Saturday@Phillips by Phillips de Pury & Co.

PHILLIPS de PURY & COMPANY CONTACTS

Chairman

Advisory Board

Simon de Pury

Maria Bell Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Lapo Elkann Ben Elliot

Senior Partners

Lady Elena Foster

Michael McGinnis

H.I.H. Francesca von Habsburg

Dr. Michaela Neumeister

Marc Jacobs Malcolm McLaren

Managing Partner

Ernest Mourmans

Brook Hazelton

Aby Rosen Christiane zu Salm

Partners

Princess Gloria von Thurn und Taxis

Aileen Agopian

Jean Michel Wilmotte

Sean Cleary

Anita Zabludowicz

Diego McDonald Alexander Payne Rodman Primack Olivier Vrankenne Tiffany Wood

WORLDWIDE OFFICES

NEW YORK

BERLIN

450 West 15 Street New York NY 10011 USA

Auguststrasse 19 10117 Berlin Germany

+1 212 940 1200 +1 212 924 5403 fax

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LONDON Howick Place London SW1P 1BB United Kingdom

COLOGNE

+44 20 7318 4010 +44 20 7318 4011 fax

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PARIS 28, rue Michel Le Comte 75003 Paris France

GENEVA

CĂŠcile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax

23, quai des Bergues 1201 Geneva Switzerland Carolin Goetze +41 22 906 80 00 +41 22 906 80 01 fax

MUNICH Maximiliansplatz 12a 80333 Munich Germany

DUBAI

Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax

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SATU RDAY @ PH I LLI PS Contemporary & Urban Art Design

Jewellery

Photographs

Watches Toy Art

Noon Lots 1-281

SATU RDAY @ PH I LLI PS presents NO RESERVE 4:30pm Lots 282-413

1 4 MARCH 2 0 0 9 LONDON

UNKNOWN DESIGNER Shelving Unit, 1950s. Estimate £2,500-3,500 Mahogany,

painted plywood, stained wood, brass. 107.5 x 105 x 24 cm. (42 1/4 x 41 1/2 x 9 1/2 in.)

RON ARAD b. 1951 ‘Nino Rota’ chair, 2002. Estimate £800-1,200 Polyethylene.

72 cm. (28 in.) high. Manufactured by Cappellini, Italy. Lower back impressed ‘NINO ROTA by Ron Arad for Cappellini’.

STILNOVO Pair of standing lamps, c. 1950s. Estimate £1,200-1,800 Bronze, painted

steel, marble base. 196 cm. (77 3/4 in.) high. Manufactured by Stilnovo, Italy.

STUDIO GAVINA ‘Omaggio Ad Andy Warhol’ stool, designed 1973. Estimate

£2,000-3,000 Silkscreen painted metal, upholstery over foam. 41.5 cm. (16 3/4 in.) high. Manufactured by Gavina, Italy. Manufacturer’s label under cushion at top ‘OMAGGIO A: WARHOL / ULTRAMOBILE SIMON / BOLOGNA ITALY’.

RINO VERNUCCIO Pair of chairs, designed 1958. Estimate £1,200-1,800 Woven

wool, steel. 67.5 cm. (26 1/2 in.) high. Manufactured by Poltronova, Italy.

ETTORE SOTTSASS 1917-2007 ‘Teodora’ chair, 1987. Estimate £1,000-1,500

Wood laminate, perspex. 81.5 cm. (32 in.) high. Manufactured by Vitra AG, Germany. Manufacturer’s label to underside of bottom left leg.

MW 7 OLIVIER MOURGUE b. 1939 ‘Djinn’ sofa and pair of chairs, designed 1965. Estimate £3,500-4,500 Steel, upholstered urethane. Sofa: 68.5 x 125 x 67.5 cm. (27 x 49 x 26 1/2 in.); chairs: 68.5 cm. (27 in.) high. Manufactured by Airborne International, France.

RON ARAD b. 1951 ‘Top Pot’ planter, 2003. Estimate £1,000-1,500 Polyethylene.

100 cm. (40 in.) high. Manufactured by Serralunga, Italy. Rim signed ‘Ron Arad for SERRALUNGA’. Inside planter impressed ‘RON ARAD / DESIGN FOR SERRALUNGA / MADE IN ITALY’ and again on the base.

MW 7

VITTORIO VIGANO b. 1919 Pair of sconces, model n°2, 1950s. Estimate £800-

1,200 Painted metal, enamelled aluminium, brass. 26. cm (10 in.) diameter. Manufactured by Arteluce, Italy. Sticker underneath shade ‘ALMILANO’.

EERO SAARINEN 1910-1961 ‘Womb 70’ sofa, designed 1948. Estimate £2,000-

3,000 Wool fabric, painted metal. 93.5 x 157.5 x 82.5 cm. (36 3/4 x 62 x 32 1/2 in.)

ROGER CAPRON b. 1922 Side table, c. 1960. Estimate £700-900 Ceramic tiles,

iron frame. 37 x 46.5 x 31.5 cm. (14 1/2 x 18 1/4 x 11 1/2 in.)

RON ARAD b.1951 ‘Schizzo’ chair, 1989. Estimate £2,000-3,000 Bent plywood,

tubular steel, sheet steel. 88.5 cm. (34 1/2 in.) high. Manufactured by Vitra AG, Germany.

GEBRÜDER THONET Two tier glass table. Estimate £1,000-1,500 Glass,

chrome plated metal. 85.5 cm. (33 5/8 in.) high.

RON ARAD b.1951 ‘Rover’ two-seater sofa, 1981. Estimate £4,000-6,000 Painted

ROBERT INDIANA b. 1928 Chosen Love, 1995. Estimate £1,500-2,000 Skein

dyed, hand carved and hand tufted archival New Zealand wool on stretched canvas with natural Latex backing. 181.6 x 184.5 cm. (71 1/2 x 72 5/8 in.) Signed, numbered and annotated

tubular steel, Rover car seats. 76 cm. (30 in.) high. Manufactured by One Off Ltd., United

on label on verso. This work is from an edition of 300. PROVENANCE Master Contemporary

Kingdom. Topside of lower front bar with decal ‘ONE / Off / LONDON / 01 379 7796’.

Original Artist Rugs, New York

MAX INGRAND AND PIETRO RAIMONDI 1908-1969 Lamp / Vase. Estimate

£2,000-3,000 Opaque glass, painted metal. 57 cm. (22 1/2 in.) high.

MW 18

RAFAL BUJNOWSKI b.1974 Untitled (enamel-bright), 2005. Estimate £3,000-

4,000

m Oil on canvas in five parts. Each 30 x 30 cm. (11 3/4 x 11 3/4 in.) Each signed, dated

and annotated on verso.

MW 18 KIKI LAMERS b. 1964 Untitled, 1999. Estimate £3,000-4,000 m Oil on canvas. 150.5 x 115.3 cm. (59 1/4 x 45 3/8 in.) Signed on verso. PROVENANCE CRG Gallery, New York

KIKI LAMERS b. 1964 Untitled, 1998. Estimate £3,000-4,000

m Oil on canvas.

100.3 x 90.5 cm. (39 1/2 x 35 5/8 in.) Signed, dated and annotated on verso.

CRIS BRODAHL b. 1963 Men, 2005. Estimate £1,500-2,000

m Oil on canvas.

60 x 79.5 cm. (23 5/8 x 31 1/4 in.) Signed lower edge. PROVENANCE Marc Foxx Gallery, Los Angeles

MARK FRANCIS b. 1962 Untitled, 1996. Estimate £700-900

m ‡ Monoprint

etching on paper. 58.4 x 58.4 cm. (23 x 23 in.) Signed and dated lower edge. This work is unique.

NEAL TAIT b. 1965 Untitled, 2000. Estimate ÂŁ7,000-9,000

m Oil on canvas.

121.9 x 91.4 cm. (48 x 36 in.) Signed, dated and annotated on verso. PROVENANCE Jay Jopling, London

KEIICHI TANAAMI b. 1936 An Object of Ambiguous Desire 17, 2007. Estimate

£2,000-3,000

‡ Coloured pencil, pen, acrylic and varnish on paper. 45.4 x 37.8 cm.

(17 7/8 x 14 7/8 in.) Signed and dated lower edge. PROVENANCE Nanzuka Underground, Japan

TORU KUWAKUBO b. 1978 Carnation, 2005. Estimate £800-1,200

‡ Oil on

canvas. 40.6 x 40.6 cm. (16 x 16 in.) Titled, dated and annotated on stretcher. PROVENANCE Tomio Koyama Gallery, Tokyo

ELENA SEREBRYAKOVA Cup (from Creation), 2006. Estimate £3,000-4,000

Oil on canvas in painted wooden artist’s frame. 48.9 x 59.1 cm. (19 1/4 x 23 1/4 in.) Signed, titled, dated and annotated twice on verso.

JOHN VIRTUE b. 1947 Landscape No. 788. Estimate £800-1,200

m Oil on

canvas. 7.6 x 13 cm. (3 x 5 1/8 in.) Signed, titled and annotated on verso.

JOHN VIRTUE b. 1947 Landscape No. 787. Estimate £800-1,200

m Oil on

canvas. 12.7 x 7.9 cm. (5 x 3 1/8 in.) Signed, titled and annotated on verso.

MILENA DRAGICEVIC b. 1965 Omot 1, 2005. Estimate £2,500-3,500

m Oil on

linen. 91.8 x 76.2 cm. (36 1/8 x 30 in.) Signed, credited, titled, dated and annotated twice on verso.

MARCIN LUKASIEWICZ b. 1979 Nadchodzacy (Forthcoming), 2005. Estimate

£1,800-2,200

m Oil on canvas. 180 x 134.9 cm. (70 7/8 x 53 1/8 in.) Signed, titled and dated

on stretcher.

MARI SUNNA b. 1972 House on a Hill, 2003. Estimate £1,500-2,000

m Oil on

board. 24 x 20 cm. (9 1/4 x 7 7/8 in.) Signed, titled and dated on verso.

TONY OURSLER b. 1957 Bell, 1987. Estimate £500-700 Acrylic on paper.

21.6 x 29.8 cm. (8 1/2 x 11 3/4 in.) Signed on label on reverse of the mount. PROVENANCE Metro Pictures, New York

ERICKSON BEAMON Garden cuff with matte silver plated metal and 22 kt gold plated

metal, Swarovski pearl, Swarovski crystal, aquamarine, rose quartz and agate, backed with leather, 5.5 cm. wide. Estimate £600-800

ERICKSON BEAMON Garden clip-on earrings with matte silver plated metal and 22 kt

gold plated metal, Swarovski pearl, Swarovski crystal, aquamarine, rose quartz and agate, 9.3 cm. long. Estimate £300-400

ERICKSON BEAMON Garden cocktail ring with matte silver plated metal and 22 kt

gold plated metal, Swarovski pearl, Swarovski crystal, aquamarine, rose quartz and agate, 5.6 x 6 cm. across. Estimate £250-350

ERICKSON BEAMON Garden long necklace with matte silver plated metal and 22 kt

gold plated metal, Swarovski pearl, Swarovski crystal, aquamarine, rose quartz and agate, 33 cm. long. Estimate £1,000-1,500

ERICKSON BEAMON Forest necklace with 22 kt gold plated base metal, Swarovski

crystal, jasper, agate, tiger’s eye and pyrite, 28 cm. long. Estimate £1,200-1,800

ERICKSON BEAMON Forest cuff with 22 kt gold plated base metal, Swarovski crystal,

agate, jasper, tiger’s eye and pyrite, backed with leather, 6 cm. wide. Estimate £700-900

ERICKSON BEAMON Forest cocktail ring with 22 kt gold plated base metal, Swarovski

crystal, jasper and tiger’s eye, 6 x 8.4 cm. across. Estimate £250-350

ERICKSON BEAMON Forest clip-on drop earrings with 22 kt gold plated base metal,

Swarovski crystal, jasper, tiger’s eye and pyrite, 15.3 cm. long. Estimate £250-350

MA MH 41

ELLIOTT ERWITT b. 1928 New York City, 1974. Estimate £1,200-1,800

Gelatin silver print, printed later. 29.8 x 44.5 cm. (11 3/4 x 17 1/2 in.) Signed on front. Signed, titled and dated on verso.

MA MH 41 EVE ARNOLD b. 1913 Marilyn Monroe Playing Pool, Reno, Nevada, 1960. Estimate £700-900 Photogravure on paper, printed 2002. 19.1 x 27.9 cm. (7 1/2 x 11 in.) Initialed and annotated lower edge. This work is from an edition of 50.

MH 42 ANDY WARHOL 1928-1987 Jerry Hall, 1980. Estimate £3,000-4,000 Polaroid. 9.5 x 7.3 cm. (3 3/4 x 2 7/8 in.) Stamped by the Estate and Foundation of Andy Warhol on verso.

ANTON CORBIJN b. 1955 Mick, 1995. Estimate £2,000-3,000

m Lith print,

mounted on board. 45.1 x 45.1 cm. (17 3/4 x 17 3/4 in.) Signed, titled, dated and numbered on the mount and the reverse of the mount. This work is from an edition of 20.

MH 42

MH 44

MH 44 JUERGEN TELLER b. 1964 Kate After Her 25th Birthday at the Ritz, Paris, 1999. Estimate £800-1,200

m C-print. 10.2 x 15.2 cm. (4 x 6 in.) Signed, titled, dated and

numbered on verso. This work is from an edition of 100.

MARTIN PARR b. 1952 Two works: Untitled, 2004. Estimate £600-800

m‡

C-print. Each 25.4 x 20.3 cm. (10 x 8 in.) One print signed and dated on verso.

NAN GOLDIN b. 1953 Simon and Jessika Making Love, Jessika Coming, Paris, 2001.

Estimate £4,000-6,000 Dye destruction print, flush mounted on aluminium. 65.4 x 97.8 cm. (25 3/4 x 38 1/2 in.) Signed, titled, dated and numbered on reverse of the mount. This work is an artist’s proof aside from an edition of 15.

MA 47 48

MA 47 NAN GOLDIN b. 1953 Skeleton Behind Bars, Rome, 2001. Estimate £2,0003,000 Dye destruction print. 97.8 x 65.4 cm. (38 1/2 x 25 3/4 in.) Signed, titled, numbered and annotated on label on reverse of the frame. This work is an artist’s proof aside from an edition of 15.

ANDRES SERRANO b. 1950 Piss Discus, 1988. Estimate £2,500-3,500 Dye

destruction print. 73 x 47.9 cm. (28 3/4 x 18 7/8 in.) Signed, titled, dated and annotated on verso. This work is an artist’s proof aside from an edition of 50. PROVENANCE Adam Baumgold Gallery, New York

ADAM FUSS b. 1961 Untitled (from Stained Glass), 1995. Estimate £3,500-4,500

m Dye destruction photogram. 123.8 x 50.5 cm. (48 3/4 x 19 7/8 in.) Signed, dated and annotated on verso. This work is unique.

MA MH 50 GAVIN TURK b. 1967 Sid Vicious, 2000. Estimate £1,200-1,800 m

C-print, flush mounted on aluminium. 182.9 x 76.2 cm. (72 x 30 in.) Signed, dated and numbered on reverse of the mount. This work is from an edition of 10.

MA MH 50

(i)

(iii)

51 53

THOMAS JOSHUA COOPER b. 1946 Three works: (i) Thinking of John Virtue #1,

2000; (ii) Thinking of John Virtue #2, 2000; (iii) Thinking of John Virtue #3, 2000. Estimate £1,200-1,800 Gelatin silver print, mounted on board. Each 16.5 x 22.9 cm. (6 1/2 x 9 in.) Each signed on the mount. Each signed, titled, dated, annotated and inscribed on reverse of the mount. These works are from an edition of 3. Two works illustrated.

THOMAS JOSHUA COOPER b. 1946 Four works: At the World’s Edge—The Solar

Eclipse Suite, Cornwall, England, 1999. Estimate £800-1,200 Gelatin silver print, mounted on board. Each 16.5 x 23.5 cm. (6 1/2 x 9 1/4 in.) Each signed on the mount. Each signed, titled, dated, numbered, annotated and inscribed on reverse of the mount. These works are from an edition of 5. Two works illustrated.

SUSAN DERGES b. 1955 Shoreline, 1999. Estimate £2,000-3,000

m Gelatin

silver photogram, flush mounted on board. 48.3 x 74.6 cm. (19 x 29 3/8 in.) This work is unique.

RICHARD MISRACH b. 1949 Four works: (i),(ii) Boojum Tree, 1976; (iii), (iv) Saguaro

Cactus, 1975. Estimate £4,000-6,000 (i), (ii) C-print, printed 1996-1999; (iii), (iv) c-print, printed 1995-1999. Each approximately 78.7 x 78.1 cm. (31 x 30 3/4 in.) Each signed, titled, dated and numbered on verso. These works are from an edition of 50.

(i)

(ii)

(iii)

(iv)

(i)

(ii)

SUSAN DERGES b. 1955 Three works: (i) Oak No. 1, 2000; (ii) Repository No. 2, 2000;

(iii) Kingswood, 2000. Estimate £1,000-1,500

m Iris print. (i) 41.9 x 33 cm. (16 1/2 x 13 in.);

(ii) 41.6 x 33 cm. (16 3/8 x 13 in.); (iii) 32.7 x 37.5 cm. (12 7/8 x 14 3/4 in.) Each signed, dated and annotated lower edge. (i), (ii)These works are artist’s proofs aside from an edition of 100; (iii) this work is an artist’s proof.

SUSAN DERGES b. 1955 Four works: (i) Sycamore No. 1, 2000; (ii) Bluebell (flower)

No. 1, 2000; (iii) Bluebell No.14, 2000; (iv) Bluebell (bulb) No.1, 2000. Estimate £2,000-3,000

m Iris print. Each 41.6 x 32.7 cm. (16 3/8 x 12 7/8 in.) Each signed, dated and annotated lower edge. These works are artist’s proofs aside from an edition of 100.

SUSAN DERGES b. 1955 Four works: (i) Fruitbody No. 28, 2000 (ii) Fruitbody No. 17,

2000; (iii) Fruitbody No. 37, 2000 ; (iv) Fruitbody No. 31, 2000. Estimate £2,000-3,000

(iii)

Iris print. Each 41.6 x 32.7 cm. (16 3/8 x 12 7/8 in.) Each signed, dated and numbered lower edge. These works are artist’s proofs aside from an edition of 100. Three works illustrated.

(i)

(ii)

(iii)

(iv)

(i)

(iii)

(iv)

102

163 131 170 133

N AT H A N A E L P O T T E R Nathanael knows cool sneakers so well his leading trend agency, U-Dox

international team dedicated to the promotion of contemporary Urban Art

Brand Development now handles online communication for super brand

through pop up art shows in unique settings using various media including

Adidas Originals. “Like many kids, I started with comics and football cards.

film and original music to intensify the viewing experience; they most

Looking back, I was always excited to feed my collecting obsession and at

recently curated a solo show for artist Futura in Downtown LA. Being a

one stage I even collected pieces of cars and BMX bikes. When I was in my

collector himself, he owns an impressive collection of street art prints and

teens, a friend at school whose father had been travelling in America gave

originals, many purchased when “you could pick up a Banksy print for just

me a pair of black Jordan 5s: I loved those sneakers in the way I love art

£15.” So what happened to the teenage passion for sneakers? “Of course

now, and that was the beginning of an obsession that has seen me fill walls

the sneaker collection continues to grow too—it’s big enough to have its

of my apartment with my collections.” Nathanael is also part of KRUNK, an

own room now.”

