Saturday@Phillips April 25, 2009 NYC

S AT U R D AY AUCTION OF CONTEMPORARY & URBAN ART, PHOTOGRAPHS, DESIGN, TOY ART

NEW YORK APRIL 25 2009

SATURDAY @ PHILLIPS APRIL 25 2009 N E W YO R K NY000109

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

C Y N T H I A ROW L E Y & B I L L P OW E R S SEBASTIEN MONTABONEL

CLAUDE GRUNITZKY

PHILLIPS de PURY & COMPANY

Chairman

Advisory Board

Simon de Pury

Maria Bell Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Lapo Elkann Ben Elliot

Senior Par tners

Lady Elena Foster

Michael McGinnis

H.I.H. Francesca von Habsburg

Dr. Michaela Neumeister

Marc Jacobs Malcolm McLaren

Par tners

Ernest Mourmans

Aileen Agopian

Aby Rosen

Sean Cleary

Christiane zu Salm

Diego McDonald

Princess Gloria von Thurn und Taxis

Alexander Payne

Jean Michel Wilmotte

Rodman Primack

Anita Zabludowicz

Olivier Vrankenne Tiffany Wood

WORLDWIDE OFFICES

NEW YORK

MUNICH

450 West 15 Street New York NY 10011 USA

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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

SATU RDAY @ PH I LLI PS APRIL 25 2 0 0 9 Noon NEW YORK

Viewing Tuesday April 21 10am - 6pm Wednesday April 22 10am - 6pm Thursday April 23 10am - 8pm Friday April 24 10am - 6pm Saturday April 25 opens 9am

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MARC NEWSON b. 1963 Pair of “Embryo” chairs, ca. 1998. Estimate $10,000-

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MARC NEWSON b. 1963 “W&LT” shelf, 1997. Estimate $6,000-8,000 Rotation-

15,000 Neoprene, tubular steel, brushed aluminum. Each 31 in. (78.7 cm) high. Manufactured

molded polypropylene, aluminum. 40 x 76 x 25 1/2 in. (101.6 x 193 x 64.8 cm).

by Idée, Japan (2).

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2

molded polypropylene, aluminum. 76 1/2 x 76 x 25 1/5 in. (194.3 x 193 x 64 cm).

SHIRO KURAMATA 1934-1991 “Oba-Q” lamp, designed 1970. Estimate $800-1,200

MARC NEWSON b. 1963 “W&LT” shelf, 1997. Estimate $10,000-15,000 Rotation-

Acrylic. 21 1/2 in. (54.6 cm) high. Manufactured by Yamagiwa, USA, from the K series.

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MARIO BOTTA b. 1943 Set of four “Quinta” chairs, designed 1980. Estimate $1,000-

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SARA CHARLESWORTH b. 1947 Portfolio of three works: Tartan Sets, 1986.

1,500 Lacquered steel. 36 3/4 in. (93.3 cm) high. Manufactured by Alias, Italy (4).

Estimate $1,800-2,200 Photolithograph. Each 32 x 24 in. (81.3 x 61 cm). Each signed, dated,

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numbered and blindstamped lower edge. This work is from an edition of 60. PROVENANCE

SUPERSTUDIO “Quaderna” table, 1971. Estimate $1,500-2,000 Laminated wood.

31 1/2 x 70 3/4 x 28 1/2 in. (80 x 179.7 x 72.4 cm).

Editions Ilene Kurtz, New York; Private Collection, New York

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SUPERSTUDIO “Gherpe” lamp, 1967. Estimate $3,000-4,000 Acrylic, chrome-plated

steel. 15 x 21 x 12 in. (38.1 x 53.3 x 30.5 cm). Manufactured by Design Center / Poltronova, Italy.

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KARL SPRINGER 1931-1991 Set of four armchairs, 1975. Estimate $2,500-3,500

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CHRISTOPHE PILLET b. 1959 “Arabella” desk. Estimate $6,000-8,000

Leather, brass (4). Each 32 1/4 in. (81.9 cm) high.

Cherrywood. 31 x 42 x 28 in. (78.7 x 106.7 x 71.1 cm). Manufactured by Ceccotti Collezioni, Italy.

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MERET OPPENHEIM 1913-1985 “Traccia” side table, designed 1973. Estimate

REI KAWAKUBO b. 1942 “Louis XIV n°28” armchair, 1990. Estimate $4,000-6,000

$3,000-4,000 Gold leaf, wood, patinated bronze. 25 1/4 x 26 3/4 x 20 7/8 in. (64.1 x 67.9 x 53 cm).

Beechwood, brass-laminated wood, brass. 33 1/4 in. (84.5 cm) high. Manufactured by Comme

Manufactured by Gavina Ultramobili, Italy.

des Garçons, Japan.

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THOMAS WREDE b. 1963 North Coast Beach, Germany, 2004. Estimate $3,000-

STEFAN HABLÜTZEL b. 1964 Reisläufer, 1993-1997. Estimate $5,000-7,000

4,000 C-print, Diasec and flush mounted on Dibond. 47 1/4 x 58 7/8 in. (120 x 149.5 cm). Signed

Wood, fiberglass resin and pigment. 71 5/8 x 39 3/4 x 37 3/4 in. (181.9 x 101 x 95.9 cm).

on reverse of the mount. This work is from an edition of 5.

PROVENANCE Galerie Johnen + Schöttle, Cologne

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(i)

(ii)

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TOM SACHS b. 1966 Two works: (i) Untitled (Domino Sugar Hello Kitty Striped Shirt),

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JONATHAN SELIGER b. 1955 Swan, 2001. Estimate $4,000-6,000 Oil, alkyd,

2003; (ii) Untitled (Red Cross Salt Pandaba), 2003. Estimate $6,000-8,000 (i) Acrylic on

acrylic and modeling paste on muslin and canvas. 22 1/2 x 17 1/2 x 7 1/4 in. (57.2 x 44.5 x 18.4 cm).

sugar bag; (ii) acrylic on salt box. (i) 7 3/4 x 5 x 4 1/4 in. (19.7 x 12.7 x 10.8 cm); (ii) 5 1/2 in. (14 cm)

Signed, titled and dated on bottom.

high, 3 1/4 in. (8.3 cm) diameter. Each signed and dated on verso. PROVENANCE Acquired directly from the artist

CR BP 17

CR BP 17 TOM SACHS b. 1966 Hello Kitty, 2001. Estimate $20,000-30,000 Bondo速, acrylic and ink on bronze. 7 1/2 x 5 1/2 x 4 3/4 in. (19.1 x 14 x 12.1 cm). Signed, dated and numbered on bottom. This work is from an edition of 25.

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JEFF FERNENGEL b. 1977 Popcorn, 2006. Estimate $800-1,200 Oil on canvas.

14 x 18 in. (35.6 x 45.7 cm). Signed and dated on verso. PROVENANCE The Gallery Upstairs / Surly Girl Saloon, Columbus, OH

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YAYOI KUSAMA b. 1929 Red Flower, 2002. Estimate $300-400 Glazed ceramic.

8 7/8 in. (22.5 cm) diameter. This work is from an edition of 300. PROVENANCE Matsumoto City Museum of Art, Matsumoto

20

SHINTARO MIYAKE b. 1970 Untitled (incl. DVD “Battle of Minotauro,” Tomio

Koyama Gallery, Tokyo), 2004. Estimate $800-1,200 Graphite and colored pencil on paper.

4 3/4 x 4 3/4 in. (12.1 x 12.1 cm). Signed, dated and inscribed on verso. PROVENANCE Tomio Koyama Gallery, Tokyo

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ERIK PARKER b. 1968 Stuck in Sun, 2006. Estimate $3,000-4,000 Acrylic, oil

pastel and foam paint on paper. 22 x 30 in. (55.9 x 76.2 cm). Signed, credited, titled and dated on verso. PROVENANCE Leo Koenig Inc., New York O

22

ERIK PARKER b. 1968 In the Company of Monks, 2006. Estimate $3,000-4,000

Acrylic, oil pastel and foam paint on paper. 22 x 30 in. (55.9 x 76.2 cm). Signed, credited, titled and dated on verso. PROVENANCE Leo Koenig Inc., New York

23

FRED TOMASELLI b. 1956 Untitled, 1987. Estimate $4,000-6,000 Colored pencil

on paper. 8 1/4 x 11 3/8 in. (21 x 28.9 cm). Dated lower edge. PROVENANCE Pierogi, Brooklyn

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SM CR BP 24 25

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SM CR BP 24 RICHARD PRINCE b. 1949 Untitled, 1989. Estimate $3,0004,000 Ballpoint pen on paper. 12 x 8 in. (30.5 x 20.3 cm). Signed lower edge. This work is from a varied edition of 250. PROVENANCE Kent Fine Art / Thea Westreich, New York

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MATTHEW BARNEY b. 1967 Untitled (from Cremaster 3), 2002. Estimate $1,000-

1,500 Photogravure on paper. 15 1/4 x 23 1/8 in. (38.7 x 58.7 cm). Signed, dated and numbered lower edge. This work is from an edition of 40.

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MIKE KELLEY b. 1954 Street Sign, 2004. Estimate $1,000-1,500 Screenprint

on metal sheet. 15 x 24 in. (38.1 x 61 cm). Signed, dated and numbered on verso. This work is from an edition of 100 and is accompanied by a certificate of authenticity. PROVENANCE Contemporary Editions Los Angeles, Los Angeles

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CHRISTOPHER WOOL b. 1955 Untitled, 2008. Estimate $300-400 Print

on skateboard deck. 31 x 7 3/4 in. (78.7 x 19.7 cm). PROVENANCE Supreme, New York

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CHRISTOPHER WOOL b. 1955 Untitled, 2008. Estimate $300-400 Print

on skateboard deck. 31 x 7 1/2 in. (78.7 x 19.1 cm). PROVENANCE Supreme, NY

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CHRISTOPHER WOOL b. 1955 Untitled, 2008. Estimate $300-400 Print

on skateboard deck. 31 1/4 x 8 in. (79.4 x 20.3 cm). PROVENANCE Supreme, NY

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CR BP 30

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CR BP 30 JAY GARD b. 1984 Plywood, 2007. Estimate $3,000-4,000 Plastic, graphite and welded steel. Each 14 in. (35.6 cm) high. Installation dimensions variable. Signed and dated on verso. PROVENANCE Half Gallery, New York LITERATURE James Servin, “The New York Art Frontier,” BlackBook Magazine, August 2008, Issue 60, illustrated p. 38; Samuel Holleran, “Lights, Action, Plywood: Artist Jay Gard Deconstructs in America,” nyartbeat.com, July 2, 2008

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MATT DAMHAVE b. 1979 Untitled, 2008. Estimate $1,200-1,800 Marker, pen,

ink and crayon on paper. 14 x 11 in. (35.6 x 27.9 cm). Signed and dated on verso. PROVENANCE Half Gallery, New York EXHIBITED New York, Half Gallery, Matt Damhave, April 10 – May 10, 2008 LITERATURE Karin Nelson, “ON THE MARKET; Rampage in a Small Space,” The New York Times, Style Section, Sunday, May 4, 2008, illustrated p. 3

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JUSTIN FAUNCE b. 1980 Thanks for All the Memories, 2006. Estimate $2,000-

3,000 Screenprint on paper. 36 x 22 in. (91.4 x 55.9 cm). Signed, dated and numbered lower edge. This work is from an edition of 60. PROVENANCE Leo Koenig Inc., New York

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RUSSELL YOUNG b. 1960 Brigitte Bardot, 2007. Estimate $2,000-3,000

Screenprint on paper. 29 x 37 1/2 in. (73.7 x 95.3 cm). Signed and numbered lower edge. This work is one of 2 printer’s proofs aside from an edition of 20.

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JEFF KOONS b. 1955 Kangaroo Mirror Box (Blue) (incl. DVD “JEFF KOONS / A Man

of Trust,” documentary by Judit Kele and Patrick Javault, 2002), 2003. Estimate $1,5002,000 Mirror polystyrene and Plexiglas. 10 1/2 x 7 x 1/2 in. (26.7 x 17.8 x 1.3 cm). Signed, dated and numbered on verso. Signed and dated on box. This work is from an edition of 2,000.

PROVENANCE Galerie Jérôme de Noirmont, Paris

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JEFF KOONS b. 1955 Donkey, 1999. Estimate $1,200-1,800 Grano lithograph.

35 3/4 x 27 3/8 in. (90.8 x 69.5 cm). Signed, dated and numbered lower edge.This work is from an editon of 99 and is accompanied by a certificate of authenticity. PROVENANCE Eyestorm, London

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JEFF KOONS b. 1955 Paddle Ball Game, 2000. Estimate $500-700 Thermoprint

on birchwood, wooden ball, painted metal and string. 12 1/2 x 8 x 2 1/2 in. (31.8 x 20.3 x 6.4 cm).

Stamped on verso. This work is one of 900 unsigned copies from an edition of 1,000.

PROVENANCE Deutsche Guggenheim, Berlin

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JEFF KOONS b. 1955 Monkey Train, 2006. Estimate $1,000-1,500 Acrylic and

print on skateboard deck. 31 1/8 x 7 3/4 in. (79.1 x 19.7 cm). PROVENANCE Supreme, New York

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JEFF KOONS b. 1955 Monkey Train, 2006. Estimate $1,000-1,500 Acrylic and

print on skateboard deck. 31 1/8 x 7 3/4 in. (79.1 x 19.7 cm). PROVENANCE Supreme, New York

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JEFF KOONS b. 1955 Monkey Train, 2006. Estimate $1,000-1,500 Acrylic and

print on skateboard deck. 31 1/8 x 7 3/4 in. (79.1 x 19.7 cm). PROVENANCE Supreme, New York

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53 129

S E B AS T I E N M O N TA B O N E L Alaska magazine is the final frontier in printed matter.Thick, snow-white

land of white space to me with tracks of unexplored territory and that

pages exhibit portfolios of photographs from a broad range of talent both

is what the book represents. It’s a journey and an exploration.” Get your

familiar and unknown. Creative Director and Co-Editor of Alaska, Sebastien

goggles on, Saturday@Phillips will offer five collector’s editions (did

Montabonel (center) pictured with his co-founders says, “It’s always tricky

someone say, “bound by hand in Sweden?”) of Alaska in this sale (Lot 40).

to conceive of a good name for a project, but this one was easy. I always

Each of the five collector’s books is unique and sums up a relationship

make sure that a name triggers a visual picture. My first company was

between idea and reality, between artist and artisan, pushing the

called Black Milk and that worked.” More installation than book, Alaska

boundaries of traditional bookbinding, towards a conceptual object.

magazine was launched in 2006 and is an experience in art. “Alaska is a

24 RICHARD PRINCE Untitled

220 DAIDO MORIYAMA Another City, NewYork

Richard Prince is the best joker.The one with the guy who gets picked

Daido is such a gentleman and he’s probably the most respected Japanese

up by a truck driver is my favorite and every time I see it, I still laugh

photographer alive. I’m his biggest fan and no serious collection is

like if it was the first time.

complete without one of his prints.

53 WOLFGANG TILLMANS Rachel Auburn

365 FAILE Agony and Ecstasy / MJ

I came across this work years ago in a Paris gallery. At the time Wolfgang

When we were doing research on Alaska we came across work by Faile

was fairly unknown and the pictures were starting at about $75. The show

and this was such a big inspiration for us. I need this in my collection

sold only one and the gallery owner was so embarrassed, he bought the

and don’t have anything like it.

whole exhibition. This is a classic work with a classic story.

378 THE CLAYTON BROTHERS Any Given Night (from Guest Artist)

81 VERNER PANTON Early and rare “LivingTower”

This reminds me of my first skateboard, a Dannie Webster from Gordon

This piece explains in a very simple way why Verner Panton was one of the

& Smith. My dad’s biggest dream and my mom’s worst nightmare.

most gifted designers of his generation.

404 VARIOUS ARTISTS Two works: (i)The Beautiful Losers

129 MARMIT CO. Metal Daigokin Mazinger with Jet Scrambler

Portfolio (Boxed Edition); (ii)The Beautiful Losers Catalog (Boxed Edition)

I always wanted one and I still do. This is a dream, something that my wife

If I was going to Alaska and could take one thing, I would choose The

or daughter wouldn’t be able to understand. But boys will remain boys.

Beautiful Losers Portfolio. This would look perfect in my igloo. And there

187 ELLIOT ERWITT Provence

is nothing like traveling with your own pop-up museum.

Every French person living abroad should have one of these in their entrance hall.

214 MATTIA BONNETI Six arrows, from the operatic production “Lucio Silla,” Lausanne, Switzerland Mattia Bonneti has an incredible power to make exquisite things; things that I always want to own.

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214 365

220 404

Dean Kaufman

SATURDAY@PHILLIPS PRESENTS ALASKA: AUCTION TO BENEFIT FREE ARTS NYC

Free Arts NYC is a non-profit organization that provides under-served children and families with a unique combination of educational arts and mentoring programs that help them to foster the self-confidence and resiliency needed to realize their fullest potential.

With the help of dedicated and caring volunteer mentors, Free Arts NYC delivers creative arts programs directly to low income, homeless, abused and neglected children and families in group homes, shelters, schools and community centers. Children who are exposed to these Arts and Mentoring programs are empowered to stay hopeful and to make good choices even as they face violence, neglect, abuse, drugs, homelessness and gangs.

The Free Arts NYC programs and the relationships they foster help children and families experience new levels of hope and creativity.

(i)

(ii)

(iii)

(iv)

(v)

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VARIOUS ARTISTS Five Works: Alaska Magazine Collector’s Edition, 2008.

Estimate $15,000-20,000 (i) Commissioned by Sebastien Montabonel. Book in clamshell

by David Bennett. Book in engraved clamshell box, with leather and board; (v) commissioned

by Miho Miyachi. Book in clamshell box, with leather, vintage fabric, Japanese paper and

box, with leather, seal skin and rabbit fur; (ii) designed by Per-Anders Hubner. Book in engraved

vintage map. Each 16 x 12 1/4 x 2 1/4 in. (40.6 x 31.1 x 5.7 cm). Each featuring works by 21 various

clamshell box, with leather and reflective paper; (iii) commissioned by Leon Wools. Book in

artists, bound by Per-Anders Hubner and printed in Italy. These works are unique.

engraved clamshell box, with white duvet, Velcro, leather and reflective paper; (iv) commissioned

PROVENANCE Alaska Edition, London

The co-founders of Alaska aim to produce a contemporary photography publication in the “pure sense.” Solely and uniquely concentrating on the pure form of contemporary photography, eliminating the confusion that ensues when many publications combine various forms of Fashion, Advertising, Commercial, Editorial, and in general all forms of utilitarian photography in the same issue.

Alaska, as a concept, has remained true to the ideals that were set out from the start: a limited edition bookazine, dedicated to showcasing contemporary photography in a new and subtle format, designed to “exhibit” work with great sensitivity, near print quality reproduction and with the use of original craftsmanship through the use of traditional bookbinding techniques in a contemporary context.

Each book takes as it’s inspiration, ideas loosely associated with the country that is Alaska like snow, sub zero temperatures, ice, fur, unspoiled landscapes, wilderness, etc, placing emphasis that Alaska is as much a state of mind as it is an actual place. Subsequently the four artists and their interpretations leading to their final executions in collaboration with the Swedish Nobel Prize book binder Per-Anders Hubner, who contributes the fifth book to the collection, are multi-faceted and unique in look.

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CATHERINE OPIE b. 1961 Mike and Sky, 1993. Estimate $800-1,200

•

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Dye destruction print. 19 1/8 x 14 7/8 in. (48.6 x 37.8 cm). Signed, titled, dated and numbered on verso. This work is from an edition of 8.

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NIKKI S. LEE b. 1970 The Lesbian Project (14), 1997. Estimate $6,000-8,000

C-print, flush mounted on Sintra. 23 1/2 x 15 3/4 in. (59.7 x 40 cm). This work is from an edition of 5. PROVENANCE Leslie Tonkonow Artworks + Projects, New York

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NAN GOLDIN b. 1953 Jens’ Hand on Clemens’ Back, Paris, 2001. Estimate $1,000-

1,500 Dye destruction print. 14 x 21 in. (35.6 x 53.3 cm). Signed and numbered on label on verso. This work is from an edition of 100. PROVENANCE The ARTery Fine Art & Fine Craft Gallery, Milford, PA

∆

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NAN GOLDIN b. 1953 Volcano at Dawn, Stromboli (from Alf and Fritz / Volcano),

1996. Estimate $800-1,200

•

Dye destruction print. 12 1/4 x 18 in. (31.1 x 45.7 cm).

