Halsey Minor Collection Auction NY by Phillips de Pury & Co.

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HAL SE Y MINOR C OLLEC TION 13

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HAL SE Y MINOR C OLLEC TION 13

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Lots 1-2 2 Viewing Saturday 1 May, 10am – 6pm Sunday 2 May, 12pm – 6pm Monday 3 May, 10am – 6pm Tuesday 4 May, 10am – 6pm Wednesday 5 May, 10am – 6pm Thursday 6 May, 10am – 6pm Friday 7 May, 10am – 6pm Saturday 8 May, 10am – 6pm Sunday 9 May, 12pm – 6pm Monday 10 May, 10am – 6pm Tuesday 11 May, 10am – 6pm Front Cover Richard Prince, Nurse in Hollywood # 4, 2004, Lot 8 (detail) Back Cover Marc Newson, Prototype “Lockheed Lounge,” 19 8 8, Lot 4

Wednesday 12 May, 10am – 6pm Thursday 13 May, 10am – 12pm

NE W YO RK

Collecting is about learning and it is developing connoisseurship. It is an intense ongoing process of education, and it is my mission to collect only the best. Halsey Minor

The boldness of Halsey Minor’s collecting vision lies in its identification of energy, of a constant flow of ideas emanating from the questions art asks of its viewers and of their place in the wider world. ‘Collecting is about learning and it is developing connoisseurship,’ Minor has stated. ‘It is an intense ongoing process of education, and it is my mission to collect only the best.’ Why people collect art is as straightforward and as complex as why people fall in love. There are infinite reasons. For Halsey Minor, collecting Contemporary Art and Design is a hunger that cannot be satisfied, a thirst that cannot be quenched. It is the addiction to this nectar, to put together one of the most formidable collections of Marc Newson and Ed Ruscha, for instance that drives him. It is this story, narrated via 22 voices both daring and subtle, that is being told this evening. It is a story whose themes are written by many of the Postwar and Contemporary period’s iconic artists: Ed Ruscha, John Baldessari, Takashi Murakami and designer Marc Newson, but especially Richard Prince, the artist whose body of work is represented here by three pieces headed by one of the collection’s indubitable stars – the arresting Nurse in Hollywood #4, 2004. The 96 total works owned by Minor constitute a collection of singular importance and one which Phillips de Pury & Company is privileged to present this evening, as well as in our forthcoming auctions of Contemporary Art Part II and Design. The collecting life of Halsey Minor, founder of CNET and CEO of Minor Ventures, has wholeheartedly embraced and passed through a number of chapters – to date, American Modernism, Pop Art, cutting-edge Contemporary Art and 20th-century design – and all have presented themselves as discernible, even disparate, themes. However, there is very little discontinuity present in Minor’s eye: the individual works are all linked by the passionate focus that the collector has brought to his activity. Art is an intangible asset of immense importance for it is the stimulus of an intense and intimate conversation between its viewer and its maker, not something simply of monetary value. Minor once spoke about his passion – art – in these terms: ‘Whatever I do, I have to feel I rounded out the story – the collection – about the artist. If I lose a piece, I lose the collection.’ Many of the works here this evening depict a fascination with the properties of the world. Not simply an approximation of the world’s overt appearance – as seen, perhaps in Ruscha’s mountain range of Higher Standards/Lower Prices, 2007 – but what isn’t. And so we have (Ruscha again) an iconic painting, Angry Because It’s Plaster, Not Milk, 1965, depicting the trompe l’oeil of a bird tricked into thinking that a glass on its side is still filled with something other than the solid form of its plaster milk; Marc Newson’s 1988 prototype Lockheed Lounge, a riveted piece of design that references not only the classical divan, but hints, in a sleight of artistic alchemy, at the sheer fluidity of mercury. Like Charlotte Perriand’s Bibliothèque Asymetrique, ca 1958, or George Nakashima’s free-form Minguren I table, 1964, the lynchpin joining the entire Minor collection is a dialogue of what is and what isn’t. It is a dialogue that – like the shelves of Perriand’s Bibliothèque – is eternally dynamic. And while this evening’s sale marks the end of one single-owner collection, Halsey Minor’s vision nevertheless continues.

Louise Gray, April 2010

RICHARD PRINCE b. 1949 Untitled (Almost Original), 2006 Gouache and graphite on board and book cover in artist’s metal frame. 37 x 33 in. (94 x 83.8 cm). Signed and dated “R. Prince 06” on board; Signed and dated “R. Prince 2006” on the reverse.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 provenance Gladstone Gallery, New York

It is hard not to be attracted to a work by Richard Prince but explaining why

In works that can be considered Nurses or more broadly grouped as works

can prove more difficult. Fundamentally, the immediate attraction is about

dealing with “nurses” that underlying sexiness is everywhere. The pretty

seeing something easily recognizable whether it’s an old ad for liquor or

nurses are always partly obscured, by uniforms, hats, masks or blood, while

furniture, cigarette pushing cowboys, or other people’s girlfriends they are

the titles are straight from book covers that are meant to get a housewife

all images we can decipher, but few are ones that have any recognizable

to make a quick supermarket decision to buy Nurse in Love or in this case

emotion invested in them. They are fundamentally mundane.

Celebrity Suite Nurse (what could be more commercial? Celebrity—we all

Like Duchamp and Warhol before him Prince is often playing a game in

it all). Yet they are not overt enough to be embarrassing, again the sexiness

which the artist is able to take that which is not “art” and make it so simply

is obscured and who knows how racy the stories are inside. Certainly the

by changing the intention. Prince makes an ordinary ad into an artwork by

imagery implies that this nurse is doing more for her patients and doctors

photographing it and re-contextualizing it, subverting its original intention for

than setting out cups of aspirin.

want to be one or sleep with one, Suite—fancy private clinic, Nurse—she has

his own purpose. He carries on a continual taunting dialogue with an empty, consumer driven society by taking images from advertising, low brow special

Richard Prince conscripts us over and over because he plays with language

interest magazines, or disposable romance novels and recasting them as his

and images that are so basic and straightforward that we cannot help but

own. Through this action we are made to confront the meaningless of our

get the message. He then plays with that message and it takes on another

own production; as though he is saying “we cannot even make things that are

meaning or multiple meanings and becomes other. We become part of his

our own, everything can be reproduced as another’s’ and become theirs” or

discourse, we are engaged with deciphering a deeper meaning within the

even at an extreme “authorship is dead.”

simplicity, within the mundane, we cannot help it we are engaged.

Alongside this dialogue is the other important element to Prince’s work, underlying teenage boy prurience. So much of his work is imbued with this particular sexuality, one that seems adolescent in nature, not necessarily connected with sex acts but with the wink-wink-nudge-nudge of looking at a stolen dirty magazine, where the excitement is that the possibility exists or the inference of the possibility. It is not hard core porn or detailed sex acts; it is a “dirty” joke that alludes to sex or a cartoonish biker babe mooning at a rally.

MARK GROTJAHN b. 1968 Untitled (Black Butterfly over Lime), 2004 Oil on linen. 36 x 29 in. (91.4 x 73.7 cm). Signed and dated “M.Grotjahn 04” twice on the overlap.

Estimate $ 3 0 0 , 0 0 0 - 4 0 0 , 0 0 0 provenance Blum & Poe, Los Angeles; Private Collection

It’s something of a cliché to say that paintings conceal as much as they reveal but so much in Grotjahn’s work seems buried under the skin, and so little is ever really given away, that one bestows unusual significance upon the painterly glitches and hiccups that occur. Apparently evidencing trial and error, the smears of ink and pencil that litter the surfaces of his drawings lend them a work-a-day honesty that, ironically, seems quite underhand – as if the artist was calling our bluff. Revealed beneath the thick surfaces of his paintings are flashes of other colours and traces of earlier activity in stark contrast to the chromatic sobriety and measured pace of the ‘finished’ article – loosely applied acid yellow beneath green, purple beneath black, for example. Where a second colour peeks through at a vanishing point, celestial connotations are brought to the fore. M.Coomer, “The Butterfly Effect”, ArtReview, Issue 03, September, 2006, p.76

FLORIAN MAIER-AICHEN b. 1973 Untitled (Mount Wilson), 2002 C-print. 63 1/2 x 81 3/8 in. (161.3 x 206.7 cm). Signed, dated “Florian Maier-Aichen 2002” and numbered of six on the reverse.

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0 provenance Blum & Poe, Los Angeles; Private collection, London literature J. Tumler, “Outside the Frame: Florian Maier-Aichen,” Aperture, New York,

Summer 2007, p. 46

To place Florian Maier-Aichen, rather, inside the photograph is to place him just about anywhere, as we are no longer dealing with a strictly delimited field of operation. The so-called digital turn in photographic technology foretells the emergence of the borderless image, dematerialized and ergonomic. Its contents always exceed the frame -consider the “classic” overview of night-time Los Angeles that Maier-Aichen regularly revisits, as a stand-in of sorts, notably in [the present lot] Untitled (Mount Wilson), 2002. To represent the endlessly receding landmass crisscrossed by gently flickering streets and freeways is to represent information; the city as gigantic circuit-board advancing on all sides. Ed Ruscha, who visualized it in much the same way, in 1987 went so far as to inscribe the words “Talk Radio” over a painting of the luminous grid, specifying the electrically charged atmosphere as the true subject of his work. In comparison with Ruscha’s Talk Radio, the Maier-Aichen work is “silent” -but that is the source of its particular strength, as these or any other words would only obscure the deepstructural connection that it wants to mine between this city as subject matter and the present condition of the photograph as its material substrate. J. Tumler, “Outside the Frame,” Aperture, New York, Summer 2007, p. 46

Ed Ruscha Talk Radio, 1987

MARC NEWSON b. 1963 Prototype “Lockheed Lounge,” 1988 Fiberglass-reinforced polyester resin core, blind-riveted sheet aluminum, paint. 34 1/2 x 65 3/4 x 24 1/2 in. (87.6 x 167 x 62.2 cm). Handmade by Marc Newson at Basecraft for Pod, Australia. Unique prototype with white feet in addition to the edition of ten plus four artist’s proofs. Underside impressed with “BASECRAFT.”

Estimate $1, 0 0 0 , 0 0 0 -1, 5 0 0 , 0 0 0 provenance Marc Newson, Australia; Private Collection, Australia; Sotheby’s, Important

20th Century Design, New York, June 14, 2006, Lot 162; Sebastian + Barquet, New York selected literature Davina Jackson, “Open the Pod Door,” Blueprint, February 1990,

pp. 28-29; Mario Romanelli, “Marc Newson: Progetti tra il 1987 e il 1990,” Domus, March 1990, p. 67; Alexander von Vegesack, et al., eds., 100 Masterpieces from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, pp. 172-173; Mel Byars, 50 Chairs: Innovations in Design and Materials, Crans-Prés-Celigny, 1997, pp. 94-97; Alice Rawsthorn, Marc Newson, London, 1999, pp. 18-21; Charlotte and Peter Fiell, eds., 1000 Chairs, Cologne, 2000, p. 605; Sarah Nichols, Aluminum by Design, exh. cat., Carnegie Museum of Art, Pittsburgh, 2000, front and back covers and p. 264; Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 154-155; Benjamin Loyauté, “Le Design Aluminium au XXe Siècle,” Connaissance des Arts, October 2003, p. 98; Marc Newson Pop On Pop Off, exh. cat., Groninger Museum, 2004, pp. 1 and 12-13; Steven Skov Holt and Mara Holt Skov, Blobjects and Beyond: The New Fluidity in Design, San Francisco, 2005, p. 38; Phaidon Design Classics, Volume Three, London, 2006, no. 860; Deyan Sudjic, The Language of Things, London, 2008, front cover and pp. 206-207; Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 249; David Linley, Charles Cator and Helen Chislett, Star Pieces: The Enduring Beauty of Spectacular Furniture, New York, 2009, front cover and p. 198

The prototype “Lockheed Lounge” will be included as “MN-1LLW-1988” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris. The present prototype “Lockheed Lounge” is the only example with white exposed fiberglass-reinforced polyester resin feet. All other examples have rubber-coated black feet. All examples of the “Lockheed Lounge” were built at Basecraft, a small Sydney workshop where Newson developed his “LC1” chaise longue in 1985-1986. That chair was first exhibited at Roslyn Oxley9 Gallery in Sydney, June 1986, and is now in the permanent collection of the Art Gallery of South Australia, Adelaide. Although a markedly different chair, Newson’s “LC1” led to the present form, the “Lockheed Lounge,” of which fifteen exist: the prototype (the present lot), four artist’s proofs, and a further edition of ten. Newson began producing “Lockheed Lounges” in 1988. In the order of their acquisition, examples of the “Lockheed Lounge” are in the permanent collections of the National Gallery of Victoria, Melbourne; Powerhouse Museum, Sydney; Vitra Design Museum, Weil am Rhein; and Carnegie Museum of Art, Pittsburgh. Phillips de Pury & Company would like to thank Marc Newson and Didier Krzentowski for their assistance in cataloging this lot. With regard to date, description, manufacture, material, and catalogue raisonné number, this entry supersedes all previous publications of this particular “Lockheed Lounge.”

At Sydney College of the Arts, Newson studied sculpture, jewelry, and

In 1943 the Lockheed Corporation transformed air travel by christening its

furniture design. In 1984 he graduated with the outlines of a plan: technical

L049 Constellation, a radical airliner capable of transatlantic runs at 300 mph.

materials, futurism, fluidity—and with inexperience, the burden of every

Nearly a half century later, Newson transformed the design market with his

graduate. The following year he conceived his “LC1” chaise longue (a

coyly named “LC1” chaise lounge, an immediate critical success (purchased

precursor to the “Lockheed Lounge”), which he exhibited at the Roslyn

by the Art Gallery of South Australia). But like the Constellation—a propeller-

Oxley9 Gallery in Sydney in June 1986. Unsatisfied with the scrolling backrest

driven plane—Marc Newson had not yet achieved Mach 1 speeds. The hand-

of that first chair, he refined its lines and arrived at the present form. Newson

wrought curves of his chair hint at fundamental human limitations while

shaped “Lockheed Lounge” from foam, as one would a surfboard “blank,”

simultaneously suggesting the perfection of industrial processes. “Lockheed

with a wire brush and a Stanley Surform plane. His intention had been to

Lounge,” a paragon of youthful ambition, engendered all of Newson’s later

cover its fiberglass core with a single sheet of aluminum: “I tried laminating

preoccupations with flow and speed.

it, but the thing fell apart…Eventually, I came up with the idea of beating little pieces of metal into shape with a wooden mallet, and attaching them with rivets.” (Alice Rawsthorn, Marc Newson, London, 1999, p. 5) A hallmark of Newson’s later work is “seamlessness,” to borrow from Louise Neri. Smoothness triumphs: neither joint nor junction disrupts the contours of his Alessi tray, for example, or his extruded marble tables shown at Gagosian Gallery in 2007. “Lockheed Lounge,” furrowed with seams, beguiles for the opposite reason: imperfection. Flat-head rivets literally and visually suture together a patchwork of aluminum. Coarse seams betray Newson’s limitations, but the chair’s fluid silhouette affirms its maker’s search for a clear ideal. At its core—fiberglass-reinforced polyester resin—“Lockheed Lounge” is seamless.