102 SHIRO KURAMATA Umbrella stand I like the way Kuramata plays with balance and perspective – and does it all with a sense of humour. His pieces are so collectable that it would be great to own one. Plus, I’d really enjoy seeing people puzzling over this in my hallway. 131 MASSIMO VITALI Marina di Carrara Torre Fiat #0151 Massimo Vitali’s bleached landscapes offer plenty of detail to get lost within, they are most often taken in sunny locations that make me want to shut down my Apple Mac and dig out my passport. 133 THOMAS RUFF Sternenhimmel 16h 30m/ -50° Who doesn’t enjoy staring high into the sky on summer nights or when you find yourself on a beach at night during a holiday. If I had this in my apartment I could live that feeling over and over. This image was taken during a short break that Thomas Ruff took from his emotionless portraits prior to creating the graphic series of newspaper images. 163 OMEGA FLIGHTMASTER Automatic winding timepiece with stainless steel case and signed stainless steel band, diameter 42.5 mm I have been planning to add the flightmaster to my watch collection for a while. This was the last watch that Omega made for pilots and was even worn by Soviet cosmonauts. It’s a large chronograph with bright hands, a look that has once again become fashionable in watch design. 170 HERAKUT You Sure? So many urban artists have jumped on the political message bandwagon with graffiti that it looked in danger of destroying itself with a massive boom, and then a bust. Artists such as Herakut have impressed and inspired me by incorporating fine art techniques and studies with urban art style. It’s shown that graffiti has grown up and forged a place for itself in more conservative markets. These two are a great duo, the girl’s spiteful expression coupled with the vulnerable look of her headgear creates an unforgettable image.

182 BANKSY Soup Can The soup can is an instantly recognizable emblem of modern art. What I like about this piece is that your mind tells you to expect the ‘Campbells’ logo and the familiar Warhol jewel tones, but you’re actually confronted with a quintessentially British version—from one of our top supermarket’s own brand value ranges and in the slightly washed-out sunshine hues of a British kitchen. Banksy installed the original version of this in the MOMA for three days before anyone noticed, but I think his famous humour really adds to the image and his version seems much more familiar and homely to me. 253 CHRISTO Surrounded Islands, Biscayne Bay, Greater Miami, Florida There’s something quite ironic about framing and hanging a small print of one Christo and Jeanne-Claude’s larger than life pieces. 389 ANDY WARHOL Andy Warhol’s Index The best thing about artist’s books is that you get several works in one. This one was published in 1967 and it’s got an assortment of things that are whimsically Warhol, including a pop-up airplane, photos of Chelsea Girls and a flexi-disc by Lou Reed. It shows that art doesn’t just belong on the wall, and it’s a really coherent collection of bits and pieces that sum up the way art was moving at the time. 392 OS GÊMEOS Two works: Untitled (Head Box) If only I had the room to hang these heads I am confident they would bring me endless hours of enjoyment. Big, bright and friendly, what a welcome it would make if I could hang these in my hall way, although I’m sure it might scare some off.

253 182

392 389

Philip Sinden

alternate view

GODZILLA Produced by Bullmark Co., Japan, c. 1975. Estimate £300-400

Diecast metal. 11.4 cm. (4.5 in.) high. Toy’s chest opens and includes missiles, tank, jet fighter and original packaging.

HEDORAH WITH SMOKESTACK Produced by CCP Co., Japan, 2008. Estimate

£150-200

Ω Vinyl and gold chrome. Figure: 21.6 cm. (8 1/2 in.) high; smokestack: 12.7 cm.

(5 in.) high. This toy is from an edition of 200 and includes original packaging.

LIGHT-UP HEDORAH WITH GODZILLA HEAD EYES Produced by CCP Co.,

Japan, 2008. Estimate £150-200

Ω Double cast and moulded vinyl. 25.4 x 33 cm.

(10 x 13 in.) Toy’s eyes light-up with image of Godzilla head. Toy includes original packaging.

GOLD LIGHTAN ROBOT GB-37 Produced by Popy Co., Japan, c. 1980. Estimate

£300-400

Ω Diecast metal. 12.7 cm. (5 in.) high. Transforming toy of protagonist in film.

Toy includes accessories and original packaging.

GOLD LIGHTAN ROBOT GB-40 Produced by Popy Co., Japan, c. 1980. Estimate

£250-350

Ω Diecast metal. 12.7 cm. (5 in.) high. Transforming toy of film character. Toy

includes accessories with working timer and original packaging.

GOLD LIGHTAN ROBOT GB-41 Produced by Popy Co., Japan, c. 1980. Estimate

£250-350

Ω Diecast metal. 12.7 cm. (5 in.) high. Transforming toy of film character. Toy

includes accessories with compass, maps, magnifying glass and original packaging.

GOLD LIGHTAN ROBOT GB-38 Produced by Popy Co., Japan, c. 1980. Estimate

£250-350

Ω Diecast metal. 12.7 cm. (5 in.) high. Transforming toy of film character. Toy

includes accessories with telescope and original packaging.

65 120

SPACE TROOPER #007 Produced by Toy Graph Co., Japan, 2008. Estimate £80-

Ω Translucent painted vinyl. 12.7 cm. (5 in.) high. Toy includes removable helmet,

raygun and original packaging.

ANDY MOUSE Produced by 360 Toy Group, USA, 2005. Estimate £80-120

Vinyl. 20.3 cm. (8 in.) high. This toy is conceived by Jakuan 120, licensed by the Keith Haring Estate and is a figural rendition of Keith Haring’s print spoof of Andy Warhol and Mickey Mouse. This toy is from an edition of 1,000 and includes original packaging.

67 400

MECHANICAL BATMAN Produced by Billiken Co., Japan, 1989. Estimate £300-

Ω Tin, cloth and vinyl. 20.3 cm. (8 in.) high. This toy is from an edition of 2,000 and

includes original packaging.

MECHANICAL NANA IRA KAMEN Produced by Billiken Co., Japan, c. 1988.

Estimate £200-300

Ω Tin, felt and vinyl. 20.3 cm. (8 in.) high. This toy is from an edition

of 900 and includes original packaging.

ASTRONAUT JESUS Produced by Adfunture, USA, 2004. Estimate £70-90

Flocked vinyl. 24.6 cm. (9.7 in.) high. This toy is designed by Doma and includes original packaging.

71 72 70

DOROL Produced by Shikaruna Co., Japan, 2008. Estimate £100-150

Ω Vinyl.

25.4 x 17.8 x 17.8 cm. (10 x 7 x 7 in.); 48.3 cm. (19 in.) high when arms fully extended. This toy is from a special promotional edition for Super Position Store in Japan and includes poseable arms and original packaging.

SPACE KAIJU Produced by Shikaruna Co., Japan, 2008. Estimate £100-150

Vinyl. 26.7 cm. (10 1/2 in.) high. This toy is from a special promotional edition for Tokyo Toy Festival in Japan and includes original packaging.

PAUL KAIJU b. 1965 Pop Soda Villain ‘Meneme’ produced by Real Head Co., Japan,

2008. Estimate £250-350

Ω Hand painted vinyl. 17.8 cm. (7 in.) high. Signed. This toy

is unique. alternate view

73 74

PAUL KAIJU b. 1965 Metal Zag, produced by Fully Visual Co., USA, original figure

concept by Gargamel Co., Japan, 2008. Estimate £200-300

Ω Hand painted metal.

10.7 cm. (4.2 in.) high. Signed. This toy is from an edition of 5.

BOB CONGE / PLASEEBO & MARK NAGATA / MAX TOY CO. b. 1939 &

1964 Eyezon Meets Night Gamer, 2008. Estimate £700-900

Ω Mixed media, glow vinyl

with LED motion-actived lights. Eyezon: 25.4 cm. (10 in.) high; Night Gamer: 17.8 cm. (7 in.) high. Signed and numbered. These toys are a unique paint version from a varied edition of 10.

BOB CONGE b. 1939 Skull Octopus from Outer Space ICE version, USA, 2008.

Estimate £250-350

Ω Hand cast urethane with LED color change lights and blue glass.

7.6 x 7.6 cm. (3 x 3 in.) Signed. This toy is from an edition of 10.

76 77

FRANK KOZIK b. 1962 Belchor, 2008. Estimate £1,500-2,000

Ω Hand-painted

fibreglass. 86.4 cm. (34 in.) high. Casting by Rommel Chua. Signed. This toy is a unique paint version from a varied edition of 40.

TIM BISKUP b. 1967 Big Pollard, 2008. Estimate £300-400

Ω Vinyl and mixed

media. 22.9 cm. (9 in.) high. Signed. This toy is a unique paint version from a varied edition of 10.

SCRAPPERS b. 1972 Matango, original vinyl figure produced by M-1 Co., Japan, 2008.

Estimate £200-300

Ω Vinyl. 20.3 cm. (8 in.) high. Signed. This toy is a unique paint version

apart from approximately 40 unpainted toys by M-1 Co., Japan.

SCRAPPERS b. 1972 Gloppy, original vinyl figure designed by Bwana Spoons,

produced by Gargamel Co., Japan, 2008. Estimate £100-150

Ω Vinyl. 15.2 cm. (6 in.) high.

Signed. This toy is a unique paint version apart from approximately 30 unpainted toys by Gargamel Co., Japan.

CARLOS ENRIQUEZ GONZALEZ b. 1968 Neon Skin, 2006. Estimate £1,200-

1,800

Ω Hand-painted fibreglass. 27.9 cm. (11 in.) high. Signed. This toy is a unique paint

version from a varied edition of 8.

82 81

LEECIFER b. 1967 Malpas Moe figure and painting, 2008. Estimate £500-700

Figure: acrylic on resin; painting: acrylic on wood. Figure: 15.2 cm. (6 in.) high; painting:

MIKE LE MERDE b. 1973 Vanfar, USA, 2008. Estimate £200-300

61 x 22.9 cm. (24 x 9 in.) Each signed. These works are unique.

a varied edition of 10 and includes custom cloth sack.

COMET DEBRIS / KOJI HARMON b. 1971 Tokoji Seijin glow, produced by

Gargamel Co., Japan, 2008. Estimate £120-180

Ω Glow vinyl. 15.2 cm. (6 in.) high. Signed.

RUMBLE MONSTERS b. 1969 Awaking Apples—Sons of a Witch set, produced by

Rumble Monsters, Japan, 2008. Estimate £150-200

This toy is unique.

MATT WALKER / DEAD PRESIDENTS b. 1973 Mecha Godzilla, original vinyl

RUMBLE MONSTERS b. 1969 Garbage Junk Monster set, produced by Rumble

Monsters, Japan. Estimate £150-200 an edition of 150.

Vinyl with color change FX paint. 20.3 cm. (8 in.) high. Signed. This toy is a unique paint version apart from a series of unpainted toys by M-1 Co., Japan. COMET DEBRIS / KOJI HARMON b. 1971 Tokoji Seijin blue glow, produced by

Gargamel Co., Japan, 2008. Estimate £120-180

Ω Double cast translucent blue vinyl

with glow vinyl inside. 14 cm. (5 1/2 in.) high. Signed. This toy is unique.

Ω Vinyl. 10.2 cm. (4 in.) high. This toy

is from an edition of 150.

figure produced by Bullmark Co., reproduced by M-1 Co., Japan, 2008. Estimate £250-350

Ω Resin

and paint. 15.2 cm. (6 in.) high. Signed and dated. This toy is a unique paint version from

Ω Vinyl. 10.2 cm. (4 in.) high. This toy is from

KAWS b. 1974 Three works: Chompers, 1000%, 400% & 100% Bearbrick produced by

Medicom Toy Co., c. 2003. Estimate £800-1,200

Estimate £250-350

•

Ω PVC. Largest: 71.1 cm. (28 in.) high.

FUTURA 2000 b. 1955 Unkle 400% Kubrick, produced by MedicomToy Co., 2005.

•

Ω PVC. 30.5 cm. (12 in.) high. Toy includes original packaging.

MR. EWOKONE b. 1976 Bear Market Qee, produced by TOY2R, USA, 2008. Estimate

£500-700

Ω PVC, acrylic and spraypaint. 50.8 cm. (20 in.) high. Signed

and dated. This toy is unique.

•

KAWS b. 1974 Two works: Bendy, 2003 and Companion, 1999. Estimate £800-1,200

Ω Vinyl. Bendy: 35.9 cm. (14 1/8 in.) long; Companion: 19.1 cm. (7 1/2 in.) high. Bendy 2003

produced by Medicom Toy Co.; Companion 1999 produced by Bounty Hunter. These toys are from an edition of edition of 500.

•93 •94

MEDICOM TOY CO. Andy Warhol 1000% Kubrick, 2003. Estimate £800-1,200

Ω PVC. 61 cm. (24 in.) high. Toy includes original packaging. MEDICOM TOY CO. Sex Pistols 1000% Bearbrick, c. 2006. Estimate £350-450

Ω PVC. 71.1 cm. (28 in.) high. SHOK-1 b. 1970 Headhunter, 2006. Estimate £800-1,200

m Vinyl designer toy,

spraypaint, acrylic, india ink, chains, spraycan nozzles. 50.8 cm. (20 in.) high. Toy is complete with bag containing spraycan nozzles. This toy is a unique, customized designer toy supplied by Kidrobot (not commercially available) and reinterpreted in serial killer theme by artist SHOK-1.

SHIRO KURAMATA 1934-1991 ‘Floating feather’, designed 1990. Estimate £700-

900 Acrylic, feather. 14 x 9.5 x 8 cm. (5 1/2 x 3 3/4 x 3 1/8 in.) Manufactured by Kuramata Design Office, Japan PROVENANCE Clear Gallery, Tokyo, Japan

SHIRO KURAMATA 1934-1991 ‘Flower vase # 2’, designed 1989. Estimate £700-

900 Acrylic, glass. 21.6 x 11.4 x 11.4 cm. (8 1/2 x 4 1/2 x 4 1/2 in.) Manufactured by Ishimaru Co., Ltd., Japan.

SHIRO KURAMATA 1934-1991 Pair of ‘Flower vases #3’, designed 1989. Estimate

£3,000-4,000 Acrylic, glass. 26 x 30.5 x 8 cm. (10 1/4 x 12 x 3 1/8 in.) Manufactured by Ishimaru Co., Ltd., Japan.

SHIRO KURAMATA 1934-1991 Set of three ‘Flower vases #1’, designed 1989.

Estimate £1,500-2,000 Acrylic, glass. 23 x 7.5 x 7.5 cm. (9 x 3 x 3 in.) Manufactured by Ishimaru Co., Ltd., Japan.

SHIRO KURAMATA 1934-1991 ‘Nara’ end table, designed 1983. Estimate £1,200-

1,800 Terrazzo. 40 x 60 x 60 cm. (16 x 24 x 24 in.) Manufactured by Ishimaru Co., Ltd., Japan for Memphis, Italy.

100

NO LOT

101

NP 102

101

JOE COLOMBO 1930-1971 Ashtray, designed 1969. Estimate £250-350 Frosted

glass, painted metal, coloured glass. 15 cm. (6 in.) diameter. Designed for Arnolfo di Cambio, Italy.

NP 102 SHIRO KURAMATA 1934-1991 Umbrella stand, designed 1987. Estimate £1,200-1,800 Black enamelled metal, chrome plated steel, rubber. 87.5 cm. (34 1/2 in.) high. Manufactured by UMS-Pastoe, Netherlands.

103

RON ARAD b.1951 Pair of ‘Rover’ lounge chairs, 1981. Estimate £3,000-4,000

Painted tubular steel, Rover car seats. 79 x 71 x 87 cm. (31 1/8 x 28 x 34 1/4 in.) Manufactured by One Off Ltd., United Kingdom. Topside of lower front bar with decal ‘ONE / Off / LONDON / 01 379 7796’.

103

105

104

107

106

108

104

ETTORE SOTTSASS & CHRIS REDFERN—SOTTSASS ASSOCIATI

1917-2007 & b. 1972 Prototype ‘Aero II Hybrid’ ceiling light, 2008. Estimate £3,500-4,500 Plastic, painted metal. 124.5 x 36 cm. (49 x 14 in.) Manufactured by Zumtobel, Austria for Sottsass Associati, Italy.

105

C.F. OTTO MÜLLER ‘P4’ ceiling light, 1930s. Estimate £500-700 Nickel plated

metal, glass. 98.5 cm. (38 3/4 in.) drop. Manufactured by Sistrah-Licht GmbH, Germany.

106

GIANFRANCO FRATTINI b. 1926 Table lamp, 1961. Estimate £1,000-1,500

Painted metal, string. 40.5 x 44.5 cm. (16 x 17 1/2 in.)

107

GIANNI CELADA b. 1935 ‘Mongolfiera 3’ table lamp, designed 1968. Estimate

£2,000-3,000 Frosted opaque glass, painted metal. 80 cm. (31 1/2 in.) high. Manufactured by Fontana Arte, Italy.

108

WALTER VON NESSEN Standard lamp, 1928-1930. Estimate £2,000-3,000

Nickle plated metal, vellum. 121.5 cm. (47 7/8 in.) high; 38 cm. (15 in.) diameter. Stamped ‘Nessen Studio N.Y.’.

109

110

111

112

109

ANGELO MANGIAROTTI b. 1921 Vase, 1980s. Estimate £1,800-2,200

Alabaster. 14 cm. (5 1/2 in.) high.

110

ANGELO MANGIAROTTI b. 1921 Pair of bowls, 1980s. Estimate £1,500-2,000

Alabaster. 5.5 cm. (2 1/4 in.) high.

111

ANGELO MAGIAROTTI b. 1921 Pair of bowls, 1980s. Estimate £2,000-3,000

Alabaster. 7.5 cm. (3 in.) high.

112

FONTANA ARTE Picture frame, 1940s. Estimate £1,500-2,000 Bronze, glass.

28.5 x 18 cm. (11 1/4 x 7 in.) Manufactured by Fontana Arte, Italy.

113

ATTRIBUTED TO PIERO FORNASETTI 1913-1988 Box. Estimate £1,000-

1,500 Lithographic printed wood. 9.5 x 59 x 21 cm. (3 1/2 x 23 3/4 x 8 1/2 in.)

113

114

115

116

114

GAETANO SCIOLARI Chandelier, c. 1970. Estimate £500-700 Gilt brass.

22.5 x 60 x 34 cm. (9 x 23 5/8 x 13 3/8 in.) Ceiling rose with plastic label ‘SCIOLARI’.

115

GIO PONTI 1891-1979 Four ‘Leggera’ chairs, designed 1951. Estimate £1,200-

1,800 Ash, cellophane rush. 82.5 cm. (32 1/2 in.) high. Manufactured by Cassina, Italy.

116

PAOLO BUFFA 1903-1970 Two-piece cabinet, c. 1930. Estimate £3,000-4,000

Mahogany-veneered wood, burled walnut, satinwood, resin, brass. 134.6 x 120.3 x 45.1 cm. (53 x 47 3/8 x 17 3/4 in.)

MA 117

118

MA 117 CHARLOTTE PERRIAND 1903-1999 Bench, from Les Arcs, France., c. 1969. Estimate £6,000-8,000 Maple. 33 x 239 x 80 cm. (13 x 94 x 31 1/2 in.)

118

ATTRIBUTED TO FRANCO ALBINI Table. Estimate £5,000-7,000 Cherry

wood base and tiger wood top, painted metal, black glass. 78 x 243 x 90.5 cm. (31 x 96 x 36 in.)

