Contemporary Art Part II by Phillips de Pury & Co.

CONTEMPORARY ART PART II 9 NOVEMBER 2010 N E W YO R K

PART II CONTEMPORARY AR T 9 NOVEMBER 2 010

NY010 610

P H I L L I P S D E P U RY.C O M

NEW YORK

part II Con temporary Art 9

novemb er

2 0 10

10 am & 2 PM

ne w yo rk

Lots 2 0 0 - 55 4 Viewing Saturday 30 October, 10am – 6pm Sunday 31 October, 10am – 6pm Monday 1 November, 10am – 6pm Tuesday 2 November, 10am – 6pm Wednesday 3 November, 10am – 6pm Thursday 4 November, 10am – 6pm Friday 5 November, 10am – 6pm Saturday 6 November, 10am – 6pm Sunday 7 November, 10am – 6pm Monday 8 November, 10am – 6pm

SESSION I

10am

Lots 200-368

Abdi Farah is the Winner of Bravo’s creative competition series Work of Art: The Next Great Artist.

200 ABDI FARAH b. 1947 Baptism, 2010 Charcoal, dirt and black pigment on paper. 44 x 96 in. (111.8 x 243.8 cm). Signed and dated “Abdi Farah 2010” on the reverse.

Estimate $6,000-8,000

Baptism emerged during a time of uncertainty for me regarding what I loved in art and what I personally wanted to make as an artist. For a long time I made work that I was only half inspired to make. I was convinced that there were certain elements needed in a painting or drawing before it qualified as a work of contemporary art. My world as an artist was beginning to lose all shape and purpose. I knew only one thing, that I loved drawing the figure. With this piece I determined to eliminate every element of my process that I did not enjoy. There would be no poignant or humorous narratives, no clever formal concept. Drawing its materials from a nature reserve in Connecticut, Baptism is an ovation to the undeniable beauty of humanity and the indelible connection we share with the rest of the natural world. This piece will forever represent my excavation to find my true voice as an artist. Artist’s statement, October 2010

201 DAN COLEN b. 1979 Untitled (Birdshit), 2006-2007 Oil on canvas. 36 x 24 in. (91.4 x 61 cm). Signed â&#x20AC;&#x153;Daniel Colenâ&#x20AC;? on the gallery label adhered to the reverse.

Estimate $25,000-35,000 Provenance Peres Projects, Los Angeles

202 WADE GUYTON b. 1972 Untitled, 2004 Inkjet on gessoed canvas. 29 x 18 in. (73.7 x 45.7 cm). Signed and dated “Wade Guyton 04” on the reverse.

Estimate $30,000-40,000 Provenance Buchhandlung Walther König, Köln

In conjunction with his first solo museum exhibition (Color, Power & Style, Kunstverein in Hamburg, Hamburg, 2005-06), Wade Guyton produced a series of smaller-scaled, unique paintings in collaboration with Buchhandlung Walther König, Köln. The “unassuming” pattern of banal red and green stripes is one of a handful of motifs that Guyton deployed in his early work as “a sign that could operate at once as an image and as an

Literature S. Rothkopf, “Modern Pictures,” Color, Power & Style, Buchhandlung Walther

abstract element that could be co-opted and redeployed without getting

König, Cologne 2006, p. 71

bogged down in specific references or subject matter.” As with all of his paintings, Untitled, 2005 was produced by running the canvas through an Epson inkjet printer. The white, inert space above the vertical red and green stripes in Guyton’s larger paintings is often occupied with black circles, which act as a foil for the pattern below. In this example, there is a thin, printer-made horizontal gray-black line that transects the top of the painting, leaving the gessoed white “void” nearly pristine.

203

204

203 DAVIS RHODES b. 1983

204 ROB PRUITT b. 1964

Untitled, 2008

God Says Nothing, 1999

Enamel on two foamcore boards. Each 96 x 48 in. (243.8 x 121.9 cm); overall 96 x 96 1/2 in.

Enamel paint and glitter on foamcore. 50 x 65 x 2 in. (127 x 165.1 x 5.1 cm).

(243.8 x 245.1 cm). This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $3,000-4,000

Estimate $10,000-15,000

Provenance Andrew Kreps Gallery, New York

Provenance Team Gallery, New York Exhibited

New York, Team Gallery, Einarsson, Rhodes, Whitney, January 8 – February 14, 2009

Literature

46 (illustrated)

“Cheap Thrills: Davis Rhodes”, Modern Painters Magazine, September 2009, pp.44-

205 MARK BRADFORD b. 1961 Untitled, 2006 Mixed media collage on paper. 29 1/2 x 21 in. (74.9 x 53.3 cm).

Estimate $30,000-40,000 Provenance Sikkema Jenkins & Co., New York Literature Mark Bradford: Merchant Posters, Aspen Art Museum, New York 2010,

p. 81 (illustrated)

206 Tauba Auerbach b. 1981 Two works: Untitled (F) and Untitled (Keys), 2004 Gouache and graphite on paper; acrylic and graphite on paper. 22 1/4 x 14 3/4 in. (56.5 x 37.5 cm) each. Each signed and dated â&#x20AC;&#x153;TAUBA AUERBACH 04â&#x20AC;? on the reverse.

Estimate $12,000-18,000 Provenance New Image Art, Los Angeles

207 RAYMOND PETTIBON b. 1957 Untitled (Crack...Play ball), 2000 Ink and watercolor on paper. 24 x 18 in. (61 x 45.7 cm). Signed and dated “Raymond Pettibon 2000” on the reverse.

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

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209

208 JOSEPHINE MECKSEPER b. 1964

209 JACOB KASSAY b. 1984

Das Ende des Panoptikums II, 2005

Untitled, 2009

Mirror on canvas. 30 x 30 in. (76.2 x 76.2 cm). Signed “J. Meckseper” on a label adhered to

Acrylic and silver deposit on canvas. 48 x 36 in. (121.9 x 91.4 cm). Signed and dated

the reverse.

“Kassay 09” on the reverse.

Estimate $7,000-9,000

Estimate $6,000-8,000

Provenance Elizabeth Dee Gallery, New York; Private Collection

Provenance Eleven Rivington, New York Exhibited New York, Eleven Rivington, Jacob Kassay, February 14 – March 29, 2009

210 MARK GROTJAHN b. 1968 Untitled (Three-Tiered Perspective), 1997 Colored pencil on paper. 24 x 18 3/4 in. (61 x 47.6 cm). Signed and dated “Mark Grotjahn 1997” on the reverse.

Estimate $80,000-120,000 Provenance Barbara Mathes Gallery, New York Exhibited New York, The Drawing Center, Selections Winter, January 9 - February 14, 1998 LITERATURE M. Grotjahn, Mark Grotjahn: Drawings, Ostfildern, 2006 p. 60 (illustrated)

211 WENGECHI MUTU b. 1972 A bend in her river, 2008 Six works: Ink, watecolor and collage on paper. i) image: 12 x 9 in. (30.5 x 22.9 cm); frame: 14 1/4 x 11 in. (36.2 x 27.9 cm); ii) image: 9 1/2 x 8 in. (24.1 x 20.3 cm); frame: 12 x 10 in. (30.5 x 25.4 cm); iii) image: 12 x 9 in. (30.5 x 22.9 cm); frame: 14 1/4 x 11 in. (36.2 x 27.9 cm); iv) image: 14 x 10 in. (35.6 x 25.4 cm); frame: 16 1/4 x 12 1/4 in. (41.3 x 31.1 cm); v) image: 11 1/2 x 9 in. (29.2 x 22.9 cm): frame: 14 1/4 x 11 in. (36.2 x 27.9 cm); vi) image: 9 1/2 x 8 in. (24.1 x 20.3 cm); frame: 12 x 10 in. (30.5 x 25.4 cm). Overall installed dimensions as illustrated: 42 x 51 in. (106.7 x 129.5 cm). Each signed, titled and dated “Wengechi Mutu, A bend in her river, 2008” on a label adhered to the reverse. This work is accompanied by an artist’s installation diagram.

Estimate $90,000-120,000 Provenance Susanne Vielmetter: Los Angeles Projects, Culver City

212 RIVANE NEUENSCHWANDER b. 1967 Untitled, 1998 Leaf, glue and pins on paper. Frame: 24 x 17 1/8 in. (61 x 43.5 cm).

Estimate $8,000-12,000 Provenance Stephen Friedman Gallery, London

213 RIVANE NEUENSCHWANDER b. 1967 Untitled, 1997 Leaf, glue and pins on paper. Frame: 24 x 17 1/8 in. (61 x 43.5 cm).

Estimate $8,000-12,000 Provenance Stephen Friedman Gallery, London

214

ERNESTO NETO b. 1964 Littlemoebeaphilea, 2004 Lycra tulle, styrofoam pellets and wood. 56 x 62 x 4 in. (142.2 x 157.5 x 10.2 cm). This by the artist.

Estimate $20,000-30,000 PROVENANCE Tanya Bonakdar Gallery, New York

215 GABRIEL OROZCO b. 1962 Arbol Lunar (Moon Tree), 1996 Mixed media sculpture with tree, artificial branches and leaves, paper discs, plastic pot and bark chips. 100 x 78 x 78 in. (254 x 198.1 x 198.1 cm). This work is from an edition of nine.

Estimate $40,000-60,000 Provenance Mary Boone Gallery, New York Exhibited London, St.James’s Street, Empty Club, June - July 1996 (another example

exhibited); Los Angeles, The Museum of Contemporary Art; Mexico City, Museo Internacional Rufino Tamayo; and Museo de Arte Contemporaneo de Monterrey, Gabriel Orozco, June 2000 - May 2001 (another example exhibited) Literature F. Bonami, “Back in Five Minutes”, Parkett No. 48, Zurich 1996, p. 50

(illustrated); F. Bonami, L. Bossé, B. Buchloh and A. Scherf, Gabriel Orozco: Clinton is Innocent, Paris 1998, p. 174 (illustrated); Empty Club, St.James’s Street, London 1996, pp. 67-73, 76-79 (another example illustrated); Gabriel Orozco, The Museum of Contemporary Art; Mexico City, Museo Internacional Rufino Tamayo; and Museo de Arte Contemporaneo de Monterrey,Los Angeles 2001, pp. 50-51 (another example illustrated)

216 JAMES SIENA b. 1958 Recursive Infected Lighthouse, 2004 Graphite on Dieu Donne translucent abaca paper. Image: 14 x 11 in. (35.6 x 27.9 cm); frame: 16 5/8 x 13 5/8 in. (42.2 x 34.6 cm).

Estimate $10,000-15,000 Provenance Private Collection, New York Exhibited New York, Ronald Feldman Fine Arts, Mixed Signals, January 6 - February 3, 2007

217 Dan Walsh b. 1960 Untitled, 1996 Acrylic and pastel on paper. 40 x 59 in. (101.6 x 149.9 cm). Initialed and dated â&#x20AC;&#x153;DW 96â&#x20AC;? lower right.

Estimate $20,000-30,000 Provenance Private Collection

218 YOSHITOMO NARA b. 1959 The Little Pilgrim, 2002 Acrylic on fiberglass. 11 x 7 1/2 x 71/2 in. (27.9 x 19.1 x 90.2 cm). Signed, dated “Y.Nara 2002” and numbered of 20 on the figure’s underside. This work is from an edition of 20.

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

219 HIDEAKI KAWASHIMA b. 1969 Spiral, 2003 Acrylic on canvas. 31 3/4 x 31 3/4 in. (80.6 x 80.6 cm). Signed, titled and dated “Kawashima (in Japanese) Spiral 2003” on the overlap.

Estimate $10,000-15,000 Provenance Tomio Koyama Gallery, Tokyo

220 YOSHITOMO NARA b. 1959 Scarecrow, 1995 Graphite and colored pencil on paper. 11 1/2 x 8 1/8 in. (29.2 x 20.6 cm). Signed and dated “’95” lower right; titled “Scarecrow” lower left.

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

221 YOSHITOMO NARA b. 1959 I Think Therefore I am....A Dog, 2003 Fiberglass, wood and metal. 60 x 51 1/2 x 36 1/2 in. (152.4 x 130.8 x 92.7 cm). This work is from an edition of six.

Estimate $50,000-70,000 Provenance Private Collection Literature Cleveland, Museum of Contemporary Art, Yoshitomo Nara: Nothing Ever

Happens, 2003, p. 56 (illustrated) (another example exhibited)

222 MARILYN MINTER b. 1948 Bluer Tears, 2004 C-print. 50 x 36 1/4 in. (127 x 92.1 cm). Signed, titled, dated “’Bluer Tears’ M. Minter 2004” and numbered of five on the reverse. This work is from an edition of five.

Estimate $25,000-35,000 Provenance Salon 94, New York

223 MARILYN MINTER b. 1948 Devon, 2004 C-print. 50 x 36 in. (127 x 91.4 cm). Signed â&#x20AC;&#x153;M. Minterâ&#x20AC;? on a label adhered to the reverse. This work is from an edition of five.

Estimate $25,000-35,000 Provenance Salon 94, New York

224 DOUGLAS GORDON b. 1966 Air Mail Black Landscape, 1999 U.S. postage stamps mounted on foamcore. 48 1/2 x 86 1/2 in. (123.2 x 219.7 cm). Signed “Douglas Gordon” lower right.

Estimate $60,000-80,000 Provenance Gagosian Gallery, New York Exhibited New York, Gagosian Gallery, Douglas Gordon: Through A Looking Glass, March -

April 1999

(Detail)

225 MATTHEW BARNEY b. 1967 Cremaster 1: Goodyear, 1995 Gelatin silver print in self-lubricating artist frame. 33 x 46 in. (83.8 x 116.8 cm). This work is from an edition of six plus two artist proofs.

Estimate $70,000-90,000 Provenance Barbara Gladstone Gallery, New York Exhibited New York, Solomon R. Guggenheim Museum, The Hugo Boss Prize 1996,

November 1996-January 1997 (another example exhibited) Literature N. Spector, Matthew Barney: The Cremaster Cycle, New York 2002, pp. 122-123,

(another example illustrated)

226 BANKS VIOLETTE b. 1973 Sonic Reducer, 2005 Bonded salt, salt, polyurethane, polymer medium, ash, epoxy, wood, galvanized steel and steel hardware. Overall installation dimensions: 115 x 115 x 115 in. (292.1 x 292.1 x 292.1 cm).

Estimate $100,000-150,000 Provenance Team Gallery, New York Exhibited New York, Yerba Buena Center for the Arts, Cosmic Wonder, July 15 -

November 5, 2006

New York-based artist Banks Violette is known for his minimalist sculptures and severe black and white color palette. The present lot demonstrates his interest in creating art that conveys not only visual interest, but auditory stimulation as well. Violette’s pieces often mimic sleek sound stages, but with razor-sharp edges and a Gothic sensibility. He is generally influenced by angst, violence, and nightmares, inspirations which are manifested in this piece’s jarringly stark appearance. Even the simple white panels feel arrestingly bare and imposing rather than light and serene. The black platform with the two flanking screens evokes a small-scale private concert arena, in which the viewer is invited to experience the interaction of sight and sound on a more intimate scale. I’m interested in a visual language that’s over-determined, exhausted, or just over-burdened by meaning. The heavy-handed one-to-one of ‘black-equalswrong’ is incredibly interesting to me—less as something that has a meaning in itself, but more in how those visual codes can somehow become reanimated. That’s constant throughout my work. All those images are like zombies— they’re stripped of vitality, yet sometimes they get life back in them … and. like zombies, usually something goes wrong when they wake up again. Banks Violette (Francesca Gavin, “The Art of Fear,” Dazed & Confused, volume 2, issue 66, October 2008, p. 157)

Detail of distortion pedal.

227 JASON RHOADES 1965-2006 Two works: i) Light, 1997 and ii) Inner Light, 1998 i) White plastic bucket with orange lid, transformer, electrical wiring, and fluorescent light fixture. h: 96 in. (243.8 cm); ii) Blue plastic bucket with green lid, mini-Bungee cord, and

Venus (Kunsthalle Nürnberg, Nürnberg, 1998), and The Creation Myth (Hauser & Wirth, Zürich, 1998). The unmistakable phallic Light radiates Rhoades’ irrepressible masculinity. Inner Light anticipates the feminine and vaginal

circular fluorescent light. 15 x 12 in. (38.1 x 30.5 cm).

seen in Rhoades later works, including Meccatuna (2003) and The Black Pussy

Each work is from an edition of 42.

(2005).

Estimate $25,000-35,000 Provenance David Zwirner Gallery, New York Literature E. Meyer-Hermann, “Jason Rhoades,” Friedrich Christian Flick Collection, vol. 9,

Cologne 2009, pp. 168-169

Unlit and unplugged, these lights are independent genders standing parallel to each other, reminiscent of Grant Wood’s iconic American Gothic (1930), one of the most parodied artworks within American popular culture. This is a fitting analogy given Rhoades’ own rural origins in Newcastle, California (2000 population, 6,095). Here, the works are united by as a coital pair by plugging the male element of the orange industrial extension cords into the

These two works were produced within a year of one another as independent projects, yet they were destined to be united. Light / Inner Light. Male / Female. Phallic / Vaginal. Manufactured / Readymade. Light sculpture is a consistent theme and element in Rhoades’ works, appearing in several of Rhoades’ large-scale installations, including Deviations in Space (Villa Arson, Nizza, Italy 1996-1997), The Purple Penis and

female. Illuminated, they offer a post-orgasmic, Flavin-esque glow. Moreover, Rhoades continued to explore the Readymade, championed by Marcel Duchamp. Using readily available, often inexpensive, materials available from hardware or home improvement stores (often considered the cathedrals of masculinity), Rhoades fashioned the readymade into the human made.

228 MIKE KELLEY b. 1954 Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized - folded - high priestless form, 1996 Enamel on wood, steel and aluminum buckets, and popcorn mixed with acrylic polymer, dirt and plastic. Overall dimensions: 73 x 47 x 25 in. (185.4 x 119.4 x 63.5 cm). Signed and dated “M. Kelley 1996” on the reverse of wood element.

Estimate $60,000-80,000 Provenance Private Collection

229 PAUL MCCARTHY b. 1945 Piccadilly Circus, 2003 Portfolio of 45 color photographs. Each 16 x 11 in. (40.6 x 28 cm) or 11 x 16 in. (28 x 40.6 cm). This work is from an edition of ten plus three artist proofs and is accompanied by a certificate of authenticity signed by the artist.

Estimate $80,000-120,000 Provenance Hauser & Wirth, London

230 MATTHEW MONAHAN b. 1972 Army of One, 2005 Loral foam, bees wax, pigment, transfer drawing, glass, and dry wall. Installed dimensions 32 x 57 1/2 x 25 1/8 in. (81.3 x 146.1 x 63.8 cm).

Estimate $15,000-20,000 Provenance Anton Kern Gallery, New York

231 MATTHEW DAY JACKSON b. 1974 Greenbrier, 2010 Digital c-print mounted on Sintra. 38 7/16 x 36 7/8 in. (97.6 x 93.7 cm). This work is from an edition of five plus two artist poofs.

Estimate $20,000-30,000 Provenance Private Collection

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232 Hernan Bas b. 1978 Peek and Boo, 2006 Acrylic and gouache on linen. 12 x 9 7/8 in. (30.5 x 25.1 cm). Initialed and dated “HB 06” lower right.

Estimate $20,000-25,000 Provenance Sandroni.Rey, Los Angeles: Private Collection

233 HERNAN BAS For Your Eyes Only, 2002 Oil and felt-tip pen on vellum. 12 x 9 in. (30.5 x 22.9 cm). Initialed and dated “HB 02” lower right.

Estimate $10,000-15,000 Provenance Deitch Projects, New York; Private Collection, Boston

234 ROSSON CROW b. 1982 Chardin’s GTO, 2006 Diptych: Oil and acrylic on linen. Overall dimensions: 77 x 83 in. (195.6 x 210.8 cm). Signed and dated “Rosson Crow 2006” on the crossbar.

Estimate $20,000-30,000 Provenance Canada Gallery, New York Exhibited New York, Canada, Hotel and Lounge, November 11 - December 21, 2006 Literature R. Crow and Honor Fraser Inc., Rosson Crow: Night At The Palomino, Los

Angeles 2007, p. 23 (illustrated)

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236

235 TOMORY DODGE b. 1974

236 NATHAN MABRY b. 1978

Debris Field, 2007

Mosaic Mask (Possessed), 2007

Oil on canvas. 9 x 11 in. (22.9 x 27.9 cm). Signed, titled and dated â&#x20AC;&#x153;Tomory Dodge, Debris

Colored pencil and Swarovski crystals on Mylar. 14 x 11 in. (35.6 x 27.9 cm).

Field, 2007â&#x20AC;? on the reverse.

Estimate $8,000-12,000

Estimate $8,000-12,000 Provenance Cherry and Martin, Los Angeles Provenance CRG Gallery, New York

237 FOLKERT DE JONG b. 1972 Talking, Reading, Killing, 2006 Styrofoam, polyurethane foam, liquid plastic and adhesive. 67 1/4 x 29 1/2 x 31 1/2 in. (170.8 x 74.9 x 80 cm).

Estimate $15,000-20,000 Provenance Peres Project, Los Angeles

238 REBECCA WARREN b. 1965 AgapĂŠ, 2002 Self-firing clay. 4 x 15 3/4 x 20 1/8 in. (10.2 x 40 x 51.1 cm).

Estimate $30,000-40,000 Provenance Maureen Paley, London

239 TOM SACHS b. 1966 Alpine Sr., 1995 Duct tape on plywood. 48 x 72 in. (121.9 x 182.9 cm). Signed, titled and dated “Alpine Sr., 1995, Tom Sachs” on the reverse.

