in. (181.6 x 148 cm). Signed, titled and dated “Andrew Guenther

on the reverse.

If It Makes You Feel Better 2006” on the reverse.

Estimate $15,000-20,000

Estimate $4,000-6,000

Provenance Galerie Michael Janssen, Berlin

Provenance David Castillo Gallery, Miami

389 JIN MEYERSON b. 1972 Friendly Fire, 2004 Oil and acrylic on panel. 48 x 69 1/2 in. (121.9 x 176.5 cm). Signed, titled and dated “J. Meyerson Friendly Fire 2004� on the reverse.

Estimate $20,000-30,000 Provenance Zach Feuer Gallery (LFL), New York

Friendly Fire is a response to the death of Pat Tillman, the former professional American football player killed in April 2005 while fighting in Afghanistan.

Tillman was shot by a member of his own unit, returning fire following an ambush. His death, recognized with the posthumous award of a Silver Star for gallantry, provoked a media outcry and forced millions of Americans to face up to the terrible realities of war. In his fluid, quasi-holographic depiction of the event, Meyerson portrays the speed, danger and confusion of warfare, severed by a deadly rain of fire unable to distinguish between friend and foe. Tillman himself is presented as some kind of contemporary Frankenstein, created from the red and white of the Arizona Cardinals and the green of the U.S. Army.

(Courtesy of Patricia Ellis)

390

391

392

390 Fabian Marcaccio b. 1963 #3, 1994 Oil and silicone on canvas. 38 1/8 x 36 1/2 in. (96.8 x 92.7 cm). Signed, titled and dated “Marcaccio #3 94” on the overlap.

Estimate $7,000-9,000 Provenance Bravin Post Lee Gallery, New York

391 Prudencio Irazabal b. 1954

392 Mala Iqbal

Untitled #704, 1995

Lights at Night, 2004

Acrylic on canvas. 28 x 28 in. (71.1 x 71.1 cm). Signed, titled and dated “Prudencio Irazabal

Acrylic on canvas. 48 x 36 in. (121.9 x 91.4 cm). Signed and dated “Mala Iqbal 2004” twice on

Untitled 1995” on the reverse.

the overlap and reverse; inscribed “To John, Many moonlit nights- Mala” on the reverse.

Estimate $3,000-5,000

Estimate $3,000-5,000

Provenance Jack Shainman Gallery, New York

Provenance Bellwether Gallery, New York

393 John Miller b. 1954 Come Home This World, 1999 Artificial fruit, mirrors and styrofoam in four parts. 17 x 144 x 144 in. (43.2 x 365.8 x 365.8 cm) overall. This work is unique.

Estimate $20,000-30,000 Provenance Private collection, USA

394

395

394 CHRIS OFILI b. 1968

395 CHRIS OFILI b. 1968

Untitled, 1998

Untitled, 1998

Graphite and watercolor on paper. 9 5/8 x 6 1/8 in. (24.4 x 15.6 cm). Signed “Chris Ofili” on

Graphite and watercolor on paper. 9 5/8 x 6 1/8 in. (24.4 x 15.6 cm). Signed “Chris Ofili” on the reverse.

the reverse.

Estimate $5,000-7,000

Estimate $5,000-7,000 Provenance Gavin Brown’s enterprise, New York Provenance Gavin Brown’s enterprise, New York

396

396 Chris Johanson b. 1968 Untitled, 2002 Acrylic on panel. 48 x 96 in. (121.9 x 243.8 cm). Signed and dated “Chris Johanson 2002” on the reverse.

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

397

398

397 Chris Johanson b. 1968

398 Chris Johanson b. 1968

Untitled (Sun), 2001

A Part of You All Me All, 2004

Acrylic on panel. 15 7/8 x 21 5/8 in. (40.3 x 54.9 cm). Signed, titled and dated “Chris Johanson

Acrylic on paper. 27 1/8 x 40 in. (68.9 x 101.6 cm). Signed and dated “Chris J 2004” on the reverse.

Sun April 2001” on the reverse.

Estimate $2,500-3,500

Estimate $5,000-7,000 Provenance Kavi Gupta Gallery, Chicago Provenance Acquired directly from the artist

399 Rosemarie Trockel b. 1952 Kaschmir, 1996 Charcoal on paper. 22 3/8 x 30 3/8 in. (56.8 x 77.2 cm). Signed, titled and dated “R. Trockel Kaschmir 96” on the reverse.

Estimate $15,000-20,000 Provenance Monika Sprüth Galerie, Cologne; Private Collection

400 Gary Simmons b. 1964 n.y.t., 2005 Charcoal on paper in nine parts. Approximately 90 x 90 in. (228.6 x 228.6 cm) overall.

Estimate $40,000-60,000 Provenance Margo Leavin Gallery, Los Angeles; Private Collection Exhibited Los Angeles, Margo Leavin Gallery, Gary Simmons Diggin’ in the Crates, May 21 –

June 25, 2005

401 Jim Shaw b. 1952 Dream Object (an Archie horror comic painting in the style of Matta), 1996 Oil on canvas. 36 x 48 in. (91.4 x 121.9 cm). Signed and dated “Jim Shaw 96� on the overlap.

Estimate $30,000-40,000 Provenance Metro Pictures, New York Exhibited Ridgefield (Connecticut), Aldrich Museum of Contemporary Art, Pop Surrealism, 1998

402 Sean Landers b. 1962 I miss a world‌, 2006 Oil on linen in two parts. 60 x 96 in. (152.4 x 243.8 cm) overall.

Estimate $60,000-80,000 Provenance Friedrich Petzel Gallery, New York

403 Sean Landers b. 1962 Chachi, 1998 Oil on linen. 82 7/8 x 202 in. (210.5 x 513.1 cm). Signed, titled and dated “Sean Landers © 1998 ‘Chachi’” lower right.

Estimate $100,000-150,000 Provenance Private collection, New York Literature E. Louie, “Currents; The New Bohemia-- Ordering: Comfortable Minimalism”,

The New York Times, February 26, 1998 (illustrated); “Toasts of the Town”, Entertainment Weekly, Issue #429, May 1, 1998; E. Bumiller, “Public Lives; Hostess of Her Own Party, 6 Nights a Week”, The New York Times, May 22, 1998

(Detail of the present lot)

404 JULIAN SCHNABEL b. 1951 Untitled, 1987 Oil on cardboard. 39 1/2 x 35 1/2 in. (100.3 x 90.2 cm). Initialed and dated “JCS 87” lower right.

Estimate $20,000-30,000 Provenance Yvon Lambert, Paris; Private collection, London

405 Julian Schnabel b. 1951 Harp, 1984 Aquatint on velvet. 72 x 48 in. (182.9 x 121.9 cm). Inscribed “A1� on the reverse. This work is one of five unique variants.

Estimate $30,000-40,000 Provenance Akira Ikeda Gallery, Nagoya; Private collection, San Francisco

406

408

407

406 SOL LEWITT 1928 - 2007 Incomplete Open Cube, 1974 Ink and graphite on paper. 11 1/2 x 11 1/2 in. (29.2 x 29.2 cm). Signed and dated “Lewitt 6/74” lower right.

Estimate $12,000-18,000 Provenance John Weber Gallery, New York; Private collection, New York; Private collection.

New York

407 Sol Lewitt 1928 - 2007

408 SOL LEWITT 1928 - 2007

Irregular Grid, 2001

Vertical Brush Strokes, 1992

Gouache on paper. 15 x 11 1/2 in. (38.1 x 29.2 cm). Signed “S. Lewitt 01” lower right. This

Gouache on paper. 14 7/8 x 7 1/2 in. (37.8 x 19.1 cm). Inscribed, signed and dated “For J & J

work is accompanied by a certificate of authenticity signed by Sofia Lewitt of the Estate of

Weber Sol Lewitt 92” along lower edge.

Sol Lewitt.

Estimate $6,000-8,000

Estimate $6,000-8,000 Provenance John Weber Gallery, New York Provenance The Estate of Sol Lewitt, New York

409 Sol LeWitt 1928 - 2007 Irregular Form, 1997 Gouache on paper in three parts. 29 3/4 x 67 1/2 in. (75.6 x 171.5 cm) overall. Signed “S Lewitt� lower right.

Estimate $25,000-35,000 Provenance Grant Selwyn Fine Art, New York

410

411

410 Haim Steinbach b. 1944

411 PAUL FEELEY 1910 - 1966

Untitled (mask, shot glasses), 1988

EL 15, 1965

Plastic laminated wooden shelf, plastic mask, styrofoam mannequin head and seven glass

Acrylic and varnish on wood. 8 x 8 x 8 in. (20.3 x 20.3 x 20.3 cm). Signed, titled and dated

shot glasses. 26 x 36 x 13 in. (66 x 91.4 x 33 cm) overall. Signed and dated “Steinbach 88” on

“EL Feeley ‘65” on the underside.

underside of wooden shelf. This work is unique.

Estimate $4,000-6,000

Estimate $15,000-20,000 Provenance Private collection, New York Provenance Sonnabend Gallery, New York

412 Bridget Riley b. 1931 Study for Painting (long sequence), 1983 Gouache and graphite on paper. 9 5/8 x 26 1/2 in. (24.4 x 67.3 cm). Titled “Study for Painting (long sequence)” lower left; signed and dated “Bridget Riley ‘83” lower right.

Estimate $60,000-80,000 Provenance Meredith Palmer Gallery, New York

413

414

413 Linda Besemer b. 1957

414 Laurence Jenkell b. 1965

Fold #58, 2001

Bonbon drapeau Grande-Bretagne (Candy Flat Great Britian), 2009

Acrylic on vinyl with metal rod and brackets. 44 x 54 1/8 x 2 1/4 in. (111.8 x 137.5 x 5.7 cm).

Polyester resin with sequined airbrush painting. 78 5/8 in. x 29 1/2 x 29 1/2 in. (200 x 75 x 75 cm).

Estimate $8,000-12,000 Provenance Cohan and Leslie, New York

Inscribed “Jenkell” twice and numbered of eight on base. This work is from an edition of eight plus four artist’s proofs.

Estimate $25,000-30,000 Provenance Opera Gallery, Paris

415

416

415 Erik Parker b. 1968

416 Steve DiBenedetto b. 1958

I Love No Go Home, 2002

Situation, 2002

Gloss household paint, oil, graphite and glitter on board. 47 1/4 x 50 in. (120 x 127 cm).

Graphite and colored pencil on paper. 22 3/8 x 30 1/8 in. (56.8 x 76.5 cm). Signed and dated

Signed and dated “Erik Parker 2002” on the reverse.

“Steve DiBenedetto 2002” on the reverse.

Estimate $8,000-12,000

Estimate $4,000-6,000

Provenance Leo Koenig Inc., New York

Provenance Derek Eller Gallery, New York Exhibited Boston, Sandra and David Bakalar Gallery at the Massachusetts College of Art,

Earthly Delights, January 28 - March 17, 2004 Literature C. Zang and L. Tung, eds., Earthly Delights, Boston, 2004, p. 11

417 Jonathan Monk b. 1969 Dandy Crackup, 2007 Acrylic on canvas. 80 5/8 x 68 7/8 in. (204.8 x 174.9 cm). Signed and dated “Jonathan Monk 2007” on the overlap.