Signed, titled, dated and numbered on verso. This work is from an edition of 60. PROVENANCE Edition Schellmann, Munich / New York

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MALERIE MARDER b. 1971 Untitled, 1998. Estimate $1,500-2,000 Gelatin silver

print, flush mounted on aluminum. 17 1/2 x 22 1/2 in. (44.5 x 57.2 cm). Signed and numbered on label on reverse of the mount. This work is from an edition of 8. PROVENANCE Lawrence Rubin / Greenberg Van Doren Fine Art, New York

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NOBUYOSHI ARAKI b. 1940 Untitled. Estimate $500-700 Polaroid. 3 x 3 in.

(7.6 x 7.6 cm). Signed on verso.

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NOBUYOSHI ARAKI b. 1940 Untitled, 1993. Estimate $1,500-2,000 Gelatin

silver print. 4 3/8 x 6 5/8 in. (11.1 x 16.8 cm). Signed, dated and annotated on verso.

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RICHARD KERN b. 1954 Office (NYC), 2004. Estimate $2,500-3,500 C-print,

mounted on board. 39 x 25 1/2 in. (99.1 x 64.8 cm). Signed, titled, dated and numbered on reverse of the mount. This work is from an edition of 3.

CG 50

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KIM JOON b. 1966 Duet-Pig, 2006. Estimate $7,000-9,000 C-print. 55 x 39 1/4 in.

(139.7 x 99.7 cm). Signed, titled and numbered on accompanying label. This work is from an edition of 5.

CG 50 MARILYN MINTER b. 1948 Raspberry, 2007. Estimate $10,000-15,000 C-print, flush mounted on Sintra. 26 x 40 in. (66 x 101.6 cm). This work is from an edition of 5.

PROVENANCE Baldwin Gallery, Aspen

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LARRY SULTAN b. 1946 Pool Calabasas (from The Valley), 2002. Estimate $4,000-

6,000 C-print, flush mounted on Sintra. 47 7/8 x 60 in. (121.6 x 152.4 cm). Signed on label on reverse of the mount. This work is from an edition of 10. PROVENANCE Janet Borden Inc., New York

CG 52 CINDY SHERMAN b. 1954 Nipple with Diamond, 1990-1991. Estimate $8001,200 C-print. 13 x 8 1/2 in. (33 x 21.6 cm). Signed, dated and numbered on verso. This work is from an edition of 100.

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CG 52

SM 53

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SM 53 WOLFGANG TILLMANS b. 1968 Rachel Auburn, 1995. Estimate $2,0003,000 C-print. 14 1/2 x 9 1/2 in. (36.8 x 24.1 cm). Signed, titled, dated and numbered on verso.

This work is from an edition of 10.

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THOMAS RUFF b. 1958 Nudes KN 30, 2000. Estimate $2,000-3,000 C-print. 20 1/4

x 16 1/2 in. (51.4 x 41.9 cm). Signed, dated and numbered on verso. This work is from an edition

58

of 100. PROVENANCE Frameworks, Vienna; Galerie Sanguine-Arnaud Brument, Paris

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ISAAC JULIEN b. 1960 Untitled (Newcastle-on-Tyne), 1990. Estimate $1,000-1,500

C-print, printed 1999. 15 3/4 x 23 1/8 in. (40 x 58.7 cm). Signed and numbered on verso. This work is from an edition of 25. PROVENANCE Printed Matter, Inc., New York

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THOMAS RUFF b. 1958 Nachtphotos, 1993. Estimate $2,000-3,000 Grano

lithograph. 23 1/4 x 24 1/2 in. (59.1 x 62.2 cm). Signed and numbered on verso. This work is from an edition of 45. PROVENANCE Edition Schellmann, Munich / New York

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MATTHIAS HOCH b. 1958 Vatikan #27, 2004. Estimate $500-700 C-print. 12 5/8

x 16 1/2 in. (32.1 x 41.9 cm). Signed, titled, dated and numbered on verso. This work is from an edition of 25.

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CANDIDA HĂ–FER b. 1944 Trinity College Library Dublin I, 2004. Estimate $1,200-

1,800 C-print. 9 3/8 x 11 7/8 in. (23.8 x 30.2 cm). Signed on label on verso. This work is from an edition of 100 and is accompanied by a certificate of authenticity. PROVENANCE Irish Museum of Modern Art, Dublin

CG 59

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CG 59 HIROSHI SUGIMOTO b. 1948 Marmara Sea, Silivri (from Time Exposed), 1991.

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Estimate $500-700 Offset lithograph, mounted on board. 9 3/8 x 12 1/8 in. (23.8 x 30.8 cm).

Blindstamped with title and date on the mount. This work is from an edition of 500.

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HIROSHI SUGIMOTO b. 1948 Two works: Irish Sea, Isle of Man (from Time

Exposed), 1990. Estimate $800-1,200 Offset lithograph, mounted on board. Each 9 3/8 x 12 1/8 in. (23.8 x 30.8 cm). Each blindstamped with title and date on the mount. These works are from an edition of 500.

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HIROSHI SUGIMOTO b. 1948 Two works: South Pacific Ocean, Maraenui (from Time

Exposed), 1990. Estimate $800-1,200 Offset lithograph, mounted on board. Each 9 3/8 x 12 1/8 in. (23.8 x 30.8 cm). Each blindstamped with title and date on the mount. These works are

from an edition of 500.

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RICHARD MISRACH b. 1949 Golden Gate Bridge, 11.19.99, 7:02 A.M., 1999.

Estimate $3,000-4,000 C-print, flush mounted on board. 27 3/4 x 34 7/8 in. (70.5 x 88.6 cm).

Signed, titled, dated and numbered lower edge. This work is from an edition of 7.

CR BP 63 ALEC SOTH b. 1969 Fairway Motor Inn, 2005. Estimate $3,500-4,500 C-print. 23 7/8 x 30 in. (60.6 x 76.2 cm). Signed on label on reverse of the frame. This work is from an edition of 10. PROVENANCE Gagosian Gallery, New York

CR BP 64 ALEC SOTH b. 1969 The Farm, Angola State Prison, Angola, Louisiana, 2002.

Estimate $7,000-9,000 C-print, flush mounted on Dibond. 31 1/2 x 39 5/8 in. (80 x 100.6 cm).

CR BP 63

Signed on label on reverse of the mount. This work is from an edition of 10. PROVENANCE Weinstein Gallery, Minneapolis

CR BP 64

detail

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MASSIMO VITALI b. 1944 Polyptych in 8 parts: Knokke, 2002. Estimate $5,000-

7,000 Offset lithograph, printed 2006. Each 33 3/4 x 27 1/2 in. (85.7 x 69.9 cm). Each numbered and stamped on verso. This work is from an edition of 120. PROVENANCE Steidl Verlag, Gรถttingen

detail

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GAETANO PESCE b. 1939 “Amazonia” vase. Estimate $800-1,200 Resin. 13 3/4

in. (34.9 cm) high. Stamped. Manufactured by Fish Design, Italy.

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GAETANO PESCE b. 1939 Necklace. Estimate $300-400 Resin. 48 in. (121.9 cm)

long. Manufactured by Fish Design, Italy.

68

GAETANO PESCE b. 1939 Three bracelets. Estimate $600-800 Resin. Largest:

5 1/2 in. (14 cm) diameter. Manufactured by Fish Design, Italy (3).

69

70

GAETANO PESCE b. 1939 Wine cooler. Estimate $600-800 Resin. 11 1/4 in. (28.6

cm) high. Stamped on bottom. Manufactured by Fish Design, Italy.

70

GAETANO PESCE b. 1939 “Vesuvio” coffee maker, 1988-89. Estimate $600-800

Cast painted aluminum, resin. 14 1/8 in. (35.9 cm) high. Manufactured by Zani&Zani, Italy.

71

GAETANO PESCE b. 1939 “Table Made with Music” triple play nesting tables, 1995.

Estimate $1,500-2,000 Resin, metal. Largest 15 1/2 in. (39.4 cm) high. Manufactured

by Fish Design, Italy (3).

71

72

73

74

72

GIO PONTI 1891-1979 Consol table. Estimate $2,000-3,000 Walnut, glazed

ceramic. 15 x 60 1/4 x 7 3/4 in. (38.1 x 153 x 19.7 x cm).

73

UNKNOWN DESIGNER Desk. Estimate $400-600 Teak. 28 1/2 x 55 x 26 in.

(72.4 x 139.7 x 66 cm). Manufactured by Farum, Denmark.

74

GIO PONTI 1891-1979 Coffee table, designed 1940. Estimate $2,500-3,500

Oak, glass. 17 1/4 x 36 x 21 1/2 in. (43.8 x 91.4 x 54.6 cm).

75

CRAIG NEALY Table. Estimate $4,000-6,000 Burlwood, steel. 28 x 42 x 26 1/4in.

(71.1 x 106.7 x 66.7 cm).

75

CG 76 CR BP 77

CG 76 ZAHA HADID b. 1950 Solid, 2005. Estimate $800-1,200 Vacuum cast translucent acrylic sculpture. 2 x 14 5/8 x 2 5/8 in. (5.1 x 37.1 x 6.7 cm). Impressed with facsimile signature and number. This work is from an edition of 250. PROVENANCE Deutsche

78

Guggenheim, Berlin

CR BP 77 MARC NEWSON b. 1963 “Sci-Fi” vase, 1993. Estimate $1,200-1,800 Glazed ceramic. 13 1/8 in. (33.3 cm) high. Manufactured by Cor Unum, The Netherlands.

Underside impressed with “Newson” facsimile signature.

78

SHIRO KURAMATA 1934-1991 “Flower vase #3,” designed 1989. Estimate

$2,000-3,000 Acrylic, glass. 10 1/4 x 12 x 3 1/8 in. (26 x 30.5 x 7.9 cm). Manufactured by Ishimaru Co., Ltd., Japan.

79

79

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

Estimate $1,500-2,000 Acrylic, glass. Each 9 x 3 x 3 in. (22.9 x 7.6 x 7.6 cm). Manufactured

by Ishimaru Co., Ltd., Japan (3).

80

SHIGERU UCHIDA b. 1943 Two-seater “September” chair, ca. 1977. Estimate

$2,000-3,000

•

Enameled tubular steel, enameled steel wire. 26 1/2 x 55 x 35 in.

(67.3 x 139.7 x 88.9 cm). Manufactured by Build Co. Ltd., Japan.

80

SM 81 VERNER PANTON 1926-1988 Early and rare “Living Tower,” ca. 1968. Estimate $15,000-20,000 Fabric, wood. 78 1/2 x 79 x 24 3/4 in. (199.4 x ,200.7 x 62.9 cm). Editioned

by The Herman Miller Furniture Company, USA and Fritz Hansen, Denmark.

SM 81

82

82

TAKASHI MURAKAMI b. 1962 AND THEN Rainbow, 2006. Estimate $1,000-

1,500 Offset lithograph. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm). Signed and numbered lower edge.

This work is from an edition of 300. PROVENANCE Kaikai Kiki Co, Ltd., Tokyo (Artwork ©2005 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

83

TAKASHI MURAKAMI b. 1962 Nirvana, 2008. Estimate $1,000-1,500 Offset

lithograph. 25 7/8 x 51 1/2 in. (65.7 x 130.8 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2001 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

84

TAKASHI MURAKAMI b. 1962 Snow, 2001. Estimate $1,000-1,500 Offset

lithograph. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm). Signed, dated and numbered side edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2001 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

83

84

85

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

rushes forth, the tranquility of my heart shall be prized above all., 2007. Estimate $1,2001,800 Offset lithograph with printing leaf. 27 1/2 x 32 5/8 in. (69.9 x 82.9 cm). 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., Tokyo. All Rights Reserved)

86

TAKASHI MURAKAMI b. 1962 I open wide my eyes but see no scenery. I fix my

gaze upon my heart., 2007. Estimate $1,200-1,800 Offset lithograph with printing leaf.

27 1/2 x 31 7/8 in. (69.9 x 81 cm). Signed 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., Tokyo. All Rights Reserved)

85

86

87

88

89

90

87

TAKASHI MURAKAMI b. 1962 Melting DOB E, 2008. Estimate $1,000-1,500

Offset lithograph with printing leaf. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2001 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

88

TAKASHI MURAKAMI b. 1962 Para-Kiti DOB, 2001. Estimate $1,000-1,500

Offset lithograph. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm). Signed and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2001 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

89

TAKASHI MURAKAMI b. 1962 Homage to Francis Bacon (Study of George Dyer),

2004. Estimate $1,000-1,500 Offset lithograph. 27 x 27 in. (68.6 x 68.6 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2002 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

90

91

TAKASHI MURAKAMI b. 1962 Melting DOB D, 2008. Estimate $1,000-1,500

Offset lithograph with printing leaf. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2001 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

91

TAKASHI MURAKAMI b. 1962 Homage to Francis Bacon (Study of Isabel

Rawsthorne), 2004. Estimate $1,000-1,500 Offset lithograph. 26 7/8 x 26 3/4 in. (68.3 x 67.9 cm). Signed, dated and numbered lower edge. This work is from an edition of 300.

PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2002 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

92

93

94

95

92

TAKASHI MURAKAMI b. 1962 Champignon, 2006. Estimate $1,000-1,500

Offset lithograph. 20 5/8 x 20 5/8 in. (52.4 x 52.4 cm). Signed, dated and numbered lower edge.

This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2003 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

93

TAKASHI MURAKAMI b. 1962 Guru Guru, 2008. Estimate $1,000-1,500 Offset

lithograph with printing leaf. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©1999 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

94 96

TAKASHI MURAKAMI b. 1962 Poke!, 2008. Estimate $1,000-1,500 Offset

lithograph with printing leaf. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©1999 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

95

TAKASHI MURAKAMI b. 1962 Hoyoyo, 2007. Estimate $1,000-1,500 Offset

lithograph with printing leaf. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©1998 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

96

TAKASHI MURAKAMI b. 1962 Making a U-Turn, the Lost Child Finds His Way Home,

2005. Estimate $1,000-1,500 Offset lithograph. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm). Signed and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2002 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

97

(i)

98

99

100

(ii)

101

97

MR. b. 1969 Two works: (i) Making Things Right, 2007; (ii) V, 2006. Estimate $500-700

Offset lithograph. (i) 23 5/8 x 35 3/4 in. (60 x 90.8 cm); (ii) 20 x 19 3/4 in. (50.8 x 50.2 cm). Each signed, dated and numbered lower edge. These works are from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artworks ©2005 and 2006 Mr. / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

98

MR. b. 1969 Fund-raising for the heart—Maid café, 2007. Estimate $300-400 Print

on skateboard deck. 31 1/8 x 7 5/8 in. (79.1 x 19.4 cm). PROVENANCE Supreme, New York (Artwork ©2007 Mr. / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

99

MR. b. 1969 I know her secret., 2007. Estimate $300-400 Print on skateboard deck.

31 1/8 x 7 1/2 in. (79.1 x 19.1 cm). PROVENANCE Supreme, New York (Artwork ©2007 Mr. / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

100

MR. b. 1969 A field close to heaven—Dreams and Reality, 2007. Estimate $300-400

Print on skateboard deck. 31 1/8 x 7 3/4 in. (79.1 x 19.7 cm). PROVENANCE Supreme, New York (Artwork ©2007 Mr. / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

101

MAHOMI KUNIKATA b. 1979 Human-Shaped Canvas 004 Tsubasa-chan, 2005.

Estimate $6,000-8,000 Acrylic on canvas, fiber, wire, plastic magnets, cotton and rubber boots. 58 3/4 x 25 1/4 x 13 3/4 in. (149.2 x 64.1 x 34.9 cm). Signed, dated and inscribed on verso.

(Artwork ©2005 Mahomi Kunikata / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

102 103

104

102

TAKASHI MURAKAMI b. 1962 Mamu Came from the Sky, 2007. Estimate

$1,000-1,500 Offset lithograph. 30 1/4 x 35 1/2 in. (76.8 x 90.2 cm). Signed and numbered lower

106

TAKASHI MURAKAMI b. 1962 Ponchi-kun, 2007. Estimate $1,000-1,500

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

edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork

(Artwork ©2007 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

©2003 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

107

103

Print on skateboard deck. 31 1/8 x 7 3/4 in. (79.1 x 19.7 cm). PROVENANCE Supreme, New York

TAKASHI MURAKAMI b. 1962 Yoshiko and the Creatures from Planet 66, 2007.

TAKASHI MURAKAMI b. 1962 Shimon-kun, 2007. Estimate $1,000-1,500

Estimate $1,000-1,500 Offset lithograph. 23 x 39 1/2 in. (58.4 x 100.3 cm). Signed and

(Artwork ©2007 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd.,

108

Tokyo (Artwork ©2003 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

1,500 Offset lithograph. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm). Signed, dated and numbered lower

104

TAKASHI MURAKAMI b. 1962 Flower: The Creatures from Planet 66, 2004.

TAKASHI MURAKAMI b. 1962 Jellyfish Eyes—White 5, 2006. Estimate $1,000-

edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork

Estimate $4,000-6,000 Screenprint on paper. 7 x 27 1/2 in. (17.8 x 69.9 cm). Signed, dated

©2006 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

and numbered lower edge. This work is from an edition of 50. (Artwork ©2004 Takashi Murakami /

109

Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

1,500 Offset lithograph. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm). Signed, dated and numbered lower

105

TAKASHI MURAKAMI b. 1962 Bunbu-kun, 2007. Estimate $1,000-1,500 Print

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

TAKASHI MURAKAMI b. 1962 Jellyfish Eyes—Black 4, 2006. Estimate $1,000-

edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2004 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

©2007 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

105

106

107

108

109

111

110

112

110

TAKASHI MURAKAMI b. 1962 Melting DOB A, 2008. Estimate $1,000-1,500

Offset lithograph with printing leaf. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©1999 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

111

TAKASHI MURAKAMI b. 1962 727-727, 2007. Estimate $2,000-3,000 Offset

lithograph. 25 1/4 x 38 7/8 in. (64.1 x 98.7 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2006 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

112

TAKASHI MURAKAMI b. 1962 727, 2004. Estimate $2,000-3,000 Offset

lithograph. 25 1/4 x 38 7/8 in. (64.1 x 98.7 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©1996 Takashi Murakami / Kaikai Kiki, Co., Ltd., Tokyo. All Rights Reserved)

113

114

115

113

TAKASHI MURAKAMI b. 1962 And then, and then and then and then and then /

Cream, 2008. Estimate $1,000-1,500 Offset lithograph. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm).

Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2006 Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

114

TAKASHI MURAKAMI b. 1962 And then, and then and then and then and then,

2006. Estimate $1,000-1,500 Offset lithograph. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm). Signed and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©1996 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

115

TAKASHI MURAKAMI b. 1962 And then, and then and then and then and then /

Abstraktes Bild, 2006. Estimate $1,000-1,500 Offset lithograph. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm). Signed and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2006 Takashi Murakami / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

116

(ii)

(i)

(iv)

(iii)

116

117

(v)

AYA TAKANO b. 1976 Five works: (i) Capricorn, 2006; (ii) The Turkish Grasslands,

2005; (iii) Arabian Night and End, 2005; (iv) Toward Eternity, 2006; (v) Fallin’-Manma-Air, 2005.

Estimate $1,000-1,500 Offset lithograph. (i) 26 x 20 1/2 in. (66 x 52.1 cm); (ii) 24 x 20 in. (61 x 50.8 cm); (iii) 23 5/8 x 19 3/4 in. (60 x 50.2 cm); (iv) 23 1/8 x 20 1/2 in. (58.7 x 52.1 cm); (v) 23 3/8 x 19 3/4 in. (59.4 x 50.2 cm). Each signed, dated and numbered lower edge. These works are from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artworks ©1997-2002 Aya Takano / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

117

AYA TAKANO b. 1976 Two works: (i) Little Stars of a City Child, 2006; (ii) Convenience

Store, 2006. Estimate $1,200-1,800 Offset lithograph. (i) 26 7/8 x 20 3/8 in. (68.3 x 51.8 cm); (ii) 19 5/8 x 24 5/8 in. (49.8 x 62.5 cm). Each signed, dated and numbered lower edge. These works are from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artworks ©2006 Aya Takano / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

118

AYA TAKANO b. 1976 Mail Mania Mami, Standing in a Storm, 2006. Estimate

$600-800 Offset lithograph. 24 1/4 x 17 1/8 in. (61.6 x 43.5 cm). Signed, dated and numbered lower edge. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co., Ltd., Tokyo (Artwork ©2001 Aya Takano / Kaikai Kiki Co., Ltd., Tokyo. All Rights Reserved)

118

(i)

(ii)

120

119

121

119

MARMIT CO. Godzilla 2000, 2008. Estimate $300-400 Translucent vinyl and

glitter. 9 in. (22.9 cm) high. This work is a 2008 Tokyo Hobby Complex show promo exclusive.

