Contemporary Art Evening Sale by Phillips de Pury & Co.

E VE NING SALE CON TEMPORARY ART 4

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E VE NING SALE CON TEMPORARY ART 4

MARCH

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LOTS 1- 31

Viewing Tuesday 22 February Ð Saturday 26 February, 10am Ð 6pm Sunday 27 February, 12pm Ð 6pm Monday 28 February Ð Friday 4 March, 10am Ð 6pm

Front Cover Rudolf Stingel, Untitled (After Sam), 2007, Lot 16 (detail) Inside Front Cover Cady Noland, No Title, 1992, Lot 5 (detail) Opposite Page Andy Warhol, Detail of the Last Supper / Be a Somebody with a Body, 1985-1986, Lot 15 (detail) © 2011 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

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1 GUYTON\WALKER b. 1972 and b. 1969 Paint Cans (from Dear Ketel One drinker hello again), 2006 Digital inkjet prints and paint cans (in 12 parts). Overall 30 x 33 x 15 in. (76.2 x 83.8 x 38.1 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Midway Contemporary Art, Minneapolis

KELLEY WALKER It’s almost not a collaboration; it’s like impersonation. We are able to impersonate this character and we can take turns. We can come and go. I think one thing about Guyton/Walker that’s never quite been understood is that sometimes we’re equally engaged in the work and at other times we’re at different distances from it. WADE GUYTON We have very different attention spans at different times. KW Because we also have our separate, individual careers. WG After our recent show at the Baltimore Museum of Art—which was the ﬁrst time we showed works that had been exhibited elsewhere—you said that we killed Guyton/Walker. But I thought it was more like we started taking our meds. It was all a bit more cooperative with the museum and the viewer than usual. KW Well, I think there were ideas we were relying on that were no longer useful, and that was evident. But we are still developing a vocabulary; a consistency arises that continues to be productive for us. WG I think it naturally evolved that way. We didn’t know where things were going. We started with a shared tool—the scanner. Then we incorporated different processes and materials. And what happened was this phenomenon of things cannibalizing themselves: the painting becomes a can, the can becomes a sheet of drywall, the drywall becomes a table, and if you make tables you need to make glassware. It’s spastic. Anytime we start making things, some unexpected idea from left ﬁeld comes in. (Conversation between Wade Guyton and Kelley Walker, ARTFORUM, February 2011, p. 168)

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2 WOLFGANG TILLMANS b. 1968 Freischwimmer 20, 2003 Inkjet print. 72 x 53 3/4 in. (182.9 x 136.5 cm). This work is from an edition of one plus one artist’s proof. This work is accompanied by a certiﬁcate of authenticity signed by the artist.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Galleria S.A.L.E.S., Rome

In the last 10 years, I have worked a lot with purely photographic material and light in the darkroom making pictures I wouldnÕt be able to do either with paint or with the cameraÉ It is interesting to put these right next to the Daguerre and Turner paintings, which are totally about light. My pieces do that, too, but in a contemporary way. What is also considered to be a specialty of mine is large, impactful but very fragile pictures. They are strong and powerful, but actually they are lightweight and vulnerable. WOLFGANG TILLMANS (L. Davis, “Turner Prize winning artist Wolfgang Tillmans tells Laura Davis about his new exhibition at the Walker,” Liverpool Daily Post, September 8, 2010)

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URS FISCHER b. 1973 Ohne Titel (Geige), 2001 Acrylic and enamel on paper collage laid down on cardboard in the artist’s frames (in three parts). Each 16 1/2 x 11 1/2 in. (41.9 x 29.2 cm). Each initialed, titled and numbered “I. II. and III. von 3 [respectively] Ohne Titel (Geige) UF” on the reverse of the backing board.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Galerie Hauser & Wirth & Presenhuber, Zurich; Sadie Coles HQ, London

I donÕt try to set up an illusion. ItÕs more a consequence of how charged an image or a sculpture can be. The work has to have a life of its own: thatÕs the energy of the piece, and thatÕs what you have to be in service of. URS FISCHER (B. Curiger, M. Gioni and J. Morgan, Urs Fischer Shovel in a Hole, Switzerland, 2009, p. 61)

EXHIBITED New York, Swiss Institute, Lowland Lullaby: Ugo Rondinone with John Giorno

and Urs Fischer, March 26 - May 11, 2002 LITERATURE U. Fischer, Good Smell Make-up Tree, Geneva, 2004, pp. 125 and 229-231

(illustrated in color); B. Curiger, M. Gioni and J. Morgan, Urs Fischer Shovel in a Hole, Switzerland, 2009, p. 95 (illustrated in color)

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CHRISTOPHER WOOL b. 1955 Untitled, 2008 Silkscreen on paper. 72 x 55 1/4 in. (182.9 x 140.3 cm). Signed and dated “Wool 2008” lower right. This work is unique.

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0 PROVENANCE Luhring Augustine, New York; Artists for Change Auction, New York

I donÕt want my work to feel all sweat-soaked and tortured. IÕd like to be like a crooner, effortless seeming, smooth. That doesnÕt mean it actually is easy. And it doesnÕt mean you donÕt have backbone, or even aggression. Like Frank Sinatra. Or Miles Davis, maybe. ItÕs like magic. I want my thing to just appear. Not be painted. Just appear. CHRISTOPHER WOOL (R. Flood, “Wool Gathering” Parkett, No. 83, September 2008, p. 142)

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CADY NOLAND b. 1956 No Title, 1992 Chrome pole, fittings, American flag, grommets, tubular part of a screen door spring and metal grill. 23 x 60 x 6 in. (58.4 x 152.4 x 15.2 cm). This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $ 4 0 0 , 0 0 0 - 6 0 0 , 0 0 0 PROVENANCE Max Protetch Gallery, New York (1992)

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Through her aesthetic language and use of industrial objects, popular

The sense of violence that pervades most of Noland’s pieces is achieved

imagery and appropriation, Noland engages with art historical strategies

via signs of conﬁnement, including enclosures, gates or boxes. In No Title,

associated with Minimalism, Post-Minimalism and Pop Art. Fascinated by

speciﬁcally, she accomplishes this by using the chrome bar to block the

our obsession with celebrity and violence, her mixed-media installations,

doorway in which it is designed to be installed, reiterated by the tubular

sculptures and collages investigate the dark, seamy side of the American

part of a screen door hinge that hangs from it. As the artist herself explains,

psyche. The present work exempliﬁes profoundly the poetic way in which

“violence used to be part of life in America and had a positive reputation…

Noland’s works reﬂect on the underpinnings of the American dream.

at a certain point violence used to describe sociology in a very positive way. There was a kind of righteousness about violence—the break with

In her early work, Noland incorporated press photographs, advertising

England, ﬁghting for our rights, the Boston Tea Party. Now, in our culture as

images and newspaper print. By the late 1980s, she began to examine the

it is, there is one ofﬁcial social norm—and acts of violence, expressions of

violent foundations of American history and delved deep into the public’s

dissatisfaction are framed in an atomized view as being ‘abnormal”

disturbing interest in violence using potent symbols, from beer cans to

cowboys to the American ﬂag itself. Noland’s Crate of Beer (1989), for instance “is a wire-mesh basket full of empty Budweiser cans. In her 1989

While Noland is attracted to objects that are full of cultural signiﬁcance, she

untitled installation at the Mattress Factory in Pittsburgh, Noland stacked

is also interested in their anonymity as well. By treating these objects simply

six-packs of Budweiser atop one another. Metal scaffolding transformed

as objects she does something to them, somewhere between transforming

these mountains of alcohol into a construction site.” In a similar way, here

and re-writing them. In effect, what becomes subtly apparent are the deﬁnite

Noland subverts and transforms a masculine symbol. The metal grill, a

associations of the materials out of which they are made. For example,

signiﬁer of the ultimate American past time of barbecuing—of the man as

the use of the metal, Noland explains, “is sometimes hierarchical—to use

master of the grill—in this work is rendered a kind of fence, a mesh of metal

chrome one place and galvanized aluminum in another is to describe relative

wire as a symbol of exclusion. The grill is composed of a metal grid—the very

relationships to it. The coolness might infer dissociation, but the mirror effect

grid that helped deﬁne Modernism and Minimalism, from Piet Mondrian to

in some places is to draw you back in after the dissociation” (© Copyright,

Agnes Martin.