Estimate $30,000-50,000 Provenance Morris-Healy Gallery, New York

240 AARON YOUNG b. 1972 Platonic Heaven, 2006 Silkscreen on canvas. 60 x 36 in. (152.4 x 91.4 cm).

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

241 NIGEL COOKE b. 1973 Lightening I, 2002 Oil on board. 11 3/4 x 18 in. (29.8 x 45.7 cm). Signed, titled and dated â&#x20AC;&#x153;Nigel Cooke, Lightening I, 2002â&#x20AC;? on the reverse.

Estimate $40,000-60,000 Provenance Stuart Shave/Modern Art, London Literature N. Cooke, The New Spirit in Death Painting: The Work of Nigel Cooke, Modern

Art: London 2002 (cover illustration)

242 DAMIEN HIRST b. 1965 Bisphenol A, 1995 Household gloss paint on canvas. 10 x 9 in. (25.4 x 22.9 cm).

Estimate $90,000-120,000 Provenance White Cube, London Exhibited Santa Monica, Ikon Ltd., Selected Works, October 1-29, 2005

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

243 DO-HO SUH b. 1962 Screen, 2005 Plastic ABS and stainless steel. 117 x 89 in. (297.2 x 226.1 cm).

Estimate $80,000-120,000 PROVENANCE Lehman Maupin, New York EXHIBITED Sweden, Museum for World Culture in Gothenburg, Do Ho Suh, 2004

(Detail)

244

245

244 CHIHO AOSHIMA b. 1974

245 CHIHO AOSHIMA b. 1974

Sublime Grave Dweller Shinko, 2004

Creatures, 2005

Chromogenic print. 30 x 118 1/8 in. (76.2 x 300 cm). Inscribed in Japanese lower left. This

Chromogenic print. 37 x 48 7/8 in. (94 x 124.2 cm). This work is from an edition of six plus two

work is from an edition of six plus two artist proofs.

artist’s proofs.

Estimate $20,000-30,000

Estimate $6,000-8,000

Provenance Galerie Emmanuel Perrotin, Paris

Provenance Blum & Poe, Los Angeles

246 KATHARINA FRITSCH b. 1956 Herz mit Z채hnen (Heart with Teeth), 1998 Polyester, paint and paper. 8 x 8 x 3 in. (20.3 x 20.3 x 7.6 cm). This work is from an edition of six.

Estimate $35,000-45,000 PROVENANCE Matthew Marks Gallery, New York LITERATURE I. Blazwick, ed., Katharina Fritsch, London 2002, p. 66 (illustrated)

247 MARILYN MINTER b. 1948 Goldi, 2004 C-print. 36 x 50 in. (91.4 x 127 cm). Signed â&#x20AC;&#x153;M. Minterâ&#x20AC;? on a label adhered to the reverse. This work is from an edition of five.

Estimate $25,000-35,000 Provenance Gavlak Gallery, Palm Beach

248 JULIAN OPIE b. 1958 Shahnoza Dancing in Bra and Pants, 2007 Continuous computer animation on LCD screen. 43 1/2 x 25 3/4 in. (110.5 x 65.4 cm). This work is from an edition of four.

Estimate $40,000-60,000 Provenance Galerie Bob Van Orsouw, Z端rich.

249 SUE WILLIAMS b. 1954 Older Women Plus, 1996 Oil on canvas. 15 1/4 x 18 1/8 in. (38.7 x 46 cm). Signed, titled and dated “Sue Williams, 1996, Older Women Plus” on the overlap.

Estimate $18,000-25,000 Provenance Private Collection

250 SEAN LANDERS Space-Ape on Mars, Self-portrait, 1997 Oil on linen. 60 1/4 x 84 in. (153 x 213.4 cm). Signed and dated “Sean Landers 1997” on the reverse.

Estimate $50,000-70,000 Provenance Andrea Rosen Gallery, New York Exhibited Zürich, Kunsthalle, Sean Landers, August 28 - October 13, 2004

251 JOHN WESLEY b. 1928 B’s Ladder, 1973-1974 Gouache on paper. 21 x 26 in. (53.3 x 66 cm). Signed, titled and dated “B’s Ladder, John Wesley, 1973-4” lower left.

Estimate $25,000-35,000 Provenance Robert Elkon Gallery, New York

252 MCDERMOTT & MCGOUGH 1952 and 1958 Something Iâ&#x20AC;&#x2122;ve Never Had, 1965, 2006 Oil on linen. 60 x 48 in. (152.4 x 121.9 cm).

Estimate $80,000-100,000 Provenance Briggs Robinson Gallery, New York

253 ANDY WARHOL 1928-1987 Drag Queen, circa 1975 Silkscreen ink on paper. 37 3/8 x 29 1/2 in. (94.9 x 74.9 cm). Stamped by The Estate of Andy Warhol and the Andy Warhol Art Authentication Board, Inc., on the reverse.

Estimate $25,000-35,000 Provenance The Estate of Andy Warhol, New York; Wooster Project, New York; Private

Collection, New York Literature F. Feldman and J. Schellman, Andy Warhol Prints: A Catalogue Raisonné 1962-

1987, Fourth Edition, Milan, 2003, p. 287, no. IIIC.3, (illustrated in color)

254 ANDY WARHOL 1928-1987 Space Fruit: Still Lifes (Watermelon), 1979 Screenprint on paper (based on photographs by Ronnie Cutrone). 38 x 50 in. (96.5 x 127 cm).

Estimate $50,000-70,000 Provenance Private Collection Literature F. Feldman and J. Schellman, Andy Warhol Prints: A Catalogue RaisonnĂŠ 1962-

1987, Fourth Edition, Milan, 2003, p. 216, no. IIIC.46, (illustrated)

255 ANDY WARHOL 1928-1987 Alcoholism (Bottle with Woman), 1953 Ink and tempera on Strathmore paper. 14 1/8 x 10 3/8 in. (35.9 x 26.4 cm).

Estimate $12,000-15,000 Provenance Private Collection

256 ANDY WARHOL 1928-1987 After the Party, 1979 Graphite on HMP paper. 23 1/2 x 31 1/4 in. (59.7 x 79.4 cm).

Estimate $35,000-45,000 Provenance Private Collection Literature F. Feldman and J. Schellman, Andy Warhol Prints: A Catalogue RaisonnĂŠ 1962-

1987, Fourth Edition, Milan, 2003, p. 216, no. IIIC.46, (illustrated)

257 ANDY WARHOL 1928-1987 The Scream (after Munch), 1984 Screenprint in a unique combination of colors. 40 x 32 in. (101.6 x 81.3 cm). Stamped by The Estate of Andy Warhol and the Andy Warhol Art Authentication Board, Inc., and numbered on the reverse.

Is Andy Warhol’s The Scream better than Edvard Munch’s? Is it more up-to-date in its expression – and does it therefore have a better chance as statement, as communicative gesture? Does Warhol borrow cultural authority from Munch or has he simply become resigned to the recognition that he cannot himself have an idea? Is Warhol a cultural conservative who thinks it is important to repeat

Estimate $200,000-300,000 Provenance The Andy Warhol Foundation, New York; Wooster Projects, New York; Jim

the classics of art history, or does he destroy them in order to carve a place for himself in the firmament? What is it that he does?

Kempner Fine Art, New York; Private Collection Literature F. Feldman and J. Schellman, Andy Warhol Prints: A Catalogue Raisonné 1962-

1987, Fourth Edition, Milan, 2003, p. 250, no. IIIA.58 (illustrated in color)

One can further discuss whether and to what degree Munch’s lithograph and Warhol’s After Munch screenprints offer the same aesthetic experience. In view of the distinctness of a screenprint from a lithograph, of the large from the small

The present lot is one in a series of Warhol prints based on the work of Scandinavian painter Edvard Munch. This print, a brightly colored interpretation of the famous Edvard Munch canvas The Scream, highlights Warhol’s Pop aesthetic as well as his practice of appropriating the work of other artists. This work is an example of how Warhol, celebrated for his portraits of American celebrities like Jacqueline Kennedy Onassis and Marilyn Monroe in bright, sharp colors, rendered “celebrities” of the art

format, and of the colouration from the (mostly) black and white, as well as the added lines, the nature of the aesthetic appreciation differs greatly. Warhol, with his exuberant use of brilliant hues and his disregard of imitative colour in the representation of objects, was a colour composer of outstanding aesthetic merit. Color, on its own merits, became a subject in Warhol’s screenprints. (M. Juul Holm and H. Dedichen, Warhol After Munch, Denmark 2010)

world, such as the Mona Lisa, in a similar graphic style. Through his presentation of The Scream as a reproducible printed image, Warhol labels the painting both an icon and a commercial product. Executing an army of copies of “The Scream” enables Warhol to strip away the expressivity, individuality, and intense emotion that make the painting unique. As such, he cements its role as a masterpiece worth replicating, but also transforms it into a mass-produced commodity of his own creation.

Edvard Munch, The Scream, 1895. Hand-coloured Lithograph. Munch-Museet, Oslo

258 ANDY WARHOL 1928-1987 Truman Capote, circa 1979 Screenprint on paper. 48 3/8 x 41 1/2 in. (122.9 x 105.4 cm). Stamped by The Estate of Andy Warhol and the Andy Warhol Art Authentication Board, Inc. on the reverse.

Estimate $30,000-40,000 Provenance Private Collection Literature F. Feldman and J. Schellman, Andy Warhol Prints: A Catalogue RaisonnĂŠ 1962-

1987, Fourth Edition, Milan, 2003, p. 302, no. IIIC.46, (illustrated)

259 ANDY WARHOL 1928-1987 Self Portrait, circa 1977 Screenprint on paper. 45 x 35 in. (114.3 x 88.9 cm). Stamped by The Estate of Andy Warhol and the Andy Warhol Art Authentication Board, Inc,. on the reverse.

Estimate $50,000-70,000 Provenance Private Collection

260 ANDY WARHOL 1928-1987 Gem, 1979 Synthetic polymer paint, diamond dust and silkscreen ink on canvas. 36 x 46 in. (91.4 x 116.8 cm). Stamped by The Estate of Andy Warhol and the Andy Warhol Art Authentication Board, Inc. on the reverse.

Estimate $200,000-300,000 Provenance Galerie Bruno Bischofberger, Zürich

It would be very glamorous to be reincarnated as a great big ring on Liz Taylor’s finger. Andy Warhol The present lot was as a gift from Andy Warhol to former Miss America and First Lady of Kentucky Phyllis George Brown in 1982. Warhol presented her with this work to thank Brown for inviting him to attend the Kentucky Derby and a subsequent garden party as her honored guest. The choice of the diamond as the subject matter for Warhol’s gift is surely an allusion to Brown’s high social status, and also to her reputation as a woman of great beauty and elegance. In this piece, Andy Warhol synthesizes his fascinations with commercialism, glamour, and celebrity into a single image. Here he creates a portrait of a diamond in the graphic style he also uses to render his human subjects, placing both people and objects on the same plane of commodification.

261 TONY SMITH 1912-1980 New Piece, 1966 Welded bronze with lacquer. 25 1/2 x 25 1/2 x 25 1/2 in. (64.8 x 64.8 x 64.8 cm). This work is from an edition of six.

Estimate $120,000-180,000 Provenance Margo Leavin Gallery, Los Angeles Â

262 LOUISE BOURGEOIS 1911-2010 House, 1995 Marble. 3 7/8 x 12 3/4 x 3 1/2 in. (9.8 x 32.4 x 8.9 cm). Inscribed “LB” on the marble element. This work is unique from a series of six similar works and is accompanied by a photo

Bourgeois depicted the country house in multiple different mediums, but arguably the most beautiful of these representations are the sculptures in marble such as the present lot. It is one of six marble houses Bourgeois

certificate signed by the artist. Inscribed “LB” into marble, below carved window on bottom

created between 1984 and 1995, each of which is unique and completely

right side.

handcrafted. Some of the six have gently curved façades, including the

Estimate $180,000-250,000

present lot, and these are considered the most desirable of the set.

Provenance Private Collection

The work’s gently sculpted edges and soft white coloration give it a serene,

Literature M. Wachtmeiser, Louise Bourgeois: Maman, Bokforlaget Atlantis and Wanas

almost tender appearance. Bourgeois’ attachment to the house comes

Foundation, Stockholm 2007, p. 29 (illustrated)

I would like to say only this: if name is destiny, Louise Bourgeois is an oxymoron. –Roni Horn

through in her sensitive rendering of its architecture, with its lack of perfect geometry and smooth curves. When examining the piece, it is possible to sense the artist’s emotional investment in the object of her work, creating a peaceful, intimate moment between viewer and sculpture.

Tell your own story, and you will be interesting. Don’t get the green disease of envy. Don’t be fooled by success and money. Don’t let anything come between you and your work. –Louise Bourgeois Paris-born artist Louise Bourgeois is known for her highly personal sculptures, which reflect on themes such as anxiety and solitude. Her body of work is largely autobiographical, with a particular focus on her childhood and the discovery of her father’s infidelity. The present lot is a small-scale marble replica of the artist’s country home in Easton, Connecticut, where she and her family took refuge during World War II. This house, purchased in 1941, served as a recurring theme in Bourgeois’ work over the course of her career.

Portrait of the artist in the studio.

Portrait of the artist with the present lot.

263 RONI HORN b. 1955 Pair Object VIa: For two locations in one Place, 1990 Solid forged copper (in two parts). Diameter: 13 in. (33 cm) each. This work is from an edition of three and is accompanied by a certificate of authenticity signed by the artist.

Estimate $120,000-180,000 Provenance Galerie Lelong, New York; Galleria Raffaella Cortese, Milan

When developing three-dimensional work, I’ve always thoughts in terms of language as opposed to thinking visually. So even in the case of the sculpture Piece for Two Rooms, the initial idea came when I was reading a book and started to think about how you could take an episode and repeat it a hundred pages later. I thought of this originally as a publishing defect; then it became the same thing in two different places; then it became two different things… I think in terms

Literature L. Neri, L. Cooke and T. de Duve, Roni Horn, Hong Kong, 2000, pp. 22-23

of syntax if not quite of grammar; of phrasing, leitmotif, chorus – the tools of

(illustrated); J. Gilbert-Rolfe, Roni Horn: Pair Objects I, II, III, Galerie Lelong, New York 2002

language structures- which then take a visual form in the work. (L. Neri, L. Cooke and T. de Duve, Roni Horn, Hong Kong, 2000, p. 23)

264 SOL LEWITT 1928-2007 Double Pyramid #5, 1986 Painted wood. 38 x 79 x 38 in. (96.5 x 200.7 x 96.5 cm). Numbered “#5” on the wood element. This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $100,000-150,000 Provenance Private Collection

265 LOUISE NEVELSON 1899-1988 Expanding View VI, 1969 Black painted wood in Plexiglas box. 10 1/2 x 10 1/2 x 4 1/4 in. (26.7 x 26.7 x 10.8 cm).

Estimate $10,000-15,000 Provenance The Pace Gallery, New York

266 YAYOI KUSAMA b. 1929 Gold Shoes, 1999 Gold painted shoes and pillow assemblage. Each 10 x 4 x 9 in. (25.4 x 10.2 x 22.9 cm). Each signed and dated “Yayoi Kusama 1999” on the base.

Estimate $20,000-30,000 Provenance Private Collection

267 MARINA ABRAMOVIC b. 1946 Portrait With Firewood, 2009 Archival pigment print. 50 x 54 in. (127 x 137.2 cm). This work is accompanied by a certificate of authenticity signed by the artist. This work is from an edition of 30 plus two artistâ&#x20AC;&#x2122;s proofs.

Estimate $20,000-30,000 Provenance Sean Kelly Gallery, New York; American Friends Tel Aviv Museum of Art,

Tel Aviv

268 VIK MUNIZ b. 1961 Continuous and Related Activities; Discontinued by the Act of Dropping, 1967, after Barry Le Va (from the Pictures of Dust), 2000 Silver dye bleach prints (Ilfochrome). Diptych: each 48 7/8 x 62 3/8 in. (124 x 158.5 cm). Signed “Vik Muniz” on a label adhered to reverse of left panel. This work is from an edition of ten.

Estimate $30,000-50,000 Provenance Galerie Xippas, Paris; Private Collection, New York Exhibited New York, Whitney Museum of American Art, The Things Themselves: Pictures of

Dust by Vik Muniz, 2001; Spain, Centro Galego de Arte Contemporaneo, Vik Muniz, December 18, 2003 – March 7, 2004; Dublin, Irish Museum of Modern Art, Vik Muniz, March 31 – June 13, 2004; Madrid, Fundacion Telefonica, Vik Muniz, November 17, 2004 – January 9, 2005 Literature G: Blink: 100 Photographers, 010 Curators, 010 Writers, London 2002, p. 260

(illustrated); Celant, ed., Vik Muniz / Ernesto Neto, 2001 (illustrated); Moacir dos Anjos, J. Elkins, S. Rice, Obra Incompleta / Incomplete Work, The National Public Library, Rio de Janeiro, 2004, p. 236 (illustrated); V. Muniz, Relflex A - Vik Muniz – Z Primer, 2005, pp. 70-71 (illustrated); P. Correa do Largo, Vik Muniz: Obra Completa, 1987- 2009, Capivara 2009, pp. 390-391 (illustrated)

269

270

269 GABRIEL OROZCO b. 1962

270 GABRIEL OROZCO b. 1962

Sundial of Jaipur, 1997

El Centro del Desierto, 1997

Ilfochrome. 16 x 20 in. (40.6 x 50.8 cm). Signed, dated “Gabriel Orozco 1997” and numbered

Ilfochrome. 16 x 20 in. (40.6 x 50.8 cm). Signed, titled, dated “Gabriel Orozco,1997, El Centro

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

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

Estimate $12,000-18,000

Estimate $10,000-15,000

Provenance Private Collection

271 VIK MUNIZ b. 1961 Haystack #1, after Claude Monet (from Pictures of Color), 2001 Cibachrome print. 48 7/8 x 69 1/4 in. (124 x 176 cm). Signed and dated â&#x20AC;&#x153;Vik Muniz 2001â&#x20AC;? on a label adhered to the reverse. This work is from an edition of ten.

Estimate $30,000-50,000 Provenance Galerie Xippas, Paris Literature P. Correa do Largo, Vik Muniz: Obra Completa, 1987- 2009, Capivara 2009, p. 457

(illustrated)

272

273

272 CANDIDA HÖFER b. 1944

273 CANDIDA HÖFER b. 1944

Palacio Real Madrid IV, 2000

Universitätsbibliothek Kopenhagen II, 1995

C-print. 59 1/4 x 59 1/4 in. (150.5 x 150.5 cm). Signed “Candida Höfer” on a label adhered to

C-print. 15 x 22 3/8 in. (38.1 x 56.8 cm). Signed “Candida Höfer” on a label adhered to

the reverse. This work is from an edition of six.

reverse. This work is from an edition of six.

Estimate $15,000-20,000

Estimate $8,000-12,000

Provenance Private Collection

Provenance Karyn Lovegrove Gallery, Los Angeles

274 THOMAS STRUTH b.1954 California Valley 1 - California, 1999 Color coupler print. 68 1/2 x 83 in. (174 x 210.8 cm). Signed â&#x20AC;&#x153;Thomas Struthâ&#x20AC;? on a label adhered to the reverse. This work is from an edition of ten.

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

275

276

275 ROE ETHRIDGE b. 1969

276 SHARON CORE b. 1965

Cove Corners, Wellfleet, MA, 2005

Boston Creams, 2004

C-print. 53 x 42 3/4 in. (134.6 x 108.6 cm). This work is from an edition of five.

C-print. 16 x 18 in. (40.6 x 45.7 cm). Signed, dated “Sharon Core 2004” and numbered of 25

Estimate $6,000-8,000

on the reverse. This work is from an edition of 25 plus two artist’s proofs.

Estimate $5,000-7,000 Provenance Gagosian Gallery, Beverly Hills Provenance Bellwether Galley, New York

277 GABRIEL OROZCO b. 1962 Before the waiting dog, 1993 Five color coupler prints and video within printed card box. Each print: 8 x 10 in. (20.3 x 25.4 cm); card box: 3 x 11 x 9 in. (7.6 x 27.9 x 22.9 cm). Signed, titled and dated â&#x20AC;&#x153;Gabriel Orozco, Before the waiting dog, 1993â&#x20AC;? on a label adhered to the VHS tape.

Estimate $35,000-45,000 Provenance Monica de Cardenas, Milan, Zuoz

PROPERTY FROM THE COLLECTION OF BOB COLACELLO

278 ROBERT MAPPLETHORPE 1946-1989 Untitled (Self-Portrait), circa 1972 Silkscreen of three Polaroids on graph paper. 36 x 28 in. (91.4 x 71.1 cm). Dedicated and signed “For Robert. Robert Mapplethorpe” along the lower edge.

Estimate $10,000-15,000 Provenance Gifted from the artist to the present owner circa 1972

279 DOUGLAS GORDON b. 1966 Two works: Never (Black) and Never (White), 2000 Digital chromogenic print. Each 24 x 30 in. (61 x 76.2 cm). Each signed, titled, dated â&#x20AC;&#x153;Douglas Gordon Never, 2000â&#x20AC;? and numbered of 13 on the reverse. Each work is from an edition of 13.

Estimate $20,000-30,000 Provenance Private Collection Literature M. Francis, Douglas Gordon. Black Spot, Montreal 2000, pp. 400-401 (another

example illustrated)

280 HIROSHI SUGIMOTO b. 1948 Los Altos Drive-in, 1993 Gelatin silver print. 20 x 24 in. (50.8 x 61 cm). Blindstamped with title and number “Los Altos Drive-in” and numbered of 25 along the lower edge. This work is from an edition of 25.

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

281 HIROSHI SUGIMOTO b. 1948 Orange Drive-in, 1993 Gelatin silver print. 20 x 24 in (50.8 x 61 cm). Blindstamped with title and number â&#x20AC;&#x153;Orange Drive-in 718â&#x20AC;? and numbered of 25 along the lower edge. This work is from an edition of 25.