120

BWANA SPOONS b. 1970 Little Killer, 2008. Estimate $250-350 Hand-painted

vinyl. 5 in. (12.7 cm) long. Figure produced by Gargamel Co., Japan. Signed and numbered. This work is from a varied edition of 100.

121

TIM BISKUP b. 1967 Big Pollard with Buttons, 2008. Estimate $400-600 Hand-

painted translucent vinyl and buttons. 9 in. (22.9 cm) high. Signed. This work is from a varied edition of 10.

122

MATT WALKER (DEAD PRESIDENTS) b. 1973 Matango Custom, 2008.

Estimate $300-400 Hand-painted vinyl. 8 in. (20.3 cm) high. Figure produced in 1997 by M-1 Co., Japan. Signed. This work is unique.

123

MARTIN ONTIVEROS b. 1969 Ojo Zombie Clown, 2008. Estimate $350-450

Hand-painted vinyl. 6 in. (15.2 cm) high. Figure produced by Gargamel Co., Japan. Signed.

This work is unique.

123

122

125

126

124

124

MARK NAGATA (MAX TOY CO.) b. 1964 Giant Ceramic Eyezon, 2008.

Estimate $1,500-2,000 Porcelain. 24 in. (61 cm) high. Figure cast by Mairuzu. Signed.

This work is from a varied edition of 10.

125

MR. EWOKONE b. 1976 Godzillington, 2009. Estimate $800-1,200 Vinyl, paint,

postage stamps and printed oaktag cards. 14 in. (35.6 cm) high. Figure produced by Sof-vi

127

Co., Japan. Signed. This work is unique and includes a header bag card overwritten with grafitti by the artist.

126

CARLOS ENRIQUEZ-GONZALEZ b. 1968 Golden Astroboy, 2003. Estimate

$3,000-4,000 Fiberglass. 24 in. (61 cm) high. Signed and dated. This work is from a varied edition of 40.

128

127

MARMIT CO. Giant Hedorah (The Smog Monster) Mandala 1971, 2008. Estimate

$500-700 Ink and spraypaint on vinyl. 20 in. (50.8 cm) high. Signed and inscribed throughout with the names of the chemical and toxic pollutants that caused the character’s mutant transformation. This work is unique and includes a signed photograph by Marmit Co. creative director and painter K. Akamatsu.

128

MARMIT CO. Giant Death Godzilla 1971, 2008. Estimate $500-700 Hand-painted

vinyl with skeleton design. 20 in. (50.8 cm) high. This work is unique and includes a signed photograph by Marmit Co. creative director and painter K. Akamatsu.

SM 129

front

verso

SM 129 MARMIT CO. Metal Daigokin Mazinger with Jet Scrambler, 2008. Estimate

130

$1,000-1,500 Steel and plastic. 17 x 14 in. (43.2 x 35.6 cm). This work is from an edition of 100

6 in. (15.2 cm) high. Signed. This work is from a varied edition of 20 and includes a customized

and is modeled on the superhero robot from 1970s Japanese TV animation “Mazinger-Z.� Work

cloth sack.

includes original packaging.

131

LEMERDE b. 1973 Breaker Lee, 2008. Estimate $250-350 Hand-painted resin.

KIRKLAND JUE (TOYBOT STUDIOS) b. 1968 Semi-Ninjin Bling, 2008.

Estimate $1,000-1,500 3,000 rhinestones hand-applied on vinyl. 8 in. (20.3 cm) high. Figure produced ca. 1995 by M-1 Co., Japan. Signed. This work is unique.

130

131

132

TIM BISKUP b. 1967 Super-Giant Helper, 2006. Estimate $7,000-9,000 Acrylic

paint on fiberglass. 90 in. (228.6 cm) high. Figure produced by Flopdoodle Inc., USA. Signed.

This work is a unique color version and the only one hand-painted from an edition of 23 and is accompanied by a certificate of authenticity.

132

Lot 132 verso

134

133

135 136

137

133

SCRAPPERS b. 1972 Local Hedoran, 2009. Estimate $300-400 Hand-painted

vinyl. 8 in. (20.3 cm) high. Figure produced in 2008 by Gargamel Co., Japan. Signed.This work is unique.

134

MILES NIELSON b. 1977 Chinuki, 2008. Estimate $500-700 Porcelain. 8 in.

(20.3 cm) long. Signed. This work is from a varied edition of 4.

135

PAULKAIJU b. 1965 Peter, 2008. Estimate $300-400 Hand-painted vinyl. 8 in.

(20.3 cm) high. Figure produced ca. 2000 by M-1 Co., Japan. Signed. This work is unique.

136

MARMIT CO. Female Monster: Nudela, 2008. Estimate $200-300 Hand-painted

vinyl and nylon hair. 8 in. (20.3 cm) high. Signed. This work is unique.

137

MARMIT CO. Take-majin, 2008. Estimate $200-300 Hand-painted vinyl. 8 in. (20.3

cm) high. Signed. This work is unique.

138

140

139

141

138

PUSHEAD Skull Pirate, 2008. Estimate $200-300 Vinyl. 4 in. (10.2 cm) high.

This work is a 2008 San Diego Comic-Con exclusive and includes hand signed tag, skeleton scarf and pin.

139

NAKAJIMA CO. Astro Mu Nodder, ca. 1975. Estimate $700-900 Translucent

and opaque vinyl figure and pipe cleaners. 10 in. (25.4 cm) high. Work includes removeable cowl, vest and boots.

140

TAKATOKU CO. Wangaroo, ca. 1980. Estimate $250-350 Diecast metal and

plastic. 4 in. (10.2 cm) high. Work includes original accessories and packaging.

142

141

BOB CONGE (PLASEEBO) b. 1939 Cream Boy, 2009. Estimate $1,000-1,500

Hand-painted vinyl with color change LED lights. 9 1/2 in. (24.1 cm) high. Signed. This work is a unique prototype.

142

COMETDEBRIS (KOJI HARMON) b. 1971 Tomato Attack Tokoji Seijin, 2008.

Estimate $200-300 Hand-painted vinyl. 5 in. (12.7 cm) high. Figure produced by Gargamel Co., Japan. Signed. This work is unique.

143

144

145

146

147

143

FRANK KOZIK b. 1962 Giant Nightstalker, 2008. Estimate $800-1,200

Fiberglass. 36 in. (91.4 cm) high. Figure cast by Rommel Chua. Signed by Rommel Chua on original packaging. This work is from an edition of 40.

144

M-1 CO. Haruo Nakajima in Godzilla Costume, ca. 1999. Estimate $400-600 Vinyl.

8 in. (20.3 cm) high. Work includes 10 x 8 in. (25.4 x 20.3 cm) autographed photograph of actor Haruo Nakajima in his Godzilla costume and original packaging.

145

SKULL HEAD BUTT CO. Wanton: The Eater, 2008. Estimate $150-200 Hand-

painted vinyl. 4 in. (10.2 cm) high. Signed. This work is unique.

146

TOYGRAPH CO. Space Trooper (Pink), 2008. Estimate $80-120 Translucent vinyl

and paint. 4 in. (10.2 cm) high. This work was made as a promotional item for Astro Zombies toystore in Osaka, Japan. Work includes original packaging.

147

MARMIT CO. Red Jack (Ultraman Monster), 2008. Estimate $150-200 Vinyl. 9 in.

(22.9 cm) high. Work includes original packaging.

148

149

148

GARGAMEL CO. (KIYOKA IKEDA) b. 1977 Camouflage Hedoran, 2009.

Estimate $400-600 Hand-painted vinyl. 8 in. (20.3 cm) high. Signed. This work is unique.

149

SHIKARUNA CO. Shiberian, 2008. Estimate $200-300 Hand-painted vinyl. 9 in.

(22.9 cm) long. This work was made as a promotional item for the Super Position toystore in Japan. Work includes original packaging.

150 150

SHIKARUNA CO. Two-headed Gaigigon, 2008. Estimate $200-300 Translucent

hand-painted vinyl. 9 in. (22.9 cm) high. This work is a 2009 Tokyo New Year’s Super Festival promo exclusive. Work includes original packaging.

151

152

153

151

MEDICOM TOY CO. RAH—Kamen Rider Shocker, ca. 1994. Estimate $1,000-

1,500 Cloth, vinyl and PVC. 12 in. (30.5 cm) high. This work is from an edition of 100 and was made as a promotional item for the debut of the Real Action Hero series toy line. Work includes original accessories and display box.

152

SHIKARUNA CO. Zagora, 2008. Estimate $200-300 Translucent hand-painted

vinyl. 9 in. (22.9 cm) high. This work is a 2009 Tokyo New Year’s Super Festival promo exclusive.

Work includes original packaging.

153

MARK NAGATA (MAX TOY CO.) b. 1964 Tripus, 2009. Estimate $200-300

Hand-painted transparent vinyl with interior vinyl parts. 10 1/2 in. (26.7 cm) high. Signed. This work is unique.

155

156

154

154

SKULL HEAD BUTT CO. Monster D, 2008. Estimate $150-200 Hand-painted

vinyl. 4 in. (10.2 cm) high. Signed. This work is from a varied edition of 100.

155

EYESCREAM BEAGLE CO. Giant Garamon, ca. 2006. Estimate $1,000-1,500

Resin and latex. 22 in. (55.9 cm) high. Work includes original accessories and packaging.

156

MARUSAN CO. Vanilla (Banira) (Ultraman Monster), ca. 1966. Estimate $500-700

Hand-painted vinyl. 8 in. (20.3 cm) high.

157

ARK CO. Mecha Godzilla: King Kong, ca. 1975. Estimate $250-350 Diecast metal,

plastic and paper. 6 in. (15.2 cm) high. Work includes original airplanes and packaging.

157

159

158

158

TAKATOKU CO. Macross series transforming Elintseeker, ca. 1985. Estimate

$800-1,200 High-grade PVC. 11 in. (27.9 cm) high. Work includes original accessories and packaging.

159

TAKATOKU CO. Macross series transforming Battroid Valkyrie VF-1A, ca. 1985.

Estimate $400-600 High-grade PVC. 11 in. (27.9 cm) high. Work includes original accessories and packaging.

160

ANRAKU ANSAKU CO. Three works: Gogamezura, Koganemushi &

Pandaxaxaricho, ca. 2007. Estimate $700-900 Vinyl. Largest: 4 1/4 in. (10.8 cm) high.

161

KAWS b. 1974 Two works: Original Fake JPP Sobukun Companions, ca. 2004.

Estimate $700-900 Painted cast vinyl. Each 8 in. (20.3 cm) high. Figures produced by Medicom Toy Co., Japan. These works are from an edition of 500 and include original packaging.

160

161

162

163

162

KAWS & PUSHEAD Two works: Companion, 2006. Estimate $400-600 Vinyl.

Each 10 1/2 x 5 1/2 x 3 1/2 in. (26.7 x 14 x 8.9 cm). Figures produced by Medicom Toy Co., Japan.

These works are from an edition of 500 and include original packaging. PROVENANCE Medicom Toy Co., Tokyo

163

KAWS b. 1974 1000% Grey Mouse Bearbrick, 2002. Estimate $700-900 Painted

plastic. 28 in. (71.1 cm) high. Figure produced by Medicom Toy Co., Japan. This work is from an edition of 500 and includes original packaging.

164

KAWS b. 1974 Three works: Companion, 1999. Estimate $3,000-4,000 Painted

cast vinyl. Each 8 in. (20.3 cm) high. Figures produced by Bounty Hunter, Japan. These works are from an edition of 500 and include original packaging. PROVENANCE Bounty Hunter, Tokyo

164

17

30 64

24 63

CYNTHIA ROWLEY & BILL POWERS As a young girl, Cynthia Rowley only “collected” afternoons in

combination of things we would never give up—pieces that will

detention, but clearly this free-spirited fashion designer’s habits have

become part of our children’s collection, and their children’s

changed.Today, Cynthia and her husband Bill Powers, co-founder

collection—along with parts that are meant to reconfigure and evolve.

of Half Gallery on the Lower East Side, buy works by contemporary

We like mixing works by contemporary artists with more personal

greats such as Dana Schutz, Richard Prince, Neo Rauch, Ryan

treasures; we have an Elizabeth Peyton portrait of Pete Doherty next

McGinness andTom Sachs.Their apartment in NewYork’s West

to a self-portrait by my grandmother.”

Village is just one backdrop for their art-filled universe featuring photographs of their daughters byTerry Richardson to a baby grand

“Many of the lots selected below overlap our own collection. As an

piano that doubles as an ice chest. “To us the exciting part about

art dealer friend of ours once said, ‘If I can’t smoke it, I can’t sell it.’

collecting art is that our taste changes so our collection is a

Truer words were never spoken.”

17 TOM SACHS Hello Kitty

171 WILLIAM EGGLESTON Untitled, Memphis

Visually they are made to read like foam core, but are in fact cast bronze.

Although taken later, this shot of Elvis recalls Eggleston’s famous Graceland

This miniature predates large scale versions shown at Ropac in Paris

series and through the window positions him as a Christ-like figure.

and Lever House in New York.

223 OLAF BREUNING Fatty on Elephant

24 RICHARD PRINCE Untitled

He's witty and prolific. I like his drawings even more than the sculpture.

Although from a large edition size, each one is handwritten and therefore

His studio downtown is a reclaimed massage parlor.

unique. The ultimate in Americana.

230 ROB PRUITT FacingWest

30 JAY GARD Plywood

Rob's pandas are his most recongnizable imagery. We’re excited to see Rob

A young German sculptor who once assisted Tom Sachs, here commenting

host an art awards show at the Guggenheim next month, and he has a proper

on the one-dimensionality of culture and the materials from which the original

monograph coming out later this year.

Hollywood sign were made.

296 ANDY WARHOL Untitled

63 & 64 ALEC SOTH Fairway Motor Inn andThe Farm, Angola State

Because Andy signed so many of these books straight off the press, he would

Prison, Angola, Louisiana

do drawings in them at signings to make the customers feel more special.

A selection from his two most iconic series “Sleeping by The Mississippi”

I love this doodle, but hate when people cut drawings out of books.

and “Niagra.” While he does show at Gagosian, Alec seeks to ground himself

336 THOMAS CAMPBELL Untitled

by affiliating with Magnum Photos and maintaining his practice in reportage.

We are smitten by his tree people and bashful bears not to mention his wistful

77 MARC NEWSON “Sci-Fi” vase

loopy script. Thomas Campbell is Orange County's answer to Takashi

I've been a fan of Marc Newson for many years. I'm in awe of how skillfully

Murakami. His passion for painting is surpassed only by his love of the sea.

he balances art and design. He recently did the interior of a Tribeca mansion

Thomas has a new surf movie, “The Present,” in theaters this summer.

with Stuart Parr on the site of the old Area nightclub, and he's designing the in-flight suits for Virgin Galactic.

296 77 223

230

171

336

Dean Kaufman

165

167

166

168

165

BOB WILLOUGHBY b. 1927 Frank Sinatra, Dean Martin, Sammy Davis, Jr. and Peter

Lawford at the Sands Hotel, Las Vegas, 1960. Estimate $3,000-4,000 C-print, printed later.

167

MARK SELIGER b. 1959 Bob Dylan, Los Angeles, CA, 1998. Estimate $1,200-

1,800 Gelatin silver print. 18 5/8 x 14 1/2 in. (47.3 x 36.8 cm). Signed, credited, titled, dated,

38 7/8 x 25 1/2 in. (98.7 x 64.8 cm). Signed, titled and dated on accompanying label.

and numbered on verso. This work is from an edition of 25.

166

168

HERB RITTS 1952-2002 Dizzy Gillespie, Paris, 1989. Estimate $8,000-12,000

Gelatin silver print, flush mounted on board. 39 x 29 in. (99.1 x 73.7 cm). Signed, titled, dated and

MARK SELIGER b. 1959 George Harrison, Los Angeles, CA, 1992. Estimate

$1,000-1,500 Gelatin silver print, printed 2002. 13 3/8 x 10 1/2 in. (34 x 26.7 cm). Signed, titled,

numbered on reverse of the mount. This work is from an edition of 12 of which only 10 were ever

dated, numbered, stamped and annotated on verso. This work is from an edition of 25.

realized. PROVENANCE Fahey / Klein Gallery, Los Angeles

169

GERED MANKOWITZ b. 1946 Jimi Classic, 1967. Estimate $6,000-8,000

Gelatin silver print, printed later. 43 1/2 x 43 1/2 in. (110.5 x 110.5 cm). Signed and numbered lower edge. This work is from an edition of 24. PROVENANCE Western Canon Gallery, Beverly Hills

169

CR BP 171

170

172

170

ANNIE LEIBOVITZ b. 1949 Merce Cunningham, 1994. Estimate $1,000-1,500

Gelatin silver print. 13 x 13 in. (33 x 33 cm). Signed and numbered lower edge. This work is from an edition of 100. PROVENANCE Aperture Foundation, New York

CR BP 171 WILLIAM EGGLESTON b. 1931 Untitled, Memphis, 2001. Estimate $2,000-3,000 C-print, flush mounted on board. 20 x 30 in. (50.8 x 76.2 cm). Signed lower edge.

Numbered and stamped on reverse of the mount. This work is from an edition of 40.

O

172

STEPHEN SHORE b. 1947 Andy Warhol at the Factory, NYC, 1965-1967. Estimate

$1,500-2,000 Gelatin silver print. 12 3/4 x 19 in. (32.4 x 48.3 cm). Signed, titled and numbered on verso. This work is from an edition of 8.

173

CG 174

175

173

LEE FRIEDLANDER b. 1934 Washington, D.C., 1962. Estimate $2,500-3,500

Gelatin silver print, printed later. 8 1/2 x 12 3/4 in. (21.6 x 32.4 cm). Signed, titled, dated, annotated and stamped on verso.

CG 174 GARRY WINOGRAND 1928-1984 Untitled (from Women are Beautiful), ca.

1970. Estimate $1,000-1,500 Gelatin silver print, printed ca.1980. 8 3/4 x 13 1/8 in. (22.2 x 33.3 cm). Signed, numbered and annotated on verso. This work is from an edition of 80.

175

CHUCK CLOSE b. 1940 Merce Cunningham, 2004. Estimate $2,000-3,000

Digital print. 32 1/8 x 25 3/4 in. (81.6 x 65.4 cm). Signed, dated and numbered lower edge.

This work is from an edition of 40.

CG 176

CG 176 ALBERT WATSON b. 1942 Kate Moss, Marrakesh, Morocco, 1993. Estimate $8,000-12,000 C-print, flush mounted on aluminum. 24 x 18 3/8 in. (61 x 46.7 cm). Signed, tited, dated and numbered on reverse of the mount. This work is from an edition of 25.

177

FRANK HORVAT b. 1928 Monique Dutto at Metro Exit, Paris (for Jours de France),

1959. Estimate $1,200-1,800 Gelatin silver print, printed 2004. 11 5/8 x 17 1/8 in. (29.5 x 43.5 cm). Signed and numbered lower edge. Signed, credited, titled, dated and annotated on verso.

This work is from an edition of 30.

177

178

178

MAN RAY 1890-1976 Untitled (Exposition Internationale du Surréalisme), 1938.

Estimate $7,000-9,000 Gelatin silver print. 9 x 5 5/8 in. (22.9 x 14.3 cm). This work is a vintage print and is stamped with the artist's Denfert-Rochereau Stamp (M10) and Second Early Copyright Stamp (M14), and annotated on verso.

André Breton and Paul Éluard commissioned 15 artists to customize mannequins for the 1938 International Surrealist Exhibition in Paris. Having recently renounced his lucrative career shooting fashion editorials for publications such as Vanity Fair, Man Ray was glad to participate. He knew he wanted to be an artist—there was no reason to delay any longer—and so he threw himself into his practice. He contributed a mannequin.

The depicted mannequin was conceived as a stand-in for the body, a body made strange, its sexuality both exaggerated and morphed. In Man Ray’s subsequent framing of the work this interplay is made complete, for the surreal extensions of the mannequin are made all the more bizarre by Man Ray’s use of traditional portraiture. Here, the familiar shot of a model is turned on its head.

That mannequin, though, was just his start: more resonant is neither this nor any other mannequin in the show (in fact, the present lot depicts that by Maurice Henry), which while radical have roots in “original” and thus traditional art making. Instead, it is Man Ray’s documenting photographs of the exhibition that remain most compelling. These archival afterthoughts remain as conceptual indices of the originals and as such propel him from purveyor of the Readymade to a sort of performance artist.

The use of a mannequin is an interesting coincidence: his father and mother were a tailor and seamstress, and he had stringently avoided their career precedents. When pared with a psychoanalytic reading of the image, the early promise of the Radnitzkys’ son to avoid his parents’ choices together with his recent turn against fashion photography is made explicit: Man Ray documents that elemental physical block on which both of his parents’ careers were structured—and that very same device of the clothing designers whose products he loathed to shoot—but with his photography, has immortalized their tool in an obstructed and unusable state.