TAKASHI MURAKAMI b. 1963 Flower Ball (3-D) Kindergarten, 2007 Acrylic and platinum leaf on canvas mounted on board. Diameter: 39 1/2 in. (100.3 cm). Signed and dated “Takashi 06” on the reverse.

Estimate $ 4 0 0 , 0 0 0 - 6 0 0 , 0 0 0 provenance Acquired directly from the artist; Gagosian Gallery, New York; John

Berggruen Gallery, San Francisco

The Japanese art-world superstar Takashi Murakami is known for his

for my students to work on. At the beginning, to be frank, I didn’t like flowers,

energetic fusion of 18th and 19th century Japanese artistic canons with

but as I continued teaching in the school, my feelings changed: their smell, their

modern-day Japanese social movements such as the culture of “manga”.

shape-- it all made me feel almost physically sick, and at the same time I found

“Manga”, characterized by the notion of”kawaii” or “cuteness”, is expressed

them very ‘cute’. Each one seemed to have its own feelings, its own personality.

through various forms of digital media, most notably the cartoonish, hyper-

My dominant feeling was one of unease, but I liked that sensation. And these

realistic animae films. The present lot was inspired by Murakami’s artistic

days, now that I draw flowers rather frequently, that sensation has come back

heritage as a student of the art of nihon-ga or “Japanese-style” painting. This

very vividly. I find them just as pretty, just as disturbing. At the same time there

concept, which focuses on keeping alive Japanese artistic traditions such

is this strength in them; it is the same image of strength I find when drawing

as painting flowers, was initially developed as a reaction to the increasing

the human face. So I thought that if the opportunity arose, I would pretty much

influence of Western culture in Japan during the 19th century. Murakami

like to make a work in which I would represent them as if in a ‘crowd scene’, in

often notes that he owes much of his artistic aesthetic to the rich and

the manner of these scenes of moving crowds that you see in films. […] I really

turbulent history of his native country paired with the explosion of global

wanted to convey this impression of unease, of the threatening aspect of an

connectivity and access to information that has defined contemporary

approaching crowd…

society the past twenty years. By mining his personal and artistic heritage,

Takashi Murakami in H. Kelmachter, Takashi Murakami Kaikai Kiki, Paris,

a dazzling array of Eastern and Western traditions, Murakami has combined

2002, p. 84-85

these to develop a unique aesthetic which has generated instantly recognizable images and icons. Murakami perfectly exemplifies the artist as a global brand, spanning a range of admirers from varying nationalities, social classes and ethnicities the world over.

MARC NEWSON b. 1963 Prototype “Pod of Drawers,” 1987 Fiberglass-reinforced polyester resin core, blind-riveted sheet aluminum, paint. 50 3/4 x 27 1/2 x 18 1/2 in. (128.9 x 69.9 x 47 cm). Handmade by Marc Newson at Basecraft for Pod, Australia. Unique prototype with white feet in addition to the edition of ten plus two artist’s proofs.

Estimate $ 5 0 0 , 0 0 0 -70 0 , 0 0 0 provenance Marc Newson, Australia; Galerie kreo, Paris literature Mario Romanelli, ”Marc Newson: Progetti tra il 1987 e il 1990,” Domus, March

1990, p. 67; Alice Rawsthorn, Marc Newson, London, 1999, p. 23; Hilary Jay, “Rising Design Stars,” Art and Antiques, April 2001, p. 61; Stephen Crafti, Request.Response.Reaction. The Designers of Australia & New Zealand, Victoria, 2002, p. 86; Conway Lloyd Morgan, Marc Newson, London, 2003, p. 166; Béatrice Salmon, ed., Masterpieces of the Museum of Decorative Arts, Paris, 2006, pp. 205-206; Julie Brener and Sarah Douglas, “Dealer’s Choice,” Art + Auction, September 2008, p. 172

Thirteen “Pod of Drawers” exist: one example with white feet (the present lot), two artist’s proofs, and a further edition of ten. The prototype “Pod of Drawers” will be included as “MN - 1PODW - 1987” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris. Phillips de Pury & Company would like to thank Marc Newson and Didier Krzentowski for their assistance in cataloging this lot.

Who can resist a good figure? Not Marc Newson. Since first riveting “Pod of Drawers” in 1987, he has returned again and again to the hourglass shape as inspiration for much of his work: “Lockheed Lounge,” “Embryos,” “Orgone Lounges.” Airplanes, cars, and surfboards are metaphors for Newson, their construction and materials a common point of departure, but the human torso is as fertile a seed for his imagination. Newson is at heart organic, in the vital not voguish sense. The seat and backrest of his “Felt Chair” stretches and bends like a torso. His related “Wicker Lounge” recalls a nubile in repose, or two. Both “Pod of Drawers” and “Lockheed Lounge” set the stage for these later works. Even his everyday products—pepper grinders, bath pillows, bottle openers, doorstops—are buxom. Objects resonate when they relate to us. A Newson maxim might read: one must mimic the body to hold the body.

ED RUSCHA b. 1937 Higher Standards/Lower Prices, 2007 Acrylic on canvas in two parts. 48 x 110 in. (121.9 x 279.4 cm) each. Signed, titled and dated “Ed Ruscha ‘Higher Standards’ 2007” on the reverse of the left panel; signed, titled and dated “Ed Ruscha ‘Lower Prices’ 2007” on the reverse of the right panel. This work will be included in a forthcoming volume of Edward Ruscha: Catalogue Raisonné of the Paintings.

Estimate $1, 5 0 0 , 0 0 0 - 2 , 5 0 0 , 0 0 0 provenance Gagosian Gallery, London exhibited London, Gagosian Gallery, Ed Ruscha: Paintings, February 5 – March 20, 2008 literature B. Fer, Ed Ruscha: Paintings, Ostfildern, 2008, n.p. (illustrated); B. Schwabsky,

“Ed Ruscha: Talks About His Most Recent Paintings,” Artforum, New York, 2008, p. 358 (illustrated)

I was searching for a title and I saw this slogan on a grocery truck in LA. In the second of the two paintings these buildings suddenly shoot up out of nowhere like an instant industrial village of Wal-Marts and Costcos—so that says to me lower prices. But then you have your higher standards— there’s some serious geology going on in those mountains. Ed Ruscha in O. Ward, “Ed Ruscha: Interview,” Time Out, London, 2007

Ed Ruscha’s response when asked what inspired the title of the present work,

Much in the same way that the words thematically vandalize nature in these

Higher Standards/Lower Prices, epitomizes his artistic career. Ruscha’s art

earlier mountain paintings, so do the buildings in the present work. The

tends to have a timeless quality to it, somehow managing to stay incredibly

strength of Higher Standards/Lower Prices begins with the juxtaposition of the

relevant without tying itself too much to one particular decade or movement.

two panels next to each other. The diptychs is a comparative study. In both

He culls inspiration from day to day American culture – in this case, the

panels, the snow capped peaks of his mountains sparkle in warm sunlight

supersize stores and billboards that span the country. These symbols of

under contrasting ashen sky. They remain wonderfully unadulterated in the

consumer culture are as deeply rooted in the American vernacular as the

first panel however, in the second panel the tops of two unrealistically tall

mountains Ruscha paints. And what incredible mountains he paints. The

buildings begin to obstruct the view of the mountains. The building rooftops

towering white peaks he gives us are beautiful studies in geology and

are oddly and jarringly out of place against this pristine background. The

technique, deriving from a recognizable amalgam of famous mountains and

way the rooftops appear to hover in the lower plane of the canvas creates a

hinting towards a long history of art historical relevance on the subject.

dynamically active canvas, as if they could, at any moment, continue to rise.

Mountain imagery has always served as a visual shorthand for the sublime, from

This work is part of a series of seven works created by Ruscha in 2007. The

the pantheist canvases of Caspar David Friedrich and the Catskills of the Hudson

presumably gargantuan size of these fictitious buildings speaks to how

River School to Ansel Adams’s photographs of the Rockies . Mountains, in their

commercialism and consumerism are slowly encroaching on the natural

everyday untouchability, still seem like residences for the gods. But Ruscha

world. This work is about before and after and the passage of time.

resists knee-jerk spiritualism (and, one might argue, his own often mentioned

The presence of these man-made structures is unnatural and harsh yet they

dormant Catholicism) by emblazoning slogans that render the scenes absurd.

accurately reflect the effect that our consumer-driven culture has on the

M. Schwendener, “Ed Ruscha – Reviews”, ArtForum, New York , November,

dwindling unspoiled natural world. These megastores are empires in their

2002

own right and have left an indelible imprint on our world. The unblemished views of these pristine monuments are slowly being encroached upon by

Ruscha is perhaps most widely known for his word paintings which he

sprawling suburban strip malls and colossal super stores. “The buildings

began in the 1960s. His clever word associations pop off brightly colored

violate the beauty of these mountains,” says Ruscha. “It’s kind of a comment

canvases daring the viewer to react. They range from one-off declarations

on the rolling thunder of change. It’s only a matter of time before everything

such as OOF, LISP, Noise to longer phrases that cause the viewer to take

decays and rapidly disintegrates.” He pauses, then chuckles. “But I’m not

a momentary puzzled pause. Ruscha would stumble upon these words,

a nihilist! I do have optimism towards the future” (A. Sooke, “Ed Ruscha:

considering them to be his own version of Duchampian readymades. When

Painting’s maverick man of letters,” Telegraph, February 9, 2008).

the words began to invade his mountain paintings the result was boldly striking and beautifully absurd. The mountains receded to the background

The present work makes a much subtler but much more powerful statement

while statements such as THE and CO. threw themselves at the front of the

than some of Ruscha’s more overtly bold pieces. Without specifically

plane with big, look-at-me lettering making it impossible not to enjoy these

knowing the roots of Ruscha’s inspiration, the viewer would be hard-pressed

clever combinations.

to specifically identify the structures occupying the forefront of this canvas. The abstraction with which he renders the buildings is classic Ruscha – he doesn’t give us too much but just enough to trigger our imaginations and associations. The subtlety of this rendering allows this painting to leave a far more substantial imprint on the viewer and make a much stronger statement on the condition of our world. If Ruscha had chosen to write the names of the stores across the front of the works as he did with his Standard gas stations or his Hollywood signs, the effect would have been entirely different. Ruscha’s mountain ranges suggest some of the world’s most famous peaks from Mt. Everest to the Matterhorn. They also suggest fictitious mountains, such as the Paramount Pictures emblem, which are just as famous. The Paramount emblem is said to have derived from a casual sketch done by the W. W. Hodkinson, founder of the studio. This simple drawing was based on his own personal vernacular from a childhood spent in Utah. In much the same way, Ruscha’s mountains are amalgams of memories and derived images of the real and the invented.

Georgia O’Keefe Datura Pedernal, 1940 © Georgia O’Keefe Museum/Artists Rights Society (ARS), New York

Paul Cézanne, Mont-Sainte Victoire, 1888-1890

This very subject has inspired a far-ranging group of artists from Andy

ER: I love to look “at” things that I would normally look through or beyond, but

Warhol’s pop representations of the Paramount logo to Georgia O’Keefe’s

I guess I can’t always be at attention. I want to be up to speed when an idea

evocative canvases of brilliantly pastel-hued mountain ranges. Like Warhol,

kicks in, but often I’m half asleep or half awake.

Ruscha has been classified as a pop artist but unlike Warhol, he does not epitomize the movement. His art bears a surrealist influence with its appeal

RP: Is it newspapers, novels, comic books, fiction, biographies, or histories

to the subconscious interpretation of its symbolism. He dips his toes into

for you?

Dadaism, frequently addressing the influence that Marcel Duchamp had on his art. Perhaps, more subconsciously, one can also see the influence of

ER: I read newspapers, nature, geology, and science books, some sci-fi, J.G.

Rene Magritte on his work, in particular on the word paintings.

Ballard, H.P. Lovecraft, Philip K. Dick, and John Fante. I just finished The Adventures of Huckleberry Finn.

Ed Ruscha is easily among the most ingenious artists of the 20th century. Higher Standards/Lower Price is a stunning diptych which speaks to his

RP: You’ve influenced a lot of other artists. What do you think about the idea

incredible far-reaching vision as an artist, touching on both the malaise and

of continuation?

beauty of our transience and permanent footstep on this world. ER: Continuation in the realm of art is a solid idea. Artists express things for In a 2005 interview with Richard Prince, Ruscha and Prince banter back and

the moment to be added upon later by others, or maybe reexpressed or even

forth regarding art and their inspiration for it:

reused. Fodder for the future. We’re all frozen food for the future.

RP: I’ve never thought there was such a thing as pop art, but if I did I would

RP: I like that you photograph gasoline stations and apartment buildings

boil it down to two artists—you and Warhol. Warhol, East coast; Ruscha,

and then paint them too. It’s kind of like you own them. Walker Evans said

West coast.

something like, “I photograph what I collect.” Do you ever go beachcombing?

ER: I believe that cultural curators will forever be unearthing significant

ER: I do collect images in my mind of many gas stations. They sit there,

unknown American artists, writers, musicians, architects, and composers.

sometimes transformed into mini-markets or massage parlors or just

These people will be in every state of the Union, not just New York, Chicago,

abandoned completely. Some I haven’t seen in over 40 years--funny, I don’t

or L.A. Am I dreaming?

own the things I collect.

RP: I collect your books. I have almost all of them. I even have a great copy of

RP: I read somewhere that you think the best paintings are not the most

Dutch Details. Pools and parking lots are so much about where you live. Only

realistic.

in Los Angeles. I really love the photos of the empty parking lots. Anybody doing abstract art should take a long look. Do you ever wonder what else is

ER: All my life I’ve been thrown by the word “realistic”--I think I said I’m

out there that you’ve seen but never really see? I guess what I’m trying to say

essentially an abstract artist.

is, When does something like parking lots kick in?

R. Prince, “Interview: Richard Prince with Ed Ruscha (2005),” American Suburb X, (Online content) July 2005

Ed Ruscha, Standard Station, 1966

RICHARD PRINCE b. 1949 Nurse in Hollywood #4, 2004 Acrylic and inkjet on canvas. 69 x 42 in. (175.3 106.7 cm). Signed, titled and dated “2004 R. Prince Nurse in Hollywood #4” on the overlap.

Estimate $ 5 , 0 0 0 , 0 0 0 -7, 0 0 0 , 0 0 0 provenance Gladstone Gallery, New York; The Collection of Steven and Alexandra

Cohen, Connecticut

When a Hollywood producer ‘discovers’ nursing student Kitty Walters he asks her t0 choose: her dream of becoming a R.N. or every girl’s DREAM OF BECOMING A STAR. J. Converse, Nurse in Hollywood, New York, 1965

Book cover source material for artist.

“A nurse!” the red-haired dynamo with the crew cut shouted ecstatically to no one in particular. “This doll’s a nurse!” J. Converse, Nurse in Hollywood, New York, 1965, p. 18

(ARS), New York

The Nurse. She is historically typecast as an icon of goodness, a benevolent

He first exhibited the Nurse series in 2003 at Barbara Gladstone Gallery in

caregiver and healer. However the 20th century has played with that role and

New York. The show sold out of these highly coveted paintings even before

eroticized it, casting her as a different character: a lustful and naughty object

it officially opened. In his introductory essay for the catalogue, Matthew

of sexual desire. It is this striking tension between the good and the wicked

Collings surmises on Prince’s attraction to this new subject:

that Richard Prince so astutely captures in his Nurse series and what makes these works such intriguing and sought after paintings.