Estimate $20,000-30,000 Provenance Jay Jopling, London; Private Collection

282 HIROSHI SUGIMOTO b. 1948 Stanford Theater, 1992 Gelatin silver print. 20 x 24 in. (50.8 x 61 cm). Blind stamped with the title “Stanford Theatre” and numbered of 25 along the lower margin; also signed, titled, dated “Stanford Theatre, 1992, Hiroshi Sugimoto” and numbered of 25 on the reverse. This work is from an edition of 25.

Estimate $20,000-30,000 Provenance Alan Koppel Gallery, Chicago

283 HIROSHI SUGIMOTO b. 1948 Draken, Göteberg, 2001 Gelatin silver print. 20 x 24 in. (50.8 x 61 cm). Blind stamped with the title “Draken Göteberg” and numbered of 25 along the lower margin; also signed, titled, dated “Draken Göteberg, 2001, Hiroshi Sugimoto” and numbered of 25 on the reverse. This work is from an edition of 25.

Estimate $20,000-30,000 Provenance Private Collection

284 VIK MUNIZ b. 1961 Old Cheyenne (from Monads series), 2003 Chromogenic print. 92 x 72 in. (233.7 x 182.9 cm). Signed and dated â&#x20AC;&#x153;Vik Muniz 2003â&#x20AC;? on a label adhered to reverse. This work is from an edition of six.

Estimate $30,000-40,000 Provenance Galeria Elba Benitez, Madrid

285 THOMAS RUFF b. 1958 Substrat 12 II, 2003 C-print face mounted to Diasec. 73 1/4 x 118 1/8 in. (186.1 x 300 cm). Signed, titled, dated “Thomas Ruff, 2003, Sub 12 II” and numbered of three on the reverse. This work is from an edition of three.

Estimate $70,000-90,000 Provenance David Zwirner Gallery, New York

286 GREGORY CREWDSON b. 1962 Untitled (Pregnant Woman), 2001 Digital c-print. 48 x 60 in. (121.9 x 152.4 cm). Signed â&#x20AC;&#x153;Gregory Crewdsonâ&#x20AC;? on a label adhered to the reverse. This work is from an edition of ten.

Estimate $20,000-30,000 Provenance Luhring Augustine, New York Exhibited London, White Cube, Gregory Crewdson Twilight, April-May 2002 (another

example exhibited); London, Victoria and Albert Museum, Twilight: Photography in the Magic Hour, October-December 2008 (another example exhibited); Emden, Kunsthalle Museum, The Garden of Eden, December 2007-March 2008 (another example exhibited) Literature R. Moody, Twilight: Photographs by Gregory Crewdson, New York 2002 (another

example illustrated)

287 GREGORY CREWDSON b. 1962 Untitled (Bedroom Tree), 2001-2002 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 from an edition of ten.

Estimate $25,000-35,000 Provenance Luhring Augustine, New York

288

289

(Still from laser disk)

288 VANESSA BEECROFT b. 1969

289 VANESSA BEECROFT b. 1969

Untitled (performance, detail, 1998, Solomon R. Guggenheim Museum, New York, NY),

VB 35. Show, Performance. Guggenheim Museum, New York, 1998

VB35.330, 1998

Laser Disk. Duration: 20.22. No Sound. Filmed by Doug Aitken and edited by Annika

Vibracolor print. 40 x 60 in. (101.6 x 152.4 cm). This work is from an edition of three.

Larsson. This work is from an edition of five and one artistâ&#x20AC;&#x2122;s proof.

Estimate $15,000-20,000

Estimate $10,000-15,000

Provenance Deitch Projects, New York

Provenance Yvonne Force Inc., New York

Literature H. Cantz, VB 08-36 Vanessa Beecroft Performances, New York, 2000, p. 49

(another example illustrated)

290 THOMAS RUFF b. 1958 Nudes JI 01, 2000 Laserchrome print. 54 7/8 x 39 1/2 in. (139.4 x 100.3 cm). Signed, dated “Thomas Ruff 2000” and numbered of five on the reverse. This work is from an edition of five plus two artist’s proofs.

Estimate $40,000-60,000 Provenance Galerie Nelson, Paris LITERATURE M. Winzen, Thomas Ruff: 1979 to the Present, Cologne, p. 239, NUD 064

(illustrated)

291

292

291 VALÉRIE BELIN b. 1964 Untitled (01 10 04 02) (Model Series), 2001 Black and white photograph. 63 1/2 x 49 in. (161.3 x 124.5 cm). Signed, dated “Valérie Belin, 01/10/2001” and numbered of three on a label adhered to the reverse. This work is from an edition of three.

Estimate $10,000-15,000 Provenance Galerie Xippas, Paris; Private Collection, New York LITERATURE V. Belin, Valérie Belin, Galerie Xippas, Paris 2002

292 VALÉRIE BELIN b. 1964 Untitled (0503072), 2005 Black and white photograph. 65 1/2 x 49 in. (166.4 x 124.5 cm). Signed and dated “Valérie Belin 01/03/2005” on a label adhered to the reverse. The work is from an edition of five plus three artist’s proofs.

Estimate $8,000-12,000 Provenance Galerie Ulrich Friedler, Köln; Galerie Xippas, Paris

293 WILLIAM ANASTASI b. 1933 Autobodyography (IV), 1994 Six black and white photographs. i) 14 1/2 x 20 3/4 in. (36.8 x 52.7 cm); ii) 23 3/4 x 16 1/2 in. (60.3 x 41.9 cm); iii) 23 1/2 x 16 in. (59.7 x 40.6 cm); iv) 23 1/2 x 16 1/8 in. (59.7 x 41 cm); v) 21 1/2 x 15 3/4 in. (54.6 x 40 cm).;vi) 23 1/2 x 16 1/8 in. (59.7 x 41 cm).

Estimate $15,000-25,000 Provenance Sandra Gering Gallery, New York

294 TOLAND GRINNELL b. 1969

294

Untitled (from the series Pied-a-Terre), 2001-2002 Mixed media construction. Library: 28 1/2 x 17 x 28 1/2 in. (72.4 x 43.2 x 72.4 cm); sound system: 15 x 36 x 17 in. (38.1 x 91.4 x 43.2 cm).

Estimate $5,000-7,000 Provenance Mary Boone Gallery, New York Exhibited New York, Brooklyn Museum of Art, Toland Grinnell: Pied-a-Terre, July 13,

2007 - May 4, 2008

295

295 RIRKRIT TIRAVANIJA b. 1961 Untitled, 1999 Ink on wooden umbrella. 27 x 33 x 33 in. (68.6 x 83.8 x 83.8 cm). This work is from an edition of 100.

Estimate $5,000-7,000 Provenance Private Collection

296 CHRISTOPH BĂ&#x153;CHEL b. 1966 Voting Booth, 2007 Aluminum, plastic, paper and electrical fittings. Open 60 x 24 x 21 in.(152.4 x 61 x 53.3 cm); Closed 4 x 24 x 21 in. (10.2 x 61 x 53.3 cm).

Estimate $15,000-20,000 Provenance Maccarone, New York

297

298

297 INGRID CALAME b. 1965

298 INGRID CALAME b. 1965

Working Drawing #41, 1999

Working Drawing #46, 1999

Colored pencil on mylar. 30 x 30 in. (76.2 x 76.2 cm). Signed, titled and dated “#41 Working

Colored pencil on mylar. 30 x 30 in. (76.2 x 76.2 cm). Signed, titled and dated “#46 Working

Drawing, Ingrid Calame, 1999” along the lower edge.

Estimate $4,000-6,000

Provenance Kenneth L. Freed Collection, Boston; James Cohan Gallery, New York

Provenance Private Collection

299 JOE BRADLEY b. 1975 Good Foot, 2004 Oil on vinyl (in five parts). Overall dimensions: 96 x 48 in. (243.8 x 121.9 cm).

Estimate $15,000-20,000 Provenance Private Collection Exhibited New York, PS.1 Contemporary Art Center, International and National Projects

Summer 2006: Joe Bradley, Drew Heitzler, Kalup Linzy, Curtis Mitchell, Taiyo Onorato & Nico Krebs, and Lisi Raskin, June 25 - October 9, 2006

300

301

300 JOHN BAUER b. 1971

301 JOHN BAUER b. 1971

No Sex In Your Violence, 2008

Fucked Up, 2008

Oil and enamel on linen. 60 x 48 in. (152.4 x 121.9 cm). Signed, titled and dated “John Bauer

NO SEX IN YOUR VIOLENCE 2008” on the reverse; also signed “John Bauer” lower right.

FUCKED UP 2008” on the reverse; also signed “John Bauer” lower right.

Estimate $6,000-8,000

Provenance Private Collection

302 Margharita Manzelli b. 1968 Untitled (12 works), 1999 Watercolor on paper. Overall dimensions: 22 x 22 in. (55.9 x 55.9 cm).

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

303 ROBERT GOBER b. 1954 Untitled (Bride), 1992-1996 Photolithograph on folded French Dur-o Tone Paper. 22 x 33 in. (55.8 x 83.8 cm). Signed and dated “R. Gober 1992-6” lower right. This work is from an edition of 40 plus three artist’s proofs.

Estimate $8,000-12,000 Provenance Brooke Alexander, New York EXHIBITED New York, Sean Kelly Gallery, Role Exchange: A Group Show, June 29 - August 3,

2007 (another example exhibited) LITERATURE R. Floor, Robert Gober: Sculpture + Drawing, Walker Art Center, Minneapolis

1999, p. 21 (illustrated)

304 SLATER BRADLEY b. 1975 Untitled, 2004 Ink drawing on photograph. 16 1/4 x 19 3/4 in. (41.3 x 50.2 cm). Signed and dated “Slater 2004” on the reverse.

Estimate $10,000-15,000 Provenance Blum & Poe, Los Angeles

305

306

305 JOHANNES WOHNSEIFER b. 1967 Kraftwerk, 2005 Acrylic on aluminum. 55 x 79 in. (139.7 x 200.7 cm). Signed, titled and dated “Johannes Wohnseifer, Kraftwerk, 2005” on the reverse.

Estimate $15,000-20,000 Provenance Private Collection

306 JOHANNES WOHNSEIFER b. 1967 S.O.A.P, 2007 Acrylic on aluminum. 67 x 51 in. (170.2 x 129.5 cm). Signed, titled and dated “Johannes Wohnseifer 2007 S.O.A.P” on the reverse.

Estimate $6,000-8,000 Provenance Johann Konig, Berlin

307 MARK GROTJAHN Untitled (Butterfly), 2004 Colored pencil on board. 17 x 14 in. (43.2 x 35.6 cm). Initialed and dated “MG04” lower right; also initialed and dated “MG04” on the reverse.

Estimate $35,000-45,000 Provenance Anton Kern Gallery, New York Exhibited Philadelphia, University of Pennsylvania, Institute of Contemporary Art, Gone

Formalism, January 20 - March 26, 2006

308

309

308 LAWRENCE WEINER

309 LAWRENCE WEINER b. 1942

Pearls and pigs, 2006

Untitled, 1978

Solid copper. 18 x 36 in. (45.7 x 91.4 cm). This work is from an edition of nine and is

Felt-tip pen and marker on xerox. 11 x 8 in. (27.9 x 20.3 cm). Signed and dated “L. Weiner

accompanied by a certificate of authenticity on copper foil from the artist.

NYC. 1968” lower right; inscribed and dated “Drawn upon a xerox of a drawing of Lawrence

Estimate $12,000-18,000 Provenance Beyer Art, New York; Private Collection

Weiner of 1968 New York City 1978 in effect - DRAWN OVER ON WITHIN A RELATIONSHIP OF SOME SORT OF CONTINUITY” upper left.

Estimate $6,000-8,000 Provenance Malinda Wyatt Galleries, Los Angeles

310

311

310 IRAN DO ESPÍRITO SANTO b. 1963

311 IRAN DO ESPÍRITO SANTO b. 1963

Black Shirt Box, 2005

CRTN LIV, 2005

Marble. 2 7/8 x 14 x 10 in. (7.3 x 35.6 x 25.4 cm). This work is from an edition of five

Permanent marker on paper. 11 x 14 in. (27.9 x 35.6 cm). This work is accompanied by a

plus two artist’s proofs and one exhibition copy. This work is accompanied by a

certificate of authenticity.

certificate of authenticity signed by the artist.

Estimate $5,000-7,000

Estimate $10,000-15,000 Provenance Galeria Fortes Vilaça, São Paulo Provenance Galeria Fortes Vilaça, São Paulo

312

312 YUTAKA SONE b. 1965 Every Snowflake has a Different Shape (Medium) No. 7, 2007 Crystal. 4 1/2 x 9 x 8 1/2 in. (11.4 x 22.9 x 21.6 cm). This work is unique.

Estimate $7,000-9,000 Provenance David Zwirner, New York Exhibited London, Parasol Unit Foundation for Contemporary Art, Secret for Snow Leopard:

Yutaka Sone, September 19 - December 16, 2007 Literature A. Cooke, “Yutaka Sone: An age-old route to fresh ideas”, London Telegraph,

January 10, 2007; K. Kitamura, “Yutaka Sone”, Frieze issue 109, September 2007; Z. de Weck Ardalan, Secret for Snow Leopard: Yutaka Sone, London, 2007, p. 48 (illustrated)

313

313 FRANZ WEST b. 1947 Naktstuhl, 1996 Metal and wood chair, partially overworked with plaster and dispersion on Masonite, on painted platform. Chair: 33 x 18 x 18 in. (83.8 x 45.7 x 45.7 cm); platform: 3 1/2 x 30 x 44 in. (8.9 x 76.2 x 111.8 cm). This work is from an edition of ten and is accompanied by a certificate of authenticity.

Estimate $6,000-8,000 Provenance Galerie Eva Presenhuber, Zürich

Wollen sie diesem Exemplar 9/10 seinen sinn geben, so setzen sie sich nackt auf den stuhl (If you want to make sense out of the work, sit in the chair naked). Franz West, 1996

“Nackt” means “naked,” but West titled these chairs “Naktstuhl,” which translates as “move” stool or chair, since the work is activated by a participant removing his/her clothes and sitting naked on the chair. The participant is not merely a substitute for the artist; he/she becomes the artist by activating the work of art. “Naktstuhl” represents an important intersection between West’s Passstücke (adaptives), which first appeared in the mid-1970s and his more conventional furniture sculptures that followed. The work captures both the sculptural and performative elements of West’s oeuvre. This example accentuates the sculptural element, rendered in West’s most basic materials – metal, Masonite, plaster and paint – anticipating his later chairs that were upholstered with African prints. As The New York Times critic Ken Johnson wrote, “Mr. West’s art and furniture ostensibly assert a democratic spirit. The ‘de-skilled’ look of both conveys the idea that anyone can be an artist. And by conflating furniture and art, he conjures the fantasy of a holistic world of creative, all-embracing sociability.”

314 DARREN ALMOND b. 1971 Nacht + Nebel, 2007 Aluminium. 4 x 54 3/4 in. (10.3 x 139 cm). Signed â&#x20AC;&#x153;Darren Almondâ&#x20AC;? and numbered of three on the reverse. This work is from an edition of three plus two artist proofs.

Estimate $15,000-20,000 Provenance Galerie Max Hetzler, Berlin Exhibited Berlin, Galerie Max Hetzler, Darren Almond: Night + Fog, April 27 - July 14, 2007

(another example exhibited)

315 JIM LAMBIE b. 1964 The Twelfth Of Never, 2004 Vinyl tape and paper collage on record album covers. 24 3/4 x 48 3/4 in. (62.9 x 123.8 cm).

Estimate $20,000-25,000 Provenance Anton Kern Gallery, New York

316 MARK GROTJAHN b. 1968 Two works: Untitled, 2009 Two painted book covers. Each 10 x 12 1/2 in. (25.4 x 31.8 cm). Each signed “Grotjahn Mark” along the upper edge.

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

317 KEHINDE WILEY b. 1977 Malcolm Study, 2009 Mixed media and oil wash on paper. 33 x 25 in. (83.8 x 63.5 cm). Signed and dated “Kehinde Wiley, 2009” on the reverse.

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

318 KEHINDE WILEY b. 1977 St. John the Baptist, 2005 Oil on canvas in the artist’s frame. 26 x 22 in. (66 x 55.9 cm). Signed and dated “Kehinde Wiley, 2005” on the reverse.

Estimate $30,000-40,000 Provenance Roberts & Tilton, Los Angeles

319 RYAN McGINNESS b. 1971 My Tailor is Rich, 2006 Acrylic on wood panel. 48 x 48 in. (121.9 x 121.9 cm). Signed, titled and dated “My Tailor is Rich, Ryan McGinness, 2006” on the reverse.

Estimate $20,000-30,000 Provenance Glenn Horowitz Bookseller Inc., East Hampton

320 BERNARD FRIZE b. 1941 35% Vrai 60% Faux, 1986-1999 Acrylic and resin on canvas. 63 x 55 1/8 in. (160 x 140 cm). Signed, titled and dated “35% Vrai 60% Faux 1999/86 Bernard FRIZE” on the reverse.

Estimate $30,000-40,000 Provenance Galerie Emmanuel Perrotin, Paris Exhibited Paris, Musée d’Art Moderne de la Ville de Paris, Bernard Frize, June

6 – September 28, 2003

321

(Detail)

322

321 TONY FEHER b. 1956 Red and Blue Thing, 1995-1997 Two glass bottles filled with dyed liquid, string and metal hooks. Dimensions variable. This work is accompanied by installation instructions signed by the artist.

Estimate $6,000-8,000 Provenance D’Amelio Terras, New York; Yvonne Force Inc., New York; Paul Kasmin

Gallery, New York

322 YUTAKA SONE b. 1965 MT. 66, 2006 Hand printed lithograph on inkjet print. 38 1/4 x 30 3/4 in. (97.2 x 78.1 cm). Signed, dated “Yutaka Sone 06” and numbered of 35 lower left; also signed and dated “Yutaka Sone 06” lower right quadrant. This work is from an edition of 35.

Estimate $4,000-6,000 Provenance Private Collection, Aspen

323 JACQUELINE HUMPHRIES b. 1960 Untitled No. 4, 1995 Oil on canvas. 90 1/8 x 89 3/4 in. (228.9 x 228 cm).

Estimate $15,000-20,000 Provenance Greene Naftali Gallery, New York; Private Collection

324

325

324 GERT AND UWE TOBIAS b. 1973

325 GERT AND UWE TOBIAS b. 1973

Untitled, 2007

Two works: Untitled, 2007

Glass, ceramic, wood and plastic. 19 1/4 x 11 3/4 x 11 3/4 in. (48.9 x 29.8 x 29.8 cm).

i) Paper collage; ii) Paper collage and oil on paper. i) 11 5/8 x 8 1/4 in. (29.5 x 21 cm); ii) 11 1/2 x

Estimate $5,000-7,000

8 1/8 in. (29.2 x 20.6 cm). Each signed and dated â&#x20AC;&#x153;Gert and Uwe Tobias 2007â&#x20AC;? on the reverse.

Estimate $4,000-6,000 Provenance Galerie Michael Janssen, Berlin Provenance Galerie Michael Janssen, Berlin

326

326 PAE WHITE b.1963 Untitled, 2004 Twisted wire and paper collage mobile. 41 x 12 x 10 1/2 in. (104.1 x 30.5 x 26.7 cm).

Estimate $8,000-12,000 Provenance Private Collection

327 MATT JOHNSON b. 1978 Rad Rock, 2004 Carved stone and epoxy. 11 x 18 x 21 in. (27.9 x 45.7 x 53.3 cm). Inscribed “RAD”across the rock surface.

Estimate $5,000-7,000 Provenance Taxter & Spengemann, New York Exhibited New York, Taxter & Spengemann, Matt Johnson, March 13 - April 10, 2004

327

328

329

328 JOSH SMITH b. 1976

329 JOSH SMITH b. 1976

Untitled, 2008

Untitled, 2007

Oil on canvas. 20 x 16 in. (50.8 x 40.6 cm). Signed and dated “Josh Smith 2008” on the

Silkscreened acrylic on canvas. 24 1/8 x 18 in. (61.3 x 45.7 cm). Signed and dated “Josh Smith

reverse twice.

2007” on the overlap.

Estimate $3,000-5,000

Estimate $3,000-4,000

Provenance Luhring Augustine, New York

330 THOMAS ZIPP b. 1966 Two works: Serodopamin, 2006 i) Acrylic and oil on muslin; ii) mixed media on paper. 36 1/2 x 20 5/8 in. (92.7 x 52.4 cm). Titled and dated â&#x20AC;&#x153;Serodopamin, 2006â&#x20AC;? on a label adhered to the reverse.

Estimate $10,000-15,000 Provenance Patrick Painter, Inc., Los Angeles

331

331 HOPE ATHERTON b. 1974 Mirror, 2006 Oil on linen. 84 x 42 in. (213.4 x 106.7 cm). Signed and dated â&#x20AC;&#x153;Hope Atherton 2006â&#x20AC;? on the reverse.

Estimate $12,000-18,000 Provenance Patrick Painter, Inc., Los Angeles Exhibited Los Angeles, Patrick Painter, Inc., Hope Atherton, March 3 - April 14, 2007

332 NANCY RUBINS b. 1952 Drawing, 1992 Pencil on paper. 16 1/2 x 19 in. (41.9 x 48.3 cm).

Estimate $3,000-4,000 Provenance Burnett Miller Gallery, Los Angeles

332

333 KAREN KILIMNIK b. 1955 Death in the American Plaza Hotel 1964, 1990 Crayon on paper. 35 x 23 in. (88.9 x 58.4 cm). Inscribed “4:20pm Nov. 7 1990” lower right.

Estimate $15,000-20,000 Provenance Emily Tsingou Gallery, London; Private Collection

334

335

334 DANIEL RICHTER b. 1962 Hundewasser, 2003 Oil, gouache and tape on paper. 20 1/8 x 13 3/4 in. (51.1 x 34.9 cm). Initialed and dated “DR 03” lower right.