179 180

179

ROY SCHATT 1919-2002 Two works: Marilyn Monroe, 1955. Estimate $1,000-

1,500 Gelatin silver print, printed later. Each approximately 9 3/8 x 7 3/8 in. (23.8 x 18.7 cm).

Each signed lower edge. Each stamped on verso.

180

BERT STERN b. 1930 Marilyn Monroe (from The Last Sitting, for Vogue), 1962.

Estimate $3,000-4,000 Digital print, printed 2008. 11 7/8 x 8 7/8 in. (30.2 x 22.5 cm). Signed and titled lower edge. Signed, dated and stamped on verso. This work is accompanied by a certificate of authenticity. PROVENANCE Western Canon Gallery, Beverly Hills

181

181 182

ROY SCHATT 1919-2002 Marilyn Monroe, 1955. Estimate $700-900 Gelatin

silver print, printed later. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm). Signed and stamped on verso.

182

ROY SCHATT 1919-2002 Marilyn Monroe at The Actor’s Studio, 1955. Estimate

$800-1,200 Gelatin silver print, printed later. 9 1/4 x 7 3/8 in. (23.5 x 18.7 cm). Signed and stamped on verso.

183

LAWRENCE SCHILLER b. 1936 Marilyn Monroe, 1962. Estimate $3,000-4,000

Gelatin silver print, printed later. 38 1/8 x 25 in. (96.8 x 63.5 cm). Signed and numbered lower edge. This work is from an edition of 75.

CG 184 ANDRE DE DIENES 1913-1985 Marilyn Monroe, 1953. Estimate $400-600 Gelatin silver print. 7 1/2 x 6 3/8 in. (19.1 x 16.2 cm). Titled, dated and stamped on verso.

This work is accompanied by a certificate of authenticity.

185

ANDRE DE DIENES 1913-1985 Marilyn Monroe, 1953. Estimate $400-600

Gelatin silver print. 7 1/2 x 6 1/4 in. (19.1 x 15.9 cm). Titled, dated and stamped on verso.

This work is accompanied by a certificate of authenticity.

183 CG 184

185

186 SM 187

186

HENRI CARTIER-BRESSON 1908-2004 Rue Mouffetard, Paris, 1954. Estimate

$12,000-18,000 Gelatin silver print, printed later. 14 1/8 x 9 1/2 in. (35.9 x 24.1 cm). Signed and blindstamped lower edge.

SM 187 ELLIOTT ERWITT b. 1928 Provence, 1955. Estimate $6,000-8,000 Dye transfer print, printed later. 21 1/4 x 15 3/8 in. (54 x 39.1 cm). Signed lower edge. Signed, titled and dated on verso.

188

JULIUS SHULMAN b. 1910 Robert Skinner, Skinner House, Beverly Hills, California,

1959. Estimate $2,500-3,500 Gelatin silver print, printed later. 24 x 30 in. (61 x 76.2 cm).

Signed and dated lower edge.

189 188

JULIUS SHULMAN b. 1910 C. Buff / C. Straub / D. Hensman, Case Study House

#20, Altadena, California, 1958. Estimate $2,500-3,500 C-print, printed later. 29 3/4 x 24 in.

(75.6 x 61 cm). Signed and dated lower edge. ∆

190

JOEL STERNFELD b. 1944 Portfolio of 15 works: A Brief Stay, 2003. Estimate

$3,000-4,000

•

C-print, mounted on board. Each 23 1/2 x 18 7/8 in. (59.7 x 47.9 cm). Two

signed, titled and dated on reverse of the mount. Thirteen signed, titled, dated and numbered on reverse of the mount; these works are from an edition of 7. PROVENANCE Acquired directly from the artist

190

189

191

191

JEAN BORIS-LACROIX 1902-1984 Mirror. Estimate $3,000-4,000 Chrome-

plated metal, glass. 12 3/4 in. (32.4 cm) high. Stamped.

192

CHRISTIAN DELL 1893-1974 Double table lamp, model no. 6580, ca. 1938.

Estimate $3,000-4,000 Enameled and chrome-plated brass, Bakelite. 19 in. (48.3 cm) high.

Manufactured by Kaiser & Co., Germany.

193

GEORGE NELSON 1908-1986 Gateleg folding table, model no. 4656, designed 1952.

Estimate $500-700 Painted wood. 29 3/4 x 60 x 40 in. (75.6 x 152.4 x 101.6 cm). Manufactured

by The Herman Miller Furniture Company, USA.

192

193

194

196

195

197

194

ETTORE SOTTSASS 1917-2007 Vase. Estimate $800-1,200 Glazed ceramic.

9 1/2 in. (24.1 cm) high.

195

ETTORE SOTTSASS 1917-2007 Vase. Estimate $800-1,200 Glazed ceramic.

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

196

ETTORE SOTTSASS 1917-2007 Vase, 1959. Estimate $800-1,200 Glazed

ceramic. 19 in. (48.3 cm) high. Signed on bottom. Manufactured by Bitossi, Italy, from The Hollywood Collection.

198

197

ETTORE SOTTSASS 1917-2007 Ashtray. Estimate $800-1,200 Glazed

ceramic. 4 in. (10.2 cm) high. Signed on bottom.

198

ETTORE SOTTSASS 1917-2007 Container. Estimate $800-1,200 Glazed

ceramic. 5 1/2 x 8 x 4 in. (14 x 20.3 x 10.2 cm). Signed on bottom.

199

ETTORE SOTTSASS 1917-2007 Tray. Estimate $800-1,200 Glazed ceramic.

2 1/2 x 12 1/2 x 8 in. (6.4 x 31.8 x 20.3 cm). Signed on bottom.

199

200

MARCEL BREUER 1902-1981 Desk and pair of side tables, ca. 1930. Estimate

$3,000-4,000 Desk: painted wood, chrome-plated tubular steel; each side table: painted

202

JOELLE FERLANDE & FRAN²OIS MONNET Shelving system, 1970. Estimate

$4,000-6,000 Stainless steel. 65 1/4 x 93 x 12 in. (165.7 x 236.2 x 30.5 cm). Manufactured by

wood, chrome-plated tubular steel, colored glass. Desk: 29 1/2 x 57 1/8 x 35 1/2 in. (74.9 x 145.1

Kappa, France.

x 90.2 cm); each side table: 25 1/2 x 15 3/4 x 17 1/2 in. (64.8 x 40 x 44.5 cm). Manufactured by

203

Thonet, Germany (3).

Painted wood (2). Each: 20 1/2 x 13 3/4 x 11 3/4 in. (52.1 x 34.9 x 29.8 cm).

201

204

KARL TRABERT 1858-1910 Table lamp, 1933. Estimate $2,000-3,000 Painted

metal, chrome-plated metal and painted wood. 16 in. (40.6 cm) high.

UNKNOWN DESIGNER Pair of end tables, 1940s. Estimate $200-300

AZETA Table / Wall lamp, designed 1970. Estimate $400-600 Stainless steel.

13 x 18 3/4 x 20 3/4 in. (33 x 47.6 x 52.7 cm).

202

201

200

203

204

•

205

MILO BAUGHMAN b. 1923 Side board. Estimate $800-1,200 Burl veneer, chrome-

plated steel. 7 3/4 x 60 1/4 x 15 in. (19.7 x 153 x 38.1 cm). Manufactured byThayer Coggin, USA.

206

VLADIMIR KAGAN b. 1927 Curvilinear sofa. Estimate $4,000-6,000

208

OLE WANSCHER 1903-1985 Chest of drawers. Estimate $3,000-4,000

Rosewood, brass. 47 1/2 x 35 1/2 x 17 in. (120.7 x 90.2 x 43.2 cm).

209

OLE WANSCHER 1903-1985 Coffee table. Estimate $2,500-3,500 Rosewood.

Ultrasuede. 29 x 88 x 55 in. (73.7 x 223.5 x 139.7 cm). Manufactured by Directional, USA.

21 1/2 in. (54.6 cm) high; 43 1/4 in. (109.9 cm) diameter. Label underneath. Manufactured by

207

Illums Bollighus, Denmark.

ETTORE SOTTSASS 1917-2007 “Articolo 6000” vase, 1991. Estimate $1,200-

1,800 Glazed ceramic. 30 1/8 in. (76.5 cm) high. Signed, dated and numbered on bottom. This work is from an edition of 99. Manufactured by Bitossi, Italy, from The Hollywood Collection.

207

205

208

206

209

210

210

ANTHONY HEPBURN Untitled. Estimate $4,000-6,000 Glazed ceramic.

15 1/2 x 10 x 9 in. (39.4 x 25.4 x 22.9 cm).

211

MICHAEL LUCERO b. 1953 Untitled. Estimate $5,000-7,000 Glazed ceramic.

17 3/4 x 17 3/4 in. (45.1 x 45.1 cm).

212

HOWARD KOTTLER 1930-1989 Royal Red Vase. Estimate $3,000-4,000 Glazed

ceramic. 13 x 8 x 1 1/2 in. (33 x 20.3 x 3.8 cm). Titled on bottom.

211

212

213 SM 214

213 215

MATTIA BONETTI b. 1953 “Le Trône Roulant” from the operatic production “Lucio

Silla,” Lausanne, Switzerland, 2000. Estimate $15,000-20,000

•

Plastic laminate-covered

wood, fabric, brass, chrome-plated metal, rubber. 62 1/2 x 84 x 51 in. (158.8 x 213.4 x 129.5 cm).

SM 214 MATTIA BONETTI b. 1953 Six arrows, from the operatic production “Lucio Silla,” Lausanne, Switzerland, 2000. Estimate $2,000-3,000 Largest: 18 3/8 in. (46.7 cm).

215

•

Chrome-plated metal.

MATTIA BONETTI b. 1953 “Chaise à Porteur” and “Arc de Triomphe,” from the

operatic production “Lucio Silla,” Lausanne, Switzerland, 2000. Estimate $5,000-7,000 Chair: plastic laminate-covered wood, fabric, chrome-plated metal, brass; arc: brass, LED

•

lights, chrome-plated metal. Chair: 18 x 154 x 32 in. (45.7 x 391.2 x 81.3 cm); arc: 118 x 83 1/4 in.

(299.7 x 211.5 cm).

216

MATTIA BONETTI b. 1953 “Le Trône de Dictateur,” from the operatic production

“Lucio Silla,” Lausanne, Switzerland, 2000. Estimate $10,000-15,000

•

covered wood, brass, fabric. 55 1/2 x 39 5/8 x 42 1/2 in. (141 x 100.6 x 108 cm).

216

Plastic laminate-

217

(ii)

217

ROBERT WILSON b. 1941 Two Works: (i) Parzival, 1987; (ii) The Civil Wars Act I

Scene B, 1983. Estimate $1,500-2,000 (i) Charcoal, graphite and oil pastel on paper. (ii) Graphite and oil pastel on paper. (i) 23 1/8 x 29 in. (58.7 x 73.7 cm). (ii) 19 1/4 x 39 3/8 in. (48.9 x 100 cm). Each signed, titled and dated lower edge. PROVENANCE Paula Cooper Gallery, New York (i)

218

JULIAN LAVERDIERE b. 1971 Two works: (i) Lantern Shuttlecock; (ii) Lost

Cornerstone Study, 2003. Estimate $3,000-4,000 Graphite on paper. Each 24 x 17 3/4 in.

(61 x 45.1 cm). (i) Titled upper edge; (ii) signed and dated lower edge. PROVENANCE Lehman

218

Maupin, New York

219

(i)

SM 220

(ii)

219

DON DOE b. 1963 Love Started to Stay, 2004. Estimate $500-700 Drypoint

engraving on paper. 8 3/4 x 5 7/8 in. (22.2 x 14.9 cm). Signed, titled and numbered lower edge.

Signed, credited, titled, dated, numbered and annotated on reverse of the frame. This work is from an edition of 10. PROVENANCE Oliver Kamm / 5BE Gallery, Chelsea

SM 220 DAIDO MORIYAMA b. 1938 Another City, New York, 2007. Estimate $3,000-4,000 Screenprint on canvas. 30 5/8 x 21 3/4 in. (77.8 x 55.2 cm). Signed, dated and numbered on verso. This work is from an edition of 3.

221

221 6,000

MATTHIAS WEISCHER b. 1973 Nine works: Untitled, 2004. Estimate $4,000-

•

Graphite on paper. Each 7 1/4 x 9 7/8 in. (18.4 x 25.1 cm) or the reverse. Each signed

and dated on verso. PROVENANCE Galerie EIGEN + ART, Berlin

CR BP 223

222

224

225

226

222

HISASHI TENMYOUYA b. 1966 Toukaidou Yotsuyakaidan. Estimate $1,800-

2,200 Graphite, colored pencil and ink on paper. 22 1/8 x 11 in. (56.2 x 27.9 cm).

CR BP 223 OLAF BREUNING b. 1970 Fatty on Elephant, 2006. Estimate $8001,200 Graphite on paper. 11 x 8 1/2 in. (27.9 x 21.6 cm). Signed, titled and dated on verso.

224

DOMINIC MCGILL b. 1963 Untitled, 2004. Estimate $1,200-1,800 Graphite

on paper. 16 1/2 x 14 in. (41.9 x 35.6 cm). Initialed and dated lower edge. PROVENANCE Derek Eller Gallery, New York

225

KELLY MCLANE b. 1968 I Dream of Vegas (I Am Freezing My Ass Off), 2003.

Estimate $700-900 Graphite on paper. 15 x 11 1/2 in. (38.1 x 29.2 cm). Signed, titled and dated on verso. PROVENANCE Angles Gallery, Santa Monica

226

JĂœRGEN WOLF b. 1958 Crash, 1999. Estimate $800-1,200 Oil on wooden panel.

9 1/4 x 6 1/4 in. (23.5 x 15.9 cm). PROVENANCE Fiebach & Minninger, Cologne

227

228

229

227

ALEX KATZ b. 1927 Maria II, 1993. Estimate $2,000-3,000 Aquatint and etching

on paper. 17 x 21 5/8 in. (43.2 x 54.9 cm). Signed and numbered lower edge. This work is from an edition of 75. PROVENANCE Chalk & Vermillion Fine Arts, Greenwich, CT

228

ALEX KATZ b. 1927 Passing, 1990. Estimate $2,000-3,000 Screenprint on paper.

32 1/2 x 36 in. (82.6 x 91.4 cm). Signed and numbered lower edge. Stamped on verso. This work is one of 30 artist’s proofs aside from an edition of 150. PROVENANCE Gaultney, Klineman Art, Inc., New York

229

FRANCIS ALŸS b. 1959 Untitled, 2004. Estimate $1,000-1,500 Hand-colored

gelatin silver print. 3 5/8 x 4 5/8 in. (9.2 x 11.7 cm). Signed, titled and dated lower edge. This work is from an edition of 50. PROVENANCE Lambert Collection, Avignon

CR BP 230 ROB PRUITT b. 1964 Facing West, 2000. Estimate $1,000-1,500 Screenprint on paper. 36 x 29 1/2 in. (91.4 x 74.9 cm). Signed, titled, dated and numbered lower edge. This work is from an edition of 100.

231

ROB PRUITT b. 1964 Facing East, 2000. Estimate $1,000-1,500 Screenprint

on paper. 36 x 29 1/2 in. (91.4 x 74.9 cm). Signed, titled, dated and numbered lower edge. This work is from an edition of 100.

CR BP 230

231

232

232

VICKY USLÉ b. 1981 Untitled, 2006. Estimate $800-1,200 Watercolor, ink,

gouache and vinyl tape on paper. 12 1/2 x 16 in. (31.8 x 40.6 cm). Initialed and dated lower edge.

233

CHRISTOPHER BROOKS b. 1959 T Rextacy, 2008. Estimate $1,500-2,000

Enamel, vinyl, glitter tape, graphite and ink on Masonite, mounted on board. 24 x 31 in. (61 x 78.7 cm). Signed, titled and dated on reverse of the frame. PROVENANCE Koh Art Gallery, New York

234

CHRISTOPHER BROOKS b. 1959 Red House, 2008. Estimate $1,500-2,000

Enamel, vinyl, glitter tape, marker, pen and graphite on Masonite, mounted on board. 24 x 31 in.

(61 x 78.7 cm). Signed, titled and dated on reverse of the frame. PROVENANCE Koh Art Gallery, New York

235

ALEXANDER ROSS b. 1960 Untitled, 2005. Estimate $3,000-4,000 Crayon

on paper. 13 7/8 x 11 in. (35.2 x 27.9 cm). Signed, dated and annotated on verso. PROVENANCE Daniel Weinberg Gallery, Los Angeles; Feature Inc., New York

236

DAN MCCARTHY b. 1962 KE #2, 2001. Estimate $1,500-2,000 Watercolor, oil

and colored pencil on paper. 27 1/2 x 19 1/2 in. (69.9 x 49.5 cm). Signed, titled and dated on verso.

233

234

235

236

237

239

238

241

240

(ii) (i)

(iii)

(iv)

242

237

KEVIN LARMON b. 1955 Acoustic #8, 1992. Estimate $1,500-2,000 Acrylic and

resin on canvas. 16 x 12 in. (40.6 x 30.5 cm). Signed, titled and dated on verso. PROVENANCE Curt Marcus Gallery, New York

238

ANNETTE LAWRENCE b. 1965 August, 1994. Estimate $2,000-3,000 Ink on

paper. 25 1/2 x 19 in. (64.8 x 48.3 cm). Signed, titled and dated on verso.

239

KATY MORAN b. 1975 Wemore Street, 2007. Estimate $2,000-3,000 Acrylic

on paper. 11 3/4 x 9 3/8 in. (29.8 x 23.8 cm). PROVENANCE Museum of Contemporary Art, Los Angeles

240

PAUL BLOODGOOD b. 1960 Untitled, 1996. Estimate $800-1,200 Oil on

canvas. 21 x 21 in. (53.3 x 53.3 cm). PROVENANCE Private Collection, New York

241

ALEX KWARTLER Four works: (i) Untitled (Fireworks), 2004; (ii) Untitled (Tornado),

2003; (iii) Untitled (Zigzag), 2004; (iv) Untitled, 2004. Estimate $1,000-1,500 Oil on canvas mounted on Masonite. (i) 11 x 9 3/4 in. (27.9 x 24.8 cm); (ii) 10 x 10 3/4 in. (25.4 x 27.3 cm); (iii) 10 x 11 in. (25.4 x 27.9 cm); (iv) 27 1/4 x 24 in. (69.2 x 61 cm). (i), (iii), (iv) Signed and dated on reverse of the mount; (ii) signed and dated on reverse of the overlap. PROVENANCE John Connelly Presents, New York

242

LES ROGERS b. 1966 Notre Dame, July 26, 1995, 1996. Estimate $5,000-7,000

Oil on wooden panel. 27 x 24 in. (68.6 x 61 cm). Signed, titled, dated and inscribed on verso.

PROVENANCE Private Collection, New York

243

O

243

RAFAL BUJNOWSKI b. 1974 Spots, 2001. Estimate $8,000-12,000

Oil on canvas. 47 3/8 x 47 3/8 in. (120.3 x 120.3 cm). Signed and dated on verso.

245

244

246

244

TIM LOKIEC b. 1977 Love Minus Zero / No Limit, 2004. Estimate $700-900

•

Acrylic, ink, graphite, wax crayon and glitter on paper. 22 1/2 x 30 in. (57.2 x 76.2 cm). Signed, titled and dated on verso. PROVENANCE LFL Gallery, New York O

245

REED ANDERSON b. 1969 Deer Park, 2005. Estimate $4,000-6,000 Cut paper,

acrylic, airbrush and collage on paper. 83 1/2 in. (212.1 cm) diameter. Initialed and dated upper edge. Initialed, titled, dated and annotated on label on verso.

246

AMY GARTRELL b. 1974 Untitled, 2004. Estimate $600-800

30 3/4 x 21 1/4 in. (78.1 x 54 cm). PROVENANCE Daniel Reich Gallery, New York

•

Ink on paper.

247 248

247

YU YOUHAN b. 1943 When I Drive a Flower Bicycle, I Will Have a Good Future, 2005.

Estimate $4,000-6,000 Screenprint, glue and acrylic on canvas. 23 x 29 1/4 in. (58.4 x 74.3 cm). Dated and numbered lower edge. This work is from a varied edition of 45 and is accompanied by a certificate of authenticity. PROVENANCE ShanghART Gallery, Shanghai

248

THOMAS ZIPP b. 1966 E. Land, 2006. Estimate $3,000-4,000 Ink and gouache

on printed paper. 10 x 8 1/4 in. (25.4 x 21 cm). Signed, titled and dated on reverse of the frame.