Estimate $20,000-30,000 Provenance Galleri Nicolai Wallner, Copenhagen Exhibited Copenhagen, Galleri Nicolai Wallner, Jonathan Monk New Paintings, May 12 - June

23, 2007 Literature T. Zenth, “Interview: Jonathan Monk”, Kopenhagen, June 5, 2007 (illustrated)

418 Jonathan Monk b. 1969 Complete Incomplete Open Cube (With inside resting on outside forever), 2007 Two painted and brushed aluminium cubes. Each: 39 1/2 x 39 1/2 x 39 1/2 in. (100.3 x 100.3 x 100.3 cm). This work is from an edition of two plus one artist’s proof and is accompanied by a certificate of authenticity signed by the artist.

Estimate $40,000-60,000 Provenance Yvon Lambert, Paris

419

420

419 Terence Koh b. 1977

420 Terence Koh b. 1977

Untitled 9 (Slingshot), 2003

Untitled (Whitehead), 2006

Slingshot, acrylic paint, rabbit’s fur and bandage. 55 x 6 x 1 in. (139.7 x 15.2 x 2.5 cm).

Mixed media sculpture, cast plaster head of the artist, fragmented, broken, or otherwise

This work is from an edition of three plus two artist’s proofs.

partially destroyed, glue and paint, in glass vitrine. 12 1/2 x 19 7/8 x 11 3/4 in. (31.8 x 50.5 x 29.8 cm).

Estimate $8,000-12,000 Provenance Peres Projects, Los Angeles Exhibited Los Angeles, Peres Projects, asianpunkboy: The Whole Family, May 10 - June 14, 2003

Signed and dated ‘KOH 2006’ on the underside. This work is from a series of 10, each with unique elements.

Estimate $2,500-3,500

(another example exhibited); New York, Whitney Museum of American Art, Whitney Biennial 2004,

Provenance Kunsthalle, Zurich

March 11 - May 30, 2004 (another example exhibited); Museo de Arte Contemporáneo de Castilla y

Exhibited Zurich, Kunsthalle, Terence Koh, August 26 - October 29, 2006

León, Love for eternity, September 27, 2008 - January 11, 2009 (another example exhibited) Literature A. Pérez Rubio, “Letter to a Bunny In a Magician’s Top Hat from the Other Side

of the Looking Glass”, Terence Koh Love for Eternity, 2009, Ostfildern-Ruit, p. 30

421 Zilvinas Kempinas b. 1969 O2, 2006 Magnetic cassette tape and fan. Installation dimensions variable. This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $20,000-30,000 Provenance Spencer Brownstone Gallery, New York

422 LOTHAR HEMPEL b. 1966 Morning Rain, 2005 Installation comprised of four colored stones, found umbrella, butterfly, metal wire, nails and screws, neoprene, string, fabric, fabric flowers and adhesive on metal rod, painted wooden doll with fabric, leather strips, cotton, synthetic hair and buttons on a painted wooden base.

67 1/4 x 40 x 33 in. (170.8 x 101.6 x 83.8 cm). This work is accompanied by a certificate of authenticity.

Estimate $6,000-8,000 Provenance Anton Kern Gallery, New York Literature F. Derieux, ed., Lothar Hempel: Alphabet City, Zurich, 2007, p. 125 (illustrated)

Presented as both sculpture and theatrical maquette, Lothar Hempel’s Morning Rain offers a sentiment of naïve elegance. Constructed from simple craft media such as fabric and newspaper, Hempel draws from the enchantment of imagination, converting everyday materials into a fanciful puppet theatre. Consciously exposing the process of his making, Hempel’s figure makes no pretence to illusion. It’s interpretation as fictional scene, fragile museum piece, exotic artefact, or simply formalist intrigue is openly offered for viewer’s participation in Hempel’s suggested fantasy.

(Courtesy of Patricia Ellis)

423

424

423 Todd Hebert b. 1972

424 ELIZABETH GRACHEV b. 1937

Pretty Close, 2005

Rupture 1, 2005

Acrylic on canvas over panel. 35 3/4 x 48 in. (90.8 x 121.9 cm). Signed, titled and dated

Oil on canvas. 74 x 52 in. (188 x 132.1 cm). Signed, titled and dated “Elizabeth Grachev

“T. Hebert Pretty Close 2005” on the reverse.

Rupture 1 2005” on the reverse.

Estimate $7,000-9,000

Estimate $4,000-6,000

Provenance Mark Moore Gallery, Santa Monica

Provenance Acquired directly from the artist

Exhibited Santa Monica, Mark Moore Gallery, Todd Hebert Pretty Close, September 10 -

Exhibited Moscow, The State Tretyakov Gallery, Elizabeth Grachev, Equilibrium of Contrasts, 2005

October 8, 2005; Ridgefield (Connecticut), The Aldrich Contemporary Art Museum, Todd Hebert: 2005 Aldrich Emerging Artist Award Recipient, October 16, 2005 - March 12, 2006

425

426

425 Dirk Skreber b. 1961

426 Loris Cecchini b. 1969

Untitled, 2007

Thm (Milano), 2002

Plastic model car on metallic stand. Model: 6 3/8 x 4 3/8 x 4 in. (16.2 x 11.1 x 10.2 cm); metal

Cast urethane rubber. 35 x 17 x 11 in. (88.9 x 43.2 x 27.9 cm). This work is an artist’s proof

stand: 48 3/4 x 11 1/2 x 11 1/2 in. (123.8 x 29.2 x 29.2 cm).

from an edition of three plus two artist’s proofs and is accompanied by a certificate of

Estimate $10,000-15,000

authenticity signed by the artist.

Estimate $7,000-9,000 Provenance Luis Campaña, Cologne Provenance Galleria Continua, San Gimignano

427 Jeppe Hein b. 1974 Kugelbahn, 2004 Brass, three stainless steel balls and wooden plinth. 63 5/8 x 17 7/8 x 14 1/2 in. (161.6 x 45.4 x 36.8 cm). This work is from an edition of 10.

Estimate $10,000-15,000 Provenance Sies + HĂśke, DĂźsseldorf

428 Sam Durant b. 1961 White, Unique Mono-Block Resin Chair, 2006 Glazed porcelain. 29 7/8 x 15 3/8 x 15 3/8 in. (75.9 x 39.1 x 39.1 cm). This work is unique.

Estimate $20,000-30,000 Provenance Sadie Coles HQ, London

(Actual size)

429 Richard Pettibone b. 1938 Andy Warhol “Electric Chair”, 1963, 1996 Silkscreen and oil on canvas in the artist’s wooden frame. 5 1/4 x 6 3/4 in. (13.3 x 17.1 cm).

Signed, titled, dated “Richard Pettibone ‘Andy Warhol Electric Chair, 1963’ 1996” and numbered of 10 on the overlap. This work is unique from a series of 10.

Estimate $12,000-18,000 Provenance Curt Marcus Gallery, New York

(Actual size)

430 Richard Pettibone b. 1938 Jan Van Eyck, “Giovanni Arnolfini and his Wife”, 1434, 1974 Oil on canvas in the artist’s wooden frame. 8 x 6 1/4 in. (20.3 x 15.9 cm). Signed, titled and dated “Richard Pettibone Jan Van Eyck, Giovanni Arnolfini and his Wife 1974” on the overlap.

Estimate $30,000-50,000 Provenance Acquired directly from the artist Literature I. Berry, M. Duncan, Richard Pettibone: A Retrospective, Saratoga Springs, 2005,

p. 117 (illustrated)

431 John Waters b. 1946 Study Art Sign (For Style or Glory), 2007 Acrylic urethane on wood and aluminium. 42 x 56 x 4 1/2 in. (106.7 x 142.2 x 11.4 cm).

Signed “John Waters� and numbered of five on the reverse. This work is from an edition of five.

Estimate $10,000-15,000 Provenance Marianne Boesky Gallery, New York

432 Jeff Koons b. 1955 Art Magazine Ads (Flash Art, ArtForum, Art, Art in America), 1988 - 1989 Portfolio of four color offset lithographs. Each: 35 1/2 x 27 1/2 in. (90.2 x 69.9 cm) paper size.

Each signed “Jeff Koons” and numbered of two lower right. This work is an artist’s proof from an edition of 50 plus two artist’s proofs.

Estimate $12,000-18,000 Provenance Anthony d’Offay Gallery, London Exhibited Amsterdam, Stedelijk Museum; Arhus, Aarhus Kunstmuseum; Stuttgart,

Staatsgalerie, Jeff Koons, November 1992 - March 1993 (another example exhibited); London, Anthony d’Offay Gallery, Jeff Koons—A Survey 1981-1994, June - July 1994; Paris, Galerie Jérôme de Noirmont, Jeff Koons, September - November 1997 (another example exhibited); Bielefeld, Kunsthalle Bielefeld, Jeff Koons Pictures 1980-2002, September - November 2002, pp. 54-57 (another example exhibited); Oslo, The Astrup Fearnley Museum of Modern Art, Jeff Koons— Retrospektive, September - December 2004 (another example exhibited) Literature R. Rosenblum, The Jeff Koons Handbook, New York, 1993, pp. 91, 93, 95, 96

(illustrated); A. Muthesius, Jeff Koons, Cologne, 1992, pp. 98-102, p. 167, pl. 1-4 (illustrated); T. Kellein, ed., Jeff Koons Pictures 1980-2002, New York, 2002, pp. 54-57 (illustrated); E. Cicelyn, M. Codognato and E. Geuna, Jeff Koons, Naples, 2003, p. 73-77 (illustrated); H.W. Holzwarth, ed., Jeff Koons, Cologne, 2009 pp. 253, 255, 256, 257 (illustrated)

433 Keith Haring 1958 - 1990 Pyramid, 1989 Silkscreen on anodized aluminum. 40 1/2 x 57 in. (102.9 x 144.8 cm). Inscribed, dated “K. Haring 89� and numbered of 30 on the reverse. This work is from an edition of 30.

Estimate $30,000-40,000 Provenance

Editions Schellman, Munich/New York; Private Collection

434 Keith Haring 1958 - 1990 Pyramid, 1989 Silkscreen on anodized aluminum. 40 1/2 x 57 in. (102.9 x 144.8 cm). Inscribed, dated “K. Haring 89� and numbered of 30 on the reverse. This work is from an edition of 30.

Estimate $30,000-40,000 Provenance Editions Schellman, Munich/New York; Private Collection

435

436

435 CRASH (John Matos) b. 1961

436 Barry McGee b. 1966

Airplane, 1984

Untitled, not dated

Acrylic and spray paint on canvas. 70 1/4 x 109 1/4 in. (178.4 x 277.5 cm). Signed and dated

Oil and ink on plastic laminated paper. 36 x 23 in. (91.4 x 58.4 cm).

“Crash Matos 1/84� on the reverse.

Estimate $8,000-12,000

Estimate $15,000-20,000 Provenance Luggage Store, San Francisco Provenance Private collection, Washington D.C.

437 Mr. Brainwash b. 1966 Charlie Chaplin Pink, not dated Spray and metallic paint, acrylic and paper collage on canvas. 84 1/2 x 72 in.