Some of these nurse’s are blind! Maybe it’s because he’s noticed there’s something going on generally in the series to do with veiled or masked or

Richard Prince. The name alone conjures up a whirlwind of images, all

restrained feeling, and so he occasionally experiments with emphasizing

indelibly cemented in the culture of American kitsch and mass media. One

blindness […] And I suppose he gets [the nurses] from book jacket illustrations

cannot hear his name without picturing his most recognizable icons: the

because he likes the sexy stream in modern ordinary talk, and in ordinary

cowboy, the Marlboro Man and of course, his most coveted, the Nurse.

entertainment—he wants to stay close to home. He says a Nurse sometimes

The visual iconography of Prince’s work over the last thirty years spans

emerges fully formed, more or less without struggle. Other times it might be the

the gamut of the American vernacular from the opulent to the seedy. His

end of the day, the kids have had their dinner, he’s had some wine, he goes in the

early photographic representations of lavish luxury items remarked on

studio, puts on Cream or the Velvet Underground, looks at what he did earlier,

consumerism while those of almost-naked women splayed across their

feels good, gets painting again and then completely mucks it up.

boyfriends’ motorcycles addressed overt sexuality and gender roles. From his early unadulterated snapshots of cigarette ads to his latest painterly homage

Nurse in Hollywood #4, is not only the most important painting from this

to de Kooning, his art re-appropriates and re-imagines what art means and

series but is also one of Prince’s most glamorous, direct and stunning ones.

what it can be. Nurse in Hollywood # 4 is the apotheosis of this varied and

The viewer experiences sheer pleasure in looking at it. The work is based

exceptional career, and is easily the finest piece from his Nurse series.

on the 1965 Jane Converse novel whose spoiler reads: “When a Hollywood producer ‘discovers’ nursing student Kitty Walters he asks her to choose:

Prince began his artistic career at Time-Life magazine, clipping articles

her dream of becoming a R.N. or every girl’s dream of becoming a star.” In

of potential interest for the writers. What remained, most would have

Prince’s painting she does not have to choose: she embodies both the pure

considered useless scraps, but instead Prince saw ready-made art. The

and wholesome nurse ready to fill her professional role and the undone vamp

simplicity of his genius lay in taking (or in his own words, stealing) these

with come-hither eyes ready to fill her fantasized role.

un-authored images, re-photographing them and calling them art. The comparison to the pioneering Marcel Duchamp is powerful and significant.

Is she a muffled virgin or a brazen vixen? Both. Prince’s nurses are

In the same way that Duchamp challenged the preconceptions of the artistic

anonymous amalgams of female typecasts from the sexy pinup girl to the

process and of what could be labeled as art for his generation, so does Prince

pure Florence Nightingale, from virgins to nymphomaniacs, from angels of

for ours. Duchamp said of his first readymade, the famous Bicycle Wheel,

mercy to angels of death and from Hollywood to Washington. They emerge

that he “created” it because he enjoyed looking at it. This is a fundamental

from the canvas as both predator and prey, all players in the game of sexual

principle of Prince’s art and is evident in all of his work. Richard Prince

desire. The story of Converse’s nurse continues on the back cover of her

believes art should make people feel good and so he creates what he likes.

book, “Her ash-blond hair. Her big brown eyes. Her pert figure. These were only frosting to her personality – personality that was pure whistle bait. So what if Kitty Walters was a nursing student just three months short of graduating? So what if her idea of heaven was the symbol R.N. pinned on a starched white uniform? Phil Harlan wasn’t called “Boy Wonder” for nothing. He was dynamic, magnetic, charming, a glib Svengali whose record of convincing was 100 percent. Phil Harlan would have no trouble turning a dedicated would-be nurse into a determined Hollywood starlet. At least that’s what Phil Harlan thought…”

Ed Ruscha Hollywood, 1982. Collection of Laurence Graff, Gstaad

Converse’s Hollywood Nurse must decide between following her passion

of her mask and down her shoulders evoking the much gorier side of nursing.

of becoming a nurse or falling into the temptations and peril of Hollywood

Her glowing presence on the canvas stands in high contrast to the shadowy

glamour. Of course she must also choose between lovers along the way.

background. She emerges from this rich dark brown set in vibrant strokes

Richard Prince’s nurse is a bit bolder than her namesake and the story

of icy lavender and juicy reds. She stops at the front of the picture plane,

becomes all about the nurse, our main character, without the distraction of

addressing the viewer with a smoldering stare, her startling blue eyes and

her male suitor leering over her shoulder on the original cover. By obscuring

white face possessing both an ephemeral beauty and a sinister ghostliness.

the man with heavy swaths of paint, Prince leaves the viewer alone with our nurse. His brush transforms the original cover (which has been scanned,

What is perhaps most striking about the Nurse in Hollywood #4 is that she

printed and enlarged onto canvas) with layer upon layer of rich pigment until

is cast to appear more like a doctor, further questioning the gender roles

all that remains are the nurse and the moniker. He uses lush strokes and

made so poignant by this series. Scrubs have replaced her starched white

drips of paint ranging in color from hot bright hues of magenta and turquoise

uniform and her nursing cap is replaced by a surgical cap which covers her

reminiscent of the 1960s to, in this case, darkly mysterious deeper tones of

hair. All vestiges of femininity, lust and sex are seemingly covered in this

plums, navy blues and chocolate browns. The present work very much pays

painting (except for her eyes) yet instead of dampening the seductive

homage to the canvases of Mark Rothko in both treatment and color. This

appeal of the work, it heightens it. She is a glamorous Hollywood character,

painterly, layered background creates a potent shadowed stage set from

a nurse in disguise.

which the now displaced nurse emerges. Always the provocateur, Prince’s art is all about desire. It represents Glowing above her, like the Hollywood sign, the title of this work beckons the

covetousness, of a beautiful woman or of an alpha male, of a luxury watch

viewer in—with just one word, evoking a place of seduction and glamour

or a perfectly appointed living room, of sex or of words. The desire is never

where anything is possible. This symbolism of Hollywood also makes a

left unadulterated however – there is always an element of subversion or of

heady statement to the power and seductiveness of fame and how far people

something ever-so-slightly out of reach that brings such power to his work.

are willing to go to achieve it. This very subject has captured the imagination

There is always a hint of irony and a sense of humor in Prince’s paintings. A

of some of the most famous artists of the last thirty years including Andy

somewhat mysterious figure himself, we can never be quite sure of exactly

Warhol and Ed Ruscha. Like Ruscha, Prince has always been interested in

how ironic Prince is trying to be and this leaves the viewer even more

the correlation between image and text. He began incorporating words into

absorbed by his art.

his photographs in the mid-1970s and then devoted entire canvases to his Joke paintings. It is no surprise then that the title of the book plays such an

The nurse is a beautiful representation of a fantasy based in reality—a

integral role in his nurse paintings. Without them, she would have no context

composite embodiment of our culture’s overactive imaginations and cravings.

other than being a beautiful (or in some cases, sinister), floating figure. The

It is an outdated perception yet still holds weight in today’s culture. Therein

words build a framework around her and create a story and association that

lays Prince’s strength—his ability to timelessly capture these flash moments

continues to unfold every time the viewer looks at the canvas.

in the American cultural vernacular and make them modern. Prince has doctored his nurses so they seem both delicate and glamorous yet still

Nurse in Hollywood’s striking resemblance to Grace Kelly, a Hollywood icon

portray an element of delicious vice. And this is exactly what he is so known

and beacon of elegance, femininity and beauty is unmistakable. Captured

for—he takes the seemingly banal and elevates it to cult status, creating

by Warhol in one of his famous pieces, the likeness becomes even more

aesthetically stunning pieces that address the divergence between what is

apparent. Grace Kelly is a woman beyond compare and so is this nurse.

real and what is created. Layered with this depth, Nurse in Hollywood #4 is a

Prince has given her the liberty of eye contact, something not garnered

seminal piece—Prince has created art for art’s sake and just as he intended,

upon his other nurses whose eyes are generally either averted or covered

this painting is a provocatively brilliant piece that you just love to look at.

by a diaphanous veil of white paint. Her brilliant blue eyes and penetrating, direct gaze is confident and overt yet not aggressive, much like the actress herself. The glimmer of seduction hinted at by her eyes is metered by the fact that her eyes are her only means of expression. The mask protects her anonymity but also defaces and silences her. The viewer longs to see what expression she is hiding beneath it and this only heightens the innuendo and drama of the canvas. The darker side of Hollywood, fame and beauty are hinted at by the blood-like drips of burgundy and purple paint that trickle off

RICHARD PRINCE by Karen Wright In the summer of 2002 I conducted an email interview with Richard Prince.

Back in the main house signs of Richard’s collecting fervor are everywhere.

I hadn’t met him at this time, but I was not surprised when our conversation

We sit in chairs in front of an Andy Warhol car crash painting that is

turned out to be filled with wild flights of fancy. Prince’s works, not just his

surrounded by part of his extensive book collection, many with luridly

joke paintings, illustrate a dry humor. When I had asked him the obvious

colorful covers. I point at the Warhol and say he had an obvious influence on

question, ‘What paintings – as well as jokes – was he working on?’ his

you, didn’t he? Prince adroitly deflects the question. ‘[Willem] de Kooning

emailed response was, ‘I’m painting nurses. I like their hats. Their aprons.

was the guy,’ he says. ‘When I was really young, the real influences on me

Their shoes. My mother was a nurse. My grandmother and two cousins were

were land artist [Robert] Smithson, [Donald] Judd and [Carl] Andre who

nurses. I collect nurse books. Paperback books you can’t miss them. They’re

influenced how I thought when I was introduced to their work when I was 19

all over the airport. I like the words “nurse”, “nurses”, “nursing”.’

or 20.” He shrugs. “Cézanne or Picasso, they’re all working for me as well,’ he concludes.

I admit in some way I took him at face value at the time, even though Richard is famous for never telling the truth – at least in biographies. I was surprised

Prince’s first act of thieving or ‘appropriation’ was photographic. In 1977

when, in the spring of 2003, I received a phone call from gallerist Sadie Coles

he took the then radical step of photographing an existing photograph and

to tell me he had dedicated this series to Modern Painters (the magazine

calling it his own. The images, advertisements for watches, handbags and,

I was editing at the time). The actual dedication is ‘and thanks to Modern

most dramatically, for cigarettes had their logos and strap lines removed and

Painters, who last summer asked in an interview “What are you doing next?”

were presented as original works of art. These works are now an iconic part

And I thought for a moment, “Well, I’m doing Nurse paintings”. And of course

of the canon, one recently on a stand in Art Basel 2009 had the impressive

to tell the truth I made it all up….’

price tag of $2 million.

Several years later I am invited to the Prince studio. Prince lives in upstate

Richard says his next big idea after the photograph was the joke. “My first

New York near the town of Rensselaerville where he moved to in 1996 after

joke was in 1986,” he recounts. ‘I went to a psychiatrist. He said, “Tell me

leaving New York City. Finding the studio is not easy as I juggle complicated

everything.” I did and now he’s doing my act. It’s still funny! It was a hand-

written directions on ever-narrowing and unmarked roads. I get confirmation

written joke and it was just opened things up. It was a way of stepping off the

that I am on the right road when a large aluminum building resembling

art train. It was ego, chutzpah, and confidence.” He smiles. ‘If I had seen it in

an airplane hanger looms up, flanked by imposing sculptures. I seek

a gallery by another artist, I would have been jealous!’

reassurance from some affable-looking men wielding noisy power tools. They point, ‘Down the road’, ‘the brown building is the studio’.

Recently, Richard designed a successful series of handbags for Marc Jacobs for Louis Vuitton. Some are displayed in the studio on the bookshelves

Eventually I come to the complex, which contains not only the brown studio,

containing his book collection. I ask about them and he says somewhat

which looks like an outsized toy wood cabin but also the modest white ranch

morosely, ‘I didn’t know anything about handbags, but now I do.’

house where Richard lives with his wife and two children. The dead giveaway that I am in the right place lolls on the step, a stone painted with the words,

He perks up. ‘Let me show you the ones I ripped off!’

‘Help! I’m a rock’. I laugh, genuinely shocked. ‘You ripped off your own handbags?’ Prince is summoned and takes me back up the road to the automobile shop, instantly becoming absorbed into a discussion with his two assistants while

‘Yes, of course!’ he says, surprised by the question. ‘I have been

huddled around a shiny black hood sculpture leaving me alone to wander

appropriating for 30 year.’ Richard’s originals are more raw and beautiful to

around the large double height space. In one corner is a drum set, in another

me than the Vuitton ones; I covet one but they are quickly returned out of

a large totem-style sculpture, comprised entirely of empty beer tins. (The

view.

latter I later see in the Chocolate Factory in Moscow at Larry Gagosian’s opening). On the floor lies a large plastic bubble enclosing an improbably

There is a nurse painting on the back gallery of the studio. We pause in front

fluorescent pink naked lady.

of it and Richard muses: ‘I had to buy it back from Christie’s auction house in London for a lot of money. I never thought I would have to buy a painting back

There are also several cars thickly clothed in cement, as well as a jaunty red

for a fortune.’ He continues acknowledging their importance. ‘The nurse

sports car. I overhear Prince saying to his team, ‘more distressed around the

replaced the cowboy. I started doing them by collecting the books. There are

edges’ before he rejoins me. Around the back of the space is a large gallery

so many different ways to paint them. The mask was the contribution, the

which features the works which have made him an easily recognizable artist

common feature. You can paint them bleeding through them!’

– a joke work, a luminous photograph of a cowboy, a nurse and a car work and also part of his personal collection, a Damien Hirst vitrine of cigarette

Richard has moved on from nurses, focusing for the moment on series of

butts, a Christopher Wool black-and-white painting, a group of Fishli & Weiss

the de Kooning works that first appeared in the Guggenheim retrospective

figurative sculptures and a David Hammond installation of dog food cans on

in 2007. There is one in progress on the wall behind me and Richard keeps

the floor. There is also a collection of iconic design, including a Jean Prouvé

looking at it. ‘It’s not right yet,’ he says. The girls – ‘cut-out Prince girls’ – that

sideboard that Richard has transformed into his own work by screwing a

are hung on it are not the right proportion. ‘Her leg is too long,’ he says and

double-sided frame onto the side of it.

in a showmanship move, jumps up, and brandishing a large pair of scissors, cuts off half of a leg. ‘They are works in progress,’ he says. ‘They will be

‘I am using the furniture as a pedestal,’ Richard explains. He gestures

glued down and given de Kooning mouths and eyes.’ It reminds me of what

towards another piece. ‘I started showing the books on top of the desks and

he has said to me before: ‘The subject matter is important, the medium is

now I am screwing them down onto the tops. The collector gets the entire

just a skill.’

thing including the furniture.’ I ask him about collecting. ‘Collecting enriches my life and feeds into the art. I never really trust artists who don’t collect. It

It is the mantra of the conceptual artist and suits Prince’s canon well.

says something about their intellect, Clyfford Still was the only artist I know who only collected his own works’. He continues, ‘It’s important to have other

As I leave to travel back to New York City, Richard is already totally engaged

artists around’. He says sternly, ‘If an artist doesn’t read, he’s stupid. If he

with the painting on the wall. I wonder how much of the answers to the

can’t write a paragraph it shows up in the work.’

questions have been honest this time. Prince is famous for never answering a question in the way you expect. The only part of his biography that is thought

I stand before a new collage work of Sid Vicious made entirely of images of

to be correct is that he was born in the Panama Canal Zone in 1949. His most

the punk singer printed on the check slips that Prince has been using in his

touching words of the afternoon resonate in my ears validating this history

joke paintings for the last few years. He has been experimenting, he says.

as I retrace my way down the bumpy roads to increasingly wider smoother

‘When you apply paint to the checks, it is uncontrollable and messy and you

roads. ‘I am almost 60’ and ‘I want to have a conversation with de Kooning,

don’t know what will happen.’ It leads to the ‘uncontrollable incident’ that

someone I really respect.’