Journal of Contemporary Art, Inc. and the authors).

“Flags, too, populate Noland’s work. In The American Trip (1988), Cheap and

Both formally and conceptually, her sculptures and installations have

Fast (1989), and related works, the ﬂag is draped or hung, limp or pierced,

continued to assert their influence over many contemporary artists and

like Noland’s cowboys” (www.guggenheim.org). While departing from its

secured her status as one of the most important American sculptors.

predecessors through its compelling psychological charge, Noland’s works invite a host of overlapping allusions including art-historical references to the industrial materials of Minimalism and the appropriation of the American ﬂag. Like Jasper Johns in the 1960’s, here Noland points to the iconic status of the American ﬂag and questions the assumptions and implications of what that image represents.

Jasper Johns, Flag, 1954-55, encaustic, oil and collage on fabric mounted on plywood (three panels), 42 1/4 x 60 5/8 in. (107.3 x 154 cm). The Museum of Modern Art, New York. © Jasper Johns/Licensed by VAGA, New York, NY

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SHERRIE LEVINE b. 1947 Untitled (Two Inch Stripes: # 9), 1986 Casein and wax on mahogany. 24 1/8 x 20 1/4 in. (61.3 x 51.4 cm). Signed, titled and dated ÒSherrie Levine 1986 #9Ó on the reverse.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Paula Cooper Gallery, New York

Untitled (Two Inch Stripes: #9) is among Sherrie LevineÕs 1985-1986 series of knots, stripes, and checks diligently painted on bare wood. In this work, Levine mines the generic and everyday guise of abstraction. Like her earlier watercolors replicating works by modern masters, this deceivingly simple work questions the concept of originality while declaring a sincere, handmade quality. ÒVisually, the striped paintings, with their delicate casein surfaces and high key colors, remain [her] liveliest work. The breadth of the stripes and the way they cover the entire surface make them seem like parts, or outtakes, from much larger paintings, which, in a sense, they areÓ (R. Smith, ÒFrom Sherrie Levine, a Mini-Retrospective,Ó The New York Times, September 18, 1987).

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7 ALBERT OEHLEN b. 1954 Das Gewicht der Ladung, 2002 Silkscreen, oil and spraypaint on canvas. 78 1/4 x 65 7/8 in. (198.8 x 167.3 cm).

Estimate $70 , 0 0 0 -10 0 , 0 0 0 PROVENANCE Galerie Max Hetzler, Berlin; Galerie Nathalie Obadia, Paris

I donÕt think you can really, seriouslyÑor philosophicallyÑ try to find out what it is that a painting does to you. ItÕs contradictory. You canÕt come to an end because, if itÕs good, itÕs beautifulÑeverything thatÕs good will be at the end called beautiful. But I like very much if you do things that seem to be forbidden and seem to be impossible, like a test of courage. ALBERT OEHLEN

(Albert Oehlen interviewed by Glen O’Brien, Interview Magazine, April 28, 2009)

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PROPERTY FROM THE HALSEY MINOR COLLECTION

8 MARK GROTJAHN b. 1968 Untitled (Pink Butterﬂy Green mg03), 2003 Oil on linen. 36 x 28 in. (91.4 x 71.1 cm). Initialed and dated Òmg 03Ó lower right.

Estimate $ 3 0 0 , 0 0 0 - 4 0 0 , 0 0 0 PROVENANCE Anton Kern Gallery, New York; Sale: Phillips de Pury & Company, New York,

Contemporary Art: Part I, May 15, 2008, lot 105; Acquired from the above by the present owner EXHIBITED New York, Anton Kern Gallery, Mark Grotjahn, October 9 - November 15, 2003 LITERATURE J. Saltz, ÒThe Parallax View,Ó Artnet Magazine, October 24, 2006 (illustrated)

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, ÒSplitting Impacts the Eye,Ó Parkett 80, 2007, p. 144)

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Grotjahn’s practice, however tangible or abstract, remains at its core a conceptual

Grotjahn’s mastery lies in the subtle color variation he lends his linear

endeavor, one that plays with opacity in a manner quite in keeping with Roland

butterﬂy wings—the design elevating them beyond their basic geometry.

Barthes’s mythology of the striptease: that the barely revealed is much more

The starkness typical of modern painting takes on a softer character in

alluring than the out-and-out.

Grotjahn’s butterﬂies, with the faint rosy tint of the present work rendering the canvas’s triangles delicate as opposed to harsh. There is grace and

(J. Burton, “Mark Grotjahn: Anton Kern”, ArtForum, December 2003)

purity in the faceted color blocking of the canvas, reminiscent of a jewel shimmering in the light. The crisp, light shades of pink seem weightless and luminous. As such, the pale slivers of color can be likened to beams of light

Untitled (Pink Butterﬂy Green mg03) dazzles the viewer with its soft jewel-

themselves, radiating from a central source. The angular divisions of the

like tones. Lightly varied, soft pink monochromatic wedges of color radiate

painting seem simultaneously mathematical and unstudied—products of

from a central stripe, forming an abstract butterﬂy-wing design. This

both geometric precision and nature. The lush beauty and play of light in his

simple yet elegant composition brings to mind the fundamental elements of

work evoke the California sensibility, exempliﬁed by Wayne Thiebaud’s levity,

Renaissance perspective, a technique in which all lines converge into one

that subtly pervades the works of so many West Coast artists.

or two vanishing points along the painting’s horizon in order to create the impression of three-dimensional space.

Mark Grotjahn’s paintings, gorgeous in their own right, also engage with the work of the modernists, namely Barnett Newman’s vertical stripes or “zips”

As the present work illustrates, Grotjahn’s Butterﬂy paintings often rotate

in which the canvas almost appears to oscillate. Grotjahn’s paintings align

and skew this traditional Renaissance composition, transforming a technique

themselves with these masters while adding his own ﬂair for juxtaposing

originally intended to mimic reality into a composition that becomes almost

carefully calibrated elements with more organic ones. His Butterﬂy paintings

entirely abstracted. He creates a subtle asymmetry by offsetting the two

appear deceptively straightforward at ﬁrst glance, but are impossible to look

“vanishing points”—evoking a sense of tension between the two sides of the

away from, drawing the viewer in as they call forth surprisingly beautiful and

painting, as they appear to dynamically push against each other, creating

complex imagery.

a mesmerizing depth. Grotjahn uses his vocabulary of extremely precise geometric forms to create an intriguing optical effect. The precision of Grotjahn’s hand in his Butterﬂy paintings lends them a graphic sensibility, which is bolstered by the opacity of the paint and the sleekness of the triangular shapes. The concept of the butterﬂy is nearly entirely subjugated to the network of angles and lines, transforming it into a sort of deliberate vortex of planes, which overtake the creature’s organic form.

Wayne Thiebaud, Pie Slice, 1991

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9 JIM HODGES b. 1957 Once Together / Apart, 1996 Silk, plastic, wire and pins (in 66 parts). 35 x 40 in. (88.9 x 101.6 cm).

Estimate $ 3 5 0 , 0 0 0 - 4 5 0 , 0 0 0 PROVENANCE Stephen Friedman Gallery, London

I had been playing around with silk flowers in my studioÑ taking them apart, pinning them on walls, making drawings with themÉI had this idea of returning the flowers back to fabric. I was interested in the history of each petal. How the material had been transformed; cut, painted, sculpted, and given a flower identity. JIM HODGES (I. Berry, “You Ornament the Earth, A Dialogue with Jim Hodges,” Jim Hodges, Germany, 2003, p. 13)

Rooted in painting, Jim Hodges has expanded and evolved his artistic practice to include highly complex and intricate transformations of objects. Through the utilization of silk scarves, fractured mirrors, found objects, silver chains and perhaps his most recognizable choice of media, fabric flowers, Hodges has created site-specific installations and sculptural works that have come to define his unique and delicate work. Exposing the innate transience and beauty of ephemeral objects, Hodges work reflects on the passage of time, compelling his audience to contemplate their own experiences of impermanence.

