contemporary art part ii new york, may 15 2009

MAY 14 & 15 2 0 0 9 N EW YO R K

C O N T E M PO R A R Y A R T

PART I ICONTEMPORARY ART

MAY 15 2 0 0 9 10am NEW YORK

LOTS 101-303

Viewing

Tuesday May 5 10am – 6pm

Wednesday May 6 10am – 6pm

Thursday May 7 10am – 6pm

Friday May 8 10am – 6pm

Saturday May 9 10am – 6pm

Sunday May 10 12pm – 6pm

Monday May 11 10am – 6pm




101 SYLVIE FLEURY b. 1961

Garbage Can, 2003

24-karat gold leaf on steel. 14 x 12 x 9 3/4 in. (35.6 x 30.5 x 24.8 cm). Stamped with

initials and date “SF 2003” and numbered of 25 on the underside. This work is

from an edition of 25.

Estimate $10,000-15,000

PROVENANCE Published by Art-Tech, New York; Private collection, New York

EXHIBITED New York, Kathleen Cullen Fine Arts, Luxury Goods: Retail Therapy,

May 30 – June 24, 2006 (another example exhibited); Houston, McClain Gallery,

Small Works, November 2008 – January 2009 (another example exhibited)

102 NOBUYOSHI ARAKI b. 1940

Flowers, 1985

RP direct print flush-mounted to acrylic panel. 60 1/2 x 40 1/2 in. (153.7 x 102.9

cm). Signed “Nobuyoshi Araki” on the reverse. This work is accompanied by a

certificate of authenticity signed by the artist. Printed in 2008.

Estimate $15,000-20,000

PROVENANCE Yoshii Gallery, New York; Private collection

LITERATURE N. Araki, Araki, Cologne, 2002, p. 4 & back cover (illustrated); N.

Araki, Araki by Araki—The Photographer’s Personal Selection, Tokyo, 2003, p. 193

(illustrated); N. Araki, Self, Life, Death, London, 2005, p. 176 (illustrated); N. Araki,

The Works of Nobuyoshi Araki, Vol. 17: Sensual Flowers, Tokyo, 1997, p. 5

(illustrated)

103 WALEAD BESHTY b. 1976

New York, New York, 2006

24-karat gold-plated steel, nickel and cast acrylic with a gold-plated metal and

plywood, hardwood veneer and felt base in two parts. 52 x 19 1/2 x 18 1/4 in.

(132.1 x 49.5 x 46.4 cm) overall. This work is from an edition of three.

Estimate $20,000-30,000

PROVENANCE Wallspace, New York; Private collection, New York

EXHIBITED New York, Wallspace, The Maker and the Model, September 2006

(another example exhibited)

LITERATURE D. Velasco, “Walead Beshty: Wallspace,” Artforum International,

XLV no. 4, December 2006, p. 310 (illustrated)

This work is based on a work of Man Ray, entitled New York 1917,

which was comprised of a single tower of wooden strips held

with a c-clamp.

EXTEND TO FULL BLEED??

104 KELLEY WALKER b. 1969

Untitled (Car Crash), 2006

Digital print and chocolate on canvas. 16 x 25 7/8 in. (40.6 x 65.7 cm).

Estimate $20,000-30,000

PROVENANCE Galerie Catherine Bastide, Brussels

PROPERTY SOLD TO BENEFIT THE ART PRODUCTION FUND, NEW YORK

105 DAN COLEN b. 1979

To Be Titled (Birdshit Triptych), 2007

Oil on canvas in three parts. (i) 28 1/4 x 21 3/4 in. (71.8 x 55.2 cm);

(ii) 20 1/4 x 15 7/8 in. (51.4 x 40.3 cm); (iii) 28 1/2 x 22 3/8 in. (72.4 x 56.8 cm).

Each signed and dated “Daniel Colen 2007” on the overlap.

Estimate $40,000-60,000

PROVENANCE Peres Projects, Los Angeles/Berlin

LITERATURE M. Coomer, “Last Attraction Next Exit,” Modern Painters 98,

Summer 2007

(i) (ii) (iii)

106 RAYMOND PETTIBON b. 1957

No title (I loved not yet…), circa 2000s

Ink and watercolor on paper. 14 x 11 in. (35.6 x 27.9 cm). Signed “Raymond

Pettibon” on the reverse.

Estimate $8,000-12,000

PROVENANCE Acquired directly from the artist

107 RAYMOND PETTIBON b. 1957

No title (Noticing the wave…), 1998

Ink and watercolor on paper. 14 x 11 in. (35.6 x 27.9 cm). Signed and dated

“Raymond Pettibon 1998” on the reverse.

Estimate $10,000-15,000


108 MATTHEW BARNEY b. 1967

Cremaster 3: Entered Novitiate, 2002

C-print in the artist’s acrylic frame. 54 x 44 in. (137.2 x 111.8 cm) overall. Signed

and dated “Matthew Barney 02” and branded with the Cremaster 3 logo on the

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

Estimate $30,000-40,000

PROVENANCE Barbara Gladstone Gallery, New York

EXHIBITED New York, Solomon R. Guggenheim Museum, Matthew Barney

Cremaster 3, June 19-24, 2002 (alternate format exhibited)

LITERATURE N. Spector, Matthew Barney: The Cremaster Cycle, New York,

2002, p. 512

109 PAUL McCARTHY b. 1945

Masks (Small), from the Propo series, 1994

Portfolio of seven c-prints. 20 x 15 7/8 in. (50.8 x 40.3 cm) each. Each signed and

dated “Paul McCarthy 1994” and numbered of nine on the reverse. This work is

from an edition of nine plus four artist’s proofs.

Estimate $35,000-45,000

PROVENANCE Patrick Painter Editions, Hong Kong

EXHIBITED New York, Lehmann Maupin Gallery, Patrick Painter Editions, October

18 – November 15, 1997 (another example exhibited); Cleveland, Cleveland Center

for Contemporary Art, In Sequence: Selections from the Metropolitan Bank & Trust

Photography Collection, May 19 – August 9, 1998 (another example exhibited); New

York, Nyehaus, Paul McCarthy: Between Beauty and the Beast, October 28 –

December 30, 2006 (another example exhibited)

LITERATURE P. McCarthy & F. Nilson, Propo, Milan/New York, 1999,

n.p. (illustrated)

110 SUE WILLIAMS b. 1954

Portrait of the Artist as a Young Woman with an Eating Disorder, 2001

Oil on canvas. 19 7/8 x 15 7/8 in. (50.5 x 40.3 cm). Signed, titled and dated “Sue

Williams 2001 Portrait of the Artist as a Young Woman with an Eating Disorder”

on the reverse.

Estimate $12,000-18,000


111 NATE LOWMAN b. 1979

Untitled (President), 2006

Acrylic and the artist’s blood on canvas. 16 x 12 in. (40.6 x 30.5 cm). Signed

and dated “Nate Lowman 06” on the overlap.

Estimate $15,000-25,000

PROVENANCE Ileana Tounta Contemporary Art, Athens

EXHIBITED Athens, Ileana Tounta Contemporary Art, Dark Victory, April 19 –

July 30, 2007

LITERATURE D. Antonitsis, Dark Victory, Athens, 2007, p. 28 (illustrated);

A. Koroxenidis, “Art Which Reappraises Society,” Kathimerini (English edition),

May 30, 2007

The image of the present lot derived from the winning entry in a

nationwide contest for school children to produce a portrait of

former President Ronald Reagan. The winner was a Puerto Rican

student, which goes some length toward explaining the single-

starred flag—Boricua meets America’s preeminent celebucrat.

Nate Lowman scanned and altered that image and finally reprinted

the portrait on canvas, adding his own blood to the acrylic

composition, altering the innocently intended original with a

complex critical stance. Although Reagan enjoyed high approval

ratings while in office, his legacy has been radically revised in light

of the fallout of economic policy he championed—Untitled

(President) is a pitch-perfect mirror of our times.

112 YAYOI KUSAMA b. 1929

Infinity Nets, 1991

Acrylic on canvas. 36 x 23 3/4 in. (91.4 x 60.3 cm). Signed and dated “Yayoi

Kusama [in English and Japanese] 1991” on the reverse. This work is

accompanied by the Yayoi Kusama Studio artwork registration card.

Estimate $35,000-45,000

PROVENANCE Private collection, Japan

113 SARAH MORRIS b. 1967

1984 [Rings], 2006

Household gloss paint on canvas. 60 x 60 in. (152.4 x 152.4 cm). Signed, titled

and dated “S Morris ‘1984 [Rings]’ 2006” on the reverse.

Estimate $40,000-60,000

PROVENANCE Friedrich Petzel Gallery, New York

EXHIBITED New York, Friedrich Petzel Gallery, Sarah Morris: Robert Towne, Ring

Paintings, and Origami, February 16 – March 17, 2007

LITERATURE “Sarah Morris,” The New Yorker, March 19, 2007

114 RYAN McGINNESS b. 1971

MKUltra, 2006

Acrylic on wooden panel. 48 in. (121.9 cm) diameter. Signed, titled and dated

“Ryan McGinness ‘MKUltra’ 2006” on the reverse.

Estimate $25,000-35,000

PROVENANCE Deitch Projects, New York


Arab Cadillac Generator, 2006

Acrylic on wooden panel. 48 in. (121.9 cm) diameter. Signed, titled and dated

“Ryan McGinness ‘Arab Cadillac Generator’ 2006” on the reverse.

Estimate $25,000-35,000

PROVENANCE Deitch Projects, New York

LITERATURE J. Schumacher, ed., Ryan McGinness Works, New York, 2009,

p. 175 (illustrated)

114

115

116 NAM JUNE PAIK 1932-2006

Hello, Elephant, 2000

Television monitor, cast bronze, carved wood, steel and plastic umbrella and

electrical fittings. 51 1/2 x 35 x 35 in. (130.8 x 88.9 x 88.9 cm). Signed “Paik” on the

umbrella.

Estimate $30,000-40,000

PROVENANCE Art & Public, Geneva

EXHIBITED New York, The Solomon R. Guggenheim Museum, The Worlds of

Nam June Paik, February 11 – April 26, 2000; Pittsburgh, Wood Street Galleries,

Nam June Paik, June 6 – July 28, 2001

117 JIM HODGES b. 1957

Wandering, 2003

Lampworked glass. 10 x 21 1/2 x 3 in. (25.4 x 54.6 x 7.6 cm). This work is unique

from a series of 25 plus six artist’s proofs.

Estimate $18,000-25,000

PROVENANCE Published by Lisa Ivorian Gray, New York for the New Museum

The ethereal Wandering presents a hybrid use of the lampworking

technique, with its anatomically accurate but still powerfully

expressive composition. The figural elements recall some of

Hodge's most enduring themes: spiderwebs and flowering

branches, suspended and abstracted from their natural context.

Another example from the Wandering series is in the collection

of the Tang Teaching Museum at Skidmore College, Saratoga

Springs, New York.

118 JENNIFER STEINKAMP b. 1958

Dervish 4, 2004

Video installation. Projection dimensions variable. This work is from an

edition of one plus one artist’s proof. Included with the work are the artist’s

installation instructions.

Estimate $25,000-35,000

PROVENANCE Lehmann Maupin, New York; Private collection, New York

EXHIBITED New York, Lehmann Maupin, Jennifer Steinkamp: Dervish, January

10 – February 1, 2004; Laramie, University of Wyoming Art Museum, Jennifer

Steinkamp: Dervish, September 16 – December 22, 2006 (another example

exhibited); Cairo, 11th Cairo Biennale and West Hollywood, MAK Center for Art

and Architecture, Jennifer Steinkamp: Dervish, December 20, 2008 – February 20,

2009 (another example exhibited)

LITERATURE M. Wilson, “Jennifer Steinkamp,” Frieze, issue 82, April 2004

Details of the present lot

119 TONY FEHER b. 1956

Probably Best Seen in a Dark Room with the T.V. On, 1999

Plastic drinking straws and nylon string. 39 x 42 1/4 x 1/4 in. (99.1 x 107.3 x .6 cm).

This work is accompanied by a certificate of authenticity signed by the artist.

Estimate $6,000-8,000

PROVENANCE D’Amelio Terras, New York

EXHIBITED Andover, Phillips Academy, Addison Gallery of American Art,

Probably best seen in a dark room with the T.V. on, April 10 – May 23, 1999

120 SHAAN SYED b. 1975

And When You’re (Really) High No. 2, 2007

Oil on canvas. 73 x 64 in. (185.4 x 162.6 cm). Signed, titled and dated “Shaan

Syed ‘And When You’re (Really) High No. 2’ 2007” on the reverse.

Estimate $10,000-15,000

PROVENANCE Brown, London

EXHIBITED London, Brown, Shaan Syed: Arena, November 24, 2007 – January 12, 2008

119

120

121 RIRKRIT TIRAVANIJA b. 1961

Roller: Cinéma De Ville, 1998

Nylon tent with steel zippers, collapsible aluminum and cane poles, acrylic guy

lines and plastic hardware, four dual-density foam mats, and one DVD

(ten minute looped duration). Installation dimensions variable; 32 x 132 x 204 in.

(81.3 x 335.3 x 518.2 cm) as illustrated. Signed and titled “R. Tiravanija Roller

Cinéma De Ville” on the DVD.

Estimate $15,000-20,000

PROVENANCE Galerie Chantal Crousel, Paris

122 SEAN LANDERS b. 1962

Envy, 2001-2002

Oil on canvas in two parts. Striped element: 48 3/8 x 59 in. (122.9 x 149.9 cm); text

element: 43 x 37 in. (109.2 x 94 cm). Striped element: signed, titled and dated

“Sean Landers ‘Envy’ 2002” on the reverse; text element: signed, titled and

dated “‘Envy’ ©2001 Sean Landers” lower right.

Estimate $40,000-60,000

PROVENANCE Rebecca Camhi Gallery, Athens

EXHIBITED Athens, Rebecca Camhi Gallery, Sean Landers, March 13 – May 10, 2002

123 PETER HALLEY b. 1953

Bad Read, 1997

Acrylic, DayGlo®, pearlescent and metallic acrylic and Roll-a-Tex® on canvas.

75 x 74 in. (190.5 x 188 cm). Signed and dated “Peter 1997” twice on the reverse.

Estimate $80,000-120,000


LITERATURE C. Reynolds, ed., Peter Halley: Maintain Speed, New York, 2000,


124 DAMIEN HIRST b. 1965

Bisphenol A, 1995

Gloss household paint on canvas. 10 x 9 in. (75.4 x 22.9 cm).

Estimate $100,000-150,000

PROVENANCE White Cube, London

EXHIBITED Santa Monica, Ikon Ltd., Selected Works, October 1-29, 2005

Damien Hirst’s Pharmaceutical paintings are sometimes, as things

turn out, remarkably attractive warning labels. In 1995, when the

present lot was painted, the present-day household-name chemical

BPA, short for Bisphenol A, was just another plastics additive,

making its way without comment into nearly every canned or

plastic-bottled product produced worldwide. In his ongoing effort

to represent what he has described as “universal themes,” some

have been uncovered in unlikely places, but perhaps none quite so

humble and workaday as the kitchen cupboards and refrigerators

of all our homes. When Nalgene®, a subsidiary of Thermo Fisher

Scientifics, Inc., announced its ubiquitous polycarbonate water

bottles would henceforth be free of BPA in the spring of 2008, it

was front-page news; today nearly all high-end food-grade plastics

manufacturers now prominently feature “PBA-Free” on their

packaging and literature, and there are dozens of websites, blogs,

and advocacy groups dedicated to informing consumers about the

additive and its implications. Hirst’s Bisphenol A is a clear case for

the artist’s argument that science is, in fact, an art.

Amid growing concern, Rep. John Dingell (D–Mich.) chairman of

the House Committee on Energy and Commerce, has launched an

investigation into BPA, sending letters last month to the FDA and

seven manufacturers of infant products sold in the U.S. requesting

information on any BPA safety tests as well as specific levels in

the baby goods. The companies that make Similac, Earth’s Best

and Good Start have already responded, confirming that they coat the

inside of their cans with BPA but that analyses did not detect

it in the contents. They also emphasize that FDA has approved BPA

for such use.

“Based on the studies reviewed by FDA, adverse effects occur in

animals only at levels of BPA that are far higher orders of magnitude

than those to which infants or adults are exposed,” says FDA

spokeswoman Stephanie Kwisnek. “Therefore, FDA sees no reason to

ban or otherwise restrict the uses now authorized at this time.”

from D. Biello, “Plastic (Not) Fantastic: Food Containers Leach a

Potentially Harmful Chemical,” Scientific American (online

content), February 18, 2008


Pharmaceutical Wall Painting, Five Blacks, 1993

150 tins of enamel paint with 150 brushes and a compass in a wooden crate.

Installation dimensions variable. This work is accompanied by a certificate of

authenticity signed by the artist. This work is from an edition of ten plus two

artist’s proofs; each work in the edition is comprised of a unique combination

of colors.

Estimate $40,000-60,000

PROVENANCE Tanya Bonakdar Gallery, New York

EXHIBITED New York, Museum of Modern Art, Color Chart: Reinventing Color,

1950 to Today, March – May 2008 (another example exhibited)

LITERATURE J. Schellmann, ed., Wall Works: Wall Installations in Editions, New

York, 1993, p. 54 (illustrated); D. Hirst, I want to spend the rest of my life everywhere,

one to one, always, forever, now, London, 1997, p. 246; J. Schellmann, ed., Wall

Works: Site-Specific Wall Installations, New York/Munich, 1999, pp. 90-93

(illustrated)

126 JIM LAMBIE b. 1964

Kebabylon, 2002

Hairbands and fabric-backed adhesive tape. Installation dimensions variable;

54 x 39 3/4 x 39 3/8 in. (137.2 x 101 x 100 cm). This work is accompanied by a

certificate of authenticity.

Estimate $30,000-40,000

PROVENANCE The Breeder, Athens

EXHIBITED Athens, The Breeder, Jim Lambie, October 17, 2002 – January 10,

2003; Edinburgh, Inverleith House, Royal Botanic Garden, Jim Lambie: Kebabylon,

January 25 – March 23, 2003

LITERATURE J. Thatcher, “Jim Lambie: Kebabylon,” Contemporary, issue 50, April

2003

127 KELLEY WALKER b. 1969

I See Skull & Bones, 2004

Mirrored acrylic in four parts. 87 3/4 x 93 in. (222.9 x 236.2 cm) overall. This work

is accompanied by a certificate of authenticity signed by the artist.

Estimate $80,000-120,000

PROVENANCE Paula Cooper Gallery, New York

EXHIBITED New York, Paula Cooper Gallery, Last One On Is a Soft Jimmy,

November 6 – December 18, 2004

LITERATURE Y. Aupetitallot, Kelley Walker, Zurich, 2007, p. 41 (illustrated)


Happy Head, 2007

Gloss household paint on resin skull with metal hardware. 7 x 4 1/2 x 6 1/8 in.

(17.8 x 11.4 x 15.6 cm). Signed “Damien Hirst” on the back of the skull.

This work is from a series of 20 unique Happy Heads.

Estimate $60,000-80,000

PROVENANCE Other Criteria, London

129 ANSELM REYLE b. 1970

Untitled, 2007

Bronze with chrome enamel finish and makassa wood plinth. Bronze:

13 1/2 x 11 x 5 1/4 in. (34.3 x 27.9 x 13.3 cm); plinth: 47 1/4 x 11 3/4 x 11 3/4 in.

(120 x 29.8 x 29.8 cm).

Estimate $70,000-90,000

PROVENANCE Gavin Brown’s enterprise, New York; Private collection, Europe

130 MARILYN MINTER b. 1948

Raspberry, 2005

C-print. 36 x 50 in. (91.4 x 127 cm). This work is from an edition of five.

Estimate $18,000-25,000

PROVENANCE Donated by the artist to Charles Cowles Gallery, New York,

ACRIA Benefit Auction, Unframed, May 20, 2008

131 SARAH MORRIS b. 1967

Kiss, 1996

Household gloss paint on canvas. 58 x 96 in. (147.3 x 243.8 cm). Signed, titled

and dated “S Morris ‘Kiss’ ‘96” on the overlap.