(214.6 x 182.9 cm). Signed “Mr. Brainwash� along right edge. This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $50,000-70,000 Provenance Acquired directly from the artist

438

439

438 Kenny Scharf b. 1958

439 Kenny Scharf b. 1958

Solsu n Luis Violetch, 1984

3 Friends, 1999

Acrylic and spray enamel on canvas. 25 3/4 x 36 in. (65.4 x 91.4 cm). Signed, titled and dated

Oil on canvas in the artist’s painted frame. 13 1/2 x 16 1/2 in. (34.3 x 41.9 cm).

“Solsu n Luis Violetch Kenny Scharf 1984” on the reverse.

Signed, titled and dated “3 Friends Kenny Scharf 99” on the reverse.

Estimate $20,000-30,000

Estimate $12,000-18,000

Provenance Fun Gallery, New York; Private Collection; Private Collection

Provenance Acquired directly from the artist; Private collection, Los Angeles

440 Kenny Scharf b. 1958 Bloobzibloopzibloop, 2000 Bronze with gold patina. 41 x 14 x 9 in. (104.1 x 35.6 x 22.9 cm). Inscribed, dated “Kenny Scharf 2000� and numbered of four on reverse of base. This work is from an edition of four.

Estimate $30,000-40,000 Provenance Empire Bronze Company, New York

© 2003 Mr. /Kaikai Kiki Co., Ltd. All Rights Reserved.

441 Mr. b. 1969 Typhoon Family, 2003 Acrylic on canvas. 16 1/4 x 12 1/2 in. (41.5 x 32 cm). Signed and dated “MR.2003” on the reverse.

Estimate $25,000-35,000 Provenance Galerie Emmanuel Perrotin, Paris

442 Yoshitomo Nara b. 1959 No Rain…No Rainbow, 2005 Pastel on paper. 21 1/4 x 15 1/8 in. (54 x 38.4 cm). Signed and dated “Y Nara 2005” on the reverse.

Estimate $25,000-35,000 Provenance Private collection, Japan

443 TOM MCGRATH b. 1978 Untitled, 2005 Oil on canvas. 56 x 96 in. (142.2 x 243.8 cm).

Estimate $15,000-20,000 Provenance Zach Feuer Gallery (LFL), New York

444 Ryan McGinness b. 1971 Untitled (Blue Doughnut), 2005 Acrylic on wooden panel. 72 1/2 in. (184.2 cm) diameter. Signed and dated “Ryan McGinness 2005� on the reverse.

Estimate $25,000-35,000 Provenance Diana Lowenstein Fine Arts, Miami

445

445 Dubossarsky/Vinogradov (Vladimir Dubossarsky and Alexander Vinogradov) b. 1964 and 1963 Summer 1, 2001 Oil on canvas. 55 3/4 x 77 1/2 in. (141.6 x 196.9 cm). Signed and dated “Dubossarsky Vinogradov 2001” lower right.

Estimate $40,000-60,000 Provenance Deitch Projects, New York

447

446

446 Chie Fueki b. 1973

447 Clare Rojas b. 1973

For You, 2003

Untitled, 2005

Acrylic on Mulberry paper laid down on panel. 30 x 24 in. (76.2 x 61 cm). Signed, titled

Acrylic and gouache on panel. 10 x 10 in. (25.4 x 25.4 cm).

and dated “Chie Fueki For You 2003” on the reverse.

Estimate $2,500-3,500

Estimate $2,500-3,000 Provenance Kavi Gupta Gallery, New York Provenance Bill Maynes Gallery, New York

448 Julia Jacquette b. 1964 Women & Worried, Sad (Self-Portrait) II, 2000 Oil on linen. 30 1/8 x 30 in. (76.5 x 76.2 cm). Signed, titled and dated “Julia Jacquette Women & Worried, Sad (Self-Portrait) II 2000� on the reverse.

Estimate $15,000-20,000 Provenance Michael Steinberg Fine Art, New York

449 Kris Martin b. 1972 Dia, 2007 C-print. 39 3/8 x 26 3/4 in. (100 x 67.9 cm). This work is from an edition of five plus two artist’s proofs and is accompanied by a certificate of authenticity signed by the artist.

Estimate $15,000-20,000 Provenance Sies + Höke, Düsseldorf

451 450

450 Tom McGrath b. 1978

451 Elif Uras b. 1972

Gaurdrail, 2007

Cosmic Consciousness, 2005

Oil on canvas. 72 x 60 in. (182.9 x 152.4 cm). Signed and dated “McGrath 2007”

Oil and modeling paste on canvas. 52 x 36 in. (132.1 x 91.4 cm). Signed, titled and dated

on the reverse.

“Elif Uras Cosmic Consciousness 2005” on the reverse.

Estimate $12,000-18,000

Estimate $5,000-7,000

Provenance Private collection, Belgium

Provenance Gavlak Gallery, Palm Beach

452 Leonardo Drew b. 1961 Number 66, 1998 Installation comprised of wood, cloth, mud, mesh, dirt, cotton, paper clips, paper collage, pillows, rope, twine, porcelain, buttons, plastic and ceramic. 98 3/4 x 107 x 12 in.

(250.8 x 271.8 x 30.5 cm).

Estimate $18,000-25,000 Provenance Mary Boone Gallery, New York

453 Edward and Nancy Kienholz 1927 - 1994 and b. 1943 Elle Mono Series #16, 1992 Oil, glue, lace, wallpaper, giltwood mirror and table, black and white photograph in metal frame, silver-plate trophy cup, wooden molding and galvanized aluminum on wooden panel with chocolate candies. 64 x 33 1/4 x 9 1/2 in. (162.6 x 84.5 x 24.1 cm). Signed, titled and dated “Ed & N Kienholz #16 1992� on the reverse.

Estimate $25,000-35,000 Provenance L.A. Louver Gallery, Los Angeles; Private Collection

454 OSSIP ZADKINE 1890 - 1967 Seated Woman, circa 1945 Bronze with black patina on marble base. 12 x 5 x 7 in. (30.5 x 12.7 x 17.8 cm). Inscribed “OZ” on left edge; foundry stamp “Susse Fondeur, Paris” on the reverse.

Estimate $20,000-30,000 Provenance Lillian Heidenberg Fine Art, New York

455 Angelo Filomeno b. 1963 In the Upper Sky, 2001 Embroidery on silk shantung on canvas. 68 x 68 in. (172.7 x 172.7 cm). Signed, titled and dated “Angelo Filomeno In the Upper Sky 2001� on the overlap.

Estimate $18,000-25,000 Provenance Massimo Audiello, New York; Collection Kenneth L. Freed, Boston

456

457

456 Raymond Pettibon b. 1957

457 Raymond Pettibon b. 1957

No Title (Down in Front!...), 1986

No Title (Crank it Up…), 1992

Ink on paper. 14 x 11 in. (35.6 x 27.9 cm). Signed and dated “Raymond Pettibon 86”

Ink on paper. 11 x 8 1/2 in. (27.9 x 21.6 cm).

on the reverse.

Estimate $12,000-18,000

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

458

458 Raymond Pettibon b. 1957 No Title (Forever Young…), 1991 Ink and watercolor on paper. 13 7/8 x 10 7/8 in. (35.2 x 27.6 cm). Signed and dated “Raymond Pettibon 91” on the reverse.

Estimate $7,000-9,000 Provenance Thea Westreich Art Advisory Services, Inc., New York

459 Raymond Pettibon b. 1957 No Title (Think Ahead…), 1990-1992 Ink and watercolor on paper. 30 x 22 3/8 in. (76.2 x 56.8 cm). Signed and dated “Raymond Pettibon 90-92” on the reverse.

Estimate $20,000-30,000 Provenance Acquired directly from the artist

460

461

460 Daniel Hesidence b. 1975 Untitled, not dated Oil on canvas. 18 x 14 in. (45.7 x 35.6 cm). Signed “Daniel Hesidence” and accompanied by the artist’s hair wax sealed to the reverse.

Estimate $6,000-8,000 Provenance Tracy Williams Ltd., New York

461 Elisa Johns b. 1977 Big Bend, 2005 Oil on canvas. 90 1/4 x 52 1/4 in. (229.2 x 132.7 cm). Signed and dated “Elisa Johns 05” on the reverse.

Estimate $5,000-7,000 Provenance Elizabeth Dee, New York

462

462 Cecily Brown b. 1969 Untitled, 1997 Graphite and colored pencil on paper. 5 1/2 x 7 1/4 in. (14 x 18.4 cm). Initialed and dated “CB ‘97” on the reverse.

Estimate $1,500-2,000 Provenance AIDS Community Research Initiative of America (ACRIA) Benefit Auction, New York

463 Thomas Zipp b. 1966 Krankes Kind (Sick Child), 2003 Oil on canvas. 35 1/2 x 31 1/2 in. (90.2 x 80 cm). Signed, titled twice and dated “Thomas Zipp ‘Krankes Kind’ 2003” on the reverse.

Estimate $15,000-20,000 Provenance Galerie Guido W. Baudach, Berlin

464

464 Iona Rozeal Brown b. 1966 a3 blackface pimping and pandering #3, 2004 Acrylic and collage on paper. 38 x 50 in. (96.5 x 127 cm). Initialed and dated “IRB 040904” upper left.

Estimate $4,000-6,000 Provenance Caren Golden Fine Art, New York

465

466

465 Marcel Dzama b. 1974

466 MARCEL DZAMA b. 1974

Untitled, not dated

Black Swan or Gray Goose, 1997

Ink and watercolor on paper. 13 7/8 x 10 7/8 in. (35.2 x 27.6 cm). Signed “Marcel Dzama”

Ink and watercolor on paper. 12 1/2 x 9 3/4 in. (31.8 x 24.8 cm). Signed “Marcel Dzama” lower

lower right.

right; titled and dated “Black Swan or Gray Goose 97” on the reverse.

Estimate $2,000-3,000

Estimate $1,200-1,800

Provenance Richard Heller Gallery, Santa Monica

Provenance The Drawing Center, New York

467

468

467 Dr. Lakra b. 1972

468 Dr. Lakra b. 1972

Picture of Lily, 2004

Aqui te espero (Here I wait for you), not dated

Ink, oil and paper collage on vintage magazine. 17 1/8 x 11 5/8 in. (43.5 x 29.5 cm).

Ink on paper. 5 1/2 x 4 1/8 in. (14 x 10.5 cm). Signed “Dr. Lakra” along upper edge; titled

Signed and dated “Dr. Lacra XXIV” lower right.

“Aqui te espero” along lower edge.

Estimate $7,000-9,000

Estimate $2,000-3,000

Provenance Kate MacGarry, London

Provenance kurimanzutto, Mexico City

469 Joe Zucker b. 1941 Pinta, 1973 Acrylic, cotton and rhoplex on canvas. 48 in. (121.9 cm) diameter. Signed, titled and dated “J. Zucker Pinta 1973” on the reverse.

Estimate $4,000-6,000 Provenance Hirschl & Adler Modern, New York; Private Collection

469

470

471

470 James Brown b. 1951

471 Leon Golub 1922 - 2004

Untitled, 1988

Franco, 1974-1976

Graphite on paper. 40 1/4 x 26 in. (102.2 x 66 cm). Initialed and dated “J.B VII VII” lower right;

Oil on linen. 18 1/4 x 15 in. (46.4 x 38.1 cm). Signed “Golub” lower right; signed, titled

signed and dated “James Brown 1988” on the reverse.

and dated “Golub Franco 1974 1976” on the reverse.