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10 MICHAèL BORREMANS b. 1963 The Veils, 2001 Oil on canvas. 13 3/4 x 17 3/4 in. (34.9 x 45.1 cm). Signed, titled and dated “Michaël M.C.G. Borremans – The Veils – J.O.C. 2001” on the reverse.

Estimate $15 0 , 0 0 0 - 2 5 0 , 0 0 0 PROVENANCE Zeno X Gallery, Antwerp; Private collection, New York

ÉIn my paintings there are no individuals, theyÕre just types, stereotypes, two-dimensional images. TheyÕre human beings in their symbolic quality, like pieces in a chess gameÑthey stand for something. I also wanted to avoid showing contemporary people because I think that has an anecdotal connotation, which wasnÕt useful for me because I wanted to depict this very general, 20th-century man. MICHAËL BORREMANS (J. Ribas, “The AI Interview: Michaël Borremans,” Art Info, March 14, 2006)

Trained as a photographer, Michaël Borremans masterfully paints on canvas with a cinematic approach. In keeping with a classical manner, his work transports the viewer back in time. As seen in The Veils, Borremans reveals a glimpse into the mysteries of the figures he chooses to paint. Much as with a film still, the painting delves into a psychological moment being experienced by its characters and translates these inexplicable emotions onto canvas. Straddling the thin line between reality and a dream world, it remains unclear what exactly the figures here are doing—their actions veiled, in a sense, by an oppressive sense of timelessness and mystery. Like a blanket, Borremans uses the veil to cover the figures as a means of alluding to the latent pressure of being human. In The Veils, Borremans transports painting to a more profound level by subtly including allusions to drawing, cinematic film and photography. “All of Borremans’ work shares a sense of ambiguity and melancholy, with elements of the bizarre creeping into what at first seems like a technically startling, yet straightforward realism. Through imagery harkening back to an undatable past—though there are hints of the 1940’s—Borremans creates an austere and oppressive world where things become more and more disturbing the deeper you look” (J. Ribas, “The AI Interview: Michaël Borremans,” Art Info, March 14, 2006).

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11 THOMAS RUFF b. 1958 Zycles 3041, 2008 Inkjet Print. 93 x 159 3/4 in. (236.2 x 405.8 cm). Signed and dated ÒThomas Ruff 2008Ó and numbered of three on the reverse. This work is from an edition of three.

Estimate $12 0 , 0 0 0 -18 0 , 0 0 0 PROVENANCE Mai 36 Galerie, Zurich; Private collection, Belgium

The linear series I call zycles, which is a combination of the words for the mathematical formula known as ÔcycloidÕ in English and ÔzykloideÕ in German. I didnÕt like the word in either language so I mixed them. The forms are virtual, generated by a mathematical formula that I manipulate by typing in different coordinates. The formula is very simple: one point rotating around a circle, and this circle rotating around another circle. ItÕs a double cycle common to us all: the earth rotating on its axis and around the sun. IÕm very interested in the methods and grammar of photography, of how photography is looked at and distributed these days. We now have a lot of photographs that are no longer photographed, but created on a computer. ItÕs virtual reality. So the idea was to create a form of virtual reality, but not as a realistic image. Because the computer is just bits and bytes, I wanted to create Ôthe image before the imageÕ. And that for me, if you create it with a computer, is mathematics. THOMAS RUFF

(I. Takayo , Thomas Ruff: cassini + zycles, ÒART ITÓ, December 16, 2009)

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« 12 PIOTR UKLANSKI b. 1968 Untitled (Eagle, American), 2006 Styrofoam. 78 x 118 x 6 1/4 in. (198.1 x 299.7 x 15.9 cm). This work is from an edition of three plus one artistÕs proof.

Estimate $ 2 5 0 , 0 0 0 - 3 5 0 , 0 0 0 PROVENANCE Galerie Emmanuel Perrotin, Paris

The place of your origin always stays in you, no matter how you wish to deal with it. At the same time, I find discussing the issues of national identity less and less interesting. It seems that now it has become solely a public relations term. You know, national pavilions, international quotas at biennials, etc. If you master the right nationality, it might prove very ´ beneficial. PIOTR UKLANSKI (ÒA Conversation Uklan«ski/Cattelan,Ó Flash Art, No. 236, 2004)

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Though he now divides his time between the United States and Poland, Piotr

Wings outstretched, clutching a bundle of thirteen arrows in its talons, here

Uklan´ski still identiﬁes himself as a Polish artist, creating works imbued

Uklan´ski has rendered this historical and political icon in Styrofoam. By

with rich nationalistic (and at times subtly subversive) symbolism from both

interpreting the eagle in Styrofoam, Uklan´ski is perhaps invoking the fragility

countries. Emboldened by Poland’s rich history, Uklan´ski fearlessly explores

of the medium as a means to comment on the tenuousness of democracy.

potentially controversial subjects to produce works that often incite polemical

Still, he treats the symbol with the utmost respect, to the point that one could

reactions. He utilizes the material of history and political ﬂashpoints to

imagine seeing it on the side of any state building or government ofﬁce.

powerful effect. His photographic series Untitled (The Nazis), for instance,

His handling of the medium and subject is neither sarcastic nor subversive

caused protests when they were exhibited at The Photographers Gallery

enough to make an overt statement on the history and politics of the targeted

in London, in 1998. Soliciting a contrary but equally powerful response, in

nations—instead it ﬁnds itself entangled in the already complicated histories

comparison, was his billboard of Pope John II, exhibited on the streets of

of both countries. In this way, Uklan´ski has managed to distill what is a highly

Warsaw, spontaneously turned into a memorial shrine upon the Pope’s death

charged political and cultural symbol into a complex vision of nationalistic

in 2005.

iconography.

For the present work, Uklan´ski has chosen a deeply layered symbol. The

This striking work evokes an overwhelming, yet subtle sense of dignity and

eagle, the national symbol of both the United States and Poland, has long

respect. Part of a Polish continuum, here isolated from the bureaucratic

been associated with power, liberty and freedom. Eagle imagery can be

communism and the humiliations associated with World War II, this

traced as far back as the cave walls of the Stone Age, through both the

work demands respect and creates a distinguished artistic statement.

Roman and Holy Roman Empires—even Napoleon chose the eagle as his

Simultaneously alluding to both Polish and American nationalism, this work

seal. Still today, Eagles grace the coat of arms of Poland, Austria, Germany,

instigates the viewer to automatically compare Uklan´ski’s nationalism with

Egypt, Mexico, the Russian Federation, Serbia, Armenia, and the United

their own American brand of patriotism, despite the difference between the

States, among others.

two countries’ histories.

The eagle, both in Poland and America alike, is as much a part of daily culture as it is a representation of historical statehood. Eagles are found on ﬂags, all ofﬁcial documents, seals, buildings and currency. The same eagle found on the back of the quarter, holding a bundle of arrows and resting atop the olive branch—symbolic of the power of war and peace—is the eagle Uklan´ski has drawn upon for Untitled (Eagle, American). His employment of light and utilitarian materials helps to create a work that plays off yet draws on the triumphant ambitions and aggrandizing stagecraft of politics.

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13 JACK PIERSON b. 1960 Some fucked up notion of a dream, 2005 Neon. 95 5/8 x 157 1/2 x 2 in. (242.9 x 400.1 x 5.1 cm).

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0

Jack Pierson’s practice involves an array of media including walldrawings, word-pieces, installations, drawings, paintings and photographs. His works combine to tell a tale of isolation and longing, each one a story of love, desire, loss, hope and loneliness. His neon installations including the present work, Some fucked up notion of a

PROVENANCE Bortolami Gallery, New York

Certain words arenÕt good when you describe an artworkÑ like Ôsentimental,Õ Ôromantic,Õ ÔpoeticÕ and ÔprettyÕ. But those are my favourite qualities of anything. JACK PIERSON

dream, can be considered an extension of the artist’s word pieces. The glowing mix of color, scale and typeface evokes the pulsating rhythm of street life, particularly the experience of walking down a big city street and observing one’s surroundings, alone. Pierson visually alludes to love through his use of reds and pinks and compositionally creates a sense of disconnect. The bold, literal references to sex and dreams result in a striking yet chilling portrait of the dark, isolated depths of the mind.