ROCHELLE CANTEEN: MELANIE ARNOLD & MARGOT HENDERSON The pupils are long gone from Rochelle School in London’s Arnold Circus,

Margot Henderson. Partners for 15 years, Melanie and Margot created the

but in Rochelle Canteen neighbouring the classrooms-turned-creative

successful catering company Arnold & Henderson closely associated with

studios, there is a buzz. Fashion wunderkinds Luella Bartley, Katie Hillier

newly Michelin-starred St. John Restaurant (patron saint of carnivores,

(Marc Jacobs’ accessories designer), photographer Juergen Teller and

chef Fergus Henderson is Margot’s other half). These lunch ladies know

artists Michael Raedecker, Glenn Brown and Goshka Macuga recess here

their British classics: what do they collect? ‘Old silver and china for work’;

and indulge in the uncomplicated, distinctively British food offered at what

and what is their favorite flavor association? ‘Gin and tonic’.

is now London’s hippest, in-the-know eatery created by Melanie Arnold and

MA MH 41 EVE ARNOLD Marilyn Monroe Playing Pool, Reno, Nevada

MA 144 WOLFGANG TILLMANS Please Leave This One

We both chose this, Marilyn and Eve, no minors. MH 42 ANDY WARHOL Jerry Hall A fantastic image of her, the way she looks at the camera, with desire,

Hope in the city. And I used to live in a flat like these. MH 253 CHRISTO Surrounded Islands, Biscayne Bay, Greater Miami, Florida

her glamour, her naked shoulder, great hair. I love Jerry in all her looks

I like the strange artificial extension to the island, and the way he makes

and Warhol seems to be loving her too. MH 44 JUERGEN TELLER Kate After Her 25th Birthday at the Ritz, Paris

money from the prints and drawings so he can wrap something else. A long time ago I saw his Pont Neuf Wrapped, a wonderful sight. MH 275 LE CORBUSIER, PIERRE JEANNERET & CHARLOTTE PERRIAND Chaise Longue

What a treat to have Kate in bed. MA 47 NAN GOLDIN Skeleton Behind Bars, Rome

A lovely place to sleep, snuggled up against that skin, Corb is the man. MA 329 ROBERT CRUMB Cleveland Building

I love this, reminds me of trips to Rome and its gloomy, creepy crypts. MA MH 50 GAVIN TURK Sid Vicious

A friend gave me a book of his many years ago and it shocked me and made me laugh. Love his wobbly line.

We both chose this too, great iconic image, Gavin playing the cowboy, being Sid Vicious, always makes you laugh. MA 117 CHARLOTTE PERRIAND Bench, from Les Arcs, France Beautiful, and simple, I want it.

117

275

144

329 253

Philip Sinden

119

120

119

LORI PARK b. 1959 White Radiance Figure (No. 2), 2007. Estimate £6,000-8,000

‡ Plaster, wire mesh, wood, resin, paper, acrylic, carton, glue and preserved roses. 200 x 150 x 110 cm. (78 3/4 x 59 x 43 3/8 in.) Signed and dated. EXHIBITED Musée de Marrakech, Lori Park 'Radiance', 10 June – 16 November 2007

120

LORI PARK b. 1959 White with Roses (No. 3), 2007-2008. Estimate £3,000-4,000

‡ Textural panel with paper, resin, acrylic, carton and preserved roses on canvas. 190.5 x 139.7 x 20.3 cm. (75 x 55 x 8 in.) Signed and dated.

121

122

123

124

121

JOHANNES WOHNSEIFER b. 1967 Untitled, 2006. Estimate £1,200-1,800

m Printed paper, paper, plastic wrapper and pigment collage on graph paper. 29.5 x 41.9 cm. (11 5/8 x 16 1/2 in.) Blindstamped lower edge.

122

JOHANNES WOHNSEIFER b. 1967 Untitled, 2006. Estimate £1,200-1,800

m Photograph, printed paper, paper and pigment collage on paper. 29.5 x 41.9 cm. (11 5/8 x 16 1/2 in.) Blindstamped lower edge.

123

MUNTEAN / ROSENBLUM b.1962 & 1962 Untitled, 2000. Estimate £3,000-

4,000

m Acrylic and graphite on paper. 40 x 29.8 cm. (15 3/4 x 11 3/4 in.) Signed and dated

on verso.

124

GUY RICHARDS SMIT b. 1970 Untitled, 2005. Estimate £2,000-3,000

Watercolour on paper. 104.8 x 75.6 cm. (41 1/4 x 29 3/4 in.) Signed and dated on verso.

125

126

125

ANNE CHU b. 1959 Untitled, 1997. Estimate £800-1,200 Watercolour on paper.

66.7 x 50.8 cm. (26 1/4 x 20 in.) Signed and dated on verso.

126

TOBIAS REHBERGER b. 1966 Untitled, 1996. Estimate £800-1,200

Graphite, pen and marker on paper. 21 x 29.8 cm. (8 1/4 x 11 3/4 in.) Signed and dated on verso.

127 127

ALESSANDRO RAHO b. 1971 Simon, 2007. Estimate £1,000-1,500

Watercolour on paper. 38.7 x 26 cm. (15 1/4 x 10 1/4 in.) Signed and dated lower edge.

128

ALESSANDRO RAHO b. 1971 Gordon, 2007. Estimate £1,000-1,500

Watercolour on paper. 27.3 x 22.9 cm. (10 3/4 x 9 in.) Signed and dated side edge.

129

WILLIAM KENTRIDGE b. 1955 South Africa, 2005. Estimate £800-1,200 Pen

on paper towel. 35.6 x 31.8 cm. (14 x 12 1/2 in.)

130

RICHARD ARTSCHWAGER b. 1923 Untitled, 1998. Estimate £3,000-4,000

Charcoal on paper. 63.8 x 96.5 cm. (25 1/8 x 38 in.) Signed and dated lower edge.

128

129

130

NP 131

NP 131 MASSIMO VITALI b. 1944 Marina di Carrara Torre Fiat #0151, 1995. Estimate £3,000-4,000

m C-print, Diasec and flush mounted on Dibond. 63.5 x 89.5 cm. (25 x 35 1/4 in.)

Signed, titled, dated and numbered on accompanying page. This work is from an edition of 35.

132 3,000

WALTER NIEDERMAYR b. 1952 Diptych: Stilfserjoch, 1997. Estimate £2,000-

m ‡ C-print, flush mounted on board. Each 97.2 x 124.8 cm. (38 1/4 x 49 1/8 in.) Each

signed, titled, dated, numbered and annotated on reverse of the mount. This work is from an edition of 6. PROVENANCE Galerie Anne de Villepoix, Paris; Robert Miller Gallery, New York

132

NP MW 133

NP MW 133 THOMAS RUFF b. 1958 Sternenhimmel 16h 30m/ -50°, 1990. Estimate £1,000-1,500

m C-print, printed 1994. 75.6 x 50.2 cm. (29 3/4 x 19 3/4 in.) Signed, dated

and numbered on verso. This work is from an edition of 175.

134 2,000

CANDIDA HÖFER b. 1944 Spiegelkantine Hamburg III, 2000. Estimate £1,500-

m C-print. 49.8 x 49.8 cm. (19 5/8 x 19 5/8 in.) Signed on label on verso. This work is from

an edition of 100.

135

CANDIDA HÖFER b. 1944 Deutsches Hygiene-Museum Dresden III, 2000.

Estimate £500-700

m C-print, printed 2004. 21.9 x 22.2 cm. (8 5/8 x 8 3/4 in.) Signed

and dated on verso. Numbered on label on verso. This work is from an edition of 100.

134

135

137

136

138

136

ABBAS KIAROSTAMI b. 1940 Untitled (#51), 2000. Estimate £1,500-2,000

C-print. 40.6 x 59.7 cm. (16 x 23 1/2 in.) Signed, dated, numbered and annotated on verso. This work is from an edition of 7.

137

ABBAS KIAROSTAMI b. 1940 Untitled (#27 bis), 2000. Estimate £1,500-2,000

C-print. 40.6 x 59.7 cm. (16 x 23 1/2 in.) Signed, dated, numbered and annotated on verso. This work is from an edition of 7.

138

JANET CARDIFF b. 1957 Untitled, 2006. Estimate £250-350 C-print. 21 x 28.9

cm. (8 1/4 x 11 3/8 in.) Signed, dated and numbered on verso. This work is from an edition of 100.

139

IZIMA KAORU b. 1954 Kojima Hijiri wears Yohji Yamamoto, 1999. Estimate

£1,500-2,000 C-print. 27.9 x 35.6 cm. (11 x 14 in.)

140

IZIMA KAORU b. 1954 Tomita Yasuko wears Prada, 1997. Estimate £1,500-2,000

C-print. 27.9 x 35.6 cm. (11 x 14 in.) Signed on label on reverse of the frame. This work is from an edition of 10. PROVENANCE Galerie Emmanuel Perrotin, Paris

141

IZIMA KAORU b. 1954 Matsuyuki Yasuko wears Gucci, 1997. Estimate £1,500-

2,000 C-print. 27.3 x 34.9 cm. (10 3/4 x 13 3/4 in.) Signed on label on reverse of the frame. This work is from an edition of 10. PROVENANCE Galerie Emmanuel Perrotin, Paris

140

141

142

MA 144

143

145

142

PIPILOTTI RIST b. 1962 We Were Taught…, 2002. Estimate £350-450 Dye

destruction print. 45.4 x 30.2 cm. (17 7/8 x 11 7/8 in.) Signed and numbered on label on verso. This work is from an edition of 150. PROVENANCE Texte zur Kunst, Berlin

143

PIPILOTTI RIST b. 1962 Sonnenaufgang im Land der untergehenden Sonne, 1999.

Estimate £400-600 C-print, flush mounted on aluminium, printed 2002. 29.8 x 45.1 cm. (11 3/4 x 17 3/4 in.) Signed on label on reverse of the mount. This work is from an edition of 100. PROVENANCE Frameworks Editionen

MA 144 WOLFGANG TILLMANS b. 1968 Please Leave This One, 2003. Estimate 146

£600-800

m C-print. 28.3 x 19.7 cm. (11 1/8 x 7 3/4 in.) Signed, numbered and annotated

on verso. This work is from an edition of 100. PROVENANCE Hatje Cantz Verlag, Ostfildern

145

MIWA YANAGI b. 1967 AI (from My Grandmothers), 2004. Estimate £1,000-1,500

C-print, Diasec and flush mounted on Plexiglas, and text in presentation box. 18.1 x 23.8 cm. (7 1/8 x 9 3/8 in.) Signed and dated on box.

147

148

146

TATSUMI ORIMOTO b. 1946 Untitled (from Breadman Son and Alzheimer Mama),

1996. Estimate £2,500-3,500 C-print, flush mounted on Plexiglas, printed 2007. 55.2 x 44.1 cm. (21 3/4 x 17 3/8 in.) Signed and numbered on verso. This work is from an edition of 20.

147

LI WEI b. 1970 Transparent Ecology, 2001. Estimate £1,500-2,000 C-print.

99.1 x 80 cm. (39 x 31 1/2 in.) Signed, dated and numbered lower edge. This work is from an edition of 10.

148

HIROSHI SUGIMOTO b. 1948 Time’s Arrow, 1987. Estimate £800-1,200

‡

Offset lithograph, printed 2004. 25.1 x 20.6 cm. (9 7/8 x 8 1/8 in.) Signed and numbered lower edge. This work is from an edition of 200.

149

TISSOT SIDERAL ELECTRONIC Electronic timepiece with fibreglass case

and plastic strap, ref. 081-40700, n°12355163, diameter 39 mm., in original box, 1970s. Estimate £200-300 Ω

150

JAEGER-LECOULTRE MEMOVOX Automatic winding timepiece with stainless

steel case and new leather strap, n°1307531, diameter 38 mm., 1970s. Estimate £1,500-2,000 Ω

151

DUBOIS DEPRAZ JUMP HOUR CHRONOGRAPH Automatic winding

timepiece with chrome plated case and leather strap, ref. 1378, caliber JRGK, size 35 x 45 mm., 1970s. Estimate £600-800

152

TUDOR PRINCE DAY-DATE Automatic winding timepiece with gold and stainless

steel plated case, and new leather strap and buckle, ref. 76213, n°H492535, diameter 35 mm., 1990s. Estimate £350-450

153

154

OMEGA ‘TURLER’ CONSTELLATION Automatic winding timepiece with

stainless steel and gold case, and new signed leather strap and buckle, ref. 14393 9 SC, n°17728639, caliber 561, diameter 34 mm., 1959. Estimate £600-800

154

OMEGA SEAMASTER (‘GENÈVE’) Manuel winding timepiece with stainless

steel case and new leather strap and buckle, ref. 135.011, n°25061100, caliber 601, diameter 34 mm., 1967. Estimate £350-450

155

IWC Automatic winding timepiece with stainless steel case, new leather strap

and signed buckle, n°2592250, diameter 34 mm., 2000s. Estimate £1,000-1,500

156

TWO POCKET HEUER CHRONOGRAPHS Two manuel winding timepieces

with stainless steel cases, ref. 8032 & ref. 592, in original boxes. Estimate £500-700

157

HEUER CARRERA Automatic winding timepiece with stainless steel case and new

rubber strap, ref. 1163, n°223903, caliber 11, size 42 mm., 1970s. Estimate £1,200-1,800

158

159

OMEGA MEGAQUARTZ 32KHZ DAY-DATE Automatic winding timepiece

with stainless steel case and signed stainless steel band, ref. 1960033/3960822, caliber 1310, size 39 mm., 1970s. Estimate £250-350

159

160

OMEGA SEAMASTER 300 Automatic winding timepiece with stainless steel case

and extremely rare signed stainless steel band, ref. 16-024-64, n°23798659, caliber 552, diameter 41 mm., 1966. Estimate £1,800-2,200

OMEGA SEAMASTER 120 (‘BIG BLUE’) Automatic winding timepiece with

stainless steel case and signed stainless steel band, ref. 176.004, n°34252906, caliber 1040, diameter 44 mm., 1973. Estimate £2,000-3,000

160

161

162

ROLEX OYSTER PERPETUAL DATE Automatic winding timepiece with

stainless steel case and signed stainless steel band, ref. 6534, n°409776, diameter 33 mm., 1945. Estimate £1,500-2,000

162

ROLEX DATEJUST Automatic winding timepiece with stainless steel case, white

gold bezel and signed stainless steel band, ref. 1601, n°5067034, diameter 35 mm., 1977. Estimate £1,500-2,000

NP 163

164

NP 163 OMEGA FLIGHTMASTER Automatic winding timepiece with stainless steel case and signed stainless steel band, diameter 42.5 mm., 1970s. Estimate £1,800-2,200

164

OMEGA SPEEDMASTER (125TH ANNIVERSARY) Automatic winding

timepiece with stainless steel case and stainless steel signed band, limited edition of 2000, ref. ST 178.0002/378.08.01, diameter 42 mm., 1973. Estimate £3,000-4,000

165

166

SPACEMAN AUDACIEUSE Automatic winding timepiece with chrome plated and

fibreglass case, and signed leather strap, diameter 46.5 mm., 1970s. Estimate £300-400

166

167

CANDINO JUMP HOUR Automatic winding timepiece with stainless steel case

and leather strap, ref. 10521, size 38 x 29 mm., 1970s. Estimate £250-350

167

HANOWA JUMP HOUR Manuel winding timepiece with stainless steel case

and leather strap, diameter 43 x 38 mm., 1970s. Estimate £300-400

168

169

OMEGA DYNAMIC DAY-DATE Automatic winding timepiece with stainless steel

case, new signed leather strap and buckle, diameter 41 mm., 1970s. Estimate £500-700

169

OMEGA DYNAMIC DAY-DATE Automatic winding timepiece with gold plated

case, and new signed leather strap and buckle, diameter 41 mm., 1970s. Estimate £400-600 Ω

133

180

18 170

M A R K WA D D I N G T O N Well let’s just say that when Mark has his heart set on something he goes

separated children from adults in prisons in Afghanistan, and to have

after it. And if that thing is social justice and the protection of children then

pioneered new ways of reintegrating ex-child soldiers with their families

count on him to make it happen. In 2004 he joined War Child as Chief

in the Democratic Republic of Congo. Last year, War Child won (out of 330

Executive and soon developed the organization into one of the most active

competing organizations) the UN Grand Award for its campaigning work.

players in charity. Today, CEO Mark oversees operations in all parts of the

So what do super heroes do on their time off? Saturday@Phillips can

world from Congo to Iraq, getting local communities and aid to the people

reveal the answer: they hang out with their wife Romance (possibly the

who are the most affected by the atrocities of war: children. Under Mark’s

coolest name ever), play with their children, watch rugby or go running.

management, War Child is the first organization to have successfully

You didn’t hear it from us.

7 OLIVIER MOURGUE ‘Djinn’ sofa and pair of chairs

183 BANKSY Jack and Jill

The deep red and the shape of the chairs is striking. They stand out and

The contrast between the innocence of children at play and the conflict

challenge. It’s exactly what we’re trying to achieve with War Child’s brand.

or violence suggested by the police body armour is provocative and

They look great and are a perfect fit with our logo!

resonates with many of the situations that children living with the effects

18 KIKI LAMERS Untitled

of conflict have to deal with. The protection implied by the body armour

The character of this boy comes through the way in which his face has

is not short on irony.

been captured. Cheeky, mischievous, full of life and energy. Amazing.

249 DANIEL ARSHAM Building Cut (Column #1)

Despite the experiences of many of the children we work with, they remain

I enjoy being outside and get immersed in natural history. Stalagtites

resilient and full of humour. This picture reminds me of their heroism.

and stalagmites. The parody on the complexity of geology is not lost here

133 THOMAS RUFF Sternenhimmel 16h 30m / -50°

in the simplicity of this piece.

If ever there was an image that could strip boundaries and limitations

287 DIANE ARBUS Burlesque Comedienne in her Dressing Room,

away this is it. It gives hope for the possibility of change, which is a value

Atlantic City, NJ

War Child holds dear in working in locations where hope is sometimes

This piece oozes sexiness. I love it. I feel like a fifteen year old again in

in short supply.

trying to make sense and reason out of this. It’s pure feeling. Sense and

170 HERAKUT You Sure?

reason are wasted for me here. Immodesty Blaize, the burlesque dancer,

This piece is beautiful. It is my favourite, for personal reasons, because

has used her talents to help raise money for War Child and the reason for

it reminds me of the woman in my life. My wife. The fact it’s raising vital

the success of her efforts is captured in this piece. Consequently, I’m a

funds for War Child makes it even more special.

huge burlesque fan.

180 SEEN Untitled

366 CHIHO AOSHIMA Magma Spirit Explodes. Tsunami is Dreadful

I grew up in the Peak District and we’d go to Sheffield regularly for

I’m really into rock music. This piece is like a ‘70s rock album cover gone

shopping or the cinema. I was actually born there and this piece reminds

feral—one of my favourite pieces in the exhibition. It’s brilliant!

me of some of the best graffiti we used to see on bridges in Sheffield. It

396 JOEL TAUBER February 16, 2007: The Tree Babies have Arrived!!!

feels old school but leaps out at you with life and vibrancy. It’s bold and

Here is the start of life. Hope. Future possibilities. Life. All these things

full-on with saturated colour. I like the anti-establishment suggestion.

leap out at you from this piece. It’s what War Child is about and this image

In yer face!

illustrates that perfectly.

249

366 183

287

396

Philip Sinden

AUCTION TO BENEFIT WAR CHILD War Child is an international charity that works with children in some of the worldâ&#x20AC;&#x2122;s most dangerous war zones - Iraq, Afghanistan, Uganda and the Democratic Republic of Congo (DRC). The main goal of War Child is to provide protection for children who, as a result of war, live with insecurity, poverty and social exclusion. This includes street children, children in prison and children recruited or abducted by rebel groups. This goal is accomplished by working with children and their communities to protect them from violence, abuse and exploitation. By also campaigning for policy changes, War Child is able to help many more children than just the oneâ&#x20AC;&#x2122;s they work with directly. War Child is able to implement their ideals and goals by establishing on-the-ground programs and projects with lasting affects for both children and their community. They are best able to protect children and enrich their future by reintegrating child soldiers with their families, rebuilding schools destroyed during war, getting children off the streets who were made homeless by war, separating children from adults in prison, and empowering the local community to make a difference. War Child looks forward to a world in which the lives of children are not torn apart by war.