Prince likes. I ask why he has used this technique for the subject, and he says curtly, ‘Sid didn’t need a joke!’

CHARLOTTE PERRIAND 1903-1999 Important “Bibliothèque Murale,” ca. 1958 Oak, bent aluminum. 52 1/4 x 126 x 12 1/2 in. (132.7 x 320 x 31.8 cm). Produced by Les Ateliers Jean Prouvé for Galerie Steph Simon, France.

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0 provenance Prouvé Family, Nancy, France; Galerie Jousse Entreprise, Paris; Steven

Volpe Design, San Francisco, California literature Charlotte Perriand and Fernand Leger, Charlotte Perriand, Fernand Leger, une

connivence, Biot, 1999, pg. 59; Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris, 2005, pp. 420-425 for similar examples

Although never a couple, Charlotte Perriand and Jean Prouvé stood handin-hand at midcentury, the pragmatic parents of postwar modernism in France. Together they devised economic solutions to the problems of daily life in everyday places: dormitories, locker rooms, apartments, offices. Their unadorned furniture, built from wood, aluminum, and bent sheet steel, never sacrificed clarity for decoration, “but its construction is so powerful that it imposes itself in space like sculpture,” as fashion designer Azzedine Alaïa observed of Prouvé’s work. (Laurence Bergerot, Patrick Seguin, Jean Prouvé, Paris, 2007, vol. 1, p. 23) Longtime friends, the two designers formalized their relationship in 1952 at the behest of gallerist Steph Simon. That year and the next, they collaborated on furniture—bookshelves, tables, beds—for the student bedrooms of the Maison de la Tunisie and Maison du Mexique at Cité Universitaire, Paris. In both residences, each room was dominated by a large bookcase whose wide plank shelves were joined by staggered aluminum casiers, or ‘pigeonholes,’ fashioned from bent aluminum. The present “Bibliothèque Murale,” a special commission produced by Perriand for the Prouvé Family in Nancy, owes its design to those previous examples and to an earlier bookcase, with wood blocks in place of aluminum ones, designed by Perriand in 1940 and later produced for L’Équipment de la Maison. “Are we going to have mass or void?” asked Perriand in her autobiography Une Vie de Création (The Monacelli Press, New York, 2003). With its energetic interplay of forms in space, “Bibliothèque Murale” achieves both.

MARK GROTJAHN b. 1968 Untitled (White Butterfly MG01), 2001 Oil on canvas in two parts. Left panel: 72 x 22 in. (182.9 x 55.9 cm); right panel: 72 x 18 in. (182.9 x 45.7 cm). Initialed and dated “MG 01” along lower edge.

Estimate $ 8 0 0 , 0 0 0 -1, 2 0 0 , 0 0 0 provenance Blum & Poe, Los Angeles

It takes but the gentlest beating of their wings for the Butterflies to pull us into perspectival depths. A sharp cut down the middle reminds us that even this painted or drawn illusion of space unfolds on a plane, radiating from a center, line by line. Mark Grotjahn’s metaphoric butterflies in his subtitles describe not only a filigree, near-symmetrically constructed shape, but also the movement of flight: fitfully fluttering at abruptly changing altitudes, taking off in different directions, and coming to a sudden halt. In Grotjahn’s drawing and paintings this unmistakable rhythm continues across several works. H. Rudolf Reust, ”Splitting Impacts the Eye,” Parkett 80, 2007, p. 144

Sol LeWitt, Wall Drawing #41, 1970 © The LeWitt Estate / Artists Rights Society (ARS), New York

Dating back to the one-point perspective paintings of the 1500’s, Grotjahn

Through the reference of nature as seen in White Butterfly the artist

takes this development in art from the Renaissance steps further into the

connects to abstraction with echoes of the simplicity of an Agnes Martin

Now. In the present lot, Grotjahn fosters a minimalist style. Like the work of

and the precision of a Sol LeWitt Wall Drawing. Grotjahn questions the

Agnes Martin, this particular painting shows extreme peaceful, subtle colors

nature of art through his paintings and drawings. Grotjahn illustrates a

in a geometric composition of lines and grids which allows for an automatic

metamorphosis in his ongoing series of butterfly paintings by bridging

connection to the natural world. The present lot evokes rays of white light

origins of Renaissance Art through specific movements in art history such as

and the title alone alludes wings of a butterfly which according to the chaotic

Russian Constructivism to Minimalism to Abstraction to Conceptualism, and

theory of the Butterfly Effect, the idea that a butterfly flapping its wings in

alas the present moment. As the term “butterfly” used in ancient Greece

one part of the world may cause a hurricane or a tornado in another part of

meaning soul or mind, Grotjahn digs into both in White Butterfly by revealing

the world.

an intimate yet nostalgic, classic example of his oeuvre of work.

In a palette of creams and whites Grotjahn paints purity in a complex,

These paintings are elegant, sumptuous and glamorous; they hold the wall boldly

monochrome layered form in what appears to be quick luminous “zip”

with assuredness…. Voluptuous, but at ease, each painting did not relinquish

strokes. Through what seems to be seamless, easily facilitated brushstrokes,

its overall sense of being a seamless whole, a thing, in other words, greater than

the artist simultaneously merges with the same ease geometric abstraction

the sum of its parts, even as careful inspection began to parse each painting’s

to conceptualism. Similar to a beautifully composed Sol LeWitt wall drawing,

complex structure and reveal smaller nuances and details.

Grotjahn’s paintings follow a rhythm which is constant, linear and traditional.

These works awaken an awareness of the obdurate, incommensurate, and, finally,

His perspective paintings create illusions of depth by including multiple

inexplicable experience of abstract painting, a form forged a hundred years ago,

vanishing points and adding building blocks of abstraction through the

which, while given up for dead at many points along the way has remained.

choice of a monotone palette. Grotjahn purposely engraves his initials into

Yet, as Robert Ryman once remarked in a talk at the Danheiser Foundation in

the diptych playfully adding to the simple, yet complex, layers of paint to give

downtown Manhattan in the late 1980s: abstract painting is still a young form,

the illusion of what appears to be a two- dimensional perspective plane is in

which is only beginning to be discovered and developed.

fact three-dimensional.

G. Garrels, “Within Blue,” Parkett 80, 2007, p. 127

Agnes Martin, Untitled #4, 1992 © Agnes Martin / Artists Rights Society (ARS), New York

GEORGE NAKASHIMA 1905-1990

Burls (burrs in Britain) protrude from trees like blisters, rough and irregular.

Exceptional free-form “Minguren I” coffee table, 1964

Rounded outgrowths, burls result from injuries to trunk or infections below

Japanese burl, oak. 15 1/4 x 42 1/4 x 29 in. (38.7 x 107.3 x 73.7 cm). Together with a copy of the original order card from the George Nakashima Studio.

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 provenance G. David Thompson, Seal Harbor, Maine; Delorenzo 1950, New York; Phillips

de Pury & Luxembourg, 20-21st Century Design Art, December 8, 2003, Lot 150; Geoffrey Diner

the bark. Wood fibers, traumatized, contort—the more intense the infection, the more explosive and erratic the burl. In World Woods in Color, William Lincoln writes: “Burrs have the appearance of tightly clustered dormant buds, with darker pith forming tiny knot formations like a mass of small eyes…” (Fresno, 1996, n.p.)

Gallery, Washington D.C.; Sebastian + Barquet, New York literature George Nakashima, The Soul of a Tree, A Woodworker’s Reflections, Tokyo, 1981,

p. 173 for a similar example; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat.,

Despite their abnormalities (or rather because of them), burl woods have

American Craft Museum, New York, 1989, p. 133 for a similar example; Mira Nakashima,

been highly prized by cabinetmakers for centuries. Burls “…have a joy

Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 200 for a

and exuberance that greatly enhances the tree’s charm,” wrote Japanese-

similar example; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from

American woodworker George Nakashima (The Soul of a Tree, Tokyo, 1981,

High Craft to High Glam, New York, 2008, pp. 130-131 for a similar example

The present table is listed on a customer order card, dated May 23, 1964, on file at the George Nakashima Studio in New Hope, Pennsylvania. The table was among a series of works commissioned at that time by Mr. Thompson. Although his address is listed as Pittsburgh, the card indicates the works were shipped to him in Seal Harbor, Maine. Phillips de Pury & Company would like to thank Mira Nakashima, Soomi Amagasu and the George Nakashima Studio for their assistance in cataloging this lot.

p. 94). Buckeye, walnut, oak—his rare burl table tops, reserved for private commissions, are among Nakashima’s most elaborate and expressive designs and are a demonstration of his virtuosic abilities. The misshapen burl, like a knot, renders it difficult to cut and form with traditional woodworking tools. “Sawing this ‘treasure’ calls for the precision of a diamond cutter,” he wrote (Tokyo, 1981, p. 91). Nakashima’s devotion to timber spanned five decades, an extended meditation on man’s kinship with nature. Most of that time was spent at his studio in the woods outside New Hope, Pennsylvania—“Penn’s woods,” as he called it, in reference to the Duke of York’s land grant to William Penn in 1682. Acutely aware of the hidden history of trees, Nakashima believed them to be witnesses to, and participants in, the long march of time—an ongoing journey. Nakashima considered his own furniture to be a second life for the trees he felled. “When trees mature, it is fair and moral that they are cut for man’s use, as they would soon decay and return to earth. Trees have a yearning to live again…” (Tokyo, 1981, p. 93).

ED RUSCHA b. 1937 Angry Because It’s Plaster, Not Milk, 1965 Oil on canvas. 55 x 48 in. (139.7 x 121.9 cm). Signed and dated “E Ruscha 1965” on the reverse; titled and dated “Angry Because It Is Plaster, Not Milk’ 1965” on the stretcher.

Estimate $ 2 , 0 0 0 , 0 0 0 - 3 , 0 0 0 , 0 0 0 provenance Collection of the artist; Gagosian Gallery, London exhibited Los Angeles, Ferus Gallery, 1965; San Francisco Museum of Modern Art, March

25 – May 30, 1982; New York, Whitney Museum of American Art, July 7 – September 5, 1982; British Columbia, Vancouver Art Gallery, October 4 – November 28, 1982; The San Antonio Museum of Art, December 27, 1982 – February 20, 1983; and Los Angeles County Museum of Art, March 17 – May 15, 1983, The Works of Edward Ruscha; Santa Monica, James Corcoran Gallery, Animal Farm, January 15-February 26, 1994; New York, C&M Arts, Birds, Fish and Offspring, April 25- June 8, 2002; Paris, Centre Pompidou, Los Angeles 1955 – 1985: Birth of an Art Capital, March 8 – July 17, 2006; London, Gagosian Gallery, Pop Art Is..., September 27-Ocotober 2, 2007 literature J. Krementz, “Happening: Photographed in Los Angeles,” Status/Diplomat,

New York, 1967, p. 66 (illustrated); San Francisco Museum of Art, ed., The Works of Edward Ruscha, New York, 1982, p. 68 (illustrated); C. Rickey, “Ed Ruscha, Geographer,” Art in America, New York, 1982, p. 84 (illustrated); S. Kalil, “The Works of Edward Ruscha,” Houston Post, 1983, p. 23F; J. Fiskin, “Trompe l’Oeil for Our Time,” Art Issues, Los Angeles, 1995, p. 28 (illustrated); G. Gordon, “Wallwashers for Warhol,” Lighting Design and Application, December 2001, p. 29 (illustrated); “Goings on About Town,” The New Yorker, New York, May 13, 2002, p. 18; R. Smith, “Art Review: A Painter Who Reads, A Reader Who Paints,” The New York Times, May 24, 2002, p. B33; C&M Arts, ed., Ed Ruscha: Birds, Fish and Offspring, New York, 2002, pl. 3 (illustrated); T. McDonough, “Ed Ruscha at C & M Arts and Gagosian, “ Art in America, September 2002; P. Poncy, Edward Ruscha : Catalogue Raisonné of the Paintings : Volume One, 1958-1970, New York, 2003, p. 179 (illustrated); C. Grenier, ed., Los Angeles 1955-1985: Birth of an Art Capital, Paris, 2006, p. 149 (illustrated); Gagosian Gallery, ed., Pop Art Is..., London, 2007, pl 59 (illustrated)

Marcel Duchamp Hat Rack, 1917-1964 © Artists Rights Society (ARS),

New York / ADAGP, Paris / Succession Marcel Duchamp

/ Artists Rights Society (ARS), New York

A loosely painted bird, hovering in an indeterminate space, is crying over

With its clear composition containing just two things : bird and glass,

unspilled milk in a painting which contains a representation of a sculptural

Ed Ruscha’s work calls to mind Magritte’s The Treachery of Objects, 1928-

trompe l’oeil. If not for the title, we, two, might be fooled into thinking that the

1929 both compositionally and conceptually. Both artists have such clear

glass contains milk, but not necessarily because it looks like milk. Even Ruscha,

renderings of their objects presented in a straightforward manner on their

who is a master of the most sophisticated trompe l’ouiel effects (which he has

canvases. However, there is something of a mystery behind their choice

chosen not to deploy here) could not have painted the difference between plaster

of subjects. There is humor in their play between image and text with

and milk. He has relied on us to make the same assumptions as the bird, and he

Magritte’s insistence that it is not a pipe, but a depiction of a pipe, while

has relied on our ability to read and reveal to us the content of our assumptions.

Ruscha puts us in the frustrated position of the bird by declaring in the title

Unlike the bird, we exit laughing. Ruscha has painted an updated version of the

that we are not looking at a glass of milk, but plaster.

story of a painting contest which took place in Greece during the fifth-century B.C.E. The painter Zeuxis showed a still life of such realism that birds flew down

Statements made by the two artists decades apart are strikingly sympathetic:

to eat the grapes from the painting. Ruscha has moved that scene to America

Magritte explained, “My painting is visible images that conceal nothing. They

(note that he portrays a glass of milk instead of grapes) and painted it from the

evoke mystery and, indeed, when one sees one of my picturesone asks oneself

point of view of one of the deceived birds. Unlike the Greeks, he does not believe

this simple question, ‘What does that mean?’ It does not mean anything because

that the best paintings are the most realistic.

mystery means nothing either, it is unknowable.” Ruscha expands on the same

J. Fiskin, “Trompe l’Oeil for Our Time,” Art Issues, November/December 1995

theme: “I’ve always had a deep respect for things that are odd, for things which cannot be explained. Explanations seem to me to sort of finish things off.”