Estimate $8,000-12,000 Provenance Contemporary Fine Arts, Berlin; David Zwirner, New York

335 GILLIAN CARNEGIE b. 1971 Forest, 1998 Oil on canvas. 9 1/4 x 9 1/4 in. (23.5 x 23.5 cm). Signed and dated “Gillian Carnegie 1998” on the reverse.

Estimate $6,000-8,000 Provenance Private Collection

336 DAMIAN LOEB b. 1970 Race Right By, 1996 Oil on linen. 50 x 50 in. (127 x 127 cm). Signed, titled and dated “Damian Loeb ‘Race Right By’ 96” on the reverse.

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

337 THOMAS EGGERER b. 1963 Feeding Time, 2005 Acrylic on paper. 55 x 65 in. (139.7 x 165.1 cm). Signed and dated “Thomas Eggerer 2005” on the reverse.

Estimate $15,000-20,000 Provenance Galerie Daniel Buchholtz, Cologne

338 THOMAS EGGERER b. 1963 Norma, 2001 Oil on canvas. 46 x 67 in. (116.8 x 170.2 cm). Signed and dated “T Eggerer 2001” on the reverse.

Estimate $15,000-20,000 Provenance Richard Telles Fine Art, Los Angeles Exhibited Los Angeles, Richard Telles Fine Art, Thomas Eggerer, May - June, 2001 Literature D. Joselit, “Thomas Eggerer: Painter’s work analysed,” ArtForum,

October 2001

339

340

339 JONATHAN MEESE b. 1970 Sankt Elefant Man (Squawhot), 2003 Oil on canvas. 28 1/4 x 20 1/2 in. (71.8 x 52.1 cm). Signed and dated “J. Meese 2003” on the reverse.

Estimate $15,000-20,000 Provenance Private Collection

340 KATHERINE BERNHARDT b. 1975 Danskin Flourescent Yellow, 2010 Acrylic on canvas. 96 x 72 in. (243.8 x 182.9 cm). Titled “Danskin Fluorescent Yellow” on the reverse.

Estimate $8,000-12,000 Provenance Private Collection

341 JONATHAN MEESE b. 1970 VOODOO - EZRA POUND, 2000 Nine drawings, one book, one photograph, one postcard, one paper object, paper collage, graphite, felt-tip pen, oil, gouache, tape and ink on posters or posterboard. Smallest 5 1/2 x 3 1/2 in. (14 x 8.9 cm); largest 39 3/8 x 27 1/2 in. (100 x 69.9 cm). Each signed, titled, dated â&#x20AC;&#x153;Jonathan Meese 2000 Voodoo - Ezra Poundâ&#x20AC;? and respectively inscribed.

Estimate $15,000-20,000 Provenance Contemporary Fine Arts, Berlin

342 CHRISTOPHER SCHMIDBERGER b. 1974 I Can’t Believe It, 2002 Oil and acrylic on board. 12 x 9 in. (30.5 x 22.9 cm). Signed “Christoph Schmidberger” on the reverse.

Estimate $10,000-15,000 Provenance Mark Moore Gallery, Santa Monica

343 LUKAS DUWENHOGGER Evening Interlude, 1999 Oil on panel. 99 x 41 in. (251.5 x 104.1 cm).

Estimate $15,000-20,000 Provenance Private Collection

344

344 PAUL HENRY RAMIREZ b. 1963

345 TOBIAS REHBERGER b. 1966

Untitled (from Space Addiction), 2002

Starship Trooper, 1998

Acrylic, enamel and flashe on wooden panel. 24 x 24 in. (61 x 61 cm). Signed and dated

C-print. 68 1/4 x 48 1/2 in. (173.5 x 123.2 cm).

“Paul Henry Ramirez, 2002” on the reverse.

Estimate $3,000-4,000

Estimate $3,000-5,000 Provenance Galerie Bärbel Grässlin Berlin; Barbara Gladstone Gallery, New York Provenance Caren Golden Fine Art, New York

345

346 PAUL NOBLE b. 1963 Bad News Mountain, 2006 Ink on paper collage. 36 x 24 in. (91.4 x 61 cm). Titled “Bad News Mountain” lower left; also signed, dated and numbered “Paul Noble, 05/06, 13” upper left.

Estimate $15,000-20,000 Provenance China Art Objects Gallery, Los Angeles

347

348

347 KARL HAENDEL b. 1976

348 KARL HAENDEL b. 1976

German Radicals, 2003

New Yorker Cartoon Drawing #9, 2004

Graphite on board. 47 3/4 x 110 1/8 x 3 1/8 in. (121.3 x 279.7 x 7.9 cm).

Graphite on paper. 30 1/2 x 22 1/2 in. (77.5 x 57.2 cm). Signed, titled and dated “New Yorker

Estimate $6,000-8,000

Cartoon Drawing #9, K. Haendel 2004” on the reverse.

Estimate $4,000-6,000 Provenance Anna Heiwing Gallery, Los Angeles Exhibited Signed and dated “Haendel 2003” on the reverse.

Provenance Anna Heiwing Gallery, Los Angeles

349

350

349 Eric Doeringer b. 1974

350 ADAM PENDLETON b. 1984

Five works: Untitled (from the Bootlegger Series), 2009

Star Magazine (L. Document 38 S.09 Light Grey), 2006

Oil on canvas. 12 x 9 in. (30.5 x 22.9 cm); 8 x 10 1/8 in. (20.3 x 25.7 cm); 10 1/8 x 8 in. (25.7 x 20.3

Silkscreen on canvas. 62 1/2 x 47 1/2 in. (158.8 x 120.7 cm). Inscribed “L. Document 38 S.09”

cm); 9 1/8 x 12 1/8 in. (23.2 x 30.8 cm). Each stamped with signature and date “Eric Doeringer

lower right.

2009” on the reverse or on the overlap.

Estimate $5,000-7,000

Estimate $2,000-3,000 Provenance Roberts & Tilton, Los Angeles Provenance Acquired directly from the artist

351

351 XAVIER VEILHAN b. 1963 Ghost Landscape (Series 02, No.37), 2006 Enamel on sand blasted lacquered aluminum. 39 3/8 x 59 in. (100 x 149.9 cm).

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

352 KITTY KRAUS b. 1976

352

Mirrored Cube, 2007 Mirrors, tape and light bulb. 7 x 12 1/8 x 9 1/8 in. (17.8 x 30.8 x 23.2 cm).

Estimate $4,000-6,000 Provenance Galerie Neu, Berlin

Kraus’ more recent ‘mirror lamps’ (2007–ongoing) are a step toward spectacle, compared with the modesty of her other works. At first these lamps – mirrored cubes illuminated from inside with small gaps at the seams, which cast complex patterns of light around the room – seem to allude to the transcendent beauty or optical magic of Olafur Eliasson’s mirror pieces or his frequent use of reflected light. But Kraus’ optical devices are self-effacing and transitory. Like the ice lamps, they are auto-destructive devices, orchestrating an accident that will leave unforeseeable formal traces. Though some are made with 100-watt bulbs that function as lamps, other versions are made with 500-watt bulbs that cause the cubes to explode from the heat within a few minutes. Like all of Kraus’ works, they appear to strive toward being invisible, but they’re reluctant to leave no trace at all. (C. Lange, “Kitty Kraus: Identical Dimensions and Precarious Constellations” frieze, October 2008)

353 MOUNIR FATMI b. 1970 Ecran Noir N°1, 2005 420 VHS video cassettes. 81 1/2 x 155 1/2 in. (207 x 395 cm). This work is unique.

Estimate $25,000-35,000 Provenance Galerie la B.A.N.K, Paris Exhibited Paris, Centre d’art Contemporain d’Istres, Ecrans Noirs, October 27 - December

20, 2005; Paris, Galerie la B.A.N.K, Tête Dure, June 1 - September 2, 2006

354

355

354 ANNETTE MESSAGER b. 1943

355 RAFAL BUJNOWSKI b. 1974

Maman, 1990

Three works: Satellite 4, Satellite 6 and Satellite 15, 2005

Gelatin silver prints and colored pencil with tape and twine. Overall: 34 x 5 1/2 in. (86.4 x 14

Oil on canvas. Each 15 3/4 x 12 in. (40 x 30.5 cm). Each signed and dated “Bujnowski 05” on

cm). Inscribed “Maman et triste” on element 3A; each element numbered consecutively on

the reverse.

the reverse. This work is accompanied by a certificate of authenticity.

Estimate $6,000-8,000

Estimate $12,000-18,000 Provenance Johnen Galerie, Berlin; Private Collection, Los Angeles Provenance Galerie Chantal Crousel,Paris; Private Collection, Chicago Exhibited Paris, Center Pompidou, Annette Messager, June 6 - September 17, 2007 Literature Annette Messager: The Messengers, Berlin 2007, p. 286 (illustrated)

356 CALLUM INNES b. 1962 Exposed Painting Dark Grey/Violet, 2006 Oil on canvas. 68 3/4 x 66 in. (174.6 x 167.6 cm). Signed and dated “Callum Innes 2006” on the overlap.

Estimate $15,000-20,000 PROVENANCE Sean Kelly Gallery, New York

357 KOMAR & MELAMID b. 1943 and 1945 Red Drapes, 1984-1985 Four joined panels composed of oil and pastel on canvas laid down on wood and oil on wood. 13 1/2 x 51 3/4 in. (34.3 x 131.4 cm) overall.

Estimate $50,000-70,000 Provenance Independent Curators Incorporated, New York Exhibited New York, Independent Curators Incorporated, After Perestroika: Kitchenmaids or

Stateswomen, 1993 Literature M. Tupitsyn and M. Rosler, After Perestroika: Kitchenmaids or Stateswomen,

New York 1993

358 JUAN MUﾃ前Z 1953-2001 Amsterdam Series 2, 1988 Paint and papier-mache on wood. 21 x 19 x 32 1/4 in. (53.3 x 48.3 x 81.9 cm).

Estimate $40,000-60,000 Provenance Langer & Co., New York

359 MIQUEL BARCELÓ b. 1957 Untitled, 1988 Gouache on paper. 20 x 26 in. (50.8 x 66 cm). Signed and dated “3.10.88 Barceló” along lower edge.

Estimate $30,000-40,000 Provenance Private Collection

360 MIQUEL BARCELÓ b. 1957 Untitled, 1988 Gouache on paper. 20 x 26 in. (50.8 x 66 cm). Signed and dated “11.11.88 Barceló” along lower edge.

Estimate $30,000-40,000 Provenance Private Collection

361 WILLIAM ANASTASI b. 1933 Untitled III (Abandoned Painting), 1995 Oil and graphite on canvas. 89 1/4 x 74 1/8 in. (226.7 x 188.3 cm). Dated “Jan 14, 1995 - Jan 23” and inscribed “In memory of Ray Johnson” on the overlap; also signed, titled and dated “III William Anastasi 1995” on the reverse.

Estimate $30,000-40,000 Provenance Sandra Gering Gallery, New York

362

363

362 BERLINDE DE BRUYCKERE b. 1964

363 BERLINDE DE BRUYCKERE b. 1964

Schmerzensmann 9, 2006

Jelle Luipaard, 2004

Pencil, watercolor and ink on paper. 17 1/2 x 12 1/2 in. (44.5 x 31.8 cm).

Pencil and watercolor on paper. 17 3/4 x 12 3/4 in. (45.1 x 32.4 cm).

Estimate $10,000-15,000

Provenance Hauser & Wirth, Z端rich London

364 LIU WEIJIAN b. 1981 There’s No News Today, 2005 Acrylic on canvas. 59 x 78 5/8 in. (149.9 x 199.7 cm). Signed and dated “Liu Weijian 2005.4” lower right.

Estimate $15,000-20,000 Provenance Shanghart Gallery, Shanghai; Adam Biesk Art Advisory, Los Angeles

365 Yang Shaobin b, 1963 NO - 18 800 meters under, 2006 Oil on canvas. 31 1/2 x 39 3/8 in. (80 x 100 cm). Signed in Chinese and English, titled and dated â&#x20AC;&#x153;Yang Shaobin NO-18 800 meters under 2006â&#x20AC;? on the reverse.

Estimate $70,000-90,000 Provenance Long March Space, Beijing

366

367

366 WU MINGZHONG b. 1963 Untitled (Heil, Bill Gates), 2006 Acrylic on canvas. 78 1/2 x 63 in. (199.4 x 160 cm). Initialed in Chinese and dated lower left; also signed, titled and dated “Wu Mingzhong Hiel, Bill 2006” on the reverse

Estimate $18,000-25,000 Provenance Private Collection

368

367 YUE MINJUN x KAWS 1962 and 1974

368 ZHAO BO b. 1974

Untitled (Collaborative Companion Figure), 2008

Four works: Untitled No. 134, No. 117, No. 184 and No. 177, 2006

Cast resin. 11 1/2 x 5 1/2 x 3 1/2 in. (29.2 x 14 x 8.9 cm). Signed ‘Yue Minjun x KAWS’ and

Oil on canvas. 9 7/8 x 9 7/8 in. (25.1 x 25.1 cm). Signed and dated “Zhaobo • 2006” lower right;

numbered of 56/100 on the underside of the figure. This work is from an edition of 100 and is

inscribed in chinese on the reverse.

accompanied by a certificate of authenticity signed by the artists and a wooden exhibition box.

Estimate $4,000-6,000

Estimate $7,000-9,000

Provenance Chinese Contemporary Factory, Beijing

Provenance MOT/Arts, Taipei Exhibited Taipei, MOT/Arts, Art for the Masses, June 27 - July 27, 2008 (other edition

exhibited); New York, The Aldrich Contemporary Art Museum, KAWS, June 27, 2010 - January 2, 2011 (another example exhibited) Literature JUT Living Development Co., Ltd., MOT Style, Vol.1, Taipei, July, 2008

SESSION II

2pm

Lots 369-554

PROPERTY SOLD TO BENEFIT THE BYRD HOFFMAN WATERMILL FOUNDATION FOR THE REMOUNTING OF EINSTEIN ON THE BEACH In collaboration with Phillips de Pury, the following works are a

After seeing Einstein on the Beach for the first time, New York Times art

special collection donated by the artists to benefit the recreation of

critic and producer John Rockwell said: “Einstein was like nothing I had

Robert Wilson and Philip Glass’s seminal opera Einstein on the Beach.

ever encountered. For me, its very elusiveness radiated richly, like some

Phillips de Pury is supporting the revival of this piece and waives any

dark star whose effects we can only feel. The synergy of words and music

seller’s commission.

seemed ideal. Like Einstein himself [it] transcended time. It’s not (just) an artifact of this era, it’s timeless. Like Hamlet or Parsifal, Einstein

Widely credited as one of the greatest artistic achievements of the 20th

must be seen and re-seen, encountered and savored....an experience to

century, this rarely performed work launched director Robert Wilson

cherish for a lifetime.”

and composer Philip Glass to international success when it was first produced at the Festival in Avignon in 1976 and went among other venues to the Metropolitan Opera later that year. It is still recognized as one of their greatest masterpieces. Now, nearly four decades after it was first performed, Einstein on the Beach will be taken on a major international tour including the first North American presentations ever held outside of New York City.

PROPERTY SOLD TO BENEFIT THE BYRD HOFFMAN WATERMILL FoUNDATION FOR THE REMOUNTING OF EINSTEIN ON THE BEACH

369 ROBERT WILSON b. 1941 Einstein Chair (from Einstein on the beach), 1976 Chair: Galvanized pipe; base: galvanized steel sheet over wood armature Chair: 93 1/2 x 9 3/4 x 9 3/4 in. (237.5 x 24.8 x 24.8 cm); base: 2 1/2 x 43 1/2 x 43 1/2 in. (6.4 x 110.5 x 110.5 cm). This work is 6/6, the last piece in the edition series from the world premiere in 1976.

Estimate $40,000-60,000

Einstein on the Beach remains one of the most revolutionary works of our time. The international tour of Einstein on the Beach will begin in the Spring of 2012 and will be seen in up to ten international locations bringing this ground breaking work to new audiences and an entirely new generation. Other examples of this 1976 series are included in the permanent collections of: Christopher De Menil, Lisa de Kooning, Paul Walter, Thomas Ammann and The Museum of Fine Arts in Boston.

Provenance Gif t of the artist

The Einstein Chair is one of Robert Wilson’s most iconic works and is

Exhibited Paris, Le Centre, Mr Bojangles’ Memory: Og Son of Fire: Ouvrage Publié

emblematic of not only Wilson’s performative approach, but also serves

à l’Occasion De l’Exposition Présentée Au Centre Georges Pompidou, November 9, 1991-January 27, 1992; Boston, Museum of Fine Arts, Houston, Museum of

as a tangible manifestation of the artist’s unique transient art form. Made

Contemporary Art, San Francisco, Museum of Modern Art, Robert Wilson’s Vision,

of plumbing pipe, the sculpture reflects the expansion of time and space

February 6 -April 21, 1991, July15 - August 18, 1991, September 12 - December 1,1991;

itself while also touching on the biographical.

Valencia, Instituto Valenciano de Arte Moderno, September 16 - November 22, 1992 Literature R. Wilson, et al. Robert Wilson: Mr Bojangles’ Memory: Og Son of Fire:

Ouvrage Publié à l’Occasion De l’Exposition Présentée Au Centre Georges Pompidou Du 6 Novembre 1991 Au 27 Janvier 1992. Paris: Le Centre, 1991; S. Flakes, “Robert

As Einstein was fond of saying, “If I had my life to live over again, I’d

Wilson’s Einstein on the Beach.” The Drama Review 20, December, 1976 pp. 69-82;

be a plumber.”

T. Fairbrother, “Stretch-Out: Robert Wilson’s Einstein Chair.” Parkett no. 16, May 1988, pp. 78-89 (illustrated); F. Ruf, “‘Survival and Distance’: The Dramatic Voice in Robert Wilson’s Einstein on the Beach.” In Entangled Voices: Genre and the Religious

With his belief in reincarnation at the end of his life, Einstein’s driver

Construction of the Self, Oxford: Oxford University Press, 1997, pp. 63-75; M. Shevtsova,

asked him:

Robert Wilson. Routledge Performance Practitioners, London 2007

Driver: What will you be in your next life? How will we find you? Einstein: I will be a plumber! Driver: What? A plumber? Why? Einstein: Yes, I want to be a plumber in my next life. I have given out a few truths to the world, but to be very honest, I lied to myself. When I was a kid, I was fascinated by plumbers. But my mother, then my school, and later the entire society gave me the idea that I was made for other things, and I went along. The fact is, I am still fascinated by plumbers and in my next life I am going to be a plumber. I have had enough of science and blah blah blah.

The Byrd Hoffman Watermill Foundation wishes to thank Douglas Gordon, Chuck Close and Gagosian Gallery for the generous donation of these works in support of the remounting of Einstein on the Beach.

Actual Size

PROPERTY SOLD TO BENEFIT THE BYRD HOFFMAN WATERMILL FoUNDATION FOR THE REMOUNTING OF EINSTEIN ON THE BEACH

370 CHUCK CLOSE b. 1940 Robert Wilson, 2001 Daguerreotype. 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm). Signed, titled and dated “Chuck Close ‘Bob,’ 2001” on the reverse.

Estimate $15,000-20,000 Provenance Donated by the artist

Actual Size

PROPERTY SOLD TO BENEFIT THE BYRD HOFFMAN WATERMILL FoUNDATION FOR THE REMOUNTING OF EINSTEIN ON THE BEACH

371 CHUCK CLOSE b. 1940 Philip Glass, 2001 Daguerreotype. 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm). Signed, titled and dated “Chuck Close, ‘Phil’, 2001” on the reverse.

Estimate $15,000-20,000 Provenance Donated by the artist

PROPERTY SOLD TO BENEFIT THE BYRD HOFFMAN WATERMILL FoUNDATION FOR THE REMOUNTING OF EINSTEIN ON THE BEACH

372 DOUGLAS GORDON b. 1966 Self-Portrait of You + Me (Marilyn), 2008 Burnt gelatin silver print and ash on mirror in artist’s frame. 32 3/8 x 24 7/8 in. (82.2 x 63.2 cm).

Estimate $50,000-70,000 Provenance Donated by the artist

373 OLAFUR ELIASSON b. 1967 Your Blue Afterimage Exposed, 2000 Spotlight, dimmer, tripod and color filter. Dimensions variable. This work is accompanied by a certificate of authenticity. A spotlight creates an orange square on a wall, which disappears after fifteen seconds. A complimentary â&#x20AC;&#x153;afterimageâ&#x20AC;? appears on the same surface. In this case, the afterimage is blue. There is a second work with a blue light source that creates an orange afterimage. It can be shown at the same time at a different site.

Estimate $100,000-150,000 Provenance Masataka Hayakawa Gallery, Tokyo; Private Collection, Tokyo Literature M. Grynsztejn, D. Birnbaum & M. Speaks, Olafur Eliasson, New York 2002,

p. 21 (illustrated); O. Eliasson, Olafur Eliasson: Your Lighthouse. Works with Light 1991 - 2004, Germany 2004, p. 104 (illustrated)

374 RAYMOND PETTIBON b. 1957 Untitled (In such a…), 1999 Pencil, ink and graphite on paper. 16 3/4 x 12 in. (42.5 x 30.5 cm). Dated “1999” on the reverse.

Estimate $8,000-12,000 Provenance Francis Briest, Los Angeles

375 RAYMOND PETTIBON Incapable of Abstraction, 1990 Oil on canvas. 14 x 11 in. (35.6 x 27.9 cm). Signed and dated “Raymond Pettibon 90” on the reverse.

Estimate $20,000-30,000 Provenance Private Collection, Los Angeles

376 WILLIAM POPE. L b. 1955 Bill Cosby with Bad Attitude, not dated Yarn, paper collage, glue, acrylic and tape. 6 x 15 x 7 in. (15.2 x 38.1 x 17.8 cm).

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

377 Michael Ray Charles b. 1967 Blackmail, 1998 Acrylic latex, stain and copper penny on paper. 60 3/8 x 36 1/8 in. (153.4 x 91.8 cm). Signed and dated “MICHAEL RAY CHARLES 98 ©” lower right and titled “BLACKMAIL” along the lower edge.

