Contemporary Art Day Sale

DAY SALE

CONTEMPORARY ART

11 OCTOBER 2 012 LONDON

CTA_UK_Oct12_Day_cover-cvr ins singoli+flap.indd 1 18/09/12 14.24



CTA_UK_Oct12_Day_FOB_4-7.indd 4 18/09/12 11.41




CTA_UK_Oct12_Day_Lots_8-65.indd 8 17/09/12 17.17

LOTS 101–271

Thursday 4 October, 10am – 6pm

Friday 5 October, 10am – 6pm

Saturday 6 October, 10am – 6pm

Sunday 7 October, 12pm – 6pm

Monday 8 October, 10am – 6pm

Tuesday 9 October, 10am – 6pm

Wednesday 10 October, 10am – 2pm

DAY SALE

CON TEMPORARY ART

11 OCTOBER 2 012 2PM LONDON

Front cover Jean-Michel Basquiat, Untitled (crown of thorns), circa 1982, lot 130A

Back cover Alexander Calder, Untitled, circa 1954, lot 114

Inside front cover Cerith Wyn Evans, Once a Noun, Now a Verb, 2005, lot 124 (detail)

Previous pages Tracey Emin, Be Faithful to Your Dreams, 1998, lot 138 (detail)

Barnaby Furnas, Red Sea, 2006, lot 121 (detail)

Opposite Walead Beshty, Picture Made by my Hand with the Assistance of Light, 2007, lot 107 (detail)


101 TAUBA AUERBACH b. 1981

I doubt It/ But I do It (Anagram XII), 2008

gouache on paper

76.2 × 56.7 cm (30 × 22 3/8 in)

Signed, titled and dated ‘Tauba Auerbach, 2008, I DOUBT IT/ BUT I DO IT

(ANAGRAM XII)’ on the reverse.

Estimate £30,000–50,000 $47,600–79,400 €37,900–63,200

PROVENANCE

Galerie Lange + Pult, Zurich

Acquired from the above by the present owner

EXHIBITED

Zurich, Galerie Lange & Pult, The World is Mine, 17 January – 14 March 2009



103 ADAM McEWEN b. 1965

Bomber Harris, 2008

acrylic and chewing gum on canvas

122 × 91.5 cm (48 × 36 in)

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

Estimate £60,000–80,000 $95,300–127,000 €75,900–101,000 z ‡

PROVENANCE

Private Collection, France

102 STERLING RUBY b. 1972

Spatial Grid / Pelican Bay, 2010

collage on paper

70.5 × 95 cm (27 3/4 × 37 3/8 in)

Signed and dated ‘Sterling Ruby 10’ lower right.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300

PROVENANCE

The Pace Gallery, New York




104 RUDOLF STINGEL b. 1956

Untitled, 2006

oil and enamel on canvas

38 × 28 cm (14 7/8 × 11 in)

Signed and dated ‘Stingel 2008’ on the reverse.

Estimate £30,000–40,000 $47,600–63,500 €37,900–50,600 z

PROVENANCE

Massimo de Carlo, Milan



105 AARON CURRY b. 1972

The Half Protagonist, 2008

painted wood with Formica board base

work: 206 × 153 × 58 cm (81 1/8 × 60 1/4 × 22 7/8 in); with base: 211.3 × 168 × 91.5 cm

(84 1/4 × 66 1/8 × 36 in)

Estimate £40,000–60,000 $63,500–95,300 €50,600–75,900

PROVENANCE

Galerie Daniel Buchholz, Berlin

Private Collection, Germany


106 JOSEPHINE MECKSEPER b. 1964

Das Ende des Panoptikums VII, 2007

mirror on wooden board

102 × 102 cm (40 1/8 × 40 1/8 in)

Signed and dated ‘J. Meckseper 2007’ on the stretcher bar.

Estimate £6,000–8,000 $9,500–12,700 €7,600–10,100 z

PROVENANCE

Arndt & Parnter, Berlin



107 WALEAD BESHTY b. 1976

Picture Made by my Hand with the Assistance of Light, 2007

black and white photogram on gelatin silver paper

171 × 106.5 cm (67 3/8 × 41 7/8 in)

This work is accompanied by a certificate of authenticity.

Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200 z

PROVENANCE

Wallspace Gallery, New York



108 UGO RONDINONE b. 1964

Giorni Felici, 2006

galvanized chains

dimensions variable, minimum: 300 × 500 cm (118 1/8 × 196 7/8 in)

This work is number one from an edition of three and is accompanied by a

certificate of authenticity.

Estimate £60,000–80,000 $95,300–127,000 €75,900–101,000

PROVENANCE

Galerie Almine Rech, Paris




109 OSCAR TUAZON b. 1975

Wall, 2009

steel, Plexiglas, glass, silicone, paint

243 × 223 × 99.5 cm (95 5/8 × 87 3/4 × 39 1/8 in)


Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900

PROVENANCE

Balice Hertling, Paris


EXHIBITED

Paris, Palais de Tokyo, Dynasty, 11 June–5 September 2010

Beaumont-du-Lac, Centre International d’art ed du paysage de Vassiviere, Oscar Tuazon:

Bend it till it Breaks, 15 November 2009 – 14 February 2010

Wall, 2009, by the American artist Oscar Tuazon (born in Seattle in 1975)

exemplifies his engagement with materiality and spatial tension in his

sculptural constructions. Tuazon, who now works in Paris, attended the

Whitney Independent Study Program and trained under Vito Acconci. He

is now regarded as one of the most significant sculptors of his generation.

Tuazon’s structures radically reform the spaces which they occupy. He

has suggested that “architecture doesn’t start with function it starts

with an idea” (in S. Campagnola, ‘Oscar Tuazon: Formal Concerns,

Utopian Concepts’, Flash Art, no. 271, March–April 2010), and in realigning

the boundaries between architecture and sculpture, Tuazon’s forms

create a dynamic which challenge and extend our notions of space and

environment. The architectural settings which his works inhabit are

inescapably forced to adapt – fundamentally, the sculptures mould their

surroundings, asserting a fluctuating tension between internal and

external, space and limit, balance and instability.

Created with raw industrial materials, Wall is suggestive not only of a

minimalist sensibility but also DIY aesthetics and the formal language

of architecture. Both space and substance are integral to Tuazon’s work

and in this particular sculpture, Tuazon utilizes a broad spectrum of

materials. Steel, silicone, Plexiglas and paint are all combined, linked

together by a modular geometric structure. This diverse combination of

materials engenders a contrasting web of textured layers, both painterly

and reflective, and surfaces through which the sculpture’s steel frame is

woven like a thread. This variable movement of material distinguishes the

structured outer lines of the sculpture which stand rigid and unmoving.

This duality simultaneously constrains and awakens the space in which the

sculpture stands and is a recurrent theme in Tuazon’s sculptures. In many

ways, his forms encourage such dialogue not only between sculpture and

the surrounding architecture but also the viewer and the space. Typically

walls are designed to enclose and restrain – perhaps Wall should be seen

as a visual barrier but one constructed to be broken through.



110 GEDI SIBONY b. 1973

A fact of internal property neither in place nor out of place, 2004–06

carpet, plastic, spraypaint

10 × 146 × 70 cm (3 7/8 × 57 1/2 × 27 1/2 in)


Estimate £7,000–9,000 $11,100–14,300 €8,900–11,400

PROVENANCE

Art:Concept, Paris



111 DAN COLEN b. 1979

I bought a headache, 2011

grass and dirt on canvas

183.5 × 142.2 cm (72 1/4 × 56 in)

Estimate £50,000–70,000 $79,400–111,000 €63,200–88,500 ‡

PROVENANCE

Private Collection


THIS WORK IS BEING SOLD ON BEHALF OF THE PEN SHELL PROJECT

112 MARTIN CREED b. 1968

Work No. 264 (Two protrusions from a wall), 2001

two parts: aluminium, plaster, paint

each: 51 × 51 × 26 cm (20 1/8 × 20 1/8 × 10 1/4 in)

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE

Private Collection, UK

Installation view, CCS Bard Hessel Museum of Art,

Annandale-on-Hudson, New York, 2007

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113 FRANZ WEST 1947–2012

Passtück, 1983

mixed media

17 × 39 × 3 cm (6 3/4 × 15 3/8 × 1 1/8 in)

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE

Art & Public, Geneva



114 ALEXANDER CALDER 1898–1976

Untitled, circa 1954

painted metal and wire standing mobile

17.1 × 14.6 × 7 cm (6 3/4 × 5 3/4 × 2 3/4 in)

This work is unique and is registered in the archives of the Calder Foundation,

New York, under application number A13178.