Estimate $35,000-45,000


132 SHARON CORE b. 1965

Bakery Counter, 2004

C-print. 55 x 72 in. (139.7 x 182.9 cm). Signed and dated “Sharon Core 2004” and

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

Estimate $12,000-18,000

PROVENANCE Bellwether, New York

LITERATURE M. Egan, “Cake Masters,” The New York Times, March 28, 2004; TJ

Demos, Vitamin Ph: New Perspectives in Photography, London, 2006, p. 60

133 SHARON CORE b. 1965

Pies, Pies, Pies, 2003

C-print. 20 1/4 x 30 1/4 in. (51.4 x 76.8 cm). Signed and dated “Sharon Core 2003”

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

Estimate $7,000-9,000

PROVENANCE Bellwether, New York

EXHIBITED New York, Bellwether, Sharon Core: Thiebauds, February 13 –

March 22, 2004

LITERATURE A. Robinson, “Sharon Core,” Gay City News (online content),

February 2004; M. Egan, “Cake Masters,” The New York Times, March 28, 2004; TJ

Demos, Vitamin Ph: New Perspectives in Photography, London, 2006, p. 60

132

133

134 WILL COTTON b. 1965

Cotton Candy Cloud—Sandra, 2005

Oil on linen. 60 x 80 in. (152.4 x 203.2 cm). Signed, titled and dated “Will Cotton

Cotton Candy Cloud—Sandra 2005” on the reverse.

Estimate $40,000-60,000

PROVENANCE Michael Kohn Gallery, Los Angeles

EXHIBITED Los Angeles, Michael Kohn Gallery, Will Cotton: Paintings and Works

on Paper, November 4 – December 21, 2005

LITERATURE S. N. Dambrot, “Will Cotton, Michael Kohn Gallery,” Modern

Painters, February 2006

135 JULIA JACQUETTE b. 1964

Women: Worried, Sad (Self-portrait with Mother) , 2003

Oil on linen. 30 x 30 in. (76.2 x 76.2 cm). Signed, titled and dated “Julia

Jacquette Women: Worried, Sad (Self-portrait with Mother) 2003” on the

reverse.

Estimate $8,000-12,000

PROVENANCE Private collection, New York

136 BILLY SULLIVAN b. 1946

Missy and Nathan, 2002

Oil on canvas. 21 x 30 in. (53.3 x 76.2 cm). Signed and dated “Billy Sullivan 2002”

on the reverse.

Estimate $8,000-12,000

PROVENANCE Private collection, New York

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136

137 MUNTEAN/ROSENBLUM b. 1962

Untitled (But Mostly There Was…), 2002

Acrylic on canvas. 79 1/4 x 117 1/4 in. (201.3 x 297.8 cm). Signed and dated

“Mun/Ros. 02” on the reverse.

Estimate $30,000-40,000

PROVENANCE Maureen Paley, London

EXHIBITED León, Museo de Arte Contemporáneo de Castilla y León, September

23, 2006 – January 7, 2007; Leipzig, Galerie für Zeitgenössische Kunst, July 13 –

October 7, 2007; Barcelona, Centre d’Art Santa Mònica, November 6 – December

3, 2007: Make death listen

LITERATURE L. Bovier, D.R.D. Roncero, & A.P. Rubio, eds., Make death listen,

Zurich, 2006, p. 27 (illustrated); C. Mullins, Painting People: Figure Painting Today,

New York, 2006, p. 57; G. Coulter-Smith, “Abstraction, Genius and the Decline of

Painting,” artintelligence (online content), May 30, 2008 (illustrated)

138 CHRISTOPH SCHMIDBERGER b. 1974

I Am Open For Everything, Don’t Get Me Wrong, 2005

Oil on canvas. 70 3/4 x 51 in. (179.7 x 129.5 cm). Signed and dated “Christoph

Schmidberger 2005” three times on the overlap.

Estimate $20,000-30,000

PROVENANCE Goff + Rosenthal, New York

139 MARTIN EDER b. 1968

Verbrenne die Brücken (Burn Bridges), from the Images of the Human

Body series, 2002

Oil on canvas laid on board. 51 3/8 x 39 3/8 in. (130.5 x 100 cm). Signed and

dated “Martin Eder 2002” lower left.

Estimate $70,000-90,000

PROVENANCE Private collection, Germany

EXHIBITED Lingen, Kunstverein Lingen Kunsthalle, Martin Eder: Die Kalte Kraft,

August 15 – October 10, 2004

LITERATURE M. Eder, T. Girst & H. Schepers, Martin Eder: Die Kalte Kraft,

Ostfildern, 2004, p.62 & p.148 (illustrated)

140 McDERMOTT & McGOUGH b. 1952 and 1958

The Queen of Outer Space 1960, 2006

Oil on canvas. 60 x 48 in. (152.4 x 121.9 cm). Signed “McDermott & McGough”

lower right.

Estimate $40,000-60,000

PROVENANCE Acquired directly from the artists

141 ED PASCHKE 1939-2004

Santa Caballo, 1988

Oil on linen. 50 x 78 in. (127 x 198.1 cm). Signed and dated “E. Paschke ‘88” lower

left; signed, titled and dated “Ed Paschke ‘Santa Caballo’ ‘88” on the strainer.

Estimate $50,000-70,000

PROVENANCE Phyllis Kind Gallery, Chicago

EXHIBITED Paris, Musee National d’art Moderne, Centre Georges Pompidou,

December 13, 1989 – February 11, 1990; Dallas, The Dallas Museum of Art, May 13

– July 15, 1990; Chicago, The Art Institute of the Chicago, October 10, 1990 –

January 2, 1991: Ed Paschke: Paintings

LITERATURE “Ed Paschke,” Artforum International, XXVII, no. 2; October 1988,

(illustrated); N. Benezra, Ed Paschke, NewYork, 1990, p. 58 (illustrated)

142 DANA SCHUTZ b. 1976

Chris’s Rubber Soul, 2001

Oil on canvas. 42 1/8 x 47 1/4 in. (107 x 120 cm). Signed and dated “Dana Schutz

2001” on the reverse.

Estimate $80,000-120,000

PROVENANCE Zach Feuer Gallery (LFL), NewYork

EXHIBITED NewYork, Zach Feuer Gallery (LFL), Holly Coulis and Dana Schutz,

January 11 – February 16, 2002

LITERATURE R. Smith, “Art in Review: Holly Coulis/Dana Schutz,” The New York

Times, February 8, 2002; M. Dailey, “Laying it on Thick,” Artforum International,

April 2004; J. Lenhart, “Dana Schutz,” Tampa Bay and Beyond (online content),

November 15, 2007; A. Field, Rubber Soul, Ungovernable Press, 2008 (detail

illustrated as cover)

I decided against it [fictionalizing] because I felt it was more

interesting and more uncomfortable for me to have to stand behind

these paintings and my decision to paint them in the way that I

chose to. I also started painting objects that would wash up from the

world: things that would no longer have a clear function if they were

broken, like a record player. What then does that object become?

Does it acquire another function? I usually want a starting point to

make a painting. Whether it’s an invented framework, or a situation

in the world.

D. Schutz, from an interview with M. Chin, Bomb, issue 95,

Spring 2006

A painting of a sculpture, Chris’s Rubber Soul ably encapsulates

Dana Schutz’s amalgamation of stylistic techniques, and provides a

window onto her subject-selection process.The image has the artist

recalling a period from her graduate work at Columbia University,

as with another 2001 oil on canvas, Project at Kensington: a

sculpture graveyard, where students put failed projects out to

pasture. Schutz’s work has been compared to late-period Guston,

and their shared qualities lie not just in bold, expressive brushwork

but also with a tendency to anthropomorphize inanimate objects.

The crab-like shape perched atop an elongated record spindle in

the present lot seems angled as if caught in mid-leap, a bounding

prairie arthropod.

143 RICHARD PRINCE b. 1949

Untitled (Head), 1997

Ink, Conté crayon, graphite and acrylic on paper in two parts. 22 x 16 in.

(55.9 x 40.6 cm) overall. Signed and dated “R Prince 1997” and inscribed

“To my friend Martin Kippenberger” lower right.

Estimate $15,000-20,000

PROVENANCE Barbara Gladstone Gallery, NewYork


Untitled (Head), 1996

Ink, Conté crayon, graphite, acrylic and watercolor on paper. 8 1/4 x 11 in.

(21 x 27.9 cm). Signed and dated “R Prince 1996” lower right.

Estimate $7,000-9,000


143

144

145 CINDY SHERMAN b. 1954

Untitled #124 A, 1983

Color photograph. 25 1/4 x 33 in. (64.1 x 83.8 cm). Signed and dated “Cindy

Sherman 1983” and numbered of 18 on the reverse.This work is from an

edition of 18.

Estimate $20,000-30,000

PROVENANCE Galerie Bob van Orsouw, Zurich

LITERATURE M. Schiavoni, “The Eye of Women,” Digimag 32 (online content),

March 2008

146 ROBERT GOBER b. 1954

Two works: Untitled, 1993-1994

Color coupler prints. 4 1/4 x 5 1/8 in. (10.8 x 13 cm) each. Signed and dated

“R. Gober ‘93-4” and numbered of 15 on the reverse. Each work is from an

edition of 15.

Estimate $18,000-25,000

PROVENANCE Paula Cooper Gallery, NewYork

145

146

147 SHARON ELLIS b. 1955

Morning, 1998

Alkyd on canvas. 40 x 30 in. (101.6 x 76.2 cm). Signed, titled, and dated “Sharon

Ellis Morning 1998” on the reverse.

Estimate $20,000-30,000

PROVENANCE Christopher Grimes Gallery, Santa Monica; Private collection,

NewYork

EXHIBITED Santa Monica, Christopher Grimes Gallery, Sharon Ellis: Times of the

Day, February 21 – April 3, 1999; Long Beach Museum of Art, Sharon Ellis, January

20 – April 21, 2002

LITERATURE H. Drohojowska-Philp, “Seeing the Light Within,” The Los Angeles

Times, February 21, 1999; M. Duncan, “Sharon Ellis at Christopher Grimes,” Art in

America, December 1999

148 NANCY GRAVES 1940-1995

Conjuncture, 1982

Bronze with polychrome patina. 72 x 28 x 25 in. (182.9 x 71.1 x 63.5 cm). Inscribed

with “N.S. Graves Conjuncture” on the underside of a leaf.

Estimate $20,000-30,000

PROVENANCE M. Knoedler & Co., NewYork

EXHIBITED NewYork, M. Knoedler & Co., Nancy Graves: New Sculpture, October

16 – November 11, 1982; NewYork, The Whitney Museum of American Art, Biennial

Exhibition: Painting, Sculpture, Photography, Installations, Film, Video, March 29 –

May 22, 1983

LITERATURE G. Glueck, “Art: Botanical Bronzes from Nancy Graves,” The New

York Times, October 22, 1982; E. A. Carmean, Jr., L. L. Cathcart, R. Hughes, & M. E.

Shapiro, The Sculpture of Nancy Graves: A Catalogue Raisonné, Manchester, 1987,

p. 95, no. 88 (illustrated)

147

148

149 SULING WANG b. 1968

Irrigation Plots, 2005

Oil and acrylic on canvas. 94 3/4 x 78 1/4 in. (240.7 x 198.8 cm). Signed and dated

“SulingWang [in English and Chinese] 2005” on the overlap.

Estimate $20,000-30,000

PROVENANCE Lehmann Maupin, NewYork; Private collection, NewYork

EXHIBITED NewYork, Lehmann Maupin, Suling Wang, September 8 – October 22, 2005

150 TILL GERHARD b. 1971

Transsylvania, 2006

Oil on canvas. 31 1/2 x 21 1/2 in. (80 x 54.6 cm). Initialed, titled and dated

“TGTranssylvania 2006” on the reverse.

Estimate $6,000-8,000

PROVENANCE Stellan Holm Gallery, NewYork

EXHIBITED NewYork, Stellan Holm Gallery, Till Gerhard—Black Nostalgia,

May 6 – June 24, 2006

149

150

152 NATE LOWMAN b. 1979

Untitled, 2008

Ink on canvas. 12 x 13 in. (30.5 x 33 cm).

Estimate $7,000-9,000

PROVENANCE United Artists, Ltd., Marfa

EXHIBITED Marfa, United Artists, Ltd., Nate Lowman, Agathe Snow and Aaron

Young, April 18 – August 31, 2008

LITERATURE L. Fitzpatrick, “Nate Lowman,” Interview (online content), January 2009

152

151 MATT GREENE b. 1971

AsTangible as Revelrie (Reverie), 2004

Encaustic and oil with graphite and ink on cut paper on canvas. 60 x 84 in.

(152.4 x 213.4 cm). Signed, titled and dated “M. Greene AsTangible as Revelrie”

on the reverse.

Estimate $12,000-18,000

PROVENANCE Peres Projects, Los Angeles

EXHIBITED Los Angeles, Peres Projects, Matt Greene: She Who Casts the Darkest

Shadow on Our Dreams, October 30 – December 18, 2004; Los Angeles, Hammer

Museum, Eden’s Edge: Fifteen LA Artists, May 13 – September 2, 2007

LITERATURE M. Kushner and R. Greene, Matt Greene: She Who Casts the Darkest

Shadow on Our Dreams, Los Angeles, 2004; J. Meyers, “Matthew Greene,” Frieze,

issue 89, March 2005; G. Garrels, Eden’s Edge: Fifteen LA Artists, Los Angeles,

2007; D. Walsh, “Exhibit shows the diversity of current L.A. artists,” The OC

Register, August 11, 2007

151

153 DAN COLEN b. 1979

The Awesome Power of Nature, 2006

Wood, canvas, oil, paper adhesive tape and metal hardware. 23 1/8 x 18 1/4 in.

(58.7 x 46.4 cm).

Estimate $15,000-20,000

PROVENANCE Gagosian Gallery, NewYork

EXHIBITED NewYork, Gagosian Gallery, Potty Mouth Potty War Pot Roast Pot Is a

Reality Kick, 2006

154 DASH SNOW b. 1981

Dreams Die Hard, 2006-2007

Cut printed paper collage. 13 3/8 x 10 1/4 in. (34 x 26 cm). Signed “Dash Snow” on

the reverse of the backing board.

Estimate $2,000-3,000

PROVENANCE Contemporary Fine Arts, Berlin

EXHIBITED Berlin, Contemporary Fine Arts, Dash Snow: The End of Living, The

Beginning of Survival, April 28 – June 23, 2007

LITERATURE P.K. Koch, “Dash Snow,” /100 (online content), July 2007

(illustrated); C. Lange, “Dash Snow,” Frieze (online content), September 12, 2007

153

154

155 YEHUDIT SASPORTAS b. 1969

The Forest’s Curtain, 2004

Felt-tipped ink marker on paper. 78 3/4 x 43 1/4 in. (200 x 109.9 cm). Signed and

dated “Yehudit Sasportas 2004” on the reverse.

Estimate $12,000-18,000

PROVENANCE Galerie Eigen + Art, Berlin/Leipzig

156 JULES DE BALINCOURT b. 1972

Untitled, 2006

Oil on board. 14 x 16 in. (35.6 x 40.6 cm).

Estimate $15,000-20,000

PROVENANCE Private collection, London

155

156

157 ANDRÉ BUTZER b. 1973

Heimkunft Nach N (Homecoming to N), 2006

Oil on canvas. 98 3/8 x 78 3/4 in. (249.9 x 200 cm). Signed “A. Butzer” upper right.

Signed, titled and dated “A. Butzer ‘Heimkunft Nach N’ ‘06” on the reverse.

Estimate $30,000-40,000

PROVENANCE Galerie Max Hetzler, Berlin

LITERATURE “Selected by the Stars,” The Art Newspaper, June 16, 17, 18,

2006 (illustrated)

158 HERNAN BAS b. 1978

Hope, 2004

Oil, graphite and photographic collage on board. 31 x 23 7/8 in. (78.7 x 60.6 cm).

Initialed and dated “HB 04” lower right and again on the reverse; titled “Hope”

on the reverse.

Estimate $50,000-70,000

PROVENANCE Sandroni.Rey, Los Angeles

EXHIBITED Los Angeles, Sandroni.Rey, Hernan Bas, October 1 – November 30, 2004

LITERATURE The Saatchi Gallery, eds., The Triumph of Painting, London, 2005, p.

320 (illustrated)

159 MARLENE DUMAS b. 1953

The Revenge of Echo, 2000

Oil on canvas. 15 3/4 x 19 5/8 in. (40 x 49.8 cm). Signed, titled and dated

“M DumasThe Revenge of Echo 2000” on the reverse.

Estimate $70,000-90,000

PROVENANCE Jack Tilton Gallery, NewYork

160 FRANCIS ALŸS b. 1959

The Last Clown, 2000

Black and white video projection and an acrylic and graphite work on paper.

Installation dimensions variable; video: 10 minute looped duration; drawing

10 7/8 x 13 7/8 in. (27.6 x 35.2 cm). Drawing signed “F. Alÿs” lower right and titled

“Study for ‘The Last Clown’” lower left.This work is from an edition of four.

Estimate $40,000-60,000

PROVENANCE Lisson Gallery, London

EXHIBITED Barcelona, Fundacio La Caixa, Francis Alÿs: The Last Clown, June –

July 2000 (another example exhibited)

LITERATURE D. G. Torres, ed., Francis Alÿs: The Last Clown, Barcelona, 2000; M.

Desilets, “Francis Alÿs: The Last Clown,” Parachute: Contemporary Art Magazine,

July 2000

Still from video

161 FRANCIS ALŸS b. 1959

Paisaje—Burro (Landscape—Donkey), 1992

Oil on found canvas. 10 3/8 x 13 in. (26.4 x 33 cm). Dated “1992” lower left; signed

and dated “Francis Alÿs 1992” on the reverse.

Estimate $80,000-120,000

PROVENANCE Galeria Ramis Barquet, NewYork; Private collection, NewYork

162 GABRIEL OROZCO b. 1962

Helicóptero (Helicopter), 2005

C-print. 16 x 20 in. (40.6 x 50.8 cm). Signed, titled and dated “Gabriel Orozco

Helicóptero 2005” and numbered of six on the reverse.This work is from an

edition of six.

Estimate $15,000-20,000

PROVENANCE kurimanzutto, Mexico City

EXHIBITED Mexico City, Museo del Palacio de Bellas Artes, Gabriel Orozco,

November 29, 2006 – February 26, 2007 (another example exhibited)

LITERATURE B. Buchloh, Museo del Palacio de Bellas Artes, eds., Gabriel

Orozco, Mexico City, 2006

163 GABRIEL OROZCO b. 1962

Araña enTepalcate (Spider on Ancient Plate), 2005

C-print. 16 x 20 in. (40.6 x 50.8 cm). Signed, titled and dated “Gabriel Orozco

Araña enTepalcate 2005” and numbered of six on the reverse.This work is from

an edition of six.

Estimate $15,000-20,000


164 ABRAHAM CRUZVILLEGAS b. 1968

La Providencia (The Providence), 2002

Soap, shell and stone beads, string and fiberglass and foam rubber fishing

pole. Installation dimensions variable; 96 x 71 x 54 in. (243.8 x 180.3 x 137.2 cm)

as illustrated.

Estimate $10,000-15,000

PROVENANCE Private collection, Miami

LITERATURE J. Scarborough, “Baby, Baby, Where Did Our Love Go?,” NY Arts

Magazine (online content), April 2003

MATCH WALL COLOR WITHOPPOSITE

165 JUAN MUÑOZ 1953-2001

Untitled (Balcony), 1991

Steel, stained wood, galvanized screen and metal hardware. 28 x 41 1/2 x 14 in.

(71.1 x 105.4 x 35.6 cm).

Estimate $60,000-80,000

PROVENANCE Galerie Konrad Fischer, Düsseldorf

LITERATURE A. Melo, “Die Kunst Der Konversation,” Parkett, no. 43, 1995, p. 31

166 JENNY HOLZER b. 1950

Truism Footstool, 1988

Granite. 16 x 23 x 15 3/4 in. (40.6 x 58.4 x 40 cm).This work is from an edition of 40.

Estimate $25,000-35,000

PROVENANCE Published by Barbara Gladstone Gallery, NewYork for the

New Museum


American English (Karate is a Thing of the Spirit), 2005

Two hardcover books in a plywood case with Bondo®and acrylic. 42 1/2 x 23 x 17 in.

(108 x 58.4 x 43.2 cm) overall. Signed and dated “R. Prince 2005” beneath the

left book.

Estimate $80,000-120,000


LITERATURE G.B. Kvaran, Richard Prince: Canaries in the Coal Mine, Oslo, 2007,

p. 53; R. Prince, Richard Prince: America Goes To War…Swimming In The

Afternoon…, London, 2008, n.p.

168 LARRY BELL b. 1939

Cube #37, 2007

Colored glass coated with Inconel® and the artist’s acrylic glass pedestal.

Cube: 15 x 15 x 15 in. (38.1 x 38.1 x 38.1 cm); pedestal: 35 x 15 x 15 in.