PROVENANCE Patrick Painter, Inc., Santa Monica EXHIBITED Santa Monica, Patrick Painter, Inc., Thomas Zipp: Geist Über Materie, May 20 – July 1, 2006

250

249

251

249 4,000

DONALD BAECHLER b. 1956 One Man Juggernaut, 1998. Estimate $3,000Graphite, ballpoint pen, acrylic, varnish and paper collage on canvas board. 9 7/8 x 7 7/8

in. (25.1 x 20 cm). Initialed, dated and annotated on verso.

250

PAT STEIR b. 1938 Blue, 2004. Estimate $4,000-6,000 Screenprint on paper.

47 7/8 x 35 in. (121.6 x 88.9 cm). Signed and numbered lower edge. This work is one of 5 printer’s proofs aside from an edition of 35.

251

CARL FUDGE b. 1962 Mobile Suit 3, 2001. Estimate $1,500-2,000 Screenprint

253

on paper. 56 x 41 3/4 in. (142.2 x 106 cm). Signed and numbered lower edge. This work is one of 3 printer’s proofs aside from an edition of 8.

252

254

252

WALTER DE MARIA b. 1935 Untitled (from Hard Core, 28 Mins., 16 mm, Sound /

Color), 1973. Estimate $600-800 Gelatin silver print. 4 1/2 x 11 3/4 in. (11.4 x 29.8 cm).

Annotated and stamped on verso. This work is a workshop proof aside from an edition of 300.

253

NIGEL COOKE b. 1973 Cryptoveldt, 2003. Estimate $250-350 Soft ground

etching on paper. 15 1/2 x 23 1/2 in. (39.4 x 59.7 cm). Signed, titled, dated and numbered lower edge. This work is from an edition of 90. PROVENANCE Counter Editions, London

254

JOHN BALDESSARI b. 1931 I Saw It, 1997. Estimate $1,000-1,500

Lithograph. 17 1/4 x 14 3/8 in. (43.8 x 36.5 cm). Signed, dated and numbered lower edge. Stamped on verso. This work is from an edition of 100. PROVENANCE Cirrus Editions, Ltd., Los Angeles; Western Canon Gallery, Beverly Hills

255

256

255

DOUG AITKEN b. 1968 Cul de Sac (incl. LP “In Flows and Spuns” by Steve Roden),

2004. Estimate $1,000-1,500 C-print. 9 1/4 x 11 3/4 in. (23.5 x 29.8 cm). Signed, dated and numbered on verso. This work is from an edition of 50. PROVENANCE En/Of, Kleve

256

ANTONY GORMLEY b. 1950 Snowfall, 2002. Estimate $500-700 Offset

lithograph. 27 1/4 x 39 1/4 in. (69.2 x 99.7 cm). Signed, dated and numbered lower edge. This work is from an edition of 200.

257

VANESSA BEECROFT b. 1969 Five works: Untitled, 1999. Estimate $1,500-

2,000 Screenprint on paper. Each 19 5/8 x 27 1/2 in. (49.8 x 69.9 cm). Signed and numbered on the certificate of authenticity. This work is from an edition of 50. PROVENANCE Parkett, New York / Zurich

257

258

258

CINDY BERNARD, KEITH BOADWEE, DONIGAN CUMMING, RENEE

GREEN, LYLE ASHTON HARRIS, SUSAN JENNINGS, MARTIN KERSELS, GAIL LE BOFF, BRUCE & NORMAN YONEMOTO Nine works: Selection from The MOCA Portfolio, 1999. Estimate $2,500-3,500 C-print. Various dimensions. Four works signed, titled, dated and numbered on verso. Two works signed, dated and numbered on verso. Three works signed and numbered on verso. These works are from an edition of 250.

PROVENANCE Museum of Contemporary Art, Los Angeles

259

261

260

262

259

ELKE KRYSTUFEK b. 1970 Untitled (from Elke Krystufek Reads Otto Weininger),

1993. Estimate $3,000-4,000 C-print, flush mounted on Masonite. 39 1/2 x 27 1/2 in. (100.3 x 69.9 cm). Signed and dated on reverse of the mount. This work is from an edition of 3.

PROVENANCE Private Collection, New York

260

ELKE KRYSTUFEK b. 1970 Untitled (from Elke Krystufek Reads Otto Weininger),

1995. Estimate $3,000-4,000 C-print, flush mounted on Masonite. 41 x 27 1/2 in. (104.1 x 69.9 cm). Signed and dated on reverse of the mount. This work is from an edition of 3. PROVENANCE Private Collection, New York

261

ERWIN WURM b. 1954 Blast (Indoor Sculpture), 2002. Estimate $3,000-4,000

C-print. 25 1/2 x 16 3/4 in. (64.8 x 42.5 cm). Signed, dated, numbered and annotated on label on reverse of the frame. This work is from an edition of 5. PROVENANCE Galerie Krinzinger, Vienna

262 1,500

KIM HIORTHﾃ郎 b. 1973 Diptych: Monkey / Breakfast, 2001. Estimate $1,000-

窶｢

C-print. 33 x 24 in. (83.8 x 61 cm). PROVENANCE Fotogalleriet, Oslo

263

264

265

263

RUUD VAN EMPEL b. 1958 Moon #7, 2008. Estimate $12,000-18,000 Dye

destruction print, Diasec and flush mounted on Dibond. 33 x 23 1/2 in. (83.8 x 59.7 cm). Signed, titled, dated, numbered and annotated on label on reverse of the mount. This work is from an edition of 10.

264

DAVID SEIDNER 1957-1999 The Debutante, 1994. Estimate $2,500-3,500

Dye destruction print, flush mounted on board. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). Signed, titled, dated, numbered and stamped on reverse of the mount. This work is from an edition of 12.

PROVENANCE Acquired directly from the Estate of the artist

265

DAVID SEIDNER 1957-1999 Bernadette Jurkowski, ca. 1995. Estimate $2,500-

3,500 Dye destruction print. 23 x 19 in. (58.4 x 48.3 cm). PROVENANCE Acquired directly from the Estate of the artist O

266

BARNEY KULOK b. 1981 Pantone 1788 (Church Door), 2006. Estimate $$400-

600 C-print, Diasec mounted. 29 x 23 in. (73.7 x 58.4 cm). Signed and numbered on verso. This work is from an edition of 6. PROVENANCE Nicole Klagsbrun Gallery, New York

CG 267 VIK MUNIZ b. 1961 PelĂŠ, 2003. Estimate $200-300 C-print. 24 x 18 in. (61 x 45.7 cm). Inscribed on front. Numbered, inscribed and stamped on verso. This work is from an edition of 500 and is accompanied by a certificate of authenticity. PROVENANCE Eyestorm, London

266

CG 267

268

268

DOUG & MIKE STARN b. 1961 & 1961 Two works: (i) Structure of Thought 6-a;

(ii) Structure of Thought 6-b, 2008. Estimate $300-400 Digital print. Each 11 x 8 1/2 in. (27.9 x 21.6 cm). Each signed on the certificate of authenticity. These works are from an edition of 200.

269

ZOE LEONARD b. 1961 Untitled, 1995. Estimate $1,200-1,800 Gelatin silver

print. 11 x 7 3/8 in. (27.9 x 18.7 cm). Signed, titled, dated and numbered on verso. This work is from an edition of 10.

270

NICK BRANDT b. 1966 Windswept Lion, Serengeti, 2002. Estimate $2,000-3,000

Digital print. 11 x 14 in. (27.9 x 35.6 cm). Signed, dated and numbered lower edge. This work is from an edition of 35.

271

JOCK STURGES b. 1947 Danielle, Montalivet, France, 1991. Estimate $2,500-

3,500 Gelatin silver print. 22 x 17 1/2 in. (55.9 x 44.5 cm). Signed, titled, dated and numbered (ii)

(i)

on verso. This work is from an edition of 40.

269

270 271

272

272

STEVE MCCURRY b. 1950 Afghan Girl, Pakistan, 1985. Estimate $3,500-4,500

Dye destruction print, printed later. 17 x 11 3/8 in. (43.2 x 28.9 cm). Signed lower edge.

273

KEITH CARTER b. 1948 Plum Creek, 1996. Estimate $500-700 Gelatin silver

print. 15 3/8 x 15 3/8 in. (39.1 x 39.1 cm). Signed, titled, dated and numbered on verso. This work is from an edition of 50.

274

EDWARD WESTON 1886-1958 Nude, 1920. Estimate $4,000-6,000 Gelatin

silver print, printed 1970s by Cole Weston, mounted on board. 7 1/4 x 9 1/4 in. (18.4 x 23.5 cm).

Signed by Cole Weston, titled, dated and stamped on reverse of the mount.

275

EDWARD WESTON 1886-1958 Point Lobos, 1946. Estimate $1,500-2,000

Gelatin silver print, printed 1970s by Cole Weston, mounted on board. 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm). Signed by Cole Weston, titled, dated and stamped on reverse of the mount.

275

274 273

CG 276 277

278

CG 276 HELMUT NEWTON 1920-2004 Cyberwomen 4, 2000. Estimate $1,0001,500 Gelatin silver print. 13 x 9 7/8 in. (33 x 25.1 cm.) Numbered and stamped on verso. This work is from an edition of 500.

277

HELMUT NEWTON 1920-2004 Cyberwomen 2, 2000. Estimate $1,500-2,000

Gelatin silver print. 10 x 13 in. (25.4 x 33 cm). Numbered and stamped on verso. This work is from an edition of 100.

278

ROSEMARIE TROCKEL b. 1952 Woman with Whistle, 2004. Estimate $4,000-

6,000 Digital print, flush mounted on aluminum. 34 1/4 x 26 in. (87 x 66 cm).

279

280

279

PETER FISCHLI & DAVID WEISS b. 1952 & 1946 Pilze in Wasser, 1998.

Estimate $3,000-4,000 Digital print. 23 x 33 in. (58.4 x 83.8 cm). Signed and numbered lower edge. This work is from an edition of 40.

280

VERA LUTTER b. 1960 Engine, Frankfurt Airport: April 19, 2001, 2001. Estimate

$1,500-2,000 Gelatin silver print, flush mounted on board. 23 1/2 x 28 in. (59.7 x 71.1 cm).

Signed and numbered on label on reverse of the mount. This work is from an edition of 40.

52

76

50

59 174

C L AU D E G R U N I T Z K Y Claude Grunitzky is the founder and editor-in-chief of TRACE

passports, was exposed to many different cultures.These foreign

Magazine, which explores “transcultural styles and ideas” while

interactions shaped his transcultural philosophy and informed the

documenting the impact of the interconnected worlds of music,

creative energy of TRACE Magazine,TMM Group and his other

fashion, film, art and politics on multi-ethnic youth.

ventures. A denizen of NewYork’s Financial District, Claude’s apartment lends white clean lines to rest his wandering eye and

The son of aTogolese ambassador, Grunitzky was raised between

house his globetrotting treasures. “My collection is like a scrapbook

Lomé,Togo; Washington, DC; Paris, France and London, England.

of some of my most treasured experiences in building TRACE.”

Growing up, Grunitzky, who speaks six languages and carries two

50 MARILYN MINTER Raspberry

their everyday movements through his camera. In New York, you see a lot

I like this image a lot, because the tongue adds another layer of

of busy, working women, but looking at Winogrand's black and white

lasciviousness. These lips may or may not be ready for a French kiss,

photos from the early seventies, I am always amazed by how naturally

but the title, Raspberry, is, no pun intended, tongue-in-cheek.

seductive many of these everyday New York women used to be.

52 CINDY SHERMAN Nipple with Diamond

176 ALBERT WATSON Kate Moss, Marrakesh, Morocco

This piece, Nipple with Diamond, is especially provocative because Cindy

I have always loved this image, because it shows Kate Moss as a young

is, once again, playing with society's conventions regarding female

icon in the making. As this point, we have all seen hundreds of pictures of

sexuality, and the way the nipple can be perceived—and desired—by both

Kate, but back in 1993, when she was just a rising star, Albert was able to

men and women. The nipple shown here is quite clearly a prize that is

shoot her in one of his favored cities, Marrakesh, and show her as a

valued just as highly as the diamond.

vulnerable, sensitive yet sexy soul.

59 HIROSHI SUGIMOTO Marmara Sea, Silivri (fromTime Exposed)

184 ANDRE DE DIENES Marilyn Monroe

I am glad that U2 chose a Sugimoto photograph for the cover of their new

Once again, Marilyn Monroe emerges as the icon's icon, and these

album, No Line On the Horizon, because it was about time the wider public

timeless black and white portraits reveal what the world loved about her.

discovered the Japanese photographer's work. The theme of infinity is one

The game is clearly about seduction, but in this photo, you recognize the

I naturally gravitate to, especially if you consider that he uses a large-

sex symbol, but you also see the warm, playful girl behind the legend.

format camera and relies on extremely long exposures. This photograph,

267 VIK MUNIZ Pelé

which was taken at the Marmara Sea, is presented as an elegant, timeless

Pelé is, quite simply, the ultimate Brazilian icon, but in this image the

lithograph, and you know that, like all great art, it will never go out of

artist exaggerates (and reinterprets) his larger-than-life persona. I spend a

style.

lot of time in Brazil, and I've found that many Brazilians, even of the

76 ZAHA HADID Solid

younger generations, feel that they own a piece of Pelé. This image

This sculpture displays all the qualities of Zaha's clean, linear approach to

reinforces that feeling.

modern, minimalistic design. All of all the objects and buildings she

276 HELMUT NEWTON Cyberwomen 4

designs, on various scales, make sense as a whole because they amount to

I really love most of the photographs from Helmut Newton's Cyberwomen

an illusion of instant futurism.

series. The black and white silver treatment and the sexy, aggressive pose

174 GARRY WINOGRAND Untitled (fromWomen are Beautiful)

are vintage Newton, but here I feel that roles have changed and that the

At this point in my life as an adopted, immigrant New Yorker, Garry

model is in charge, whereas Newton is just a casual observer, a cocky

Winogrand is my favorite photographer, and his photographs from the

documentarian. My interpretation is probably wrong, but it is fun,

"Women are Beautiful" series speak to me directly. There is something so

nonetheless, to imagine the dynamics and the sexual tension between

natural, yet so powerful about the way he looks at women and documents

photographer and model.

176

267 276 184

Dean Kaufman

282

283

281

284

281

KEITH SONNIER b. 1941 Untitled, 1973. Estimate $250-350 Screenprint on

paper. 8 3/4 x 12 in. (22.2 x 30.5 cm). Initialed, dated and numbered on front. Stamped on verso.

This work is from an edition of 300.

282

JOHN CHAMBERLAIN b. 1927 Untitled, 1973. Estimate $300-400 Lithograph

on acetate. 8 7/8 x 9 in. (22.5 x 22.9 cm). Signed and numbered lower edge. This work is from an edition of 300.

283

CLAES OLDENBURG b. 1929 Untitled, 1973. Estimate $500-700 Lithograph

285

and screenprint on paper. 12 x 9 in. (30.5 x 22.9 cm). Initialed and numbered lower edge. Stamped on verso.This work is from an edition of 300.

284

ARMAN 1928-2005 Untitled (Guns). Estimate $700-900 Screenprint on paper.

17 x 22 in. (43.2 x 55.9 cm). Signed and numbered lower edge. This work is from an edition of 225.

PROVENANCE Chiron Press, New York

285

WILLIAM KING b. 1925 Untitled, ca. 1970. Estimate $1,000-1,500 Vinyl and

metal. 36 in. (91.4 cm) high. PROVENANCE Hokin Gallery Inc., Palm Beach; Private Collection, Miami

286

286

JIM DINE b. 1935 Two works from The Picture of Dorian Gray: (i) Imprint from Dorian

Gray’s Stomach, 1968; (ii) Study for the Rings on Dorian Gray’s Hand, 1968. Estimate $8001,200 Etching on paper. (i) 16 3/4 x 11 1/4 in. (42.5 x 28.6 cm); (ii) 15 x 9 1/4 in. (38.1 x 23.5 cm).

Each signed lower edge. Each numbered on verso. These works are from an edition of 200.

PROVENANCE Petersburg Press, New York

287

JIM DINE b. 1935 Five works from Tool Box: (i) Tool Box 1, 1966; (ii) Tool Box 2, 1966;

(iii) Tool Box 3, 1966; (iv) Tool Box 5, 1966; (v) Tool Box 7, 1966. Estimate $1,500-2,000 (i)

Screenprint and collage on paper. Each approximately 23 7/8 x 18 7/8 in. (60.6 x 47.9 cm). (i)-(iii) Signed on front; (iv), (v) initialed on front. Each inscribed on verso. These works are one of 30 artist’s proofs aside from an edition of 150. PROVENANCE Editions Alecto, London (ii)

287

(i)

(ii)

(iii)

(iv)

(v)

288

289

288

ROY LICHTENSTEIN 1923-1997 Modern Head Brooch, 1968. Estimate $2,500-

3,500 Enamel on metal. 3 x 2 3/8 in. (7.6 x 6 cm). Stamped signature on verso. PROVENANCE Multiples, Inc., New York

289

ROY LICHTENSTEIN 1923-1997 Modern Head Brooch, 1968. Estimate $2,000-

3,000 Enamel on metal. 3 x 2 3/8 in. (7.6 x 6 cm). Stamped signature on verso. PROVENANCE Multiples, Inc., New York

290 290

ROBERT INDIANA b. 1928 External Hexagon, 1964. Estimate $800-1,200

Screenprint on paper. 17 1/2 x 16 in. (44.5 x 40.6 cm). This work is aside from an edition of 500.

PROVENANCE Wadsworth Atheneum Museum of Art, Hartford, CT

291

ROBERT INDIANA b. 1928 Chosen Love, 1995. Estimate $2,000-3,000

Skein-dyed, hand-carved and hand-tufted wool on latex backing. 71 x 71 1/4 in. (180.3 x 181 cm).

Signed, numbered and annotated on label on verso. This work is from an edition of 300.

291

292

293

294

292

SUNDAY B. MORNING Portfolio of 10 works: Marilyn. Estimate $5,000-7,000

Screenprint on paper. Each 35 3/4 x 35 7/8 in. (90.8 x 91.1 cm). Each stamped on verso. Three works illustrated.

293

SUNDAY B. MORNING Portfolio of 10 works: Campbell’s Soup I. Estimate

$5,000-7,000 Screenprint on paper. Each 35 x 23 in. (88.9 x 58.4 cm). Each stamped on verso.

Three works illustrated.

294

SUNDAY B. MORNING Portfolio of 10 works: Flowers. Estimate $5,000-7,000

Screenprint on paper. Each 36 x 36 in. (91.4 x 91.4 cm). Each stamped on verso. Three works illustrated.

295

CR BP 296

295

298

ANDY WARHOL 1928-1987 Untitled. Estimate $3,000-4,000 Book page. 9 x 7

3/8 in. (22.9 x 18.7 cm). Signed side edge.

CR BP 296 ANDY WARHOL 1928-1987 Untitled, 1976. Estimate $1,500-2,000 Felt-tip pen on book page. 8 3/8 x 5 1/8 in. (21.3 x 13 cm). Signed and inscribed.

297

297

ANDY WARHOL BY CULTURA Skirt, 2005. Estimate $400-600 Screenprint,

embroidery, beading and bottle caps on cotton, polyester and rayon skirt. Size small, 30 in. (76.2 cm) long. This skirt is from the Spring/Summer 2005 collection.

298

ANDY WARHOL BY CULTURA Dress, 2005. Estimate $400-600 Sequins on

printed cotton dress. Size small, 41 in. (104.1 cm) long. This dress is from the Spring/Summer 2005 collection.

299

ANDY WARHOL 1928-1987 The Souper Dress, 1960s. Estimate $2,500-3,500

Screenprint on cotton and cellulose dress. 38 1/8 x 23 in. (96.8 x 58.4 cm).

300

AFTER ANDY WARHOL 1928-1987 Elvis—Blue. Estimate $4,000-6,000

Transfer-printed porcelain wall plaque. 19 1/8 x 19 1/8 in. (48.6 x 48.6 cm). Labeled on verso. This work is from an edition of 49 and is accompanied by a certificate of authenticity. PROVENANCE Rosenthal Studio-Line, Selb

300

299

301

301

KEITH HARING 1958-1990 Untitled, 1987. Estimate $8,000-12,000 Ink on

wooden skateboard deck with metal hardware and rubber wheels. 30 7/8 x 9 5/8 x 4 1/4 in. (78.4 x 24.4 x 10.8 cm). Signed and dated lower edge. This work is accompanied by a certificate of authenticity from the Estate of Keith Haring. PROVENANCE Acquired directly from the artist

302

303

304

305

302

KEITH HARING 1958-1990 Apocalypse 3, 1988. Estimate $2,000-3,000

304

KEITH HARING 1958-1990 Apocalypse 6, 1988. Estimate $2,000-3,000

Screenprint on paper. 38 x 38 in. (96.5 x 96.5 cm). Signed, dated and numbered side edge.