(Galerie Thaddaeus Ropac, Salzburg, Press Release)

Pierson’s work continuously ﬁnds itself in a state of ﬂux, discovering and developing new means of expression.

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14 RAYMOND PETTIBON b. 1957 No Title (Measuring Up), 1998 Oil on canvas. 24 x 20 in. (61 x 50.8 cm). Signed and dated “Raymond Pettibon 6-98” on the reverse.

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0 PROVENANCE Acquired directly from the artist (2002)

Raymond Pettibon’s engagement with comic books, punk rock, William Blake and Samuel Beckett, among others, have rendered a unique and deeply personal body of work. The themes that repeatedly surface throughout Raymond Pettibon’s oeuvre are routinely cinematic in scope and emotion. Encompassing the spectrum of American culture, Pettibon’s drawings and paintings combine idiosyncratic images with often provocative and subversive text, both borrowed and written by Pettibon himself. In his baseball works, for instance, he does not purely adulate the heroicness of the ball players but rather, dwells on the sordidness of their reality. The artist himself explains, “baseball has probably been my favorite since I was a child. Some of the others, like horse racing—that came in later—but football, basketball, track and ﬁeld… I’m not obsessed with any of those. The reason why I keep coming back to certain images is probably most often that there’s a visual quality that works for me, and that can be as simple as drawing horse races. I think whether you are throwing the pitch or batting the ball, you do have that sense of movement and for an artist like myself whose work is about that one moment that can be a reason I do that. But sports, and baseball in particular in America, there’s a lot more to it, there’s a lot more nuances. Not just in the game itself—but that’s also important to. My work on the subject does tap into some of the nuances of the game—the pitching of the baseball for instance, or hitting a baseball—but also it says a lot about what goes on off the ﬁeld as well about the society in general. It’s kind of a microcosm of the society as a whole” (Raymond Pettibon in an interview with Art:21, reproduced on www.pbs.org).

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15 ANDY WARHOL 1928-1987 Detail of the Last Supper / Be a Somebody with a Body, 1985-1986 Acrylic on canvas. 49 3/4 x 60 1/4 in. (126.4 x 153 cm). Stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts and numbered ÒPA10.300Ó on the overlap.

Estimate $ 5 0 0 , 0 0 0 -70 0 , 0 0 0 PROVENANCE The Estate of Andy Warhol, New York; Andy Warhol Foundation for the

Visual Arts, New York; Private Collection EXHIBITED Munich, Staatsgalerie moderner Kunst, Andy Warhol: the Last Supper, May 27 -

September 27, 1998; New York, Guggenheim Museum SoHo, Andy Warhol: The Last Supper, June 1999 - July 2001 LITERATURE C. Schulz-Hoffmann, C. Thierolf, and Staatsgalerie moderner Kunst,

eds., Andy Warhol: the Last Supper, Ostfildern-Ruit, 1998, p. 56 , no. 1 (illustrated); J.D. Dillenberger, The Religious Art of Andy Warhol, New York, 1998, p. 89 (illustrated) Image: © 2011 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

Looking both ways, at the highest sacred art and at the lowest commercial design, and fusing them in this hallmark fashion, these late pictures seem to suggest that, for a Pop god, the meek and poor in spirit among artists are no less important than Raphael or Leonardo… The signiﬁcance of Warhol’s late black-and-white works based on advertising images and lettering is perhaps most apparent in these mural scale hybrids of the sacred and profane: the black-andwhite images are Warhol’s ﬁnal subversive lexicon of street art images awaiting transposition into art gallery and museum contexts where they will expand postPop postmodern taste. (C. Stuckey, Andy Warhol: Heaven and Hell Are Just One Breath Away! Late Paintings and Related Works, 1984-1986, New York 1992, pp. 28-31)

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After having reinvented himself in the 1970s as the leading portraitist of

The present lot, Last Supper / Be a Somebody With a Body, is one of the most

his generation, the 1980s brought about yet another period of change and

iconic images from this series. To create it, Warhol traced the projection of

reinvention in Andy Warhol’s career. Following in the footsteps of proto-

a detail from da Vinci’s schematic outline drawing onto canvas. This very

Surrealist Giorgio de Chirico whom he greatly admired, Warhol revisited his

technique was inspired by his collaboration with Basquiat in the early 1980s.

earlier body of works, producing revised versions of his most formidable Pop

In the present painting, Warhol’s traced outline of Christ is superimposed

paintings for the latest Reversal/Retrospectives series.

atop the heroic bust of a body builder, fusing religious imagery with pop culture. Never before in Warhol’s work have we seen such a striking

Warhol also found renewed relevance and artistic rejuvenation through

parallel between two such disparate ﬁgures as in the Last Supper / Be a

collaborations with emerging artists such as Jean-Michel Basquiat and

Somebody With a Body. Yet by placing them within the same canvas, Warhol

Keith Haring. Perhaps due to the inﬂuence of their artistic styles of hand

comments on the elevation of pop culture to an almost religious status—the

drawn lines and child-like scribbles, the most signiﬁcant of Warhol’s

worshipping of images both sacred and profane.

late accomplishments became his return to hand painting. This return coincided with a religious thematic thrust to his work—an epic combination

In the present work, instead of appropriating ﬁgures and images from mass

of developments that resulted in the monumental Last Supper series which

media, Warhol is appropriating his own imagery. He has painted Christ

would become Warhol’s ﬁnal major body of work, one possessed of an

over his 1985 rendition of a body building advertisement with the slogan Be

uncanny gravitas in the wake of the artist’s early death in 1987.

a Somebody with a Body. The text and the imagery undeniably emphasize physicality. The 1980s brought with it an obsessive narcissim and culture

Best remembered for his iconic multiples of pop culture ﬁgures and

of ﬁtness and physique. The new male ideal was sculpted, strong and

advertising imagery, it was little known (even to his inner circle of friends)

powerful—the ultimate symbol of masculine beauty and sexual prowess. The

that Warhol regularly attended mass at the Church of the Heavenly Rest on

bold outline of Christ over this image creates a hierarchical juxtaposition and

5th Avenue and 90th Street in New York. The artist frequently volunteered

challenges the concepts of physicality versus spirituality, of sexuality versus

to distribute food to the homeless, and even received Pope John Paul II’s

piety and of the holy versus the banal.

personal blessing on April 1st, 1980 during a trip to Vatican City in Rome. By the mid 1980s Warhol’s work began to include sacred imagery, bringing it

With this series, and this painting in particular, Warhol collides two of his

together with and juxtaposing it against an already established language of

greatest legacies—his personal piety and the secular power of images—with

secular icons and capitalist logos.

it, we are in many ways given Warhol’s Last Will and Testament.

This religious thrust was most notably seen in the works from his late blackand-white series of silkscreen prints. However, it was in the Last Supper series, commissioned by the well established Warhol patron Alexander Iolas, that Warhol’s previously unknown private religious interest would manifest itself most spectacularly in his art work: Warhol’s Last Supper series was to be installed across the street from Leonardo da Vinci’s iconic Last Supper fresco in Milan.