(88.9 x 38.1 x 38.1 cm).

Estimate $20,000-30,000

PROVENANCE Danese, NewYork

EXHIBITED NewYork, Danese, Larry Bell: New Sculpture, September 7-29, 2007

169 KATJA STRUNZ b. 1970

Echo, 2005

Welded and powder coated steel in 12 parts. Installation dimensions variable;

123 x 86 x 16 1/4 in. (312.4 x 218.4 x 41.3 cm) as illustrated.

Estimate $30,000-40,000

PROVENANCE Gavin Brown’s enterprise, NewYork

EXHIBITED Pittsburgh, Carnegie Museum of Art, Life on Mars, May 3, 2008 –

January 11, 2009

LITERATURE D. Fogle, Carnegie Museum of Art, eds., Life on Mars, Pittsburg, 2008

170 ANDY WARHOL 1928-1987

Greco-Roman Figures, 1986

Six gelatin silver prints stitched with thread. 31 3/4 x 27 1/4 in. (80.6 x 69.2 cm)

overall. Signed and dated “AndyWarhol 86” on the reverse.This work is unique.

Estimate $40,000-60,000

PROVENANCE Cheim & Read, NewYork

EXHIBITED NewYork, Cheim & Reid, Andy Warhol, Edward Ruscha & Robert

Mapplethorpe: Three Catholics, April 29 – June 27, 1998; NewYork, The

International Center for Photography, Andy Warhol: Photography, January 11 –

March 18, 2001

LITERATURE H. Cotter, “A Tour Through Chelsea, the New Center of Gravity,”

The New York Times, May 15, 1998; W. V. Ganis, Andy Warhol’s Serial Photography,

London, 2004


Man on Motorcycle, 1982-1987

Four gelatin silver prints stitched with thread. 21 1/4 x 27 1/4 in. (54 x 69.2 cm)

overall. Stamped with the Estate and Foundation seals and numbered “FL05

.00068” on the reverse.This work is unique.

Estimate $25,000-35,000

PROVENANCE Galerie Bruno Bischofberger, Zurich

LITERATURE W. V. Ganis, Andy Warhol’s Serial Photography, London, 2004

173 MIKE BIDLO b. 1953

Not Warhol (Marilyn), 1984

Screenprint and felt-tipped ink marker on paper. 27 x 18 3/4 in. (68.6 x 47.6 cm).

Signed “Mike Bidlo” lower right.

Estimate $6,000-8,000

PROVENANCE Acquired directly from the artist; Private collection

EXHIBITED NewYork, Nathan A. Bernstein & Co., Ltd., East Meets West Pop, May 1 –

July 28, 2006

173

172 RICHARD PETTIBONE b. 1938

Andy Warhol (Marilyn), circa 1975

Synthetic polymer and silkscreen inks on canvas. 3 1/2 x 3 in. (8.9 x 7.6 cm).

Signed “Richard Pettibone” on the overlap.

Estimate $12,000-18,000

PROVENANCE OK Harris Works of Art, NewYork

172

Actual size

174 STURTEVANT b. 1926

Warhol Flowers, 1990

Synthetic polymer screenprint on paper. 50 3/4 x 50 3/4 in. (128.9 x 128.9 cm).

Signed and dated “Sturtevant ‘90” lower right; titled “‘Warhol Flowers’” lower left.

Estimate $20,000-30,000

PROVENANCE Private collection, NewYork

LITERATURE B. Hainley, “Erase and Rewind,” Frieze, issue 53, June – August 2000

175


Daisies, 1967-1971

Nine lenticular color photographs. 12 x 11 in. (30.5 x 27.9 cm) each. Each

stamped with the AndyWarhol Art Authentication Board, Inc. seal and

numbered “A150.999,” “A159.999,” “A161.999,” “A163.999,” A175.999,” “A182.999,”

“A185.999,” “A188.999” and “A190.999” respectively on the reverse.

Estimate $30,000-40,000


LITERATURE Tokyo Museum of Contemporary Art, eds., Andy Warhol 1956-1986:

Mirror of his Time, Tokyo, 1996, p. 183 (illustrated); M. Wrbican, “AndyWarhol:

A Documentary Film,” American Masters, (pbs.org online content), September 20, 2006

EXHIBITED Osaka, United States Pavilion, Expo ‘70, 1970 (other examples exhibited)

174

177

177 DENNIS ADAMS b. 1948

Patricia Hearst A thru Z, 1990

Portfolio of 26 two-color serigraphs with four printed text sheets in a galvanized

steel box. Each serigraph 20 x 16 in. (50.8 x 40.6 cm); 128 x 80 in. (325.1 x 203.2 cm)

overall. Signed and dated “D. Adams 90” and numbered of 30 on a title page.

This work is from an edition of 30.

Estimate $8,000-12,000

PROVENANCE Kent Fine Art, Inc., Kent, Connecticut

EXHIBITED New York, Alternative Museum, 1987; Munich, The Orangerie,

Englischer Garten, 1991; New York, Whitney Museum of American Art, Variations

on Themes: Recent Print Acquisitions, 1991; New York, International Center of

Photography, Special Collections: The Photographic Order from Pop to Now, 1992;

Lausanne, Deutsch Fondation; Evanston, Northwestern University, Block Gallery;

Tempe, Arizona State University Art Museum; Norfolk, Virginia, The Chrysler

Museum; Miami Beach, Bass Museum of Art; New York, The Museum at Stony

Brook; Lincoln, Nebraska, Vancouver Art Gallery, Sheldon Memorial Art Gallery:

1992; Pully/Lausanne, FAE Musée d’Art Contemporain; Torino, Castello di Rivoli,

Museo d’Arte Contemporanea; Athens, Deste Foundation for Contemporary Art;

Hamburg, Deichtorhallen: Post Human, June 1992 –, Hannover, Sprengel

Museum, Konstruktion Zitat: Kollektive Bilder in der Fotografie, 1993; Munich,

Stadtische Galerie im Lenbachhaus, American Art, 1996; New York, P.S.1

Contemporary Art Center, The Promise of Photography; Frankfurt, Schirn

Kunsthalle, a.M., 1999; New York, Museum of Modern Art, Open Ends/One Thing

After Another, 2001; Long Beach, University Art Museum; San Diego, Museum of

the Photographic Arts: Double Vision: Photographs from the Strauss Collection,

2001-2002 (another example exhibited in each case)

LITERATURE J. Bowsher, Patricia Hearst—A thru Z, Minneapolis, 1979; P.

D’Agostino, & L. Thomas, eds., Still Photography: the Problematic Model, San

Francisco, 1981, pp. 111-115; P. C. Phillips, Building Against Image 1979-1987, New

York, 1987; E. Leffingwell, & K. Marta, eds., Modern Dreams: The Rise and Fall and

Rise of Pop Art, New York/Cambridge/London, 1988, pp. 6, 9, 110-117; M. A.

Staniszewski, The Architecture of Amnesia, New York, 1990, pp 18-19; C.

Stainback, Special Collections: The Photographic Order from Pop to Now, New

York, 1992; F. Bex, Transactions, Antwerp, 1994, pp. 20-21; J. Deitch, Post Human,

Lausanne/Torino/Athens/Hamburg, 1992; T. Weski & S. Iglhaut, Konstruktion

Zitat: Kollektive Bilder in der Fotografie, Hannover, 1993; J. Fitch, Double Vision:

Photographs from the Strauss Collection, Long Beach, 2000; M. Flugge, & F.

Meschede, Warum, Berlin, 2003


Self-Portrait (Fright Wig), 1986

Polaroid® photograph. 4 1/8 x 3 3/8 in. (10.5 x 8.6 cm). Blindstamped with

“© Andy Warhol” lower right. Stamped with the Andy Warhol Art

Authentication Board, Inc. seal and numbered “A158.0410” on the reverse.

Estimate $8,000-12,000

PROVENANCE The Andy Warhol Foundation for the Visual Arts, Inc., New York;

Private collection, Europe

176


Four works: Untitled (Mother Goose, Santa, Mammy, and Dracula), 1978-79

Polaroid® photographs. 4 1/4 x 3 3/8 in. (10.8 x 8.6 cm) each except Mammy,

3 3/8 x 4 1/4 in. (8.6 x 10.8 cm). Each blindstamped “© AndyWarhol” in the lower

margin (except Mammy) and stamped with the AndyWarhol Art Authentication

Board, Inc. seal and numbered “A174.009” (Mother Goose), “A177.009” (Santa),

“A178.009” (Mammy), and “A174.009” (Dracula) on the reverse.These works are

each unique.

Estimate $12,000-18,000

PROVENANCE Estate of Rupert Jasen Smith, NewYork

Rupert [Jasen Smith] was back from being out looking for…pictures

for the New Myths series…(b)ut I think the best thing we decided to

do is have people come and dress up in the costumes and we’ll take

the pictures ourselves, because that way there’s no copyright to

worry about.

A.Warhol, The Andy Warhol Diaries, NewYork, 1989, pp. 333 & 354

178


Electric Chair, circa 1978

Screenprint on paper. 17 1/2 x 22 5/8 in. (44.5 x 57.5 cm). Stamped with “© Andy

Warhol” lower left; stamped with the Estate and Foundation seals and numbered

“VF UP47. 22” on the reverse.This work is unique.

Estimate $12,000-15,000

PROVENANCE The Andy Warhol Foundation for the Visual Arts, Inc., NewYork;

Paul Kasmin Gallery, NewYork


Ingrid Bergman (Herself), 1983

Screenprint on Lenox Museum board. 38 x 38 in. (96.5 x 96.5 cm). Stamped with

“© AndyWarhol 1983” on the reverse.This work is an artist’s proof from an

edition of 250 plus 20 artist’s proofs, five printer’s proofs, 30 hors commerce

proofs, and 30 trial proofs.

Estimate $18,000-25,000

PROVENANCE Galerie Börjeson, Malmö; Barrington Gallery of London Ltd.,

London

LITERATURE F. Feldman & J. Schellmann, Andy Warhol Prints: A Catalogue

Raisonné 1962-1987, NewYork, 2003, p. 135, II.313 (illustrated)


Still-life: Flowers and Fruit, circa 1957

Ballpoint pen on paper. 16 3/4 x 13 7/8 in. (42.5 x 35.2 cm).

Estimate $10,000-15,000


180

181

182 EDWARD RUSCHA b. 1937

Untitled (1/3), 2001

Acrylic and ink on printed security paper. 10 1/2 x 7 5/8 in. (26.7 x 19.4 cm). Signed

and dated “Ed Ruscha 2001” lower right.

Estimate $35,000-45,000

PROVENANCE EVO Gallery, Santa Fe

This work is to be included in a forthcoming volume of the artist’s

catalogue raisonné of works on paper.


Hammer and Sickle, 1978-79

Screenprint on paper. 39 3/4 x 26 in. (101 x 66 cm). Stamped with the Estate

and Foundation seals and numbered “JFWP890.32” on the reverse.This work

is unique.

Estimate $50,000-70,000

PROVENANCE Estate of Rupert Jasen Smith, NewYork


Hamburger, 1985-1986

Acrylic and silkscreen ink on canvas. 10 x 12 in. (25.4 x 30.5 cm). Stamped with

the Estate and Foundation seals and numbered “PA10.222” on the overlap.

Estimate $80,000-120,000

PROVENANCE The Estate of Andy Warhol, NewYork; The Andy Warhol

Foundation for the Visual Arts, Inc., NewYork; Jasco Fine Arts, Inc., Laguna Nigel,

California; Hamilton Selway, Fine Art, West Hollywood; Private collection

Tuesday, April 11, 1978

And the guy from the hamburger place came by. I’m doing a portrait

of a hamburger…I can’t remember the name. Not McDonald’s, not

Burger King, not Wendy’s, not Wetson’s—something else.

A.Warhol, The Andy Warhol Diaries, NewYork, 1989, p. 123

Still from A.Warhol, How to Eat a Hamburger, 1968

185 ROBERT INDIANA b. 1928

Love, 1966-2000

Polychromed aluminum. 36 x 36 x 18 in. (91.4 x 91.4 x 45.7 cm). Engraved with

“©1966-2000 R Indiana” and numbered of four artist’s proofs lower left side edge.

This work is an artist’s proof from an edition of six plus four artist’s proofs.

Estimate $300,000-400,000

PROVENANCE Salama-Caro Gallery, NewYork

Robert: I was the least Pop of all the Pop artists. But Pop was also

called New Realism. Tom Wesselmann, one of the Pop people,

painted nudes of his wife. Now, is she a mass-produced image? In

fact, I was mainly influenced by Ellsworth Kelly, who used hard-

edged forms and bold colors straight from the tube. Kelly and I were

in a show together in Washington called Formalists. We both fit that

bill, whereas you could hardly call [James] Rosenquist a formalist.

Then the Europeans decided we were all Vulgarians anyway. …

Steve: What about the postage stamps? My mother used those

for years.

Robert: While a lot of other people’s mothers were busy

needlepointing LOVE pillowcases. I got a thousand dollars from the

Postal Service for three hundred and thirty million stamps. It was the

most popular stamp ever issued, barring Christmas stamps.

R. Indiana, from an interview with S. Lafreniere, “Robert Indiana,”

Index 43, April 2004

186 ROBERT RAUSCHENBERG 1925-2008

Tibetan Garden Song, 1986

Wooden cello, Chinese scroll-maker’s brush, chrome-plated metal basin, glycerin,

plastic, adhesive tape, acrylic and mirrored acrylic glass. 43 x 18 1/4 x 18 1/4 in.

(109.2 x 46.4 x 46.4 cm). Signed and dated “Rauschenberg 86” on side of cello

and numbered of 25. Of the planned edition of 25, only 20 examples were

produced by Graphicstudio, Florida.

Estimate $40,000-60,000

PROVENANCE Published by Graphicstudio, Florida

LITERATURE M. L. Kotz, Rauschenberg: Art and Life, NewYork, 2004, p. 2 (illustrated)

187 ROBERT MOTHERWELL 1915-1991

The Red & the Black #14, 1987

Acrylic and paper collage on paper. 31 1/4 x 24 3/4 in. (79.4 x 62.9 cm). Signed

and dated “Motherwell 87” and blindstamped with “© Robert Motherwell”

lower right.

Estimate $40,000-60,000

PROVENANCE M. Knoedler & Co., Inc., NewYork; Private collection, NewYork

EXHIBITED NewYork, M. Knoedler & Co., Robert Motherwell: The Summer 1987 Collage

Series: “The Red and Black” and Other Unexhibited Works, April 23 – May 12, 1988

188 SOL LEWITT 1928-2007

Horizontal Lines Not Straight Not Touching, 1990

Graphite on paper. 7 1/4 x 11 1/8 in. (18.4 x 28.3 cm). Signed, titled and dated

“S. Lewitt 1990 Horizontal Lines Not Straight NotTouching” along the lower edge.

Estimate $7,000-9,000

PROVENANCE Vivian Horan Fine Art, NewYork

EXHIBITED NewYork, Vivian Horan Fine Art, Minimalism: On and Off Paper,

September 28 – November 17, 2006

189 SOL LEWITT 1928-2007

Untitled, 1999

Gouache, watercolor and graphite on paper. 11 1/2 x 7 1/2 in. (29.2 x 19.1 cm).

Signed and dated “S. Lewitt 99” lower right.

Estimate $7,000-9,000

PROVENANCE Gifted by the artist to the present owner

188

189

190

190 SOL LEWITT 1928-2007

Untitled, 2003

Gouache and graphite on paper. 11 1/2 x 29 3/8 in. (29.2 x 74.6 cm). Signed and

dated “S. Lewitt 03” lower right.

Estimate $15,000-20,000

PROVENANCE Gifted by the artist to the present owner

191 AGNES MARTIN 1912-2004

Untitled, circa 1985

Watercolor, ink and graphite on onionskin paper. 9 3/4 x 9 7/8 in. (24.8 x 25.1 cm).

Estimate $120,000-180,000

PROVENANCE EVO Gallery, Santa Fe

Moments of perfection are indescribable but a few things can be said

about them. At such times we are suddenly very happy and we

wonder why life ever seemed troublesome. In an instant we can see

the road ahead free from all difficulties and we think that we will

never lose it again. All this and a great deal more in barely a moment,

and then it is gone. …Perfection, of course, cannot be represented.

The slightest indication of it is eagerly grasped by observers. The

work is so far from perfection because we ourselves are so far from

perfection. The oftener we glimpse perfection or the more conscious

we are in our awareness of it the farther away it seems to be. Or

perhaps I should say the more we are aware of perfection the more we

realize how very far away from us it is. That is why art work is so very

hard. It is a working through disappointments and a growing

recognition of failure to the point of defeat. But one still wakes in the

morning, and there is the inspiration and one goes on.

from D. Schwarz, ed., Agnes Martin: Writings—Schriften,

Ostfildern-Ruit, 1991, pp 68-69

192 GERHARD RICHTER b. 1932

Entwurf für Grund (Basic Draft), 1978

Oil and acrylic on wooden panel. 27 5/8 x 39 1/2 in. (70.2 x 100.3 cm). Signed, titled

and dated “G. Richter Entwurf für Grund 1978” on the reverse.

Estimate $120,000-180,000


It is probably Cézanne’s intensely thoughtful and painfully hesitant

painting that most closely corresponds to Richter’s reflectiveness,

the kind that appears spontaneous but which actually has been

executed with extreme precision and which has kept his Abstrake

Bilder free from any kind of compulsiveness. Even when traces of

Romanticism resonate in them or when emotions seem to emerge

and the abstract forms seem to fill the painting’s ground with a

Baroque dynamic, these have been carefully calculated. Their

complex structures emerge from a variety of precisely thought-out

work processes that guide random elements in the painting and

counteract the influence of the unconscious. They aim at a coherent

network of composed associations, and coincidences, of both clear

and inexplicable elements in order to finally reach a state Richter

has described as ‘planned spontaneity.’ His work is both carefully

thought through and carefully painted. He applies layer upon layer of

paint and then if necessary, he removes it or scrapes it back down to

the canvas in order to start again. The surface structures produced

by this vary greatly and show how the painter attempts to get to the

very heart of painting and how he materializes his confrontation with

the forms of paint on the canvas. The creation of these pictures

involves a fundamental tension in deciding where the palette knife

should apply paint and where it should remove it. Unexpected

developments, which either cover over figurative elements in the

picture or suggest object in the repertoire of abstract forms, serve to

produce paintings that benefit as much from unplanned incidents as

from a strict visual logic that sets about eradicating chance events.

from “On the Desire to Paint Something Beautiful,” G. Adriani, ed.,

Gerhard Richter: Paintings from Private Collections, Ostfildern,

2008, p. 29

193 ALBERT OEHLEN b. 1954

Untitled, 2006

Oil on canvas. 47 1/4 x 59 1/2 in. (120 x 151.1 cm). Signed, titled and dated

“A. Oehlen O.T. 2006” on the reverse.

Estimate $100,000-150,000


There is this general image that one has of Surrealism’s big spaces

and little figures, of the funny dream stuff, impossible things doing

impossible things. I like that because for me that is just the kind of

crazy bullshit that is food for artists. On the other hand I see

Surrealism as the first artistic movement, or group of artists, that

really intensely thought about method. That is the main thing. So

when I talk about Surrealism, I am more interested in Dali than

Max Ernst. I see him as the strongest person there, but all the

others…the little soldiers…they also did interesting things. Thinking

about method and the other aspects they became involved in, I see

these as the road to a lot of things that came afterwards. Not Sean

Scully, but I could make a connection to Jeff Koons, or to Conceptual

Art. A lot of the political stuff could be seen as sharing some

thinking with the Surrealists. I definitely see myself as linked to

them—my thinking comes from there, although it looks very

different.

A. Oehlen, in conversation with A.Tarsia, from A. Oehlen, I Will

Always Champion Good Painting/I Will Always Champion Bad

Painting, London, 2006

194 DIRK SKREBER b. 1961

Untitled (House), 2003

Oil and bubble jet print on canvas. 66 7/8 x 31 1/2 in. (169.9 x 80 cm). Signed and

dated “Skreber ‘03” and numbered of nine on the overlap.This work is from an

edition of nine plus three artist’s proofs.

Estimate $20,000-30,000

PROVENANCE Galerie Luis Campaña, Cologne; James Cohan Gallery, NewYork

195 ERIK PARKER b. 1968

Untitled (Can’t Explain), 2002

Oil on canvas. 90 x 66 in. (228.6 x 167.6 cm). Signed and dated “Erik Parker 2002”

on the overlap.