NP MW 170

NP MW 170 HERAKUT You Sure?, 2009. Estimate £3,000-4,000 m Charcoal, aerosol and acrylic. 100 x 100 cm. (39 3/8 x 39 3/8 in.) Signed and dated on verso.

The artwork of Herakut is the culmination of two artists, Hera and Akut, who

The artists create a world of characters whose feelings, expressions, and

approach a blank surface, be it canvas or wall, in two very different ways. The

mannerisms mirror our own. In Akut’s photorealist style we see a reflection of

output of this collaboration is one unique artistic expression. Their artwork is

ourselves. Yet we are distanced from these characters due to the abstraction

the meeting of photorealist graffiti and figurative abstraction. The striking

created by Hera’s loose and flowing line quality. Herakut have created You

images created entice the viewer on the street and in the gallery. Herakut

Sure?, 2009, to be sold for the benefit of War Child.

developed their graffiti based style on the streets of Europe and have quickly gained a strong international following for their work. They are at the forefront of a growing trend within the Urban Art genre where artists are becoming concerned with artistic form, expressive image, as well as message.

171

172

171

PAUL INSECT b. 1971 Sex Toy 2, 2006. Estimate £300-400

m Screenprint on

PAUL INSECT b. 1971 Wire Views Special, 2008. Estimate £400-600

Screenprint on paper. 66.7 x 44.5 cm. (26 1/4 x 17 1/2 in.) Signed, dated and numbered lower edge.

from an edition of 60. PROVENANCE Pictures on Walls, London

This work is from an edition of 40. PROVENANCE Pictures on Walls, London

172

PAUL INSECT b. 1971 Sex Toy 1, 2006. Estimate £300-400

m Screenprint on

174

PAUL INSECT b. 1971 Sex Toy 3, 2006. Estimate £300-400

m Screenprint on

paper. 64.5 x 45.7 cm. (25 3/8 x 18 in.) Signed, dated and numbered lower edge. This work is from

paper. 62.9 x 45.1 cm. (24 3/4 x 17 3/4 in.) Signed, dated and numbered lower edge. This work is

an edition of 60. PROVENANCE Pictures on Walls, London

from an edition of 60. PROVENANCE Pictures on Walls, London

174 173

173

paper. 61.3 x 42.9 cm. (24 1/8 x 16 7/8 in.) Signed, dated and numbered lower edge. This work is

175

PAUL INSECT b. 1971 Liberty, 2007. Estimate ÂŁ10,000-15,000

m Acrylic and

screenprint on canvas. 76.2 x 50.5 cm. (30 x 19 7/8 in.) Signed, titled, dated and annotated on overlap. This work is from an edition of 2 uniquely coloured canvases. PROVENANCE Lazarides Gallery, London

176

177

178

176

FAILE Bunny Boy, 2005. Estimate £200-300

Ω Cast resin. 12.7 x 10.2 x 12.7 cm.

(5 x 4 x 5 in.) This work is from an edition of 200 and includes original packaging.

177

FUTURA 2000 b. 1955 Futura Tag, 2008. Estimate £300-400 Vinyl.

19.1 x 42.5 x 8.3 cm. (7 1/2 x 16 3/4 x 3 1/4 in.) This work is from an edition of 40 and includes original packaging. PROVENANCE AdFunture Workshop Ltd., Shanghai

178

KAWS b. 1974 Dissected Companion, 2006. Estimate £700-900

Ω Painted cast

vinyl. 38.1 x 16.5 x 10.2 cm. (15 x 6.5 x 4 in.) Dated and stamped on bottom. This toy is from an edition of 500 and includes original packaging. PROVENANCE Medicom Toy, Tokyo

179

WALESKA NOMURA Crying Her Heart Out, 2006. Estimate £600-800

Acrylic on canvas. 50.8 x 101.6 cm. (20 x 40 in.) Initialed lower edge. Signed and dated on verso.

MW 180 SEEN b. 1961 Untitled, 2006. Estimate £2,500-3,500 Acrylic and pen on four Manhattan subway maps. Each 82.2 x 62.2 cm. (32 3/8 x 24 1/2 in.) Signed on one map.

MW 180

NP 182

181

BANKSY b. 1975 Flying Copper, 2004. Estimate £2,000-3,000

m Screenprint on

paper. 100 x 70 cm. (39 3/8 x 27 1/2 in.) Numbered lower edge. This work is from an edition of 600. This work has been authenticated by Pest Control Office. PROVENANCE Pictures on Walls, London

NP 182 BANKSY b. 1975 Soup Can, 2005. Estimate £4,000-6,000 m Screenprint on paper. 25.4 x 14.9 cm. (10 x 5 7/8 in.) Signed, dated and numbered lower edge. This work is from an edition of 10. This work has been authenticated by Pest Control Office. PROVENANCE Pictures on Walls, London

MW 183 BANKSY b. 1975 Jack and Jill, 2005. Estimate £3,000-4,000 m Screenprint on paper. 44.8 x 64.8 cm. (17 5/8 x 25 1/2 in.) Signed, dated and numbered lower edge. This work is from an edition of 350. This work has been authenticated by Pest Control Office. PROVENANCE Pictures on Walls, London

MW 183

184

186

185

184

ANTONY MICALLEF b. 1975 Bethlehem, 2008. Estimate £600-800

187

BAST Trash and Royal, 2008. Estimate £800-1,200

and acrylic on paper. 106.7 x 76.2 cm. (42 x 30 in.) Signed, dated and numbered lower edge. This

is from an edition of 150. PROVENANCE Pictures on Walls, London

work is from an edition of 43.

185

188

ANTONY MICALLEF b. 1975 21st Century Love, 2005. Estimate £4,000-6,000

BAST Popeye, 2008. Estimate £300-400

‡ Screenprint on paper. 69.9 x 49.8 cm.

m Giclée print on paper. 74.9 x 74.9 cm. (29 1/2 x 29 1/2 in.) Signed and numbered lower edge.

(27 1/2 x 19 5/8 in.) Signed and numbered lower edge. This work is from an edition of 140.

This work is from an edition of 95. PROVENANCE Eyestorm, London

PROVENANCE Pictures on Walls, London

186

BLEK LE RAT b. 1951 Jesus, 2008. Estimate £400-600

m ‡ Screenprint on

189

BAST Electro-Tits, 2006. Estimate £2,000-3,000

‡ Acrylic, house paint,

paper. 69.9 x 57.5 cm. (27 1/2 x 22 5/8 in.) Signed and numbered lower edge. This work is from an

coloured pencil, graphite, ink and marker on found paper. 90.2 x 60.3 cm. (35 1/2 x 23 3/4 in.)

edition of 75. PROVENANCE The Black Rat Press, London

Signed, titled and dated lower edge.

188

187

‡ Screenprint, spraypaint

Screenprint on paper. 91.4 x 69.9 cm. (36 x 27 1/2 in.) Signed and numbered lower edge. This work

189

190

JUDITH SUPINE Perfect Wave, 2008. Estimate ÂŁ500-700 Acrylic and ink relief

print on paper. 61 x 41 cm. (24 x 16 1/8 in.) Signed, titled and numbered lower edge. This work is from a varied edition of 40 and is accompanied by a certificate of authenticity. PROVENANCE Paper Monster, Brooklyn

191

DATE FARMERS Sufferation, 2007. Estimate ÂŁ3,000-4,000 Enamel, ink, graphite,

sticker and paper collage on corrugated aluminum on wooden frame. 92.7 x 73 cm. (36 1/2 x 28 3/4 in.) Signed on verso. PROVENANCE New Image Art, Los Angeles; Leonard Street Gallery, London

191

192

193

194

195

192

FAILE Forbidden Love, 2005. Estimate £6,000-8,000 Acrylic and spraypaint on

found window frame. 48.3 x 91.4 cm. (19 x 36 in.) Signed, dated and annotated in verso. PROVENANCE Upper Playground, San Francisco

193

FAILE Faile Knows, 2007. Estimate £ 1 , 8 0 0 - 2 , 2 0 0 Screenprint on paper.

97.2 x 63.5 cm. (38 1/4 x 25 in.) Signed and annotated lower edge. Stamped on verso. This work is from an edition of 12. PROVENANCE New Image Art Gallery, Los Angeles EXHIBITED Los Angeles, California, New Image Art Gallery, Poster Renaissance 2, 5 January - 2 February, 2008

194

FAILE Torment, 2007. Estimate £1,000-1,500 Hand-finished screenprint and

acrylic on paper. 60.3 x 45.4 cm. (23 3/4 x 17 7/8 in.) Signed and annotated lower edge. Stamped on verso. This work is from an edition of 17.

195

FAILE & BAST Skull Box, 2005. Estimate £3,000-4,000 Spraypaint, acrylic, and

screenprinted paper collage on six-sided wooden box. 29.8 x 20.6 x 21.6 cm. (11 3/4 x 8 1/8 x 8 1/2 in.)

front

verso

196

FAILE, BAST & ELIK Untitled, 2004. Estimate ÂŁ10,000-15,000 Acrylic

and screenprint on paper on canvas. 179.1 x 121.9 cm. (70 1/2 x 48 in.) Signed, dated and annotated on verso. PROVENANCE Acquired directly from the artist

197

198

199

197

DIRQUO Ludlow St. & Rivington St., 2007. Estimate £600-800 Spraypaint, acrylic

and ink on canvas. 101.6 x 75.6 cm. (40 x 29 3/4 in.) Signed, titled and dated on verso. PROVENANCE Acquired directly from the artist

198

DIRQUO Calyer St. & Diamond St., 2008. Estimate £600-800 Spraypaint and

paper collage on canvas. 61 x 50.5 cm. (24 x 19 7/8 in.) Signed, titled and dated on verso. PROVENANCE Acquired directly from the artist

199

SWOON b. 1978 Argentina, 2008. Estimate £600-800 Etching and screenprint

on paper. 55.2 x 53.3 cm. (21 3/4 x 21 in.) Signed and numbered lower edge. This work is from an edition of 95. PROVENANCE The Black Rat Press, London

200

SWOON b. 1978 Untitled on Chipboard, 2007. Estimate £400-600 Screenprint

on laser etched chipboard and dyed newsprint. 30.5 x 58.4 cm. (12 x 23 in.) Signed and numbered lower edge. This work is from an edition of 90. PROVENANCE Paper Monster, Brooklyn

200

201

202

203

205

204

201

DAVID CHOE b. 1976 Rhino Stomp, 2008. Estimate £2,000-3,000 Watercolour

and ink on paper. 45.7 x 60.6 cm. (18 x 23 7/8 in.) Signed, titled, dated and stamped lower edge. PROVENANCE Lazarides Gallery, London

202

MAU MAU Dread at the Controls, 2008. Estimate £800-1,200

m Spraypaint,

acrylic and printed paper collage on canvas. 80 x 100.3 cm. (31 1/2 x 39 1/2 in.) Signed, titled and dated on verso.

203

DAN BALDWIN b. 1972 Triptych: Apocalyse Wow Cont. 3.10, 2007. Estimate

£700-900

m Hand finished giclée and screenprint on paper with dollar bill, printed paper

and bullet collage. Each 30 x 30 cm. (11 7/8 x 11 7/8 in.) Signed, titled and numbered lower edge. This work is from an edition of 50 and is accompanied by a certificate of authenticity. PROVENANCE Forster Gallery, London

204

FAILE F Head Torn, 2007. Estimate £4,000-6,000 Screenprint on paper. 60 x 45.7 cm.

(23 5/8 x 18 in.) Signed and annotated lower edge. Stamped and inscribed on verso. This work is unique. PROVENANCE Acquired directly from the artist

205

AIKO NAKAGAWA Subway Bunny, 2007. Estimate £400-600

‡ Stenciled

spraypaint on Manhattan subway notice. 43.2 x 27.9 cm. (17 x 11 in.) Signed, dated, numbered and annotated on verso. This work is from an edition of 8.

206

207

206

SHOK-1 b. 1970 Damian, 2008. Estimate £800-1,200

m Screenprint on canvas.

70.8 x 50.5 cm. (27 7/8 x 19 7/8 in.) Signed, dated, numbered and stamped on verso. This work is

209

from an edition of 10. PROVENANCE Little Scratch Gallery, Kent

207

WK INTERACT Cauction, 2007. Estimate £ 7 0 0 - 9 0 0

208

m Hand-finished

DAN BALDWIN b. 1972 Black skull vase, 2006. Estimate £500-700

SHEPARD FAIREY b. 1970 Kiss, 1999. Estimate £700-900 Screenprint on paper.

57.2 x 43.2 cm. (22 1/2 x 17 in.) Signed, dated and numbered lower edge. This work is from an

screenprint and duct tape collage on paper. 61 x 48.3 cm. (24 x 19 in.) Signed, dated and

edition of 100.

annotated side edge. This work is unique and is accompanied by a certificate of authenticity.

210

PROVENANCE Leonard Street Gallery, London

on paper. 94 x 61.6 cm. (37 x 24 1/4 in.) Signed and dated lower edge.

SHEPARD FAIREY b. 1970 Giant Classic, 1998. Estimate £600-800 Screenprint

210 208

209

m Glazed

earthenware. 31.1 cm. (12 1/4 in.) high. Signed and dated on bottom.

211

(i)

(ii)

(iii)

(iv)

212

211

SHEPARD FAIREY b. 1970 Four works from Retro Series: (i) Obey ‘89, 2005;

(ii) Obey ‘95, 2005; (iii) Obey ‘99, 2005; (iv) Obey ‘04, 2005. Estimate £2,500-3,500

‡

Screenprint on paper. Each 97.8 x 64.8 cm. (38 1/2 x 25 1/2 in.) Each signed, dated and numbered lower edge. These works are from an edition of 89.

212

SHEPARD FAIREY b. 1970 Big Brother 2, 2001. Estimate £400-600 Screenprint on

paper. 61 x 45.7 cm. (24 x 18 in.) Signed and dated lower edge. This work is from an edition of 200. LITERATURE Shepard Fairey, Obey: Supply & Demand: The Art of Shepard Fairey, 2006, illustrated p. 244

213

D*FACE Canis Servo Regina, 2006. Estimate £500-700

m Screenprint on paper.

44.5 x 64.1 cm. (17 1/2 x 25 1/4 in.) Signed and numbered lower edge. This work is from an edition of 80. PROVENANCE Pictures on Walls, London

213

214

215

216

214

BANKSY b. 1975 Gangsta Rat, 2004. Estimate £2,000-3,000

m Screenprint on

paper. 50.2 x 35.2 cm. (19 3/4 x 13 7/8 in.) Numbered lower edge. This work is one of 350 unsigned prints from an edition of 500. This work has been authenticated by Pest Control Office. PROVENANCE Pictures on Walls, London

215

NICK WALKER b. 1969 Red Chucker, 2008. Estimate £4,000-6,000

m Acrylic

and stenciled spraypaint on canvas. 50.8 x 61 cm. (20 x 24 in.) Signed and numbered on verso. Stenciled signature on side. Dated on stretcher. This work is from an edition of 5. PROVENANCE The Black Rat Press, London

216

KAWS b. 1974 Two works: Chum, 2001. Estimate £1,500-2,000 Printed

skateboard deck. Each 19.1 x 79.1 cm. (7 1/2 x 31 1/8 in.) PROVENANCE Supreme, New York

217

KAWS / BOUNTY HUNTER Two works: Skull-Kun, 2006. Estimate £500-700

Ω Cast vinyl. Each 17.1 cm. (6 3/4 in.) high. Each stamped and dated on bottom. These toys are from an edition of 200. PROVENANCE Original Fake, Tokyo

218

NICK WALKER b. 1969 Vandalism, 2008. Estimate £4,000-6,000

m Acrylic

and stenciled spraypaint on canvas. 70.5 x 70.5 cm. (27 3/4 x 27 3/4 in.) Signed on verso. Dated and numbered on stretcher. This work is from an edition of 12. PROVENANCE Acquired directly from the artist

219

THE LONDON POLICE Untitled, 2008. Estimate £800-1,200

m Acrylic and

screenprint on canvas. 45.7 x 91.4 cm. (18 x 36 in.) Signed and dated lower edge. PROVENANCE Acquired directly from the artist

219

218

217

220

NICK WALKER b. 1969 Moona Lisa, 2006. Estimate ÂŁ7,000-9,000

m Stenciled

spraypaint and acrylic on canvas. 101.3 x 76.2 cm. (39 7/8 x 30 in.) Stenciled signature on side. Numbered on stretcher. This work is from an edition of 10 and is accompanied by a certificate of authenticity. PROVENANCE Apish Angel Limited, London

221

222

224

223

225

front

verso

227

228

221

226

MARTIN KIPPENBERGER 1953-1997 The 5 Arbeiterjungs vom Wahrheitshof, 1991.

229

230

226

MARTIN KIPPENBERGER 1953-1997 Mensch geht mir ein Licht auf, 1991.

Estimate £300-400 Offset lithograph. 84.1 x 59.4 cm. (33 1/8 x 23 3/8 in.)

Estimate £250-350 Offset lithograph. 87.9 x 62.9 cm. (34 5/8 x 24 3/4 in.)

222

227

MARTIN KIPPENBERGER 1953-1997 Documenta IX, 1992. Estimate £300-400

Offset lithograph. 108 x 84.1 cm. (42 1/2 x 33 1/8 in.)

223

MARTIN KIPPENBERGER 1953-1997 Jazz zum Fixsen, 1986-87. Estimate £200-

MARTIN KIPPENBERGER 1953-1997 Wie komm’ ich in Kriegszeiten mit einem

gebrochenen Arm und Futurismus klar?, 1985. Estimate £250-350 Screenprint on paper. 78.7 x 54 cm. (31 x 21 1/4 in.)

300 Offset lithograph. 83.5 x 53.7 cm. (32 7/8 x 21 1/8 in.)

228

224

Screenprint on paper. 118.7 x 84.1 cm. (46 3/4 x 33 1/8 in.)

MARTIN KIPPENBERGER 1953-1997 Einfach geht der Applaus zugrunde, from

MARTIN KIPPENBERGER 1953-1997 VIT 89, 1989. Estimate £300-400

Gute Rückentwicklung kennt keine Ausreden, 1987. Estimate £300-400 Double-sided offset

229

lithograph. 97.2 x 68.6 cm. (38 1/4 x 27 in.)

vergessener Tauben, 1990. Estimate £500-700

225

(52 5/8 x 26 1/4 in.) Signed and dated side edge.

MARTIN KIPPENBERGER 1953-1997 Miete Strom Gas, 1986. Estimate £300-400

Screenprint on paper. 83.2 x 59.7 cm. (32 3/4 x 23 1/2 in.)

230

MARTIN KIPPENBERGER & HEINER BLUM 1953-1997 & b. 1959 Eine Handvoll

m Screenprint on paper. 133.7 x 66.7 cm.

MARTIN KIPPENBERGER 1953-1997 Wie auch immer, 1991. Estimate £500-700

Two screenprinted paper posters with hand-drawn sketches. 99.1 x 73.7 cm. (39 x 29 in.) One print signed and dated. This work is unique.