Andy Warhol’s Studio, 1987

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Installation view of Andy Warhol with Jean-Michel Basquiat, The Last Supper (Ten Punching Bags), circa 1985-1986

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16 RUDOLF STINGEL b, 1956

O◊

Untitled (After Sam), 2007 Oil on canvas. 15 x 20 1/2 in. (38.1 x 52.1 cm). Signed and dated “Stingel 2007” on the reverse,

Estimate $70 0 , 0 0 0 - 9 0 0 , 0 0 0 PROVENANCE Acquired directly from the artist

Over the last twenty years, Rudolf Stingel has both seduced and attempted

In Untitled (After Sam), the ﬁrst of these self-portraits, Stingel looks brooding

to inform the viewer. Every piece he creates he names a painting, for the very

and rather world-weary as he reclines on a hotel bed with eyes averted.

reason that many of his works do not appear to be traditional paintings based

His physical presence is undeniable, ﬁlling up the majority of the picture

on the classical deﬁnition. To Stingel, a true painting is not simply the result

plane. The dramatic foreshortening of his body unequivocally brings to

of moving a brush over a piece of canvas, however well, but the result of

mind Andrea Mantegna’s The Lamentation over the Dead Christ. However,

careful observation. Painting should be used as a means of observing reality

his emotional presence is a bit more subtle: as with any self-portrait he, the

in order to fashion a different reality. This elevated notion is both elusive and

artist, is the subject of the painting yet Stingel also makes himself the object

profoundly simple.

of this painting. Untitled (After Sam) is, in many ways, evocative of a memento mori—reﬂecting the artist in contemplation of his own mortality. The pensive

This essential theory of his work is perhaps never invoked as poignantly as

and uncertain look on his face, evidenced by the crease in his forehead,

it is in his series of photo-realist canvases. This series of self-portraits is an

shows that he has not yet answered his own questions.

autobiographical study of both the artist and of painting. The reality that Stingel is both examining and revealing in the present piece is the role of

Stingel’s paintings are, without a doubt, shockingly beautiful and the present

the artist. There are no false pretenses in his work and he does not attempt

work adds a new decidedly personal psychological element of examination to

to hide either his process or his intention. The title of this series, Untitled

what he has offered before. Instead of trying to address or answer questions

(After Sam), acknowledges both the photograph and the photographer, Sam

as he has sought to in the past, he reclines and rests, letting the questions

Samore, upon which these paintings are based. In turn, the present work is

and doubt speak for themselves.

the very ﬁrst painting of this series upon which Stingel’s subsequent versions were based. Stingel remade the black and white projection of the photograph into a mirror-imaged painting swathed in shades of black, ivory and charcoal. We must not forget that these works are very deliberate—he staged the scene for Sam and then meticulously recreated it on canvas. In doing so, Stingel questions both the authenticity of the painting and his role in creating it. This series is a psychological study of mortality and self doubt and raises far more questions than it can answer. Stingel’s attempt to demystify the art object and his purpose in creating it has only served to confound both himself and the viewer more.

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17 STEVEN PARRINO 1958-2005 Untitled, 1990 Enamel on honeycomb aluminum. 93 3/4 x 48 x 11 3/4 in. (238.1 x 121.9 x 29.8 cm). Signed and dated ‘“ST. Parrino 1990” on the reverse.

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 PROVENANCE Galerie Rolf Ricke, Cologne

At a time when painting was declared dead in some circles, Parrino developed necrophiliac affection for the genreÕs corpse. (E. Scharrer, “Steven Parrino: Musée D’Art Moderne et Contemporain,” ArtForum, September 2006).

(alternate view)

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18 RICHARD PRINCE b. 1949 Untitled (Tire Planter, black), 1999 Tire. 19 1/2 x 26 x 26 in. (49.5 x 66 x 66 cm).

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 PROVENANCE Barbara Gladstone Gallery, New York

Richard Prince’s work is rich in layers of humor, perversity and the beauty of pop cultural imagery. Like the image of the Marlborough man he famously appropriated for his Cowboys series, this work refers to another omnipresent and clichéd, bit of American culture: the tire planter. Rather than looking to glossy billboards and magazines as a source, here, Prince pilfers the detritus of American folkcraft and thrift. Indigenous—but not limited to—the United States, he first became familiar with the tire planter when he purchased a country house in upstate New York in the late 1990s. “After we moved up here,” he said, “I started to notice three things common to people’s yards: the basketball hoop, the aboveground pool and the tire planter.” (D. Colman, “POSSESSED; A Retread With Mass Appeal,” The New York Times, October 5, 2003). Prince’s Untitled (Tire Planter) is a transformed castoff of a culture built upon mobility and consumption. The Tire Planter “stays fixed in our imagination, as a specific account of a white, middle-class, suburban way of pleasure and destruction, made by someone who knows that way intimately, knows why it’s terrible, knows why it’s irresistibly wonderful, and knows what we can conclude about art, about America, and about a self that has to live with both—from the fact that it exists at all.” (J. Lewis, “Outside World,” Richard Prince, New York, 1992, p. 77)

(alternate view)

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19 JACK GOLDSTEIN 1945-2003 Untitled, 1983 Acrylic on canvas. 34 1/4 x 42 1/4 in. (87 x 107.3 cm). Signed, titled and dated “Jack Goldstein Untitled 1983” on the reverse.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Private Collection

The most comprehensive but least known part in Goldstein’s oeuvre are his paintings… The motifs are inspired by reproductions of war pictures, storms, natural disasters, astronomical photographs and so on. They all revolve around the idea of the spectacular, which also plays a key role in the world of the media. For Documenta 7 Goldstein wrote an aphoristic essay for the catalog, which begins with the assertion that “media is sensational”. This sentiment runs like a red thread through his work and is speciﬁcally a leitmotif of his paintings. He also emphasizes how media technology can substitute for our own experience. He writes: “Technology does everything for us so that we no longer have to function in terms of experience. We function in terms of esthetics.” It follows that only by means of the instruments of art can we counter the closed cosmos of a world recorded by the media. Or to cite Jack Goldstein himself: “Art should be a trailer for the future.” (MMK Museum Presents Jack Goldstein in a Comprehensive Retrospective, Art Knowledge News, 2009)

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20 ANDY WARHOL 1928-1987 Vesuvius, 1985 Acrylic on canvas. 27 3/4 x 32 1/4 in. (70.5 x 81.9 cm). Signed and dated ÒAndy Warhol 85Ó on the overlap. Stamped by the Andy Warhol Art Authentication Board and numbered ÒA100.111Ó on the overlap.

Estimate $ 4 0 0 , 0 0 0 - 6 0 0 , 0 0 0 PROVENANCE Lucio Amelio, Naples EXHIBITED Naples, Soprintendenza per i Beni Artistici e Storici di Napoli, Fondazione

Amelio-Istituto per lÕArte Contemporanea, Museo di Capodimonte, Vesuvius by Warhol, July 18 - October 31, 1985 LITERATURE A. Warhol, Vesuvius, Naples, 1985, p. 50

An eruption is an overwhelming image, an extraordinary happening and even a great piece of sculpture. ANDY WARHOL (Vesuvius by Warhol, Naples, 1985, p. 35)

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The present work is from Warhol’s Vesuvius Cycle, a series of 18 canvases

Throughout Warhol’s oeuvre, two overarching themes emerge: the legacy

depicting the activity of the world famous Neapolitan volcano erupting.

of art history and the omnipotence of death. The present work is signiﬁcant

Realized for a solo exhibition in the prestigious Museo di Capodimonte in

in its incorporation of both. On the one hand an image of life afﬁrming

Naples, a sacred space typically reserved for the old masters and classical

vitality, Vesuvius, with its creeping threat of impending precariousness and

Italianate landscapes, this work cannot help but engage with both world

destructive catastrophe, is simultaneously laced with the theme of tragedy

history and art history. In contrast to the impressionist treatment of this same

and morbidity that permeates Warhol’s entire oeuvre, revisiting the haunting

subject, here Warhol translates the image into a stylized sign. Reinterpreting

contemplation of death so sensationally depicted in the Suicides, Disasters,

tradition, Warhol manipulates and in©ects this Neapolitan and Romantic

Car Crashes and Electric Chairs from the early 1960’s. The volcano itself has

motif with his bravura line and overtly contemporary lexicon. Vesuvius

become an icon, like Marilyn or Elvis or Jackie, but unlike them, Vesuvius

simultaneously enshrines in an energetic and dynamic composition the

remains vibrantly active.

essential, unconquerable force of this most iconic Neapolitan landmark, the great passion of the city that thrives beneath it and the passionate

Conferring on the past a rejuvenated pertinence to the present, Vesuvius can

personality of the foremost Neapolitan dealer of his time and close friend of

be seen in the greater context of Warhol’s other appropriations from his Art

the artist who commissioned the series, Lucio Amelio.

After Art series, including his Mona Lisa works and The Scream (after Edvard Munch), reiterating and reafﬁrming his essential position within art history.