Screenprint on paper. 38 x 37 7/8 in. (96.5 x 96.2 cm). Signed, dated and numbered side edge.

Stamped on verso. This work is from an edition of 90. PROVENANCE George Mulder Fine Arts,

Stamped on verso. This work is from an edition of 90. PROVENANCE George Mulder Fine Arts,

New York

New York

303

KEITH HARING 1958-1990 Apocalypse 4, 1988. Estimate $2,000-3,000

305

KEITH HARING 1958-1990 Fight Aids Worldwide, 1990. Estimate $1,000-1,500

Screenprint on paper. 38 x 38 in. (96.5 x 96.5 cm). Signed, dated and numbered side edge.

Lithograph. 10 3/4 x 8 in. (27.3 x 20.3 cm.) Numbered lower edge. Signed, titled, dated and

Stamped on verso. This work is from an edition of 90. PROVENANCE George Mulder Fine Arts,

stamped by the Estate of Keith Haring on verso. This work is from an edition of 1,000.

New York

306

307

308

306

DAZE (CHRISTOPHER ELLIS) b. 1962 Man at Coney Island Beach, 1999.

308

SEEN (RICHARD MIRANDO) b. 1961 Untitled (Skulls), 1998. Estimate

Estimate $1,000-1,500 Pastel and graphite on paper. 20 x 14 in. (50.8 x 35.6 cm). Signed,

$2,500-3,500 Spraypaint on canvas. 35 3/4 x 23 7/8 in. (90.8 x 60.6 cm). PROVENANCE

titled and dated lower edge. PROVENANCE Hobbs Gallery, Boston

Dirty Pilot, Boston

307

DAZE (CHRISTOPHER ELLIS) b. 1962 Parachute Drop, 1997. Estimate

$7,000-9,000 Oil and spraypaint on canvas. 72 x 48 in. (182.9 x 121.9 cm). Signed, titled and dated on verso. PROVENANCE Hobbs Gallery, Boston

309

310

311

(i)

(ii)

309

CRASH (JOHN MATOS) b. 1961 Diptych: Looking In, Looking Out, 1993.

311

SEEN (RICHARD MIRANDO) b. 1961 Loonie Lenny, 1992. Estimate $5,000-

Estimate $10,000-15,000 Spraypaint and acrylic on canvas. Each 60 x 60 in. (152.4 x 152.4

7,000 Oil, acrylic and spraypaint on canvas. 50 3/4 x 31 7/8 in. (128.9 x 81 cm). PROVENANCE

cm). Each signed, titled and dated on verso. PROVENANCE Private Collection, New York

Marcoart Gallery, New York

310

QUIK (LIN FELTON) b. 1958 Two works: (i) Untitled (I Don’t Trust Him), 1998;

(ii) Untitled (My Name Is Lucifer), 1998. Estimate $3,000-4,000 Paint marker and screenprint on paper. Each 18 x 25 in. (45.7 x 63.5 cm). (i) Signed and dated lower edge.

PROVENANCE Barbara Braathen Gallery, New York

313

312

314

316

315

317

312

BARRY MCGEE b. 1966 Ham Fats, ca. 1995. Estimate $3,000-4,000 Oil on

rusted paint can lid. 6 1/2 in. (16.5 cm) diameter. PROVENANCE The Luggage Store, San Francisco

313

BARRY MCGEE b. 1966 Untitled, ca. 1993. Estimate $3,000-4,000 Graphite on

315

ED TEMPLETON b. 1972 Untitled (Figure), 2003. Estimate $1,500-2,000

Ink and watercolor on paper in artist’s frame. 11 x 8 1/2 in. (27.9 x 21.6 cm). Signed and dated on verso. PROVENANCE Roberts & Tilton, Los Angeles

found paper in artist’s frame. 8 3/4 x 6 3/4 x 1/4 in. (22.2 x 17.1 x .6 cm). PROVENANCE Paul Morris

316

Gallery, New York EXHIBITED New York, Gramercy Hotel, First Annual Gramercy International

$2,500-3,500 Ink, graphite, correction fluid, oil crayon, latex and enamel on oil paper on

PHIL FROST b. 1973 TUfoNG MALo cAssIDy ALAABschop, 1995. Estimate

Contemporary Art Fair, 1994

canvas. 29 7/8 x 12 in. (75.9 x 30.5 cm). Signed within image lower edge. Annotated on verso.

314

EXHIBITED Melbourne, Australia, Center for Contemporary Photography, Summersault, 1996; Sydney,

BARRY MCGEE b. 1966 Untitled, ca. 1993. Estimate $3,000-4,000 Graphite

on found paper in artist’s frame. 7 3/4 x 5 3/4 x 3/4 in. (19.7 x 14.6 x 1.9 cm). PROVENANCE Paul

Australia, First Draft Gallery, Summersault, 1996 LITERATURE Carlo McCormick, Phil Frost, 2008,

Morris Gallery, New York EXHIBITED New York, Gramercy Hotel, First Annual Gramercy International

illustrated as plate 10

Contemporary Art Fair, 1994

317

PHIL FROST b. 1973 Untitled, ca. 1997. Estimate $2,000-3,000 Ink, correction

fluid and newspaper collage on found wood. 24 7/8 x 15 1/4 in. (63.2 x 38.7 cm). PROVENANCE Acquired directly from the artist

318

(ii)

(i)

320

319

322

321

318

CHERYL DUNN b. 1960 Two works: (i) Margaret Kilgallen in Her Studio, San

Francisco, 1998; (ii) Chris Johanson and Jo Jackson at Home, Portland, Oregon, 2005. Estimate

320

CHRIS JOHANSON b. 1968 Untitled (I’m Happy That I Am Not Dead). Estimate

$1,200-1,800 Ink on paper. 12 1/4 x 10 7/8 in. (31.1 x 27.6 cm). PROVENANCE Private Collection,

$1,200-1,800 C-print, printed 2009. Each 18 x 12 in. (45.7 x 30.5 cm). Each signed, titled

San Francisco

and dated on verso. These works are artist’s proofs aside from an edition of 5. LITERATURE

321

(i) Ed Templeton, Brandon Fowler & Aaron Rose, ANP Quarterly, Issue One, 2005, illustrated as cover image;

800 Aquatint on paper. 8 1/8 x 8 1/8 in. (20.6 x 20.6 cm). Signed, dated and numbered lower

CHRIS JOHANSON b. 1968 Perceptions (Perception #8), 2007. Estimate $600-

(ii) Ed Templeton, Brandon Fowler & Aaron Rose, ANP Quarterly, Issue Three, 2006, illustrated as cover image

edge. This work is from an edition of 30. PROVENANCE Paulson Press, Berkeley

319

322

CHRIS JOHANSON b. 1968 Untitled (clown). Estimate $1,500-2,000 Acrylic

CHRIS JOHANSON b. 1968 Perceptions (Perception #7), 2007. Estimate $600-

on wooden block. 5 3/8 x 4 3/4 x 1 7/8 in. (13.7 x 12.1 x 4.8 cm). PROVENANCE Private Collection,

800 Aquatint on paper. 8 1/8 x 8 1/8 in. (20.6 x 20.6 cm). Signed, dated and numbered lower

San Francisco

edge. This work is from an edition of 30. PROVENANCE Paulson Press, Berkeley

323

(ii)

(i)

324

(iii)

325

323

CHERYL DUNN b. 1960 Three works: (i) Dash Snow, 1998; (ii) Twist painting “Street

Market” exhibition at Deitch Projects, 2000; (iii) ESPO, 2004. Estimate $1,800-2,200 C-print,

324

BARRY MCGEE b. 1966 Untitled. Estimate $3,000-4,000 Spraypaint, acrylic,

ink and decal on chipboard. 27 x 22 1/2 in. (68.6 x 57.2 cm).

printed 2009. Each 18 x 12 in. (45.7 x 30.5 cm) or the reverse. Each signed, titled and dated on

325

verso. These works are artist’s proofs aside from an edition of 5. LITERATURE (i) Cheryl Dunn,

on paper. 22 x 19 in. (55.9 x 48.3 cm). Signed, dated and numbered lower edge. This work is from

Cheryl Dunn: Some Kinda Vocation, 2007, illustrated p. 62; (ii) Cheryl Dunn, Cheryl Dunn: Some Kinda

an edition of 50. PROVENANCE Alleged Gallery, New York

Vocation, 2007, illustrated p. 54; Taka Kawachi, Street Market: Barry Mcgee, Stephen Powers, Todd James, 2000, illustrated p. 140

CHRIS JOHANSON b. 1968 Untitled, 1998. Estimate $400-600 Screenprint

326

328 327

329

front

326

verso

ESPO (STEPHEN POWERS) Untitled (This Watch is Worth a Lot), 2002.

Estimate $4,000-6,000 Enamel and pencil on metal. 24 1/4 x 48 1/2 in. (61.6 x 123.2 cm).

328

OS GEMEOS b. 1974 & 1974 Nos Somos Penta!, 2005. Estimate $1,000-1,500

Screenprint on canvas. 11 5/8 x 8 in. (29.5 x 20.3 cm). Signed and stamped on verso. This work

Signed, dated and annotated on verso. PROVENANCE Private Collection, Brooklyn LITERATURE

is from an edition of 1,001. PROVENANCE Nike Sportswear, Brazil

Stephen Powers, First & Fifteenth: Pop Art Short Stories, 2005, illustrated pp. 122-123

329

327

4,000 Enamel on six-sided metal box. 12 x 12 x 12 in. (30.5 x 30.5 x 30.5 cm). Signed, titled

ESPO (STEPHEN POWERS) Friday at the Theftway, 2002 / 2007. Estimate

$800-1,200 Screenprint and ink on paper. 22 3/8 x 30 in. (55.9 x 76.2 cm). Signed, titled and dated lower edge. PROVENANCE Private Collection, Brooklyn

ESPO (STEPHEN POWERS) Over + Over + Over, 2005. Estimate $3,000-

and dated on top. PROVENANCE Private Collection, New York

330

331

332

334

333

330

JO JACKSON b. 1972 Untitled, 2003. Estimate $2,500-3,500 Acrylic on wooden

333

JASON JÄGEL b. 1971 Powers of Perception, 2008. Estimate $1,800-2,200

panel. 18 x 24 in. (45.7 x 61 cm). Signed and dated on verso. PROVENANCE New Image Art

Gouache and pencil on paper. 11 1/2 x 10 1/4 in. (29.2 x 26 cm). Signed, titled and dated on verso.

Gallery, Los Angeles

PROVENANCE Richard Heller Gallery, Santa Monica EXHIBITED Santa Monica, California, Richard

331

JO JACKSON b. 1972 Untitled, 2004. Estimate $4,000-6,000 Acrylic on paper.

Heller Gallery, (Like Life, But A) Simplified Version, September 6 – October 4, 2008

59 x 91 in. (149.9 x 231.1 cm). Signed and dated on verso.

334

332

Gouache and pencil on paper. 17 1/2 x 22 in. (44.5 x 55.9 cm). Signed, titled and dated on verso.

CLARE ROJAS b. 1976 Untitled, ca. 2002. Estimate $2,500-3,500 Gouache

on paper. 7 x 5 7/8 in. (17.8 x 14.9 cm).

JASON JÄGEL b. 1971 Make Rumpus, Not War, 2008. Estimate $2,500-3,500

PROVENANCE Electric Works, San Francisco EXHIBITED San Francisco, California, Electric Works, Seventy Three Funshine, September 12 – October 18, 2008 LITERATURE Jason Jägel, Seventy Three Funshine, 2008, illustrated p. 193

335 CR BP 336

337

338

339

335

THOMAS CAMPBELL b. 1969 Medium Flower, 2008. Estimate $1,800-2,200

Acrylic, gouache, spraypaint, India ink, graphite and thread on sewn paper collage. 11 x 11 in.

338

GEOFF MCFETRIDGE b. 1971 Monster Dice, 2007. Estimate $200-300 Laser

etching on six-sided solid oak heartwood cube. 5 1/4 x 5 1/4 x 5 1/4 in. (13.3 x 13.3 x 13.3 cm).

(27.9 x 27.9 cm). Signed, dated, stamped and annotated lower edge.

Etched initials and date on top. This work is from an edition of 200 and is accompanied by a

CR BP 336 THOMAS CAMPBELL b. 1969 Untitled, 2009. Estimate $2,500-

certificate of authenticity. PROVENANCE Nieves, Zurich

3,500 Acrylic, gouache, spraypaint and thread on sewn paper folder. 11 3/4 x 14 in. (29.8 x 35.6

339

cm). Signed and annotated within image.

staple, metal brackets and wooden box. 7 x 9 x 4 1/4 in. (17.8 x 22.9 x 10.8 cm). PROVENANCE

337

New Image Art Gallery, Los Angeles

THOMAS CAMPBELL b. 1969 Paper Pillow, 2008-2009. Estimate $1,800-2,200

Acrylic, gouache, spraypaint, India ink, graphite, thread and leaf on sewn paper. 16 x 9 1/2 in.

(40.6 x 24.1 cm). Signed, dated and stamped lower edge.

OS GĂŠMEOS b. 1974 & 1974 Untitled. Estimate $3,000-4,000 Acrylic, silk roses,

During this decade, Urban art has become a code word for “street” artists in the same way that Urban radio stations play Hip-Hop and R&B songs. The term “urban” connotes a sense of grittiness and ethnic-ness that stems from the movement’s ostensible roots in graffiti and other forms of outlaw expression practiced by downtrodden city youths. But really, this is an extreme oversimplification of a youthful style of artistic expression that is engaged in a global cultural exchange. Most contemporary “urban” artists are not teens from the ghetto (nor are they from a particular racial group) and their heroes are just as likely to be Andy Warhol, Raymond Pettibon and Keith Haring as Taki 182 or Phase 2. Many are academy trained and are just as likely to draw inspiration from the aesthetics of rock music as Urban music styles.

What still makes their art distinctively urban is that they are reflecting and appropriating the iconography of contemporary city living, making art that references graffiti, graphic design, advertising, folk art ephemera, music and fashion imagery, and even art history. Engaged in a dialogue with mass culture instead of with academic culture and gallery art, what unites these artists is an overarching desire for “realness” (even if that sentiment is ironically or sarcastically expressed), community (in opposition to the global mass market) and politics (in an abstracted sense of “us versus them” rebelliousness).They have also embraced non-Fine Art media, such as collage, wheat pasting, pencil drawing, found objects and scrap materials, and computer illustration, often working with non-archival materials as a more immediate and thus presumably more authentic means of expression.

These artists’ idealized notion of youth culture rebellion has been manifested in a commitment to curating and exhibiting in independent galleries such as Space 1026 in Philadelphia and The Luggage Store in San Francisco, living in collective spaces such as the legendary Fort Thunder in Providence, and working collaboratively under rock band-style names such as Irak, Forcefield, Barnstormers, Paper Rad and assume vivid astro focus. An un-self-conscious regionalism has become an important element of these artists’ work. Barry McGee, Margaret Kilgallen, Thomas Campbell and Chris Johanson defined the Bay Area art scene in the late ‘90s; Geoff McFetridge, Mike Mills and Shepard Fairey created a brightly-colored Los Angeles aesthetic; Brian Chippendale, Mat Brinkman, Hisham Bharoocha and Bjorn Copeland manifested Providence’s punk rock tribalism; Andrew Jeffrey Wright, Jim Houser and Clare Rojas exhibited Philadelphia’s whimsical folk aesthetic; and in NewYork, KAWS, Neckface, Reas (Todd James) and Faile commodified an aggressive style of street art.

Except for a few inroads such as the short-lived Alleged Gallery in NewYork and the periodic support of larger galleries such as Deitch Projects, these artists have mostly thrived on the fringes of the established art industry and they have established a direct relationship to an audience of their peers. If anything, this has lead to the strangest juxtaposition of this movement—some of the world’s most famous Urban artists have no significant NewYork gallery representation. Though they are profiled extensively in the media and have forged a global community that stretches from Asia to Australia to the Americas and Europe, they are largely ignored at the center of the established art industry. Some have even jumped past the large galleries and directly into museum collections.

Honestly, I think many of them are happier this way. The lack of “fine art” recognition fits in nicely with their self-identification as youth culture free spirits and anti-corporate radicals. And if this allows them to make art without the restrictions of gallery approval and academic certification, all the better. They are speaking directly to us.

Ken Miller

Ken Miller was editor in chief of Tokion magazine from 2002-2007 and went on to publish Revisionaries: A Decade of Art in Tokion with Abrams Image. He writes routinely for V, V Man and Interview magazines as well as being a member of the editorial board of CITY magazine and publisher of Anathema magazine, an arts journal compiled in The Last Magazine from Rizzoli / Universe. Ken is currently completing SHOOT, a compilation of contemporary photography publishing with Rizzoli International in fall 2009.

340

ASSUME VIVID ASTRO FOCUS active since 2003 Mulher Bomb, 2008.

Estimate $12,000-18,000 Collaged offset lithograph and metal screws on wooden cut-out. 93 1/4 x 65 x 34 1/2 in. (236.9 x 165.1 x 87.6 cm).

341

342 343

344

345

346

341

KAWS b. 1974 Three works: Running Chum, 2000. Estimate $15,000-20,000

344

KAWS b. 1974 KAWS X Mark Gonzales (from Guest Artist). Estimate $200-300

Screenprint on paper. Each 28 x 22 in. (71.1 x 55.9 cm). Each signed, dated and numbered lower

Printed skateboard deck. 31 1/4 x 7 3/4 in. (79.4 x 19.7 cm). Numbered on verso. This work is from

edge. These works are from an edition of 50. PROVENANCE Houston Gallery, Seattle

an edition of 400. PROVENANCE Krooked, San Francisco

342

345

KAWS b. 1974 Dissected Companion, 2006. Estimate $1,500-2,000 Screenprint

on paper. 20 x 20 in. (50.8 x 50.8 cm). This work is one of 4 printer’s proofs aside from an edition

of 4 printer’s proofs aside from an edition of 100.

of 100.

343

KAWS b. 1974 Dissected Companion, 2006. Estimate $1,500-2,000 Screenprint

on paper. 20 x 20 in. (50.8 x 50.8 cm). Signed, dated and numbered lower edge. This work is one

KAWS b. 1974 Dissected Companion, 2006. Estimate $1,000-1,500 Painted cast

346

DALEK (JAMES MARSHALL) b. 1968 Untitled (Space Monkey), 2004. Estimate

vinyl. 15 inches tall. (38.1 cm). Figure produced by Medicom Toy Co., Japan. This work is from

$800-1,200 Acrylic on wood. 19 1/2 x 26 x 1/2 in. (49.5 x 66 x 1.3 cm). Signed and dated on

an edition of 500 and includes original packaging.

verso. PROVENANCE Acquired directly from the artist

348

347

349

350 351

352

347

NECKFACE b. 1984 Born to Lose, 2008. Estimate $300-400 Screenprint on paper.

350

CLEON PETERSON b. 1973 Untitled, 2009. Estimate $5,000-7,000 Acrylic on

14 x 16 3/4 in. (35.6 x 42.5 cm). Signed and dated on verso. This work is from a varied edition of

paper mounted on two wooden panels. 48 x 36 in. (121.9 x 91.4 cm). Signed and dated on verso.

100. PROVENANCE New Image Art Gallery, Los Angeles

PROVENANCE White Walls, San Francisco

348

NECKFACE b. 1984 Untitled, 2005. Estimate $1,500-2,000 Acrylic and ink on

351

MIKE GIANT b.1971 Untitled, ca. 1999. Estimate $300-400 Screenprint

wood. 15 x 12 in. (38.1 x 30.5 cm). Signed, dated and annotated on verso.

on paper. 35 3/4 x 24 in. (91.4 x 61 cm). Signed lower edge.

349

352

NECKFACE b. 1984 Neckface X Mark Gonzales (from Guest Artist). Estimate

$200-300 Printed skateboard deck. 7 7/8 x 32 in. (20 x 81.3 cm). Numbered on verso. This work is from an edition of 400. PROVENANCE Krooked, San Francisco

MIKE GIANT b. 1971 Vandalize, 2008. Estimate $1,200-1,800 Ink on paper.