Estimate $6,000-8,000

Estimate $5,000-7,000

Provenance Acquired directly from the artist

Provenance Diego Cortez Arte Ltd., New York

472

472 Walter de Maria b. 1935 Green Castle with Ships, 1962 - 1972 Graphite on paper. 23 1/4 x 35 in. (59.1 x 88.9 cm). Signed, titled and dated “Walter de Maria 1972 Green Castle with Ships 1962” on the reverse.

Estimate $8,000-12,000 Provenance Acquired directly from the artist; Private collection, New York Exhibited New York, Vivian Horan Fine Art, Minimalism: On and Off Paper, September 28 -

November 17, 2006

474

473

473 Matt Saunders b. 1975

474 Eric Fischl b. 1948

Untitled (Fassbinder), 2003 - 2004

Untitled, 1995

Oil and graphite on mylar. 28 3/4 x 46 5/8 in. (73 x 118.4 cm).

Watercolor on paper. 4 7/8 x 3 3/8 in. (12.4 x 8.6 cm). Initialed and dated “EF 95” lower left.

Estimate $3,000-5,000

Estimate $2,000-3,000

Provenance Grimm|Rosenfeld, Munich

Provenance Private collection, New York

Exhibited New London (Connecticut), Lyman Allyn Art Museum, Subject, May 14 - August 14,

2006

475

475 Hope Atherton b. 1974 Virgin, 2002 Charcoal, ink and acrylic on paper. 59 1/4 x 40 3/8 in. (150.5 x 102.6 cm). Signed and dated “Hope Atherton 02” lower left.

Estimate $5,000-7,000 Provenance Acquired directly from the artist

476

477

476 Dan Attoe b. 1975 Mosquito In My Soul, 2003 Oil on panel. 4 7/8 x 7 in. (12.4 x 17.8 cm). Signed, titled and dated “Dan Attoe Mosquito in my soul 2003” on the reverse.

Estimate $2,500-3,500 Provenance Peres Projects, Los Angeles

477 Dan Attoe b. 1975 Forest Fire, 2003 Oil on panel. 4 7/8 x 7 in. (12.4 x 17.8 cm). Signed, titled and dated “Dan Attoe Forest Fire 2003” on the reverse.

Estimate $2,500-3,500 Provenance Peres Projects, Los Angeles

478 Stephan Balkenhol b. 1957 Man in Orange Shirt, 1997 Oil on carved wawa wood. 55 1/2 x 13 1/4 x 9 3/8 in. (141 x 33.7 x 23.8 cm).

Estimate $30,000-40,000 Provenance Regen Projects, Los Angeles

479

479 Robyn O’Neil b. 1977 The Prelude to a Solid Hope of Something Better 5, 2003 Graphite on paper. 32 x 40 in. (81.3 x 101.6 cm). Signed, titled and dated “Robyn O’Neil The Prelude to a Solid Hope of Something Better 5 2003” on the reverse.

Estimate $7,000-9,000 480 Provenance Clementine Gallery, New York; Private collection, Michigan

481

480 Amy Adler b. 1966

481 Slawomir Elsner b. 1976

Mike, 2001

Untitled, 2004

Cibachrome print. 24 x 18 in. (61 x 45.7 cm). Signed, titled and dated “Amy Adler Mike 2001”

Colored pencil on paper. 39 1/4 x 47 in. (99.7 x 119.4 cm). Signed and dated “Slawomir Elsner

on the reverse.

2004” on the reverse.

Estimate $2,000-3,000

Estimate $1,000-1,500

Provenance Casey Kaplan, New York

Provenance Grieder von Puttkamer, Berlin

482

483

482 Paul P b. 1977

483 Paul P b. 1977

Three works: Untitled, (i): 2002 - 2003; (ii): 2003; (iii) 2002

Untitled, 2002

(i): Colored pencil on paper; (ii): colored pencil and graphite on paper; (iii) colored pencil

Oil on panel. 12 x 9 in. (30.5 x 22.9 cm). Signed and dated “Paul P 2002� on the reverse.

and pastel on paper. (i): 10 x 7 1/2 in. (25.4 x 19.1 cm); (ii) 11 1/4 x 9 in. (28.6 x 22.9 cm); (iii) 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm). Each signed and dated on the reverse.

Estimate $4,000-6,000

Estimate $7,000-9,000

Provenance Paul Petro Contemporary Art, Toronto

Provenance Private collection, New York

April 13 - May 11, 2002

Exhibited Toronto, Paul Petro Contemporary Art, Paul P New Paintings and Works on Paper,

484 Josh Smith b. 1976 Untitled, 2006 Oil on canvas. 60 x 48 in. (152.4 x 121.9 cm). Signed and dated twice “Josh Smith 2006� on the reverse and overlap.

Estimate $12,000-18,000 Provenance Fortescue Avenue, London

485 Josh Smith b. 1976 Untitled , 2006 Oil and newspaper collage on panel. 60 x 48 in. (152.4 x 121.9 cm). Signed and dated “Josh Smith 2006� on the reverse.

Estimate $12,000-18,000 Provenance Luhring Augustine, New York

486

486 JON PYLYPCHUK b. 1972 You never winning fucker, 2003 Glitter, fabric, adhesive, wood, ink and oil on cut paper. 42 1/8 x 51 3/4 in. (107 x 131.4 cm).

Titled “you never winning fucker” upper left; signed, initialed and dated “RB 03/017 Rudy Bust [the artist’s alter ego] 2003” on the reverse.

Estimate $4,000-6,000 Provenance Friedrich Petzel Gallery, New York

488

487

487 JON PYLYPCHUK b. 1972

488 Jon Pylypchuk b. 1972

Press these wounds in soft kisses / the softest love, 2004

Untitled (please excuse my erection), 2003

Felt collage and adhesive on paper. 21 3/4 x 18 in. (55.2 x 45.7 cm). Titled “Press these

Ink, adhesive, wood, fabric, felt-tip pen and synthetic hair on cut paper. 9 1/8 x 9 in.

wounds in soft kisses / the softest love” on face.

(23.2 x 22.9 cm). Initialed and dated “JP 03-6” on the reverse.

Estimate $2,000-3,000

Estimate $2,000-3,000

Provenance Asprey Jacques, London

Provenance China Art Objects, Los Angeles

489 Tony Oursler b. 1957 Kiss Cough, 1994 Video recorder, two tripods, puppet, two power supply boxes, projector, cable and two VHS tapes. Installation dimensions variable.

Estimate $40,000-60,000 Provenance Metro Pictures, New York: Private Collection Exhibited LĂźbeck, Overbeck-Gesellschaft, Junge Kunst International ‘97, 1997

490 John Bauer b. 1971 Double Negative (#0816), 2008 Oil on linen. 60 x 48 in. (152.4 x 121.9 cm).

Estimate $6,000-8,000 Provenance Private collection, Brussels

491 John Bauer b. 1971 Aggression and Transgression (#0814), 2008 Oil and enamel on linen. 90 x 70 in. (228.6 x 177.8 cm).

Estimate $8,000-12,000 Provenance Private collection, Brussels

492

Courtesy of Cherry and Martin, Los Angeles

493

492 Amanda Ross-Ho b. 1975

493 John Bock b. 1965

Law of the Excluded Middle, 2007

Two works: Untitled, 2005 and 2009

Installation comprised of sheetrock, collaged photographs, acrylic, cloth, post its, luggage

Ink, collaged photographs, q tips, adhesive, found plastic hair and body gel bottle, plastic

tag, kitty litter box, plastic cup, mylar bow, glass jar with eight paintbrushes, tacks and a

pill holder and white out on paper and ink and paper collage on paper. 8 1/8 x 11 1/2 in.

pencil. 63 1/4 x 48 1/4 x 30 1/4 in. (160.7 x 122.6 x 76.8 cm).

(20.6 x 29.2 cm) and 11 1/2 x 8 in. (29.2 x 20.3 cm). Initialed and dated “JB 28-04-05” and “JB

Estimate $4,000-6,000

28-04-09” lower right.

Estimate $3,000-4,000 Provenance Acquired directly from the artist Provenance Galerie Meyer Kainer, Vienna

494

Š 2003 Chiho Aoshima/Kaikai Kiki Co., Ltd. All Rights Reserved.

495

494 Chiho AOSHIMA b. 1974

495 Karl Haendel b. 1976

Mountain Girl, 2003

Untitled (Salmon Sex Changes), 2001

Color print flush mounted on aluminum. 19 5/8 x 57 1/2 in. (50 x 146 cm). This work is from an

Graphite on paper. 46 x 51 in. (116.8 x 129.5 cm).

edition of three plus one artist’s proof.

Estimate $4,000-6,000

Estimate $10,000-15,000 Provenance Anna Helwing Gallery, New York Provenance Galerie Emmanuel Perrotin, Paris

496

497

496 Joe Bradley b. 1975

497 Max Cole b. 1937

Untitled, 2008

Untitled, 1997

Gouache on paper. 32 1/2 x 27 in. (82.6 x 68.6 cm). Signed and dated “Joe Bradley 08”

Ink, ink wash and graphite on paper. 22 1/4 x 30 in. (56.5 x 76.2 cm). Signed and dated

on the reverse.

“Cole 97” lower left.

Estimate $4,000-6,000

Estimate $2,000-3,000

Provenance Peres Projects, Los Angeles

Provenance Galerie Markus Richter, Berlin

498

499

498 Richard Billingham b. 1970

499 Bruce Nauman b. 1941

Untitled, 1995

Untitled (New Museum Image), 1992

Color photograph on aluminum. 41 3/8 x 62 in. (105.1 x 157.5 cm). Signed and dated “Richard

Fuji supergloss print. 20 1/2 x 20 1/8 in. (52.1 x 51.1 cm). Signed, dated “B Nauman 92”

Billingham 1995” and numbered of five on the reverse. This work is from an edition of five.

and numbered of 150 lower right of margin. This work is from an edition of 150.

Estimate $2,000-3,000

Estimate $1,500-2,000

Provenance Anthony Reynolds Gallery, London

Provenance New Museum, New York

501

500

500 Helen Mirra b. 1970

501 José Lerma b. 1971

Old-Field Pine, 2000

Untitled, 2007

Embossing and ink stamp on paper. 14 1/2 x 17 1/2 in. (36.8 x 44.5 cm). Titled “Old-Field Pine”

Oil and acrylic on canvas. 100 x 60 in. (254 x 152.4 cm).

upper left.

Estimate $5,000-7,000

Estimate $4,000-6,000 Provenance Andrea Rosen Gallery, New York Provenance Meyer Riegger Gallery, Karlsruhe

502

502 James Nares b. 1953 Spirit of St Louis, 1985 Oil on silk mounted on panel. 72 1/4 x 44 1/4 in. (183.5 x 112.4 cm). Signed, titled and dated “James Nares ‘Spirit of St. Louis’ 4.85” on the reverse.