Estimate $20,000-30,000

PROVENANCE Leo Koenig, Inc., NewYork; Private collection, NewYork

EXHIBITED NewYork, Leo Koenig, Inc., You Paint the Picture, October 15 – November

16, 2002; Los Angeles, The Happy Lion Gallery, Hit the Lights, May 3 – June 7, 2003

LITERATURE K. Johnson, “Art in Review: Erik Parker,” The New York Times,

November 8, 2002; K. Rosenberg, “Erik Parker,” Frieze, issue 73, March 2003;

M. Kuntz, “Erik Parker at Leo Koenig,” Art in America, April 2003

196 TAL R b. 1959

Palace Imorgen, 2004

Oil and paper collage on canvas. 78 3/4 x 78 3/4 in. (200 x 200 cm). Signed, titled

and dated “Tal R Palace Imorgen 04” on the reverse.

Estimate $80,000-100,000

PROVENANCE Zach Feuer (LFL) Gallery, NewYork

EXHIBITED NewYork, Zach Feuer (LFL) Gallery, Tal R: Last Drawing Before Mars,

May 8 – June 6, 2004

LITERATURE O.C. Humpl, Tal R: Prince Fruit, Klosterneuberg/Vienna, 2008,

n.p. (illustrated)

Traditional forms of pictorial design are abandoned in favor of

personal order. …The picture breaks with its own tradition, taking

the lie that is perspective back into the two-dimensional reality of

the support. The strips of color are thus not caught up in the

illusion…but become decoration reminiscent of a neo-hippie disco

era aesthetic. The figuration tips over into abstraction and back again.

from J.H.Wentrup, “Tal R:The Lord ofWaste,” Flash Art, July –

September 2003, p. 81

197 WILHELM SASNAL b. 1972

Grave, 2002

Oil on canvas. 43 3/8 x 51 1/8 in. (110.2 x 129.9 cm). Signed and dated “Wilhelm

Sasnal 2002” on the overlap.

Estimate $20,000-30,000

PROVENANCE Anton Kern Gallery, NewYork; Private collection, Miami

198 MARCEL DZAMA b. 1974

Ghosts of the Past, 2004

Acrylic and paper collage on canvas. 16 x 20 in. (40.6 x 50.8 cm). Signed “Marcel

Dzama” lower left.

Estimate $12,000-18,000


197

198

199 ALEX KATZ b. 1927

Raft, 2008

Oil and oil-based inks on canvas. 64 x 84 3/4 in. (162.6 x 215.3 cm). Signed “Alex

Katz” and numbered of seven lower left.This work is from a series of seven

unique works executed in different colors.

Estimate $70,000-90,000


201 CECILY BROWN b. 1969

Trouble in Paradise, 1999

Watercolor on paper. 21 1/8 x 29 7/8 in. (53.7 x 75.9 cm). Signed and dated

“Cecily Brown ‘99” lower right.

Estimate $10,000-15,000

PROVENANCE Donated by the artist to The New Museum of Contemporary Art

Benefit Auction, NewYork (1999)

201

200

200 LARRY RIVERS 1923-2002

Untitled, 1955

Pastel, ink, charcoal and graphite on paper. 16 7/8 x 14 in. (42.9 x 35.6 cm).

Signed and dated “Rivers ‘55” lower left.

Estimate $6,000-8,000

PROVENANCE Private collection, Oregon

203 MARLENE DUMAS b. 1953

The Beginning of Tiranny, 1989

Watercolor, ink and graphite on paper. 9 3/8 x 10 1/2 in. (23.8 x 26.7 cm).

Signed “Marlene Dumas” lower left and again on the reverse; titled and dated

“(The Beginning ofTiranny) 1989” lower right.

Estimate $15,000-20,000

PROVENANCE Galerie Paul Andriesse, Amsterdam

203

202 VIJA CELMINS b. 1938

Untitled, circa 1960s

Oil and watercolor on paper. 20 1/8 x 28 in. (51.1 x 71.1 cm). Signed “Vija Celmins”

lower right.

Estimate $18,000-25,000


202

204

204 JAMES NARES b. 1953

Untitled, 2002

Oil and wax on Strathmore Bristol paper. 39 7/8 x 29 7/8 in. (101.3 x 75.9 cm).

Estimate $8,000-12,000

PROVENANCE Hamiltons, London

EXHIBITED London, Hamiltons, James Nares: New Paintings, May 1 – June 14, 2002

205 ROSS BLECKNER b. 1949

Two works: Untitled, 2001

Oil on canvas. (i) 17 7/8 x 14 in. (45.4 x 35.6 cm); (ii) 17 7/8 x 13 7/8 in. (45.4 x 35.2 cm).

Each signed and dated “Ross Bleckner 2001” on the reverse.

Estimate $15,000-20,000

PROVENANCE Lehmann Maupin, NewYork; Galerie Daniel Templon, Paris

205

(i) (ii)

206 JAMES BROWN b. 1951

Stella Maris XI, 1985

Enamel and stain on canvas. 77 3/4 x 65 1/2 in. (197.5 x 166.4 cm). Signed, titled

and dated “James Brown Stella Maris XI 1985” on the reverse.

Estimate $35,000-45,000

PROVENANCE Maloney Gallery, Santa Monica

EXHIBITED Stockholm, Heland Wetterling Gallery, James Brown: Stella Maris,

January 1988

LITERATURE D. Carrino, ed., James Brown: Stella Maris, Stockholm 1988,

n.p. (illustrated)

207 LOUISE NEVELSON 1899-1988

Untitled, 1974

Painted wood and metal wire collage on cardboard. 22 x 18 in. (55.9 x 45.7 cm).

Signed and dated “Louise Nevelson 74” lower right.

Estimate $8,000-12,000

PROVENANCE Pace Gallery, NewYork

208 MAYA LIN b. 1959

Ecliptic, 1999

Pewter. 13 1/2 x 12 3/4 x 4 3/4 in. (34.3 x 32.4 x 12.1 cm). Incised by hand with

initials “M,SL” and engraved with date “1999” and numbered of 30 on the

reverse.This work is from an edition of 30 plus three artist’s proofs and three

publisher’s proofs.

Estimate $5,000-7,000

PROVENANCE Published by Gagosian Gallery, NewYork for the New Museum

207

208

209 GERHARD RICHTER b. 1932

Uran (Uranium), 1989

Gelatin silver print. 39 x 27 3/8 in. (99.1 x 69.5 cm). Incised by hand with signature

and date “Richter 1989” and numbered of fifty lower left.This work is from an

edition of 50 numbered 1-50 plus an additional six numbered I-VI.

Estimate $7,000-9,000

PROVENANCE Private collection, Europe

LITERATURE R. Blaum, S. Salzman & K. Kreul, Gerhard Richter: Editions

1965-1993, Munich, 1993, p. 146 (illustrated)

210 JON KESSLER b. 1957

X-Ray, 1987

Aluminum, glass, ceramic, plastic and metal hardware, with motor, eight light

bulbs and electrical fittings. 19 1/2 x 11 1/8 x 13 in. (49.5 x 28.3 x 33 cm).This work

is from an edition of six plus one artist’s proof and one printer’s proof.

Estimate $3,000-5,000


209

210

212

211

211 CLAES OLDENBURG b. 1929

Tilting Neon Cocktail, 1983

Stainless steel, plastic and painted wood with acrylic glass base.

18 3/4 x 6 1/4 x 7 in. (47.6 x 15.9 x 17.8 cm). Incised by hand with initials “C.O.”

and engraved with title and date “Tilting Neon Cocktail 1983” and numbered

of 50 on the base.This work is from an edition of 50.

Estimate $8,000-12,000

PROVENANCE Published by Brooke Alexander, Inc., NewYork for the New Museum

LITERATURE V. Hsueh, “Drinking: A Love Story,” Lingua Franca, January –

February 1999, pp. 17-18; L. Edmunds, Martini, Straight Up: The Classic American

Cocktail, Baltimore, 2003, p. 98; C. Kino, “Teaming With the Artists to Buoy the

Bottom Line,” The New York Times, March 29, 2006

212 JEPPE HEIN b. 1977

Collage, 2004

Photo-collage on paper in 12 parts. 15 3/4 x 15 3/4 in. (40 x 40 cm) each. Each

signed, titled and dated “Jeppe Hein Collage 2004” and numbered consecutively

of 12 on the reverse.

Estimate $7,000-9,000

PROVENANCE Johann König Gallery, Berlin

213 SHERRIE LEVINE AND JOOST VAN OSS b. 1947 and 1956

Sculpture II, 1999

Rolled steel. 23 5/8 x 19 5/8 x 19 5/8 in. (60 x 49.8 x 49.8 cm). Engraved with

signature and dated “SMLVANOSS 1999” on the underside.This work is one of

three artist’s proofs aside from two separate works consisting of 24 numbered

elements and six numbered hors commerce elements.

Estimate $15,000-20,000

PROVENANCE Acquired directly from the artists

213

214 JOHN BAUER b. 1971

My Fucking Brain, 2007

Oil and enamel on canvas. 94 x 72 in. (238.8 x 188 cm). Signed “John Bauer”

lower right; signed and dated “John Bauer 2007” on the overlap and again

on the stretcher bar.

Estimate $12,000-18,000

PROVENANCE Bellwether Gallery, NewYork

EXHIBITED NewYork, Bellwether, John Bauer, April 19 – May 19, 2007

214

215

216

215 GORDON MATTA-CLARK 1943-1978

Splitting, 1975

Gelatin silver photo-collage with graphite on paperboard. 20 x 30 in.

(50.8 x 76.2 cm). Signed, titled and dated “Gordon Matta Clark ‘Splitting’ 1975”

and numbered “15R-” along the lower edge.

Estimate $25,000-35,000

PROVENANCE London Projects, London

EXHIBITED NewYork, Whitney Museum of American Art, February 22 – June 3,

2007; Los Angeles, Museum of Contemporary Art, September 16, 2007 – January 7,

2008; Chicago, Museum of Contemporary Art, February 2 – May 4, 2008: Gordon

Matta-Clark: You Are the Measure

LITERATURE E. Sussman, Gordon Matta-Clark: You Are the Measure, NewYork, 2007

PROPERTY SOLDTO BENEFIT

THE CHILDREN’S CANCER AND BLOOD FOUNDATION

216 VITO ACCONCI b. 1940

Roof like a Liquid Over the Plaza: Handsketches, 2001-2003

Graphite, ink and felt-tipped ink marker on vellum, paper and tissue and c-prints

with china marker laid on matboard in seven parts, including 31 total elements.

3 1/2 x 5 in. (8.9 x 12.7 cm) – 11 1/2 x 19 1/4 in. (29.2 x 48.9 cm). Signed, titled and

dated “Roof like a Liquid Over the Plaza: Handsketches 01-03Vito Acconci”

lower left of panel mounted with c-prints.

Estimate $10,000-15,000


These are sketches associated with the steel canopy design

realized above the plaza at the Canon Performing Arts Center,

Memphis,TN, which was completed in 2003.

217 MARTIN KIPPENBERGER 1953-1997

Untitled (Goethe), 1983

Cut printed paper collage and graphite in two parts, one with men’s wristwatch.

11 1/2 x 8 in. (29.2 x 20.3 cm) each. Each signed and dated “Martin Kippenberger

83” lower right.

Estimate $10,000-15,000


218 MARTIN KIPPENBERGER 1953-1997

Hotel Drawing (Grunwalder-Hof) Milk-Roll-Diet After Dr. F.X. Mayr, 1992-98

Colored pencil, graphite and ink on printed paper. 11 3/4 x 8 1/8 in.

(29.8 x 20.6 cm).Titled “Milk-roll-diet after Dr. F.X. Mayr” lower center.

Estimate $7,000-9,000

PROVENANCE Art + Public, Geneva

EXHIBITED NewYork, Nyehaus, Martin Kippenberger—The Bermuda Triangle:

Syros, Paris Bar and Dawson City, March 5 – April 30, 2005

LITERATURE T. Nye, ed., Martin Kippenberger: The Bermuda Triangle, NewYork, 2005

217

218

219 THOMAS RUFF b. 1958

Nudes go 21, 2000

C-print with Diasec® face in the artist’s wooden frame. 55 1/2 x 47 1/4 in.

(141 x 120 cm) overall. Signed and dated “Thomas Ruff 2000” and numbered

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

two artist’s proofs.

Estimate $25,000-35,000

PROVENANCE David Zwirner, NewYork

EXHIBITED NewYork, David Zwirner, Thomas Ruff: Nudes, April 28 – May 27, 2000

(another example exhibited); Liverpool, Tate Liverpool, Thomas Ruff: 1979 to the

Present, 2003 (another example exhibited)

LITERATURE M. Houellebecq, Thomas Ruff Nudes, Munich, 2003, p. 66

(illustrated); M. Winzen, ed., Thomas Ruff: 1979 to the Present, NewYork, 2003,



Nudes ji 01, 2000

C-print with Diasec® face in the artist’s wooden frame. 54 7/8 x 39 1/2 in.

(139.4 x 100.3 cm) overall. Signed and dated “Thomas Ruff 2000” and numbered

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

plus two artist’s proofs.

Estimate $30,000-40,000

PROVENANCE Hauser & Wirth, Zurich

LITERATURE M. Winzen, ed., Thomas Ruff: 1979 to the Present, NewYork, 2003,


221 NAN GOLDIN b. 1953

Joey at the Love Ball, NYC, 1991

Cibachrome. 27 1/2 x 40 in. (69.9 x 101.6 cm). Signed, titled and dated “Nan Goldin

Joey at the Love Ball, NYC, 1991” and numbered of one artist’s proof on the

reverse.This work is from an edition of 25 plus one artist’s proof.

Estimate $15,000-20,000

PROVENANCE Matthew Marks Gallery, NewYork

EXHIBITED Berlin, DAAD Galerie, Nan Goldin 1972-1992, September – October 1,

1992 (another example exhibited); NewYork, The Whitney Museum of American

Art, Nan Goldin: I’ll Be Your Mirror, October 3, 1996 – January 5, 1997 (another

example exhibited); Torino, Guido Costa Projects, Nan Goldin: Stardust, May 30 –

July 29, 2005 (another example exhibited)

LITERATURE N. Goldin, with D. Armstrong & W. Keller, eds., Nan Goldin: The

Other Side, Zurich/Berlin/NewYork, 1993/2000, pp. 126-7 (illustrated); E. Sussman,

Nan Goldin: I’ll Be Your Mirror, NewYork, 1996, pp. 304-5 (illustrated)

222 VANESSA BEECROFT b. 1969

VB43.090.TE (Triptych I), 2000

Digital prints in three parts. 1: 50 x 51 in. (127 x 129.5 cm); 2: 50 x 53 in.

(127 x 134.6 cm); 3: 50 x 56 7/8 in. (127 x 144.5 cm). Numbered consecutively

1, 2 and 3 on a label affixed to the reverse of the mount of each; numbered

of three on a label affixed to the reverse of the mount of the left panel.

This work is from an edition of three.

Estimate $40,000-60,000

PROVENANCE Gagosian Gallery, London

EXHIBITED London, Gagosian Gallery, Vanessa Beecroft: VB43 Photographs,

September 7 – October 7, 2000 (another example exhibited); Houston,

Contemporary Arts Museum, Subject Plural: Crowds in Contemporary Art, March

10 – April 29, 2001 (another example exhibited); NewYork, Van de Weghe Fine Art,

Accrochage, September 12 – October 12, 2002 (another example exhibited); Rivoli-

Torino, Castello di Rivoli Museo d’Arte Contemporanea, October 8, 2003 – January

25, 2004, Bielefeld, Kunsthalle Bielefeld, May 9 – August 29, 2004: Vanessa Beecroft

Performances 1993-2003 (another example exhibited)

LITERATURE M. Beccaria, Vanessa Beecroft Performances 1993-2003, Milan, 2004,

pp. 272-77 (details illustrated)


At the Bar: Toon, C, and So, Bangkok, 1992

Cibachrome. 27 3/8 x 40 in. (69.5 x 101.6 cm). Signed, titled and dated “Nan Goldin

At the Bar:Toon, C, and So, Bangkok 1992” and numbered of 25 on the reverse.

This work is from an edition of 25 plus one artist’s proof.

Estimate $15,000-20,000

PROVENANCE Jane Corkin Gallery, Toronto

EXHIBITED NewYork, Whitney Museum of American Art, Nan Goldin: I’ll Be Your

Mirror, October 3, 1996 – January 5, 1997 (another example exhibited); Rivoli,

Castello di Rivoli Museum of Contemporary Art, Nan Goldin: Devil’s Playground,

October 23, 2002 – January 12, 2003 (another example exhibited)

LITERATURE E. Sussman, Nan Goldin: I’ll Be Your Mirror, NewYork, 1996,

pp. 344-5 (illustrated); C. Driver, “Autumn 2002,” Circa, no. 102, Winter 2003,

p. 24 (illustrated); M. Schiavoni, “The Eye of Women,” Digimag (online content),

no. 32, March 2008 (illustrated)


Nudes bd 07, 2001

C-print with Diasec® face in the artist’s wooden frame. 59 x 43 1/4 in.

(149.9 x 109.9 cm) overall. Signed, titled and dated “Thomas Ruff bd 07 2000”

and numbered of five on the reverse of the backing board.This work is from

an edition of five plus two artist’s proofs.

Estimate $70,000-90,000

PROVENANCE Zwirner & Wirth, NewYork; Hauser & Wirth, Zurich

LITERATURE M. Winzen, ed,. Thomas Ruff: 1979 to the Present, NewYork, 2003,

p. 240 (illustrated); M. Houellebecq, Thomas Ruff Nudes, NewYork, 2003, p. 128

(illustrated)

225 PAUL PFEIFFER b. 1966

Four Horsemen of the Apocalypse (24), 2006

Digital c-print. 60 x 48 in. (152.4 x 121.9 cm).This work is from an edition of six

plus one artist’s proof.

Estimate $20,000-30,000



Untitled (Movie Series), 1986

Polaroid® photograph. 32 1/4 x 21 5/8 in. (81.9 x 54.9 cm). Signed and dated

“R. Prince 1986” lower right.This work is a unique artist’s proof.

Estimate $10,000-15,000


225

226


Untitled (Gang), 1989

C-print with china marker and acrylic spray paint. 48 x 96 in. (121.9 x 243.8 cm).

This work is a unique artist’s proof.

Estimate $50,000-70,000


The images appearing in this Gang are the source for the artist’s

1987-88 Ektacolor print Boyfriends.The artist’s notes to himself on

how the men would be arranged in Boyfriends appear, barely legible,

hovering between cogent direction and pure design.


Cremaster 2: The Executioner’s Song, 1998

Laminated c-print in the artist’s acrylic frame. 28 x 24 in. (71.1 x 61 cm) overall.

Signed and dated “Matthew Barney 98” and branded with the Cremaster 2

symbol on the reverse of the frame.This work is from an edition of 40 plus six

artist’s proofs.

Estimate $15,000-20,000


EXHIBITED Minneapolis, Walker Art Center, Matthew Barney Cremaster 2:

The Drone’s Exposition, July 18 – October 10, 1999 (alternate format exhibited);

Cologne, Museum Ludwig, June 6 – September 1, 2002; Paris, Musée d’Art

Moderne de la Ville de Paris, October 10 – January 10, 2002; NewYork, Solomon

R. Guggenheim Museum, February 14 – May 11, 2003: Matthew Barney: The

Cremaster Cycle (alternate format exhibited)

LITERATURE R. Flood, Matthew Barney: Cremaster 2, Minneapolis, 1999, n.p.

(illustrated); N. Spector, Matthew Barney: The Cremaster Cycle, NewYork, 2002,

p. 511; J. Lingwood, “Artist Project: Matthew Barney,” Tate Magazine, issue 2,

November – December 2002

The Executioner’s Song is the title of a 1979 novel by Norman Mailer,

which featured as its main character Gary Gilmore, one of the

principles in Barney’s Cremaster Cycle. Mailer played the Harry

Houdini character in Cremaster 2.


Cremaster 2: The Royal Cell of Baby Fay, 1998

Laminated c-print in the artist’s self-lubricating acrylic frame. 27 3/4 x 19 3/4 in.

(70.5 x 50.2 cm) overall. Signed and dated “Matthew Barney 98” and branded

with the Cremaster 2 symbol on the reverse of the frame.This work is from

an edition of 40 plus six artist’s proofs.