24 x 18 in. (61 x 45.7 cm). Signed and dated lower edge. PROVENANCE White Walls, San Francisco

353

354

355

356

357

353

SHEPARD FAIREY b. 1970 Giant Lounge, 1998. Estimate $1,200-1,800

356

SHEPARD FAIREY b. 1970 Obey ‘95 HPM, 2005. Estimate $2,500-3,500

Screenprint and spraypaint on paper. 24 x 18 in. (61 x 45.7 cm). Signed, dated and numbered

Screenprint and stenciled spraypaint on collaged paper. 42 x 28 1/2 in. (106.7 x 72.4 cm). Signed,

lower edge. This work is from a varied edition of 30.

dated, numbered and stamped lower edge. This work is from a varied edition of 10.

354

PROVENANCE Acquired directly from the artist

SHEPARD FAIREY b. 1970 Four Giant Beatles, 1996. Estimate $1,200-1,800

Screenprint on paper. 24 x 18 in. (61 x 45.7 cm). Signed and dated lower edge. This work is from

357

an edition of 100.

3,000 Screenprint on paper. 41 5/8 x 28 3/4 in. (105.7 x 73 cm). Signed, dated, numbered and

355

stamped lower edge. This work is from an edition of 10.

SHEPARD FAIREY b. 1970 Marilyn Warhol, 2000. Estimate $2,000-3,000

Screenprint on paper. 24 x 18 in. (61 x 45.7 cm). Signed and dated lower edge. This work is from an edition of 140. LITERATURE Shepard Fairey, Obey: Supply & Demand: The Art of Shepard Fairey: 20th Anniversary Edition, 2009, illustrated p. 36

SHEPARD FAIREY b. 1970 Obey ‘99 Gallery Edition, 2006. Estimate $2,000-

359

358

361

362

360

358

SHEPARD FAIREY b. 1970 Marcos Profile, 2002. Estimate $3,500-4,500

361

SHEPARD FAIREY b. 1970 Ripper, 2005. Estimate $300-400 Printed

Screenprint on canvas. 24 x 18 in. (61 x 45.7 cm). Signed, dated and numbered lower edge.

skateboard deck. 30 3/4 x 7 1/4 in. (78.1 x 18.4 cm). Numbered on verso. This work is from

Signed, dated and numbered on verso. This work is from an edition of 2.

an edition of 50. PROVENANCE Monkey Skateboard Company, California

359

SHEPARD FAIREY b. 1970 Untitled (Arab Woman), 2007. Estimate $4,000-

6,000 Stenciled spraypaint and screenprint on paper. 24 x 18 in. (61 x 45.7 cm). Signed and dated lower edge. This work is unique. PROVENANCE Dirty Pilot, Boston

360

SHEPARD FAIREY b. 1970 Two Sides of Capitalism: Bad, 2007. Estimate $1,000-

1,500 Screenprint on paper. 30 x 49 in. (76.2 x 124.5 cm). Signed, dated, numbered and stamped lower edge. This work is from an edition of 89.

362

FUTURA 2000 b. 1955 Untitled (Unkle). Estimate $200-300 Printed skateboard

deck. 29 1/2 x 7 3/8 in. (74.9 x 18.7 cm). PROVENANCE Zoo York, New York

363

364

365

front

verso

363

AIKO NAKAGAWA Masked Lady, 2008. Estimate $3,500-4,500 Screenprint

SM 365 FAILE active since 1999 Agony and Ecstasy / MJ, 2007. Estimate $15,000-

and acrylic on canvas. 40 1/8 x 30 in. (101.9 x 76.2 cm). Signed, dated and annotated on verso.

20,000 Screenprint and acrylic on six-sided box. 20 x 11 7/8 x 2 in. (50.8 x 30.2 x 5.1 cm).

This work is from a varied edition of 4.

PROVENANCE Gallery Nosco, London

364

FAILE active since 1999 Faile Dreams, 2008. Estimate $2,000-3,000 Acrylic

and screenprint on paper. 38 x 25 in. (96.5 x 63.5 cm). Signed and annotated lower edge.

Dated and numbered on verso. This work is from a varied edition of 16.

366

367

368

369

366

FAILE active since 1999 Faile Dog, 2004. Estimate $3,500-4,500 Screenprint

and acrylic on paper. 50 x 38 in. (127 x 96.5 cm). Signed and dated lowered edge. This work is

368

FAILE active since 1999 Sexy Ad, 2007. Estimate $3,000-4,000 Acrylic and

screenprint on paper. 38 x 25 in. (96.5 x 63.5 cm). Signed and annotated lower edge. Dated and

from a varied edition of 15. PROVENANCE Acquired directly from the artist

numbered on verso. This work is from a varied edition of 14.

367

369

BAST Sizzling Affairs, 2008. Estimate $700-900 Screenprint and spraypaint on

FAILE active since 1999 Yellow Pages II, 2007. Estimate $3,000-4,000 Screenprint

paper. 25 x 20 in. (63.5 x 50.8 cm). Signed, numbered and stamped lower edge. This work is from

and acrylic on paper. 33 x 25 in. (83.8 x 63.5 cm). Signed and annotated lower edge. Dated and

a varied edition of 50.

numbered on verso.This work is from a varied edition of 5. PROVENANCE Private Collection, London

370

371

372

373

374

370

BEN EINE When the Lights Go Out, 2008. Estimate $3,000-4,000 Stenciled

372

BANKSY b. 1975 Happy Choppers, 2003. Estimate $3,000-4,000 Screenprint

spraypaint and acrylic on linen. 36 x 36 in. (91.4 x 91.4 cm). Signed and dated on verso. This work

on paper. 27 1/2 x 19 3/4 in. (70 x 50 cm). Numbered lower edge. This work is from an edition of

is from a varied edition of 2. PROVENANCE Andenken Gallery, Denver EXHIBITED Andenken

750. This work has been authenticated by Pest Control Office. PROVENANCE Pictures on Walls,

Gallery, Denver, When the Lights Go Out, August 1 – September 5, 2008

London

371

373

BEN EINE Wendy A-Z, 2008. Estimate $3,000-4,000 Stenciled spraypaint and

acrylic on linen. 30 x 30 in. (76.2 x 76.2 cm). Signed, titled and dated on verso. This work is from

EELUS b. 1979 Tiffany for Breakfast, 2008. Estimate $2,500-3,500 Stenciled

spraypaint and acrylic on canvas. 40 1/8 x 30 1/8 in. (101.9 x 76.5 cm). Signed on side. Titled,

a varied edition of 2. PROVENANCE Andenken Gallery, Denver EXHIBITED Andenken Gallery,

dated and annotated on verso. This work is from an edition of 10.

Denver, When the Lights Go Out, August 1 – September 5, 2008

374

REAS (TODD JAMES) b. 1969 Blacklight Print, 2006. Estimate $70-90

Screenprint on paper. 20 x 16 in. (50.8 x 40.6 cm). Signed and numbered lower edge. This work is from an edition of 100. PROVENANCE Arkitip, Los Angeles

375

(ii)

(i)

(iii)

376

377

SM 378

379

front

375

verso

MAYA HAYUK b. 1969 Three works: (i) Forevers 1, 2007; (ii) Forevers 2, 2007; (i)

SM 378 THE CLAYTON BROTHERS b. 1963 & 1967 Any Given Night (from Guest

Forevers 3, 2007. Estimate $3,000-4,000 Acrylic and gouache on wood. (i) 16 x 16 x 2 1/2 in.

Artist), 2008. Estimate $500-700 Heat transfer laminate and hand stencil on two

(40.6 x 40.6 x 6.4 cm); (ii) 15 1/2 x 15 1/2 x 2 1/2 in. (39.4 x 39.4 x 6.4 cm); (iii) 12 x 12 x 2 1/2 in. (30.5

skateboard decks. 31 1/2 x 15 7/8 in. (80 x 40.3 cm). Signed and dated on verso. This work is one

x 30.5 x 6.4 cm). (i) Signed on verso; (ii) signed on verso.

of 25 signed and hand stenciled works from an edition of 300 and is accompanied by a

376

certificate of authenticity. PROVENANCE Clayton Brothers Editions, Verdugo City; Krooked

ROSTARR b. 1971 Phrenology VIII, 2008. Estimate $3,500-4,500 Ink on

handmade paper. 21 1/2 x 19 1/2 in. (54.6 x 49.5 cm). Signed, dated and stamped lower edge.

Skateboards, San Francisco

377

379

RICHARD COLMAN b. 1976 A Log, 2008. Estimate $7,000-9,000 Acrylic,

gouache and pencil on paper mounted on wooden panel. 40 x 30 in. (101.6 x 76.2 cm). Signed and dated on verso. PROVENANCE White Walls, San Francisco

SWOON b. 1978 Miss Rockaway (from Armada), 2007. Estimate $1,200-1,800

Screenprint on colored paper. 16 1/2 x 22 1/2 in. (44.5 x 57.2 cm). Signed, titled and dated lower edge. This work is an artist’s proof from a varied edition of 4. PROVENANCE Private Collection, New York

380

381

382

383

380

BORF Imagine, 2008. Estimate $1,200-1,800 Acrylic on canvas. 14 1/4 x 22 x 2 in.

(36.2 x 55.9 x 5.1 cm). Signed and dated on bottom. PROVENANCE Andenken Gallery, Denver

381

ANTONY MICALLEF b. 1975 Dirty Deluxe, 2005. Estimate $4,000-6,000

382

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

Digital print. 35 x 35 in. (88.9 x 88.9 cm). Signed and numbered lower edge. This work is one of 3 printer’s proofs aside from an edition of 95 and is accompanied by a certificate

Digital print. 35 x 35 in. (88.9 x 88.9 cm). Signed and numbered lower edge. This work is one of 3

of authenticity. PROVENANCE Eyestorm, London

printer’s proofs aside from an edition of 95 and is accompanied by a certificate of authenticity.

383

PROVENANCE Eyestorm, London

1,500 Screenprint on paper. Signed, numbered and stamped lower edge. This work is from

ANTONY MICALLEF b. 1975 Light Angel Bomber 1, 2006. Estimate $1,000-

an edition of 250. PROVENANCE Pictures on Walls, London

384

385

386

384

BRIAN DEGRAW b. 1974 Three works: Osama Bin Laden / John Lee Malvo, 2003.

Estimate $4,000-6,000 Graphite and oil on paper. Each 13 x 11 in. (33 x 27.9 cm).

386

TRACY NAKAYAMA b. 1974 What Hath God Wrought?, 2003. Estimate $1,500-

2,000 Ink and pencil on paper. 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm). EXHIBITED Queens, New York,

PROVENANCE James Fuentes LLC, New York

PS1 Contemporary Art Center, Tracy Nakayama: Message To Love, January 29 – April 1, 2004; Ridgefield,

385

Connecticut, The Aldrich Contemporary Art Museum, Contemporary Erotic Drawing, May 1 – August 7,

TRACY NAKAYAMA & JEREMY YODER b. 1974 & 1975 The Usual Place in

the Same Old Surroundings, 2008. Estimate $700-900 Ink and collage on paper. 10 x 9 1/2 in.

2005 LITERATURE Scott Hug, K48, issue 4, 2003, illustrated p. 105; Blend magazine, issue 30, 2008,

(25.4 x 24.1 cm). Signed on verso. EXHIBITED Los Angeles, California, Women’s Building, Groupshow

illustrated p. 129

Without André Butzer, November 21, 2008; Los Angeles, California, Acuna-Hansen Gallery, New Work, December 17, 2008

388

387

389

391

390

387

MATT LEINES b. 1980 Untitled, 2007. Estimate $1,200-1,800 Ink and

390

DATE FARMERS El Gato Negro. Estimate $3,000-4,000 Spraypaint, enamel,

watercolor on paper. 5 1/2 x 5 1/2 in. (14 x 14 cm). Signed, dated and annotated on verso.

ink, graphite, sticker and paper collage on corrugated aluminum on wooden frame. 36 1/2 x 28

388

3/4 in. (92.7 x 73 cm). PROVENANCE Andenken Gallery, Denver

MATT LEINES b. 1980 Untitled, 2005. Estimate $3,000-4,000 Ink, watercolor

and graphite on paper. 16 x 13 7/8 in. (40.6 x 35.2 cm). PROVENANCE Jonathan Levine Gallery,

391

New York EXHIBITED New York , New York, Jonathan Levine Gallery, Sometimes I Just Want a Hug,

tobacco-stained paper collage. 33 x 24 1/4 in. (83.8 x 61.6 cm). Signed and dated on verso.

November 19 – December 23, 2005

389

MATT LEINES b. 1980 Untitled, 2007. Estimate $1,500-2,000 Ink and

watercolor on paper in artist’s frame. 6 1/2 x 6 1/2 x 1 7/8 in. (16.5 x 16.5 x 4.8 cm). PROVENANCE Boontling Gallery, Oakland

DAVID ELLIS b. 1971 Net, 2007. Estimate $3,000-4,000 Acrylic and ink on

392

393

395 394

397

396

392

A.J. FOSIK Ursine Lament. Estimate $4,000-6,000 Acrylic and metal screws

395

TAYLOR MCKIMENS b. 1976 Carne Asada Flavor, 2006. Estimate $800-1,200

on hand carved wood. 36 x 25 x 32 1/4 in. (91.4 x 63.5 x 81.9 cm).

Acrylic and wax pencil on paper collage on Masonite. 7 x 5 1/4 in. (17.8 x 13.3 cm). Signed, titled

393

and dated on verso. PROVENANCE Paul Bright, Toronto

JIM HOUSER b. 1973 The Snare, 2008. Estimate $3,000-4,000 Acrylic and

gouache on collaged paper on canvas. 24 x 24 in. (61 x 61 cm). Signed and dated on stretcher

396

bar. PROVENANCE White Walls, San Francisco

Collaged screenprint on paper. 14 x 11 in. (35.6 x 27.9 cm). Signed, titled and dated on verso.

394

ANDREW JEFFREY WRIGHT b. 1970 X-Wave 1, 2006. Estimate $2,500-3,500

397

ANDREW JEFFREY WRIGHT b. 1970 Collage # 3, 2008. Estimate $500-700

TAYLOR MCKIMENS b. 1976 Cords, 2005. Estimate $1,200-1,800 Acrylic

Oil, latex and gouache on Masonite. 26 x 23 in. (66 x 58.4 cm). Signed and dated on verso.

on paper collage on wood. 16 x 17 1/2 in. (40.6 x 44.5 cm). Signed, titled and dated on verso.

PROVENANCE The Luggage Store, San Francisco; Paul Bright, Toronto EXHIBITED San Francisco,

PROVENANCE Paul Bright, Toronto

California, The Luggage Store, Art for Corporations, September 12 – October 11, 2008 LITERATURE Ken Miller, Revisionaries: A Decade of Tokion Art, 2007, illustrated as cover image

398

(ii)

(i)

398

HISHAM AKIRA BHAROOCHA b. 1976 Three works: (i) Forcefield at Fort

Thunder, 2001; (ii) Mystery Brinkman at Fort Thunder, 2001; (iii) Mystery Brinkman in Fur Suit (Fort Thunder), 2001. Estimate $1,000-1,500 Digital print, printed 2009. Each 14 x 11 in.

(35.6 x 27.9 cm). Each signed, titled and dated on verso. These works are artist’s proofs aside from an edition of 3. LITERATURE (i) Louis Maffeo, Fort Thunder, Nest magazine, issue 13, 2001, illustrated p. 142; Judith Tannenbaum with Maya Allison, Wunderground: Providence, 1995 to the present, 2007, illustrated p. 113; Jeffrey Deitch and Kathy Grayson, Live Through This: New York in the Year 2005, 2005, illustrated p. 59; (iii) Louis Maffeo, Fort Thunder, Nest magazine, issue 13, 2001, illustrated p. 152

(iii)

399

(i)

(ii)

401 400

(iii)

403 402

399

HISHAM AKIRA BHAROOCHA b. 1976 Three works: Untitled 1 (Forcefield

Installation at 2002 Whitney Biennial), 2002; (ii) Untitled 2 (Forcefield Installation at 2002 Whitney

402

BJORN COPELAND b. 1975 Color Jam, 2007. Estimate $2,500-3,500

Printed paper collage on chipboard. 20 x 27 1/2 in. (50.8 x 69.9 cm). Signed and dated on verso.

Biennial), 2002; (iii) Untitled 3 (Forcefield Installation at 2002 Whitney Biennial), 2002. Estimate

PROVENANCE Jack Hanley Gallery, New York EXHIBITED New York, Jack Hanley Gallery, Bjorn

$1,000-1,500 Digital print, printed 2009. Each 14 x 11 in. (35.6 x 27.9 cm) or the reverse. Each

Copeland: The Soft Serve, May 16 – June 7, 2008 LITERATURE Trinie Dalton, Mythtym, 2008, illustrated

signed, titled and dated on verso. These works are artist’s proofs aside from an edition of 3.

pp. 88-89

400

403

HISHAM AKIRA BHAROOCHA b. 1976 Look What The Cat Dragged In, 2008.

Estimate $700-900 Cut-out paper collage. 11 1/8 x 7 3/4 in. (28.3 x 19.7 cm). Signed, titled

BRIAN CHIPPENDALE b. 1973 Power Hungry Noise Musician Gobbles Up Military

Defense Budget, 2007. Estimate $1,500-2,000 Screenprinted paper collage and acrylic on

and dated on verso. LITERATURE Molly Gottschalk, Hisham Bharoocha: The Psychedelic Collages of a

newsprint mounted on wood. 18 x 18 x 2 1/2 in. (45.7 x 45.7 x 6.4 cm). Titled and dated on verso.

Mad Sonic Scientist, Flaunt magazine, number 96, 2008, illustrated as cover image

PROVENANCE Cinders Gallery, Brooklyn EXHIBITED Brooklyn, New York, Cinders Gallery, Early Worm

401

Gets the Bird: Brian Chippendale, Jung Hong, and Kevin Hooyman, November 16 – December 30, 2007

HISHAM AKIRA BHAROOCHA b. 1976 Music Comes From Within, 2006.

Estimate $700-900 Felt, ink and jade glue on cut-out paper collage. 10 3/4 x 8 1/4 in. (27.3 x 21 cm). Signed, titled and dated on verso. LITERATURE Molly Gottschalk, Hisham Bharoocha: The Psychedelic Collages of a Mad Sonic Scientist, Flaunt magazine, number 96, 2008, illustrated p. 83

Raymond Pettibon, Untitled (Apply It‌)

Chris Johanson, Untitled (Why Are They So Frantic) Ari Marcopoulos, Justin

Barry McGee, Untitled

Terry Richardson, Untitled

KAWS, Warm Regards

Henry Chalfant, Lee, Futura, Dondi

Larry Clark, Untitled Shepard Fairey, Obey (All City Propaganda)

SM 404 VARIOUS ARTISTS Two works: (i) The Beautiful Losers Portfolio (Boxed Edition); (ii) The Beautiful Losers Catalog (Boxed Edition), 2004-2007. Estimate $15,00020,000 (i) Portfolio of 27 works on paper in wooden box; (ii) set of 25 works and exhibition catalogue in wooden box. (i) Works on paper: each 16 x 20 in. (40.6 x 50.8 cm) or the reverse; box: 26 1/4 x 19 1/4 x 9 1/2 in. (66.7 x 48.9 x 24.1 cm); (ii) works: dimensions variable; box: 26 1/4 x 19 1/4 x 9 1/2 in. (66.7 x 48.9 x 24.1 cm). (i) Each signed and numbered lower edge. These works are from an edition of 200. The assembled boxed edition is from an edition of 30. Nine works illustrated; (ii) this work is from an edition of 100. PROVENANCE Iconoclast Editions, Cincinnati

The Beautiful Losers Portfolio includes prints by: Thomas Campbell, Henry Chalfant, Larry Clark, Cynthia Connolly, Cheryl Dunn, Shepard Fairey, Glen E. Friedman, KAWS, Harmony Korine, Evan Hecox, Wes Humpston, Jo Jackson, Reas (Todd James), Andy Jenkins, Chris Johanson, Ari Marcopoulos, Geoff McFetridge, Ryan McGinness, Barry McGee, Mike Mills, Raymond Pettibon, Espo (Stephen Powers), Terry Richardson, Rostarr, Craig R. Stecyk, Ed Templeton and Tobin Yelland.

The Beautiful Losers Catalog includes editions by: Thomas Campbell, Cynthia Connolly, Cheryl Dunn, Shepard Fairey, Phil Frost, Mark Gonzales, Evan Hecox, Jo Jackson, Reas (Todd James), James Jarvis, Andy Jenkins, Chris Johanson, Harmony Korine, Ari Marcopoulos, Geoff McFetridge, Ryan McGinness, Barry Mcgee, Mike Mills, Espo (Stephen Powers), Terry Richardson, Clare Rojas, Rostarr, Craig R. Stecyk, Ed Templeton and Tobin Yelland.