231

232 234

233

235

231

GERHARD RICHTER b. 1932 Three works: Cross, 1997. Estimate £2,500-3,500

m Steel. 19.4 x 19.4 x 1.6 cm. (7 5/8 x 7 5/8 x 5/8 in.) Impressed with signature, date and number. These works are from an edition of 80. PROVENANCE Anthony d’Offay Gallery, London

232

JONATHAN MEESE b. 1970 Balthys. Estimate £500-700

m Plastic bag, paper,

printed paper and cardboard collage. Various dimensions. Signed.

233

GELATIN Untitled. Estimate £400-600

m Reconstructed stuffed toy. 15.2 x 22.9

cm. (6 x 9 in.)

234

JÖRG IMMENDORFF 1945-2007 LIDLSPORT Ringmatte, 1969. Estimate £200-300

Paper and postcard in plastic wrapping. 25.7 x 19.4 cm. (10 1/8 x 7 5/8 in.)

235

ISA GENZKEN b. 1948 Schildkröten Knochen, 1992. Estimate £200-300

Plaster. 3.2 x 1.3 x 0.6 cm. (1 1/4 x 1/2 x 1/4 in.) Signed, titled, dated and numbered on box. This work is from an edition of 250.

236 237

238

alternate view

239

(i)

(ii)

(iii)

240 (iv)

236

MARTIN KIPPENBERGER 1953-1997 16 works: (i)-(xv) Sonne Busen Hammer—

Das Zentralorgan der Lord Jim Loge; (xvi) Mond Tritt Schwanz—Das Zentralorgan der Queen Barbie Loge, 1991-1996. Estimate £400-600 Magazine. Each approximately 14.9 x 10.5 cm. (5 7/8 x 4 1/8 in.)

237

LUCY MCKENZIE & PAULINA OLOWSKA b. 1977 & 1976 Nova Popularna, 2004.

Estimate £250-350

m Vinyl LP in printed cover with pop-up illustration. 31.4 x 31.4 cm.

(12 3/8 x 12 3/8 in.)

238

THOMAS SCHEIBITZ b. 1968 Four works: Selection from the Sanford Portfolio,

2002. Estimate £400-600

m (i)-(iii) Etching and aquatint on paper; (iv) embossed print on

paper. (i) 20.6 x 29.2 cm. (8 1/8 x 11 1/2 in.); (ii) 30.2 x 21 cm. (11 7/8 x 8 1/4 in.); (iii) 23.8 x 30.8 cm. (9 3/8 x 12 1/8 in.); (iv) 26.7 x 34.9 cm. (10 1/2 x 13 3/4 in.) Each signed and dated lower edge. PROVENANCE Griffelkunst-Vereinigung, Hamburg

239

TIM EITEL b. 1971 Klippe, 2004. Estimate £800-1,200

m Screenprint on paper.

62.9 x 49.8 cm. (24 3/4 x 19 5/8 in.) Signed, dated and annotated on verso. This work is an artist’s proof aside from an edition of 35. PROVENANCE Galerie EIGEN + ART, Berlin

240

LUC TUYMANS b. 1958 Egypt, 2003, 2005. Estimate £500-700

m Screenprint

on paper. 29.5 x 18.4 cm. (11 5/8 x 7 1/4 in.) Signed and numbered lower edge. This work is from an edition of 150. PROVENANCE Texte zur Kunst, Berlin

241

THOMAS SCHEIBITZ b. 1967 Untitled, 2003. Estimate £300-400

Photoengraving, drypoint and aquatint etching on paper. 41.3 x 69.5 cm. (16 1/4 x 27 3/8 in.) Signed, dated and numbered lower edge. This work is from an edition of 300.

241

242

DIRK SKREBER b. 1961 The Collusion, 2007. Estimate £400-600

m Ditone

print and string. 26.7 x 50.2 cm. (10 1/2 x 19 3/4 in.) Signed, titled, dated and numbered lower edge. This work is from an edition of 100. PROVENANCE Texte zur Kunst, Berlin

243

DANIEL RICHTER b. 1962 Flagge, 2005. Estimate £300-400

m Lithograph.

74.9 x 59.7 cm. (29 1/2 x 23 1/2 in.) Signed, dated and numbered lower edge. This work is from an edition of 150. PROVENANCE Texte zur Kunst, Berlin

244

EBERHARD HAVEKOST b. 1967 4 Kabinen, 2000. Estimate £400-600

243

Offset lithograph. 53 x 73.3 cm. (20 7/8 x 28 7/8 in.) Signed lower edge. This work is from an edition of 250. PROVENANCE Griffelkunst-Vereinigung, Hamburg

245

PETER DOIG b. 1959 Maracas, 2004. Estimate £300-400

m Aquatint on paper.

29.2 x 19.7 cm. (11 1/2 x 7 3/4 in.) Signed, dated and numbered lower edge. This work is from an edition of 120. PROVENANCE Texte zur Kunst, Berlin

246

ALBERT OEHLEN b. 1954 Hölle, 1989. Estimate £1,000-1,500

m Woodcut on

paper. 39.7 x 61.3 cm. (15 5/8 x 24 1/8 in.) Signed and numbered lower edge. This work is from an edition of 60.

244

245

246

247

248

MW 249

247

ANDY GOLDSWORTHY b. 1956 Hunting, Grise Fiord, Ellesmere Island, 1989.

Estimate £500-700

m Seal’s blood on paper. 14 x 76.2 cm. (5 1/2 x 30 in.) Signed, titled, dated

and annotated lower edge.

248

ANDY GOLDSWORTHY b. 1956 Musk Ox Snow, Grise Fiord, 1989. Estimate

£1,000-1,500

m Snow residue on paper. 75.9 x 56.2 cm. (29 7/8 x 22 1/8 in.) Signed, titled

and dated.

MW 249 DANIEL ARSHAM b. 1980 Building Cut (Column #1), 2005. Estimate £4,000-6,000 EPS foam, plaster and paint in two parts. Lower: 183 x 44 x 44 cm. (72 x 17 1/4 x 17 1/4 in); upper: 123 x 44 x 44 cm. (48 3/8 x 17 1/4 x 17 1/4 in.) PROVENANCE Galerie Emmanuel Perrotin, Paris

250

251

252

MH NP 253

254

250

LIAM GILLICK b. 1964 Poetry must be made by all! Transform the world, 2004.

Estimate £400-600

m Brushed aluminium and Plexiglas. 29.2 x 5.1 x 1.9 cm. (11 1/2 x 2 x 3/4 in.)

Signed and numbered on the certificate of authenticity. This work is from an edition of 100. PROVENANCE Texte zur Kunst, Berlin

251

OLAFUR ELIASSON b. 1967 Drahtstein, 2003. Estimate £1,000-1,500

Metal wire. 26.7 x 14.9 x 12.7 cm. (10 1/2 x 5 7/8 x 5 in.) Signed and numbered on the certificate of authenticity. This work is from an edition of 110. PROVENANCE Texte zur Kunst, Berlin

252

JAMES ANGUS b. 1970 Untitled. Estimate £1,500-2,000 Painted bronze.

38.7 x 28.9 x 18.4 cm. (15 1/4 x 11 3/8 x 7 1/4 in.)

MH NP 253 CHRISTO b. 1935 Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980-83. Estimate £500-700 Offset lithograph. 99.1 x 63.5 cm. (39 x 25 in.) Signed upper edge.

254

HAMISH FULTON b. 1946 Portfolio of nine works: Ten Toes Towards the Rainbow, 1993.

Estimate £3,000-4,000

m Screenprint on paper. Various dimensions from 44.5 x 95.3 cm.

(17 1/2 x 37 1/2 in.) to 62.9 x 96.2 cm. (24 3/4 x 37 7/8 in.) or the reverse. Signed and numbered on accompanying certificate. This work is from an edition of 35. Three works illustrated. PROVENANCE Paragon Press, London

256

255

257

255

TAKASHI MURAKAMI b. 1962 My arms and legs rot off and though my blood

rushes forth, the tranqulity of my heart shall be prized above all., 2007. Estimate £500-700

258

Offset lithograph with printing leaf. 69.9 x 83.2 cm. (27 1/2 x 32 3/4 in.) Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork © 2007 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved)

256

CHIHO AOSHIMA b. 1974 Japanese Apricot 3—A Pink Dream, 2008. Estimate

£400-600 Offset lithograph with silver spot colour. 67.9 x 81.3 cm. (26 3/4 x 32 in.) Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork © 2007 Chiho Aoshima/Kaikai Kiki Co., Ltd. All Rights Reserved)

257

CHIHO AOSHIMA b. 1974 The Divine Gas, 2008. Estimate £400-600 Offset

lithograph with silver spot colour. 59.1 x 95.3 cm. (23 1/4 x 37 1/2 in.) Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork © 2006 Chiho Aoshima/Kaikai Kiki Co., Ltd. All Rights Reserved)

258

CHIHO AOSHIMA b. 1974 A Contented Skull, 2008. Estimate £400-600 Offset

lithograph with silver spot colour. 59.4 x 130.2 cm. (23 3/8 x 51 1/4 in.) Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd.,

261

259 260

262

259

RUSSELL YOUNG b. 1960 Godzilla v King Kong, 2007. Estimate £1,000-1,500

m ‡ Screenprint on paper. 66 x 95.3 cm. (26 x 37 1/2 in.) Signed and numbered lower edge. This work is from an edition of 20.

260 1,500

RUSSELL YOUNG b. 1960 Kate Moss (as Myra Hindley), 2007. Estimate £1,000-

m ‡ Screenprint on paper. 94.6 x 67.3 cm. (37 1/4 x 26 1/2 in.) Signed and numbered lower

edge. This work is from an edition of 20.

261

KELLEY WALKER b. 1969 Chess Players, 2002. Estimate £2,000-3,000

CD-Rom with poster. Dimensions variable. Poster: 55 x 73 cm. (21 5/8 x 28 3/4 in.) Signed and numbered on CD-Rom case. This work is from an edition of 5. PROVENANCE Paula Cooper Gallery, New York

262

MIMMO ROTELLA 1918-2006 Marilyn, 1979. Estimate £800-1,200 Screenprint

on paper. 55.6 x 60.3 cm. (21 7/8 x 23 3/4 in.) Signed and numbered lower edge. This work is one of 30 artist’s proofs aside from an edition of 100.

263

264

265

266

267

263

TRACEY EMIN b. 1963 Be Faithful to your Dreams, 1999. Estimate £400-600

Embroidered handkerchief. 38.1 x 39.4 cm. (15 x 15 1/2 in.)

264

TRACEY EMIN b.1963 Everybody Needs a Place to Think. Estimate £150-250

Screenprint on handkerchief. 53.3 x 52.1 cm. (21 x 20 1/2 in.) This work is from an edition of 1,500.

265

DAMIEN HIRST b. 1965 And Then There Were Four A Famous Musketeer, 2002.

Estimate £300-400

m Dart and onion. Dart: 12.7 cm. (5 in.) long. Signed on box. This work

is from an edition of 2,000.

266

GILBERT & GEORGE b. 1943 & 1942 Dark Shadow, 1974. Estimate £400-600

Clothbound book. 19.7 x 13.3 cm. (7 3/4 x 5 1/4 in.) Signed and numbered on the title and publisher’s pages. This work is from an edition of 2,000.

267

MATTHEW BARNEY b. 1967 Cremaster 3: Mahalym (from Cremaster Cycle), 1994-

2002. Estimate £200-300 Offset lithograph, printed 2001-2002. 76.2 x 50.2 cm. (30 x 19 3/4 in.) Signed and numbered lower edge. This work is from an edition of 100. PROVENANCE Musée d’Art Moderne de la Ville de Paris, Paris

268

FONTANA ARTE Mirror, 1950s. Estimate £2,500-3,500 Coloured, frosted and

mirrored glass. 71 cm. (28 in.) diameter. Manufactured by Fontana Arte, Italy.

269

GIO PONTI 1891-1979 Pair of small benches, 1950s. Estimate £3,000-4,000 Skai,

laminate wood, painted metal. 40 x 22.5 x 14.5 cm. (16 x 9 x 6 in.) Manufactured by Cassina, Italy.

268

270

JEAN PROUVÉ 1901-1984 Bench, c. 1950. Estimate £5,000-7,000 Enamelled

steel, oak. 75 x 142 x 45.5 cm. (29 1/2 x 56 x 18 in.)

271

ATTRIBUTED TO CESARE LACCA Occasional table, 1950s. Estimate

£1,500-2,000 Walnut-veneered wood, brass. 49 x 110.5 x 51 cm. (20 x 43 1/2 x 20 1/4 in.)

270 269

271

272

FERNANDO & HUMBERTO CAMPANA b. 1961 & 1953 Pair of large ‘Estela’

lamps, 1997. Estimate £600-800 Rubber, painted iron. 65 x 34 cm. (25 1/2 x 34 1/2 in.) Manufactured by O Luce, Italy.

273

ROGER CAPRON b. 1922 Two occasional tables, c. 1960. Estimate £1,500-2,000

Ceramic tiles, stained beech. 34.5 x 119 x 46 cm. (13 1/4 x 47 x 18 in.) One impressed ‘Capron / Vallauris / France’. The other with underglaze painted ‘Roger Capron’.

274

PAOLO DEGANELLO b. 1940 ‘Documenta’ chair, 1987. Estimate £1,500-2,000

Leather, brass, wicker, metal, laminated wood. 104 cm. (41 in.) high.

272

274

273

MH 275 LE CORBUSIER, PIERRE JEANNERET & CHARLOTTE PERRIAND 1887-1965, 1896-1967 & 1903-1999 Chaise Longue, designed 1938. Estimate £8,000-12,000 Chrome-plated steel, painted steel, pony skin. 71 x 154 x 55 cm. (28 x 61 x 22 in.) Manufactured by Wohnbedarf, Switzerland.

276

MARIO YAGI Pair of ‘Garbo’ hanging lights, 1970s. Estimate £1,200-1,800

Enamelled steel, string. 304.8 cm. (120 in.) drop. Manufactured by Sirrah, Italy.

277

GAETANO PESCE b. 1939 ‘Greene Street’ armchair, 1984. Estimate £1,500-2,000

Cast resin, steel, rubber. 95 cm. (37 3/8 in.) high. Manufactured by Vitra AG, Germany.

276

MH 275

277

278

SIRRAH Hanging lamp, designed 1950s. Estimate £1,000-1,500 Frosted opaque

glass, brushed copper, painted metal. 146 cm. (57 1/2 in.) drop. Manufactured by Stilnovo, Italy.

279

ATTRIBUTED TO AGNOLDOMENICO PICA Desk, 1940s. Estimate

£2,500-3,500 Wood, walnut, tubular steel. 80 x 140 x 45 cm. (31 1/2 x 55 x 18 in.)

280

ATTRIBUTED TO FRANCO ALBINI Armchair, 1930s. Estimate £1,000-1,500

Chrome plated tubular steel frame, green upholstery. 83.5 cm. (33 in.) high.

278

281

BOREK SIPEK b. 1949 ‘Ota Otanek’ chair, 1968. Estimate £2,000-3,000 Lacquered

wood, painted metal, copper. 75 cm. (29 1/2 in.) high. Manufactured by Vitra AG, Germany Underside with manufacturer’s label.

280 279

281

SATU R DAY @ PH I LLI PS presents NO RESERVE 4:30pm Lots 282-413

282

284

283

285

282

SAUL LEITER b. 1923 Cracks, 1957. Estimate £200-300

•

C-print, printed

later. 49.5 x 33 cm. (19 1/2 x 13 in.) Signed, numbered and annotated on verso. This work is from an edition of 10. PROVENANCE Fifty One Fine Art Photography, Antwerp O

283

SAUL LEITER b. 1923 Canopy, NY, 1958. Estimate £300-400

•

C-print,

printed later. 49.5 x 32.7 cm. (19 1/2 x 12 7/8 in.) Signed and annotated on verso. This work is from an edition of 10. PROVENANCE Fifty One Fine Art Photography, Antwerp O

284

SAUL LEITER b. 1923 Through Boards, 1957. Estimate £200-300

•

C-print,

printed later. 49.5 x 32.7 cm. (19 1/2 x 12 7/8 in.) Signed, numbered and annotated on verso. This work is from an edition of 10. PROVENANCE Fifty One Fine Art Photography, Antwerp O

285

SAUL LEITER b. 1923 Street Scene, NY, 1958. Estimate £200-300

•

C-print,

printed later. 49.5 x 33 cm. (19 1/2 x 13 in.) Signed, numbered and annotated on verso. This work is from an edition of 10. PROVENANCE Fifty One Fine Art Photography, Antwerp O

286

SAUL LEITER b. 1923 Taxi, 1957. Estimate £1,000-1,500

•

C-print, printed

later. 33 x 49.2 cm. (13 x 19 3/8 in.) Signed and annotated on verso. This work is from an edition of 10. PROVENANCE Fifty One Fine Art Photography, Antwerp

286

MW 287

MW O 287 DIANE ARBUS 1923-1971 Burlesque Comedienne in her Dressing Room, Atlantic City, NJ, 1963. Estimate £2,000-3,000

•

Gelatin silver print, printed 1972.

35.6 x 35.6 cm. (14 x 14 in.) Signed, titled, dated, numbered and stamped on verso. This work is from an edition of 75. O

288

•

HUGO SCHMÖLZ 1879-1938 Four works: Untitled. Estimate £400-600

Gelatin silver print. Each approximately 15.2 x 22.5 cm. (6 x 8 7/8 in) or the reverse. Each stamped on verso. O

289

600

HENRY WESSEL b. 1942 Night Walk, Los Angeles, No. 48, 1995. Estimate £400-

•

Gelatin silver print. 38.4 x 57.2 cm. (15 1/8 x 22 1/2 in.) Signed, titled, dated and

numbered on verso. This work is from an edition of 12. O

290

HENRY WESSEL b. 1942 Walapai, Arizona, 1971. Estimate £400-600

•

Gelatin silver print. 38.1 x 56.8 cm. (15 x 22 3/8 in.) Signed, titled, dated and numbered on verso. This work is from an edition of 12.

288

290

289

291

PATRICK LAKEY b. 1970 Nietzsche: Lake Sils, Sils-Maria, Switzerland, I, c. 2003.

Estimate £1,000-1,500

•

on label on reverse of the frame. This work is from an edition of 5. O

292

•

293

•

Gelatin silver

PROVENANCE Patrick De Brock Gallery, Knokke O

295

THOMAS JOSHUA COOPER b. 1946 Mythic Stone—(Message to E.S. Curtis)—

Gullfoss (Golden Falls), Iceland, 1987. Estimate £300-400

THOMAS JOSHUA COOPER b. 1946 At the Meeting of the Two Seas—The

Beginnings of the Baltic Grenen, Jutland, Denmark, 1998-1999. Estimate £300-400

THOMAS JOSHUA COOPER b. 1946 Swelling of the Sea, Furthest West—The

numbered and annotated on reverse of the mount. This work is from an edition of 7.