Four years prior, Amelio had commissioned works from a group of artists

Warhol, like the eruption itself, was an overwhelming and extraordinary artist

including Warhol, Joseph Beuys and Keith Haring for an exhibition entitled

who forever changed the landscape of art history.

Terrae Motus, a plea for art against the destruction of nature. This show was planned in reaction to the earthquake that occurred in November 1980 just south of Naples, which claimed the lives of over 2,700 people and devastated the surrounding area. Terrae Motus not only placed Naples ﬁrmly on the Contemporary Art World map, but also made a lasting impression on Warhol, from his experience of the city and his encounter with Beuys. In Vesuvius, Warhol recalls the sense of disaster that described the earlier exhibition and invokes the icon of natural beauty and threat of destruction that renders Naples, an extraordinary and unique place, as his subject. Executed towards the end of the artist’s career, this series also bears witness to Warhol’s departure from the screen-printing process for which he became famous in the 1960s and his return to hand painting. Here, after some twenty years, Warhol’s expressive and spontaneous touch can be seen. Warhol himself explained that he painted Vesuvius by hand and always used different colors so that they consistently give the impression of having been painted just minutes after the eruption. Interestingly, this practice of employing expressionistic brushwork over a ©at, silk-screened ground, is “an inversion of the technique used in earlier series, such as the Reversals and Ladies and Gentlemen, where Warhol had applied the ©at, democratizing surface of the silkscreen over the brushy, drippy background. Through this exceptionally rare technique, the power of this image is instantly felt.”

Andy Warhol, Fate Presto, 1981 (detail). Fondazione Lucio Amelio – Istituto per l’Arte Contemporanea,

(Vesuvius by Warhol, Naples, 1985, p. 35)

Installation view of the opening reception of Vesuvius by Warhol at the Museo di Capodimonte, Naples, July 18 - October 31, 1985

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21 TOM SACHS b. 1966 Chanel Fountain, 1998 Foamcore, cut shopping bags and thermal adhesive. 12 3/4 x 20 x 12 1/2 in. (32.4 x 50.8 x 31.8 cm). Signed and dated ÒTom Sachs 1998Ó on the reverse.

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 PROVENANCE Galerie Thaddaeus Ropac, Paris / Salzburg; Private collection, France; Sale:

Phillips de Pury & Company, New York, Contemporary Art: Part II, November 14, 2008, lot 108; Private collection, Belgium (acquired from the above) EXHIBITED New York, Thomas Healy Gallery, Tom Sachs: Creativity is the Enemy, May 8 -

June 6, 1998; Paris, Galerie Thaddaeus Ropac, Tom Sachs: Creativity is the Enemy, January 16 - February 27, 1999 LITERATURE G. OÕBrien, Tom Sachs: Creativity Is the Enemy, Paris, 1999, p. 26; J. Szabo,

ÒTom Sachs,Ó Elle Decor, October 1999, pp. 92-98

RICKY JAY: Do you design these sculptures to reveal additional information of either beauty or crudeness when seen from a closer vantage point? TOM SACHS: Deﬁnitely. That’s a great question. I didn’t ever really think about that I do that, but these are the instinctive things that I reproduce. To put a urinal on a pedestal helps you see it as a sculpture, and if you look at industrial ceramics, like toilets and urinals, you’ll see that, like other sculptures, some of them are beautiful and some of them are ugly, some of them are crude, some are elegant-it takes all kinds. I always gravitate toward things that are either extremely elegant or extremely crude, but in one way or another aren’t compromised. I’m not interested in representing objects of mediocrity, only objects of excellence. (R. Jay, ÒThe Wizard Makes The Artist Tom Sachs Talk Like A Philosopher,Ó Interview, May 2008, pp. 102-107.

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22 ROSS BLECKNER b. 1949 Pausing and inhaling, 1981 Acrylic and mixed media on canvas. 88 x 60 in. (223.5 x 152.4 cm). Titled and dated ÒPausing and inhaling 1981Ó on the reverse.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Portico Inc., Philadelphia; Acquired from the above by the previous owner;

Leo Koenig, Inc., New York; Private collection, Belgium

Essentially, I want a world to exist that I can get into. A world that has to do with certain kinds of illusion and that is also confrontational. The paintings hold you outside of their making. I work very much like a rubber hand. I start with an idea or an image and then I stretch it out and let it collapse back into itself. ThatÕs how the stripes in my abstract paintings have always functioned. That are confrontational in that they collide with what is represented in my other paintings. The imagery is more phenomenological in the stripes. It had to be constructed within the relationship of the spectator to the painting because it wasnÕt in the painting and it wasnÕt in the spectator. ROSS BLECKNER

(Ross Bleckner in an interview with Aimee Rankin, BOMB, Issue 19, Spring 1987, pp. 22-27)

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23 RAOUL DE KEYSER b. 1930 Untitled, 1971-1972 Oil on canvas. 27 3/8 x 27 3/8 in. (69.5 x 69.5 cm). Signed and dated ÒRaoul de Keyser 1971-72Ó on the reverse.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE AndrŽ Simoens Gallery, Knokke; Private collection, New York

Accessible yet wholly ambiguous, De Keyser’s paintings are not the casually imperfect abstractions they are often mistaken for. In fact, the term abstract is, in De Keyser’s case, a misnomer, as the paintings are as much the result of an intuitively additive process as they are a “paring down” of forms and ideas. They are not entirely without recognizable subject matter, nor are they essentialized versions of real-world objects or things – instead, each painting is an independent experiment; a direct result of De Keyser’s reluctance to superﬁcially align himself with any one painting methodology. (W. White, ÒIconoclast,Ó Raoul De Keyser: Recent Work, 2006, David Zwirner, New York)

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24 KEITH HARING 1958-1990 Untitled, 1984 Acrylic on canvas. 59 3/4 x 59 3/4 in. (151.8 x 151.8 cm). Signed and dated “© K. Haring APRIL 13, 1984

” on the overlap.

Estimate $ 3 0 0 , 0 0 0 - 4 0 0 , 0 0 0 PROVENANCE Tony Shafrazi Gallery, New York; Galerie Paul Maenz, Cologne; Acquired

from the above by the present owner EXHIBITED Cologne, Galerie Paul Maenz, Keith Haring, May 3-30, 1984; Berlin,

Daimlerchrysler Contemporary, Private/Corporate: Werke aus der Daimler Kunst Sammlung: Ein Dialog (Private/Corporate; Works from the Daimler Art Collection: A Dialogue), May 28 - July 21, 2002, p. 34 LITERATURE P. Maenz, Keith Haring at Paul Maenz, Cologne, 1984, p. 5; Galerie P. Maenz,

Ausstellungs – saison (Exhibition Season) 1983-84, Cologne, 1984, p. 13; G. Celant and I. Gianelli, Keith Haring, Milan, 1994, p. 37; Private/Corporate: Werke aus der Daimler Kunst: Ein Dialog (Private/ Corporate: Works from the Daimler Art Collection: A Dialogue), Daimlerchrysler Contemporary, Berlin, 2002, p. 34

The Keith Haring Studio, LLC will provide the purchaser with a certiﬁcate of authenticity.

The three-eyed Face, another of Haring’s figures which appears repeatedly, and was on the cover of the catalogue for Keith Haring’s first one-man exhibition, which took place in 1982 at Tony Shafrazi’s New York gallery, in some way first establishes the uncompromising positive element, and carries it straight through to the unmentioned dark side. Haring has always followed this train of thought exactly and assimilated it, which is why his most commercial and apparently most characterless happy little figures never achieved the complete moral emptiness of Disney figures, for instance. (R. Melcher, “Keith Haring Heaven and Hell,” Keith Haring Heaven and Hell, Germany, 2001, p. 22).