The present lot Angry Because It’s Plaster, Not Milk, 1965 is an exemplary

R.D. Marshall, Ed Ruscha, London, 2003, p. 134

work from Ed Ruscha’s group of paintings from the mid-1960s that take the strict idea of literal representation into the realm of the absurd. This body of

Unlike Magritte, Ruscha completely leaves the words out of his canvas, a

work is characterized by what the artist termed “bouncing objects, floating

particularly pointed decision in Ruscha’s body of work. The bird and the

things,” such as the radically oversized red bird and glass hovering in front

glass are so iconic and symbolic that they almost read like his text paintings.

of a simple background in the present work and have a strong affinity to Surrealism, a recurring theme in the artist’s long career.

In these paintings we are given images of birds, not real birds but generic birds, like Audobon’s floating on a flat ground. In other words, rather than the word

The artist’s fascination with Dada and Surrealism began in his school days:

“cardinal,” we are given the image cardinal, or more generally, we are being

I looked at a lot of pictures in books on Dada in the library. It wasn’t because I

presented with birds as words. The transformation in the bird paintings is based

was interested in developing scholarly appreciation –I was more attracted by the

upon a rhyme at the first level of generalization. Thus, even at this early date,

titillation I got from the works I saw in the books. I was inspired by this sort of

Ruscha is playfully exploiting in an imaginary was the relationship between words

lunatic group of people who made art that ran against prevailing ideas. Their

and images and the instruments which create them. The transformation of words

nonsense was synonymous with seriousness, and I’ve always been dead serious

–birds into words –is rendered imagistically.

about being nonsensical.

A. Livet, The Works of Edward Ruscha, Hudson Hills, 1982

Ed Ruscha in R.D. Marshall, Ed Ruscha, London, 2003, p. 131

Dennis Hopper Ed Ruscha, 1964

JOHN BALDESSARI b. 1931 Two Cars, One Red, in Different Environments, 1990 Color photograph with acrylic and vinyl paint artist’s frames in two parts. 69 1/2 x 87 in. (176.5 x 221 cm).

Estimate $ 3 0 0 , 0 0 0 - 4 0 0 , 0 0 0 provenance Sonnabend Gallery, New York literature G. Belli, John Baldessari, Milan, 2000, p. 88 (illustrated)

What I leave out is more important. I want that absence, which creates a kind of anxiety. John Baldessari in Artforum, New York, March 2004 In an interview in 2004 Nicole Davis asked Baldessari for his reason to become an artist. Baldessari responded that he ‘always had this idea that doing art was just a masturbatory activity and didn’t really help anybody’. However, while working as a young man with kids in an honor camp in California the kids made him realize that “…art has some function in society…” In fact he explained that his understanding of art had not changed since then and that ‘it was enough to convince [him] that art did some good somehow,’ concluding he just needed a reason ‘that wasn’t all about myself.’ Until now Baldessari has remained faithful to this understanding. His arrangements of photographic montages, appropriations of cinematic images and painterly units describe mental, cultural and demographic identities through his visual landscape. However they remain playful and romantic and allow us to move within our own fantasies and associations. I think it’s true that if we look side by side at a painting and a photograph, we tend to right away see the painting as somebody’s version of the real world, and with a photograph we tend to suspend disbelief and think it refers in a tangible way to the real world. I think that’s one of the reasons why I use it, because I already have people suspending their disbelief. I’m very much attracted to photographs that realtors take of houses for sale, or that insurance adjusters take for accident reports on cars; in other words, where there is no idea to make an artful photograph, just collected information. That attracts me a lot—art as information. I guess after you spend our lifetime thinking about what’s beautiful, you get distrustful. You get into this rarefied atmosphere where you want no beauty and no beauty is beautiful! After a while, you learn all the tricks of how to make things beautiful and you get really suspicious. You look at art like a professional gambler looks at a card table, for all the tricks. John Baldessari in interview with Christian Boltanski, “What is Erased”, John Baldessari From Life, Nîmes, 2005, pp. 72-75.

MARC NEWSON b. 1963 “Orgone Stretch Lounge,” 1993 Polished aluminum, enameled aluminum. 24 3/8 x 70 1/2 x 32 5/8 in. (61.9 x 179.1 x 82.9 cm). Produced by POD Edition, UK. Artist’s proof number one of two for the edition of six. Underside impressed with Pod logo and “MARC NEWSON/POD EDITION/AP 1.” This is the only example produced with a black interior.

Estimate $ 4 0 0 , 0 0 0 - 6 0 0 , 0 0 0 provenance The Gallery Mourmans, The Netherlands; Private Collection literature Phil Starling, “An Australian in Paris,” Blueprint, February 1994, front cover

and p. 29; Volker Albus and Volker Fischer, 13 Nach Memphis: Design Zwichen Askese und Sinnlichkeit, Munich, 1995, p. 127; Alexander von Vegesack, et al., eds., 100 Masterpieces from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, p. 172; Alice Rawsthorn, “Marc Newson,” I.D. Magazine, January/February 1996, p. 70; Alice Rawsthorn, Marc Newson, London, 1999, pp. 90-93; Museu do Design: Luxo, Pop, Cool, De 1937 Até Hoje, exh. cat., Museu do Design, Lisbon, 1999, fig. 224; Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 144-145; Louise Neri, ed., Marc Newson, exh. cat., Gagosian Gallery, New York, 2007, p. 64

The “Orgone Stretch Lounge” will be included as “MN - 8OSL-1993” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris. Phillips de Pury & Company would like to thank Marc Newson and Didier Krzentowski for their assistance in cataloging this lot.

RICHARD PRINCE b. 1949 The Chatterbox Hotel, 1990 Acrylic and silkscreen ink on canvas. 56 x 48 1/4 in. (142.2 x 122.6 cm). Signed, titled and dated “R. Prince ’The Chatterbox Hotel’ 1990” on the overlap.

Estimate $ 8 0 0 , 0 0 0 -1, 2 0 0 , 0 0 0 provenance Gagosian Gallery, New York

A lot of great art makes people angry at first. Richard never made me angry. But he did shock, and he did startle me and he did make me laugh, which are my favorite three things about art. John Waters in G.O’Brien, “All I’ve Heard,” Richard Prince, New York, 2007, p. 321

Is a Joke a material? To a Comedian it is. There is the material and then there is

It was these “Borscht Belt” comedians such as Jack Benny, Milton Berle,

the timing and the delivery of the material, which makes it an act. He says “my

Henny Youngman, Phyllis Diller, Rodney Dangerfield, Sid Caesar and Don

act” or “my material” but he also has a way of disappearing behind these things,

Rickles (to name just a few) with their rapid-fire often self deprecating humor

almost to the point where there is no more me, only material, like that joke about

that set the pace for future generations of comedians. Phrases such as

the psychiatrist doing my act now. Every comedian, every artist, is constantly

“Take my Wife Please”, “I get no respect”, “Now Cut that out!”, along others

scandalized about being robbed, and they’re right because material has a way of

helped define an era of Comedy that to this day remains unrivaled. Many

getting away from us, like language. It’s what it does, and maybe it never really

of the Jokes that Prince has looked to were told by or inspired by these

belonged to us in the first place. For example, the neurotic on the couch who

comedians.

repeats himself (his life) not the crowd of the analysts ear, who’s already heard it all before. The Joke is about not being able to hang onto yourself, about not being

When interviewed by Glenn O’Brien, Phyllis Diller remarked about

able to tell your own story, and also about transference.

Comedians who tell “Jokes” as they were told in the heyday of the Borscht

Richard Prince, “Canaries in the Goldmine,” Astrup Fearnley Museum of

Belt :

Modern Art, Oslo, 2006 p. 123 I tell Jokes. But they are one-liners. Like: set-up payoff. Set-up payoff. Something Throughout his career Richard Prince has explored, examined and

that I invented—a manner of delivery—got me into the Guiness Book of World

experimented with the concepts of appropriation. Beginning in the late

Records. I learned to use the set-up payoff thing in a different way. You know

1980’s (1985-1987) he began to create what he referred to as Joke Paintings.

like: ‘She’s so fat that when she wears a white dress, we show movies on her.’” …

He created his first monochromatic Joke paintings between 1987 and 1989.

The Jokes don’t change—[the] people die… you just change the name

The monochromatic Joke paintings continued Prince’s foray into creating a

N. Spector, Richard Prince, New York, 2007, p. 273

comedic dialogue with high art and culture. The statement in itself has the ring of a Prince painting. The Joke in the In a Joke painting, Prince both spaces and times the material across the canvas,

present lot Chatterbox Hotel, 1990, has countless incarnations however

sometimes making it repeat and stutter in that tough, blank space, until it begins

the present incarnation that Prince has chosen has a certain resonance

to do the painting’s act too. It’s working the room, the canvas. It’s hard to say if

that stays with the viewer long after they have stopped viewing the work.

the painting is ripping off the material or if it’s the other way around. And what

Outside of the obvious level of humor associated with the joke itself. Prince

we are tempted to call the comic timing of the painting has to do with the way the

has succeeded in transcending the comedic aspect of the work creating

material takes over its surface, sometimes bombing and sometimes knocking it

something entirely new and different.

dead. (Ibid) …With his Monochrome Jokes Prince achieved the anti-masterpiece… If From the 1920’s through the late 1960’s the Catskill Mountains in Sullivan,

anything Prince’s Monochrome Jokes represent a skillfully calculated inversion

Orange and Ulster Counties in upstate New York were the sites of many

of the artist’s essential value system. The seeming equivalency of the works is

summer resorts frequented by Families from New York City and the

part of a deliberate conceptual strategy , one that emulates, in the most Warholian

surrounding region. It was in these—mostly now defunct—summer resorts

fashion, how mass culture operates.

that a specific form of comedy strengthened and grew. The impact of the

Spector, p. 39

comedians performing at these resorts during this time has resonated throughout the decades pervading more than the contemporary comedic landscape but extending and breaking through the boundaries of the realm of fine art.

FLORIAN MAIER-AICHEN b. 1973 Above June Lake, 2005 C-print in artist’s frame. 86 x 72 1/4 in. (218.4 x 183.5 cm). This work is from an edition of six plus two artist’s proofs.

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0 provenance Blum & Poe, Los Angeles exhibited New York, 303 Gallery, Florian Maier-Aichen, January 14 – February 25, 2006

(another example exhibited); Los Angeles, Blum & Poe, Florian Maier-Aichen, January 21 – February 25, 2006 (another example exhibited); London, Royal Academy of Arts, USA Today, October 6 – November 4, 2006 (another example exhibited); St. Petersburg, The State Hermitage Museum, USA Today, October 24, 2007 – January 13, 2008 (another example exhibited) literature P. Eleey, “Florian Maier-Aichen,” Frieze, Milan, May 2006; Royal Academy of

Arts, ed., USA Today, London, 2006, p. 234 (illustrated); The State Hermitage Museum, ed., USA Today, St Petersburg, 2007, p. 90 (illustrated); J. Tumler, “Outside the Frame: Florian Maier-Aichen,” Aperture, New York, Summer 2007, p. 50

I have always been interested in the making of things. Most products and materials conceal their process of manufacture. It’s the same with photography, which turned from a discipline that was subject to the mastery of the few (alchemists) into a readily available industrial mass product, too transparent and too technical. Florian Maier-Aichen in Gagosian Gallery Press Release Based in both Germany and California, Florian Maier-Aichen reinvents the tradition of landscape photography. Demonstrated in Above June Lake, Maier–Aichen chooses to shoot the aerial view of the historical village and resort town in the Eastern Mountains of Mono County, CA, which surrounds itself by national forests, ski slopes and lakes. The famous looped valley was formed by glacial actions which ran in two directions; one creating the rush creek canyon and the other into the volcanic area of the Mono Craters. In this work Maier–Aichen takes landscape as a subject matter further by using a unique type of infrared film which saturates what would be normally seen as greens in the landscape to a color of blood red appearing similar to the organic insides of a human body. Maier-Aichen’s use of manipulation in this landscape brings out the rawness of the natural landscape emphasizing the spots of lakes, glaciers, rocks and snowy ski slopes. The viewer gains a new understanding of the organic forms with thoughts of what this particular landscape may have been 5 million years ago before the glacial actions took to forming it to what it is today. Through conceptualism and creative process of pictorial manipulation, Maier- Aichen combines the past and present into his own rendition of this unique topographical landscape.

MARC NEWSON b. 1963 “Event Horizon Table,” 1992 Polished aluminum, enameled aluminum. 31 1/2 x 70 5/8 x 38 in. (80 x 179.4 x 96.5 cm). Produced by POD Edition, UK. Artist’s proof number two of three for the edition of ten. Edge of top impressed with “MARC NEWSON EDITION EVENT HORIZON 1992” and Pod logo. This is the only example produced with a blue interior.

Estimate $ 2 5 0 , 0 0 0 - 3 5 0 , 0 0 0 provenance Galerie kreo, Paris literature Domus, September 1992, pp. 67-69; Yvònne G.J.M. Joris, ed., Ron Arad, Gijs

Bakker, Jasper Morrison, Marc Newson, Bruno Ninaber van Eyben, Benno Premsela: Design for Cor Unum Ceramics, exh. cat., Museum het Kruithuis, 1993, p. 41; Phil Starling, “An Australian in Paris,” Blueprint, February 1994, front cover and p. 31; Jean Bond Rafferty, ”Making Waves,” Harper’s Bazaar, April 1994, p. 140; Volker Albus and Volker Fischer, 13 Nach Memphis: Design Zwichen Askese und Sinnlichkeit, Munich, 1995, p. 127; Alice Rawsthorn, “Marc Newson,” The International Design Magazine, January/February 1996, p. 70; Akiko Bush, “George Nelson Design Awards 1999,” Interiors, May 1999, p. 95; Alice Rawsthorn, Marc Newson, London, 1999, pp. 64-69 and 213; Claire Fayolle, “Marc Newson: Á Fond La Forme,” Beaux Arts Magazine, June 2000, p. 55; Anne Watson, “Marc Newson: Design Works,” Powerline, Spring 2001, p. 5; Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 150, 157 and 170-171; Louise Neri, ed., Marc Newson, exh. cat., Gagosian Gallery, New York, 2007, p. 64

The “Event Horizon” table will be included as “MN - 13EHTR-1992” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris. Phillips de Pury & Company would like to thank Marc Newson and Didier Krzentowski for their assistance in cataloging this lot.