Estimate $8,000-12,000

PROVENANCE Barbara Gladstone Gallery, NewYork; Private collection,

NewYork

EXHIBITED Cologne, Museum Ludwig, June 6 – September 1, 2002; Paris, Musée

d’Art Moderne de la Ville de Paris, October 10 – January 10, 2002; NewYork,

Solomon R. Guggenheim Museum, February 14 – May 11, 2003: Matthew Barney:

The Cremaster Cycle (alternate format exhibited)

LITERATURE R. Flood, Matthew Barney: Cremaster 2, Minneapolis, 1999, n.p.

(illustrated); N. Spector, Matthew Barney: The Cremaster Cycle, NewYork, 2002, p. 511

228 229

230 CINDY SHERMAN b. 1954

Untitled #184, 1988

C-print. 59 1/4 x 89 1/4 in. (150.5 x 226.7 cm).This work is from an edition of six.

Estimate $35,000-45,000

PROVENANCE Metro Pictures, NewYork

EXHIBITED Chicago, Museum of Contemporary Art; Los Angeles, Museum

of Contemporary Art; Prague, Galerie Rudolfinum; London, Barbican Art Gallery;

Bordeaux, CAPC Musée d’Art Contemporaine; Sydney, Museum of Contemporary

Art; Toronto, Art Gallery of Ontario: Cindy Sherman: Retrospective, November 1997

– January 2000 (another example exhibited)

LITERATURE R. Krauss, Cindy Sherman 1975-1993, NewYork, 1993, p. 160-161

(illustrated); A. Cruz, E. A. T. Smith & A. Jones, Cindy Sherman: Retrospective,

London, 1997, p. 144, no. 100 (illustrated)

231 VIK MUNIZ b. 1961

Arrest (Illegal Alien), from the Pictures of Chocolate series, 1999

Cibachrome print flush-mounted to Dibond®. 30 1/2 x 38 1/4 in. (77.5 x 97.2 cm).

Signed and dated “Vik Muniz 1999” on a label adhered to the reverse of the

mount.This work is from an edition of three plus three artist’s proofs.

Estimate $25,000-35,000

PROVENANCE Rena Bransten Gallery, San Francisco

EXHIBITED Raleigh, North Carolina Museum of Art, Far From Home,

February 17 – July 13, 2008

232 VIK MUNIZ b. 1961

Orphan Girl at the Cemetery, after Delacroix, from the Gordian Puzzles series, 2008

Digital c-print flush-mounted to Dibond®. 87 x 71 in. (221 x 180.3 cm). Signed and

dated “Vik Muniz 2008” on a label adhered to the reverse of the mount.This work

is from an edition of six.

Estimate $40,000-60,000

PROVENANCE Galeria Fortes Vilaça, São Paolo

233 MICHAL ROVNER b. 1957

One Person Game Against Nature II 25-V, 1992

Color coupler print. 29 1/4 x 39 1/4 in. (74.3 x 99.7 cm). Signed, titled and dated

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

of seven.

Estimate $8,000-10,000

PROVENANCE New Gallery, Houston

EXHIBITED NewYork, The Whitney Museum of American Art, Michal Rovner:

The Space Between, July 11 – October 13, 2002 (other examples from the series

exhibited)

LITERATURE S. Wolf, Michal Rovner: The Space Between, NewYork/Göttingen,

2002, n.p.

234 LALLA ESSAYDI b. 1956

ConvergingTerritories #10C, 2003

C-print. 34 3/4 x 41 1/2 in. (88.3 x 105.4 cm). Signed, titled and dated “Lalla Essaydi

ConvergingTerritories #10C 2003” and numbered of 15 on a paper label adhered

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

Estimate $8,000-12,000

PROVENANCE Schneider Gallery, Chicago

EXHIBITED NewYork, Laurence Miller Galleries, Lalla Essaydi: Converging

Territories, January 6 – February 26, 2005 (another example exhibited)

LITERATURE A. Carlson, Lalla Essaydi: Converging Territories, Brooklyn, 2005,

p. 7 (illustrated); TJ Demos, Vitamin Ph: New Perspectives in Photography, London,

2006, p. 90

233

234

235 RODNEY GRAHAM b. 1949

Ponderosa Pine IV, 1991

C-print in the artist’s pinewood frame. 84 3/8 x 72 1/2 in. (214.3 x 184.2 cm) overall.

This work is from an edition of two.

Estimate $70,000-90,000

PROVENANCE Hauser & Wirth, Zurich

EXHIBITED Munich, Galerie Rüdiger Schöttle, Ponderosa Pines, 1991 (another

example exhibited); Tokyo, Hara Museum of Contemporary Art; Hanover, Kestner-

Gesellschaft; Paris, Centre National de la Photgraphie; Berlin, Akademie der

Künst; Frankfurt, Schirn Kunsthalle Frankfurt, NewYork, P.S. 1: The Promise of

Photography: Selected Works From the DG Bank Collection, October 1998 – March

2001 (another example exhibited)

LITERATURE J. Gilbert, The Promise of Photography: The DG Bank Collection,

Munich/NewYork, 1988, pp. 148-149 (illustrated); É. Van Balberghe & Y. Gevaert,

eds., Rodney Graham: Works from 1976 to 1994, Toronto, 1994, p. 75, no. 21.6; R.

Smith, “Gazing in a Mirror: the Omniprescent camera,” The New York Times,

September 10, 1999; D. Roelstraete & S. Watson, eds., Intertidal, Vancouver, 2005

236 DARREN ALMOND b. 1971

Infinite Betweens: Becoming Between, Phase 3, 2007

C-print face mounted to acrylic glass. 89 x 71 in. (226.1 x 180.3 cm). Signed

“Almond” on a label affixed to the reverse of the mount.This work is from

an edition of six plus two artist’s proofs.

Estimate $20,000-30,000


EXHIBITED London, White Cube at Parasol Unit, Darren Almond: Fire Under

Snow, January 18 – March 30, 2008 (another example exhibited)

237 MIGUEL CALDERÓN b. 1971

Serie Historia Arti�cial (Arti�cial History Series) #19, 1995

C-print. 50 x 69 1/2 in. (127 x 176.5 cm).This work is unique from a series of one

plus one artist’s proof and is accompanied by a certi�cate of authenticity signed

by the artist.

Estimate $20,000-30,000


LITERATURE J. Rodrigues-Widholm, ed., Escultura Socio: A New Generation

of Art from Mexico City, New Haven, 2007, p. 92


Jimmy Paulette on David’s Bike, N.Y.C., 1991

Cibachrome. 20 x 24 in. (50.8 x 61 cm). Signed, titled and dated “Nan Goldin

Jimmy Paulette on David’s Bike, N.Y.C. 1991” and numbered of 25 on the reverse.

This work is from an edition of 25 plus one artist’s proof.

Estimate $12,000-18,000

PROVENANCE Matthew Marks Gallery, NewYork

EXHIBITED Berlin, DAAD Galerie, Nan Goldin 1972-1992, September – October

1992 (another example exhibited); NewYork, Whitney Museum of American Art;

Wolfsburg, Stedelijik Museum; Winterthur, Fotomuseum; Vienna, Kunsthalle Wien;

Prague, Gallery Rudolfinum Ceska Filharmonie: Nan Goldin: I’ll be your Mirror,

October 1996 – March 1999 (another example exhibited)

LITERATURE D. Armstrong, W. Keller, N. Goldin, Nan Goldin: The Other Side, New

York, Zurich, 1993, p. 64 (illustrated); E. Sussman, Nan Goldin: I’ll Be Your Mirror,

NewYork, 1996, p. 310 (illustrated); C. Harper, “Pecha Cuba,” Textile: The Journal

of Cloth and Culture, vol. 6, no. 2, 2008, pp.112-125

239 DAVID LACHAPELLE b. 1964

The House at the End of The World, 2005-2007

Digital c-print flush-mounted to acrylic glass. 72 x 96 7/8 in. (182.9 x 246.1 cm).

This work is from an edition of two.

Estimate $18,000-25,000

PROVENANCE Jablonka Galerie, Cologne

EXHIBITED Cologne, Jablonka Galerie, David LaChapelle: Heaven to Hell,

November 30, 2006 – February 3, 2007 (another example exhibited); NewYork, Tony

Shafrazi Gallery, David LaChapelle: Awakened, February 24 – August 3, 2007

(another example exhibited); Milan, Palazzo Reale, David LaChapelle, September

25, 2007 – January 6, 2008 (another example exhibited); Paris, Monnaie de Paris,

David LaChapelle: Retrospective, February 6 – May 31, 2009 (another example

exhibited)

LITERATURE G. Mercurio & F. Torres, eds., David LaChapelle, Milan, 2007

(illustrated); S. Tariq, “Shooting Star: David LaChapelle’s Search for Redemption,”

The Guardian (online content), February 6, 2009 (illustrated); Photo, March 2009

(detail illustrated as front cover)

240 MICHA KLEIN b. 1964

The Arrival of the Rainbow Children, 1999

C-print face-mounted to Perspex®. 39 1/2 x 39 1/2 in. (100.3 x 100.3 cm). Signed,

titled and dated “Micha Klein ‘The Arrival of the Rainbow Children’ 1999” and

numbered of five on the reverse of the backing board.This work is from an

edition of five.

Estimate $4,000-6,000

PROVENANCE Robert Sandelson, London

EXHIBITED London, Robert Sandelson, Micha Klein, Danielle Kwaaitaal,

May – June 1999

LITERATURE Flash Art International, October 1999 (illustrated on front cover)

240

239

241 LORETTA LUX b. 1968

Hugo and Dylan 1, 2006

Ilfochrome. 14 x 12 in. (35.6 x 30.5 cm). Signed, titled and dated “Loretta Lux

Hugo and Dylan 1 2006” and numbered of 20 on the reverse.This work is from

an edition of 20.

Estimate $8,000-10,000

PROVENANCE Torch Gallery, Amsterdam

242 RUUD VAN EMPEL b. 1958

Dawn #4, 2008

Cibachrome face-mounted to acrylic glass and flush-mounted to Dibond®.

33 x 23 3/8 in. (83.8 x 59.4 cm).This work is accompanied by a label signed, titled

and dated “RuudVan Empel Dawn #4 2008.”This work is from an edition of 13.

Estimate $10,000-15,000

PROVENANCE Stefan Stux Gallery, NewYork

EXHIBITED NewYork, Stefan Stux Gallery, Ruud van Empel: Souvenir, Dawn,

Moon, World, January 29 – March 21, 2009 (another example exhibited)

241

242

243 LAURIE SIMMONS b. 1949

The Instant Decorator (Pink and Green Bedroom/Slumber Party), 2003

Flex print face-mounted to acrylic glass. 48 x 60 in. (121.9 x 152.4 cm). Signed

“Laurie Simmons” on a label adhered to the reverse of the backing board.This

work is from an edition of five plus two artist’s proofs.

Estimate $20,000-30,000

PROVENANCE Sperone Westwater, NewYork

EXHIBITED NewYork, Sperone Westwater, Laurie Simmons: The Instant

Decorator, February 27 – March 24, 2004 (another example exhibited)

LITERATURE G. Glueck, “Laurie Simmons,” The New York Times, March 26, 2004;

E. Leffingwell, “Laurie Simmons at Sperone Westwater,” Art in America, October

2004, p. 158

244 JEREMY BLAKE b. 1971

LampTree, 1998

Digital c-print. 12 1/2 x 33 3/4 in. (31.8 x 85.7 cm).This work is from an edition

of ten.

Estimate $5,000-7,000

PROVENANCE Kinz + Tilou Fine Art, NewYork

EXHIBITED NewYork, Kinz + Tilou Fine Art, Inglenook, June 19 – July 31, 1998

245 SHARON LOCKHART b. 1964

Untitled, 1998

Color coupler print. 48 1/2 x 64 1/2 in. (123.2 x 163.8 cm). Signed and dated

“S Lockhart 1997” and numbered of six on the reverse of the mount.This work

is from an edition of six.

Estimate $5,000-7,000

PROVENANCE Friedrich Petzel Gallery, NewYork

EXHIBITED Chicago, Museum of Contemporary Art, March 3 – May 20, 2001; San

Diego, Museum of Contemporary Art, June 9 – September 2, 2001: Sharon Lockhart

(another example exhibited); NewYork, The Whitney Museum of American Art,

Whitney Biennial, March 12 – June 1, 1997

LITERATURE D. Molon and N. Bryson, Sharon Lockhart, Ostfildern, 2001,

p. 40 (illustrated); I. Blazwick, A. Cruz, et. al., Fresh Cream, NewYork, 2000,


244

245

246 JAMES CASEBERE b. 1953

Two Bunk Cell, 1998

Dye destruction print flush mounted to aluminum. 60 x 48 in. (152.4 x 121.9 cm).

This work is from an edition of five.

Estimate $30,000-50,000

PROVENANCE Sean Kelly Gallery, NewYork

LITERATURE J. Casebere, James Casebere: The Spatial Uncanny, NewYork, 2001,


247 YOSHITOMO NARA b. 1959

Little Pilgrim (Night Walking), 2002

Acrylic on fiberglass. 10 1/2 x 6 1/4 x 5 3/4 in. (26.7 x 15.9 x 14.6 cm). Initialed and

dated “YN. [in Japanese] 2002” and numbered of twenty on the underside.This

work is from an edition of 20.

Estimate $12,000-18,000

PROVENANCE Blum & Poe, Los Angeles

LITERATURE W. Phoenix, Plastic Culture: How Japanese Toys Conquered the

World, Tokyo, 1996, p. 91

248 HIROSHI SUGIMOTO b. 1948

Orange Drive-In, Orange, 1993

Gelatin silver print. 20 x 24 in. (50.8 x 61 cm). Signed “Hiroshi Sugimoto” on

the mat. Blindstamped with title and date “Orange Drive-In, Orange 1993”

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

Estimate $20,000-30,000

PROVENANCE Jay Jopling, London; Private Collection

LITERATURE H. Belting, Hiroshi Sugimoto: Theaters, NewYork, 2000,


249 YOSHITOMO NARA b. 1959

Little Pilgrim (Night Walking), 2002

Acrylic on fiberglass. 10 1/2 x 6 1/4 x 5 3/4 in. (26.7 x 15.9 x 14.6 cm). Initialed and

dated “YN. [in Japanese] 2002” and numbered of twenty on the underside.This

work is from an edition of 20.

Estimate $12,000-18,000

PROVENANCE Blum & Poe, Los Angeles

LITERATURE W. Phoenix, Plastic Culture: How Japanese Toys Conquered the

World, Tokyo, 1996, p. 91

250 HIDEAKI KAWASHIMA b. 1969

Speed, 2005

Oil on canvas. 36 x 46 in. (91.4 x 116.8 cm). Signed, titled and dated “Kawashima

[in Japanese] ‘Speed’ 2005” on the overlap.

Estimate $20,000-30,000


251 MARIKO MORI b. 1967

Tom Na H-iu, 2006

Lucite. 21 1/2 x 6 1/2 x 4 in. (54.6 x 16.5 x 10.2 cm).This work is from an edition

of ten.

Estimate $7,000-9,000

PROVENANCE Deitch Projects, NewYork

EXHIBITED NewYork, Deitch Projects, Mariko Mori: Tom Na H-iu, November 8, 2007 –

January 19, 2008

LITERATURE E. Weiner, “Mariko Mori, ‘Tom Na H-iu,’” Time Out New York, issue

634, November 22-28, 2007; M.W. Pennings, “Mariko Mori: Tom Na H-iu,” Eyeline-

Contemporary Visual Arts, # 66, 2008, p. 66

252 MR. b. 1969

Two works: Okonomiyaki-chan/No. 4; Golympic-chan/No. 41, 2004

Acrylic on synthetic resin. 7 1/2 x 4 3/4 x 5 in. (19.1 x 12.1 x 12.7 cm) each.These

works are unique. Artworks © 2004 Mr./Kaikai Kiki Co., Ltd. All Rights Reserved.

Estimate $6,000-8,000

PROVENANCE Tomio Koyama Gallery, Tokyo

EXHIBITED Tokyo, Tomio Koyama Gallery, Mr.: Thank You for Your Hard Work,

July 10-31, 2004

251

252

253 NOBUYOSHI ARAKI b. 1940

67 Shooting Back (No.159), 2007

RP direct print flush-mounted to acrylic panel. 50 1/4 x 40 1/8 in. (127.6 x 101.9 cm).

Signed “Nobuyoshi Araki” on the reverse.This work is accompanied by a

certificate of authenticity signed by the artist. Printed in 2008.

Estimate $10,000-15,000

PROVENANCE Yoshii Gallery, NewYork; Private collection

LITERATURE N. Araki, 6 x 7 Counterattack Hangeki, Tokyo, 2007, p.163 (illustrated)

254 ZHANG HUAN b. 1965

To Add One Meter to an Anonymous Mountain, 1995

Gelatin silver print. 50 1/4 x 73 5/8 in. (127.6 x 187 cm). Signed “Zhang Huan [in

Chinese]“ and numbered of 15 on the reverse.This work is from an edition of 15.

Estimate $15,000-20,000

PROVENANCE Barry Friedman, Ltd., NewYork

EXHIBITED Hamburg, Museum Bochum, Zhang Huan, November 2002 – June 2003

(another example exhibited); NewYork, Asia Society and P.S. 1, September 15,

1998 – January 3, 1999, San Francisco, San Francisco Museum of Modern Art,

February 26 – June 1, 1999, Monterrey, Museo de Arte Contemporaneo, July 9 –

October 10, 1999, Seattle, Tacoma Art Museum and Henry Art Gallery, November

18, 1999 – March 7, 2000, Canberra, National Gallery of Australia, June 3 – August

13, 2000 and Hong Kong, Hong Kong Art Museum, September 22 – November 8,

2000: Inside Out: New Chinese Art (another example exhibited); NewYork, Asia

Society, Zhang Huan: Altered States, September 6, 2008 – January 20, 2008

(another example exhibited)

LITERATURE M. Gao, ed., Inside Out: New Chinese Art, NewYork and San

Francisco, 1998, plate 49 (illustrated); Z. Qian, Performing Bodies, Art Journal,

Summer 1999; M. Gao, Private Experience and Public Happenings, the Performance

Art of Zhang Huan, Zhang Huan: Pilgrimage to Santiago, Santiago, 2000; B.

Fibicher, ed., Mahjong, Ostfildern, 2006, p. 320 (illustrated); M. Chiu, Zhang Huan:

Altered States, Milan, 2007, pp. 16, 42, 64-65, 102-103 (illustrated); H. Cotter,

“Chinese Art, in One Man’s Translation,” The New York Times, September 7, 2007

255 SHI GUORUI b. 1964

Himalayas, Everest, 2005

Camera obscura print. 50 3/4 x 78 3/4 in. (128.9 x 200 cm). Signed and titled

“Shi Guorui Himalayas Everest” on the reverse.This work is unique.

Estimate $10,000-15,000

PROVENANCE Chinese Contemporary, Ltd., London

LITERATURE J. Finkel, “Standing in the Dark, Capturing the Light,” The New York

Times, October 22, 2006; A. Tan, “Time Well Spent,” NY Arts Magazine (online

content), November-December 2008

254

255

256 ZHANG HUAN b. 1965

Foam Series, 1998

Fifteen c-prints. 70 x 49 3/4 in. (177.8 x 126.4 cm) each. Signed and dated and

numbered of five artist's proofs on labels included with the work.This work is

from an edition of 15 plus five artist's proofs.

Estimate $60,000-80,000

PROVENANCE Barry Friedman, Ltd., NewYork

EXHIBITED San Francisco, San Francisco Museum of Modern Art, Supernova: Art

of the 1990s form the Kent Logan Collection, December 13, 2003 – May 23, 2004

(another example exhibited); NewYork, Asia Society, Zhang Huan: Altered States,

September 6, 2008 – January 20, 2008 (another example exhibited)

LITERATURE M. Grynzstejn, Supernova: Art of the 1990s form the Kent Logan

Collection, San Francisco, 2003, no.s 47-48, pp. 108-109 (illustrated); M. Chiu,

Zhang Huan: Altered States, Milan, 2007, p. 72 (illustrated)

257 SHENG QI b. 1965

Mao and Workers, 2008

Acrylic on canvas. 47 1/4 x 63 in. (120 x 160 cm). Signed and dated “Sheng Qi

[in English and Chinese] 2008” on the reverse.

Estimate $15,000-20,000

PROVENANCE F2 Gallery, Beijing

258 SHENG QI b. 1965

China Jam, 2007

Diptych: acrylic on canvas. 27 1/2 x 70 3/4 in. (69.9 x 179.7 cm) overall. Signed and

dated “Sheng Qi [in English and Chinese] 2007” on the reverse of each panel.