C-print. 145 x 181 cm. (57 1/8 x 71 1/4 in.) Signed and

numbered on label on reverse of the frame. This work is from an edition of 5. O

294

print, mounted on board. 41 x 56.5 cm. (16 1/8 x 22 1/4 in.) Signed on mount. Signed, titled, dated,

PATRICK LAKEY b. 1970 Goethe: Goethe’s Garden House, Jena, Germany, II,

c. 2003. Estimate £500-700

Atlantic Ocean, Point Ardnamurchan, Scotland, 1990. Estimate £300-400

C-print. 127 x 165.1 cm. (50 x 65 in.) Signed and numbered

•

Gelatin silver print, mounted

on board. 40.5 x 56.5 cm. (15 7/8 x 22 1/4 in.) Signed on mount. Signed, titled, dated, numbered

Gelatin silver print, mounted on board. 40.5 x 56.5 cm. (15 7/8 x 22 1/4 in.) Signed on mount.

and annotated on reverse of the frame. This work is from an edition of 3. PROVENANCE Patrick

Signed, titled, dated, numbered and annotated on reverse of the mount. This work is from an

De Brock Gallery, Knokke

edition of 3. PROVENANCE Patrick De Brock Gallery, Knokke

292 293

294

295

296

CLIFFORD ROSS b. 1952 Mountain XIII, 2005. Estimate £10,000-15,000

•

C-print, mounted on PVC. 156.2 x 298.5 cm. (61 1/2 x 117 1/2 in.) Signed on label on reverse of the frame. This work is from an edition of 6. O

297

JITKA HANZLOVÁ b. 1958 Untitled, 1991. Estimate £500-700

298

JITKA HANZLOVÁ b.1958 Untitled, 1992. Estimate £500-700

27.9 x 19.1 cm. (11 x 7 1/2 in.) Signed and dated on verso.

298

• •

C-print.

C-Print.

27.9 x 18.7 cm. (11 x 7 3/8 in.) Signed, dated and annotated on verso.

299

300

299

3,000

CAROLINA RAQUEL ANTICH b. 1970 La Prova, 2003. Estimate £2,000-

•

Acrylic on canvas in 12 parts. Each 24.1 x 26 cm. (9 1/2 x 10 1/4 in.) One signed

and titled on verso. O

300

CAROLINA RAQUEL ANTICH b. 1970 La Prova (The Audition), 2003. Estimate

£2,000-3,000

•

DVD with sound. Duration: 1 minute 49 second continuous loop. Signed

on the certificate of authenticity. This work is from an edition of 5. PROVENANCE Florence Lynch Gallery, New York

301 303

302

304

301

1,200 O

302

4,000

CAROLINA RAQUEL ANTICH b. 1970 Comparsa (Lei), 2005. Estimate £800-

• •

Acrylic on canvas. 90 x 70 cm. (35 1/2 x 27 1/2 in.) Signed, titled and dated on verso.

CAROLINA RAQUEL ANTICH b. 1970 Trattative, 2005. Estimate £3,000Acrylic and coloured pencil on canvas. 200 x 220 cm. (78 3/4 x 86 1/2 in.) Signed,

titled and dated on verso. O

303

CAROLINA RAQUEL ANTICH b. 1970 Ninna Nanna, 2001. Estimate £300-

•

400

Acrylic on canvas mounted on wooden panel. 30.5 x 37.5 cm. (12 x 14 3/4 in.) Signed

and dated on the overlap. O

304

1,500 O

305

•306

CAROLINA RAQUEL ANTICH b. 1970 Dipingere, 2005. Estimate £1,000-

•

Acrylic on canvas. 106 x 85 cm. (41 3/4 x 33 1/2 in.) Signed and dated on verso.

CAROLINA RAQUEL ANTICH b. 1970 Volare, 2005. Estimate £2,000-3,000

Acrylic on canvas. 150 x 230 cm. (30 1/2 x 59 in.) Signed, titled and dated on verso.

CHRIS BALLANTYNE b. 1972 Untitled (Pond, with Hedges), 2005. Estimate

£800-1,200

•

Acrylic and graphite on wooden panel. 91.5 x 121.5 cm. (36 x 47 7/8 in.) Signed

and dated on verso. PROVENANCE Peres Projects, Berlin EXHIBITED Berlin, Peres Projects, Chris Ballantyne: The Curious Lights, 29 September – 5 November, 2005 O

307

1,200

CHRIS BALLANTYNE b. 1972 Untitled (Warehouse), 2005. Estimate £800-

•

Acrylic and graphite on wooden panel. 121.5 x 91.5 cm. (47 7/8 x 36 in.) Signed and

dated on verso. PROVENANCE Peres Projects, Berlin EXHIBITED Berlin, Peres Projects, Chris Ballantyne: The Curious Lights, 29 September – 5 November, 2005 O

308

CHRIS BALLANTYNE b. 1972 Untitled, 2005. Estimate £1,000-1,500

Acrylic on paper mounted on panel. 183 x 244 cm. (72 x 96 in.) Signed and dated on verso.

305

306

307

308

•

309

310

311

309

TINA GILLEN b. 1972 Lamps II, 2004. Estimate £300-400

310

TINA GILLEN b. 1972 Tent, 2005. Estimate £2,000-3,000

• • • •

Acrylic

on paper. 30.3 x 22.7 cm. (11 7/8 x 9 in.) Signed, titled and dated on verso.

on linen. 149.9 x 209.6 cm. (59 x 82 1/2 in.) Signed, titled, dated and annotated on verso. O

311

TINA GILLEN b.1972 Pool I, 2004. Estimate £800-1,200

Acrylic

on paper. 29.6 x 42 cm. (11 5/8 x 16 1/2 in.) Signed, titled, dated and annotated on verso. O

312

TINA GILLEN b. 1972 Monitors, 2003. Estimate £700-900

on linen. 50 x 60 cm. (19 3/4 x 23 1/2 in.) Signed, titled and dated on verso. O

313

Acrylic

TINA GILLEN b. 1972 Casino Middelkerke, 2005. Estimate £2,000-3,000

Oil and acrylic on canvas. 150 x 210 cm. (59 1/8 x 82 5/8 in.) Signed, titled and dated on verso.

312

313

•

314

315

316

317

318

319 O

314

TINA GILLEN b. 1972 MVR III, 2005. Estimate £2,000-3,000

•

Acrylic

on linen. 130.2 x 180.3 cm. (51 1/4 x 71 in.) Signed, titled, dated and annotated on verso. O

315

MICHAEL VAN OFEN b. 1956 Untitled, 2007. Estimate £1,000-1,500

Oil on canvas. 75 x 62 cm. (29 1/2 x 24 3/8 in.) Signed and dated on verso. PROVENANCE Sies + Höke Galerie, Düsseldorf O

316

TINA GILLEN b. 1972 Playground, 2005. Estimate £2,000-3,000

on canvas. 130 x 180 cm. (51 1/4 x 71 in.) Signed, titled and dated on verso. O

317

•

MICHAEL VAN OFEN b. 1956 Untitled, 2000. Estimate £2,000-3,000

Acrylic

•

• •

Oil on canvas. 131 x 180.5 cm. (51 1/2 x 71 in). Signed and dated on verso. PROVENANCE Sies + Höke Galerie, Düsseldorf O

318

MICHAEL VAN OFEN b. 1956 Untitled, 2003. Estimate £2,000-3,000

Oil on canvas. 95 x 200 cm. (37 3/8 x 78 3/4 in.) Signed and dated on verso. O

319

MICHAEL VAN OFEN b. 1956 Untitled, 1991. Estimate £2,000-3,000

•

Oil on canvas. 100.4 x 140.4 cm. (39 1/2 x 55 1/4 in). Signed and dated on verso. EXHIBITED

Kunstmuseum Thun Sonderausstellung, Romantik in der Kunst der Gegenwart, 17 July – 4 September, 1994

321 322 320

(i)

(ii)

320

GUY RICHARDS SMIT b. 1970 Untitled, 2005. Estimate £2,000-3,000

Watercolour on paper. 106 x 74.9 cm. (41 3/4 x 29 1/2 in.) Signed and dated on verso. O

321

GUY RICHARDS SMIT b. 1970 Untitled, 2004. Estimate £2,000-3,000

Watercolour on paper. 76.8 x 57.2 cm. (30 1/4 x 22 1/2 in.) Signed and dated on verso. O

322

• •

(iii)

323

NARI WARD b. 1963 Three works: (i) Daily Scriptures 6:7:68, 2003; (ii) Daily

Scriptures 4:9:68, 2003; (iii) Daily Scriptures 6:6:68, 2003. Estimate £500-700

•

Ink on

newsprint, mounted on board. Each 43.5 x 32.8 cm. (17 1/8 x 12 7/8 in). Each signed, titled and dated on reverse of the frame. PROVENANCE Deitch Projects, New York O

323

CHRISTINE STREULI b. 1975 Untitled, 2007. Estimate £500-700

•

Screenprint, paper collage and acrylic on paper. 190 x 150 cm. (74 3/4 x 59 in.) Signed and dated on page on reverse of the frame. O

324

LANE TWITCHELL b. 1967 But Oh That Magic Feeling, Nowhere to Go (Interchange

#6), 2004. Estimate £2,000-3,000

•

Cut paper and acrylic polymers on Plexiglas

mounted on acrylic on panel. 182.9 x 182.9 cm. (72 x 72 in.) Signed, titled and dated on verso. PROVENANCE Greenberg Van Doren Gallery, New York

324

325

LANE TWITCHELL b. 1967 Mona Lisas and Mad Hatters (Night), 2003. Estimate

£200-300

•

Laser-cut paper on giclée print. 25.4 x 25.4 cm. (10 x 10 in.) Signed, dated and

numbered lower edge. This work is from an edition of 50. PROVENANCE Greenberg Van Doren Gallery, New York O

326

LANE TWITCHELL b. 1967 Mona Lisas and Mad Hatters (Morning), 2003.

Estimate £200-300

•

Laser-cut paper on giclée print. 25.4 x 25.4 cm. (10 x 10 in.) Signed,

dated and numbered lower edge. This work is from an edition of 50. PROVENANCE Greenberg Van Doren Gallery, New York O

327

LANE TWITCHELL b. 1967 Mona Lisas and Mad Hatters (Noon), 2003. Estimate

£200-300

•

Laser-cut paper on giclée print. 25.4 x 25.4 cm. (10 x 10 in.) Signed, dated and

numbered lower edge. This work is from an edition of 50. PROVENANCE Greenberg Van Doren Gallery, New York

326

327 325

328

MA 329

330

front

verso

328

•

ROBERT CRUMB b. 1943 Girls with Cars and Birds. Estimate £2,000-3,000

Double-sided ink on paper drawing. 27.8 x 21.7 cm. (10 7/8 x 8 1/2 in). PROVENANCE

331

Baronian_Francey, Brussels

MA O 329 ROBERT CRUMB b.1943 Cleveland Building. Estimate £2,000-3,000 Ink on paper. 28 x 21 cm. (11 x 8 1/4 in.) O

330

•

SIMON EVANS b.1972 Ideas for New Continents, 2004. Estimate £2,000-3,000

Paper collage and ink on paper. 41.6 x 35 cm. (16 3/8 x 13 3/4 in.) EXHIBITED San Francisco

Museum of Modern Art, 2004 SECA Art Award: Rosana Castrillo Diaz, Simon Evans, Shaun O’Dell and Josephine Taylor, 22 January – 15 May, 2005 O

331

SIMON EVANS b.1972 The Wiff of Actors, 2005. Estimate £2,000-3,000

Ink, whiteout and paper collage on card. 29.5 x 41.5 cm. (11 5/8 x 16 3/8 in.) PROVENANCE

•

Jack Hanley Gallery, San Francisco O

332

SIMON EVANS b. 1972 The Pornography of Distance, 2006. Estimate £2,000-

3,000

•

Acrylic, paper collage, sticker and white pen on card. 30 x 42 cm. (11 3/4 x 16 1/2 in.)

PROVENANCE Jack Hanley Gallery, San Francisco O

m O

333

•

SIMON EVANS b. 1972 Illustration of a Pet, 2004. Estimate £2,000-3,000

Ink, graphite, whiteout and paper collage. 31 x 23 cm. (12 1/4 x 9 in.)

334

BETH CAMPBELL b. 1971 Space (In/Out) About Chicago in the Dishwasher, 2005.

Estimate £2,000-3,000

•

Watercolour on paper. 151.8 x 101 cm. (59 3/4 x 39 3/4 in.) Signed,

titled and dated on verso. PROVENANCE Nicole Klagsbrun Gallery, New York O

335

BETH CAMPBELL b. 1971 See Through, 2004. Estimate £2,500-3,500

Ink on parchment paper. 60 x 44.5 cm. (23 1/2 x 17 1/2 in.)

• 335

334 333

336

BETH CAMPBELL b. 1971 My Potential Future Based on Present Circumstances,

2004. Estimate £3,000-4,000 titled and dated lower edge. O

337

•338

•

Graphite on paper. 150 x 120 cm. (59 x 47 1/4 in.) Signed,

BETH CAMPBELL b. 1971 At Every Moment, 2004. Estimate £1,000-1,500

Graphite on vellum. 69 x 103 cm. (27 1/4 x 40 1/2 in.)

336

BETH CAMPBELL b. 1971 Cut Away (Bedroom), 2004. Estimate £500-700

Pastel and paper collage on parchment paper. 42.5 x 53.3 cm. (16 3/4 x 21 in.)

337 338

•

340

339

1,500

RAÚL BELINCHÓN b. 1971 Apollo Victoria Theater, 2006. Estimate £1,000-

•

C-print, Diasec mounted. 124 x 165 cm. (48 7/8 x 65 in.) Signed, titled, dated

and numbered on board on reverse of the frame. This work is from an edition of 3. O

340

•

RAÚL BELINCHÓN b. 1975 Empire Cinema, 2006. Estimate £1,000-1,500

341

RAÚL BELINCHÓN b. 1975 Untitled, 2006. Estimate £1,000-1,500

342

CAIO REISEWITZ b. 1967 Camara Municipal de Sao Paulo (Palacio Anchieta),

•

C-print, Diasec mounted. 179.5 x 225.5 cm.

(70 3/8 x 88 3/4 in.) Signed, titled, dated, numbered and annotated on reverse of the frame.

•

RAÚL BELINCHÓN b. 1975 Salle Gaveau, 2006. Estimate £1,000-1,500

344

2004. Estimate £2,000-3,000

C-print, Diasec mounted. 124 x 165 cm. (48 7/8 x 65 in.) Signed, titled, dated and numbered

C-print, Diasec mounted. 124 x 165 cm. (48 7/8 x 65 in.)

•

RAÚL BELINCHÓN b. 1975 Blue Empire Cinema, 2006. Estimate £1,000-1,500

C-print, Diasec mounted. 124 x 165 cm. (47 7/8 x 65 in.) Signed, titled, dated and numbered

on board on reverse of the frame. This work is from an edition of 3.

on board on reverse of the frame. This work is from an edition of 3. O

343

This work is from an edition of 3.

C-print, Diasec mounted. 124.5 x 173.4 cm. (49 x 68 1/4 in.) Signed, titled, dated and numbered

•

on board on reverse of the frame. This work is from an edition of 3.

342

341

343 344

346

345

347

348

(i)

(iii) O

(ii)

345

JANE & LOUISE WILSON b. 1967 & 1967 Suspended Island, Diving Boards, 2005.

Estimate £2,000-3,000

•

C-print, flush mounted on aluminium. 182 x 182 cm.

(72 1/2 x 72 1/2 in). PROVENANCE 303 Gallery, New York O

346

JANE & LOUISE WILSON b. 1967 & 1967 North Corridor Ceiling view, Hoover

Dam, Las Vegas, 1999. Estimate £2,000-3,000 180 x 180 cm. (70 7/8 x 70 7/8 in.) O

347

400 O

•

C-print, flush mounted on aluminium.

BARNEY KULOK b. 1981 Madison Street, Denver, CO, 2004. Estimate £300-

•

348

Transparency set in light box. 55.9 x 66 cm. (22 x 26 in.)

BARNEY KULOK b. 1981 Three works: (i) 44th Road, Queens, NY, 2004; (ii) Purves

Street, Queens, NY, 2004; (iii) Provost Street, Brooklyn, NY, 2004. Estimate £800-1,200 Transparency set in lightbox. Each 55.9 x 66 cm. (22 x 26 in.) or the reverse.

•

349

350

352

351

353

349

PETER FRASER b. 1953 Untitled, 2006. Estimate £300-400

•

C-print,

353

MELANIE SCHIFF b. 1977 Books and Plants, 2005. Estimate £800-1,200

flush mounted on PVC. 101.6 x 152.4 cm. (40 x 60 in.) Signed, dated, numbered and annotated

C-print, flush mounted on Sintra. 61 x 76.2 cm. (24 x 30 in.) This work is from an edition of 3.

on label on reverse of the frame. This work is from an edition of 6.

PROVENANCE Kavi Gupta Gallery, Chicago

350

MELANIE SCHIFF b. 1977 Landscape I, 2004. Estimate £1,500-2,000

•

354

MITCH EPSTEIN b. 1952 Central Park 1, New York City, 1973. Estimate £200-

•

C-print, flush mounted on Sintra. 79.5 x 105 cm. (31 1/4 x 41 1/4 in.) This work is from an edition

300

of 3. PROVENANCE Kavi Gupta Gallery, Chicago

numbered on verso. This work is from an edition of 10.

351

JODIE VICENTA JACOBSON b. 1977 Bunny, 2003. Estimate £500-700

C-print, flush mounted on aluminium. 127 x 125.8 cm. (50 x 49 1/2 in.) Signed, titled, dated and numbered on label on reverse of the frame. This work is from an edition of 6. O

352

MELANIE SCHIFF b. 1977 Lemon and Album, 2004. Estimate £800-1,200

C-print, flush mounted on Sintra. 61 x 76.2 cm. (24 x 30 in.) This work is an edition of 3.

•

355

1,200

C-print, printed 2005. 35.9 x 54 cm. (14 1/8 x 21 1/4 in.) Signed, titled, dated and

MITCH EPSTEIN b. 1952 Apartment 304, 398 Main Street, 2001. Estimate £800-

•

C-print, flush mounted on Dibond. 150.5 x 191.5 cm. (59 1/4 x 75 3/8 in.) Signed, titled,

dated and numbered on reverse of the mount. This work is from an edition of 3. O

356

•

LAURENZ BERGES b. 1966 Potsdam II, 1994. Estimate £300-400

•

C-print. 49.5 x 39.4 cm. (19 1/2 x 15 1/2 in.) Signed, titled, dated and numbered on verso. This work is from an edition of 7. PROVENANCE Patricia Sweetlow Gallery, San Francisco; André Simoens,

PROVENANCE Kavi Gupta Gallery, Chicago

Knokke-Zoute O

354

357

LAURENZ BERGES b. 1966 Perleberg, 1992. Estimate £300-400

•

C-print. 51.1 x 40.3 cm. (20 1/8 x 15 7/8 in.) Signed, titled, dated and numbered on verso. This work is from an edition of 7. PROVENANCE André Simoens, Knokke-Zoute

356

357

355

358

359

360

361

358

•

JOY EPISALLA b. 1960 TV #6 (Buffalo), 2006. Estimate £1,000-1,500

C-print, Diasec and flush mounted on PVC and wooden frame. 46.5 x 54.5 cm. (18 1/2 x 21 1/2 in.) Signed, titled, dated and numbered on reverse of the mount. This work is from an edition of 7. O

359

JOY EPISALLA b. 1960 TV #7 (Houston), 2007. Estimate £1,000-1,500

•

362

C-print, Diasec and flush mounted on PVC and wooden frame. 47 x 54.5 cm. (18 1/2 x 21 1/2 in.) Signed, titled, dated and numbered on reverse of the mount. This work is from an edition of 7. O

360

JOY EPISALLA b. 1960 TV #2 (Madrid), 2005. Estimate £1,000-1,500

•

C-print, Diasec and flush mounted on PVC and wooden frame. 46 x 54.5 cm. (18 x 21 1/2 in.)

Signed, titled, dated and numbered on reverse of the mount. This work is from an edition of 7. O

361

JOY EPISALLA b. 1960 TV#1 (Naples), 2005. Estimate £600-800

•

C-print,

Diasec and flush mounted on PVC and wooden frame. 36 x 42 cm. (14 1/8 x 16 1/2 in.) Signed, titled, dated and numbered on reverse of the mount. This work is from an edition of 7. O

362

LISA KERESZI b. 1973 Trash Can, Broadway Arcade, Times Square, NYC, 2004.