An event horizon is the verge of a black hole, a point of no return from which

In the catalog accompanying Newson’s 2007 solo show at Gagosian Gallery,

light, matter, and radiation cannot escape. But approach is also impossible,

curator Louise Neri wrote: “Across his protean output, Newson has been

for the horizon recedes, always out of reach. Two of Marc Newson’s early

preoccupied with how to achieve a maximum sense of volume with the least

tables, “Black Hole” (1988) and “Event Horizon” (1992), directly address the

amount of material (or mass) possible, thereby creating space as a grand

designer’s abiding interest in outer space, and inner space too. The partially

illusion of that volume.” Compact and dense, a black hole’s extreme mass

hollow legs of each table, like funnels, are conceptual renderings of black

creates a gravitational pull from which even light can’t escape—a heavy

holes. “Both my sculptural work and the production furniture have always had

notion. Newson molded his table from aluminum, an everyday material whose

as much to do with what is not there as what is there—the voids, the interior

lightness adds unexpected contradiction. “Event Horizon” is distinct and

spaces, the things that you don’t see.” Newson manifests the conundrums

viewable, not vast and unknowable like the wooly idea it represents. Newson

of the universe through earthly materials, carbon fiber and aluminum in the

doesn’t conjecture, he builds.

case of those early tables. He renders the remote vagaries of the cosmos as accessible local objects and platforms for daily life.

TAKASHI MURAKAMI b. 1963 PO + KU Surrealism Mr. DOB –Yellow, Green, Blue, Purple, Pink, 1998 Acrylic on canvas mounted on board in five parts. 25 1/2 x 19 5/8 in. (64.8 x 49.8 cm) each. Signed and dated “Takashi ‘98” on the reverse of each panel.

Estimate $70 0 , 0 0 0 -1, 0 0 0 , 0 0 0 provenance Tomio Koyama Gallery, Tokyo; MB Financial Bank, Chicago; Marianne

Boesky Gallery, New York; Private Collection, Miami exhibited Warsaw, Centre for Contemporary Art, Ujazdowski Castle, GENDAI Japanese

Contemporary Art, Between the Body and Space, October – December 2000; Tokyo, Museum of Contemporary Art, Summon monsters? Open the door? heal? or die?, August - November 2001; Budapest, Ludwig Museum and Moscow Museum of Modern Art, Kokoro no Arika, Location of the Spirit: Contemporary Japanese Art, December 2003 – March 2004; Los Angeles, The Museum of Contemporary Art at The Geffen Contemporary, October 29, 2007 – February 11, 2008; Brooklyn Museum of Art, April 4 – July 13, 2008; Frankfurt, Museum für Moderne Kunst, September – December 2008; and Bilbao, Guggenheim Museum, February – May 2009, ©Murakami literature P. Schimmel, © Murakami, New York, 2007, pp. 212-213, 302 (illustrated)

Since the beginning, DOB has been a unique alibi for Murakami and his talent for

Broken into five chromatic canvases the present lot resembles the stylistic,

branding. The dada-like phrase “dobozite dobozite oshamanbe,” from silly gags

dramatic and often fragmented paneling found in manga comic books. Each

found in early 1970s Japanese manga combined with the famous gag by comedian

canvas features a series of fragmented and distorted Mr. DOB’s transformed

Toru Yuri, was conceived as a signboard and then condensed into the three-letter

from his usual cute, saccharine smiley and wholly innocent self into an

DOB to form a trademark pop character. With a large round O-shape face and

unsettling, crazy multi-eyed character full of razor sharp teeth. This surrealist

ears bearing the Letters D or B, DOB straddles two sources of inspiration – the

transformation highlights Mr. DOB’s, and ultimately Murakami’s often

Sega mascot Sonic the Hedgehog and Doraemon, the intelligent and endearing

confounding, and sometimes ironic, antagonist/protagonist relationship

Japanese cat-like robot from the future – yet its identity remains as evasive as the

with commercialized characters and consumer consumption. Mr. DOB’s

nonsensical phrase from which it was conceived. While DOB’s origins as a product

monstrous transformation becomes a direct correlation to one’s own impulse

of language rather than commodity imagery has been a site of investigation more

towards excessive consumption and the resultant frenzy thereof when left

recently, what is also at stake is how DOB symbolically operates as an agent

unchecked and unrestrained.

of consumption in Murakami’s lexicon: [1] an anonymous and malleable icon produced as a marketable brand, and [2] and abstract and fleeting morphing

Akin to the Cheshire cat in Lewis Carroll’s Alice in Wonderland Mr. DOB is

like-form representative of our endless desire to consume.

an intrinsically vexing character of youthful innocence confronted with

M. Yoshitake, “The Meaning of the Nonsense of Excess,” ©Murakami,

malignant, cunning mischievousness. “It is this ‘cuteness’ as a panacea –

Los Angeles and New York, 2007, p.123-124

or is it a placebo? – that Murakami plays with in his characters inspired by Japanese animation, comic, books and toy models, sometimes in a friendly

As Amada Cruz notes in her essay, DOB in the Land of Otaku, “DOB does

way, sometimes in a smirking bully. With DOB…he feeds then subverts our

not promote any product, except perhaps Murakami. DOB is a disengaged

expectations for their established identities through unconventional pairings,

signifier, an ever changing symbol of all the other artificially constructed

contortions of their form, or sinister mood shifts, reminding us that, in reality

characters that sell merchandise.”(A. Cruz, “DOB in the Land of Otaku,”

as well as fantasy, cute, sentimental playfulness can easily be turned into

Takashi Murakami: The Meaning of the Nonsense of the Meaning, New York,

something quite different.”(D. Friis-Hansen, “About “Japan” Itself,” Takashi

1999, p.17)

Murakami: The Meaning of the Nonsense of the Meaning, New York, 1999, p. 35)

JOHN BALDESSARI b. 1931 Pink Pig, 2305 Highland Ave., National City, Calif., 1996 Acrylic and ink-jet on canvas. 58 3/4 x 44 5/8 in. (149.2 x 113.3 cm).

Estimate $ 4 0 0 , 0 0 0 - 6 0 0 , 0 0 0 provenance Galerie Philomene Magers, Munich; Private collection, London; Private

collection, New York exhibited San Diego, Museum of Contemporary Art, John Baldessari: National City,

March 10 – June 30, 1996; New York, Sonnabend Gallery, John Baldessari: National City Part Two —1996, 1997; Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Palazzo delle Albere, John Baldessari, December 15, 2000 – March 11, 2001 literature H. M. Davies and A. Hales, eds., John Baldessari: National City, New York,

1996, p. 72 (illustrated); G. Belli, M. Cranston, D. Diederichsen, and T. Weski, John Baldessari, Milan, 2000, no. 24, p. 104 (illustrated)

From 1966-1969 John Baldessari created the series of photo-text works which catapulted him into the international art rostrum. These works portrayed images of National City, California whilst driving, an oblique reference to America’s time-honored favorite pastime—taken from askew and often blurred by the movement of the car, the photographs become opaque renderings of American culture and commerce. Baldessari used photo emulsion to transfer the images onto canvas and the text then was painted on by professional sign painters he hired. In the entire process, the artist obliterated his own hand, creating along the way a unique conceptual approach that combines photography, art, and the Southern California culture he witnessed. Thirty years after this series originated, the Museum of Contemporary Art in San Diego invited the artist to revisit these seminal works. Baldessari accepted and Pink Pig, 2305 Highland Ave., National City, Calif., 1996 derives from his reinvestigation. In all, eleven more works were created including the present lot in a fashion updated to reflect contemporary standards and changes in perception. According to the artist, color was necessary as our society would not accept the black and white images as critical reflections, thus ink-jet prints replaced the earlier method. For Baldessari, this series is more than just homage to the Southern California landscape and his approach to Conceptual art. Born in National City in 1931, the photo-texts reference the locales he knew and loved, but above that Baldessari, in his well-documented Cremation Project on July 24, 1970, destroyed all work prior to beginning the 1966 National City pieces. For him, all work began with this series, and Pink Pig, 2305 Highland Ave., National City, Calif. represents his highest achievements to this end.

WALTON FORD b. 1960 Loss of the Lisbon Rhinoceros, 2008 Watercolor, gouache, ink and pencil on paper in three parts. Left panel: 95 3/8 x 39 3/4 in. (242.3 x 101 cm); center panel: 95 3/8 x 60 in. (242.3 x 152.4 cm); right panel: 95 3/8 x 40 in. (242.3 x 101.6 cm). Initialed “W.F.” lower right.

Estimate $ 5 5 0 , 0 0 0 -75 0 , 0 0 0 provenance Paul Kasmin Gallery, New York exhibited New York, Paul Kasmin Gallery, Walton Ford, May 8 – July 3, 2008 literature D. Cohen, “Back to Basics,” The New York Sun, May 22, 2008; D. Colman,

“Jokers from the Family Album,” The New York Times, New York, June 8, 2008; J. Panero, ”Gallery Chronicle,” The New Criterion, London, June 2008, p. 53; A. Kurian, “Interview with Walton Ford,” Whitehot Magazine, July 2008 (illustrated);W. Ford, “Loss of the Lisbon Rhinoceros,” Harper’s Magazine, New York, August 2008, p. 57 (illustrated); H. Werner Holzwarth, “Walton Ford,” Art Now Vol. 3, Cologne, 2008, p. 171 (illustrated); C. Tomkins, “Man and Beast: Interview with American painter Walton Ford,” The New Yorker, New York, January 26, 2009; B. Taschen, ed., Walton Ford: Pancha Tantra, Cologne, 2009, pp.294-295 (illustrated)

times of the Romans. Such an exotic and rare gift would certainly have curried the favor of the Pope, however the gift would unfortunately never reach its destination. The ship with the rhinoceros was caught in a storm and sank off the coast of Genoa. The rhinoceros, by accounts of survivors, was chained to the deck of the ship and drowned when the vessel sank. Accounts of the exotic creature in the Portuguese Royal Court and its story made their way to Nuremburg where Albrecht Dürer used the descriptions of the beast to create his famous woodcut of the rhinoceros in 1515. Dürer’s rendering was anatomically incorrect with plates or “armor” more indicative of a crustacean than a mammal. Dürer’s Rhinoceros, although completely incorrect in its depiction, would go on to become the accepted representation of the animal until the mid 1700’s. What Ford has done with his Loss of the Lisbon Rhino is combine the story of the ill-fated voyage of the rhino with Dürer’s account, creating a visual reference that had not yet been explored in history. He describes the experience with this painting as: Albrecht Durer Rhinoceros, 1515

It’s quite beautifully imagined—there are particulars that are real to a rhino, Carving out a truly unique niche within the Contemporary Art World, Walton

but it also looks kind of like a crustacean or a crab, which is really apt since this

Ford has forged a path of the entrepreneur artist that is markedly different

thing drowned. So the moment of transformation, where this animal goes from

from that of other Contemporary Artists such as Jeff Koons and Damien

an actual animal to being transformed into an icon that for 300 years people drew

Hirst. All three men are creating works that are informed by the world around

and believed to be a rhino, is the moment I painted. So here he’s dying, but he’ll

them however Walton Ford has found his inspiration not in what one can

be reborn from the ocean as this armored crustacean, and really live for another

considered to be popular culture but an inspiration drawn from natural world

thousand years as this transmogrified creature.

around us and how we perceive it.

Walton Ford in A. Kurian Whitehot Magazine, July 2008.

…what I’m doing is a sort of cultural history of the way animals live in the

It is with his own visual investigation and interpretation of the Natural world

human imagination.

and our “cultural history of our relationship with animals” that Ford

Walton Ford in C. Tomkins “Man as Beast,” The New Yorker, New York,

continues to challenge what we – the viewer- have come to accept as

January 26, 2009

Contemporary Art.

Rendered nearly life-sized with meticulous realism in watercolor and outshining the early 19th Century naturalists that Ford has drawn inspiration from, Loss of the Lisbon Rhino, 2008, perfectly embodies this statement. The painting captures a moment in time that had not been visually recorded to date. It becomes as Ford states “… a comment on the way we impose our culture on the natural world, but without it being dogmatic in message.” (Walton Ford in A Kurian Whitehot Magazine, July 2008.) In 1515 King Manuel I of Portugal had made the decision to send an Indian Rhinoceros to Rome to win the favor of the Medici Pope, Leo X. The Rhinoceros had originally been a diplomatic gift from a sultan to King Manuel I. A the time a Rhinoceros had not been seen in Europe since the

Giovanni Giacomo Penni, The form, nature and customs of the rhinoceros taken to Portugal by the captain of the King’s fleet, 1515

DIEGO GIACOMETTI 1902-1985 “Hommage à Böcklin” console, ca. 1978 Patinated bronze, glass, gilt bronze. 35 1/2 x 47 7/8 x 13 1/4 in. (90.2 x 121.6 x 33.7 cm).

Estimate $15 0 , 0 0 0 - 2 0 0 , 0 0 0 provenance Acquired directly from the artist; Christie’s, Art Impressionniste et Moderne,

Paris, May 23, 2007, Lot 128; L’Arc en Seine, Paris literature Michel Butor, Diego Giacometti, Paris, 1985, p. 33 for similar decorative tree

motifs; Daniel Marchesseau, Diego Giacometti, Paris, 1986, p. 92

Is that the sun setting below trees or the moon rising through them?

symbolist painter Arnold Böcklin (1827-1901), whose dreamlike landscapes

Regardless, it’s a crepuscular scene: the transition to dusk. Four cypresses

and voluptuous allegories seethe with mystery and dread. In Böcklin’s

catch the eye, but an owl enlivens at left, subverting their certainty—and

famous “Island of the Dead (Die Toteninsel),” painted in five versions

ours. Although fixed in bronze, the bronze furniture of Swiss sculptor Diego

between 1880 and 1886, a shrouded widow in a boat bears her husband’s

Giacometti is never fixed; it moves from the memory of his hand, always

coffin across a dark strait; his tomb yawns on a distant outcrop sheltered

evident along his trembling silhouettes and in the molded ornaments

by cypresses.

animating them: birds in flight; mice nibbling cheese; horses stretching necks; budding leaves.

As Frances Osgood reminds us, “The cypress is the universal emblem of mourning…” (New York, 1848, p. 161). Cypress and owl herald the night—

“The mournful cypress rises round / Tapering from the burial-ground,” wrote

but it’s not yet dark. The carcass of Giacometti’s table, like an austere rock

the Roman poet Lucan two thousand years ago (Frances Osgood ed., The

formation, holds in its precincts irrepressible life: a bower of trees, the heart

Poetry of Flowers, New York, 1848, p. 161). Around 1978, as he approached

of the sun, and everywhere the warbling hand of the artist.

his own twilight, Giacometti cast “Hommage à Böcklin” in tribute to Swiss

Arnold Böcklin, Island of the Dead, 1883. Oil on wood. 31 1/2 x 59 in (80 x 150 cm). Courtesy Erich Lessing/Art Resource, NY.