Estimate $7,000-9,000


257

258

259 HUANG GANG b. 1961

My Box, 2009

Acrylic, enamel andTibetan printing blocks on wooden panel.

44 x 81 in. (41.8 x 205.7 cm).

Estimate $70,000-90,000


260 FENG ZHENGJIE b. 1968

Series G1, 2007

Oil on canvas. 62 x 62 in. (157.5 x 157.5 cm). Signed and dated “Feng Zhengjie

[in English and Chinese] 2007” lower right.

Estimate $80,000-120,000

PROVENANCE Galerie Enrico Navarra, Paris

261 LIU BOLIN b. 1973

Small Red Hand, 2007

Lacquered bronze in 15 parts. Each 19 1/2 in. (49.5 cm) in height. Signed and

dated on the underside of one figure.This work is from an edition of eight.

Estimate $18,000-25,000

PROVENANCE Galerie Enrico Navarra, Paris

LITERATURE J. Batet, “Liu Bolin: Vigilance, survival instinct and simulation,”

Wynwood (online content), 2008

262 GAO XIAOWU b. 1976

Standard Times, 2006

Lacquered bronze in three parts. 45 x 40 x 23 in. (114.3 x 101.6 x 58.4 cm) each.

Signed and dated on the underside of each element.This work is from an

edition of 40.

Estimate $15,000-20,000


261

262

263 LU SHENGZHONG b. 1952

Human Brick, 2005

Cut paper on matboard and paper bound with silk thread and acrylic glass.

Wall hanging: 39 1/2 x 59 in. (100.3 x 149.9 cm); brick: 6 x 11 3/4 x 4 3/4 in.

(15.2 x 29.8 x 12.1 cm). Signed and dated “Lu Shengzhong [in Chinese] 2005”

lower right of the wall hanging element.

Estimate $60,000-80,000

PROVENANCE Chambers Fine Art, NewYork

EXHIBITED NewYork, Chambers Fine Art, Lu Shengzhong’s The Book of

Humanity, November 6, 2004 – January 8, 2005 (another example from the series

exhibited); Newark, The Newark Museum, The Quiet Gesture: Recent Chinese Art,

June 13 – September 7, 2007 (another example from the series exhibited)

LITERATURE C. Mao, ed., Lu Shengzhong’s The Book of Humanity, NewYork,

2004, pp. 90-91 (another example from the series illustrated)

Detail of present lot

264 LI TIANBING b. 1974

Blue Brother, Yellow Brother, Purple Brother, 2008

Triptych: oil on canvas. 51 x 51 in. (129.5 x 129.5 cm) each. Blue Brother: signed

and dated “Tianbing Li 2008” lower left; Yellow Brother, Purple Brother: signed

and dated “Tianbing Li 2008” lower right.

Estimate $80,000-120,000


LITERATURE L & M Arts, eds., Tianbing Li: Me and My Brother, NewYork, 2008,

plate nos. 4, 5 & 6 (illustrated)

265 FENG MENGBO b. 1966

Q2006L02, 2006

Acrylic andVeeJet® on canvas. 59 x 79 in. (149.9 x 200.7 cm). Signed, titled and

dated “Feng Mengbo [in English and Chinese] Q2006L02 2006” on the reverse.

Estimate $10,000-15,000


267 WU MINGZHONG b. 1968

Heil, Bill, 2006

Acrylic on canvas. 78 1/2 x 63 in. (199.4 x 160 cm). Initialed [in Chinese] and

dated “2006” lower left; signed, titled and dated “Wu Mingzhong Hiel, Bill 2006”

on the reverse.

Estimate $20,000-30,000


EXHIBITED NewYork, 789 Avant Gallery, Focus on China, April 6-30, 2006

265

267

266

266 MU JUN b. 1964

Self-Portrait, 2007

Oil on canvas. 59 1/4 x 39 1/4 in. (150.5 x 99.7 cm). Signed and dated “Mu Jun

[in English and Chinese] 2007” lower left.

Estimate $7,000-9,000


268 ZHONG BIAO b. 1968

Midday Sun, 2006

Acrylic and charcoal on canvas. 109 3/4 x 78 1/2 in. (278.8 x 199.4 cm). Signed

and dated “Zhong Biao [in English and Chinese] 2006” lower center; signed,

titled and dated “Zhong Biao Midday Sun [in English and Chinese] 2006”

on the reverse.

Estimate $60,000-80,000

PROVENANCE Frey Norris Gallery, San Francisco

EXHIBITED San Francisco, Frey Norris Gallery, Zhong Biao: American Debut,

May 3 – June 14, 2007

269 ELENA KELLER b. 1951

Waves, 1996-1997

Oil on fabric collage laid on canvas in three parts. 60 x 32 in. (152.4 x 81.3 cm)

each; 60 x 96 in. (152.4 x 243.8 cm) overall. Initialed “ER” lower right of right

panel. Signed, titled and dated “Elena Keller ‘Waves’ [in English and Cyrillic] 96-

97” on the reverse of the left panel; signed, titled and dated [in Cyrillic] on the

reverse of the center and right panels.

Estimate $20,000-25,000


270 NATALIA NESTEROVA b. 1944

By the Pool, 1990

Oil on canvas. 50 1/2 x 55 in. (128.3 x 139.7 cm). Signed, titled and dated

“Nesterova By the Pool [in Cyrillic] 1990” on the reverse.

Estimate $25,000-35,000

PROVENANCE Acquired directly from the artist; Private collection, USA

271 PYOTR BELENOK 1938-1991

Untitled, 1974

Oil and printed paper collage on paper laid on board. 32 x 22 in. (81.3 x 55.9 cm).

Signed and dated “Belenok 74” lower right.

Estimate $25,000-35,000


272 VLADIMIR DUBOSSARSKY

& ALEXANDRE VINOGRADOV b. 1964 and 1963

Raining (Apes), 2002

Oil on canvas. 49 x 79 in. (124.5 x 200.7 cm). Signed and dated “Dubossarsky

Vinogradov 2002” lower right. Signed, titled and dated “DubossarskyV.

Vinogradov A. ‘Raining’ 2002” on the reverse.

Estimate $30,000-40,000

PROVENANCE Galerie Krinzinger, Vienna

273 MICHAEL BEVILACQUA b. 1966

Hallelujah: It’s a Girl, 2003

Acrylic on linen. 65 x 105 1/8 in. (165.1 x 267 cm). Signed, titled and dated

“Michael Bevilacqua Hallelujah: It’s a Girl 2003” on the reverse.

Estimate $15,000-20,000

PROVENANCE Galleri Faurschou, Copenhagen

EXHIBITED Copenhagen, Galleri Faurschou, Michael Bevilacqua: Happy

Nightmare Baby, April 24 – July 28, 2003; Humlebæk, Denmark, Louisiana Museum

of Modern Art, Michael Bevilacqua, June – September 2005

LITERATURE M. Bevilacqua, P. E. Tøjner, M. Dailey & M. Juul Holm, Louisiana

Contemporary: Michael Bevilacqua, Humlebæk, 2005; H. Dannemand, “13 Malerier

og en Racerbil,” Berlingske, June 17, 2005

274 RITA ACKERMANN b. 1968

Black Butterflyes of the Night, 1993

Acrylic and ink with gauze on paper in the artist’s painted wooden frame.

36 1/2 x 26 1/2 in. (92.7 x 67.3 cm.) overall. Signed, titled and dated “Rita A.

Black Butterflyes of the Night ‘93” on the reverse.

Estimate $7,000-9,000

PROVENANCE Donated by the artist to The New Museum of Contemporary Art,

17th Year Gala Benefit & Art Auction, NewYork (April 24, 1994, lot S101)

274

273

275 CHRISTOPH RUCKHABERLE b. 1972

Trink Halle (Drink Hall), 2003

Oil on canvas. 73 1/4 x 110 1/8 in. (186.1 x 279.7 cm). Signed and dated

“Ruckhaberle 2003” on the overlap.

Estimate $18,000-25,000

PROVENANCE LIGA Galerie, Berlin

EXHIBITED Norwich, United Kingdom, EAST International, July 3 – August 21, 2004

276 RAYMOND PETTIBON b.1957

No title (Vavoom—The poetry of speech.), not dated

Ink and watercolor on paper. 14 x 11 in. (35.6 x 27.9 cm). Signed “Raymond

Pettibon” on the reverse.

Estimate $10,000-12,000



No title (Nothing could now…), 1986

Ink on paper. 17 x 12 in. (43.2 x 30.5 cm). Signed and dated “Raymond Pettibon 86”

on the reverse.

Estimate $4,000-6,000


276

277

278 CHRISTIAN MARCLAY b. 1955

Zzzz, 2006

Pigment print on Arches paper. 42 x 43 3/4 in. (106.7 x 111.1 cm). Signed and dated

“Christian Marclay 2006” and numbered of five on the reverse of the mount.

Estimate $15,000-20,000


EXHIBITED Vancouver, Vancouver Art Gallery, KRAZY!—The Delirious World of

Anime + Comics + Video Games + Art, May 17 – September 7, 2008

LITERATURE B. Grenville, ed., KRAZY!—The Delirious World of Anime + Comics

+ Video Games + Art, Berkeley, 2008

280 AMELIE VON WULFFEN b. 1966

Untitled, 2003-2004

Acrylic, metallic paint, watercolor, ink and graphite on photographs and cut paper

collage with paper adhesive tape on paper. 39 1/4 x 66 7/8 in. (99.7 x 169.9 cm).

Signed and dated “Wulffen 2003” on the reverse.

Estimate $7,000-9,000

PROVENANCE Greene Naftali Inc., NewYork

EXHIBITED NewYork, Greene Naftali Gallery, Amelie von Wulffen: Couples,

Furniture, Landscapes, February 20 – March 20, 2004

LITERATURE J. Burton, “Amelie Von Wulffen: Greene Naftali,” Artforum

International, XLII, no. 9, May 2004, p. 211; P. Kaiser & R. Kersting, eds., Amelie

von Wulffen, Ostfildern, 2005, pp. 160, 205 (illustrated)

280

279 CHRISTIAN MARCLAY b. 1955

The White Album (Listen For Your Footsteps), 1990

Embossing on cardboard record jacket. 12 1/2 x 24 1/2 in. (31.8 x 62.2 cm).

Estimate $15,000-20,000

PROVENANCE Private collection, Miami Beach

EXHIBITED NewYork, Solo Press Gallery, The White Album, November 29 –

December 29, 1990 (other examples from the series exhibited); Los Angeles, UCLA

Hammer Museum, May 31 – August 31, 2003; Annandale-on-Hudson, The Center

for Curatorial Studies Museum, Bard College, September 28 – December 19, 2003;

Seattle, The Seattle Art Museum, February 5 – April 25, 2004; Thun, Kunstmuseum

Thun, June 12 – September 6, 2004; Avignon, Collection Lambert, October 30, 2004

– January 9, 2005; London, Barbican Art Gallery, February 17 – May 2, 2005:

Christian Marclay (another example from the series exhibited)

LITERATURE J. Gonzalez, K. Gordon & M. Higgs, Christian Marclay, London, 2005, p. 12

279

281 FRANZ ACKERMANN b. 1963

Untitled (Hey, City!) , 1997

Oil on canvas. 43 1/4 x 55 in. (109.9 x 139.7 cm).

Estimate $35,000-45,000

PROVENANCE Matthew Marks Gallery, NewYork; Private collection, Miami

282 JIM SHAW b. 1952

Dream Object (Oism Student Art: Tornado), 1999

Oil and acrylic screenprint ink on canvas. 24 x 24 in. (61 x 61 cm). Signed and

dated “Jim Shaw 99” on the overlap.

Estimate $12,000-18,000

PROVENANCE Patrick Painter, Inc., Santa Monica


Dream Object: Dreamt of Drawing (Flying Superheroes + Gorilla), 2001

Graphite on paper. 12 x 9 in. (30.5 x 22.9 cm).

Estimate $7,000-9,000


282

283


Untitled (Large Semi-Abstract Airbush Drawing #1), 2004

Airbrush, ink and graphite on paper. 54 x 79 1/2 in. (137.2 x 201.9 cm). Signed and

dated “Jim Shaw 2004” on the reverse.

Estimate $30,000-40,000


285 ROBERT LONGO b. 1953

Study for Friends, 1984

Acrylic, oilstick, colored dye and graphite on paper. 27 x 29 in. (68.6 x 73.7 cm).

Signed and dated “R. Longo 84” lower right; titled “Study for Friends” lower left.

Estimate $12,000-18,000


EXHIBITED Houston, The Menil Collection, Robert Longo, May – September 1988

286 LUCY MCKENZIE b. 1977

TinTin, 2005

Ink on paper. 21 3/4 x 15 in. (55.2 x 38.1 cm). Signed and dated “Lucy McKenzie

2005” on the reverse.

Estimate $7,000-9,000


285

286

287 CHRISTIAN HOLSTAD b. 1972

Two works from Newspaper Drawings: Run On Sentences and

Another Generation, 2003-2004

Graphite on newsprint. 6 x 6 5/8 in. (15.2 x 16.8 cm); 7 3/4 x 10 3/4 in. (19.7 x 27.3 cm).

Signed, titled and dated “Christian Holstad ‘Run On Sentences’ 2003” on the

reverse; signed, titled and dated “Christian Holstad ‘Another Generation’ 2004”

on the reverse.

Estimate $6,000-8,000

PROVENANCE Daniel Reich Gallery, NewYork

288 KARL HAENDEL b. 1976

Untitled, 2001

Graphite on paper. 22 x 30 in. (55.9 x 76.2 cm). Signed and dated “Haendel 2001”

on the reverse.

Estimate $6,000-8,000

PROVENANCE Anna Helwing Gallery, Los Angeles

287

288


No title (We are safe here…), 1991

Acrylic on canvas. 30 x 15 in. (76.2 x 38.1 cm). Signed and dated “Raymond

Pettibon 91” on the reverse.

Estimate $10,000-15,000


289

290

289 SU-EN WONG b. 1973

Dark Painting with Girl as Child Bride, 1999

Acrylic and graphite on wooden panel in two conjoined parts. 72 x 40 in.

(182.9 x 101.6 cm) overall. Signed, titled and dated “Su-enWong Dark Painting

with Girl as Child Bride 1999” on the reverse of the upper panel.

Estimate $7,000-9,000

PROVENANCE Stefan Stux Gallery, NewYork

292 SIMON PERITON b. 1964

Snatch 1, 2000

Cut paper collage. 21 1/2 x 34 in. (54.6 x 86.4 cm). Signed and dated “Simon

Periton 2000” on the reverse.

Estimate $3,000-4,000

PROVENANCE Sadie Coles HQ, London

291

292

291 DANIEL OATES b. 1964

Trophy (Ursula the Cow) I, 1991

Polyester resin, urethane foam, latex, wood, steel and painted fiberglass with

acrylic yarn, extruded polystyrene, painted macaroni and plastic necklace.

16 x 17 1/2 x 17 1/4 in. (40.6 x 44.5 x 43.8 cm).This work is from an edition of five.

Estimate $5,000-7,000


294 KENNY SCHARF b. 1958

Untitled, 1983

Oil on found wooden panel. 24 x 13 in. (61 x 33 cm). Signed and dated

“Kenny Scharf 83” on the reverse

Estimate $15,000-20,000

PROVENANCE Kantor Gallery, Los Angeles

293

294

293 KENNY SCHARF b. 1958

Boxer Rain, 1983

Acrylic, oil and spray paint on canvas laid on shaped wooden panels with steel

nails. 24 x 29 in. (61 x 73.7 cm).

Estimate $30,000-40,000

PROVENANCE Russeck Gallery, Palm Beach

296 JIN MEYERSON b. 1972

Untitled (Football Base), 2004

Oil and acrylic on panel. 29 7/8 x 29 7/8 in. (75.9 x 75.9 cm). Initialed and dated

“JM 2004” on the reverse.

Estimate $4,000-6,000

PROVENANCE Zach Feuer Gallery (LFL), NewYork

295

296


Two works: Untitled 5 and Untitled 7, from the series Ice CreamTrees, 2007

Unique screenprints. 45 3/4 x 34 in. (116.2 x 86.4 cm) each. Each signed and dated

“Ryan McGinness 2007” lower right and blindstamped with the Lower East Side

Print Shop logo lower left.

Estimate $12,000-16,000

PROVENANCE Published by Lower East Side Print Shop, Inc., NewYork

LITERATURE J. Schumacher, ed., Ryan McGinness Works, NewYork, 2009, p. 63

298 DAN KOPP b. 1974

Both Near and Far, 2002

Acrylic on canvas. 47 x 58 1/4 in. (119.4 x 148 cm).

Estimate $5,000-7,000

PROVENANCE Daniel Silverstein Gallery, NewYork

EXHIBITED NewYork, Daniel Silverstein Gallery, Monuments, January –

February, 2003

LITERATURE “Dan Kopp, Monuments,” The New York Times, January 31, 2003

297

298

297 HERBERT FERBER 1906-1991

George’s Series #17, 1988

Acrylic and sand on canvas. 59 1/2 x 90 in. (151.1 x 228.6 cm). Initialed “HF” lower

right; signed and titled “Ferber George’s Series #17” on the reverse.

Estimate $8,000-12,000

PROVENANCE M. Knoedler & Co., Inc., NewYork; Private collection, NewYork

300 DAN McCARTHY b. 1962

Winter Stick, 2003-2004

Oil on canvas. 52 x 78 in. (132.1 x 198.1 cm). Signed, titled and dated

“Dan McCarthy ‘Winter Stick’ 2003-2--4” on the reverse.

Estimate $8,000-12,000

PROVENANCE Anton Kern Gallery, NewYork

299

300

299 TILL GERHARD b. 1971

Schlecht Inkarniert (Bad Personified), 2003

Acrylic and watercolor on canvas. 61 x 59 in. (154.9 x 149.9 cm). Initialed, titled

and dated “TG Schlect Inkarniert 2003” on the reverse.

Estimate $15,000-20,000

PROVENANCE Ikon, Ltd., Santa Monica

EXHIBITED Santa Monica, Ikon, Ltd., Contemporary German Artists, November 5,

2005 – January 8, 2006

302 LIZ LARNER b. 1960

Cube, 1989

Steel with gun bluing finish and neoprene cord. 24 x 23 x 24 in. (61 x 58.4 x 61 cm).

Estimate $10,000-15,000

PROVENANCE 303 Gallery, NewYork

301 GEORG HEROLD b. 1947

Untitled, 1989

Caviar and resin on canvas. 7 x 9 in. (17.8 x 22.9 cm). Signed and dated “Herold

89” on the overlap.

Estimate $2,000-3,000


301

302

303 RUSSELLYOUNG b. 1960

Elvis, from the Pig Portraits Series, 2007

Screenprint on canvas. 63 1/2 x 49 1/2 in. (161.3 x 125.7 cm). Signed “Russell

Young” on the reverse.This work is a unique BAT proof.

Estimate $8,000-12,000


EXHIBITION Stockholm, Joakim von Ditmar Gallery, Celebrity Portraits,

September 11 – October 4, 2008

GUIDE FOR PROSPECTIVE BUYERS

Buying at AuctionThe following pages are designed to offer you information on how to buy at auctionat Phillips de Pury & Company. Our staff will be happy to assist you.

Conditions of SaleThe Conditions of Sale andAuthorshipWarranty which appear later in thiscatalogue govern the auction. Bidders are strongly encouraged to read them as theyoutline the legal relationship among Phillips, the seller and the buyer and describethe terms upon which property is bought at auction. Please be advised that Phillipsde Pury & Company generally acts as agent for the seller.

Buyer’s PremiumPhillips de Pury & Company charges the successful bidder a commission, or buyer’spremium, on the hammer price of each lot sold.The buyer’s premium is payable bythe buyer as part of the total purchase price at the following rates: 25% of thehammer price up to and including $50,000, 20% of the portion of the hammer priceabove $50,000 up to and including $1,000,000 and 12% of the portion of the hammerprice above $1,000,000.

1 Prior to Auction

Catalogue SubscriptionsIf you would like to purchase a catalogue for this auction or any other Phillips dePury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

Pre-Sale EstimatesPre-Sale estimates are intended as a guide for prospective buyers.Any bid withinthe high and low estimate range should, in our opinion, offer a chance of success.However, many lots achieve prices below or above the pre-sale estimates.Where“Estimate on Request” appears, please contact the specialist department for furtherinformation. It is advisable to contact us closer to the time of the auction asestimates can be subject to revision. Pre-sale estimates do not include the buyer’spremium or any applicable taxes.