Estimate $3,000-4,000 Provenance Tony Shafrazi Gallery, New York

503

503 Nicola Tyson b. 1960 Three Figures, 1995 Gouache on paper in three parts. 16 x 12 1/2 in. (40.6 x 31.8 cm).

Estimate $3,000-4,000 Provenance Friedrich Petzel Gallery, New York

505

504

504 Hiroshi Sugito b. 1976

505 Aya Takano b. 1976

Untitled, 2004

Two works: Untitled and Forpryboy, 2000 and 1998

Oil on velvet mounted to panel. 7 7/8 x 11 7/8 in. (20 x 30.2 cm). Signed and dated “Hiroshi

Ink and watercolor on paper and ink, felt-tip pen and acrylic on paper. 8 1/8 x 4 3/8 in.

Sugito 2004” on the reverse.

(20.6 x 11.1 cm) and 12 1/8 x 5 1/4 in. (30.8 x 13.3 cm). Signed and dated “Aya Takano 2000”

Estimate $2,000-3,000

lower right and signed, titled and dated “Aya Takano Forpryboy 98” on the reverse.

Estimate $2,000-3,000 Provenance Arndt & Partner, Berlin Provenance Galerie Emmanuel Perrotin, Paris

506

507

506 Jay Davis b. 1975

507 Danica Phelps b. 1971

Who’s Asking Questions, 2002

Untitled, 1999

Acrylic on vinyl. 54 x 72 in. (137.2 x 182.9 cm). Signed, titled and dated “Jay Davis Who’s

Graphite, watercolor, gouache, recycled US currency on paper mounted to panel in two

Asking Questions 2002” on the overlap.

parts. 12 x 35 7/8 in. (30.5 x 91.1 cm) and 19 1/8 x 39 1/2 in. (48.6 x 100.3 cm). Each signed and

Estimate $8,000-12,000

dated “Danica Phelps 1999” on the reverse.

Estimate $2,000-3,000 Provenance Mary Boone Gallery, New York Exhibited New York, Mary Boone Gallery, Jay Davis, January 10 - March 1, 2003 Literature M. Kerr, “Jay Davis at Mary Boone”, Flash Art, March - April 2003, Issue 229

Provenance Jack Tilton Gallery, New York

508

508 Simon Periton b. 1964 Snatch 1, 2000 Cut paper collage. 23 1/4 x 34 in. (59.1 x 86.4 cm).

510

Estimate $2,000-3,000 Provenance Sadie Coles HQ, London

509

509 Roxy Paine b. 1966

510 Klara Kristalova b. 1967

Scumak, 1999

Silence is Golden, 2006

Low density polyethylene. 12 x 13 1/2 x 8 1/4 in. (30.5 x 34.3 x 21 cm). Signed “Roxy Paine” on

Glazed ceramic. 8 x 10 x 8 in. (20.3 x 25.4 x 20.3 cm). Signed and dated “K Kristalova 06” on

the underside.

the underside.

Estimate $2,000-3,000

Estimate $2,000-3,000

Provenance Pierogi, New York

Provenance Galleri Magnus Karlsson, Stockholm

511 Rita Ackermann b. 1968 Sky is Blue, Grass is Green and Life is Simple, 1993 Oil and graphite on canvas. 34 x 68 in. (86.4 x 172.7 cm). Titled “Sky is Blue, Grass is Green and Life is Simple” on the overlap.

Estimate $15,000-25,000 Provenance Andrea Rosen Gallery, New York

512

512 Zak Smith b. 1976 Dead Tired of a New American Century, 2007 Acrylic and metallic paint on found photograph. 26 x 19 1/4 in. (66 x 48.9 cm).

Estimate $7,000-9,000 Provenance FRED, London Exhibited London, FRED, Zak Smith: If You Want Something Done Left, Do It Yourself,

October 10 - November 11, 2007

513

514

513 Thomas Hirschhorn b. 1957

514 Thomas Hirschhorn b. 1957

Clamoxyl La Serie des Antibiotiques, 2005

Red Serie (1 Man = 1 Man), 2001

Ink, felt-tip pen and collaged magazine photographs on paper in plastic laminated cover.

Ink, felt-tip pen and collaged photographs on paper in plastic laminated cover.

31 5/8 x 33 in. (80.3 x 83.8 cm). Titled “Clamoxyl” upper left; signed, titled and dated

12 3/8 x 16 1/2 in. (31.4 x 41.9 cm).

“Thomas Hirschhorn Clamoxyl La Serie des Antibiotiques 2005” on the reverse.

Estimate $3,000-4,000

Estimate $5,000-7,000 Provenance Gladstone Gallery, New York Provenance Gladstone Gallery, New York

515

516

515 Rob Pruitt b. 1964

516 Justin Lieberman b. 1977

Rob Pruitt + Marimekko: Go Solar Not Ballistic (Isot Kevic), 1965/2003

Hamburger Helper, 2006

Acrylic on vintage screened cotton. 60 x 48 in. (152.4 x 121.9 cm).

Oil on hydrocal on wenge base with Plexiglas vitrine. 11 x 7 x 7 1/2 in. (27.9 x 17.8 x 19.1 cm).

Estimate $7,000-9,000

Signed, titled and dated “Justin Lieberman Hamburger Helper 2006” on the underside.

Estimate $6,000-8,000 Provenance Gavin Brown’s enterprise, New York Provenance Private collection, Los Angeles Exhibited New York, House of Campari, 25 Bold Moves, May 5 - 21, 2006

517

517 Michael Cline b. 1973 Three works: (i) Towards Nay; (ii) The Path; (iii) Untitled, (i), (ii): 2004; (iii) 2003 (i) Oil on canvas; (ii) oil, varnish and stain on panel; (iii) acrylic on canvas. (i) 10 1/4 x 12 in.

(26 x 30.5 cm); (ii) 13 3/4 x 10 3/4 in. (34.9 x 27.3 cm); (iii) 11 1/4 x 13 in. (28.6 x 33 cm). Each signed and dated on the reverse.

Estimate $8,000-12,000

519

Provenance Daniel Reich Gallery, New York

518

518 Nicole Eisenman b. 1965

519 Erik Schmidt b. 1986

Garden Scene, 1993

Ein Langer Sommer (A Long Summer), not dated

Watercolor on paper. 22 1/4 x 30 in. (56.5 x 76.2 cm).

Oil on canvas. 55 1/4 x 35 1/2 in. (140.3 x 90.2 cm).

Estimate $2,000-3,000

Estimate $3,000-4,000

Provenance Jack Tilton Gallery, New York

Provenance AndrĂŠ Schlechtriem Contemporary, New York

520

521

520 Bendix Harms b. 1967

521 Brad Kahlhamer b. 1956

Kleinburgsieben (Kleinburg Seven), 2002

5,000 FT. (Tucson), 1997

Oil on linen. 79 x 87 in. (200.7 x 221 cm). Signed, titled and dated “Bendix Harms

Oil on canvas. 16 x 14 1/4 in. (40.6 x 36.2 cm). Signed, titled and dated “Brad Kahlhamer

Kleinburgsieben 2002” on the reverse.

5,000 FT. (Tucson) 1997” on the reverse.

Estimate $4,000-6,000

Estimate $3,000-4,000

Provenance Anton Kern Gallery, New York

Provenance Bronwyn Keenan Gallery, New York

522

523

522 Pieter Schoolwerth b. 1970

523 Katya Sokolova b. 1985

Live Free or Die, 2002

Blythe Dolls I, 2008

Oil on canvas. 92 x 83 in. (233.7 x 210.8 cm). Signed, titled and dated “Pieter Schoolwerth

Oil on linen. 55 x 35 1/2 in. (139.7 x 90.2 cm). Signed “Sokolova K [in Cyrillic]” lower right; and

Live Free or Die 2002” on the reverse.

again on the reverse.

Estimate $15,000-20,000

Estimate $5,000-7,000

Provenance Elizabeth Dee, New York

Provenance Acquired directly from the artist

524

525

524 Håvard Homstvedt b. 1976

525 Håvard Homstvedt b. 1976

Stack, 2007

Warm Hand, Country House, 2005

Oil and acrylic on linen. 72 1/4 x 48 in. (183.5 x 121.9 cm). Signed “Homstvedt” on the reverse.

Oil on burlap. 72 x 60 in. (182.9 x 152.4 cm). Signed and dated “Homstvedt 05” on the reverse.

Estimate $15,000-20,000

Estimate $8,000-12,000

Provenance Kantor/Feuer Gallery, Los Angeles

Provenance Zach Feuer Gallery (LFL), New York

526

526 Natalie Frank b. 1980

527 TERRY RODGERS b. 1949

Converter, 2006

The Deck, 1999

Oil on canvas. 76 1/4 x 45 1/2 in. (193.7 x 115.6 cm). Initialed and dated “NF 2006” on the

Oil on linen. 40 x 62 in. (101.6 x 157.5 cm). Signed, titled and dated “Terry Rodgers The Deck

overlap.

1999” on the overlap.

Estimate $7,000-9,000

Estimate $8,000-12,000

Provenance Jack Tilton Gallery, New York

Provenance TORCH Gallery, Amsterdam Exhibited Erie Art Museum, Recent Paintings by Terry Rodgers, October 27 - December 17, 2000

527

528

528 Stephen Bush b. 1958

Staten Island, 2003

Acrylic and enamel on canvas. 72 x 72 in. (182.9 x 182.9 cm). Signed, titled and dated

Oil and acrylic on canvas. 36 x 84 in. (91.4 x 213.4 cm). Signed, titled and dated “Lisa Sanditz

“Stephen Bush ‘Tallow-wood’ 2005” on the reverse.

Staten Island 2003” on the overlap.

Estimate $8,000-12,000

Estimate $7,000-9,000

Provenance Goff + Rosenthal, New York

Provenance CRG Gallery, New York

Exhibited Site Santa Fe, Barry X Ball Stephen Bush Darren Almond, February 10 - May 13, 2007

529

529 Lisa Sanditz b. 1973

Tallow-wood, 2005

530 Bradley Walker Tomlin 1899 - 1953 Untitled, circa 1960 Oil on canvas laid on panel. 14 x 17 7/8 in. (35.6 x 45.4 cm). Signed ‘B. Tomlin’ lower right.

Estimate $20,000-30,000 Provenance Acquired directly from the artist; Collection Meshulam & Jahudit Riklis, New

York; Estate of Jahudit Riklis, Jerusalem/New York; Collection Abraham Havilio, Jerusalem

532

531

531 VLADIMIR CLAVIJO TELEPNEV b. 1962

532 Gary Hume b. 1962

Pehata C Goa (Renata with Boa), 1997

Untitled, 2005

Black and white photograph in painted artist’s frame. 19 1/2 x 15 3/4 in. (49.5 x 40 cm).

Polaroid. 106 1/2 x 42 1/2 in. (270.5 x 108 cm). Signed and dated “Hume 05” lower right. This

Signed and dated “Clavijo Telepnev 1997” along lower edge of photograph; signed, titled

work is unique.

and dated “Clavijo Telepnev Pehata C Goa 1997 [in Cyrillic and English]” on the reverse.