Estimate $8,000-12,000 Provenance Galerie Hans Mayer, Düsseldorf

378

379

378 JESSICA STOCKHOLDER b. 1959

379 JESSICA STOCKHOLDER b. 1959

Untitled, 2008

Untitled, c. 1994

Metal box, plastic parts, bird feeding cages and metal plate. 20 x 18 x 4 in.

Wood, plastic, paper collage, insulator and rubber fin. 28 x 8 x 6 in. (71.1 x 20.3 x 15.2 cm).

(50.8 x 45.7 x 10.2 cm).

Estimate $6,000-8,000

Estimate $8,000-12,000 Provenance Mitchell-Innes & Nash, New York Provenance Mitchell-Innes & Nash, New York

(Detail)

380 TONY OURSLER b. 1957 Untitled, 1994 Video recorder, two tripods, two power supply boxes, projector, VHS tape, cable and puppet. Dimensions variable. Signed and dated â&#x20AC;&#x153;Tony Oursler 1994â&#x20AC;? on the underside of the puppet.

Estimate $25,000-35,000 Provenance Private Collection

381

382

381 CARROLL DUNHAM

382 CARROLL DUNHAM b. 1949

Untitled (7/21/93 - 7/29/93), 1993

Untitled (8/14/93, 8/23/93), 1993

Graphite on paper. 11 1/2 x 8 in. (29.2 x 20.3 cm). Signed and dated “C. Dunham

Graphite on paper. 11 1/2 x 8 in. (29.2 x 20.3 cm). Signed and dated “8/14/93,

7/21/93-7/29/93” along upper edge.

8/23/93 C. Dunham” lower left.

Estimate $5,000-7,000

Provenance Nolan/Eckman Gallery, New York; Galerie Judin, Zürich

Provenance Collection of Walter and Molly Bareiss; David Nolan Gallery, New York;

Nolan/Eckman Gallery, New York; Galerie Judin, Zürich

383 DONALD BAECHLER b. 1956 Pink Cone, 2008 Acrylic and fabric collage on canvas. 60 x 60 in. (152.4 x 152.4 cm). Initialed and dated “DB 2008” on the reverse.

Estimate $40,000-60,000 Provenance Private Collection, Brussels; Maruani & Noirhomme Gallery, Knokke

384 JENNIFER BARTLETT b. 1941 Houses in Motion, 1998-1999 Oil on canvas. 84 x 84 in. (213.4 x 213.4 cm). Signed and dated “Jennifer Bartlett 1998-99” on the reverse.

Estimate $30,000-40,000 Provenance Private Collection

385 MARY HEILMAN b.1940 Untitled (Set of Four Vessels), 1980-1981 Four glazed ceramic vessels.Â 4 1/2 x 7 in. (11.4 x 17.8 cm); 6 7/8 x 9 1/8 in. (17.5 x 23.2 cm); 6 7/8 x 9 1/2 in. (17.5 x 24.1 cm); 7 3/4 x 11 3/4 in. (19.7 x 29.8 cm).

Estimate $20,000-30,000 Provenance Acquired directly from the artist by the present owner, 1983

386

387

386 KIKI SMITH b. 1954 Untitled, 1994 Ink on Thai tissue with metho-cellulose. 29 1/2 x 21 in. (74.9 x 53.3 cm). Signed and dated “Kiki Smith 1994” lower right.

Estimate $5,000-7,000 Provenance Anthony d’Offay Gallery, London; Private Collection, New York

387 KIKI SMITH b. 1954 Untitled, 1994 Ink on Thai tissue with metho-cellulose. 29 1/2 x 10 in. (74.9 x 25.4 cm). Signed and dated “Kiki Smith 1994” lower right.

Estimate $5,000-7,000 Provenance Anthony d’Offay Gallery, London; Private Collection, New York

388 KIKI SMITH b. 1954 Untitled (Head with Glass Eyes and tin teeth), 1994 Painted phosphorous bronze with glass and tin. 8 1/2 x 6 1/2 x 8 in. (21.6 x 16.5 x 20.3 cm). This work is unique.

Estimate $70, 000-90,000 Provenance Pace Wildenstein, New York; Shoshana Wayne Gallery, Santa Monica

389

390

389 PHILIP TAAFFE b. 1955

390 Tim Rollins and K.O.S. b. 1955

Untitled, 2002

The Nature Theater of Oklahoma: For Thoreau I, 1987-1988

Oil pigment on paper. 23 1/2 x 14 1/2 in. (59.7 x 36.8 cm).

Acrylic, metallic paint and charcoal on book pages laid down on canvas. 15 x 50 in. (38.1

Estimate $5,000-7,000 Provenance James Cohan Gallery, New York

x 127 cm). Signed, titled and dated “TR + K.O.S. The Nature Theater of Oklahoma: For Thoreau I. South Bronx 87-88” on the reverse.

Estimate $8,000-12,000 Provenance Barbara Krakow Gallery, Boston; Sale: Sotheby’s, New York, Impressionist,

Modern and Contemporary Art, February 17, 1999, lot 292

391

392

391 JOE BRADLEY b. 1975

392 RICHmonD BURTON

Neil, 2008

Lavender Flame, 1996

Acrylic on canvas. 80 x 48 in. (203.2 x 121.9 cm). Signed and dated “Joe Bradley 08 ‘Neil’” on

Oil on canvas. 64 x 53 in. (162.6 x 134.6 cm). Signed, titled and dated “Richmond Burton

the overlap.

Lavender Flame 1996” on the reverse.

Estimate $15,000-20,000

Estimate $8,000-12,000

Provenance Private Collection

Provenance Velge & Noirhomme, Brussels

393

394

393 RICHARD LONG b. 1945 Two works: Untitled, 1995 River Avon mud on white paper. Each 12 x 9 in. (30.5 x 22.9 cm).

Estimate $7,000-9,000 Provenance Anthony d’Offay Gallery, London; Daniel Weinberg Gallery, San Francisco

394 RICHARD LONG b. 1945 Avon Mud Drawing, 1987 Mud on paper. 11 5/8 x 8 1/8 in. (29.5 x 20.6 cm). Signed and dated “Richard Long 1987” upper edge.

Estimate $5,000-7,000 Provenance ART AID, London, October 2002; Private Collection, Los Angeles

395 ROSS BLECKNER b. 1949 Open Dome, 1999 Oil on canvas. 60 x 60 in. (152.4 x 152.4 cm). Signed, titled and dated “Ross Bleckner, 1999, Open Dome” on the reverse.

Estimate $35,000-45,000 Provenance Private Collection

396 GEORGE CONDO b. 1957 A friend of mine, 1985 Oil on canvas. 10 x 10 in. (25.4 x 25.4 cm). Signed, titled and dated â&#x20AC;&#x153;a friend of mine Condo 1-85â&#x20AC;? on the reverse.

Estimate $10,000-15,000 Provenance Barbara Gladstone Gallery, New York

397 FRANCESCO CLEMENTE b. 1952 Untitled, not dated Oil on canvas. 44 x 64 in. (111.8 x 162.6 cm).

Estimate $80,000-120,000 Provenance Private Collection

398 JULIAN SCHNABEL b. 1951 Untitled (The Names of our Children), 1980 Mixed media on paper. 43 x 46 in. (109.2 x 116.8 cm). Signed and dated “Julian Schnabel 1980” along the lower edge.

Estimate $35,000-45,000 Provenance Neuhoff Gallery, New York

399 DAVID SALLE b. 1952 Peel, 2006-2007 Oil on linen. 30 1/4 x 66 3/4 in. (76.8 x 169.5 cm). Signed and dated “David Salle, 2006-07” on the reverse. Signed, titled and dated “David Salle, Peel, 2006-07” on the reverse.

Estimate $50,000-70,000 Provenance Baldwin Gallery, Aspen

400 MIKE BIDLO b. 1953 Woman with Hat, 1942, 1983-1987 Oil on canvas. 39 1/2 x 32 in. (100.3 x 81.3 cm). Signed “Bidlo” on the reverse; also signed, titled and dated “Bidlo, Woman with Hat,1942” on the stretcher bar.

Estimate $20,000-30,000 Provenance Leo Castelli Gallery, New York

401 Keith tyson b. 1969 Artmachine iterationâ&#x20AC;&#x201D;A photograph about nothingâ&#x20AC;&#x201D;In and out of focus, 1998 Oil, resin and paper collage on wood. 90 x 39 x 42 in. (228.6 x 99.1 x 106.7 cm).

Estimate $35,000-45,000 Provenance Private Collection

402 ALLAN McCOLLUM b. 1944 Untitled, circa 2006 Corian. 15 x 20 x 7 in. (38.1 x 50.8 x 17.8 cm).

Estimate $8,000-12,000 Provenance Private Collection, Cincinnati Exhibited Berlin, Galerie Thomas Schulte, Allan McCollum: SHAPES, September 29 -

December 11, 2006 Literature N. Princenthal, “Shape Shifter,” Art in America, February 2007

403 ALLAN McCOLLUM b. 1944 The Shapes Project: Monoprints, 2005-2006 144 monoprints from Vector files on acid-free paper in the artist’s frames. Each 5 1/2 x 4 1/4 in. (14 x 10.8 cm). Each signed and dated “McCollum 2006” on the reverse.

Estimate $15,000-20,000 Provenance Galerie Thomas Schulte, Berlin; Private Collection, Cincinnati Exhibited Berlin, Galerie Thomas Schulte, Allan McCollum: SHAPES, September 29 -

December 11, 2006 Literature N. Princenthal, “Shape Shifter,” Art in America, February 2007

404

405

404 MICHAEL CRAIG-MARTIN b. 1941 Portrait (Purple), 2006 Acrylic on aluminum panel. 48 x 36 in. (121.9 x 91.4 cm).

Estimate $30,000-40,000 Provenance Private Collection

405 SUHASINI KEJRIWAL b. 1973 Untitled, 2006 Mixed media on paper. 51 x 40 in. (129.5 x 101.6 cm).

Estimate $15,000-20,000 Provenance Private Collection

406 ROBERT WILSON b. 1941 South American Porcupine, 2006 Plasma Display Panel flat screen monitor with a single unit stereo speaker and media player. 64 1/2 x 36 1/4 x 4 in. (163.8 x 92.1 x 10.2 cm). Music by Bernard Hermann. Voice by Sue Jane Stoker. Arranged by Peter Cerone. This work is from an edition of two plus one artistâ&#x20AC;&#x2122;s proof.

Estimate $60,000-80,000 Provenance Private Collection

407 JOHN MEYER b. 1942 Nothing You Can Do I,II & III, 2004 Mixed media on canvas. 30 x 36 in. (76.2 x 91.4 cm) each. Signed “John Meyer” lower center; titled “Nothing You Can Do I, II & III [respectively]” on the reverse.

Estimate $50,000-70,000 Provenance OK Harris, New York; Everard Read Gallery, Cape Town

The present lot, Nothing You Can Do, by John Meyer addresses the history

of the work lies in the translation of this sense of “motion picture” into

of male interaction and the fine line between competition and collaboration,

paint. Although he has remained faithful to the broader tradition of western

potency and aggression. As the title suggests, the viewer is presented with

representational art—particularly the use of light—Meyer has refined his

a fatalistic and irrevocable scene. The viewer is directly told that he is a

approach to realism and, in the process, become a master in the alchemy of

mere witness and that there is nothing he can do. He can only watch as the

paint manipulation.

scene unravels into what has already been predicted. There is an almost unbearable sense of the point of no return having been reached.

But where Meyer’s art differs substantially from the nature of film is that the viewer is invited to project his or her own fantasies into the work and alter

In this series, Meyer builds on his exploration of the “narrative” genre and

the narrative according to the sequence in which the paintings are viewed.

extends it by developing a pictorial storyline in order to engage the viewer. By

“The picture starts taking on a life of its own—it leads you by the nose. The

painting three separate but related views of the same interaction, Meyer has

result may not have been your original intention, but it’s very mysterious and

introduced an element of movement into his art, and innovation he describes

satisfying and the wonder is that everyone reacts differently to it.”

as a “cinematic” response to the changing visual paradigm. The brilliance

408 KEITH HARING 1958-1990 Untitled, 1983 Acrylic on carved wood. 11 1/8 x 15 3/8 in. (28.3 x 39.1 cm). Signed, dated “K. Haring 83” and dedicated “For Kurt Merry Christmas Love, Keith” on the reverse. This work is accompanied by a photo certificate from The Estate of Keith Haring.

Estimate $40,000-60,000 Provenance Gift of the artist to Kurt Thometz

409 KEITH HARING b. 1958-1990 Untitled, 1981 Ink on plastic film. 21 x 21 in. (53.3 x 53.3 cm). Signed and dated â&#x20AC;&#x153;K. Haring MAY 23-81â&#x20AC;? on the reverse. This work is accompanied by a photo certificate from The Estate of Keith Haring.

Estimate $80,000-120,000 Provenance Andre Emmerich, New York; Dorothy Blau Gallery, Inc., Bay Harbor Islands;

Private USA Collection

410 KENNY SCHARF b. 1958 Hairungle, 2002 Oil and gesso on canvas in artist’s wood frame. 22 3/4 x 28 1/2 in. (57.8 x 72.4 cm). Signed, titled and dated “Kenny Scharf ‘02 Hairungle” on the reverse.

Estimate $20,000-30,000 Provenance Kantor Gallery, Los Angeles

411 KENNY SCHARF b. 1958 Znake, 2000 Bronze with brown patina. 26 1/2 x 23 x 18 in. (67.3 x 58.4 x 45.7 cm). Signed, numbered and dated “Kenny Scharf 2000 1/2 AP” on the bronze element. This work is from an edition of four plus two artist’s proofs.

Estimate $30,000-40,000 Provenance Private Collection

412 JÖRG IMMENDORF 1945-2007 TOR, 1984 Hand painted woodcut. 61 x 80 3/4 in. (154.9 x 205.1 cm). Signed, titled and dated “TOR, Jörg Immendorf ‘84” along lower edge.

Estimate $18,000-25,000 Provenance Private Collection

413 HERMANN NITSCH b. 1938 Untitled, 2006 Oil on canvas. 40 x 31 in. (101.6 x 78.7 cm). Signed and dated “H. Nitsch 06” on the reverse.

Estimate $20,000-25,000 Provenance Private Collection

414 DOUG and MIKE STARN b. 1961 Untitled, 1987-1988 Photo collage with tape in the artistâ&#x20AC;&#x2122;s wooden frame. 59 3/8 x 30 5/8 in. (150.8 x 77.8 cm).

Estimate $10,000-15,000 Provenance Fuller Gross Gallery, San Francisco

415

416

415 VARUJAN BOGHOSIAN b. 1926

416 ANNETTE LEMIEUX b. 1957

L’Incontro, c. 1970

Happy Anniversary, 1989

Mixed media assemblage in wood construction. 20 3/4 x 23 7/8 x 6 in. (52.7 x 60.6 x 15.2 cm).

Sterling silver knife and silver plated platter with plywood pedestal. Platter 10 3/8 x 14 in.

Estimate $4,000-6,000 Provenance Cordier & Ekstrom Gallery

(26.4 x 35.6 cm); knife 10 1/4 x 2 1/4 in. (26 x 5.7 cm). Inscribed “Happy Anniversary, Lemieux 1989” on the handle.

Estimate $2,000-3,000 Provenance Galerie Montenay, Paris; Acquired from the above, 1989

The sculpture was made to celebrate the anniversary of the French Revolution.

417

418

417 DAVID NASH b. 1945

418 DAVID NASH b. 1945

Wall Shards (in 7 parts), 1997

Askewed Frame, 1999

Madrone. 76 1/4 x 112 x 7 1/2 in. (193.7 x 284.5 x 19.1 cm) overall installed dimensions

Oak. 24 x 17 x 10 in. (61 x 43.2 x 25.4 cm).

as illustrated.

Estimate $5,000-7,000

Estimate $10,000-15,000 Provenance Haines Gallery, San Francisco; Private Collection, San Diego Provenance Haines Gallery, San Francisco; Private Collection, San Diego

419 JOEL SHAPIRO b. 1941 Untitled, 1986 Oil on wood. 8 x 3 1/8 x 4 1/4 in. (20.3 x 7.9 x 10.8 cm). Signed and dated â&#x20AC;&#x153;Shapiro 1986â&#x20AC;? on the underside of the figure.

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

420 BRYAN HUNT b. 1947 Cairn # IV, 1998 Bronze on granite base and granite plinth. Sculpture and granite base: 48 3/4 x 30 1/2 x 37 in. (123.8 x 77.5 x 94 cm); plinth: 33 5/8 x 11 x 11 in. (85.4 x 27.9 x 27.9 cm). Signed and dated â&#x20AC;&#x153;Bryan Hunt 98â&#x20AC;? on the base of the sculpture. This work is from an edition of four.

Estimate $25,000-35,000 Provenance Private Collection

421 BRYAN HUNT b. 1947 Cairn #1, 1998 Bronze on granite base and granite plinth. Sculpture and granite base: 45 5/8 x 19 1/2 x 26 in. (115.9 x 49.5 x 66 cm); Signed, dated â&#x20AC;&#x153;Bryan Hunt 98â&#x20AC;? and numbered of four on the base. This work is from an edition of four.

Estimate $25,000-35,000 Provenance Private Collection

422 SOL LEWITT 1928-2007 Untitled, 2005 Gouache on paper. 7 1/2 x 11 in. (19.1 x 27.9 cm). Signed and dated ‘”S. LeWitt 05” lower right.

Estimate $5,000-7,000 Provenance Gifted by the artist to the present owner

423 BRUCE NAUMAN b. 1941 Untitled (Gemini), 1986 Iron. 23 x 23 x 2 1/2 in. (58.4 x 58.4 x 6.4 cm). This work is from an edition of 25.

Estimate $20,000-30,000 Provenance Private Collection

424 ED RUSCHA b. 1937 Top o’ the Morn’. Top o’ the Hill, 1998 Acrylic on paper. 30 x 40 1/8 in. (76.2 x 101.9 cm); Signed and dated “Ed Ruscha 1998” lower right.

Estimate $100,000-150,000 Provenance Anthony d’Offay Gallery, London; Galerie Philomene Magers, Munich;

Gagosian Gallery, Beverly Hills

The present lot, by Los Angeles-based painter Ed Ruscha, represents a departure from the artist’s typical style. Ruscha is most famous for his large canvases and interest in playing with bold text and billboard-style graphics. However, this blurred image of a house on a hill at dawn lacks the sharply defined contours and superimposed lettering of his other paintings of nature scenes. Thus, this work is a rare example of a Ruscha landscape painting that allows the image to speak for itself without the addition of text.

While nature plays a strong part in his work, as ever with Ruscha, all is not quite as it appears. In the 1990s he created a series of works with idyllic mountain backdrops. For Ruscha, the interest in these mountains is not in their reality but their function as a motif representing the sublime, the ideal. ‘I’m not a naturalist who goes out there,’ Ruscha says of his landscape works. ‘I’m not that sort of artist - I paint the idea of the mountains.’ (Eliza Williams, ‘Ed Ruscha comes to the Hayward’, in Creative Review, 14 October 2009)

425 WILLEM DE KOONING 1904-1997 Landscape, 1972 Oil on newspaper laid down on canvas. 23 x 29 in. (58.4 x 73.7 cm). Signed “de Kooning” lower right; also dedicated “To Fritz from Bill” lower center.

Estimate $100,000-150,000 Exhibited Eindhoven, Contempo Modern Art Gallery, Willem de Kooning Works on Paper

1954-1984, March - April 1990 Literature Willem de Kooning Works on Paper 1954-1984, Contempo Modern Art Gallery,

Eindhoven 1990, no. 3, p. 21 (illustrated)

They are not abstractions of the experience of nature; they are abstract in following an uncurbed energy principle without beginning and end, allowing things to emerge, to rise to the surface in analogy to nature. The freer the artist’s use of color and form, the less discernible does the objective other and the expressive “landscape of the soul” or psychogram become. (B.M. Bürgi, de Kooning. Painting. 1960-1980, Kunstmusem Basel, Basel 2005, pp. 24)

426 SAM FRANCIS 1923-1994 Permanent Water, 1967 Acrylic and oil on canvas. 126 x 260 in. (320 x 660.4 cm).

Estimate $150,000-200,000 Provenance Private collection

The present lot, by California-born painter Sam Francis, exemplifies the

Francis upends the convention of using white to signify a background by

artist’s style of creating large-scale paintings with roughly defined areas of

shifting the focus of the piece to the white expanse, and by giving color a

bright contrasting color. While Francis often worked in monochrome, this

subordinate role. The painting’s massive size overwhelms the viewer’s visual

work typifies Francis’ mature style in which white canvas was intentionally

field with stark whiteness, and the colored paint appears to be a mere frame

left to show through the applied paint, or color was relegated to the periphery

around the white rectangle.

of the canvas altogether. Francis also evokes the idea that the entire work is no more than a remnant The bright colors and blurred edges of the colored strokes on this canvas

of a painting that was completed on top of this canvas, the colored strokes

show the influence of Color Field painting, a method characterized by areas

marking where a painter’s brush accidentally touched the surface beyond the

of solid color and a flattened picture plane. Here the bright, opaque streaks

edges of the canvas he was working on.

borrowed from Color Field painters are juxtaposed with a large expanse of white paint, creating an emphasis on the negative rather than positive space.

427 ALFRED JENSEN 1903-1981 Timaeus, Per 1 and Per 2, 1966 Oil on canvas (in two parts). Each: 60 x 50 in. (152.4 x 127 cm). Signed, titled and dated “Timaeus, Per 1, Painted by Alfred Jensen in 1966” on the reverse; Signed, titled and dated “Timaeus, Per 2, Painted by Alfred Jensen in 1966” on the reverse.