Estimate £300-400

•

C-print, flush mounted on aluminium. 116.2 x 151.8 cm.

(45 3/4 x 59 3/4 in.) This work is from an edition of 5.

363 364

365

363

LISA KERESZI b. 1973 Black Hole, Public School 26, Building 711,

Governor's Island, NY. Estimate £300-400

•

C-print, flush mounted on aluminium.

123 x 152 cm. (48 1/2 x 59 7/8 in.) This work is from an edition of 5. O

364

LISA KERESZI Julie on Stage with Feathers, East Village, NYC, 2000. Estimate

£300-400

•

C-print, flush mounted on aluminium. 124 x 153 cm. (48 3/4 x 60 1/4 in.) Signed,

titled, dated and numbered on label reverse of the frame. This work is from an edition of 5. O

365

LISA KERESZI b. 1973 Water Fountain, Public School 26, Building 711, Governor’s

Island, NY, 2003. Estimate £300-400

•

C-print, flush mounted on aluminium. 117.5 x

148.6 cm. (46 1/4 x 58 1/2 in.) Signed, titled, dated and numbered on label on reverse of the frame. This work is from an edition of 5.

MW 366

MW O 366 CHIHO AOSHIMA b. 1974 Magma Spirit Explodes. Tsunami is Dreadful, 2004. Estimate £12,000-18,000

•

C-print in two parts, Diasec and flush mounted on PVC.

(i) 86.7 x 291.8 cm. (34 1/8 x 114 7/8 in.); (ii) 86.7 x 296.9 cm. (34 1/8 x 116 7/8 in.) One print signed on label on reverse of the mount. This work is from an edition of 6. PROVENANCE Blum & Poe, Los Angeles (Artwork © 2004 Chiho Aoshima / Kaikai Kiki Co., Ltd. All Rights Reserved)

367

369 368

370 371

367

BENJAMIN EDWARDS b.1970 Approach and Immerse (North), 2003. Estimate

£3,000-4,000

•

Acrylic, spray paint and landscaping foam on canvas. 48.2 x 66 cm.

372

JOANNE GREENBAUM b. 1953 Ultra, 2006. Estimate £1,000-1,500

Oil on canvas. 153 x 153 cm. (60 1/8 x 60 1/8 in.) Signed, titled and dated on the overlap.

373

(19 x 26 in.) Signed, titled and dated on verso. PROVENANCE Artemis Greenberg Van Doren,

New York

canvas. 78.7 x 99.1 cm. (31 x 39 in.) Signed, titled and dated on the overlap.

368

CLARE WOODS b. 1972 Pile 2, 2003. Estimate £500-700

board. 20.5 x 13.5 cm. (8 1/8 x 5 3/8 in.) Signed, titled and dated on verso. O

369

CLARE WOODS b. 1972 Pile 4, 2003. Estimate £500-700

board. 20.3 x 12.2 cm. (8 x 4 3/4 in.) Signed, titled and dated on verso. O

370

• •

Enamel on oak

•

Enamel on oak

Acrylic on canvas. 40.6 x 61 cm. (16 x 24 in.) Signed, titiled and dated

on verso. PROVENANCE Artemis Greenberg Van Doren, New York O

371

•

ERIK SCHMIDT b. 1968 Untitled, 2004. Estimate £2,000-3,000

375

the overlap. O

376

Oil on plaster on canvas. Each 110.2 x 110.2 cm. (43 3/8 x 43 3/8 in.)

•

Oil on Oil on

ALEXIS ROCKMAN b. 1962 Fishing Amazonas: Santarem, 2001. Estimate

•

Oil and acrylic on wooden panel. 111.8 x 142.5 cm. (44 x 55 1/4 in.) Signed,

dated and annotated on verso. PROVENANCE Gorney Bravin + Lee, New York O

377

TOM SANFORD b. 1975 The Assassination of ‘Dime Bag’ Darrell Abbott, 2005.

•

Estimate £1,000-1,500

accompanied by a certificate of authenticity. PROVENANCE Galeria Fortes Vilaça, São Paulo

207 x 182 cm. (81 x 71 5/8 in.) Signed, titled and dated on verso.

Oil, acrylic and fake silver leaf on wood in artist’s frame.

372 374

373

377

376

• •

Oil on canvas. 110 x 160 cm. (43 1/8 x 63 in.) Signed, titled and dated on

One work titled on verso. The other work signed, titled and dated on verso. This work is

375

ERIK SCHMIDT b.1968 Der Schönste Jäger von Deutschland, 2004. Estimate

£2,500-3,500

£1,500-2,000

ADRIANA VAREJÃO b. 1964 Diptych: Azulejão—Ondas, 2004. Estimate

£2,000-3,000

374

canvas. 100 x 150 cm. (39 1/2 x 59 in.) PROVENANCE Carlier / Gebauer, Berlin

BENJAMIN EDWARDS b. 1970 Construction of the Emporium, 2002. Estimate

£2,000-3,000

ERIK SCHMIDT b.1968 Ego Park, 2004. Estimate £1,500-2,000

•

379

378

380

381

378

BRIAN WILLS b. 1970 Untitled, 2004. Estimate £1,000-1,500

•

Oil and

enamel on wooden panel. 91 x 92 cm. (35 3/4 x 36 1/4 in). Signed and dated on verso. PROVENANCE Galerie Michael Janssen, Cologne O

379

BRIAN WILLS b.1970 Untitled, 2005. Estimate £800-1,200

•

Oil and

enamel on wooden panel. 92 x 91 cm. (36 1/4 x 35 3/4 in). Signed and dated on verso. PROVENANCE Galerie Michael Janssen, Cologne O

380

PETER ZIMMERMAN b. 1956 Shade, 2005. Estimate £3,000-4,000

Epoxy resin on canvas. 200.7 x 200.7 cm. (79 x 79 in.) Signed and titled on verso. O

381

•

DANA FRANKFORT b. 1971 Space Between Paintings, 2007. Estimate

£1,500-2,000

•

Oil on wooden panel. 61 x 91.4 cm. (24 x 36 in.) Signed, titled, dated

and annotated on verso.

382

•

CHARLINE VON HEYL b. 1960 Loop-The-Loop, 2001. Estimate £3,000-4,000

Oil and oilstick on canvas. 208 x 198 cm. (82 x 78 in.) Signed, titled and dated on verso.

PROVENANCE Gisela Capitain, Cologne O

383

CHANGA HWANG b. 1969 Heder, 2007. Estimate £7,000-9,000

•

Acrylic

on canvas. 214 x 214 cm (84 x 84 in.) Signed, titled and dated on the overlap. PROVENANCE Baronian_Francey, Brussels

383

384 385

386

384

JOSEPH HAVEL b.1954 Economy (with Stars), 2004. Estimate £500-700

Clothing labels and sewing pins in Plexiglas and wooden artist’s frame. 42 x 59.5 x 7 cm.

•

(16 1/2 x 23 3/8 x 2 3/4 in.) Signed and dated on reverse of the frame. PROVENANCE Galerie Gabrielle Maubrie, Paris O

385

JOSEPH HAVEL b. 1954 Enough, 1999. Estimate £1,500-2,000

•

Clothing labels and sewing pins in Plexiglas and wooden artist’s frame. 123 x 123 x 6.5 cm. (48 1/2 x 48 1/2 x 2 1/3 in.) O

386

•

JEFFREY VALLANCE b. 1955 Swedish Flag No.1, 2001. Estimate £300-400

Enamel on wood and metal screws. 31.8 x 41.9 cm. (12 1/2 x 16 1/2 in.) Signed, dated

and annotated on verso. PROVENANCE Bernier / Eliades, Athens

387

•

387

JEFFREY VALLANCE b. 1955 Swedish Flag No.2, 2001. Estimate £300-400

Enamel on wood and metal screws. 31.8 x 41.9 cm. (12 1/2 x 16 1/2 in.) Signed, dated

and annotated on verso. PROVENANCE Bernier / Eliades, Athens

388

DAMIEN HIRST b. 1965 Opium, 2000. Estimate £2,000-3,000

•

Lambda

print. 48.4 x 43.2 cm. (19 1/8 x 17 in.) Signed lower edge. Numbered on verso. This work is from an edition of 500. PROVENANCE Eyestorm, London

NP O 389 ANDY WARHOL 1928-1987 Andy Warhol’s Index, 1967. Estimate £1,0001,500

•

Artist book with illustrations, record, pop-ups, fold-outs and index balloon.

28.8 x 22.3 x 1.7 cm. (11 3/8 x 8 3/4 x 3/4 in). O

390

WON JU LIM b. 1968 Kiss 2, 2004. Estimate £800-1,200

17.5 x 63.5 x 41.5 cm. (7 x 25 x 16 3/8 in). O

391

WON JU LIM b. 1968 Kiss 1, 2003. Estimate £800-1,200

• •

Plexiglas. Plexiglas.

17.5 x 63.5 x 41.5 cm. (7 x 25 x 16 3/8 in). PROVENANCE Galerie Max Hetzler, Berlin

390

391 NP 389

NP 392

NP Δ 392 OS GÊMEOS b. 1974 & 1974 Two works: Untitled (Head Box), 2005. Estimate £4,000-6,000

•

Mixed media on wooden construction. 123.2 x 124.5 x 124.5 cm.

(48 1/2 x 49 x 49 in.) PROVENANCE Galeria Fortes Vilaça, São Paolo O

393

SWOON b. 1978 Untitled, 2005. Estimate £2,000-3,000

linoleum print on mylar. Installation dimensions variable.

393

•

Handpainted

394

395

MW 396

394

•

ROB FISCHER b. 1968 Diptych: Mirrored House, 2001. Estimate £800-1,200

C-print, mounted on board, printed 2004. Each 61 x 61 cm. (24 x 24 in.) Each signed, dated

and numbered on reverse of the mount. This work is from an edition of 3. PROVENANCE Cohan

and Leslie Gallery, New York O

395

JOEL TAUBER My Lonely Tree, 2006. Estimate £300-400

•

of the mount. This work is from an edition of 3. PROVENANCE Susanne Vielmetter Los Angeles

397

•

C-print, flush mounted on aluminium. 50.5 x 75.6 cm.

(19 7/8 x 29 3/4 in.) Signed and numbered on reverse of the mount. This work is from an edition of 3. PROVENANCE Susanne Vielmetter Los Angeles Projects, Culver City

C-print, flush

mounted on aluminium. 141.6 x 181 cm. (55 3/4 x 71 1/4 in.) Signed and numbered on reverse

Projects, Culver City

MW O 396 JOEL TAUBER February 16, 2007: The Tree Babies have Arrived!!!, 2007. Estimate £300-400

397

CAITLIN MASLEY b. 1971 Corbfour, 2003. Estimate £500-700

•

C-print,

flush mounted on acrylic. 74.9 x 242.6 cm. (29 1/2 x 95 1/2 in.) Signed, titled, dated and numbered on reverse of the mount. This work is from an edition of 3. PROVENANCE Artemis Greenberg van Doren, New York

398

(i)

(ii)

399

(iv)

(iii)

400

401

398

MICHAEL WOLF b. 1954 Four works: (i) Copy Artist #48, Jasper Johns, Euro 36,

2006; (ii) Copy Artist #1, Roy Lichtenstein, Euro 22,50, 2006; (iii) Copy Artist #11, Ed Ruscha, Euro 6, 2006; (iv) Copy Artist #46, On Kawara, Euro 3,50, 2006. Estimate £1,000-1,500

C-print. Each 50.8 x 40.6 cm. (20 x 16 in.) or the reverse. Each signed, titled, dated, numbered

•

and annotated on verso. These works are from an edition of 9. PROVENANCE Fifty One Fine Art Photography, Antwerp O

399

KELLY POE I’ll Never Be What You Want Me to Be, 2004. Estimate £300-400

LightJet print. 61 x 45.7 cm. (24 x 18 in.) Signed and dated on label on reverse of the frame.

•

This work is from an edition of 10. PROVENANCE Anna Helwing Gallery, Los Angeles O

400

KELLY POE Leave, Take, Kill, 2004. Estimate £500-700

•

C-print, Diasec and

flush mounted on acrylic. 17.8 x 76.2 cm. (7 x 30 in.) Signed and dated on label on reverse of the mount. This work is from an edition of 6. PROVENANCE Anna Helwing Gallery, Los Angeles O

401

KELLY POE Untitled (Asio otus, Long-eared owl caught in bal-chatri trap. Monitoring

Avian Productivity Survivorship, Chesebro National Park, Santa Monica Mountains, California), 2002-2004. Estimate £200-300

•

LightJet print. 183 x 101.5 cm. (72 x 40 in.) Signed, dated

and numbered on label on reverse of the frame. This work is from an edition of 6. PROVENANCE Anna Helwing Gallery, Los Angeles

402

BRANDON LATTU b. 1970 Five works: Miracle Mile Looking West, 1999-2000.

Estimate £300-400 O

403

Estimate £300-400

403

• •

Inkjet print. Each 109.2 x 119.4 cm. (43 x 47 in.)

BRANDON LATTU b. 1970 Five works: Miracle Mile Looking East, 2000. Inkjet print. Each 109.2 x 119.4 cm. (43 x 47 in.)

404

GIL BLANK Untitled, 2005. Estimate £400-600

•

C-print, flush mounted

on Dibond. 81.3 x 101.6 cm. (32 x 40 in.) Signed, titled, dated and numbered on reverse of the mount. This work is from an edition of 6. O

405

STEVEN ROSE b.1976 Four works: (i), (ii) Untitled, 2006; (iii) Immersion and

Foreign, 2007; (iv) Swimmer Float, 2007. Estimate £1,000-1,500

•

Digital c-print. Each

approximately 18.3 x 25 cm. (7 1/2 x 9 7/8 in). (i), (ii) These works are from an edition of 5; (iii), (iv) each signed on label on reverse of the frame. These works are one of three artist’s proofs. PROVENANCE Florence Lynch Gallery, New York O

406

STEVEN ROSE b. 1976 Pool, 2006. Estimate £200-300

•

DVD. Duration:

3 minute 48 second loop. Signed and numbered on DVD. This work is from an edition of 7 and is accompanied by a certificate of authenticity. PROVENANCE Florence Lynch Gallery, New York

405

(i)

(iii)

(ii)

(iv)

406

408

407

409

407

CHARLES SANDISON b. 1969 Reading Glass. Estimate £1,000-1,500

Solid state memory video installation. This work is from an edition of 5. PROVENANCE Yvon Lambert Gallery, Paris O

408

CHARLES SANDISON b. 1969 Conclusion, 2005. Estimate £500-700

•

Wall projected video installation with CD-Rom. Signed on CD-Rom. This work is from an edition of 5 and is accompanied by a certificate of authenticity. PROVENANCE Baronian_Francey, Brussels O

409

•

CHARLES SANDISON b. 1969 Left to Right, 2005. Estimate £1,000-1,500

Solid state memory video installation with LCD plasma screen and CD-Rom. Signed on

CD-Rom. This work is from an edition of 5 and is accompanied by a certificate of authenticity. PROVENANCE Baronian_Francey, Brussels

411

410

HIRAKI SAWA b.1977 Airliner, 2003. Estimate £800-1,200

•

DVD.

Duration: 3 minutes continuous loop. Signed, titled, dated and numbered on DVD case. This work is from an edition of 8 and is accompanied by a certificate of authenticity. PROVENANCE OTA Fine Arts, Tokyo O

411

CHRISTINA BENZ b. 1972 Pending (Water), 2004. Estimate £600-800

DVD with sound. Duration: 2 minute 20 second continuous loop. Signed, titled, dated and numbered on DVD. This work is from an edition of 3.

•

412

ROBERT BOYD Judgement Day (from Xanadu), 2006. Estimate £300-400

•

413

DAMIR NIKŠIC b.1970 If I Wasn’t a Muslim, 2004. Estimate £1,000-1,500

•

Single-channel video DVD. Duration: 7 minutes 45 seconds. Signed on DVD. This work is from

Colour DVD with sound. Duration: 7 minutes 8 seconds. Signed, titled and numbered on DVD.

an edition of 5 and is accompanied by a certificate of authenticity. PROVENANCE White Box

This work is from an edition of 5 and is accompanied by a certificate of authenticity.

Gallery, New York

PROVENANCE White Box Gallery, NewYork

413

INDEX

Albini, F. 118, 280 Angus, J. 252 Antich, C.R. 299-305 Aoshima, C. 256-258, 366 Arad, R. 2, 8, 12, 14, 103

Hanowa 167

Arbus, D. 287

Hanzlovรก, J. 297, 298

Arnold, E. 41

Harmon, K. 82, 84

Arsham, D. 249

Havekost, E. 244

Artschwager, R. 130

Havel, J. 384, 385 Herakut 170

Baldwin, D. 203, 208

Heuer 156, 157

Ballantyne, C. 306-308

Hirst, D. 265, 388

Banksy 181-183, 214

Hรถf er, C. 134, 135

Barney, M. 267

Hwang, C. 383

Bast 187-189, 195, 196 Belinchรณn, R. 339-343

Immendorff, J. 234

Benz, C. 411

D*Face 213

Indiana, R. 15

Berges, L. 356, 357

Date Farmers 191

Ingrand, M. 16

Biskup, T. 77

Deganello, P. 274

Insect, P. 171-175

Blank, G. 404

Derges, S. 53, 55-57

IWC 155

Blek Le Rat 186

Dirquo 197, 198

Blum, H. 229

Doig, P. 245

Jacobson, J.V. 351

Boyd, R. 412

Dragicevic, M. 28

Jaeger-LeCoultre 150

Brodahl, C. 20

Dubois Depraz 151

Jeanneret, P. 275

Edwards, B. 367, 370

Kaiju, P. 72, 73

Eitel, T. 239

Kaoru, I. 139-141

Campana, F. 272

Eliasson, O. 251

KAWS 88, 91, 178, 216, 217

Campana, H. 272

Elik 196

Kendridge, W. 129

Campbell, B. 334-338

Emin, T. 263, 264

Kereszi, L. 362-365

Candino 166

Episalla, J. 358-361

Kiarostami, A. 136, 137

Capron, R. 11, 273

Epstein, M. 354, 355

Kippenberger, M. 221-230, 236

Cardiff, J. 138

Erickson Beamon 32-39

Kozik, F. 76

Celada, G. 107

Erwitt, E. 40

Kulok, B. 347-348

Choe, D. 201

Evans, S. 330-333

Kuramata, S. 95-99, 102

Buff a, P. 116 Bujnowski, R. 17

Christo 253

Kuwakubo, T. 24

Chu, A. 125

Faile 176, 192-196, 204

Colombo, J. 101

Fairey, S. 209-212

Lacca, C. 271

Conge, B. 74, 75

Fischer, R. 394

Lakey, P. 291, 292

Cooper, T.J. 51, 52, 293-295

Fontana Arte 112, 268

Lamers, K. 18, 19

Corbijn, A. 43

Fornasetti, P. 113

Lane, D. 100

Crumb, R. 328, 329

Francis, M. 21

Lattu, B. 402, 403

Frankfort, D. 381

Le Corbusier 275

Fraser, P. 349

Le Merde, M. 85

Frattini, G. 106

Leecif er 81

Fulton, H. 254

Leiter, S. 282-286

Fuss, A. 49

Lim, W.J. 390, 391

Futura 2000 89, 177

Lukasiewicz, M. 29

Gelatin 233 Genzken, I. 235 Gillen, T. 309-314, 316 Gillick, L. 250 Goldin, N. 46, 47 Goldsworth, A. 247, 248 Gonzalez, C.E. 80 Greenbaum, J. 372