ED RUSCHA b. 1937 Long, Stormy, 1995 Acrylic on canvas. 20 x 159 in. (50.8 x 403.9 cm). Signed and dated “Ed Ruscha 1995” on the reverse. This work will be included in Edward Ruscha: Catalogue Raisonné of the Paintings, Volume 5: 1993-1997, edited by Robert Dean and Lisa Turvey (forthcoming, 2010)

Estimate $ 8 0 0 , 0 0 0 -1, 2 0 0 , 0 0 0 provenance Leo Castelli, New York; Gagosian Gallery, New York; Private collection,

Brookline, Massachusetts; Gagosian Gallery, New York EXHIBITED New York, Leo Castelli Gallery, Anamorphic Paintings, 1995; Denver Art Museum,

Ed Ruscha: The End, 1995; Milwaukee Art Museum, Ed Ruscha: Spaghetti Westerns, 1997; Cambridge, Carpenter Center for the Visual Arts, Harvard University, Landmark Pictures: Ed Ruscha/Andreas Gursky, 2000 LITERATURE L. Wei, “Ed Ruscha at Castelli,” Art in America, 1995, p. 120; Milwaukee Art

Museum, ed., Ed Ruscha: Spaghetti Westerns, Milwaukee, 1997, p. 5 (illustrated)

Ed Ruscha delineates the norm in the present lot, a tantalizing 1995 painting entitled Long, Stormy. Upon first view, the text underlying the title is hidden from first appearance. What presents itself first and foremost instead is Ruscha’s dignified landscape, creating a surreal and tantalizing hybrid of signage and the American west. Ruscha subterfuges the final score of an old Hollywood movie, the words “The End” within his version of the American landscape: “The horizontality is even more extreme in Ruscha’s 1995 ‘Long, Stormy,’ an image of the words ‘The End’ stretched to the breaking point and set against a sullen gray ground, like the finale of a Hollywood film completely distorted,” (C. Temin, “At Harvard, it’s about space carpenter center returns to its purpose- with a twist”, The Boston Globe, July 12, 2000). Within Long, Stormy, Ruscha references the apogee of old-school Hollywood and therefore American film, all within his alluring and text referential manner made famous through his long career of painting words, phrases, and nuances. The English language becomes for him the very material he chooses to use in the form of paint, brush and canvas. Long, Stormy captures Ruscha at his finest: altering the reality with finesse and clever panache.

Notorious, 1946, Alfred Hitchcock

INDEX Baldessari, J. 13, 19 Ford, W. 20 Giacometti, D. 21 Grotjahn, M. 2, 10 Maier-Aichen, F. 3, 16 Murakami, T. 5, 18 Nakashima, G. 11 Newson, M. 4, 6, 14, 17 Perriand, C. 9 Prince, R. 1, 8, 15 Ruscha, E. 7, 12, 22

PAR T II C ON TE MPOR ARY AR T THE

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10 a m

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201

202

201

MARK GROTJAHN b. 1968

202

FLORIAN MAIER-AICHEN b. 1973

Untitled, 2004

The Best General View, 2007

Colored pencil and graphite on paper mounted to panel.

C-print in the artist’s frame. 84 x 70 1/2 in. (213.4 x 179.1 cm). Signed, dated “Florian Maier-

30 x 22 in. (76.2 x 55.9 cm).

Aichen 2007” and numbered of six on a label adhered to the reverse. This work is from an edition of six plus two artist’s proofs.

Estimate $60,000-80,000

Estimate $80,000-120,000

203

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

Estimate $80,000-120,000

Please note: Refer to the Contemporary Art Part II catalogue for complete catalogue entry information. This is a supplement index to the formal catalogue.

204

205

204

TODD EBERLE b. 1963

205

American Flag Millerton, New York, August 2006, 2006

Digital c-print. 49 x 59 1/2 in. (124.5 x 151.1 cm). This work is from an edition of three.

Digital c-print. 59 5/8 x 48 3/4 in. (151.4 x 123.8 cm). This work is from an edition of three.

Estimate $8,000-12,000

206

TODD EBERLE b. 1963

“The Red Rooster” Brewster, New York, August, 2006, 2006

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

Estimate $250,000-350,000

207

ED RUSCHA b. 1937 Three O’Clock, 1975 Gunpowder and pastel on paper. 22 3/4 x 28 3/4 in. (57.8 x 73 cm). Signed and dated “Edward Ruscha 1975” lower right and again on the reverse. This work will be included in the forthcoming volume of Edward Ruscha Catalogue Raisonné of the Works on Paper.

Estimate $150,000-250,000 209

208

DAVID SMITH 1906 - 1965

209

DAVID SMITH 1906 - 1965

Untitled, 1962

Spray enamel on paper. 15 1/2 x 20 1/2 in. (39.4 x 52.1 cm). Stamped with the artist’s estate

Spray enamel on paper. 15 1/2 x 20 1/2 in. (39.4 x 52.1 cm). Stamped with the artist’s

seal and numbered 73.62.181 on the reverse.

estate seal and numbered 73.62.181 on the reverse.

Estimate $50,000-70,000

210

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

Estimate $150,000-250,000

211

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

Estimate $400,000-600,000

212

213

212

GAJIN FUJITA b. 1972

213

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

Spray paint, acrylic, and gold and white gold leaf on 12 wood panels. 60 x 192 in. (152.4 x 487.7 cm)

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

overall. Signed, titled and dated “Gajin Fujita Gold State Warriors 2002” on the reverse.

2007” on the reverse.

Estimate $50,000-70,000

Estimate $30,000-40,000

214

GAJIN FUJITA b. 1972 Gold State Warriors, 2002

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

Estimate $20,000-30,000

215

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

Estimate $20,000-30,000

216

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

Estimate $200,000-300,000

217

218

217

FLORIAN MAIER-AICHEN b. 1973

FLORIAN MAIER-AICHEN b. 1973 Rügenlandschaft (Complaints landscape), 2007

C-print. 43 1/4 x 31 in. (109.9 x 78.7 cm) image size. Signed, dated “Florian Maier-Aichen

C-print. 31 x 64 1/2 in. (78.7 x 163.8 cm). Signed, dated “Florian Maier-Aichen 2007” and

2007” and numbered of six on the reverse. This work is from an edition of six.

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

Estimate $30,000-40,000

Estimate $40,000-60,000

219

218

Untitled, 2007

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

Estimate $250,000-350,000

220

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

Estimate $20,000-30,000

221

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

Estimate $60,000-80,000

221

222

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

Estimate $120,000-180,000

223

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

Estimate $30,000-50,000

224

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

Estimate $30,000-50,000

225

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

Estimate $7,000-9,000

226

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

Estimate $20,000-30,000

227

ED RUSCHA b. 1937 10 Works: Gasoline Stations from Twenty Six Gasoline Stations, 1962/1989 10 gelatin silver prints laid down on board. Each 19 1/2 x 23 in. (49.5 x 58.4 cm) paper size. Each stamped with individual location and numbered of 25 on the reverse. This work is from an edition of 25.

Estimate $80,000-120,000

227

228

229

230

228

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

Estimate $7,000-9,000

229

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

Estimate $7,000-9,000

230

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

Estimate $7,000-9,000

231

DENNIS HOPPER b. 1936

232

Michael Eastman b. 1947

John Wayne and Dean Martin, 1962

Horse #115, 2000

Gelatin silver print. 16 x 24 in. (40.6 x 61 cm). Signed, dated “D. Hopper 1962” and numbered

Inkjet print on paper. 24 1/4 x 44 in. (61.6 x 111.8 cm). Signed, titled “Michael Eastman Horse

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

#115” and numbered of 25 along lower edge; blindstamped “ME 00” in margin. This work is from an edition of 25.

Estimate $7,000-9,000

Estimate $5,000-7,000

232

233

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

Estimate $4,000-6,000

THE

HAL SE Y MINOR C OLLEC TIO N

DESIGN 9

JUNE

2 0 10

NE W YO RK

RONAN AND ERWAN BOUROULLEC

b. 1971, b. 1976

MARTIN SZEKELY

b. 1956

Prototype “Icefield” low table, 2007

Prototype “SiC” mirror, 2006

Gel-coated resin, painted plywood.

Silicon carbide, brushed steel.

7 x 111 x 40 1/2 in. (17.8 x 281.9 x 102.9 cm).

19 3/4 x 10 1/4 x 3/4 in. (50.2 x 26 x 1.9 cm).

Estimate $20,000-30,000

Estimate $ 1 2 , 0 0 0 - 1 8 , 0 0 0

JASPER MORRISON

b. 1959

“Carrara Tables, Variation N° 16 + 1,” 2005 Carrara marble-covered aluminum honeycomb, brushed metal (4). Largest table: 11 x 65 3/4 x 15 1/4 in. (27.9 x 167 x 38.7 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

Please note: Refer to the forthcoming 9 June 2010 Design catalogue for complete catalogue entry information. This index is a supplement to the formal catalogue.

MARC NEWSON

b. 1963

“Pod of Drawers,” 1987 Fiberglass-reinforced polyester resin core, blind-riveted sheet aluminum, rubber coating. 50 3/8 x 27 1/2 x 17 1/4 in. (128 x 69.9 x 43.8 cm).

Estimate $300,000- 500,000

MARC NEWSON

b. 1963

MARC NEWSON

b. 1963

Prototype “Voronoi” shelf, 2006

“Dark Star” table, 1986

Bardiglio marble.

Welded aluminum tread sheet, glass, tubular aluminum, rubber-covered wood.

70 1/4 x 108 3/4 x 14 3/4 in. (178.4 x 276.2 x 37.5 cm).

30 in. (76.2 cm) high, 39 1/4 in. (99.7 cm) diameter.

Estimate $100,000- 150,000

Estimate $ 5 0 , 0 0 0 - 7 0 , 0 0 0

©Morgane Le Gall Courtesy of Galerie Kreo

MARC NEWSON

b. 1963

JASPER MORRISON

b. 1959

Conference table and eight “Komed” chairs, 1990s

“Museum Pieces, Cabinet A,” 2006

Table: coated fiberglass, painted tubular steel; each chair: vinyl, painted tubular steel (9).

Resin, oak, Securit glass.

Table: 33 x 152 1/2 x 45 1/4 in. (83.8 x 387.4 x 114.9 cm); each chair: 34 1/4 in. (87 cm) high.

73 1/8 x 36 5/8 x 15 3/4 in. (185.7 x 93 x 40 cm).

Estimate $60,000-80,000

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

MARC NEWSON

b. 1963

Rare and early “Insect” adjustable armchair, ca. 1986

“Gello” table, ca. 1994

Vinyl, painted tubular metal, plastic, steel.

Colored plastic, Perspex.

30 in. (76.2 cm) high.

19 in. (48.3 cm) high; 23 1/2 in. (59.7 cm) diameter.

Estimate $30,000-50,000

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

MARC NEWSON

b. 1963

MARC NEWSON

b. 1963

“Embryo” chair, ca. 1999

“Super Guppy” floor lamp, ca. 1987

Neoprene, brushed tubular aluminum.

Tubular aluminum, aluminum, molded glass.

31 1/2 in. (80 cm) high.

72 in. (182.9 cm) high.

Estimate $3,000-5,000

Estimate $ 1 0 , 0 0 0 - 1 5 , 0 0 0

MARC NEWSON

b. 1963

“Event Horizon Table,” 1992 Enameled aluminum, polished aluminum. 31 1/2 x 70 5/8 x 38 in. (80 x 179.4 x 96.5 cm).

Estimate $ 2 5 0 , 0 0 0 - 3 5 0 , 0 0 0

CHARLOTTE PERRIAND

1903-1999

“Bibliothèque Asymetrique,” ca. 1958 Ash-veneered wood, painted bent aluminum. 48 x 126 x 13 in. (121.9 x 320 x 33 cm).

Estimate $50,000-70,000

MARC NEWSON

b. 1963

“Black Hole” table, ca. 2006 Carbon fiber. 28 1/4 x 97 7/8 x 40 in. (71.8 x 248.6 x 101.6 cm).

Estimate $80,000-120,000

MARC NEWSON

b. 1963

Prototype “Micarta” desk, 2006 Linen phenolic composite. 29 3/8 x 101 x 37 5/8 in. (74.6 x 256.5 x 95.6 cm).

Estimate $ 1 5 0 , 0 0 0 - 2 0 0 , 0 0 0

ISAMU NOGUCHI

1904-1988

JASPER MORRISON

b. 1959

“Pierced Table,” 1982

“Handlebar” table, 1983

Hot-dipped galvanized steel.

Beech, bicycle handlebars, glass.

21 7/8 x 36 3/4 x 36 1/4 in. (55.6 x 93.3 x 92.1 cm).

25 3/8 in. (64.5 cm) high, 23 in. (58.4 cm) diameter

Estimate $50,000-70,000

Estimate $ 1 2 , 0 0 0 - 1 8 , 0 0 0

PAUL DUPRÉ-LAFON

1900-1971

Writing cabinet, ca. 1940 Leather-covered wood, macassar ebony-veneered wood, wood, gilt bronze. 30 1/2 x 43 x 20 1/4 in. (77.5 x 109.2 x 51.4 cm).

Estimate $ 1 0 0 , 0 0 0 - 1 5 0 , 0 0 0

PAUL DUPRÉ-LAFON

1900-1971

Pair of side tables, ca. 1935 Wrought iron, leather, macassar ebony (2). Each: 21 x 20 3/4 x 20 3/4 in. (53.3 x 52.7 x 52.7 cm).

Estimate $30,000-40,000

PAUL DUPRÉ-LAFON

1900-1971

Large four-seater sofa, ca. 1929 Leather, fabric, nickel-plated metal-covered wood. 29 1/2 x 119 1/2 x 42 1/4 in. (74.9 x 303.5 x 107.3 cm).

Estimate $70,000-9 0,000

PAUL DUPRÉ-LAFON

1900-1971

Low table, ca. 1940 Patinated iron, cork, limed oak. 14 1/4 x 47 1/2 x 41 1/2 in. (36.2 x 120.7 x 105.4 cm).

Estimate $ 1 5 0 , 0 0 0 - 2 0 0 , 0 0 0

JEAN ROYÈRE

1902-1981

DIEGO GIACOMETTI

1902-1985

Mirror, ca. 1955

“Coupelle à L’Oiseau,” ca. 1978

Gilt iron, mirrored glass.

Patinated bronze.

37 1/2 x 25 1/2 x 5 1/4 in. (95.3 x 64.8 x 13.3 cm).

3 3/4 x 6 3/4 x 5 in. (9.5 x 17.1 x 12.7 cm).

Estimate $10,000-15,000

Estimate $ 1 2 , 0 0 0 - 1 8 , 0 0 0

PAUL DUPRÉ-LAFON

1900-1971

Pair of armchairs, ca. 1929 Fabric, nickel-plated metal-covered wood (2). Each: 22 in. (55.9 cm) high

Estimate $35,000-45,000

JEAN ROYÈRE

1902-1981

Low side table, ca. 1950 Gilt iron, glass. 11 1/2 x 24 x 12 in. (29.2 x 61 x 30.5 cm).

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0

PAUL DUPRÉ-LAFON

1900-1971

Valet, ca. 1935 Painted mahogany, leather-covered wood, bronze. 54 1/4 x 22 x 17 1/2 in. (137.8 x 55.9 x 44.5 cm).

Estimate $10,000-1 5,000

DESIGN

INCLUDING THE HALSEY MINOR COLLECTION

AUCTION 9 JUNE 2010 Viewing 1 – 9 JUNE

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com JEAN ROYÈRE Rare and important “Salon Sculpture” sofa and pair of chairs, ca. 1955 Estimate $180,000-200,000

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Proof of identity in the form of government issued identification will be required, as will an

Catalogue Subscriptions

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

If you would like to purchase a catalogue for this auction or any other Phillips de Pury

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

& Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses.