Estimate $60,000-80,000 Provenance Private collection Literature P. Perrin, “All The Beautiful Systems: Alfred Jensen” artscanada, May/June

1979, pp. 40-49

The supreme benefit for which sight is responsible is that not a word of all we have said about the universe could have been said if we had not seen stars and sun and heaven. As it is, the sight of day and night, the months and returning years, the equinoxes and solstices, have caused the invention of number, given us the notion of time, and made us inquire into the nature of the universe; thence we have derived philosophy, the greatest gift the gods have ever given or will give to mortals. Plato, Timaeus

428

429

428 GEORGE RICKEY 1907-2002

429 GEORGE RICKEY 1907-2002

Untitled (Sculpture), 1986

Weathervane, 1976

Gilded stainless steel wire. 12 x 12 x 4 in. (30.5 x 30.5 x 10.2 cm).

Kinetic sculpture comprised of stainless steel on marble base. 25 1/2 x 34 1/2 x 8 1/2 in.

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

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

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

430 BARRY FLANAGAN 1943-2009 Anvil and pilgrim, c. 1989 Bronze. 14 x 31 x 9 in. (35.6 x 78.7 x 22.9 cm). This work is from an edition of seven.

Estimate $30,000-40,000 Provenance Private Collection Literature E. Juncosa (ed.), Barry Flanagan: Sculpture 1965-2005, Ireland, 2006, no.89, p.89

(illustrated)

431

432

431 Alex Katz b. 1927

432 HARRY BERTOIA 1915-1978

Poppy, c. 1965

Untitled, 1967

Graphite on paper. 5 3/4 x 7 7/8 in. (14.6 x 20 cm). Signed “Alex Katz” lower left.

Ink on paper. 11 x 8 1/2 in. (27.9 x 21.6 cm). Inscribed and signed “Harry Bertoia” along lower

Estimate $3,000-4,000

edge.

Estimate $2,000-3,000 Provenance Valerie Carberry Gallery, Chicago Provenance Private Collection, Maine; Locksley Shea Gallery, Minneapolis

433

434

433 YAYOI KUSAMA b.1929

434 MARK TOBEY 1890-1976

While the Wind Blows Through, 1979

Untitled (letter), 1964

Enamel paint on Japanese autograph paper laid on board. 9 1/2 x 10 1/2 in. (24.1 x 26.7

Mixed media on paper. 6 x 3 1/2 in. (15.2 x 8.9 cm). Signed and dated “Tobey 64” lower right.

cm). Signed and dated “1979 Yayoi Kusama “ lower right; also signed, dated “1979 Yayoi Kusama” and titled in Japanese on the reverse.

Estimate $3,000-4,000

Estimate $12,000-18,000

Provenance Private Collection

Provenance Private Collection, Tokyo

435 ED RUSCHA b. 1937 Three works: Not a Vowel #72 (S); Vowel #113 (E); Vowel #74 (e), 1996 Acrylic on book covers. Each 4 1/2 x 4 x 1 in. (11.4 x 10.2 x 2.5 cm). Not a Vowel #72 (S): Signed and dated “Aug. 20, 1996, Ed Ruscha” on the first page; Vowel #113 (E): Signed and dated “Oct. 5, 1996, Ed Ruscha” on the first page; Vowel #74 (e): Signed and dated “Aug. 20, 1996, Ed Ruscha” on the first page.

Estimate $15,000-20,000 Provenance Gagosian Gallery, Beverly Hills Exhibited Beverly Hills, Gagosian Gallery, Ed Ruscha: Vowels, September 11 - September

28, 1996

436

437

436 KATHARINA FRITSCH b. 1956

437 GERHARD RICHTER b. 1932

St. Katharina, 2004

64 Variationen von Schwarz, Rot, Gold (313), 1998

Plaster with pigment. 13 1/4 x 3 1/2 x 3 in. (33.7 x 8.9 x 7.6 cm). This work is from an edition of

Acrylic on masonite. 8 1/2 x 11 3/4 in. (21.6 x 29.8 cm). Signed and numbered ‘”Richter 313”

40.

on the reverse. This work is from an edition of 64 unique works.

Estimate $6,000-8,000

Estimate $8,000-12,000

Provenance Private Collection

Provenance Akira Ikeda Gallery, Japan Literature H. Butin and S. Gronert (eds.), Gerhard Richter. Editionen 1965-2004,

Ostfildern-Ruit, 2004, no. 108, p. 258

438

439

438 KAREL APPEL 1921-2006

439 ROBERT STANLEY b. 1932

Untitled (Football Player), c. 1973

Reproduction + Promotion Rights (Sports Illustrated), 1966

Pastel, wax crayon and oilstick on paper. 20 1/2 x 16 1/8 in. (52.1 x 41 cm). Signed “appel”

Acrylic silkscreen on canvas. 24 3/4 x 30 5/8 in. (62.9 x 77.8 cm). Inscribed “Clark gets a pit

lower right and dedicated “FOR BETH” lower left.

signal” on the reverse.

Estimate $5,000-7,000

Estimate $4,000-6,000

Provenance Gifted by the artist to the present owner

Provenance Private Collection, New York

440

440 GEORGE SEGAL 1924-2000

441 ROBERT COURTRIGHT b. 1926

Back of a Woman Wearing a Black Bra, not dated

Untitled, 1989

Pastel on paper. 17 7/8 x 11 7/8 in. (45.4 x 30.2 cm).

Acrylic and collage on paper. 39 x 42 in. (99.1 x 106.7 cm). Signed and dated “Courtright ‘89” lower right.

Estimate $3,000-5,000

Estimate $4,000-6,000 Provenance The Estate of Mrs. Harry N. Abrams, New York Provenance Private Collection

441

442 ROBERT RAUSCHENBERG 1925-2008 Untitled (Pegasus), 1991 Solvent transfer and graphite on rice paper. 11 1/8 x 8 1/4 in. (28.3 x 21 cm). Signed and dated “Rauschenberg 91” along the lower edge.

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

443 Jim Dine b. 1935 Untitled (Left Right) VI, 1970 Airbrush and charcoal on paper. 30 1/8 x 35 1/2 in. (76.5 x 90.2 cm). Inscribed “left. right.” upper left and signed and dated “Jim Dine 1970” lower center.

Estimate $40,000-60,000 Provenance Acquired from the artist; Sale: Sotheby’s, New York, Contemporary Art

Part II, November 14, 1991, lot 347

444

445

444 AGATHE SNOW b. 1976

445 DASH SNOW 1981-2009

For Dash, circa 2009

Untitled (Why Grow Old), 2007

Graphite on medium density fiberboard, collage elements adhered with nails and string.

Collage on paper in artist’s frame. Framed: 15 3/4 x 18 1/4 in. (40 x 46.4 cm). Signed and

46 x 84 in. (116.8 x 213.4 cm).

dated “Dash Snow 2007” on the reverse.

Estimate $7,000-9,000

Estimate $4,000-6,000

Provenance Private Collection

Provenance Peres Projects, Los Angeles Exhibited Los Angeles, Peres Projects, God Spoiled A Perfect Asshole When He Put Teeth In

Yer Mouth, September 22 - November 10, 2007. Literature God Spoiled A Perfect Asshole When He Put Teeth In Yer Mouth, Peres Projects,

Berlin Los Angeles 2007, n.p. (illustrated)

446

447

446 NATHAN MABRY b. 1978

447 AARON YOUNG b. 1972

Two works: In your face (Number 6) and (Number 7), 2006

Three works: Nose Dive (Correctional drawings), 2005

C-print on Sintra. Each 14 x 11 in. (35.6 x 27.9 cm). Signed “Nathan Mabry” and numbered of

Marker on three inkjet prints. Each 11 x 14 in. (27.9 x 35.6 cm).

three on the reverse. This work is from an edition of three plus one artist’s proof.

Estimate $4,000-6,000

Estimate $4,000-6,000 Provenance Perry Rubenstein Gallery, New York Provenance Cherry and Martin, Los Angeles; Private collection Exhibited Los Angeles, Cherry and Martin, Nathan Mabry, 2006 Miami, Rubell Family

Collection, Red Eye: LA Artists from the Rubell Family Collection, December 4, 2006 - May 31, 2007 (another example exhibited) LITERATURE “F. Jori, Nathan Mabry: In the Studio”, Art + Auction Magazine, March 2008,

p. 64 (illustrated)

448

449

448 MATTHEW CERLETTY b. 1980

449 Christian Holstad b. 1972

Last Chance Dance, 2003

Genius Loci Reaching gentle heights (spark plug in splits w/ smiling onlookers), 2003

Colored pencil on paper. 35 3/8 x 46 5/8 in. (89.9 x 118.4 cm). Signed, titled and dated “Last

Paper collage on paper. 10 3/8 x 29 3/8 in. (26.4 x 74.6 cm). Signed, titled and dated “’Genius

Chance Dance, 2003, Matthew Cerletty” on the reverse.

Loci Reaching gentle heights (spark plug in splits w/ smiling onlookers)’ July 2003 Christian

Estimate $4,000-6,000

Holstad” on the reverse.

Estimate $5,000-7,000 Provenance Rivington Arms Gallery, New York Provenance Daniel Reich Gallery, New York

450 Mr. Brainwash b. 1966 Michael Jackson (Life is Wonderful), 2009 Acrylic and silkscreen ink on canvas. 48 5/8 x 33 in. (123.5 x 83.8 cm). Signed “Mr. Brainwash” lower center; also signed, inscribed, numbered and dated “Mr. Brainwash Life is Wonderful 1/1 09” on the reverse.

Estimate $25,000-35,000 Provenance Private Collection

451

452

451 JON PYLYPCHUK b. 1972

452 KLARA KRISTALOVA b.1967

Suck It Up, 2003

Mummy, 2007

Mixed media on paper. 20 7/8 x 17 3/8 in. (53 x 44.1 cm).

Glazed ceramic. 8 x 22 1/2 x 5 1/2 in. (20.3 x 57.2 x 14 cm). Signed and dated “K. Kristalova 07”

Estimate $2,000-3,000

on the underside.

Estimate $2,000-3,000 Provenance Tomio Kayama Gallery, Tokyo Provenance Private Collection, New York

453

454

453 LOS CARPINTEROS 1971 and 1969 Sal y Pimienta, 2006 Watercolor and pencilÂ on paper. 29 1/3 x 40 1/8 in. (74.5 x 101.9 cm).

Estimate $8,000-12,000 Provenance In Situ Gallery, Paris

454 HARLAND MILLER b. 1964 Untitled, not dated Watercolor, graphite and printed paper collage with masking tape on paper. 41 x 25 1/4 in. (104.1 x 64.1 cm).

Estimate $6,000-8,000 Provenance Private Collection

455 MUNTEAN/ROSENBAUM b. 1962 We live in an era…, 2006 Acrylic and graphite on canvas. 87 1/8 x 62 1/4 in. (221.3 x 158.1 cm). Signed and dated “MUN/ROS ‘06” on the reverse.

Estimate $20,000-30,000 Provenance Private Collection

456 MUNTEAN/ROSENBAUM b. 1962 Where once we were…, 2006 Acrylic and graphite on canvas. 93 5/8 x 52 1/2 in. (237.8 x 133.4 cm). Signed and dated “MUN/ROS ‘06” on the reverse.

Estimate $25,000-35,000 Provenance Private Collection

457

458

PROPERTY SOLD TO BENEFIT THE SENATOR CHUCK ALLEN III SCHOLARSHIP FUND

457 BARRY MCGEE b. 1966

458 TERENCE KOH b. 1977

Untitled (red Head with Black D.D), 2003

Study for Twin Skeleton Rabbit, 2009

Mixed media on paper. 9 1/2 x 11 in. (24.1 x 27.9 cm).

Watercolor and graphite on paper. 30 1/4 x 22 1/4 in. (76.8 x 56.5 cm). Signed, titled, and dated “Study for twin skeleton rabbit Terence Koh August 26 ‘09” along lower edge.

Estimate $5,000-7,000 Estimate $5,000-7,000 Provenance Roberts & Tilton, Los Angeles Provenance Donated by the artist

Actual Size

459 MARK GROTJAHN b. 1968 Untitled (MG01-02), 2002 Gouache on paper. 7 x 5 1/2 in. (17.8 x 14 cm).

Estimate $12,000-18,000 Provenance Blum & Poe, Los Angeles

460 Kai Althoff b. 1966 Joey Engelhardt at P.I.P. (in 3 parts), 1991 Graphite, oil and paper collage on paper. 11 7/8 x 14 in. (30.2 x 35.6 cm); 12 7/8 x 13 7/8 in. (32.7 x 35.2 cm); 12 3/4 x 11 7/8 in. (32.4 x 30.2 cm). Titled and dated “Joey Engelhardt at P.I.P. 1/91” on the reverse of the green sheet; also accompanied by a letter to “Manfred” signed by the artist.

Estimate $30,000-40,000 Provenance Private Collection

461 DAVID SCHNELL b. 1971 Laufer 1 (Runner), 1999 Tempera on linen. 63 x 94 1/2 in. (160 x 240 cm).

Estimate $30,000-40,000 Provenance Adam Biesk Art Advisory, Los Angeles; Private Collection

462

463

462 TAL R b. 1967

463 ANDRÉ BUTZER b.1973

Wave, 2004

Untitled, 2003

Oil on paper in artist’s painted frame. 40 3/4 x 40 3/4 in. (103.5 x 103.5 cm). Titled “wave”

Oil on canvas. 24 x 28 in. (61 x 71.1 cm). Signed and dated “A. Butzer 03” on the reverse.

lower left.

Estimate $8,000-12,000

Estimate $15,000-20,000 Provenance Private Collection Provenance Contemporary Fine Arts, Berlin; Private collection

464 ANDRÉ BUTZER b. 1973 Untitled (Frau in der N-Haus), 2003 Oil on canvas. 124 x 79 in. (315 x 200.7 cm). Signed “A. Butzer” lower right; also signed and dated “A. Butzer 03” on the reverse.

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

465

466

465 CHRISTIAN SCHUMANN b. 1970

466 GELITIN b. 1970

Chico, 2000

Ohne Titel (Grand Marquis), 2002

Acrylic and mixed media on canvas. 60 3/4 x 40 in. (154.3 x 101.6 cm). Signed, titled and

Mixed media collage on paper. 18 x 57 1/2 in. (45.7 x 146.1 cm).

dated “Christian Schumann, 2000, ‘Chico’” on the reverse.

Estimate $10,000-15,000

Estimate $12,000-18,000 Provenance Ars Futura, Zürich Provenance Galerie Gebauer, Berlin; Private collection

467 RITA ACKERMANN b. 1968 Leave Me Alone, 1995 Oil on canvas. 52 1/4 x 84 in. (132.7 x 213.4 cm).

Estimate $30,000-40,000 Provenance Private Collection

468

469

468 MARCEL DZAMA b. 1974

469 MARCEL DZAMA b. 1974

Seven works: Untitled, circa 1997

Untitled, 2004

Ink and watercolor on paper. Each 12 1/2 x 10 in. (31.8 x 25.4 cm). Each signed “marcel

Acrylic and paper on canvas. 16 x 20 in. (40.6 x 50.8 cm). Signed “Marcel Dzama” lower left.

dzama” lower right or lower left.

Estimate $9,000-12,000

Estimate $10,000-15,000 Provenance David Zwirner, New York; Private collection, New York Provenance David Zwirner, New York; Private collection, Honolulu

470

471

ii)

470 JON PYLYPCHUK b. 1972

iii)

471 JON PYLYPCHUK b. 1972

Untitled, 2002

Three works: Lost and broken down - But for my rod; Give these angels away - Away while you

Mixed media on panel. 48 x 48 in. (121.9 x 121.9 cm).

can; Just smell the hate capes before arms, 2002

Estimate $7,000-9,000 Provenance China Art Objects Gallery, Los Angeles

Oil, acrylic, synthetic hair, felt, glitter, plastic eyes, resin and paper and fabric collage on paper. i) 8 7/8 x 9 in. (22.5 x 22.9 cm); ii) 10 3/8 x 8 7/8 in. (26.4 x 22.5 cm); iii) 10 1/8 x 8 7/8 in. (25.7 x 22.5 cm). i) Titled “Lost and broken down - But for my rod” center; ii) Titled “Give these angels away - Away while you can” center; iii) Titled “Just smell the hate capes before arms” center; each signed and dated with artist’s pseudonym “Rudy Bust 2002” on the reverse.

Estimate $4,000-6,000 Provenance China Art Objects Galleries, Los Angeles; Private collection, New York

472 TOM SACHS b. 1966 Untitled (Beer can sculpture), 1996 Beer cans, electric lights and silk scarf on steel base. 22 x 12 x 12 in. (55.9 x 30.5 x 30.5 cm). Signed, inscribed and dated “Tom Sachs ACRIA Benefit 1996” on the base.

Estimate $4,000-6,000 Provenance Sale: ACRIA Benefit

473 CINDY WRIGHT b. 1972 Baconcube 7, 2006 Oil on canvas. 65 x 67 in. (165.1 x 170.2 cm). Signed, titled and dated “Wright C, Baconcube 7, 2006” on the reverse.

Estimate $10,000-15,000 Provenance Mark Moore Gallery, Santa Monica

474

475

474 Damien Hirst b. 1965 Untitled, 2004 Ink on paper. 10 1/2 x 14 3/8 in. (26.7 x 36.5 cm). Signed “Damien” lower left and “Hirst” lower right; also numbered “DHP 4328” on the reverse.

Estimate $5,000-7,000 Provenance Private Collection

475 RICHARD PRINCE b. 1949 Untitled (Joke drawing), 1996 Pencil on paper. 8 1/2 x 6 in. (21.6 x 15.2 cm). Initialed “RP” along the lower edge.

Estimate $5,000-7,000 Provenance Private Collection

476

477

476 Lucy McKenzie b. 1977 Eno III, 2003 Graphite on paper. 16 1/2 x 11 5/8 in. (41.9 x 29.5 cm). Signed, titled and dated “L McKenzie Eno III 2003” on the reverse.

Estimate $5,000-7,000 Provenance Private Collection

477 MARTIN EDER b. 1968 Memoirs of My Nervous Illness 372 ME/girl, 2002 Charcoal and watercolor on paper. 11 1/8 x 8 1/2 in. (28.3 x 21.6 cm). Signed and dated “Martin Eder 11/02” lower right; also titled and dated “Memoirs of My Nervous Illness 372 ME/girl/11 02” on the reverse.

Estimate $2,500-3,500 Provenance Kravets Wehby, New York

478

478 NICKY HOBERMAN b. 1967 Three works: Furry Familiars, 1998; Untitled, 2001; and Untitled, 2001 Oil on canvas. 72 x 72 in. (182.9 x 182.9 cm); 4 1/8 x 4 1/8 in. (10.5 x 10.5 cm); and 4 1/8 x 4 1/8 in. (10.5 x 10.5 cm). Signed and dated “Nicky Hoberman ‘98” on the overlap; signed and dated “Nicky Hoberman 2001” on the overlap; signed and dated “Nicky Hoberman 2001” on the overlap.

Estimate $6,000-8,000 Provenance Galerie Bob van Orsouw, Zürich

479 JACOB EL HANANI b. 1947 Untitled, circa 1998 Ink on canvas. 13 1/4 x 16 in. (33.7 x 40.6 cm). Signed and dated “El Hanani Jacob, 1998” lower right.

Estimate $2,000-3,000 Provenance Private Collection

479

480 ELBOW-TOE (BRIAN ADAM DOUGLAS) b. Perched on the Astral Projection, 2009 Cut Paper on Birch Panel, 26 x 20 in. (66 x 50.8 cm). Signed “b. douglas 09” on the reverse.

Estimate $6,000-8,000 Provenance Black Rat Projects, London Exhibited London, Black Rat Projects, Ways of Seeing, July 2 - July 23, 2009

481 THOMAS GRĂ&#x153;NFELD b. 1956 Ostrich/Rooster/Donkey, from the Misfits Series, 2006 Taxidermied ostrich, rooster and donkey.

Estimate $8,000-12,000 Provenance Private Collection

482 THOMAS GRĂ&#x153;NFELD b. 1956 Dog/Rooster, from the Misfits Series, 1998 Taxidermied dog and rooster. 23 x 20 x 38 1/2 in. (58.4 x 50.8 x 97.8 cm).

Estimate $10,000-15,000 Provenance Galerie Michael Janssen, Berlin Exhibited Volkart, Yvonne, Infobiobodies: Art & Esthetic Strategies in the New World Order,

Next Cyberfeminist International, Berlin, 1999

483

484

483 Anton Skorubsky Kandinsky b. 1960

484 BOSCO SODI b. 1970

Blessing Flag, 2007-2010

Organic Work, 2008

Oil on canvas. 35 7/8 x 48 1/8 in. (91.1 x 122.2 cm). Signed “Anton SKY” lower left; also

Mixed media on canvas. 51 1/2 x 51 1/2 in. (130.8 x 130.8 cm). Signed, titled, inscribed and

signed, titled and dated “Anton S. Kandinsky <<Blessing Flag>> 2007-2010 New York” on

dated “Barcelona 08, Bosco, Organic Work” on the reverse.

the reverse.

Estimate $10,000-15,000

Estimate $15,000-20,000 Provenance Galería Álvaro Alcázar, Madrid Provenance Private Collection Exhibited New York, Maiden Gallery, Fund Art Now, Collective Hardware, March 25 - April

4, 2010

485

486

485 PAUL WINSTANLEY b. 1954

486 JEDEDIAH CAESAR b. 1973

Man Watching TV 3, 2003

Desert Racer, 2002

Oil on canvas. 32 x 39 in. (81.3 x 99.1 cm).

Painted wood. 48 x 84 in. (121.9 x 213.4 cm).

Estimate $8,000-12,000

Estimate $6,000-8,000

Provenance 1301 PE, Los Angeles

Provenance Roberts & Tilton, Los Angeles

487

488

487 RICHARD GALPIN b. 1975

488 JÖRG LOZEK b. 1971

Crazy Mouse, 2004

Der Sammler, 2005

Peeled photography on paper. 50 x 89 in. (127 x 226.1 cm).