Saarinen, E. 10 Sandison, C. 407-409 Sanford, T. 377 Sawa, H. 410 Scheibitz, T. 238, 241 Schiff, M. 350, 352, 353 Schmidt, E. 373-375 Mangiarotti, A. 109-111

Schmölz, H. 288

Masley, C. 397

Sciolari, G. 114

Mau Mau 202

Scrappers 78, 79

McKenzie, L. 237

Seen 180

Meese, J. 232

Serebryakova, E. 25

Micallef, A. 184, 185

Serrano, A. 48

Misrach, R. 54

Shok-1 94, 207

Mourgue, O. 7

Sipek, B. 281

Mr. Ewokone 90

Sirrah 278

Müller, C.F.O. 105

Skreber, D. 242

Muntean/Rosenblum 123

Smit, G. R. 124, 320, 321

Murakami, T. 255

Sottsass, E. 6, 104 Spaceman 165

Nagata, M. 74

Stilnovo 3

Nakagawa, A 205

Streuli, C. 323

Niedermayr, W. 132 ´

Studio Gavina 4

Nikšic, D. 413

Sugimoto, H. 148

Nomura, W. 179

Sunna, M. 30 Supine, J. 190

Oehlen, A. 246

Vallance, J. 386, 387 van Of en, M. 315, 317-319 Varejão, A. 371 Vernuccio, R. 5 Vitali, M. 131 Vigano, V. 9 Virtue, J. 26, 27 von Heyl, C. 382 von Nessen, W. 108

Swoon 199, 200, 393

Olowska, P. 237

Walker, K. 261

Omega 153, 154, 158-160, 163, 164, 168, 169

Tait, N. 22

Orimoto, T. 146

Tanaami, K. 23

Os Gêmeos 392

Tauber, J. 395, 396

Oursler, T. 31

Teller, J. 44 The London Police 219

Park, L. 119, 120

Thonet, G. 13

Parr, M. 45

Tillmans, W. 144

Perriand, C. 117, 275

Tissot 149

Pesce, G. 277

Tudor 152

Pica, A. 279

Turk, G. 50

Poe, K. 399-401

Tuymans, L. 240

Ponti, Gio 115, 269

Twitchell, L. 324-327

Walker, M. 83 Walker, N. 215, 218, 220 Ward, N. 322 Warhol, A. 42, 389 Wei, L. 147 Wessel, H. 289, 290 Wills, B. 378, 379 Wilson, J. & L. 345, 346 WK Interact 206 Wohnseif er, J. 121, 122 Wolf, M. 398 Woods, C. 368, 369

Prové, J. 270 Yagi, M. 276 Raho, A. 127, 128

Yanagi, M. 145

Raimondi, P. 16

Young, R. 259, 260

Redf ern, C. 104 Rehberger, T. 126 Reisewitz, C. 344 Richter, D. 243 Richter, G. 231 Rist, P. 142, 143 Rockman, A. 376 Rolex 161 Rolex 162 Rose, S. 405, 406 Ross, C. 296 Rotella, M. 262 Ruff, T. 133 Rumble Monsters 86, 87

Zimmerman, P. 380.

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. Buyer’s 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 £25,000, 20% of any amount above £25,000 up to and including £500,000 and 12% of any amount above £500,000. VAT Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium. The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the “VAT AND OTHER TAX INFORMATION FOR BUYERS” in this catalogue. 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 +44 20 7318 4010 or +1 212 940 1240. 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 VAT. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in US dollars 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 US dollars 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. Δ 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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m Property Subject to the Artist’s Resale Right Lots marked with m are subject to the Artist’s Resale Right calculated as a percentage of the hammer price and payable as part of the purchase price as follows: Portion of the Hammer Price (in EUR) From 1,000 to 50,000 From 50,001 to 200,000 From 200,001 to 350,000 From 350,001 to 500,000 Exceeding 500,000

Royalty Rate 4% 3% 1% 0.5% 0.25%

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank. #, §, ‡ or Ω Property Subject to VAT Please refer to the section entitled “VAT AND OTHER TAX INFORMATION FOR BUYERS” in this catalogue for additional information. 2 Bidding in the Sale Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members. This service must be arranged at least 24 hours in advance of the sale. 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 VAT, 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 VAT. 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.

UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000 UK£5,000 to UK£10,000 UK£10,000 to UK£20,000 UK£20,000 to UK£30,000 UK£30,000 to UK£50,000 UK£50,000 to UK£100,000 UK£100,000 to UK£200,000 above UK£200,000

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

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

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.

VAT AND OTHER TAX INFORMATION FOR BUYERS The following paragraphs provide general information to buyers on the VAT and certain other potential tax implications of purchasing property at Phillips de Pury & Company. This information is not intended to be complete. In all cases, the relevant tax legislation takes precedence, and the VAT rates in effect on the day of the auction will be the rates charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is not usually treated as agent and most property is sold as if it is the property of Phillips de Pury & Company.

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 pounds sterling either by cash, cheque drawn on a UK 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 the local currency equivalent of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept Visa, Mastercard and UK-issued debit cards to pay for invoices of £5,000 or less. A processing fee will apply. 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. If you are in doubt about the location of your purchase, please contact the Shipping Department prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots. 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 do not provide packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of 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 enquiries as to whether a license is required to export the property from the United Kingdom 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 country outside the European Union (EU). 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.

In the following paragraphs, reference to VAT symbols shall mean those symbols located beside the lot number or the pre-sale estimates in the catalogue (or amending saleroom addendum). 1 Property with No VAT Symbol Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s Margin Scheme, and VAT will not normally be charged on the hammer price. Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will charge an amount in lieu of VAT at 17.5% on the buyer’s premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified. 2 Property with a # Symbol These lots will be sold under the normal UK VAT rules, and VAT will be charged at 17.5% on both the hammer price and buyer’s premium. 3 Property with a § Symbol Lots sold to buyers whose registered address is in the EU will be assumed to be remaining in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer advises us that the property is to be exported from the EU, Phillips de Pury & Company will re-invoice the property under the normal VAT rules. Lots sold to buyers whose address is outside the EU will be assumed to be exported from the EU. The property will be invoiced under the normal VAT rules. Although the hammer price will be subject to VAT, the VAT will be canceled or refunded upon export. The buyer’s premium will always bear VAT. However, buyers who are not intending to export their property from the EU should notify our Client Accounting Department on the day of the sale, and the property will be re-invoiced showing no VAT on the hammer price. 4 Property Sold with a ‡ or Ω Symbol These lots have been imported from outside the EU to be sold at auction under temporary importation. Property subject to temporary importation will be offered under the Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 17.5% on the hammer price and an amount in lieu of VAT at 17.5% on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin Scheme should notify the Client Accounting Department before the sale. ‡ = 5%

Ω = 17.5%

5 Exports from the European Union The following types of VAT may be cancelled or refunded by Phillips de Pury & Company on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol). • The VAT on the hammer price for property sold under the normal VAT rules (i.e., with a # or a § symbol). • The import VAT charged on the hammer price and buyer’s premium for property sold under temporary importation (i.e., with a ‡ or a Ω symbol). In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury & Company to export the property from the EU. If such instruction is received after payment, a refund of the VAT amount will be made. Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips de Pury & Company will charge the VAT amount due as a deposit and refund it if the lot has been exported within three months of the date of sale and the following conditions are met: • For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips de Pury & Company is provided with appropriate documentary proof of export from the EU. Buyers carrying their own property should obtain hand-carry papers from the Shipping Department to facilitate this process; or

• For lots sold under temporary importation, Phillips de Pury & Company is provided with a copy of the correct paperwork duly completed and stamped by HM Revenue and Customs which shows the property has been exported from the EU via the UK. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HM Revenue and Customs insist that the correct customs procedures are followed and Phillips de Pury & Company will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary importation must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary importation and the property is exported from the EU within three months of the sale date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20. Buyers intending to export, repair, restore or alter lots under temporary importation should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips de Pury & Company being unable to refund the VAT charged on deposit. 6 VAT Refunds from HM Revenue and Customs Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be possible to seek repayment from HM Revenue and Customs. Repayments in this manner are limited to businesses located outside the UK and may be considered for: • VAT charged on the buyer’s premium on property sold under the normal VAT rules. • Import VAT charged on the hammer price and buyer’s premium for lots sold under temporary importation. Claim forms are available from: HM Revenue and Customs VAT Overseas Repayment Section P.O. Box 34, Foyle House, Duncreggan Road, Londonderry Northern Ireland BT48 7AE Tel +44 28 7130 5100 Fax +44 28 7130 5101 7 Sales and Uses Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of lots following purchase. Buyers should consult their own tax advisors.

IMPORTANT NOTICE TO ALL PURCHASERS OF WATCHES Catalogue descriptions and condition reports relating to watches, including references to defects and repairs, are provided as a service to prospective buyers but are not necessarily complete. We make no representation or warranty whatsoever in any catalogue description or condition report that any watch is (i) in working order, (ii) water-resistant or (iii) free from restoration, repair or mechanical defect. We do not guarantee the authenticity of any individual component parts as watches have frequently been repaired or restored during their lifetime and original parts such as wheels, hands, crowns, screws, crystals, bracelets and leather bands may have been replaced. Accordingly, condition reports will not specify all mechanical replacements or imperfections to any component part. Prospective buyers should satisfy themselves by personal inspection as to the condition of each lot. If the prospective buyer is not able to inspect a watch, we will as a courtesy provide an opinion of the condition of the property. However, since we are not professional watch restorers, any statement of opinion is purely subjective and should not be relied upon as a statement of fact. We strongly suggest that all prospective buyers consult with a restorer or conservator who will be better to provide a comprehensive professional report. Catalogue illustrations are for identification purposes only. All dimensions in catalogue descriptions are approximate. Please note that Phillips de Pury & Company cannot arrange for the delivery of Rolex, Piaget, Franck, Muller and Corum watches to the United States because US law restricts the import of these watches.

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 inserted 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 value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is inserted in this catalogue or otherwise available from Phillips de Pury & Company. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 Conduct of the Auction each lot is offered subject to a (a) Unless otherwise indicated by the symbol 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 pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars 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. (e) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (f) 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, plus any applicable value added tax (VAT) and any applicable resale royalty (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000 and 12% of the portion of the hammer price above £500,000. (b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent. Lots subject to the Artist’s Resale Right are identified with the symbol m following the estimate. (d) 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 pounds sterling either by cash, cheque drawn on a UK 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 the local currency equivalent of US$10,000. (ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and the buyer provides to us acceptable government issued identification. Cheques and banker’s drafts should be made payable to “PDEPL LTD.” If payment is sent by post, please send the cheque or banker’s draft to the attention of the Client Accounting Department at Howick Place, London SW1P 1BB and ensure that the sale number is written on the cheque. Cheques 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: Bank of Scotland Gordon Street, Glasgow G1 3RS. SWIFT BIC: BOFSGB21138 Sort code: 80-54-01 IBAN: GB36BOFS 8054 0100 4407 80 For the account of PDEPL LTD Account no.: 00440780 (e) 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 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, he or she should contact us at +44 20 7318 4081 or +44 20 7318 4082 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within five days of 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 do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips de Pury & Company, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips de Pury & Company. Any such instruction 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. (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, the lot will be stored at the buyer’s expense and risk at a storage facility selected by Phillips de Pury & Company. Storage charges are available upon request. (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 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: (a) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) reject future bids from the buyer or render such bids subject to payment of a deposit; (d) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (e) 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, within 14 days of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company; (f) 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; (g) 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 (h) 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. 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 enquiries as to whether a license is required to export a lot from the United Kingdom 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 Data Protection (a) 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 +44 20 7318 4010. If you would prefer not to receive details of future events please call the above number. (b) In order to fulfill the services clients have requested, Phillips de Pury & Company may disclose information to third parties such as shippers. Some countries do not offer equivalent legal protection of personal information to that offered within the European Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties respect the privacy and confidentiality of our clients’ information and provide the same level of protection for client information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information. By agreeing to these Conditions of Sale, clients agree to such disclosure. 13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest

extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and, subject to the provisions of the Copyright, Designs and Patents Act 1988, 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 buyerâ&#x20AC;&#x2122;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. (e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer. 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 English law. (b) For the benefit of Phillips de Pury & Company, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction 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. All parties agree that Phillips de Pury & Company shall retain the right to bring proceedings in any court other than the Courts of England. (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 English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not

be bound by any expert report 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.

SPECIALIST & SERVICE DEPARTMENTS

Contemporary Art

Modern and Contemporary Editions

Michael McGinnis Worldwide Director +44 20 7318 4091

Kelly Troester Worldwide Co-Director +1 212 940 1221

Aileen Agopian Director New York +1 212 940 1255

Cary Leibowitz Worldwide Co-Director +1 212 940 1222

Anthony McNerney Head of Evening Sale London +44 20 7318 4067

Jannah Greenblatt New York +1 212 940 1332

Peter Sumner Head of Day Sale London +44 20 7318 4063

Joy Deibert New York +1 212 940 1333

Laetitia Catoir London + 44 20 7318 4023 Silke Taprogge London +44 20 7318 4012

Saturday @ Phillips

Ivgenia Naiman London +44 20 7318 4071

Tobias Sirtl Director +44 20 7318 4095

Fiona Biberstein London +44 20 7318 4013

Arianna Jacobs London + 44 20 7318 4054

Siobhan O’Connor London +44 20 7318 4093

George O’Dell London +44 20 7318 4040

Catherine Higgs London +44 20 7318 4089

Alex W. Smith New York +1 212 940 1276

Raphael Lepine London +44 20 7318 4078

Anne Huntington New York +1 212 940 1210

Tanya Tikhnenko London +44 20 7318 4065

Steve Agin (Consultant) +1 908 475 1796

Sarah Buchwald London +44 20 7318 4085

Balthasar de Pury (Consultant) Geneva +41 79 250 86 81

Phillippa Willison London +44 20 7318 4070 Jean-Michel Placent New York +1 212 940 1263

Chairman London

Christina Floyd New York +1 212 940 1340

Rodman Primack +44 20 7318 4017

Timothy Malyk Head of Under the Influence New York +1 212 940 1258 Chin-Chin Yap New York +1 212 940 1250

Managing Directors

Veronica Collins New York +1 212 940 1252

Finn Dombernowsky London +44 20 7318 4034

Sarah Mudge Head of Part II New York +1 212 940 1259

Charlie Horne New York +1 212 940 1292

Roxana Bruno New York +1 212 940 1229 Sara Davidson New York +1 212 940 1262

Business Development

Derrick Mead New York +1 212 940 1272

Gerard A. Goodrow Cologne +49 1577 134 9517

Maria Bueno New York +1 212 940 1261

Alexander Gilkes New York +1 212 940 1398

Peter Flores New York +1 212 940 1223 (Uli) Zhiheng Huang New York +1 212 940 1288

Executive Assistant to Simon de Pury

Eugenia Ballve New York +1 212 940 1303

Helen Rohwedder London +44 20 7318 4042

Jewelry

Private Sales

Nazgol Jahan Worldwide Director +1 212 940 1283

Christina Scheublein New York +1 212 940 1248

Carolin Goetze Geneva +41 22 906 80 00 Carmela Manoli New York +1 212 940 1302

Press and Public Relations

Heather Zises New York +1 212 940 1290

Ariel Childs Head London +44 20 7318 4028

Veronica Lota Geneva +41 22 906 80 05

Johanna Frydman London +44 20 7318 4024

Contemporary Jewelry

Cécile Demtchenko Paris +33 1 42 78 67 77

Alia Varsano Worldwide Director +1 212 940 1293

Marcel Krenz Cologne +44 221 6777 0746

Dena Ryness London +44 20 7318 4096

Rachel Mattes New York +1 212 940 1285 Exhibitions Photographs

London +44 20 7318 4023 New York +1 212 940 1301

Charlie Scheips Worldwide Director +1 212 940 1244 Kelly Padden London +44 20 7318 4018

International Specialists and Representatives

Alexandra Bibby London +44 20 7318 4087

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

Helen Hayman London +44 20 7318 4092

Olivier Vrankenne Brussels & Paris +32 486 43 43 44

Vanessa Kramer New York +1 212 940 1243

Leonie Moschner Paris +33 6 85 53 92 03

Caroline Shea New York +1 212 940 1247

Tamara Corm Paris & London +33 6 75 07 04 71

Sarah Krueger New York +1 212 940 1245

Ivgenia Naiman London +44 20 7318 4071

Design

Silke Lemmes Cologne +49 2216 777 0746

Alexander Payne Worldwide Director +44 20 7318 4052

Laura Garbarino Milan +39 339 478 9671

Ben Williams London +44 20 7318 4027

Eugenia Bertele Milan +39 02 3651 9342

Brooke de Ocampo London +44 777 551 7060

Domenico Raimondo London +44 20 7318 4016

Maura Marvão Portugal +351 917 564 427

Ellen Stelter London +44 20 7318 4021

Florence Uchida New York +1 917 902 2714

Marcus McDonald London +44 20 7318 4014

Nadia Breuer Sopher New York & Australia +1 917 319 4741

Marcus Tremonto New York +1 212 940 1268

Mimi Won Techentin Los Angeles +1 310 600 9192

Alex Heminway New York +1 212 940 1269

Maya McLaughlin Los Angeles +1 323 791 1771

Tara DeWitt New York +1 212 940 1265

Tatiana Beliaeva Moscow +7 985 969 9292

Meaghan Roddy New York +1 212 940 1266

Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804

Stephanie Abraitis New York +1 212 940 1268

Lulu Al-Sabah Dubai +44 77 9518 8878 Samia Saleh Dubai +971 4 347 9090 Lydia Limmerick Dubai +44 79 2048 1110

PHILLIPS de PURY & COMPANY CONTACTS

Chairman

Advisory Board

Simon de Pury

Maria Bell Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Lapo Elkann Ben Elliot

Senior Partners

Lady Elena Foster

Michael McGinnis

H.I.H. Francesca von Habsburg

Dr. Michaela Neumeister

Marc Jacobs Malcolm McLaren

Managing Partner

Ernest Mourmans

Brook Hazelton

Aby Rosen Christiane zu Salm

Partners

Princess Gloria von Thurn und Taxis

Aileen Agopian

Jean Michel Wilmotte

Sean Cleary

Anita Zabludowicz

Diego McDonald Alexander Payne Rodman Primack Olivier Vrankenne Tiffany Wood

WORLDWIDE OFFICES

NEW YORK

BERLIN

450 West 15 Street New York NY 10011 USA

Auguststrasse 19 10117 Berlin Germany

+1 212 940 1200 +1 212 924 5403 fax

Rolf Moritz Estermann Natalia Kazmierczak +49 30 880 018 42 +49 30 880 018 43 fax

LONDON Howick Place London SW1P 1BB United Kingdom

COLOGNE

+44 20 7318 4010 +44 20 7318 4011 fax

St. Apern Str. 17-21 50667 Cologne Germany Marcel Krenz +49 221 6777 0746 +49 221 6777 07469 fax

PARIS 28, rue Michel Le Comte 75003 Paris France

GENEVA

CĂŠcile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax

23, quai des Bergues 1201 Geneva Switzerland Carolin Goetze +41 22 906 80 00 +41 22 906 80 01 fax

MUNICH Maximiliansplatz 12a 80333 Munich Germany

DUBAI

Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax

Dubai International Financial Centre Level 12 The Gate Office #25 PO Box 506780 Dubai United Arab Emerites +9 714 365 02 10 +9 714 365 02 13 fax