Pre-Sale Estimates

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

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

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

and low estimate range should, in our opinion, offer a chance of success. However, many lots

registration desk.

achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us

Bidding by Telephone

closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do

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

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

lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may

Pre-Sale Estimates in Pounds Sterling and Euros

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

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

We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable

may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time

taxes, which we can execute on your behalf in the event we are unable to reach you by

of catalogue production and not at the date of auction, you should treat estimates in pounds

telephone.

sterling or euros as a guide only. Absentee Bids Catalogue Entries

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

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

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

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

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

are careful in the cataloguing process, provenance, exhibition and literature references may

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

not be exhaustive and in some cases we may intentionally refrain from disclosing the identity

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

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

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

entry are approximate.

Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

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

Employee Bidding

prints). Such references, though, do not amount to a full description of condition. The absence

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

of reference to the condition of a lot in the catalogue entry does not imply that the lot is free

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

from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company

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

may provide condition reports. In preparing such reports, our specialists assess the condition

procedures.

in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff

Bidding Increments

are not professional restorers or trained conservators. We therefore encourage all prospective

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

buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in

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

the case of any lot of significant value, that you retain your own restorer or professional

set below may be lowered to the next bidding increment.

advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property

$50 to $1,000

by $50s

is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed,

$1,000 to $2,000

by $100s

Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot

$2,000 to $3,000

by $200s

unframed, we will be pleased to refer the purchaser to a professional framer.

$3,000 to $5,000

by $200s, 500, 800

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

Pre-Auction Viewing

$5,000 to $10,000

by $500s

Pre-auction viewings are open to the public and free of charge. Our specialists are available

$10,000 to $20,000

by $1,000s

to give advice and condition reports at viewings or by appointment.

$20,000 to $30,000

by $2,000s

$30,000 to $50,000

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

Electrical and Mechanical Lots

$50,000 to $100,000

by $5,000s

All lots with electrical and/or mechanical features are sold on the basis of their decorative

$100,000 to $200,000

by $10,000s

value only and should not be assumed to be operative. It is essential that, prior to any intended

above $200,000

auctioneer’s discretion

use, the electrical system is verified and approved by a qualified electrician. The auctioneer may vary the increments during the course of the auction at his or her own Symbol Key

discretion.

The following key explains the symbols you may see inside this catalogue. 3 THE AUCTION O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may

Conditions of Sale

be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party.

As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty.

Phillips de Pury & Company and third parties providing or participating in a guarantee may

All prospective bidders should read them carefully. They may be amended by saleroom

benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not

addendum or auctioneer’s announcement.

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

Interested Parties Announcement

bidder.

In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party

providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. 4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy an administrative fee of $35, a storage fee of $5 per day and a pro rated Insurance charge of 0.1% of the purchase price per month. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

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

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

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

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

bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury

Warranty carefully before bidding.

& Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer.

1 INTRODUCTION

Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

recording of the conversation.

and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue

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

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

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

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

(a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting

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

as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so

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

changed or supplemented, and Authorship Warranty. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

& Company to prospective buyers. While we undertake to exercise reasonable care in

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

undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this

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

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

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

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

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

financial interest in a lot as a secured creditor or otherwise.

procedures.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

5 CONDUCT OF THE AUCTION

•

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

(a) Unless otherwise indicated by the symbol

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

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

condition that they are in at the time of the sale on the following basis.

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

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a

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

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

and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge

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

each lot is offered subject to a reserve, which

this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing,

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

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

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

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

and in light of (i) the information provided to us by the seller, (ii) scholarship and technical

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

knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in

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

pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly,

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on

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

the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior

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

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

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

of its description.

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,”

prepare and provide condition reports to assist prospective buyers when they are inspecting

“returned to owner” or “bought-in.”

lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly

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

referred to in the catalogue or condition report. All dimensions are approximate. Illustrations

and Authorship Warranty as if sold in the auction.

are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots.

6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium

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

and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer

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

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

commentary or valuation, is not a representation of fact but rather a statement of opinion held

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

by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury

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

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

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

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

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

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

US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

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

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

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

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

permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows:

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

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

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

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

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

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

Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum

weekday business hours.

amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does

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

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

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

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

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

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

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

received will take precedence.

at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

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

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

transfer details:

recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable

Citibank

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

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

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

ABA Routing: 021 000 089

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

For the account of Phillips de Pury & Company LLC

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

Account no.: 58347736

any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as

Please reference the relevant sale and lot number.

the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default

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

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

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

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

release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s

unconditional obligation to pay the Purchase Price.

also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the

7 COLLECTION OF PROPERTY

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

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

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

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including

10 Rescission by Phillips de Pury & Company

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

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

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

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

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

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

foregoing conditions, and no later than five days after the conclusion of the auction, he or she

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

should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

collection of purchased property.

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th

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

Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury

11 Export, Import and Endangered Species Licenses and Permits

& Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand

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

carry back to our premises at 450 West 15th Street, New York, New York for collection within

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

30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the

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

responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five

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

days after the auction. Until risk passes, Phillips de Pury & Company will compensate the

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

buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid,

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

subject to our usual exclusions for loss or damage to property.

familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary

export, import and endangered species licenses or permits. Failure to obtain a license or

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

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

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

full payment for the lot.

order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and

12 Client Information

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

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

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

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

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

personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as

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

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

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

it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If

8 FAILURE TO COLLECT PURCHASES

you would like further information on our policies on personal data or wish to make corrections

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

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

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

details of future events please call the above number.

rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer

13 Limitation of Liability

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

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

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

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

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

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

outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within

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

two years of the original auction.

of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or

9 REMEDIES FOR NON-PAYMENT

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

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

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

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

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

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

relating to the sale of any lot.

following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii)

cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated

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

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

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

deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer,

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

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

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

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

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

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

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

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

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

to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot

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

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

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

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

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

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

injury caused by our negligent acts or omissions.

AUTHORSHIP WARRANTY 14 Copyright

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

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

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

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

and limitations set forth below.

at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury

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

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

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

acquire any copyright or other reproduction rights in it.

extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created

15 General

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

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

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

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

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

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

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

or implied understandings, representations and agreements.

property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property

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

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

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

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

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

time deemed unreasonably expensive or impractical to use.

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

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

but are binding on the buyer’s successors, assigns and representatives.

provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced

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

by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury

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

& Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the

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

buyer the reasonable costs charged by the experts commissioned by the buyer and approved in

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

advance by us.

16 Law and Jurisdiction

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

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

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

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

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

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

York, excluding its conflicts of law rules.

included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the

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

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

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

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

courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale

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

and Authorship Warranty relate or apply.

Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips

de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other

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

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

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

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

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

expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

phillips de pury & company

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Rodman Primack

Lady Elena Foster

Olivier Vrankenne

H.I.H. Francesca von Habsburg

Chief Executive Officer Bernd Runge

Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

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

International Specialists

Berlin Brussels Buenos Aires

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva

Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

London

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

Los Angeles Milan Moscow Shanghai/Beijing Singapore Zurich/Israel

Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771 Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805 Chin-Chin Yap, Specialist, Contemporary Art +1 347 784 6916 Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

General Counsel

Managing Directors

Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORLDWIDE OFFICES NEW YORK

PARIS

GENEVA

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

15 rue de la Paix, 75002 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

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

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

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

LONDON

BERLIN

Howick Place, London SW1P 1BB, United Kingdom

Auguststrasse 19, 10117 Berlin, Germany

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

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

SPECIALISTs AND DEPARTMENTS

CONTEMPORARY ART Michael McGinnis, Senior Director

MODERN AND CONTEMPORARY EDITIONS

+1 212 940 1254

New York

and Worldwide Head, Contemporary Art

Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Jannah Greenblatt

+1 212 940 1332

Joy Deibert

+1 212 940 1333

New York Aileen Agopian, New York Director

+1 212 940 1255

Roxana Bruno

+1 212 940 1229

Sarah Mudge, Head of Part II

+1 212 940 1259

Rodman Primack

+1 212 940 1256

Jean-Michel Placent

+1 212 940 1263

Timothy Malyk

+1 212 940 1258

Jeremy Goldsmith

+1 212 940 1253

PHOTOGRAPHS New York Vanessa Kramer, New York Director

+1 212 940 1243

Shlomi Rabi

+1 212 940 1246

Caroline Shea

+1 212 940 1247

Sara Davidson

+1 212 940 1262

Maria Bueno

+1 212 940 1261

Carol Ehlers, Consultant

+1 212 940 1245

Alexandra Leive

+1 212 940 1252

Sarah Krueger

+1 212 940 1245

Peter Flores

+1 212 940 1223

(Uli) Zhiheng Huang Sarah Stein-Sapir

+1 212 940 1288

LONDON

+1 212 940 1303

(Administrative Assistant to Michael McGinnis)

Lou Proud

+44 20 7318 4018

Sebastien Montabonel

+44 20 7318 4025

Alexandra Bibby

+44 20 7318 4087

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

Sarah Buchwald

+44 20 7318 4085

Catherine Higgs

+44 20 7318 4089

George O’Dell

+44 20 7318 4093

Raphael Lepine

+44 20 7318 4078

Tanya Tikhnenko

+44 20 7318 4065

Phillippa Willison

+44 20 7318 4070

+44 20 7318 4092

Emma Lewis

+44 20 7318 4092

JEWELRY +1 212 940 1283

New York Carmela Manoli

+1 212 940 1302

Emily Bangert

+1 212 940 1365

Heather Zises

+1 212 940 1290

GENEVA

+ 33 1 42 78 67 77

Carolin Bulgari

+41 22 906 80 00

Veronica Lota

+41 22 906 80 00

LONDON

DESIGN Alexander Payne, Worldwide Director

+44 20 7318 4087

Helen Hayman

Nazgol Jahan, Worldwide Director

PARIS Edouard de Moussac

Rita Almeida Freitas

Lane McLean

+44 20 7318 4052

New York

+44 20 7318 4032

THEME SALES

Alex Heminway, New York Director

+1 212 940 1269

Tara DeWitt

+1 212 940 1265

Corey Barr, New York Manager

+1 212 940 1234

Meaghan Roddy

+1 212 940 1266

Steve Agin, Consultant

+1 908 475 1796

Marcus Tremonto

+1 212 940 1268

Anne Huntington

+1 212 940 1210

Alexandra Gilbert

+1 212 940 1268

Stephanie Max

+1 212 940 1301

New York

LONDON

LONDON Domenico Raimondo

+44 20 7318 4016

Ellen Stelter

+44 20 7318 4021

Ben Williams

+44 20 7318 4027

Marcus McDonald

+44 20 7318 4014

Marine Hartogs

+44 20 7318 4021

Tobias Sirtl, London Manager

+44 20 7318 4095

Henry Highley

+44 20 7318 4061

Arianna Jacobs

+44 20 7318 4054

Siobhan O’Connor

+44 20 7318 4040

Private sales New York

PARIS Johanna Frydman

editorial Karen Wright, Senior Editor Iggy Cortez, Assistant to the Editor

Andrea Hill

+33 1 42 78 67 77

art and production Fiona Hayes, Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager London Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager

+1 212 940 1238

Marketing NEW YORK Trish Walsh, Marketing Manager

SALE INFORMATION

Contemporary art

Auction The Halsey Minor Collection, Thursday 13 May 2010 at 7pm

senior director and Worldwide head

and Friday 14 May 2010 at 10am

Michael McGinnis +1 212 940 1254 Viewing new york Director

Saturday 1 May, 10am – 6pm

Aileen Agopian +1 212 940 1255

Sunday 2 May, 12pm – 6pm Monday 3 May, 10am – 6pm

Specialists

Tuesday 4 May, 10am – 6pm

Roxana Bruno +1 212 940 1229

Wednesday 5 May, 10am – 6pm

Sarah Mudge Head of Part II +1 212 940 1259

Thursday 6 May, 10am – 6pm

Rodman Primack +1 212 940 1256

Friday 7 May, 10am – 6pm

Jean-Michel Placent +1 212 940 1263

Saturday 8 May, 10am – 6pm

Timothy Malyk +1 212 940 1258

Sunday 9 May, 12pm – 6pm

Jeremy Goldsmith +1 212 940 1253

Monday 10 May, 10am – 6pm

Dr. Michaela de Pury Berlin +49 17 289 73611

Tuesday 11 May, 10am – 6pm

Olivier Vrankenne Brussels & Paris +32 486 43 43 44

Wednesday 12 May, 10am – 6pm

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

Thursday 13 May, 10am – 12pm

Henry Allsopp London +44 20 7318 4060 Laetitia Catoir London +44 20 7318 4064

Viewing & Auction Location

Judith Hess London +44 20 7318 4705

450 West 15 Street New York NY 10011

Leonie Moschner London +44 7815 050 461 Ivgenia Naiman London +44 20 7318 4071

Sale Designation

Brooke de Ocampo London +44 777 551 7060

In sending written bids or making enquiries please refer to this

Fiona Biberstein Zurich +41 43 344 86 32

sale as NY010410 or The Halsey Minor Collection.

Katie Kennedy Perez Geneva +41 22 906 8000 Svetlana Marich Moscow +7 495 225 88 22

Photography

Maya McLaughlin Los Angeles +1 323 791 1771

Morten Smidt, Kent Pell, Clint Blowers

Chin-Chin Yap Hong Kong/Singapore +1 212 940 1250 Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804

select design essays Alex Heminway

Cataloguer Part I Sara Davidson +1 212 940 1262

Catalogues Leslie Pitts +1 212 940 1240

Cataloguer Part II

$60/£30 at the Gallery

Alexandra Leive +1 212 940 1252

catalogues@phillipsdepury.com

Administrator Part I

Absentee and Telephone Bids

Peter Flores +1 212 940 1223

Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax Maureen Morrison, Bid Clerk +1 212 940 1228

Administrator Part II

bids@phillipsdepury.com

(Uli) Zhiheng Huang +1 212 940 1288 client accounting Administrative assistant to michael mcginnis

Sylvia Leitao +1 212 940 1231

Sarah Stein-Sapir +1 212 940 1303

Buyers Accounts Nicole Rodriguez +1 212 940 1235

Property Managers

Seller Accounts

Jeffrey Rausch +1 212 940 1367

Barbara Doupal +1 212 940 1232

Barrett Langlinais +1 212 940 1362

Nadia Somwaru +1 212 940 1280 Client Services

DESIGN

+1 212 940 1200

Worldwide Director

Shipping

Alexander Payne London +44 20 7318 4052

Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372

international CONSULTANT Marcus Tremonto +1 212 940 1268 new york Director Alex Heminway +1 212 940 1269 Specialists Tara DeWitt +1 212 940 1265 Meaghan Roddy +1 212 940 1266 Ben Williams London +44 20 7318 4027 Domenico Raimondo London +44 20 7318 4026 Ellen Stelter London +44 20 7318 4021 Johanna Frydman Paris +33 1 42 78 67 77 cataloguer Marcus McDonald London +44 20 7318 4014 Administrators Alexandra Gilbert +1 212 940 1268 Marine Hartogs London +44 20 7318 4021 Property Managers Ferran Martin +1 212 940 1364 Oliver Gottschalk London +44 20 7318 4038

Front Cover Richard Prince, Nurse in Hollywood # 4, 2004, Lot 8 (detail) Back Cover Marc Newson, Prototype “Lockheed Lounge,” 19 8 8, Lot 4

w w w. p h i l l i p s d e p u ry.c o m