Pre-Sale Estimates in Pounds Sterling and EurosAlthough the sale is conducted in US dollars, the pre-sale estimates in the auctioncatalogues may also be printed in pounds sterling and/or euros. Since the exchangerate is that at the time of catalogue production and not at the date of auction, youshould treat estimates in pounds sterling or euros as a guide only.

Catalogue EntriesPhillips may print in the catalogue entry the history of ownership of a work of art,as well as the exhibition history of the property and references to the work in artpublications.While we are careful in the cataloguing process, provenance, exhibitionand literature references may not be exhaustive and in some cases we mayintentionally refrain from disclosing the identity of previous owners. Please notethat all dimensions of the property set forth in the catalogue entry are approximate.

Condition of LotsOur catalogues include references to condition only in the descriptions of multipleworks (e.g., prints). Such references, though, do not amount to a full description ofcondition.The absence of reference to the condition of a lot in the catalogue entrydoes not imply that the lot is free from faults or imperfections. Solely as aconvenience to clients, Phillips de Pury & Company may provide condition reports.In preparing such reports, our specialists assess the condition in a mannerappropriate to the estimated value of the property and the nature of the auction inwhich it is included.While condition reports are prepared honestly and carefully, ourstaff are not professional restorers or trained conservators.We therefore encourageall prospective buyers to inspect the property at the pre-sale exhibitions andrecommend, particularly in the case of any lot of significant value, that you retainyour own restorer or professional advisor to report to you on the property’s conditionprior to bidding.Any prospective buyer of photographs or prints should alwaysrequest a condition report because all such property is sold unframed, unlessotherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury& Company accepts no liability for the condition of the frame. If we sell any lotunframed, we will be pleased to refer the purchaser to a professional framer.

Pre-AuctionViewingPre-auction viewings are open to the public and free of charge. Our specialistsare available to give advice and condition reports at viewings or by appointment.

Electrical and Mechanical LotsAll lots with electrical and/or mechanical features are sold on the basis of theirdecorative value only and should not be assumed to be operative. It is essential that,prior to any intended use, the electrical system is verified and approved by aqualified electrician.

Symbol KeyThe following key explains the symbols you may see inside this catalogue.

O Guaranteed PropertyThe seller of lots with this symbol has been guaranteed a minimum price.Theguarantee may be provided by Phillips de Pury & Company, by a third party or jointlyby us and a third party. Phillips de Pury & Company and third parties providing orparticipating in a guarantee may benefit financially if a guaranteed lot is soldsuccessfully and may incur a loss if the sale is not successful.

Δ Property inWhich Phillips de Pury & Company Has an Ownership InterestLots with this symbol indicate that Phillips de Pury & Company owns the lot inwhole or in part or has an economic interest in the lot equivalent to an ownershipinterest.

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

2 Bidding in the Sale

Bidding at AuctionBids may be executed during the auction in person by paddle or by telephone orprior to the sale in writing by absentee bid.

Bidding in PersonTo bid in person, you will need to register for and collect a paddle before the auctionbegins. Proof of identity in the form of government issued identification willbe required, as will an original signature.We may also require that you furnish uswith a bank reference. New clients are encouraged to register at least 48 hours inadvance of a sale to allow sufficient time for us to process your information.All lotssold will be invoiced to the name and address to which the paddle has beenregistered and invoices cannot be transferred to other names and addresses. Pleasedo not misplace your paddle. In the event you lose it, inform a Phillips de Pury &Company staff member immediately. At the end of the auction, please return yourpaddle to the registration desk.

Bidding byTelephoneIf you cannot attend the auction, you may bid live on the telephone with one of ourmulti-lingual staff members.This service must be arranged at least 24 hours inadvance of the sale and is available for lots whose low pre-sale estimate is at least$1000.Telephone bids may be recorded. By bidding on the telephone, you consent tothe recording of your conversation.We suggest that you leave a maximum bid,excluding the buyer’s premium and any applicable taxes, which we can execute onyour behalf in the event we are unable to reach you by telephone.

Absentee BidsIf you are unable to attend the auction and cannot participate by telephone, Phillipsde Pury & Company will be happy to execute written bids on your behalf. A biddingform can be found at the back of this catalogue.This service is free and confidential.Bids must be placed in the currency of the sale. Our staff will attempt to execute anabsentee bid at the lowest possible price taking into account the reserve and otherbidders.Always indicate a maximum bid, excluding the buyer’s premium and anyapplicable taxes. Unlimited bids will not be accepted.Any absentee bid must bereceived at least 24 hours in advance of the sale. In the event of identical bids, theearliest bid received will take precedence.

Employee BiddingEmployees of Phillips de Pury & Company and our affiliated companies, includingthe auctioneer, may bid at the auction by placing absentee bids so long as they donot know the reserve when submitting their absentee bids and otherwise complywith our employee bidding procedures.

Bidding IncrementsBidding generally opens below the low estimate and advances in increments of upto 10%, subject to the auctioneer’s discretion.Absentee bids that do not conformto the increments set below may be lowered to the next bidding increment.

$50 to $1,000 by $50s$1,000 to $2,000 by $100s$2,000 to $3,000 by $200s$3,000 to $5,000 by $200s, 500, 800

(i.e. $4,200, 4,500, 4,800)$5,000 to $10,000 by $500s$10,000 to $20,000 by $1,000s$20,000 to $30,000 by $2,000s$30,000 to $50,000 by $2,000s, 5,000, 8,000$50,000 to $100,000 by $5,000s$100,000 to $200,000 by $10,000sabove $200,000 auctioneer’s discretion

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

AUCTION 12 MAY 2009 4pm GENEVA

Viewing 8 – 12 May

Exhibition & Sale Location

Hôtel de la Paix 11, quai du Mont-Blanc, 1211 Genève

Phillips de Pury & Company 23 quai des Bergues, 1201 Genève

Catalogues & Enquiries +41 22 906 80 00 / +1 212 940 1283

www.phillipsdepury.com

A Jade and Gem-set ‘Maltese’ Cuff Bracelet VERDURA Estimate 18,000-22,000 CHF

MAGNIFICENT JEWELS

3 TheAuction

Conditions of SaleAs noted above, the auction is governed by the Conditions of Sale andAuthorshipWarranty. All prospective bidders should read them carefully.They may be amendedby saleroom addendum or auctioneer’s announcement.

Interested Parties AnnouncementIn situations where a person allowed to bid on a lot has a direct or indirect interestin such lot, such as the beneficiary or executor of an estate selling the lot, a jointowner 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 thatinterested parties may bid on the lot.

Consecutive and Responsive BiddingThe auctioneer may open the bidding on any lot by placing a bid on behalf of theseller.The auctioneer may further bid on behalf of the seller up to the amount of thereserve by placing consecutive bids or bids in response to other bidders.

4 After the Auction

PaymentBuyers are required to pay for purchases immediately following the auction unlessother arrangements are agreed with Phillips de Pury & Company in writing inadvance of the sale. Payments must be made in US dollars either by cash, checkdrawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions ofSale. It is our corporate policy not to make or accept single or multiple paymentsin cash or cash equivalents in excess of US$10,000.

Credit CardsAs a courtesy to clients, Phillips de Pury & Company will acceptAmerican Express,Visa and Mastercard to pay for invoices of $10,000 or less.

CollectionIt is our policy to request proof of identity on collection of a lot. A lot will be releasedto 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 otheramount by the buyer. Promptly after the auction, we will transfer all lots to ourwarehouse located at 29-09 37thAvenue in Long Island City, Queens, NewYork.Allpurchased lots should be collected at this location during our regular weekdaybusiness hours.As a courtesy to clients, we will upon request transfer purchasedlots suitable for hand carry back to our premises at 450West 15th Street, NewYork,NewYork for collection within 30 days following the date of the auction.We will levyremoval, interest, storage and handling charges on uncollected lots.

Loss or DamageBuyers are reminded that Phillips de Pury & Company accepts liability for loss ordamage to lots for a maximum of five days following the auction.

Transport and ShippingAs a free service for buyers, Phillips de Pury & Company will wrap purchased lotsfor hand carry only.We will, at the buyer’s expense, either provide packing, handlingand shipping services or coordinate with shipping agents instructed by the buyer inorder to facilitate such services for property purchased at Phillips de Pury &Company. Please refer to Paragraph 7 of the Conditions of Sale for moreinformation.

Export and Import LicensesBefore bidding for any property, prospective bidders are advised to makeindependent inquiries as to whether a license is required to export the property fromthe United States or to import it into another country. It is the buyer’s soleresponsibility to comply with all import and export laws and to obtain any necessarylicenses or permits.The denial of any required license or permit or any delay inobtaining such documentation will not justify the cancellation of the sale or anydelay in making full payment for the lot.

Endangered SpeciesItems made of or incorporating plant or animal material, such as coral, crocodile,ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage orvalue, may require a license or certificate prior to exportation and additionallicenses or certificates upon importation to any foreign country. Please note that theability to obtain an export license or certificate does not ensure the ability to obtainan import license or certificate in another country, and vice versa.We suggest thatprospective bidders check with their own government regarding wildlife importrequirements prior to placing a bid. It is the buyer’s sole responsibility to obtain anynecessary export or import licenses or certificates as well as any other requireddocumentation.The denial of any required license or certificate or any delay inobtaining such documentation will not justify the cancellation of the sale or anydelay in making full payment for the lot.

AUCTION 16 MAY 2009 3pm LONDON

Viewing 9 – 16 May

Phillips de Pury & Company Howick Place London SW1P 1BB

Enquiries +44 20 7318 4092 Catalogues +44 20 7318 4039 / +1 212 940 1240


OLAFUR ELIASSON Untitled (Iceland Series), 2006 Estimate £50,000-70,000

PHOTOGRAPHS

CONDITIONS OF SALE

The Conditions of Sale andAuthorshipWarranty set forth below govern therelationship between bidders and buyers, on the one hand, and Phillips de Pury &Company and sellers, on the other hand.All prospective buyers should read theseConditions of Sale andAuthorshipWarranty carefully before bidding.

1 IntroductionEach lot in this catalogue is offered for sale and sold subject to: (a) the Conditionsof Sale andAuthorshipWarranty; (b) additional notices and terms printed in otherplaces 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 orannouncement by the auctioneer prior to the auction

By bidding at the auction, whether in person, through an agent, by written bid, bytelephone bid or other means, bidders and buyers agree to be bound by theseConditions of Sale, as so changed or supplemented, andAuthorshipWarranty.

These Conditions of Sale, as so changed or supplemented, andAuthorshipWarrantycontain all the terms on which Phillips de Pury & Company and the seller contractwith the buyer.

2 Phillips de Pury & Company asAgentPhillips de Pury & Company acts as an agent for the seller, unless otherwiseindicated 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 aconsignor, or may have a legal, beneficial or financial interest in a lot as a securedcreditor or otherwise.

3 Catalogue Descriptions and Condition of PropertyLots are sold subject to theAuthorshipWarranty, as described in the catalogue(unless such description is changed or supplemented, as provided in Paragraph 1above) and in the condition that they are in at the time of the sale on the followingbasis.

(a)The knowledge of Phillips de Pury & Company in relation to each lot is partiallydependent 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 outinspections and investigations to satisfy themselves as to the lots in which they maybe interested. Notwithstanding the foregoing, we shall exercise such reasonablecare when making express statements in catalogue descriptions or conditionreports 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 technicalknowledge and (iii) the generally accepted opinions of relevant experts, in each caseat the time any such express statement is made.

(b) Each lot offered for sale at Phillips de Pury & Company is available forinspection by prospective buyers prior to the auction. Phillips de Pury & Companyaccepts bids on lots on the basis that bidders (and independent experts on theirbehalf, to the extent appropriate given the nature and value of the lot and thebidder’s own expertise) have fully inspected the lot prior to bidding and havesatisfied themselves as to both the condition of the lot and the accuracy of itsdescription. .

(c) Prospective buyers acknowledge that many lots are of an age and type whichmeans that they are not in perfect condition.As a courtesy to clients, Phillips dePury & Company may prepare and provide condition reports to assist prospectivebuyers when they are inspecting lots. Catalogue descriptions and condition reportsmay make reference to particular imperfections of a lot, but bidders should note thatlots may have other faults not expressly referred to in the catalogue or conditionreport. All dimensions are approximate. Illustrations are for identification purposesonly and cannot be used as precise indications of size or to convey full informationas to the actual condition of lots.

(d) Information provided to prospective buyers in respect of any lot, including anypre-sale estimate, whether written or oral, and information in any catalogue,condition or other report, commentary or valuation, is not a representation of factbut rather a statement of opinion held by Phillips de Pury & Company.Any pre-saleestimate may not be relied on as a prediction of the selling price or value of the lotand may be revised from time to time by Phillips de Pury & Company in our absolutediscretion. Neither Phillips de Pury & Company nor any of our affiliated companiesshall be liable for any difference between the pre-sale estimates for any lot and theactual price achieved at auction or upon resale.

4 Bidding at Auction(a) Phillips de Pury & Company has absolute discretion to refuse admission to theauction or participation in the sale. All bidders must register for a paddle prior tobidding, 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 dePury & Company may, if so instructed by the bidder, execute written absentee bidson a bidder’s behalf. Absentee bidders are required to submit bids on the “AbsenteeBid Form,” a copy of which is printed in this catalogue or otherwise available from

Phillips de Pury & Company. Bids must be placed in the currency of the sale.Thebidder must clearly indicate the maximum amount he or she intends to bid, excludingthe buyer’s premium and any applicable sales or use taxes.The auctioneer will notaccept an instruction to execute an absentee bid which does not indicate suchmaximum bid. Our staff will attempt to execute an absentee bid at the lowestpossible price taking into account the reserve and other bidders.Any absentee bidmust be received at least 24 hours in advance of the sale. In the event of identicalbids, the earliest bid received will take precedence.

(c)Telephone bidders are required to submit bids on the “Telephone Bid Form,” acopy of which is printed in this catalogue or otherwise available from Phillips dePury & Company.Telephone bidding is available for lots whose low pre-sale estimateis at least $1000. Phillips de Pury & Company reserves the right to require writtenconfirmation of a successful bid from a telephone bidder by fax or otherwiseimmediately after such bid is accepted by the auctioneer.Telephone bids may berecorded and, by bidding on the telephone, a bidder consents to the recording of theconversation.

(d)When making a bid, whether in person, by absentee bid or on the telephone, abidder accepts personal liability to pay the purchase price, as described more fullyin Paragraph 6 (a) below, plus all other applicable charges unless it has beenexplicitly agreed in writing with Phillips de Pury & Company before thecommencement of the auction that the bidder is acting as agent on behalf of anidentified third party acceptable to Phillips de Pury & Company and that we will onlylook to the principal for such payment.

(e)Arranging absentee and telephone bids is a free service provided by Phillips dePury & Company to prospective buyers.While we undertake to exercise reasonablecare in undertaking such activity, we cannot accept liability for failure to executesuch bids except where such failure is caused by our willful misconduct.

(f) Employees of Phillips de Pury & Company and our affiliated companies, includingthe auctioneer, may bid at the auction by placing absentee bids so long as they donot know the reserve when submitting their absentee bids and otherwise complywith our employee bidding procedures.

5 Conduct of the Auction(a) Unless otherwise indicated by the symbol • each lot is offered subject to areserve, 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 atthe time of the auction.

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes theremay be error or dispute and take such other action as he or she deems reasonablyappropriate.

(c)The auctioneer will commence and advance the bidding at levels and inincrements he or she considers appropriate. In order to protect the reserve on anylot, the auctioneer may place one or more bids on behalf of the seller up to thereserve without indicating he or she is doing so, either by placing consecutive bidsor bids in response to other bidders.

(d)The sale will be conducted in US dollars and payment is due in US dollars. Forthe benefit of international clients, pre-sale estimates in the auction catalogue maybe shown in pounds sterling and/or euros and, if so, will reflect approximateexchange rates.Accordingly, estimates in pounds sterling or euros should betreated only as a guide.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder acceptedby the auctioneer will be the buyer and the striking of the hammer marks theacceptance of the highest bid and the conclusion of a contract for sale between theseller and the buyer. Risk and responsibility for the lot passes to the buyer as setforth 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 theseConditions of Sale andAuthorshipWarranty 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’spremium and any applicable sales tax (the “Purchase Price”).The buyer’s premiumis 25% of the hammer price up to and including $50,000, 20% of the portion of thehammer price above $50,000 up to and including $1,000,000 and 12% of the portion ofthe hammer price above $1,000,000.

(b) Sales tax, use tax and excise and other taxes are payable in accordance withapplicable law.All prices, fees, charges and expenses set out in these Conditionsof Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company willonly accept valid resale certificates from US dealers as proof of exemption fromsales tax.All foreign buyers should contact the ClientAccounting Department abouttax matters.

www.phill ipsdepury.com

www.phillipsar texpert.com

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lotimmediately following the auction regardless of any intention to obtain an exportor import license or other permit for such lot. Payments must be made by theinvoiced party in US dollars either by cash, check drawn on a US bankor wire transfer, as follows:

(i) Phillips de Pury & Company will accept payment in cash provided that thetotal amount paid in cash or cash equivalents does not exceed US$10,000.Buyers paying in cash should do so in person at our ClientAccounting Deskat 450West 15th Street,Third Floor, during regular weekday business hours.

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank andthe buyer provides to us acceptable government issued identification. Checksand banker’s drafts should be made payable to “Phillips de Pury & CompanyLLC.” If payment is sent by mail, please send the check or banker’s draft to theattention of the ClientAccounting Department at 450West 15th Street, NewYork, NY 10011 and make sure that the sale and lot number is written on thecheck. 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:

Citibank322West 23rd Street, NewYork, NY 10011SWIFT Code: CITIUS33ABA Routing: 021 000 089For the account of Phillips de Pury & Company LLCAccount no.: 58347736

Please reference the relevant sale and lot number.

(d)Title in a purchased lot will not pass until Phillips de Pury & Company hasreceived 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 passedand appropriate identification has been provided, and any earlier release does notaffect the passing of title or the buyer’s unconditional obligation to pay thePurchase Price.

7 Collection of Property(a) Phillips de Pury & Company will not release a lot to the buyer until we havereceived payment of its Purchase Price in full in cleared funds, the buyer has paidall outstanding amounts due to Phillips de Pury & Company or any of our affiliatedcompanies, including any charges payable pursuant to Paragraph 8 (a) below, andthe 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 shouldcontact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange forcollection of purchased property.

(b)The buyer must arrange for collection of a purchased lot within five days of thedate of the auction. Promptly after the auction, we will transfer all lots to ourwarehouse located at 29-09 37thAvenue in Long Island City, Queens, NewYork.Allpurchased lots should be collected at this location during our regular weekdaybusiness hours.As a courtesy to clients, Phillips de Pury & Company will uponrequest transfer on a bi-weekly basis purchased lots suitable for hand carry back toour premises at 450West 15th Street, NewYork, NewYork for collection within 30days 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 ofcollection 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 toa maximum of the Purchase Price paid, subject to our usual exclusions for loss ordamage to property.

(c)As a courtesy to clients, Phillips de Pury & Company will, without charge, wrappurchased lots for hand carry only.We will, at the buyer’s expense, either providepacking, handling, insurance and shipping services or coordinate with shippingagents instructed by the buyer in order to facilitate such services for propertybought at Phillips de Pury & Company.Any such instruction, whether or not made atour recommendation, is entirely at the buyer’s risk and responsibility, and we will notbe liable for acts or omissions of third party packers or shippers.Third partyshippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 9246477 at least 24 hours in advance of collection in order to schedule pickup.

(d) Phillips de Pury & Company will require presentation of government issuedidentification prior to release of a lot to the buyer or the buyer’s authorizedrepresentative.

8 Failure to Collect Purchases(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30days of the auction, the buyer will incur a late collection fee of $35, storage chargesof $5 per day and pro rated insurance charges of .1% of the Purchase Price permonth 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 ofthe item by auction or private sale, with estimates and a reserve set at Phillips de

Pury & Company’s reasonable discretion.The proceeds of such sale will be appliedto pay for storage charges and any other outstanding costs and expenses owed bythe buyer to Phillips de Pury & Company or our affiliated companies and theremainder will be forfeited unless collected by the buyer within two years of theoriginal auction.