Oil on canvas. 86 1/2 x 110 1/4 in. (219.7 x 280 cm). Signed, titled and dated twice “Der

Estimate $10,000-15,000

Sammler Jörg Lozek 2005” on the reverse.

Estimate $5,000-7,000 Provenance Hales Gallery, London LITERATURE D. Thorp, Surface to Surface: Richard Galpin. Hales Gallery, Galeria Leme,

Provenance Sandroni.Rey, Los Angeles

Netherlands, 2008

LITERATURE C. Miles, “Jorg Lozek: Sandrani Rey,” Artforum, February 2006 (illustrated)

489

490

489 RICKY SWALLOW b. 1974

490 RICKY SWALLOW b. 1974

Game Boy, 2000

Sound Chimp, 2002

Pigmented and moulded resin. 6 x 3 1/2 x 1 1/2 in. (15.2 x 8.9 x 3.8 cm). Signed, numbered

Watercolor on paper. 14 7/8 x 11 in. (37.8 x 27.9 cm). Signed and dated “R Swallow 02” lower

and dated “R Swallow, 5/5, 2001” on the reverse. This work is from an edition of five.

left and titled “’Sound’ Chimp” lower right.

Estimate $6,000-8,000

Estimate $2,000-3,000

Provenance CRG Gallery, New York

Provenance CRG Gallery, New York Exhibited Dunedin, New Zealand, Dunedin Public Art Gallery, Reboot: The Jim Barr and

Mary Barr Collection, August 26 - November 12, 2006

491

492

491 SIMON BILL b. 1958

492 GREG BOGIN b. 1965

Swarm Form (Duck/Rabbit), 1999

A Lifetime of Eating, 2003

Oil on board laid on styrofoam laid on wood. 50 x 38 in. (127 x 96.5 cm). Signed, titled and

Acrylic and enamel on canvas. 60 x 60 in. (152.4 x 152.4 cm).

dated “Swarm Form (Duck/Rabbit), Simon Bill ‘99” on the reverse.

Estimate $5,000-7,000

Estimate $6,000-8,000 Provenance Mary Boone Gallery, New York Provenance Private Collection

493

494

493 MARY BAUERMEISTER b. 1934

494 ROB WYNNE b. 1950

Three works: Yes, No and Perhaps, 1968

Etc., 2009-2010

Ink on paper; Ink and graphite on paper. 8 1/2 x 11 in. (21.6 x 27.9 cm) each. Each signed,

Poured and mirrored glass (in four parts). Overall: 19 x 29 in. (48.3 x 73.7 cm). Signed and

dated and dedicated “for Marshall E. Bean from Mary Bauermeister 1 August 1968” lower

dated “R. Wynne 2009” on the reverse of the “e”; signed and dated “Rob Wynne 2010” on

left or lower right.

the reverse of the “c”.

Estimate $5,000-7,000

Provenance From the Collection of Jan Van der Mark, Minneapolis; Locksley Shea

Provenance Acquired directly from the artist

Gallery, Minneapolis

495

496

495 SHAY KUN b. 1974

496 JP Munro b. 1975

Haunted by Happiness, 2007

The Mountain of Tears, 2002

Oil and acrylic on canvas. 30 x 40 in. (76.2 x 101.6 cm). Signed and dated “Shay Kun 2007” on

Oil and ink on wood. 10 x 12 in. (25.4 x 30.5 cm). Signed, titled and dated “JP Munro the

the reverse.

Mountain of Tears 2002” on the reverse; also inscribed “’The most appropriate daily life for

Estimate $4,000-6,000

me was a day by day world destruction’ - Yukio Mishima” on the reverse.

Estimate $2,500-3,500 Provenance Acquired directly from the artist by the present owner Provenance China Art Objects Galleries, Los Angeles Exhibited San Francisco, The Contemporary Jewish Museum; Laguna Beach, Laguna Art

Museum; London, Institute of Contemporary Arts; Virginia Beach, Contemporary Art Center of Virginia; Reading, Pennsylvania, Albright College, Freedman Art Gallery; Nashville, Cheekwood Museum of Art, 100 Artists See God: Curated by John Baldessari and Meg Cranston, March 7, 2004 - April 16, 2006, p. 92, n.n. (illustrated)

497

497 TOM McGRATH b. 1978 Dusk Time-Lapse, 2007 Oil on canvas laid on panel. 60 x 50 x 2 in. (152.4 x 127 x 5.1 cm).

Estimate $10,000-15,000 Provenance Private Collection, Brussels; Maruani & Noirhomme Gallery, Knokke Literature Brussels, Maruani & Noirhomme Gallery, Tom McGrath, 2007, p. 21 (illustrated)

498

499

498 SANDEEP MUKHERJEE b. 1964

499 SANDEEP MUKHERJEE b. 1964

Untitled, 2006

Acrylic and needle etching on duralene. 24 x 36 in. (61 x 91.4 cm). Inscribed and dated “For

Acrylic and needle etching on duralene. 24 1/4 x 36 in. (61.6 x 91.4 cm). Initialed and dated

Caleb Noel 06” on the reverse.

“SM 06” lower right; also inscribed and dated “Pour Samuel Noel 06” on the reverse.

Estimate $2,000-3,000

Provenance BravinLee Programs, New York

500

501

500 TOMER GANIHAR b. 1970

501 SIMEN JOHAN b. 1973

Becoming a Generation, 1996

Untitled no. 106, 2002

C-print mounted on aluminum. 29 3/4 x 44 3/4 in. (75.6 x 113.7 cm).

Chromogenic print. 44 x 44 in. (111.8 x 111.8 cm).

Estimate $2,500-3,500

Estimate $3,000-5,000

Provenance Acquired directly from the artist by the present owner

Provenance Yossi Miro Gallery Inc., New York

502 ELINOR MILCHAN b. 1972 Untitled #3 (from Portraits of the Soul), 2003 Chromogenic print face-mounted with Plexiglas. 40 x 26 3/4 in. (101.6 x 67.9 cm). Signed â&#x20AC;&#x153;Elinor Milchanâ&#x20AC;? and numbered of five on the reverse. This work is from an edition of five.

Estimate $7,000-9,000 Provenance Private Collection, New York

503

504

503 COLLIER SCHORR b. 1963

504 SAM SAMORE b. 1963

On One Knee, 1999

Photograph, not dated

C-print. 30 x 38 in. (76.2 x 96.5 cm). Signed, titled, dated â&#x20AC;&#x153;On One Knee, 99, Collier Schorrâ&#x20AC;?

Chromogenic print. Image: 12 3/4 x 73 in. (32.4 x 185.4 cm); frame: 27 3/4 x 89 in.

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

(70.5 x 226.1 cm).

Estimate $6,000-8,000

Estimate $7,000-9,000

Provenance Emily Tsingou Gallery, London; Private Collection

Provenance Art & Public, Geneva

505

506

505 THOMAS RUFF b. 1958 Portraits, 1985 Five works: Cibachrome prints. Each 15 x 12 1/2 in. (38.1 x 31.8 cm). Each signed and dated “Th Ruff 1985” on the reverse. Each work is from an edition of 12.

Estimate $8,000-12,000 Provenance Michael Klein Inc., New York Literature M. Winzen, ed., Thomas Ruff 1979 to the Present, Cologne, 2001,

pp.180-183 (illustrated)

506 PAUL RUSCONI b 1965 Lucas, 2007 Digital screen inks on Plexiglas with chromogenic photograph mounted on Sintra in artist’s wood frame. 62 1/8 x 48 1/8 in. (157.8 x 122.2 cm). Artist’s blindstamp on metallic label adhered to the reverse.

Estimate $8,000-12,000 Provenance Private Collection, Los Angeles

507

508

507 NAN GOLDIN b. 1953

508 GILLIAN WEARING b. 1963

Patrick and Teri on their wedding night, NYC, 1987

Signs that say what you want them to say and not signs that say what someone else wants you to

Cibachrome. 41 x 28 1/2 in. (104.1 x 72.4 cm). This work is from an edition of 25.

say, 1992-1993

Estimate $8,000-12,000 Provenance Private Collection

Exhibited New York, The Whitney Museum of American Art, Nan Goldin: I’ll be your Mirror, October 3 - January 5, 1997 Literature E. Sussman and D. Armstrong, Nan Goldin: I’ll Be Your Mirror, New York, 1997,

p. 225 (illustrated)

R-type colour print. 54 1/2 x 35 1/8 in. (138.4 x 89.2 cm). This work is from an edition of ten plus one artist’s proof.

Estimate $6,000-8,000 Provenance Maureen Paley, London

509

510

509 SANTE D’ORAZIO b. 1956 Pam Anderson: Profile #6, 2000, Hollywood Hills, Los Angeles, CA, 2000 Digital cibachrome print in the artist’s frame. 60 x 48 in. (152.4 x 121.9 cm). Signed “Sante D’Orazio” on a label adhered to the reverse. This work is from an edition of five.

Estimate $20,000-30,000 Provenance Private Collection

510 ANDRES SERRANO b. 1950 The Interpretation of Dreams (Daddy’s Little Girl), 2000 Cibachrome print. Frame: 45 1/3 x 37 1/2 in. (115.1 x 95.3 cm). Signed, titled “A Serrano, The Interpretation of Dreams Daddy’s Little Girl” and numbered of seven on the reverse. This work is from an edition of seven.

Estimate $5,000-7,000 Provenance Paula Cooper Gallery, New York; Galleri Charlotte Lund, Stockholm

511 TIMOTHY GREENFIELD-SANDERS b. 1952 Jenna Jameson (Clothed / Nude), 2003 Diptych: Color coupler 52 1/4 x 41 3/4 in. (132.7 x 106 cm). Each signed, titled, dated “Timothy Greenfield-Sanders, Jenna Jameson, 2003” and numbered of three along the lower edge. This work is from an edition of three plus one artist’s proof.

Estimate $20,000-30,000 Provenance Mary Boone Gallery, New York Literature T. Greenfield-Sanders, XXX: 30 Porn Star Portraits, 2004, pp. 36-37 (illustrated)

(i)

(ii)

(iii)

(iv)

(v)

(vi)

(vii)

512 NOBUYOSHI ARAKI b. 1940 Tokyo Cubes #53, #54, #55, #56, #57, #58 and Untitled, 1994 Seven works: Gelatin silver prints. i, ii, iii, iv, v, vi) 11 x 11 in. (27.9 x 27.9 cm); vii) 31 x 26 in. (78.7 x 66 cm). vii) Signed “Nobuyoshi Araki” on the reverse.

Estimate $6,000-8,000 Provenance Jay Jopling, London

513

514

513 NIKKI S. LEE b. 1970

514 NIKKI S. LEE b. 1970

The Young Japanese Project (East Village) (1), 1997

The Punk Project (1), 1997

Fujiflex print. 21 1/4 x 28 1/4 in. (54 x 71.8 cm). Signed, titled, dated “Nikki S. Lee, The Young

Fujiflex print. 21 3/4 x 28 1/2 in. (55.2 x 72.4 cm). Signed, titled, dated “Nikki S. Lee, The Punk

Japanese Project (East Village) (1), 1997” and numbered of five on the reverse. This work is

Project (1), 1997” and numbered of five on the reverse. This work is from an edition of five.

from an edition of five.

Estimate $3,000-4,000

Estimate $3,000-4,000 Provenance Leslie Tonkonow Gallery, New York Provenance Leslie Tonkonow Gallery, New York

515

516

515 DAN ATTOE b. 1975

516 LISA SARFATI b. 1958

Self Portrait with Down Syndrome, 2006

Sebastian no. 08, Berkeley, CA, 2003

Digital print, in framed light box. 49 x 49 x 7 1/4 in. (124.5 x 124.5 x 18.4 cm). Signed, titled and

C-print. 16 x 21 in. (40.6 x 53.3 cm). Signed, titled, dated “Sebastian no. 08, Berkeley,

dated “Dan Attoe, Self-Portrait with Down Syndrome, 2006” on the reverse.

California, 2003, Lisa Sarfati” and numbered of ten on the reverse. This work is from an

Estimate $10,000-15,000

edition of ten.

Estimate $2,500-3,500 Provenance Peres Project, Los Angeles Provenance Yossi Milo Gallery, Inc., New York; Private Collection, New York

517

518

517 GREGORY CREWDSON b.1962

518 GABRIEL OROZCO b.1962

Untitled, 1999

Cemetery (View 3), 2002

Digital c-print. 48 x 60 in. (121.9 x 152.4 cm). Signed “Gregory Crewdson” on a label adhered

C-print mounted on Sintra. 33 3/4 x 46 3/4 in. (85.7 x 118.7 cm). Signed “GABRIEL OROZCO”

to the reverse. This work is an artist’s proof from an edition of ten plus two artist’s proofs.

on a label adhered to the reverse. This work is from an edition of three.

Estimate $18,000-25,000

Estimate $15,000-20,000

Provenance Luhring Augustine, New York

Provenance Private Collection

Literature J. Baer, “Art By Numbers: Photo Finish,” New York Magazine, March 2000

519

520

519 GABRIEL OROZCO b. 1962

520 OLAFUR ELIASSON b. 1967

Brushes in Post (Cepillos en el Poste), 1991

Untitled ( Iceland Series #15), 2001

Cibachrome. 16 x 20 in. (40.6 x 50.8 cm). This work is from an edition of five.

C-print. 23 5/8 x 35 3/8 in. (60 x 89.9 cm). Signed “Olafur Eliasson” on a label adhered to the

Estimate $8,000-12,000

reverse of the backing board.

Estimate $5,000-7,000 Provenance Marian Goodman Gallery, New York Provenance neugerriemschneider, Berlin

521

522

521 VERA LUTTER b. 1960

522 CARLOS AND JASON SANCHEZ b. 1976 and 1981

House, Erie Basin, Red Hook, September 20, 2003, 2003

Descent, 2003

Unique gelatin silver print. 23 1/4 x 19 3/4 in. (59.1 x 50.2 cm).

C-print. 48 x 60 in. (121.9 x 152.4 cm). This work is signed â&#x20AC;&#x153;Carlos Sanchez, Jason

Estimate $7,000-9,000 Provenance Gagosian Gallery, New York

Sanchezâ&#x20AC;? and numbered of three on a label accompanying the work. This work is from an edition of three.

Estimate $6,000-8,000 Provenance Private Collection Literature J.D. Campbell, Disruptions: Subversion and Devocation in the Art of Carlos and

Jason Sanchez, 2005, pp. 10-11 (illustrated)

523

524

523 FRANK THIEL b. 1966

524 AXEL HÜTTE b. 1951

Stadt 10/04 (Berlin), 2000

London, Mudchute II, 2001

Color photograph. 69 x 90 in. (175.3 x 228.6 cm). Signed, titled, dated “Stadt 10/04 (Berlin)

Duratrans print. 61 3/4 x 81 1/2 in. (156.8 x 207 cm). Signed, titled, dated “Axel Hütte, London

2000, Frank Thiel” and numbered of four on the reverse. This work is from an edition of four.

Mudchute II, 2001” and numbered of four on the reverse. This work is from an edition of four.

Estimate $10,000-15,000

Estimate $7,000-9,000

Provenance Galería Helga de Alvear, Madrid; Baldwin Gallery, Aspen

Provenance Baldwin Gallery, Aspen

525

526

525 THOMAS RUFF b. 1958

526 ADAM BARTOS b. 1953

Haus no. 102, 1989

Secretariat Lobby (telephone booth), International Territory, United Nations, 1945-1995

C-print. 19 3/4 x 24 in. (50.2 x 61 cm). This work was printed in 1998. Signed, dated “T. Ruff

Chromogenic dye coupler print. 20 x 30 in. (50.8 x 76.2 cm). This work is from an edition of

1989/1998” and numbered of 20 on the reverse. This work is from an edition of 20.

ten.

Estimate $4,000-6,000

Estimate $3,000-5,000

Provenance Private Collection

Provenance Rose Gallery, Santa Monica Literature A. Bartos and C. Hitchens, International Territory: The United Nations,

1945-95, London 1994 (illustrated); A.M. Homes, Adam Bartos, BOMB Magazine, Spring 2009 (illustrated)

527 ELGER ESSER b. 1967 Mâcon, Frankreich, 1996 C-print. 47 x 61 1/2 in. (119.4 x 156.2 cm). This work was printed in 1999. Signed, titled, dated “Elger Esser, Mâcon, Frankreich 1996” and numbered of five on a label adhered to the reverse. This work is from an edition of five.

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

528

529

528 ELISA SIGHICELLI b. 1968

529 UTA BARTH b. 1958

Door with Shutters, 2002

Ground #70, 1996

C-print on light box. 48 1/4 x 48 1/4 x 1 1/2 in. (122.6 x 122.6 x 3.8 cm). Signed, titled, dated

Chromogenic print on panel. 16 1/4 x 15 1/4 in. (41.3 x 38.7 cm). Signed, dated “Uta Barth

“Elisa Sighicelli, Door with Shutters, 2002” and numbered of three on the reverse. This work

1996” and numbered of eight on the reverse. This work is from an edition of eight.

is from an edition of three.

Estimate $4,000-6,000

Estimate $6,000-8,000 Provenance Private Collection Provenance Cohan Leslie and Browne, New York; Private Collection

530

531

530 WOLFGANG TILLMANS b. 1968

531 ANDREAS GURSKY b. 1955

Ice Fisher, 1996

Montparnasse, 1995

C-print. 12 x 16 in. (30.5 x 40.6 cm). Signed, titled, dated, inscribed “Ice Fisher, Ph 2/96, Print

Special edition book with signed photograph. 11 x 19 1/2 in. (27.9 x 49.5 cm). Signed

7/96, Wolfgang Tillmans” and numbered of ten on the reverse. This work is from an edition

“Andreas Gursky” and numbered of 30 on the reverse of the photograph. This work is from

of ten plus one artist’s proof.

an edition of 30.

Estimate $5,000-7,000

Estimate $2,500-3,500

Provenance Private Collection

532

533

532 DENNIS HOPPER 1936-2010

533 Michael Halsband b. 1956

Andy Warhol and Members of the Factory, 1964

Andy Warhol August 22, 1980, 1980

Gelatin silver print. 16 x 24 in. (40.6 x 61 cm). Signed, dated “Dennis Hopper 1964” and

Gelatin silver print. 13 7/8 x 10 7/8 in. (35.2 x 27.6 cm) sheet size. Signed, titled, dated and

numbered of 15 on the reverse. This work is from an edition of 15.

Estimate $10,000-15,000

Printed by Michael Halsband, 1980” on the reverse.

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

534 ANDY WARHOL 1928-1987 The Rockats, 1976-86 Four gelatin silver prints stitched together with thread. 21 1/2 x 27 3/4 in. (54.6 x 70.5 cm). Stamped by The Estate of Andy Warhol and the Andy Warhol Art Authentication Board, Inc., and numbered UP 38.20 on the reverse.

Estimate $25,000-35,000 Provenance Patrick De Brock Gallery, Knokke; Private Collection, New York Exhibited East Hampton, Vered Gallery, Andy Warhol, July 27 - August 20, 2007

535

536

535 Matthew Barney b. 1967

536 RICHARD PRINCE b. 1949

Cremaster 3: Plumb Line, 2001

Untitled (Party), 1993

C-print in the artist’s acrylic frame. 28 x 24 in. (71.1 x 61 cm). Signed and dated “Matthew

Ektacolor print. 16 3/4 x 20 3/4 in. (42.5 x 52.7 cm). This work is from an edition of ten.

Barney 01” on the reverse of the frame. This work is from an edition of 50 plus 10 artist’s proofs.

Estimate $5,000-7,000

Estimate $8,000-12,000

Provenance Barbara Gladstone Gallery, New York

537 RICHARD PRINCE b. 1949 Cowboys & Girlfriends, 1992 Ektacolor photograph. 24 x 20 in. (61 x 50.8 cm). Initialed “RP” on the reverse. This work is from an edition of 26.

Estimate $12,000-18,000 Provenance Patrick Painter Gallery, Los Angeles

538 PAUL PFEIFFER b. 1966 Vitruvian figure (After Raphael), 1997 Cibachrome print. 64 x 35 in. (162.6 x 88.9 cm). Signed, titled “Vitruvian Figure (After Raphael) Paul Pfeiffer” and numbered of three along the lower edge. This work is from an edition of three.

Estimate $6,000-8,000 Provenance Private Collection

539 PAUL PFEIFFER b. 1966 Four Horsemen of the Apocalypse (6), 2000 Cibachrome. 60 x 48 in. (152.4 x 121.9 cm). This work is from an edition of six plus one artistâ&#x20AC;&#x2122;s proof.

Estimate $15,000-20,000 Provenance The Project New York; Collection of Marc Selwyn, Los Angeles

540 WOLFGANG TILLMANS b. 1968 9 works: i) Choir, 1993; ii) Corinne on Glaucester Place, 1993; iii) Lutz & Alex holding each other, 1992; iv) Hong Kong TV Reporter, 1993; v) Lutz, Alex, Suzanne and Christoph on beach, 1993; vi) Operating Theater I, 1994; vii) Mike Pickering, 1993; viii) Corenl Zürich, 1993, ix) Joy Ray, 1993, C-prints. Each 20 x 24 in. (50.8 x 61 cm). i) Signed, titled, inscribed, dated “Choir, Ph. June 93, Print June 93, Wolfgang Tillmans” and numbered of three on the reverse; ii) Signed, titled, inscribed, dated “Corinne on Glaucester Place, Ph. 6.3.93, Print April 94, Wolfgang Tillmans” and numbered of ten on the reverse; iii) Signed, titled, inscribed, dated “Lutz & Alex holding each other, Ph. 6.3.93, Print April 94, Wolfgang Tillmans” and numbered of ten on the reverse; iv) Signed, titled, inscribed, dated “Hong Kong TV Reporter, Ph. 8.92, Print 7.94, Wolfgang Tillmans” and numbered of ten on the reverse; v) Signed, titled, inscribed, dated “Lutz, Alex, Suzanne and Christoph on beach, Ph. 8.9, Print 7.94, Wolfgang Tillmans” and numbered of ten on the reverse; vi) Signed, titled, inscribed, dated “Operating Theater I, Ph. March 93, Print April 94, Wolfgang Tillmans” and numbered of ten on the reverse; vii) Signed, titled, inscribed, dated “Mike Pickering, Ph. 3.93, Print 6.94, Wolfgang Tillmans” and numbered of ten on the reverse; viii) Signed, titled, inscribed, dated “Cornel, Zurich, Ph. Sept.93, Print Feb.94, Wolfgang Tillmans” and numbered of ten on the reverse; ix) Signed, titled, inscribed, dated “Joy Ray, Ph. Sept.93, Print Feb.94, Wolfgang Tillmans” and numbered of ten on the reverse.