Haring mural, Houston Street and the Bowery, New York, 1982

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25 DONALD JUDD 1928-1994 Untitled 1978 (7.78 Judd), 1978 Painted parallelogram woodblock in sugar pine. 20 3/4 x 16 3/4 x 2 in. (52.7 x 42.5 x 5.1 cm). Inscribed “DON JUDD 11L 7.78 CW” on the reverse.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Acquired directly from the artist

None of the three-dimensional work is meant to look handmade, including the wooden ones which I made in as matter-of-fact a way as I could. Wood being what it is tends to look more manipulated than metal. I kept down the handicraft aspect. Other artists played it up… I like the color and I like the quality of cadmium red light. And then, also, I thought for a color it had the right value for a three-dimensional object. If you paint something black or any dark color, you can’t tell what its edges are like. If you paint it white, it seems small and purist. And the red, other than a gray of that value, seems to be the only color that really makes an object sharp and defines its contours and angles. DONALD JUDD (J. Coplans, “An Interview with Don Judd,” Donald Judd selected works 1960-1991, Japan, 1999, p. 157)

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26 AGNES MARTIN 1912-2004 Untitled, 1967 Graphite on paper. 9 1/4 x 9 1/4 in. (23.5 x 23.5 cm). Signed and dated Òa. martin 1967Ó on the reverse of the backing board.

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 PROVENANCE Robert Elkon Gallery, New York; B.C. Holland, Inc., Chicago; Pace Gallery,

New York; Private collection, New York

My formats are square, but the grids never are absolutely square, they are rectangles a little bit off the square, making a sort of contradiction, a dissonance, though I didnÕt set out to do it that way. When I cover the square surface with rectangles, it lightens the weight of the square, destroys its power. AGNES MARTIN, 1967 (Marks of Distinction: Two Hundred Years of American Drawings and Watercolors from the Hood Museum of Art, 2005, p. 216)

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27 UGO RONDINONE b. 1964 Sunrise, august, west, 2004 Cast aluminum. 45 5/8 x 23 7/8 x 14 in. (115.9 x 60.6 x 35.6 cm). Stamped with the foundry mark. This work is from an edition of one plus one artistﾃ不 proof.

Estimate $15 0 , 0 0 0 - 2 0 0 , 0 0 0 PROVENANCE Galerie Eva Presenhuber, Zurich

If my work in general has a nonlinear approach to the world, then the system and concept of time, which has occupied my work since the beginning, gives me a certain sense of grounding. UGO RONDINONE (Ugo Rondinone, air gets into everything even nothing & get up girl a sun is running the world, Creative Time presents Art on the Plaza, February 1 August 31, 2007) Ugo Rondinoneﾃ不 Sunrise, west series is composed of a group of enigmatic masks, each representing a month of the year in an evocation of the cycle of seasons. They represent the perpetual return and inexorable passage of time.

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28 GREGOR HILDEBRANDT b. 1974 Wenn ich mit was WŸnschen dŸrfte [M.D. auf Omas Tapete], 2008 Cassette tape and acrylic on canvas. 94 3/4 x 62 1/4 in. (240.7 x 158.1 cm). Signed, titled and dated Ò2008 Gregor HildebrandtÔWenn ich mit was WŸnschen dŸrfte [M.D. auf Omas Tapete]ÕÓ on the reverse.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Galerie Jan Wentrup, Berlin

Since 2000, IÕve been working on the tape collages, and this is one of the most important elements in my work. My collages always follow the same construction; the tape bands are glued on a big canvas, vertically, from left to right. Nearly every work is linked to a song and its length builds the composition. So, one could say that IÕm obsessive, but I think that this is something every artist shares. GREGOR HILDEBRANDT (R. Lamarche-Vadel, ÒInterview: Gregor Hildebrandt,Ó Stil in Berlin, November 2, 2010)

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29 BANKS VIOLETTE b. 1973 Black noise (Ampeg BA Ð 115) for S.P., 2005 Fiberglass, wood, epoxy, polyurethane, tinted epoxy, salt. 24 x 24 x 24 in. (61 x 61 x 61 cm). This work is from an edition of seven.

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 PROVENANCE Private collection, Belgium

I definitely get a lot of ideas from music and from musicians IÕve worked with. In the instance of Stephen OÕMalleyÑwho plays with the band Sunn O)))ÑheÕs involved with a lot of low-frequency kind of sub-audible compositionsÉ things that are really less auditory and more physiological. That seems like a perfect complement to the idea of sculptureÑit has weight, gravity, it extends itself into space, etc. How do you take a discrete object that is placed pretty much on a pedestal and make it radiate out into the environment? We fill it up with the sound equivalent of the sculpture. BANKS VIOLETTE (C. Bollen, ÒBanks Violette,Ó Interview Magazine)

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30 ADEL ABDESSEMED b. 1971 Le mythe de Sisyphe, 1996 Ladder and neon. 80 3/4 x 78 3/4 x 3 in. (205.1 x 200 x 7.6 cm). Signed, titled and dated ÒADEL ABDESSEMED ÔLe mythe de SisypheÕ 1996 LyonÓ on the ladder.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Acquired from the artist by the previous owner; Sale: ChristieÕs, Paris,

Art dÔApr•s-Guerre et Contemporain, December 10, 2008, lot 262; Private collection, Belgium (acquired from the above)

I do not live between two cultures. I am not a post-colonial artist. I am not working on the scar and am not mending anything. I am just a detectorÉ. In the public sphere, I use passion and rage. Nothing else, I donÕt do illusions. ADEL ABDESSEMED

(E. Lebovici, ÒAdel Abdessemed en/in Conversation avec/with Elisabeth Lebovici,Ó Ë LÕattaque: Adel Abdessemed, Zurich, 2007, p. 111)

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31 RICHARD PHILLIPS b. 1963 NEW MUSEUM, 2009 Oil on canvas. 84 1/2 x 63 in. (214.6 x 160 cm).

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0 PROVENANCE Gagosian Gallery, New York EXHIBITED New York, Gagosian Gallery, Richard Phillips New Museum, March 14 - May 2, 2009 LITERATURE B. Funcke, ÒThey Like to Look at Pictures,Ó Richard Phillips New Museum, New

York, 2009, pp. 7 and 16-17 (illustrated in color; the drawing for this painting is illustrated on the cover); A. Baremboym and K. Llanes, ÒPolitics of Painting, An Interview with Richard Phillips,Ó artnet Magazine, 2009 (illustrated on www.artnet.com); ÒRichard Phillips exhibition, New York,Ó Wallpaper, March 10, 2009 (illustrated on www.wallpaper.com)

In the painting NEW MUSEUM (2009), two middle-aged men, apparently “bums,” are hunched on the sidewalk in front of a brick wall with a bottle of schnaps, lighting cigarettes. The particular unease in the painting might stem from the possibly fashionable appearance of these men: we cannot be sure if this represents a photograph of men down on their luck or of highly styled actors posing for a shoot. This confusion, this advanced sense of aestheticization of all parts of life, fed in New York by the city’s staggering economic growth over the last ﬁfteen years and the legacy of mayors Giuliani and Bloomberg, is symbolized by the gentriﬁcation of the Bowery, a process itself highlighted by the relocation there of the New Museum. Phillips’ painting is in fact based on an image from a 1973 Hustler Magazine article called “Hustler’s Biased Guide to Very Cheap Wines.” The location of the men in the painting, directly next to the Bowery Mission, is the new site of the New Museum. (B. Funcke, ÒThey Like to Look at Pictures,Ó Richard Phillips New Museum, New York, 2009, p. 7)

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INDEX

Abdessemed, A. 30 Bleckner, R. 22 Borremans, M. 10 De Keyser, R. 23 Fischer, U. 3 Goldstein, J. 19 Grotjahn, M. 8 Guyton\Walker 1 Haring, K. 24 Hildebrandt, G. 28 Hodges, J. 9 Judd, D. 25

Parrino, S. 17 Pettibon, R. 14

Levine, S. 6

Phillips, R. 31 Pierson, J. 13

Martin, A. 26

Prince, R. 18

Noland, C. 5

Rondinone, U. 27 Ruff, T. 11

Oehlen, A. 7 Sachs, T. 21 Stingel, R. 16 Tillmans, W. 2

ÂŤ ski, P. 12 Uklan Violette, B. 29 Warhol, A. 15, 20 Wool, C. 4

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CONTEMPORARY ART AUCTIONS

MAY 2011

PART I 12 May PART II 13 May

Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 | +44 20 7318 4039

PHILLIPSDEPURY.COM RICHARD PRINCE Crashed ÒWayward Nurse,Ó 2006-10 (detail) Estimate $4,000,000-6,000,000

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GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you. CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller. BUYERÕS PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. 1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010. Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician. Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed lot and may

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be allowed to net the financial remuneration received in connection with the guarantee against the final purchase price if such party is the successful bidder. In this catalogue, if property has O◊ next to the lot number, the guarantee of minimum price has been fully financed by third parties. ∆ Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

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

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

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

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

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3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. 4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy a late collection fee of $50, an additional administrative fee of $10 per day and insurance charges of 0.1% of the Purchase Price per month on each uncollected lot. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

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CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. 2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute

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an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 CONDUCT OF THE AUCTION (a) Unless otherwise indicated by the symbol each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

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(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours.