405

MARC NEWSON b. 1963 Set of six “TV” chairs, ca. 1993. Estimate $2,000-3,000

Polyutherane foam, steel. Each 34 1/4 in. (87 cm) high. Manufactured by Moroso, Italy (6).

406 406

LUDOVICO DIAZ DE SANTILLANA Ceiling light. Estimate $3,000-4,000

Glass. 12 in. (30.5 cm) high, 15 in. (38.1 cm) diameter. Manufactured by Venini, Italy.

407

PAUL FRANKL 1887-1958 Coffee table, 1940s. Estimate $3,000-4,000 Cork,

mahogany. 15 x 47 x 35 1/4 in. (38.1 x 119.4 x 89.5 cm). Manufactured by Johnson Furniture Co., USA.

408

GEORGE NELSON 1908-1986 “Coconut” chair and ottoman, model no. 5569 ,

designed 1955. Estimate $4,000-6,000 Lacquered sheet metal, chrome-plated steel, fabric. Chair: 33 1/2 in. (85.1 cm) high; ottoman: 16 1/2 in. (41.9 cm) high.

409

ETTORE SOTTSASS 1917-2007 Floor lamp, 1982. Estimate $800-1,200

Lacquered metal. 79 1/4 in. (201.3 cm) high. Manufactured by Artemide, Italy.

410

PAUL TUTTLE “Zeta” chair, designed 1969. Estimate $1,500-2,000 Chrome-

plated steel, leather. 25 1/2 in. (64.8 cm) high. Manufactured by Strassle International, USA.

411

GAETANO PESCE b. 1939 Lamp. Estimate $800-1,200 Resin. 18 in. (45.7 cm)

high. Stamped. Manufactured by Fish Design, Italy.

405

407

409

408 410

411

412

MARC NEWSON b. 1963 “Wicker” chair, 1990. Estimate $7,000-9,000 Wicker,

416

ARNE JACOBSEN 1902-1971 “Egg” chair and ottoman, model no. 3316, designed

brushed aluminum, steel. 28 1/2 in. (72.4 cm) high. Manufactured by Idée, Japan.

1966. Estimate $2,000-3,000 Leather, aluminum, fabric, plastic. Chair: 42 1/2 in. (108 cm)

413

high; ottoman: 16 1/2 in. (41.9 cm) high. Manufactured by Fred Hansen, Denmark (2).

DONALD KNORR Chair, model no. 132U, designed 1949. Estimate $2,500-3,500

Folded sheet and tubular steel, fabric upholstery. 28 1/4 in. (71.8 cm) high. Manufactured by

417

Knoll, USA.

Charcoal on paper. 38 7/8 x 27 1/2 in. (98.7 x 69.9 cm). Signed, titled and dated lower edge.

414

RICHARD HUTTEN b. 1967 Table-chair, 1991. Estimate $2,000-3,000

418

HELMUT MIDDENDORF b. 1953 Boy with Birds, 1988. Estimate $2,000-3,000

HELMUT MIDDENDORF b. 1953 Head, 1988. Estimate $2,000-3,000

Beechwood. 30 in. (76.2 cm) high. Manufactured by Droog, The Netherlands.

Charcoal on paper. 39 x 27 1/2 in. (99.1 x 69.9 cm). Signed, titled and dated lower edge.

415

419

ISAMU NOGUCHI 1904-1988 “Cyclone” table, designed 1965. Estimate $800-

1,200 Laminated wood, melamine, chrome-plated and lacquered steel. 29 in. (73.7 cm) high, 36 in. (91.4 cm) diameter. Manufactured by Knoll, USA.

VLADIMIR TATLIN 1885-1956 “Tatlin” chair, designed 1927. Estimate $1,500-

2,000 Chrome-plated steel, leather. 31 in. (78.7 cm) high. Manufactured by Nikol Internazionale, Italy.

420

PAUL TUTTLE Pair of “Anaconda” side tables. Estimate $1,200-1,800 Chrome-

plated steel, glass (2). Each: 16 1/2 in. (41.9 cm) high; 30 in. (76.2 cm) diameter.

414 413

412

415

418 417

416

419

420

Indiana, R. 290, 291

INDEX

Jackson, J. 330, 331 Jacobsen, A. 416 Jägel, J. 333, 334

Aitken, D. 255

Jennings, S. 258

Alÿs, F. 229

Johanson, C. 319-322, 325

Anderson, R. 245

Joon, K. 49

Andy Warhol by Cultura 297, 298

Jue, Kirkland (Toybot Studios) 131

Anraku Ansaku Co. 160

Dalek (James Marshall) 346

Araki, N. 46, 47

Damhave, M. 31

Ark Co. 157

Date Farmers 390

Kagan, V. 206

Arman 284

Daze (Christopher Ellis) 306, 307

Katz, A. 227, 228

assume vivid astro focus 340

Deel, C. 192

Kawakubo, R. 13

Azeta 204

DeGraw, B. 384

KAWS 161-164, 341-344

Julien, I. 55

de Dienes, A. 184, 185

Kelley, M. 26

Baechler, D. 249

Dine, J. 286, 287

Kern, R. 48

Baldessari, J. 254

Doe, D. 219

Kersels, M. 258

Banksy 372

Dunn, C. 318, 323

King, W. 285

Barney, M. 25

Knorr, D. 413

BAST 367

Eelus 373

Koons, J. 34-39

Baughman, M. 205

Eggleston, W. 171

Kottler, H. 212

Beecrof t, V. 257

Eine, B. 370, 371

Kozik, F. 143

Bernard, C. 258

Ellis, D. 391

Krystuf ek, E. 259, 260

Bharoocha, H.A. 398-401

van Empel, R. 263

Kulok, B. 266

Biskup,T. 121, 132

Enriquez-Gonzalez, C. 126

Kunikata, M. 101

Bloodgood, P. 240

Erwitt, E. 187

Kuramata, S. 2, 78, 79

Boadwee, K. 258

Espo (Stephen Powers) 326, 327, 329

Kusama,Y. 19

Bonetti, M. 213-216

Eyescream Beagle Co. 155

Kwartler, A. 241

Boris-Lacroix, J. 191

Faile 364-366, 368, 369

Larmon, K. 237

Botta, M. 5

Fairey, S. 353-361

Laverdiere, J. 218

Brandt, N. 270

Faunce, J. 32

Lawrence, A. 238

Breuer, M. 200

Fernengel, J. 18

Le Boff, G. 258

Breuning, O. 223

Fischli, P. & Weiss, D. 279

Lee, N.S. 42

Brooks, C. 233, 234

Fosik, A.J. 392

Leibovitz, A. 170

Bujnowski, R. 243

Frankl, P. 407

Leines, M. 387-389

Bwana Spoons 120

Friedlander, L. 173

Lemerde 130

Borf 380

Frost, P. 316, 317

Leonard, Z. 269

Campbell,T. 335-337

Fudge, C. 251

Lichtenstein, R. 288, 289

Carter, K. 273

Futura 2000 362

Lokiec,T. 244

Cartier-Bresson, H. 186

Lucero, M. 211

Chamberlain, J. 282

Gard, J. 30

Charlesworth, S. 7

Gargamel Co. (Kiyoka Ikeda) 148

Chippendale, B. 403

Gartrell, A. 246

Close, C. 175

Giant, M. 351, 352

Colman, R. 377

Goldin, N. 43, 44

Cometdebris (Koji Harmon) 142

Gormley, A. 256

Conge, B. (Plaseebo) 141

Green, R. 258

Cooke, N. 253 Copeland, B. 402

Hablützel, S. 14

Crash (John Matos) 309

Hadid, Z. 76

Cumming, D. 258

Haring, K. 301-305 Harris, L.A. 258 Hayuk, M. 375 Hepburn, A. 210 Hiorthøy, K. 262 Hoch, M. 57 Höf er, C. 58 Horvat, F. 177 Houser, J. 393 Hutten, R. 414

Lutter, V. 280

Quik (Lin Felton) 310

Ray, M. 178 Mankowitz, G. 169

Reas (Todd James) 374

Marder, M. 45

Ritts, H. 166

de Maria, W. 252

Rogers, L. 242

Marmit Co. 119, 127-129, 136, 137, 147

Rojas, C. 332

Marusan Co. 156

Ross, A. 235

McCarthy, D. 236

Rostarr 376

McCurry, S. 272

Ruff,T. 54, 56

McFetridge, G. 338 McGee, B. 312-314, 324

Sachs,T. 15, 17

McGill, D. 224

de Santillana, L.D. 406

McKimens,T. 395, 397

Schatt, R. 179, 181, 182

McLane, K. 225

Schiller, l. 183

MedicomToy Co. 151

Scrappers 133

Micallef, A. 381-383

Seen (Richard Mirando) 308, 311

Middendorf, H. 417, 418

Seidner, D. 264, 265

Minter, M. 50

Seliger, J. 16

Misrach, R. 62

Seliger, M. 167, 168

Miyake, S. 20

Sherman, C. 52

Monnet, F. 202

Shikaruna Co. 149, 150, 152

Moran, K. 239

Shore, S. 172

Moriyama, D. 220

Shulman, J. 188, 189

Mr. 97-100

Skull Head Butt Co. 145, 154

Mr. Ewokone 125

Sonnier, K. 281

Muniz, V. 267

Soth, A. 63, 64

Murakami,T. 82-96, 102-115

Sottsass, E. 194-199, 207, 409 Springer, K. 9

Nagata, M. (MaxToy Co.) 124, 153

Starn, D. & M. 268

Nakagawa, A. 363

Steir, P. 250

Nakajima Co. 139

Stern, B. 180

Nakayama,T. 385, 386

Sternf eld, J. 190

Nealy, C. 75

Sturges, J. 271

Neckf ace 347-349

Sugitmoto, H. 59-61

Nelson, G. 193, 408

Sultan, L. 51

Newson, M. 1, 3, 4, 77, 405, 412

Sunday B. Morning 292-294

Newton, H. 276, 277

Superstudio 6, 8

Nielson, M. 134

Swoon 379

Noguchi, I. 415 Takano, A. 116-118 Oldenburg, C. 283

Takatoku Co. 140, 158, 159

Ontiveros, M. 123

Tatlin, V. 419

Opie, C. 41

Templeton, E. 315

Oppenheim, M. 10

Tenmyouya, H. 222

Os GĂŞmeos 328, 339

The Clayton Brothers 378 Tillmans, W. 53

Panton, V. 81

Tomaselli, F. 23

Parker, E. 21, 22

Toygraph Co. 146

Paulkaiju 135

Trabert, K. 201

Pesce, G. 66-71, 411

Trockel, R. 278

Peterson, C. 350

Tuttle, P. 410, 420

Pillet, C. 12 Ponti, G. 72, 74 Prince, R. 24 Pruitt, R. 230, 231 Pushead 138, 162

Uchida, S. 80 UslĂŠ, V. 232

Vitali, M. 65

Walker, M. (Dead Presidents) 122 Wanscher, O. 208, 209 Warhol, A. 295, 296, 299, 300 Watson, A. 176 Weischer, M. 221 Weston, E. 274, 275 Willoughby, B. 165 Wilson, R. 217 Winogrand, G. 174 Wolf, J. 226 Wool, C. 27-29 Wrede,T. 11 Wright, A.J. 394, 396 Wurm, E. 261

Yoder, J. 385 Yonemoto, B. & N. 258 Youhan,Y. 247 Young, R. 33

Zipp,T. 248.

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

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

3 The Auction Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully.They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000.

Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. 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 will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits.The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation.The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, 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.

Phillips de Pury & Company. Bids must be placed in the currency of the sale.The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes.The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c)Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company.Telephone bidding is available for lots whose low pre-sale estimate is at least $1000. 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.

(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.

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.

(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)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.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 Bidding at Auction (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from

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(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, reoffer 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.

(d)The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 Purchase Price and Payment (a)The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”).The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000.

Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street,Third Floor, during regular weekday business hours.

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.

(d)Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

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 at the same rates as set forth in Paragraph 8 (a) above; (b) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (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 or any of our affiliated companies and, 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 or any of our affiliated companies; (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. As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased by the buyer at auction and in any other property or money of the buyer in our possession or coming into our possession. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. Our security interest will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

7 Collection of Property (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks.

As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property.

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..

(b)The buyer must arrange for collection of a purchased lot within five days of the date of the auction. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot.

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers.Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup.

12 Client Information In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as "sensitive," they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client's express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number.

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number.

(d) 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 buyer will incur a late collection fee of $35, storage charges of $5 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer 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

13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii)

accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 General (a)These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c)These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

16 Law and Jurisdiction (a)ThThe rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

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

SPECIALIST & SERVICE DEPARTMENTS

Contemporary Ar t

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

Jean-Michel Placent New York +1 212 940 1263

Jannah Greenblatt New York +1 212 940 1332

Christina Floyd New York +1 212 940 1340

Joy Deibert New York +1 212 940 1333

Timothy Malyk Head of Under the Influence New York +1 212 940 1258 Chin-Chin Yap New York +1 212 940 1250

Saturday @ Phillips

Veronica Collins New York +1 212 940 1252

Tobias Sirtl Director +44 20 7318 4095

Sarah Mudge Head of Part II New York +1 212 940 1259

Alex W. Smith New York +1 212 940 1276

Roxana Bruno New York +1 212 940 1229

Anne Huntington New York +1 212 940 1210

Sara Davidson New York +1 212 940 1262

Arianna Jacobs London + 44 20 7318 4054

Derrick Mead New York +1 212 940 1272

George O’Dell London +44 20 7318 4040

Maria Bueno New York +1 212 940 1261

Steve Agin (Consultant) +1 908 475 1796

Peter Flores New York +1 212 940 1223

Balthasar de Pury (Consultant) Geneva +41 79 250 86 81

(Uli) Zhiheng Huang New York +1 212 940 1288 Eugenia Ballve New York +1 212 940 1303

Chairman London

Anthony McNerney Head of Evening Sale London +44 20 7318 4067

Rodman Primack London +44 20 7318 4017

Peter Sumner Head of Day Sale London +44 20 7318 4063 Laetitia Catoir London + 44 207 318 4064

Managing Directors

Silke Taprogge London +44 20 7318 4012

Finn Dombernowsky London +44 20 7318 4034

Ivgenia Naiman London +44 20 7318 4071

Charlie Horne New York +1 212 940 1292

Fiona Biberstein London +44 20 7318 4013 Siobhan O’Connor London +44 20 7318 4093

Business Development

Catherine Higgs London +44 20 7318 4089

Alexander Gilkes New York +1 212 940 1398

Raphael Lepine London +44 20 7318 4078 Tanya Tikhnenko London +44 20 7318 4065

Executive Assistant to Simon de Pury

Sarah Buchwald London +44 20 7318 4085

Helen Rohwedder London +44 20 7318 4042

Phillippa Willison London +44 20 7318 4070 Executive Assistant to Bernd Runge Jewelry

Johanna Frydman London +44 20 7318 4024

Nazgol Jahan Worldwide Director +1 212 940 1283 Carolin Goetze Geneva +41 22 906 80 00

Private Sales

Carmela Manoli New York +1 212 940 1302

Christina Scheublein New York +1 212 940 1248

Heather Zises New York +1 212 940 1290 Lane Mclean London +44 20 7318 4032 Veronica Lota Geneva +41 22 906 80 05

Press and Public Relations Ariel Childs Head London +44 20 7318 4028 Cécile Demtchenko Paris +33 1 42 78 67 77

Contemporary Jewelry Alia Varsano Worldwide Director +1 212 940 1293

Exhibitions

Rachel Mattes New York +1 212 940 1285

London +44 20 7318 4023 New York +1 212 940 1301

Design

International Specialists and Representatives

Alexander Payne Worldwide Director +44 20 7318 4052

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

Marcus Tremonto New York +1 212 940 1268

Olivier Vrankenne Brussels & Paris +32 486 43 43 44

Alex Heminway Director New York +1 212 940 1269

Leonie Moschner Paris +33 6 85 53 92 03

Tara DeWitt New York +1 212 940 1265

Tamara Corm Paris & London +33 6 75 07 04 71

Meaghan Roddy New York +1 212 940 1266

Ivgenia Naiman London +44 20 7318 4071

Stephanie Abraitis New York +1 212 940 1268

Brooke de Ocampo London +44 777 551 7060

Ben Williams London +44 20 7318 4027

Laura Garbarino Milan +39 339 478 9671

Domenico Raimondo London +44 20 7318 4016

Eugenia Bertele Milan +39 02 3651 9342

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 Mimi Won Techentin Los Angeles +1 310 600 9192

Photographs

Maya McLaughlin Los Angeles +1 323 791 1771

Charlie Scheips Worldwide Director +1 212 940 1244

Tatiana Beliaeva Moscow +7 985 969 9292

Vanessa Kramer New York +1 212 940 1243

Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804

Caroline Shea New York +1 212 940 1247

Lulu Al-Sabah Dubai +44 77 9518 8878

Sarah Krueger New York +1 212 940 1245

Samia Saleh Dubai +971 4 347 9090

Kelly Padden London +44 20 7318 4018

Lydia Limmerick Dubai +44 79 2048 1110

Ben Adams London +44 20 7318 4077 Alexandra Bibby London +44 20 7318 4087 Helen Hayman London +44 20 7318 4092

SATURDAY@PHILLIPS

Auction

Director

Saturday April 25 2009 at Noon

Tobias Sirtl London +44 20 7318 4095

Viewing

Cataloguer

Tuesday April 21 10am - 6pm

Arianna Jacobs London +44 20 7318 4054

Wednesday April 22 10am - 6pm Thursday April 23 10am - 8pm

Administrators

Friday April 24 10am - 6pm

Anne Huntington New York +1 212 940 1210

Saturday April 25 opens 9am

George O’Dell London +44 20 7318 4040

Viewing & Auction Location

Specialist Contemporary & Urban Ar t

450 West 15 Street New York NY 10011

Alex W. Smith New York +1 212 940 1276

Sale Designation

Toy Ar t

In sending written bids or making enquiries please

Steve Agin (Consultant) New York +1 908 475 3524

refer to this sale as NY000109 or Saturday@Phillips.

Watches Catalogues $40 / £20 at the Gallery

Balthasar de Pury (Consultant) Geneva +41 79 250 86 81

Catalogue Subscriptions

Proper ty Manager

Allyson Melchor +1 212 940 1240 +44 20 7318 4039

Rob Weingart New York +1 212 940 1241

catalogues@phillipsdepury.com Absentee and Telephone Bids Client Services +1 212 940 1200

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

Principal Auctioneer Simon de Pury 0874341

Client Accounting Sylvia Leitao New York +1 212 940 1231

Auctioneers

Barbara Doupal New York +1 212 940 1232

Aileen Agopian 1199037

Nicole Rodriguez New York +1 212 940 1235

Christina L. Floyd 1238278 Sarah Mudge 1301805

Shipping

Alexander Gilkes 1308958

Beth Petriello New York +1 212 940 1373

E-mail Addresses

Photography

All Phillips de Pury & Company e-mails are

Jen Fong and Kent Pell

first initial and last name @phillipsdepury.com (e.g., tsirtl@phillipsdepury.com)

Cover Cynthia Rowley & Bill Powers photographed

www.phillipsdepury.com

by Dean Kaufman

PHILLIPS de PURY & COMPANY

Chairman

Advisory Board

Simon de Pury

Maria Bell Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Lapo Elkann Ben Elliot

Senior Par tners

Lady Elena Foster

Michael McGinnis

H.I.H. Francesca von Habsburg

Dr. Michaela Neumeister

Marc Jacobs Malcolm McLaren

Par tners

Ernest Mourmans

Aileen Agopian

Aby Rosen

Sean Cleary

Christiane zu Salm

Diego McDonald

Princess Gloria von Thurn und Taxis

Alexander Payne

Jean Michel Wilmotte

Rodman Primack

Anita Zabludowicz

Olivier Vrankenne Tiffany Wood

WORLDWIDE OFFICES

NEW YORK

MUNICH

450 West 15 Street New York NY 10011 USA

Maximiliansplatz 12a 80333 Munich Germany

+1 212 940 1200 +1 212 924 5403 fax

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

LONDON

BERLIN

Howick Place London SW1P 1BB United Kingdom

Auguststrasse 19 10117 Berlin Germany

+44 20 7318 4010 +44 20 7318 4011 fax

Rolf Moritz Estermann Natalia Kazmierczak +49 30 880 018 42 +49 30 880 018 43 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

S AT U R D AY AUCTION OF CONTEMPORARY & URBAN ART, PHOTOGRAPHS, DESIGN, TOY ART

NEW YORK APRIL 25 2009

SATURDAY @ PHILLIPS APRIL 25 2009 N E W YO R K NY000109

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

C Y N T H I A ROW L E Y & B I L L P OW E R S SEBASTIEN MONTABONEL

CLAUDE GRUNITZKY