Estimate $8,000-12,000

Estimate $4,000-6,000 Provenance 2005 Free Arts NYC Benefit Auction, New York Provenance Acquired directly from the artist

533

534

533 Dasha Shishkin b. 1977

534 Ingrid Calame b. 1965

Four works: Untitled, 2005

# 40 Working Drawing, 1998

Ink on paper. Each: 5 x 15 1/2 in. (12.7 x 39.4 cm). Each signed and dated “Dasha Shishkin 2005”

Colored pencil on mylar. 29 5/8 x 29 7/8 in. (75.2 x 75.9 cm). Titled “#40 Working Drawing”

on the reverse.

lower left; signed and dated “Ingrid Calame 1998” lower right.

Estimate $4,000-6,000

Estimate $5,000-7,000

Provenance Brooklyn Fire Proof, New York

Provenance Karyn Lovegrove Gallery, Los Angeles; Private collection, Boston; Private

collection, New York

535

535 Abetz/Drescher (Maike Abetz and Oliver Drescher ) b. 1970 Myths of the Near Future, 2007 Acrylic and metallic paint on canvas. 82 1/2 x 65 in. (209.6 x 165.1 cm). Signed, titled and dated “Abetz Drescher Myths of the Near Future 2007” on the reverse.

Estimate $8,000-12,000 Provenance Goff + Rosenthal, New York

536

537

536 Marcel van Eeden b. 1965

537 Pat Andrea b. 1942

Christmas, 2002

Liquids, 1994

Graphite and felt-tip pen on paper. 7 3/8 x 11 in. (18.7 x 27.9 cm). Signed and dated “M van

Graphite, watercolor, gouache, cardboard, paper collage and plastic on wood mounted to

Eeden 2002” on the reverse.

panel in Plexiglas vitrine. 13 3/4 x 15 1/2 in. (34.9 x 39.4 cm). Signed and dated “Pat Andrea

Estimate $3,000-4,000 Provenance Galerie Zink & Gegner, Munich

1994” along lower edge of wood and panel; titled and dated “Liquids 94” with artist’s stamp on the reverse.

Estimate $2,000-3,000 Provenance Paolo Baldacci Gallery Ltd., New York Exhibited New York, Paolo Baldacci Gallery Ltd., Pat Andrea, April 1995

538

538 Lamar Peterson b. 1974 The Perfect Shaped Heart, 2004 Acrylic on canvas. 36 1/4 x 36 in. (92.1 x 91.4 cm). Signed twice and dated “Lamar Peterson 04” on the overlap and reverse.

Estimate $6,000-8,000 Provenance Deitch Projects, New York

540

539

539 Wayne White b. 1957

540 Christian Holstad b. 1972

Pot Dealer Small Talk, 2002

Scaredy Cats #3, 2005

Acrylic on offset lithograph in the artist’s frame. 19 5/8 x 23 5/8 in. (49.8 x 60 cm).

Collaged photograph and gold leaf on paper. 19 x 24 3/4 in. (48.3 x 62.9 cm). Signed and

Initialed “WW” lower right.

dated “Christian Holstad 05” on the reverse.

Estimate $2,000-3,000

Estimate $4,000-6,000

Provenance Mark Moore Gallery, Santa Monica

Provenance Daniel Reich Gallery, New York

541 Johannes Wohnseifer b. 1967 The Angry Brown Dog, 2006 Acrylic lacquer on aluminum. 55 1/8 x 39 3/8 in. (140 x 100 cm). Signed, titled and dated “Johannes Wohnseifer ‘The Angry Brown Dog’ 2006” on the reverse.

Estimate $15,000-20,000 Provenance Johann König, Berlin

542

543

542 Willie Doherty b. 1959

543 Willie Doherty b. 1959

Factory II , 1994

Suspicious Vehicle, 1995

Cibachrome print mounted on aluminum. 48 x 72 in. (121.9 x 182.9 cm). This work is from an

Cibachrome print mounted on aluminum. 48 x 72 in. (121.9 x 182.9 cm). This work is from an

edition of three.

edition of three.

Estimate $8,000-10,000

Estimate $5,000-7,000

Provenance Alexander and Bonin, New York

Provenance Alexander and Bonin, New York

Exhibited Miami, The Moore Art Space, That Place, April 27 - June 29, 2002

Exhibited New York, Brooke Alexander Editions, Willie Doherty, January 13 - February 17, 1996

(another example exhibited)

544

545

544 Pierre Bismuth b. 1963

545 Pierre Bismuth b. 1963

Most Wanted Men/NYC (E. Peyton & R. Prince), 2007

Most Wanted Men/Bruxelles (Ed Ruscha), 2006

C-print mounted on Cintra and spray paint on Plexiglas. 48 x 79 in. (121.9 x 200.7 cm).

C-print. 17 1/2 x 23 1/4 in. (44.5 x 59.1 cm). This work is unique.

This work is unique.

Estimate $4,000-6,000

Estimate $8,000-12,000 Provenance Mary Boone Gallery, New York Provenance Mary Boone Gallery, New York

Exhibited New York, Mary Boone Gallery, Pierre Bismuth, March 24 - April 28, 2007

546

546 Verne Dawson b. 1961 Big Bear, 2000 Oil on canvas. 16 x 22 in. (40.6 x 55.9 cm). Signed, titled and dated “Verne Dawson Big Bear 2000” on the reverse.

Estimate $5,000-7,000 Provenance Sandra Gering Gallery, New York; Gavin Brown’s enterprise, New York Exhibited New York, Sandra Gering, Collected (in Mind), April 2000; Kunsthalle Zurich, Keith

Tyson Verne Dawson, April 14 - June 2, 2002 Literature K. Johnson, “Art in Review: ‘Collected (in Mind): Bob Nickas’’, The New York Times,

March 24, 2000; B. Nickas, “Enternal Returns: The art of Verne Dawson”, ArtForum International, November 1, 2001

547

548

547 VERONIKA PONOMAREVA

548 Benjamin Edwards b. 1970

Untitled #4, circa 2005

Surveillance Camera Collection Project, 2001

Oil on canvas. 78 3/4 x 59 1/4 in. (200 x 150.5 cm). Signed “Veronika” lower right.

Digital iris print. 25 3/4 x 25 3/4 in. (65.4 x 65.4 cm). Signed “Ben Edwards” on a label adhered

Estimate $4,000-6,000

to the reverse. This work is unique.

Estimate $1,500-2,000 Provenance Acquired directly from the artist Provenance Artemis Greenberg Van Doren Gallery, New York Exhibited New York, Artemis Greenberg Van Doren Gallery, Convergence, September 7 -

October 6, 2001 Literature C. Finch, “Public Benjamin”, artnet.com (online content), August 30, 2001 (detail illustrated)

549

550

549 Candida Höfer b. 1944

550 Ryan McGinley b. 1977

Palacio del Congresso Salamanca, 1988

Reebok, 20026

Color coupler print. 15 x 22 1/2 in. (38.1 x 57.2 cm). Signed “Candida Höfer” on a label

C-print. 39 1/2 x 29 5/8 in. (100.3 x 75.2 cm). Signed, titled and dated “Ryan McGinley Reebok

adhered to the reverse. This work is from an edition of six.

2006” and numbered of six on a label adhered to the reverse. This work is from an edition of six.

Estimate $7,000-9,000

Estimate $6,000-8,000

Provenance Maruani & Noirhomme Gallery, Knokke

Provenance Priska C. Juschka Fine Art, New York

551

552

551 Nikki S. Lee b. 1970

552 Nikki S. Lee b. 1970

The Young Japanese in East Village (13), 1997

The Lesbian Project (3), 1997

C-print on Duraflex paper. 21 1/4 x 28 1/4 in. (54 x 71.8 cm) paper size. Signed, titled and

C-print on Duraflex paper. 21 1/4 x 28 1/4 in. (54 x 71.8 cm) paper size. Signed, titled and

dated “Nikki S. Lee The Young Japanese in East Village (13) 1997” and numbered of five on

dated “Nikki S. Lee The Lesbian Project (3) 1997” and numbered of five on the reverse. This

the reverse. This work is from an edition of five.

work is from an edition of five.

Estimate $3,000-4,000

Estimate $3,000-4,000

Provenance Leslie Tonkonow Artworks + Projects, New York

Provenance Leslie Tonkonow Artworks + Projects, New York

553

553 Nikki S. Lee b. 1970 The Seniors Project (10), 1999 C-print on Duraflex paper. 21 1/4 x 28 1/4 in. (54 x 71.8 cm). Signed, titled and dated “Nikki S. Lee The Seniors Project (10) 1999” and numbered of five on the reverse. This work is from an edition of five.

Estimate $3,000-4,000 Provenance Leslie Tonkonow Artworks + Projects, New York

554

555

554 Philip-Lorca diCorcia b. 1951

555 Nobuyoshi Araki b. 1940

Los Angeles (from A Storybook Life), 1992

Pola Eros (set 2), 2007

Fujicolor Crystal Archive print. 20 x 24 in. (50.8 x 61 cm). Signed “Philip-Lorca diCorcia” on

Set of five Polaroid photographs. 4 1/4 x 3 1/2 in. (10.8 x 8.9 cm) each.

the reverse. This work is from an edition of 10 plus two artist’s proofs.

Each signed “Araki” on the reverse. This work is unique.

Estimate $6,000-8,000

Estimate $4,000-6,000

Provenance Private collection, New York

Provenance Peres Projects, Los Angeles

Literature P. diCorcia, A Story Book Life, New York, 2003, n.p. (illustrated)

Exhibited Berlin, Peres Projects, Read My Lips, January 26 - February 23, 2008

556

556 Adi Nes b. 1966 Untitled , 2003 C-print. 48 5/8 x 35 5/8 in. (123.5 x 90.5 cm). This work is from an edition of 10.

Estimate $10,000-15,000 Provenance Praz-Delavallade, Paris Exhibited Paris, Praz-Delavallade, Adi Nes, June 5 - July 24, 2004

557

558

557 Slater Bradley b. 1975

558 Slater Bradley b. 1975

Year of the Doppelganger, 2004 - 2005

Series of Actresses, 2001

C-print. 62 x 84 in. (157.5 x 213.4 cm). This work is from an edition of three.

C-print face mounted to Diasec. 37 5/8 x 29 5/8 in. (95.6 x 75.2 cm). This work is from an

Estimate $7,000-9,000

edition of five.

Estimate $2,000-3,000 Provenance Blum & Poe, Los Angeles Provenance Arndt & Partner, Berlin; Private Collection

559

560

559 Loretta Lux b. 1969

560 OLGA TOBRELUTZ b. 1970

Boy in a Blue Raincoat 2, 2001

The Beach, 2008

Ilfochrome print. 19 3/4 x 19 3/4 in. (50.2 x 50.2 cm). Signed, titled, dated “Loretta Lux Boy In

C-print. 73 5/8 x 48 7/8 in. (187 x 124.1 cm). This work is unique.

a Blue Raincoat 2 2001� and numbered of seven on a label adhered to the reverse. This work is from an edition of seven.

Estimate $8,000-12,000

Estimate $8,000-12,000

Provenance Acquired directly from the artist

Provenance Yossi Milo Gallery, New York

561

561 Adam Fuss b. 1961 Untitled, 2005 Polaroid. 33 1/8 x 22 in. (84.1 x 55.9 cm). Signed and dated “Adam Fuss 2005” on the reverse.

This work is unique.