Estimate $50,000-70,000 Provenance Andrea Rosen, New York; Private Collection Literature B. Tiemschneider, ed., Wolfgang Tillmans, Köln 1995, n.p (all illustrated)

(ii)

(i)

(iv)

(iii)

(v)

(vi)

(vii)

(viii)

(ix)

541

542

541 AMY SILLMAN b. 1966

542 INKA ESSENHIGH b. 1969

Letters from Texas, #24, 2003

Mom and Teenage Kid, 2002

Oil on canvas. 26 1/2 x 40 in. (67.3 x 101.6 cm).

Oil on paper. 22 x 30 in. (55.9 x 76.2 cm).

Estimate $10,000-15,000

Estimate $6,000-8,000

Provenance Brent Sikkema, NewÂ York

Provenance 303 Gallery, New York; SITE, Santa Fe

543

544

543 THOMAS ACKERMANN b. 1952

544 Cecily Brown b. 1969

Dancers, 2008

Untitled, 1997

Diptych: Oil on canvas. Each 79 3/8 x 89 in. (201.6 x 226.1 cm); Overall 79 3/8 x 178 in.

Pastel and watercolor on paper. 5 5/8 x 7 1/8 in. (14.3 x 18.1 cm). Numbered “9” lower left and

(201.6 x 452.1 cm). Each signed, titled and dated “Dancers, 2008, Thomas Ackermann”

initialed and dated “CB ‘97” on the reverse.

on the reverse.

Estimate $1,500-2,000

Estimate $6,000-8,000 Provenance ACRIA Benefit Provenance Private Collection, Toronto

545 RUSSELL YOUNG b. 1960 Elvis, 2007 Screenprint on canvas. 62 x 48 in. (157.5 x 121.9 cm). Signed “Russell Young” on the reverse. This work is a unique BAT proof.

Estimate $7,000-9,000 Provenance Private Collection

546 CHRIS BRACEY b. 1954 Sexy, 2001 Sculpture with reflector caps, lightbulbs, foamex and electronics. 72 x 24 x 6 in. (182.8 x 60.9 x 15.2 cm). Signed “Chris Bracey” on a label adhered to the reverse. This work is from an edition of two.

Estimate $15,000-20,000 Provenance Private Collection, New York

547

548

547 AMELIE VON WULFFEN b. 1966

548 AMELIE VON WULFFEN b. 1966

Two works: Untitled (Solschenizyn und Durer) and Untitled (Solschenizyn und handbemaltes

Untitled (Wohnzimmer im Winter), 2002-2003

Glasflaschen), 2002-2003

Oil, watercolor, photograph and paper collage on paper. 30 1/2 x 58 5/8 in. (77.5 x 148.9 cm).

Ink and graphite on paper; graphite and watercolor on paper. 20 1/2 x 23 1/8 in. (52.1 x 58.7

Signed and dated “Wulffen 2002/03” on the reverse.

cm); 20 x 28 5/8 in. (50.8 x 72.7 cm). Signed and dated “V Wulffen 2002” on the reverse; signed and dated “Wulffen 2002/2003” on the reverse.

Estimate $5,000-7,000

Estimate $8,000-12,000

Provenance Private Collection, New York

Provenance Greene Nafiali, New York EXHIBITED Athens, National Museum of Contemporary Art, The Grand Promenade, July

17–September 29, 2006 LITERATURE A. Kafets, The Grand Promenade, National Museum of Contemporary Art,

Athens 2006. p. 208 (illustrated)

549

550

549 Norbert Schwontkowski b. 1949

550 LISA SANDITZ b. 1973

Untitled, 2006

Grande Jatte in Topiary (Columbus, OH), 2005

Oil on canvas. 15 3/4 x 19 3/4 in. (40 x 50.2 cm). Signed and dated “Schwontkowski 2006” on

Acrylic on linen. 36 x 30 in. (91.4 x 76.2 cm). Signed, titled and dated “Lisa Sanditz, Grande

the reverse.

Jatte in Topiary (Columbus, OH), 2005” on the overlap.

Estimate $6,000-8,000

Estimate $5,000-7,000

Provenance Contemporary Fine Arts, Berlin

Provenance CRG Gallery, New York

551

552

551 RICHARD HAWKINS b. 1961

552 WAYNE GONZALES b. 1957

Untitled, 2002

Face Painting, 1995

Oil on canvas. 16 x 20 in. (40.6 x 50.8 cm). Signed and dated “Hawkins ‘02”on the crossbar.

Acrylic on canvas. 65 x 65 in. (165.1 x 165.1 cm). Signed and dated “Wayne Gonzales 1995”

Estimate $5,000-7,000

on the reverse.

Estimate $8,000-12,000 Provenance Galerie Daniel Buchholz, Köln; Private Collection Provenance Lauren Wittles Gallery, New York

553

554

553 CHANTAL JOFFE b. 1969 Untitled, 1999 Oil on MDF. 14 1/2 x 37 in. (36.8 x 94 cm). Signed “Chantal Joffe” on the reverse.

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

554 LOTHAR HEMPEL b. 1966 Schattenblume, 2003 Acrylic on paper. 58 x 16 1/8 in. (147.3 x 41 cm).

Estimate $4,000-6,000 Provenance Private Collection, Puerto Rico

index

Abramovic, M. 267 Ackermann, R. 467 Ackermann, T. 543 Almond, D. 314

Immendorf, J. 412

Althoff, K. 460

Innes, C. 356

Anastasi, W. 293, 361 Aoshima, C. 244, 245

Jensen, A. 427

438

Appel, K.

Joffe, C. 553

Araki, N. 512

Johan, S. 501

Atherton, H. 331

Johnson, M. 327

Attoe, D. 515 Auerbach, T. 206 Baechler, D. 383 Barceló, M. 359, 360 Barney, M. 225, 535 Barth, U. 529 Bartlett, J. 384 Bartos, A. 526 Bas, H. 232, 233 Bauer, J.

300, 301

Bauermeister, M. 493 Beecroft, V. 288, 289 Belin, V. 291, 292 Bernhardt, K. 340 Bertoia, H. 432 Bidlo, M. 400 Bill, S. 491 Bleckner, R. 395 Boghosian, V. 415 Bogin, G. 492 Bourgeois, L. 262 Bracey, C. 546 Bradford, M. 205 Bradley, J. 299, 391 Bradley, S. 304 Brown, C. 544 Büchel, C. 296 Bujnowski, R. 355 Burton, R. 392 Butzer, A. 463, 464 Caesar, J. 486 Calame, I. 297, 298 Carnegie, G. 335 Cerletty, M. 448 Charles, M. 377 Clemente, F. 397 Close, C. 370, 371 Colen, D. 201 Condo, G. 396 Cooke, N. 241 Core, S. 276 Courtright, R. 441 Craig-Martin, M. 404 Crewdson, G. 286, 287, 517 Crow, R. 234 Day Jackson, M. 231

Kandinsky, A. S. 483 de Bruyckere, B. 362, 363 de Jong, F. 237 de Kooning, W. 425 Dine, J. 443 do Espírito Santo, I. 310, 311 Dodge, T. 235 Doeringer, E. 349 d’Orazio, S. 509 Dunham, C. 381, 382 Duwenhogger, L. 343 Dzama, M.

468, 469

Eder, M. 477 Eggerer, T. 337, 338 El Hanani, J. 479 Elbow-Toe (B. Douglas) 480 Eliasson, O. 373, 520 Essenhigh, I. 542 Esser, E. 527 Ethridge, R. 275 Farah, A. 200 Fatmi, M. 353 Feher, T. 321 Flanagan, B. 430 Francis, S. 426 Fritsch, K. 246, 436 Frize, B. 320 Galpin, R. 487 Ganihar, T. 500 Gelitin 466 Gober, R. 303 Goldin, N. 507 Gonzales, W. 552 Gordon, D. 224, 279, 372 Greenfield-Sanders, T. 511 Grinnell, T. 294 Grotjahn, M. 210, 307, 316, 459 Grünfeld, T. 481, 482 Gursky, A. 531 Guyton, W. 202 Haendel, K. 347, 348 Halsband, M. 533 Haring, K. 408, 409 Hawkins, R. 551 Heilman, M. 385 Hempel, L. 554 Hirst, D. 242, 474 Hoberman, N. 478 Höfer, C. 272, 273 Holstad, C. 449 Hopper, D. 532 Horn, R. 263 Humphries, J. 323 Hunt, B. 420, 421 Hütte, A. 524

Kassay, J. 209 Katz, A. 431 Kawashima, H. 219 Kejriwal, S. 405 Kelley, M. 228 Kilimnik, K. 333 Koh, T. 458 Komar and Melamid 357 Kraus, K. 352 Kristalova, K. 452 Kun, S. 495 Kusama, Y. 266, 433 Lambie, J. 315 Landers, S. 250 Lee, Nikki S. 513, 514 Lemieux, A. 416 LeWitt, S. 264, 422 Liu, W. 364 Loeb, D. 336 Long, R. 393, 394 Los Carpinteros 453 Lozek, J. 488 Lutter, V. 521

Sachs, T. 239, 472 Salle, D. 399 Samore, S. 504 Sanchez, C. and J. 522 Sanditz, L. 550 Sarfati, L. 516 Scharf, K. 410, 411 Schmidberger, C. 342 Schnabel, J. 398 Mabry, N. 236, 446

Schnell, D. 461

Manzelli, M. 302

Schorr, C. 503

Mapplethorpe, R. 278

Schumann, C. 465

McCarthy, P. 229

Schwontowski, N. 549

McCollum, A. 402, 403

Segal, G. 440

McDermott & McGough 252

Serrano, A. 510

McGee, B. 457

Shapiro, J. 419

McGinniss, R. 319

Siena, J. 216

McGrath, T. 497

Sighicelli, E. 528

McKenzie, L. 476

Sillman, A. 541

Meckseper, J. 208

Smith, J. 328, 329

Meese, J. 339, 341

Smith, K. 386, 387, 388

Messager, A. 354

Smith, T. 261

Meyer, J. 407

Snow, A. 444

Milchan, E. 502

Snow, D. 445

Miller, H. 454

Sodi, B. 484

Minter, M. 222, 223, 247

Sone, Y. 312, 322

Monahan, M. 230

Stanley, R. 439

Mr. Brainwash 450

Starn, D. and M. 414

Mukherjee, S. 498, 499

Stockholder, J. 378, 379

Muniz, V. 268, 271, 284

Struth, T. 274

Mu単oz, J. 358

Sugimoto, H. 280, 281, 282, 283

Munro, J. 496

Suh, D. 243

Muntean/Rosenbaum 455, 456

Swallow, R. 489, 490

Mutu, W. 211 Taaffe, P. 389 Nara, Y. 218, 220, 221

Tal R 462

Nash, D. 417, 418

Thiel, F. 523

Nauman, B. 423

Tillmans, W. 530, 540

Neto, E. 214

Tiravanija, R. 295

Neuenschwander, R. 212, 213

Tobey, M. 434

Nevelson, L. 265

Tobias, G. and U. 324, 325

Nitsch, H. 413

Tyson, K. 401

Noble, P. 346 Opie, J. 248 Orozco, G. 215, 269, 270, 277, 518, 519 Oursler, T. 380 Pendleton, A. 350 Pettibon, R. 207, 374, 375 Pfeiffer, P. 538, 539 Pope. L, W. 376 Prince, R. 475, 536, 537 Pruitt, R. 204 Pylypchuk, J. 451, 470, 471 Ramirez, P. 344 Rauschenberg, R. 442 Rehberger, T. 345 Rhoades, J. 227 Rhodes, D. 203 Richter, D. 334 Richter, G. 437 Rickey, G. 428, 429 Rollins, T. and K.O.S. 390 Rubins, N. 332 Ruff, T. 285, 290, 505, 525 Ruscha, E. 424, 435 Rusconi, P. 506

Veilhan, X. 351 Violette, B. 226 von Wulffen, A. 547, 548 Walsh, D. 217 Warhol, A. 253, 254, 255, 256, 257, 258, 259, 260, 534 Warren, R. 238 Wearing, G. 508 Weiner, L. 308, 309 Wesley, J. 251 West, F. 313 White, P. 326 Wiley, K. 317, 318 Williams, S. 249 Wilson, R. 369, 406 Winstanley, P. 485 Wohnseifer, J. 305, 306 Wright, C. 473 Wu, M. 366 Wynne, R. 494 Yang, S. 365 Young, A. 240, 447 Young, R. 545 Yue, M. & Kaws, Zhao, B. 368 Zipp, T. 330

367

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•

2 BIDDING IN THE SALE Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low presale estimate is at least $1000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. 4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. 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 a late collection fee of $50, an additional administrative fee of $10 per day and insurance charges of 0.1% of the Purchase Price per month on each uncollected lot. 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.

DESIGN MASTERS

AUCTION

15 DECEMBER 2010

NEW YORK

Phillips de Pury & Company 450 Park Ave New York 10022 Enquiries +1 212 940 1268 Catalogues +1 212 940 1240

PHILLIPSDEPURY.COM FERNANDO AND HUMBERTO CAMPANA The Casulo Cabinet, 1989 Estimate $ 6 0,0 0 0 - 8 0,0 0 0

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. 2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours.

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description.

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots.

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

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 CONDUCT OF THE AUCTION each lot is offered subject to a reserve, which is the (a) Unless otherwise indicated by the symbol confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

•

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of

Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, and no later than five days after the conclusion of the auction, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, each lot will incur a late collection fee of $50, administrative charges of $10 per day and insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips

MODERN AND CONTEMPORARY

EDITIONS

INCLUDING

PROPERTY OF DREIER LLC

AUCTION 21 NOVEMBER 2010 NEW YORK Viewing 13 - 21 November Phillips de Pury & Company 450 West 15 Street New York 10011 | Enquiries +1 212 940 1220 editions@phillipsdepury.com Catalogues +1 212 940 1240 | +44 20 7318 4039 phillipsdepury.com Pablo Picasso La femme à la fenêtre, (B. 695; Ba. 891),1953 Estimate $90,000-120,000 © 2010 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Henri Matisse Grand masque, (D. 800), 1948 Estimate $20,000-30,000

JACKSON POLLOCK Untitled Portfolio Estimate $40,000-60,000 © 2010 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York (detail) GLENN LIGON I Do Not Always Feel Colored suite, 1992 Estimate $12,000-18,000 (detail)

de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. 10 Rescission by Phillips de Pury & Company Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale.. 11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. 12 Client Information In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number. 13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company.

(c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

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

80s CONTEMPORARY ART PHOTOGRAPHS DESIGN EDITIONS

AUCTION 17 DECEMBER 2010 NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1234 | themes@phillipsdepury.com Catalogues +1 212 940 1240 | +44 20 7318 4039

phillipsdepury.com KEITH HARING Silence Equals Death, 1989 (detail) Estimate $ 8,000-$12,000

phillips de pury & company

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patricia G. Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Olivier Vrankenne

Lady Elena Foster

Chief Executive Officer Bernd Runge

H.I.H. Francesca von Habsburg 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

Katherine van Thillo, Consultant +32 475 68 70 11 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

Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 79 271 88 51

General Counsel

Managing Directors

Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORLDWIDE OFFICES NEW YORK

NEW YORK

BERLIN

450 Park Avenue, New York, NY 10022, USA

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

Auguststrasse 19, 10117 Berlin, Germany

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

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

LONDON

PARIS

GENEVA

Howick Place, London SW1P 1BB, United Kingdom

15 rue de la Paix, 75002 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

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

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

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

Sarah Mudge, Head of Part II +1 212 940 1259

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

Roxana Bruno +1 212 940 1229

Jeremy Goldsmith +1 212 940 1253

Timothy Malyk +1 212 940 1258

Zach Miner +1 212 940 1256

Jean-Michel Placent +1 212 940 1263

Shlomi Rabi +1 212 940 1246

Peter Flores +1 212 940 1223

Caroline Shea +1 212 940 1247

Alexandra Leive +1 212 940 1252

Deniz Atac +1 212 940 1245

Sarah Stein-Sapir +1 212 940 1303

Carol Ehlers, Consultant +1 212 940 1245

Winnie Scheuer +1 212 940 1226

Sarah Krueger +1 212 940 1245

Amanda Stoffel +1 212 940 1261

Roxanne Tahbaz +1 212 940 1292

LONdON

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

Henry Allsopp +44 20 7318 4060

Laetitia Catoir +44 20 7318 4064

Judith Hess +44 20 7318 4075

Leonie Moschner +44 20 7318 4074

Ivgenia Naiman +44 20 7318 4071

George O’Dell +44 20 7318 4093

Edward Tang +44 20 7318 4024

Sarah Buchwald +44 20 7318 4085

Catherine Higgs +44 20 7318 4089

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

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

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

berlin

Christina Scheublein +49 30 886 250 57

JEWELRY Nazgol Jahan, Worldwide Director +1 212 940 1283 New York

Carmela Manoli +1 212 940 1302

Emily Bangert +1 212 940 1365

DESIGN

LONDON Lane McLean +44 20 7318 4032

Alexander Payne, Worldwide Director +44 20 7318 4052 New York Alex Heminway, New York Director +1 212 940 1269 Marcus Tremonto +1 212 940 1268

THEME SALES New York

Corey Barr +1 212 940 1234

Steve Agin, Consultant +1 908 475 1796

Tara DeWitt +1 212 940 1265

Anne Huntington +1 212 940 1210

Meaghan Roddy +1 212 940 1266

Stephanie Max +1 212 940 1301

Alexandra Gilbert +1 212 940 1268

LONDON

Arianna Jacobs +44 20 7318 4054

Domenico Raimondo +44 20 7318 4016

Henry Highley +44 20 7318 4061

Ellen Stelter +44 20 7318 4021

Siobhan O’Connor +44 20 7318 4040

Ben Williams +44 20 7318 4027

Marine Hartogs +44 20 7318 4021

Marcus McDonald +44 20 7318 4014

PARIS Johanna Frydman +33 1 42 78 67 77

berlin

Christina Scheublein +49 30 886 250 57

art and production Fiona Hayes, Art Director

Private sales Anna Ho +44 20 7318 4044

OFFICE OF THE CHAIRMAN Helen Rohwedder, International +44 20 7318 4042

Anna Furney, New York +1 212 940 1238

Harmony Johnston, London +44 20 7318 4099

Marketing NEW YORK Trish Walsh, Marketing Manager

NEW YORK Andrea Koronkiewicz, Studio Manager

LONDON

Kelly Sohngen, Graphic Designer

Giulia Costantini, Head of PR & Communications

Orlann Capazorio, US Production Manager London Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager

SALE INFORMATION

Auction

Catalogues

Tuesday 9 November 2010, 10am & 2pm

Leslie Pitts +1 212 940 1240 $35/€25/£22 at the gallery

Viewing

catalogues@phillipsdepury.com

Saturday 30 October, 10am – 6pm Sunday 31 October, 10am – 6pm

Absentee and Telephone Bids

Monday 1 November, 10am – 6pm

Rebecca Lynn, Manager +1 212 940 1228 fax +1 212 924 1749

Tuesday 2 November, 10am – 6pm

Maureen Morrison, Bid Clerk +1 212 940 1228

Wednesday 3 November, 10am – 6pm

Marissa Piedra, Bid Clerk +1 212 940 1304

Thursday 4 November, 10am – 6pm

bids@phillipsdepury.com

Friday 5 November, 10am – 6pm Saturday 6 November, 10am – 6pm

client accounting

Sunday 7 November, 10am – 6pm

Sylvia Leitao +1 212 940 1231

Monday 8 November, 10am – 6pm

Buyers Accounts Nicole Rodriguez +1 212 940 1235

Viewing & Auction Location

Seller Accounts

450 West 15 Street New York NY 10011

Barbara Doupal +1 212 940 1232 Nadia Somwaru +1 212 940 1280

Sale Designation In sending in written bids or making enquiries please refer

Client Services

to this sale as NY010610 or Contemporary Art Part II.

+1 212 940 1200

Cataloguer Part II

Beth Petriello +1 212 940 1373

Amanda Stoffel +1 212 940 1261

Jennifer Brennan +1 212 940 1372

Shipping

administrator Part II Roxanne Tahbaz +1 212 940 1292 Property Managers Barrett Langlinais +1 212 940 1362 Photography Kent Pell, Morten Smidt

Front Cover Louise Bourgeois, House, 1995 Lot 262 Back Cover Matthew Barney, Cremaster 1: Goodyear, 1995 Lot 225 (detail) Inside Front Cover Douglas Gordon, Air Mail Black Landscape, 1999 Lot 224 (detail) Part II intro page Andy Warhol, The Scream (after Munch), 1984 Lot 257 (detail) Inside Back cover Nigel Cooke, Lightening I, 2002 Lot 241 (detail) Opposite Willem de Kooning, Landscape, 1972 Lot 435 (detail)

CONTEMPORARY ART PART II 9 NOVEMBER 2010 N E W YO R K

PART II CONTEMPORARY AR T 9 NOVEMBER 2 010

NY010 610

P H I L L I P S D E P U RY.C O M

NEW YORK