9 Remedies for Non-Payment(a)Without prejudice to any rights the seller may have, if the buyer without prioragreement fails to make payment of the Purchase Price for a lot in cleared fundswithin five days of the auction, Phillips de Pury & Company may in our solediscretion exercise one or more of the following remedies: (i) store the lot at Phillipsde Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense atthe same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot,retaining any partial payment of the Purchase Price as liquidated damages; (iii)reject future bids from the buyer or render such bids subject to payment of adeposit; (iv) charge interest at 12% per annum from the date payment became dueuntil the date the Purchase Price is received in cleared funds; (v) subject tonotification of the buyer, exercise a lien over any of the buyer’s property which is inthe possession of Phillips de Pury & Company and instruct our affiliated companiesto exercise a lien over any of the buyer’s property which is in their possession and, ineach case, no earlier than 30 days from the date of such notice, arrange the sale ofsuch property and apply the proceeds to the amount owed to Phillips de Pury &Company or any of our affiliated companies after the deduction from sale proceedsof our standard vendor’s commission and all sale-related expenses; (vi) resell the lotby 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 resaleis for less than the original hammer price and buyer’s premium for that lot, the buyerwill remain liable for the shortfall together with all costs incurred in such resale;(vii) commence legal proceedings to recover the hammer price and buyer’s premiumfor that lot, together with interest and the costs of such proceedings; or (viii) releasethe name and address of the buyer to the seller to enable the seller to commencelegal proceedings to recover the amounts due and legal costs.

(b)As security to us for full payment by the buyer of all outstanding amounts dueto Phillips de Pury & Company and our affiliated companies, Phillips de Pury &Company retains, and the buyer grants to us, a security interest in each lotpurchased at auction by the buyer and in any other property or money of the buyer in,or coming into, our possession or the possession of one of our affiliated companies.We may apply such money or deal with such property as the Uniform CommercialCode or other applicable law permits a secured creditor to do. In the event that weexercise a lien over property in our possession because the buyer is in default to oneof our affiliated companies, we will so notify the buyer. Our security interest in anyindividual lot will terminate upon actual delivery of the lot to the buyer or the buyer’sagent.

(c) In the event the buyer is in default of payment to any of our affiliated companies,the buyer also irrevocably authorizes Phillips de Pury & Company to pledge thebuyer’s property in our possession by actual or constructive delivery to our affiliatedcompany as security for the payment of any outstanding amount due. Phillips dePury & Company will notify the buyer if the buyer’s property has been delivered to anaffiliated company by way of pledge.

10 Rescission by Phillips de Pury & CompanyPhillips de Pury & Company shall have the right, but not the obligation, to rescind asale without notice to the buyer if we reasonably believe that there is a materialbreach of the seller’s representations and warranties or theAuthorshipWarranty oran 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 toPhillips 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 soleremedy and recourse of the buyer against Phillips de Pury & Company and the sellerwith respect to such rescinded sale..

11 Export, Import and Endangered Species Licenses and PermitsBefore bidding for any property, prospective buyers are advised to make their owninquiries as to whether a license is required to export a lot from the United States orto import it into another country. Prospective buyers are advised that somecountries prohibit the import of property made of or incorporating plant or animalmaterial, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell,irrespective of age, percentage or value.Accordingly, prior to bidding, prospectivebuyers considering export of purchased lots should familiarize themselves withrelevant export and import regulations of the countries concerned. It is solely thebuyer’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 orpermit or delay in so doing will not justify the cancellation of the sale or any delay inmaking full payment for the lot.

12 Client InformationIn connection with the management and operation of our business and themarketing and supply of auction related services, or as required by law, we may askclients to provide personal information about themselves or obtain informationabout clients from third parties (e.g., credit information). If clients provide us withinformation 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 dePury & Company and our affiliated companies will not use or process sensitiveinformation for any other purpose without the client's express consent. If you would

AUCTION 3 JUNE 2009 11am NEW YORK

Viewing 27 May – 2 June

Phillips de Pury & Company 450 West 15 Street NewYork



LUCIE RIE Sgraffito and inlay bowl, ca. 1965 Estimate $12,000-18,000

DESIGN

like further information on our policies on personal data or wish to make correctionsto your information, please contact us at +1 212 940 1228. If you would prefer not toreceive details of future events please call the above number.

13 Limitation of Liability(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury &Company, our affiliated companies and the seller to the buyer in connection with thesale of a lot shall be limited to the Purchase Price actually paid by the buyer for thelot.

(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 oromissions, whether orally or in writing, in information provided to prospectivebuyers by Phillips de Pury & Company or any of our affiliated companies or (ii)accepts responsibility to any bidder in respect of acts or omissions, whethernegligent or otherwise, by Phillips de Pury & Company or any of our affiliatedcompanies in connection with the conduct of the auction or for any other matterrelating to the sale of any lot.

(c)All warranties other than theAuthorshipWarranty, express or implied, includingany warranty of satisfactory quality and fitness for purpose, are specificallyexcluded by Phillips de Pury & Company, our affiliated companies and the seller tothe fullest extent permitted by law.

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any ofour affiliated companies or the seller shall be liable to the buyer for any loss ordamage 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 tothe fullest extent permitted by law.

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit theliability of Phillips de Pury & Company or any of our affiliated companies to thebuyer in respect of any fraud or fraudulent misrepresentation made by any of us or inrespect of death or personal injury caused by our negligent acts or omissions.

14 CopyrightThe copyright in all images, illustrations and written materials produced by or forPhillips de Pury & Company relating to a lot, including the contents of thiscatalogue, 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 otherparty without our prior written consent. Phillips de Pury & Company and the sellermake no representations or warranties that the buyer of a lot will acquire anycopyright or other reproduction rights in it.

15 General(a)These Conditions of Sale, as changed or supplemented as provided in Paragraph1 above, andAuthorshipWarranty set out the entire agreement between the partieswith respect to the transactions contemplated herein and supersede all prior andcontemporaneous written, oral or implied understandings, representations andagreements.

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to thedepartment in charge of the sale, quoting the reference number specified at thebeginning of the sale catalogue. Notices to clients shall be addressed to the lastaddress notified by them in writing to Phillips de Pury & Company.

(c)These Conditions of Sale are not assignable by any buyer without our priorwritten consent but are binding on the buyer’s successors, assigns andrepresentatives.

(d) Should any provision of these Conditions of Sale be held void, invalid orunenforceable for any reason, the remaining provisions shall remain in full force andeffect. No failure by any party to exercise, nor any delay in exercising, any right orremedy under these Conditions of Sale shall act as a waiver or release thereof inwhole or in part.

16 Law and Jurisdiction(a)ThThe rights and obligations of the parties with respect to these Conditions ofSale andAuthorshipWarranty, the conduct of the auction and any matters related toany of the foregoing shall be governed by and interpreted in accordance with laws ofthe State of NewYork, excluding its conflicts of law rules.

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusivejurisdiction of the (i) state courts of the State of NewYork located in NewYork Cityand (ii) the federal courts for the Southern and Eastern Districts of NewYork tosettle all disputes arising in connection with all aspects of all matters ortransactions to which these Conditions of Sale andAuthorshipWarranty relate orapply.

(c)All bidders and sellers irrevocably consent to service of process or any otherdocuments in connection with proceedings in any court by facsimile transmission,personal service, delivery by mail or in any other manner permitted by NewYork lawor the law of the place of service, at the last address of the bidder or seller known toPhillips de Pury & Company.

AUTHORSHIPWARRANTY

Phillips de Pury & Company warrants the authorship of property in this auctioncatalogue 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 thisAuthorshipWarranty only to the originalbuyer of record (i.e., the registered successful bidder) of any lot.ThisAuthorshipWarranty does not extend to (i) subsequent owners of the property, includingpurchasers or recipients by way of gift from the original buyer, heirs, successors,beneficiaries and assigns; (ii) property created prior to 1870, unless the property isdetermined to be counterfeit (defined as a forgery made less than 50 years ago withan intent to deceive) and has a value at the date of the claim under this warrantywhich is materially less than the Purchase Price paid; (iii) property where thedescription in the catalogue states that there is a conflict of opinion on theauthorship of the property; (iv) property where our attribution of authorship was onthe date of sale consistent with the generally accepted opinions of specialists,scholars or other experts; or (v) property whose description or dating is provedinaccurate by means of scientific methods or tests not generally accepted for use atthe time of the publication of the catalogue or which were at such time deemedunreasonably expensive or impractical to use.

(b) In any claim for breach of theAuthorshipWarranty, Phillips de Pury & Companyreserves the right, as a condition to rescinding any sale under this warranty, torequire the buyer to provide to us at the buyer’s expense the written opinions of tworecognized experts approved in advance by Phillips de Pury & Company.We shallnot be bound by any expert report produced by the buyer and reserve the right toconsult our own experts at our expense. If Phillips de Pury & Company agrees torescind a sale under theAuthorshipWarranty, we shall refund to the buyer thereasonable costs charged by the experts commissioned by the buyer and approvedin advance by us.

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer maybring a claim for breach of theAuthorshipWarranty provided that (i) he or she hasnotified Phillips de Pury & Company in writing within three months of receiving anyinformation which causes the buyer to question the authorship of the lot, specifyingthe auction in which the property was included, the lot number in the auctioncatalogue 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 conditionas at the time of its auction and is able to transfer good and marketable title in thelot 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 oftheAuthorshipWarranty shall be rescission of the sale and refund of the originalPurchase Price paid.This remedy shall constitute the sole remedy and recourse ofthe buyer against Phillips de Pury & Company, any of our affiliated companies andthe seller and is in lieu of any other remedy available as a matter of law.This meansthat none of Phillips de Pury & Company, any of our affiliated companies or theseller shall be liable for loss or damage beyond the remedy expressly provided inthisAuthorshipWarranty, whether such loss or damage is characterized as direct,indirect, special, incidental or consequential, or for the payment of interest on theoriginal Purchase Price.

AUCTION 2 JUNE 2009 2pm NEW YORK

Viewing 27 May – 1 June

Phillips de Pury & Company 450 West 15 Street NewYork



JASPER JOHNS The Seasons, 1989 Etching and aquatint. Estimate $20,000-30,000; DONALD JUDD Untitled (New Museum Multiple),1986 Folded aluminum

and black Plexiglas multiple. Estimate $25,000-35,000; CHUCK CLOSE Self Portrait, 2007 Screenprint. Estimate $50,000-70,000; CLAES OLDENBURG

The Store (Poster), 1961 Letterpress in red and black. Estimate $1,200-1,800; BRUCE NAUMAN DEAD, 1975 Lithograph. Estimate $7,000-9,000

MODERN & CONTEMPORARY EDITIONS

SPECIALIST & SERVICE DEPARTMENTS

Contemporary Art

Michael McGinnis Worldwide Director +44 20 7318 4091

AileenAgopian Director NewYork +1 212 940 1255

Jean-Michel Placent NewYork +1 212 940 1263

Timothy Malyk Head of Under the Influence NewYork +1 212 940 1258

Chin-ChinYap NewYork +1 212 940 1250

Christina Floyd NewYork +1 212 940 1340

Veronica Collins NewYork +1 212 940 1252

Sarah Mudge Head of Part II NewYork +1 212 940 1259

Roxana Bruno NewYork +1 212 940 1229

Sara Davidson NewYork +1 212 940 1262

Derrick Mead NewYork +1 212 940 1272

Maria Bueno NewYork +1 212 940 1261

Peter Flores NewYork +1 212 940 1223

(Uli) Zhiheng Huang NewYork +1 212 940 1288

Eugenia Ballvé NewYork +1 212 940 1303

Anthony McNerney Head of Evening Sale London +44 20 7318 4067

Peter Sumner Head of Day Sale London +44 20 7318 4063

Laetitia Catoir London + 44 20 7318 4064

SilkeTaprogge London +44 20 7318 4012

Ivgenia Naiman London +44 20 7318 4071

Fiona Biberstein London +44 20 7318 4013

Siobhan O’Connor London +44 20 7318 4093

Catherine Higgs London +44 20 7318 4089

Raphael Lepine London +44 20 7318 4078

TanyaTikhnenko London +44 20 7318 4065

Sarah Buchwald London +44 20 7318 4085

PhillippaWillison London +44 20 7318 4070

Jewelry

Nazgol Jahan Worldwide Director +1 212 940 1283

Carolin Bulgari Geneva +41 22 906 80 00

Carmela Manoli NewYork +1 212 940 1302

Heather Zises NewYork +1 212 940 1290

Lane Mclean London +44 20 7318 4032

Veronica Lota Geneva +41 22 906 80 05

Contemporary Jewelry

AliaVarsano Worldwide Director +1 212 940 1293

Rachel Mattes NewYork +1 212 940 1285

Photographs

Charlie Scheips Worldwide Director +1 212 940 1244

Vanessa Kramer NewYork +1 212 940 1243

Caroline Shea NewYork +1 212 940 1247

Sarah Krueger NewYork +1 212 940 1245

Kelly Padden London +44 20 7318 4018

Ben Adams London +44 20 7318 4077

Alexandra Bibby London +44 20 7318 4087

Helen Hayman London +44 20 7318 4092

Design

Alexander Payne Worldwide Director +44 20 7318 4052

MarcusTremonto NewYork +1 212 940 1268

Alex Heminway Director NewYork +1 212 940 1269

Tara DeWitt NewYork +1 212 940 1265

Meaghan Roddy NewYork +1 212 940 1266

Stephanie Abraitis NewYork +1 212 940 1268

BenWilliams London +44 20 7318 4027

Domenico Raimondo London +44 20 7318 4016

Ellen Stelter London +44 20 7318 4021

Marcus McDonald London +44 20 7318 4014

Modern and Contemporary Editions

KellyTroester Worldwide Co-Director +1 212 940 1221

Cary Leibowitz Worldwide Co-Director +1 212 940 1222

Jannah Greenblatt NewYork +1 212 940 1332

Joy Deibert NewYork +1 212 940 1333

Saturday@Phillips

Tobias Sirtl Director +44 20 7318 4095

AlexW. Smith NewYork +1 212 940 1276

Anne Huntington NewYork +1 212 940 1210

Arianna Jacobs London + 44 20 7318 4054

George O’Dell London +44 20 7318 4040

Steve Agin (Consultant) +1 908 475 1796

Balthasar de Pury (Consultant) Geneva +41 79 250 86 81

Chairman London

Rodman Primack London +44 20 7318 4017

Managing Directors

Finn Dombernowsky London +44 20 7318 4034

Charlie Horne NewYork +1 212 940 1292

Business Development

Alexander Gilkes NewYork +1 212 940 1398

Executive Assistant to Simon de Pury

Helen Rohwedder London +44 20 7318 4042

Executive Assistant to Bernd Runge

Johanna Frydman London +44 20 7318 4024

Private Sales

Christina Scheublein NewYork +1 212 940 1248

Press and Public Relations

Ariel Childs Head London +44 20 7318 4028

Cécile Demtchenko Paris +33 1 42 78 67 77

Exhibitions

London +44 20 7318 4023 NewYork +1 212 940 1301

International Specialists and Representatives

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

OlivierVrankenne Brussels & Paris +32 486 43 43 44

Leonie Moschner Paris +33 6 85 53 92 03

Tamara Corm Paris & London +33 6 75 07 04 71


Brooke de Ocampo London +44 777 551 7060

Laura Garbarino Milan +39 339 478 9671

Eugenia Bertele Milan +39 02 3669 5895

Nadia Breuer Sopher NewYork & Australia +1 917 319 4741

MimiWonTechentin Los Angeles +1 310 600 9192

Maya McLaughlin Los Angeles +1 323 791 1771

Tatiana Beliaeva Moscow +7 985 969 9292

JeremyWingfield Shanghai/Beijing +86 135 0118 2804

Lulu Al-Sabah Dubai +44 77 9518 8878

Lydia Limmerick Dubai +44 79 2048 1110

SALE INFORMATION

CONTEMPORY ART

Auctions

Part I Sale,Thursday May 14 2009 at 7pm

Part II Sale, Friday May 15 2009 at 10am

Admission to this sale is by ticket only

Please call +212 940 1236

Viewing &Auction Locations

450West 15 Street NewYork NY 10011

Viewing




Friday May 8 10am – 6pm

Saturday May 9 10am – 6pm

Sunday May 10 12pm – 6pm

Monday May 11 10am – 6pm




Sale Designation

In sending written bids or making inquiries please refer to this sale as

NY010209 or ContemporaryArt Part I Sale and NY010309 or ContemporaryArt

Part II Sale.

Catalogues $60 at the Gallery / £30

Catalogue Subscriptions

Allyson Melchor +1 212 940 1240 +44 20 7318 4039

[email protected]

Client Services +1 212 940 1200

Principal Auctioneer

Simon de Pury 0874341

Auctioneers

AileenAgopian 1199037

Christina L. Floyd 1238278

Sarah Mudge 1301805

Alexander Gilkes 1308958

Ellen Stelter UK

Rodman Primack UK

E-mail Addresses

All Phillips de Pury & Company e-mails are

first initial and last name @phillipsdepury.com

(e.g., [email protected])


Front Cover Sherrie Levine, Buddha, 1996, Lot 9

Back Cover Martin Kippenberger, NewYork Zum Russisch Abbinden

(NYZRA), 1985, Lot 6 (detail)

Inside Front Cover Florian Maier-Aichen, Untitled, 2005, Lot 4 (detail)

Title Page Anish Kapoor, Untitled, 2005, Lot 16

Inside Back Cover Ed Ruscha, Portland to Memphis, 2000, Lot 14 (detail)

Worldwide Director

Michael McGinnis +44 20 7318 4091

Director, NewYork

AileenAgopian +1 212 940 1255

Specialists

Jean-Michel Placent NewYork +1 212 940 1263

Timothy Malyk Head of Under the Influence NewYork +1 212 940 1258

Chin-ChinYap NewYork +1 212 940 1250

Christina Floyd NewYork +1 212 940 1340

Veronica Collins NewYork +1 212 940 1252

Sarah Mudge Head of Part II +1 212 940 1259

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

OlivierVrankenne Brussels & Paris +32 486 43 43 44

Laura Garbarino Milan +39 339 478 9671

Leonie Moschner Paris +33 6 85 53 92 03

Tamara Corm Paris & London +33 6 75 07 04 71

Brooke de Ocampo London +44 777 551 7060

Anthony McNerney London +44 20 7318 4067

Peter Sumner London +44 20 7318 4063

Laetitia Catoir London + 44 20 7318 4064

SilkeTaprogge London +44 20 7318 4012

Rodman Primack London +44 20 7318 4017


Fiona Biberstein London +44 20 7318 4013

Nadia Breuer Sopher NewYork & Australia +1 917 319 4741

MimiWonTechentin Los Angeles +1 310 600 9192

Maya McLaughlin Los Angeles +1 323 791 1771

JeremyWingfield Shanghai/Beijing +86 135 0118 2804

Business Manager

Roxana Bruno +1 212 940 1229

Cataloguer Part I

Sara Davidson +1 212 940 1262

Cataloguer Part II

Derrick Mead +1 212 940 1272

Administrator Part I

Maria Bueno +1 212 940 1261

Administrator Part II

Peter Flores +1 212 940 1223

Administrators

Eugenia Ballve +1 212 940 1303

(Uli) Zhiheng Huang +1 212 940 1288

Property Managers

Jeffrey Rausch +1 212 940 1367

Barrett Langlinais +1 212 940 1362

Photography

Kent Pell

Morten Smidt

PHILLIPS de PURY & COMPANY CONTACTS

Chairman

Simon de Pury

Chief Executive Officer

Bernd Runge

Senior Partners

Michael McGinnis

Dr. Michaela Neumeister

Partners

Aileen Agopian

Sean Cleary

Alexander Payne

Rodman Primack

OlivierVrankenne

TiffanyWood

WORLDWIDE OFFICES

NEWYORK

450West 15 Street NewYork NY 10011 USA

+1 212 940 1200 +1 212 924 5403 fax

LONDON

Howick Place London SW1P 1BB United Kingdom

+44 20 7318 4010 +44 20 7318 4011 fax

PARIS

28, rue Michel Le Comte 75003 Paris France

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

Advisory Board

Maria Bell

Janna Bullock

Lisa Eisner

Lapo Elkann

Ben Elliot

Lady Elena Foster

H.I.H. Francesca von Habsburg

Marc Jacobs

Malcolm McLaren

Ernest Mourmans

Aby Rosen

Christiane zu Salm

Princess Gloria vonThurn undTaxis

Jean MichelWilmotte

Anita Zabludowicz

MUNICH

Maximiliansplatz 12a 80333 Munich Germany

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

BERLIN

Auguststrasse 19 10117 Berlin Germany

Rolf Moritz Estermann Natalia Kazmierczak

+49 30 880 018 42 +49 30 880 018 43 fax

GENEVA

23, quai des Bergues 1201 Geneva Switzerland

Carolin Bulgari +41 22 906 80 00 +41 22 906 80 01 fax

contemporary art part ii new york, may 15 2009

Documents