Estimate $4,000-6,000 Provenance 2005 Free Arts NYC Benefit Auction, New York

562

563

562 Jack Pierson b. 1960

563 Dash Snow 1981 - 2009

Footprints, 1992

Untitled, 2003

C-print. 30 x 39 1/2 in. (76.2 x 100.3 cm). Signed and dated “Jack Pierson 1992” on the

Digital c-print. 20 1/4 x 19 3/4 in. (51.4 x 50.2 cm). This work is unique.

reverse. This work is from an edition of five.

Estimate $4,000-6,000

Estimate $3,000-4,000 Provenance Acquired directly from the artist; Private collection, New York Provenance Acquired directly from the artist

564

564 Catherine Opie b. 1961 Untitled #13 (Wall Street), 2001 Iris print. 22 1/8 x 47 in. (56.2 x 119.4 cm). Signed, titled and dated “Catherine Opie Untitled #13 2000 – 2001” and numbered of five on the reverse. This work is from an edition of five plus two artist’s proofs.

Estimate $4,000-6,000 Provenance Gorney Bravin + Lee, New York

566

565

565 Anthony Goicolea b. 1971

566 Jeff Burton b. 1963

Laundry, 1998

Untitled #65 (brass cat), 1998 - 2001

Black and white photograph. 19 7/8 x 20 in. (50.5 x 50.8 cm).

Cibachrome print. 39 3/4 x 53 3/4 in. (101 x 136.5 cm). Signed “Jeff Burton” on a label

Estimate $3,000-4,000

adhered to the reverse. This work is unique in its size.

Estimate $3,000-4,000 Provenance Tate, New York Provenance Casey Kaplan, New York Exhibited SITE Santa Fe, Beau Monde: Toward a Redeemed Cosmopolitanism, July 14, 2001 -

January 6, 2002

INDEX

Abakanowicz, M. 315 Abetz/Drescher 535 Ackermann, R. 511 Adler, A. 480 Aitken, D. 346 Almond, D. 314 Andrea, P. 537 Aoshima, C. 265, 494 Araki, N. 555 Atherton, H. 475 Attoe, D. 476, 477

Calame, I. 534 Balkenhol, S. 478

Cecchini, L. 426

Ban, C. 264

Cerletty, M. 291, 292

Barney, M. 258, 259, 260

Chadwick, L. 331

Bauer, J. 490, 491

Chang, X. 362

Beecroft, V 352, 353

Cline, M. 517

Bell, L. 336

Cole, M. 497

Besemer, L. 413

Condo, G. 323, 324, 325, 326

Beshty, W. 253

Copley, B. 339

Beuys, J. 316

CRASH (J. Matos) 435

Bidlo, M. 311

Crewdson, G. 261, 262, 263

Billingham, R. 498

Bismuth, P. 544, 545

Davie, K. 306, 307, 308

Blake, J. 252

Davis, J. 373, 506

Bleckner, R. 312

Dawson, V 546

Bock, J. 493

de Maria, W. 472

Bradley, J. 496

Delvoye, W. 274, 275

Bradley, S. 557, 558

DiBenedetto, S. 416

Brown, C. 462

diCorcia, P. 554

Brown, I. R. 464

Doherty, W. 542, 543

Brown, J. 338, 470

Dr. Lakra, 386, 467, 468

Burden, C. 284, 285

Drew, L. 452

Burton, J. 566

Dubossarsky/Vinogradov 445

Bush, S. 528

Durant, S. 428

Dzama, M. 465, 466

Eastman, M. 232 Eberle, T. 204, 205 Eder, M. 322 Edwards, B. 548 Eisenman, N. 518 Eliasson, O. 288, 289 Elmgreen & Dragset 242 Esner, S. 481

Hirschhorn, T. 513, 514 Hirst, D. 266, 267 Hockney, D. 206 Hodges, J. 235 Hรถfer, C. 549 Holstad, C. 540 Holzer, J. 246, 249 Homstvedt, H. 524, 525 Hong, H. 360 Hopper, D. 225, 226, 228, 229, 230, 231 Hua, J. 361 Hume, G. 532 Hunt, B. 329

Iqbal, M. 392 Irazabal, P. 391

Fast, O. 347 Feeley, P. 411 Filomeno, A. 455 Fischl, E. 474 Ford, W. 219, 233 Fรถrg, G. 317 Frank, N. 526 Freeman, E. 305 Fueki, C. 446 Fujita, G. 212, 213 Fuss, A. 561

Gallaccio, A. 369 Gelitin 355 Gerhard, T. 387 Goicolea, A. 565 Golub, L. 471 Gordon, D. 257 Grachev, E. 424 Graham, R. 349 Grotjahn, M. 201 Guenther, A. 388

Haendel, K. 495 Haring, K. 433, 434 Harms, B. 520 Hebert, T. 423 Hein, J. 427 Hempel, L. 422 Hesidence, D. 460 Hildebrandt, G. 337

Jacquette, J. 448 Jenkell, L. 414 Jensen, S. 304 Johanson, C. 396, 397, 398 Johns, E. 461

Kahlhamer, B. 521 Kelley, M. 215, 345 Kempinas, Z. 421 Kienholz, E. and N. 453 Kilimnik, K. 298 Kippenberger, M. 318, 319

Koh, T. 286, 287, 419, 420 Koons, J. 432 Korty, D. 382 Kossoff, L. 220 Krisanamis, U. 299 Kristalova, K. 510 Kusama, Y. 243

Lambie, J. 234, 296 Landers, S. 402, 403 Lawler, L. 254 Lee, N. S. 551, 552, 553 Lerma, J. 501 Lewitt, S. 406, 407, 408, 409 Lieberman, J. 516 Ligon, G. 236 Liu, W. 357 Lokiec, T. 384 Lombardi, M. 374, 375 Longo, R. 282, 283, 290 Lucas, S. 251 Lux, L. 559

Maier-Aichen, F. 202, 217, 218 Marcaccio, F. 390 Marti, V 376 Martin, K. 449 McCarthy, D. 385 McCarthy, P. 272 McGee, B. 436 McGinley, R. 550 McGinness, R. 214, 444 McGrath, T. 443, 450 Meese, J. 320, 321 Meyerson, J. 389 Miller, J. 393 Minter, M. 241, 383 Mir, A. 381 Mirra, H. 500 Moffett, D. 310, 313 Monk, J. 417, 418 Mr. 441 Mr. Brainwash 437 Murakami, T. 211

Nara, Y. 210, 442 Nares, J. 502 Nauman, B. 499 Navarro, I. 239 Neel, A. 343 Nes, A. 556 Nevelson, L. 333

O’Neil, R. 479 Ofili, C. 394, 395 Opie, C. 564 Orozco, G. 348 Oursler, T. 489

Paine, R. 509 Parker, E. 415 Paschke, E. 256 Paul P.

482, 483

Pensato, J. 377 Periton, S. 508 Peterson, L. 538 Pettibon, R. 456, 457, 458, 459, Pettibone, R. 429, 430 Phelps, D. 507 Pierson, J. 562 Ponomareva, V 547 Prince, R. 273, 278, 279, 280, 281 Pruitt, R. 515 Pylypchuk, J. 486, 487

Quinn, M. 371

Raedecker, M. 300 Ratcliff, D. 237 Reyle, A. 240 Rickey, G. 330 Riley, B. 412 Rodgers, T. 527 Rojas, C. 447 Ross, A. 238 Ross-Ho, A. 492 Ruff, T. 344 Ruscha, E. 203, 207, 223, 224, 227

Sanditz, L. 529 Saunders, M. 473 Scharf, K. 438, 439, 440 Schmidt, E. 519 Schnabel, J. 404, 405 Schoolwerth, P. 522 Schumann, C. 372 Serra, R. 334 Shapiro, J. 332 Shaw, J. 401 Shishkin, D. 533 Simmons, G. 400 Skreber, D. 216, 222, 425 Smith, D. 208, 209, 221 Smith, J. 270, 271, 484, 485 Smith, Z. 512 Snow, D. 380, 563 Sodi, B. 244 Sokolova, K. 523 Sonnier, K. 302 Spoerri, D. 327 Stanczak, J. 309 Steinbach, H. 410 Steinkamp, J. 370 Strunz, K. 301 Sugimoto, H. 276, 277, 364, 365, 366, 367, 368 Sugito, H. 295, 504

Takano, A. 505 Tal R 268 Telepnev, V. C. 531 Thompson, C. 293, 294 Tiravanija, R. 250 Tobreluts 560 Tomlin, B. W. 530 Trockel, R. 399 Tyson, K. 245 Tyson, N. 269, 503

Uras, E. 451 UslĂŠ, J. 328

van Eeden, M. 536 van Empel, R. 255 Vercruysse, J. 379 von Bonin, C. 303

Warhol, A. 340, 341, 342 Waters, J. 431 Weiner, L. 335 Welling, J. 350, 351 White, P. 297 White, W. 539 Winstanley, P. 378 Wohnseifer, J. 541 Wolf, M. 354

Zadkine, O. 454 Zeng, J. 363 Zhang, D. 358 Zheng, D. 356 Zhong, B. 359 Zipp, T. 463 Zucker, J. 469

GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION

∆ Property in Which Phillips de Pury & Company Has an Ownership Interest

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

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

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

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

CONDITIONS OF SALE

•

No Reserve

•

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

Unless indicated by a

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

is the confidential value established between Phillips de Pury & Company and the seller and

relationship among Phillips, the seller and the buyer and describe the terms upon which

below which a lot may not be sold. The reserve for each lot is generally set at a percentage of

property is bought at auction. Please be advised that Phillips de Pury & Company generally

the low estimate and will not exceed the low pre-sale estimate.

, all lots in this catalogue are offered subject to a reserve. A reserve

acts as agent for the seller.

2 BIDDING IN THE SALE BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium,

Bidding at Auction

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

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

the total purchase price at the following rates: 25% of the hammer price up to and including

sale in writing by absentee bid.

$50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins.

1 PRIOR TO AUCTION

Proof of identity in the form of government issued identification will be required, as will an

Catalogue Subscriptions

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

If you would like to purchase a catalogue for this auction or any other Phillips de Pury

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

& Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

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.

Pre-Sale Estimates

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

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

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

and low estimate range should, in our opinion, offer a chance of success. However, many lots

registration desk.

achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us

Bidding by Telephone

closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do

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

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

lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may

Pre-Sale Estimates in Pounds Sterling and Euros

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

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

We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable

may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time

taxes, which we can execute on your behalf in the event we are unable to reach you by

of catalogue production and not at the date of auction, you should treat estimates in pounds

telephone.

sterling or euros as a guide only.

Absentee Bids Catalogue Entries

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

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

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

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

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

are careful in the cataloguing process, provenance, exhibition and literature references may

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

not be exhaustive and in some cases we may intentionally refrain from disclosing the identity

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

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

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

entry are approximate.

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.

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

Employee Bidding

prints). Such references, though, do not amount to a full description of condition. The absence

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

of reference to the condition of a lot in the catalogue entry does not imply that the lot is free

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

from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company

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

may provide condition reports. In preparing such reports, our specialists assess the condition

procedures.