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(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, and no later than five days after the conclusion of the auction, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, each lot will incur a late collection fee of $50, administrative charges of $10 per day and insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to

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payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. 10 RESCISSION BY PHILLIPS de PURY & COMPANY Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale.. 11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. 12 CLIENT INFORMATION In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number. 13 LIMITATION OF LIABILITY (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot.

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AUTHORSHIP WARRANTY (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 COPYRIGHT The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 16 LAW AND JURISDICTION (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules.

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

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

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PHILLIPS de PURY & COMPANY

Chairman

Directors

Advisory Board

Sean Cleary

Simon de Pury

Maria Bell

Finn Dombernowsky

Janna Bullock

Patricia G. Hambrecht

Lisa Eisner

Alexander Payne

Chief Executive Officer

Lapo Elkann

Olivier Vrankenne

Ben Elliot

Bernd Runge

Lady Elena Foster H.I.H. Francesca von Habsburg Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

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

INTERNATIONAL SPECIALISTS

Berlin Brussels

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Katherine van Thillo, Consultant +32 475 68 70 11

Buenos Aires & London 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 17 289 736 11

Los Angeles Milan Moscow

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

GENERAL COUNSEL

MANAGING DIRECTORS

Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York

WORLDWIDE OFFICES NEW YORK

NEW YORK

BERLIN

450 Park Avenue, New York, NY 10022, USA

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

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1300 fax +1 212 940 1230

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

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

LONDON

PARIS

GENEVA

Howick Place, London SW1P 1BB, United Kingdom

6, avenue Franklin D. Roosevelt, 75008 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

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

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

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

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SPECIALISTS AND DEPARTMENTS

CONTEMPORARY ART Michael McGinnis, Senior Director +1 212 940 1254 and Worldwide Head, Contemporary Art

Vanessa Kramer, Worldwide Director

NEW YORK Zach Miner, Head of Part I +1 212 940 1256 Sarah Mudge, Head of Part II +1 212 940 1259

Shlomi Rabi

+1 212 940 1246

Caroline Shea

+1 212 940 1247

Deniz Atac

+1 212 940 1245

PHOTOGRAPHS +1 212 940 1243

NEW YORK

Roxana Bruno Jeremy Goldsmith Timothy Malyk Jean-Michel Placent

+1 212 940 1229 +1 212 940 1253 +1 212 940 1258 +1 212 940 1263

Carol Ehlers, Consultant

+1 212 940 1245

Sarah Krueger

+1 212 940 1225

Peter Flores Alexandra Leive Winnie Scheuer Sarah Stein-Sapir Amanda Stoffel Roxanne Tahbaz

+1 212 940 1223 +1 212 940 1252 +1 212 940 1226 +1 212 940 1303 +1 212 940 1261 +1 212 940 1292

Lou Proud, Head of Photographs, London

+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 Judith Hess Matt Langton Ivgenia Naiman George OÕDell

+44 20 7318 4075 +44 20 7318 4074 +44 20 7318 4071 +44 20 7318 4093

Sarah Buchwald Catherine Higgs Raphael Lepine Tanya Tikhnenko

+44 20 7318 4085 +44 20 7318 4089 +44 20 7318 4078 +44 20 7318 4065

LONDON

Rita Almeida Freitas

+44 20 7318 4062

Emma Lewis

+44 20 7318 4092

BERLIN Christina Scheublein

+49 30 886 250 57

JEWELS Nazgol Jahan, Worldwide Director

+1 212 940 1283

NEW YORK PARIS Edouard de Moussac + 33 1 42 78 67 77

Carmela Manoli

DESIGN Alexander Payne, Worldwide Director +44 20 7318 4052

Ardavan Ghavami, Head of Jewels, Europe

+44 20 7318 4064

Lane McLean

+44 20 7318 4032

+1 212 940 1302

LONDON

NEW YORK Alex Heminway, New York Director +1 212 940 1269 Marcus Tremonto Meaghan Roddy

+1 212 940 1268 +1 212 940 1266

Alexandra Gilbert

+1 212 940 1268

LONDON Marine Hartogs +44 20 7318 4021 Domenico Raimondo +44 20 7318 4016 Ben Williams +44 20 7318 4027 Marcus McDonald Megan McGee

+44 20 7318 4095 +44 20 7318 4021

PARIS Johanna Frydman +33 1 42 78 67 77 BERLIN Christina Scheublein +49 30 886 250 57

THEME SALES Henry Allsopp, International Head

+44 20 7318 4060

NEW YORK Corey Barr

+1 212 940 1239

Steve Agin, Consultant

+1 908 475 1796

Stephanie Max

+1 212 940 1301

LONDON Arianna Jacobs

+44 20 7318 4054

Lisa de Simone

+44 20 7318 4090

Henry Highley

+44 20 7318 4061

Siobhan OÕConnor

+44 20 7318 4040

PRIVATE SALES MODERN AND CONTEMPORARY EDITIONS NEW YORK

Anna Ho

+44 20 7318 4044

Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Joy Deibert

+1 212 940 1333

Anna Furney, New York

+1 212 940 1238

Jannah Greenblatt

+1 212 940 1332

Harmony Johnston, London

+44 20 7318 4099

ART AND PRODUCTION Mike McClafferty, Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Steven Mosier, Graphic Designer Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager

OFFICE OF THE CHAIRMAN Helen Rohwedder, International

+44 20 7318 4042

MARKETING NEW YORK Trish Walsh, Marketing Manager Anne Huntington, Communications Manager LONDON Giulia Costantini, Head of Communications Fiona McGovern, Communications Assistant

LONDON Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, Production Director

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SALE INFORMATION

AUCTION

CATALOGUES

450 PARK AVENUE NEW YORK 10022

Leslie Pitts +1 212 940 1240

Friday 4 March 2011, 7pm

$35/25/£22 at the gallery catalogues@phillipsdepury.com

VIEWING 450 PARK AVENUE NEW YORK 10022

ABSENTEE AND TELEPHONE BIDS

Tuesday 22 February Ð Saturday 26 February, 10am Ð 6pm

main +1 212 940 1228 fax +1 212 924 1749 bids@phillipsdepury.com

Sunday 27 February, 12pm Ð 6pm

Rebecca Lynn, Manager +1 212 940 1216

Monday 28 February Ð Friday 4 March, 10am Ð 6pm

Maureen Morrison, Bid Clerk +1 212 940 1215 Marissa Piedra, Bid Clerk +1 212 940 1304

SALE DESIGNATION In sending in written bids or making enquiries please refer

CLIENT ACCOUNTING

to this sale as NY010111 or Contemporary Evening Sale.

Sylvia Leitao +1 212 940 1231 Buyers Accounts

CATALOGUER

Nicole Rodriguez +1 212 940 1235

Alexandra Leive +1 212 940 1252

Seller Accounts Barbara Doupal +1 212 940 1232

ADMINISTRATOR

Nadia Somwaru +1 212 940 1280

Winnie Scheuer +1 212 940 1226 CLIENT SERVICES PROPERTY MANAGER

450 Park Avenue +1 212 940 1300

John Andrews

450 West 15 Street +1 212 940 1200

PHOTOGRAPHY

SHIPPING

Clint Blowers, Matt Kroening

Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372

Inside Back Cover Mark Grotjahn, Untitled (Pink Butterfly Green mg03), 2003, Lot 8 (detail) Back Cover Jim Hodges, Once Together / Apart, 1996, Lot 9 (detail)

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

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