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

Bidding Increments

are not professional restorers or trained conservators. We therefore encourage all prospective

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

buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in

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

the case of any lot of significant value, that you retain your own restorer or professional

set below may be lowered to the next bidding increment.

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

$50 to $1,000

by $50s

is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed,

$1,000 to $2,000

by $100s

Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot

$2,000 to $3,000

by $200s

unframed, we will be pleased to refer the purchaser to a professional framer.

$3,000 to $5,000

by $200s, 500, 800

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

Pre-Auction Viewing

$5,000 to $10,000

by $500s

Pre-auction viewings are open to the public and free of charge. Our specialists are available

$10,000 to $20,000

by $1,000s

to give advice and condition reports at viewings or by appointment.

$20,000 to $30,000

by $2,000s

$30,000 to $50,000

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

Electrical and Mechanical Lots

$50,000 to $100,000

by $5,000s

All lots with electrical and/or mechanical features are sold on the basis of their decorative

$100,000 to $200,000

by $10,000s

value only and should not be assumed to be operative. It is essential that, prior to any intended

above $200,000

auctioneer’s discretion

use, the electrical system is verified and approved by a qualified electrician.

The auctioneer may vary the increments during the course of the auction at his or her own Symbol Key

discretion.

The following key explains the symbols you may see inside this catalogue.

3 THE AUCTION O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may

Conditions of Sale

be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party.

As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty.

Phillips de Pury & Company and third parties providing or participating in a guarantee may

All prospective bidders should read them carefully. They may be amended by saleroom

benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not

addendum or auctioneer’s announcement.

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

Interested Parties Announcement

bidder.

In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party

providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000.

Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy an administrative fee of $35, a storage fee of $5 per day and a pro rated Insurance charge of 0.1% of the purchase price per month.

Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction.

Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

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

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which

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

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

on 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 $1,000. Phillips de Pury

Warranty carefully before bidding.

& Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer.

1 INTRODUCTION

Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

recording of the conversation.

and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue

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

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

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

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

(a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting

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

as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so

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

changed or supplemented, and Authorship Warranty. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

& Company to prospective buyers. While we undertake to exercise reasonable care in

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

undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this

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

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

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

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

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

financial interest in a lot as a secured creditor or otherwise.

procedures.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

5 CONDUCT OF THE AUCTION

•

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

(a) Unless otherwise indicated by the symbol

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

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

condition that they are in at the time of the sale on the following basis.

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

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a

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

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

and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge

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

each lot is offered subject to a reserve, which

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,

(c) The auctioneer will commence and advance the bidding at levels and in increments he or

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

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

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

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

and in light of (i) the information provided to us by the seller, (ii) scholarship and technical

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

knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in

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

pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly,

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on

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

the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior

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

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

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

of its description.

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,”

prepare and provide condition reports to assist prospective buyers when they are inspecting

“returned to owner” or “bought-in.”

lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly

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

referred to in the catalogue or condition report. All dimensions are approximate. Illustrations

and Authorship Warranty as if sold in the auction.

are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots.

6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium

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

and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer

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

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

commentary or valuation, is not a representation of fact but rather a statement of opinion held

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

by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury

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

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

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

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

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

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

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

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

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

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

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

permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows:

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

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

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

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

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

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

Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum

weekday business hours.

amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does

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

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

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

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

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

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

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

received will take precedence.

at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

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

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

(c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer

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, and no later than five days after the conclusion of the auction, he or she

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

should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

collection of purchased property.

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th

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

Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury

11 Export, Import and Endangered Species Licenses and Permits

& Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand

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

carry back to our premises at 450 West 15th Street, New York, New York for collection within

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

30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the

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

responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five

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

days after the auction. Until risk passes, Phillips de Pury & Company will compensate the

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

buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid,

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

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

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased

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 use

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

it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If

8 FAILURE TO COLLECT PURCHASES

you would like further information on our policies on personal data or wish to make corrections

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

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

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

details of future events please call the above number.

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)

(c) All warranties other than the Authorship Warranty, express or implied, including any

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.

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 such

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

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 buyer’s successors, assigns and representatives.

provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced

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

by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury

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

& Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the

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

buyer the reasonable costs charged by the experts commissioned by the buyer and approved in

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

advance by us.

16 Law and Jurisdiction

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim

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

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

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

(c) All bidders and sellers irrevocably consent to service of process or any other documents in

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.

phillips de pury & company

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Rodman Primack

Lady Elena Foster

Olivier Vrankenne

H.I.H. Francesca von Habsburg

Chief Executive Officer Bernd Runge

Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

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

International Specialists

Berlin 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

London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611 Los Angeles Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771

Milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671

Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805

Singapore Chin-Chin Yap, Specialist, Contemporary Art +1 347 784 6916 Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

General Counsel

Managing Directors

Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORLDWIDE OFFICES NEW YORK

PARIS

GENEVA

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

15 rue de la Paix, 75002 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

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

LONDON

BERLIN

Howick Place, London SW1P 1BB, United Kingdom

Auguststrasse 19, 10117 Berlin, Germany

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

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

SPECIALISTs AND DEPARTMENTS

CONTEMPORARY ART

Michael McGinnis, Senior Director +1 212 940 1254

and Worldwide Head, Contemporary Art

New York

Aileen Agopian, New York Director +1 212 940 1255

Roxana Bruno +1 212 940 1229

Sarah Mudge, Head of Part II +1 212 940 1259

Rodman Primack +1 212 940 1256

Jean-Michel Placent +1 212 940 1263

Timothy Malyk +1 212 940 1258

Jeremy Goldsmith +1 212 940 1253

MODERN AND CONTEMPORARY EDITIONS

New York

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

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

Jannah Greenblatt +1 212 940 1332

Joy Deibert +1 212 940 1333

PHOTOGRAPHS

Sara Davidson +1 212 940 1262

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

Shlomi Rabi +1 212 940 1246

Caroline Shea +1 212 940 1247

Maria Bueno +1 212 940 1261

Carol Ehlers, Consultant +1 212 940 1245

Alexandra Leive +1 212 940 1252

Sarah Krueger +1 212 940 1245

Peter Flores +1 212 940 1223

(Uli) Zhiheng Huang +1 212 940 1288

Sarah Stein-Sapir +1 212 940 1303

(Administrative Assistant to Michael McGinnis)

LONdON

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

Henry Allsopp +44 20 7318 4060

Laetitia Catoir +44 20 7318 4064

LONDON

Lou Proud +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025

Alexandra Bibby +44 20 7318 4087

Rita Almeida Freitas +44 20 7318 4087

Helen Hayman +44 20 7318 4092

Emma Lewis +44 20 7318 4092

Judith Hess +44 20 7318 4075

Leonie Moschner +44 20 7318 4074

Ivgenia Naiman +44 20 7318 4071

Sarah Buchwald +44 20 7318 4085

Catherine Higgs +44 20 7318 4089

New York

George O’Dell +44 20 7318 4093

Carmela Manoli +1 212 940 1302

Raphael Lepine +44 20 7318 4078

Tanya Tikhnenko +44 20 7318 4065

Phillippa Willison +44 20 7318 4070

PARIS Edouard de Moussac + 33 1 42 78 67 77

JEWELRY

Nazgol Jahan, Worldwide Director +1 212 940 1283

Emily Bangert +1 212 940 1365

Heather Zises +1 212 940 1290

GENEVA

Carolin Bulgari +41 22 906 80 00

Veronica Lota +41 22 906 80 00

DESIGN Alexander Payne, Worldwide Director +44 20 7318 4052

New York

LONDON

Lane McLean +44 20 7318 4032

THEME SALES

Alex Heminway, New York Director +1 212 940 1269

Tara DeWitt +1 212 940 1265

Corey Barr, New York Manager +1 212 940 1234

Meaghan Roddy +1 212 940 1266

Steve Agin, Consultant +1 908 475 1796

Marcus Tremonto +1 212 940 1268

Anne Huntington +1 212 940 1210

Alexandra Gilbert +1 212 940 1268

Stephanie Max +1 212 940 1301

New York

LONDON Domenico Raimondo +44 20 7318 4016

Ellen Stelter +44 20 7318 4021

Ben Williams +44 20 7318 4027

Marcus McDonald +44 20 7318 4014

Marine Hartogs +44 20 7318 4021

PARIS

LONDON Tobias Sirtl, London Manager +44 20 7318 4095

Henry Highley +44 20 7318 4061

Arianna Jacobs +44 20 7318 4054

Siobhan O’Connor +44 20 7318 4040

Johanna Frydman +33 1 42 78 67 77

Private sales New York Andrea Hill +1 212 940 1238

editorial Karen Wright, Senior Editor Iggy Cortez, Assistant to the Editor

art and production Fiona Hayes, Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager London Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager

Marketing NEW YORK Trish Walsh, Marketing Manager

SALE INFORMATION

Auction

Administrator Part I

Part II Sale, Friday 14 May 2010 at 10am & 2pm

Peter Flores +1 212 940 1223

Viewing

Administrator Part II

Saturday 1 May, 10am-6pm

(Uli) Zhiheng Huang +1 212 940 1288

Sunday 2 May, 12pm - 6pm Monday 3 May, 10am-6pm

Property Managers

Tuesday 4 May, 10am-6pm

Jeffrey Rausch +1 212 940 1367

Wednesday 5 May, 10am-6pm

Barrett Langlinais +1 212 940 1362

Thursday 6 May, 10am-6pm Friday 7 May, 10am-6pm Saturday 8 May, 10am-6pm Sunday 9 May, 12pm-6pm Monday 10 May, 10am-6pm Tuesday 11 May, 10am-6pm Wednesday 12 May, 10am-6pm Thursday 13 May, 10am-6pm

Photography Morten Smidt, Kent Pell Catalogues Leslie Pitts +1 212 940 1240 $60/ÂŁ30 at the Gallery catalogues@phillipsdepury.com

Viewing & Auction Location

Absentee and Telephone Bids

450 West 15 Street New York NY 10011

Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax Maureen Morrison, Bid Clerk +1 212 940 1228

Sale Designation

bids@phillipsdepury.com

In sending written bids or making enquiries please refer to these sales as NY010210 or Contemporary Art Part II 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

new york Director Aileen Agopian +1 212 940 1255 Specialists Roxana Bruno +1 212 940 1229 Sarah Mudge Head of Part II +1 212 940 1259 Rodman Primack +1 212 940 1256 Jean-Michel Placent +1 212 940 1263 Timothy Malyk +1 212 940 1258 Jeremy Goldsmith +1 212 940 1253

Seller Accounts Barbara Doupal +1 212 940 1232 Nadia Somwaru +1 212 940 1280 Client Services +1 212 940 1200 Shipping Beth Petriello +1 212 940 1373 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

Front Cover Takashi Murakami, Jellyfish Eyes—MAX & Shimon in the Strange Forest, 2004, Lot 211 (detail) Inside Front Cover Florian Maier-Aichen, The Best General View, 2007, Lot 202 (detail) Title Page Alice Neel, Sabrina, 1976, Lot 343 (detail) Inside Back Cover Florian Maier-Aichen, The Best General View, 2007, Lot 202 (detail) Back Cover Jim Lambie, Bananarama, 2009, Lot 234 (detail)

w w w. p h illip s d ep u ry.c o m