Estimate £100,000–150,000 $159,000–238,000 €126,000–190,000 ‡

PROVENANCE



(actual size)


115 JACOB KASSAY b. 1984

Untitled, 2011

acrylic on canvas in artist’s wooden frame

217.2 × 155.6 cm (85 1/4 × 61 1/4 in)

Signed and dated ‘Kassay 11’ on the reverse of the stretcher bar.

Estimate £50,000–70,000 $79,400–111,000 €63,200–88,500 ‡

PROVENANCE

Private Collection


116 SETH PRICE b. 1973

Untitled, 2006

vacuum-formed high-impact polystyrene over mask

125 × 77.4 × 12 cm (49 1/4 × 30 1/2 × 4 3/4 in)


Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900 ‡

PROVENANCE

Galerie Gisela Capitain, Cologne



117 JOSH SMITH b. 1976

Untitled, 2005

newspaper and poster collage on wooden panel

122 × 91.5 cm (48 × 36 in)

Signed and dated twice ‘Josh Smith 2005’ on the reverse.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000

PROVENANCE

Fortescue Avenue/Jonathan Viner, London



118 DAN REES b. 1982

Untitled, 2012

plasticine on wood

117 × 122 cm (46 1/8 × 48 in)

Signed and dated ‘Dan Rees 2012’ on the reverse.

Estimate £7,000–9,000 $11,100–14,300 €8,900–11,400 z

PROVENANCE

T293, Rome



119 NATE LOWMAN b. 1979

Monkey in the Middle, 2010

acrylic on canvas (in three parts)

each: 35.5 × 35.5 cm (13 7/8 × 13 7/8 in)

Each signed ‘Nate Lowman’ on the overlap.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900

PROVENANCE

Lehmann Maupin, New York


EXHIBITED

New York, Lehmann Maupin, Painting & Sculpture: Foundation for Contemporary Arts Benefit

Exhibition, 9 December 2010–9 January 2011



120 JASON RHOADES 1965 – 2006

Untitled, 2003

PeaRoe ramp and Honda XR50 motorcycle

ramp: 154.9 × 129.5 × 299.7 cm (60 7/8 × 50 7/8 × 117 7/8 in); motorcycle: 91.4 × 127 ×

76.2 cm (35 7/8 × 50 × 30 in)

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300

PROVENANCE

David Zwirner, New York




121 BARNABY FURNAS b. 1973

Red Sea, 2006

acrylic and urethane on linen

350 × 850 cm (137 3/4 × 334 5/8 in)

Signed, titled and dated ‘Barnaby Furnas, Red Sea, 1/06, NYC’ on the reverse.

Estimate £120,000–180,000 $191,000–286,000 €152,000–228,000 ‡

PROVENANCE

Marianne Boesky Gallery, New York


Red Sea, 2006, is an outstanding example from the series of flood

paintings by the American artist Barnaby Furnas. Now in mid-career,

Furnas has pursued a number of strands in his work, including modernist

takes on portraits of historical figures such as Civil War characters,

battle scenes and paintings of rock concerts, but it is perhaps for his

‘Flood’ paintings that he is best known and admired. They are made on

a monumental scale with a visceral physicality and offer the viewer an

intense and immersive experience.

Red Sea is typical in its fusion of allegory and abstraction and

simultaneously invites and resists explanation. On the one hand, the

painting suggests Biblical apocalypse and the Sublime in the manner

of European history painting and Romanticism, while on the other it

draws on the visual language of Abstract Expressionism. In so doing,

it powerfully integrates a religious and historical lineage with direct

painterly expression. The duality of instantaneous gestural technique

and symbolical meaning lend this powerful work a deeply reflective and

contemplative character.


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Red Sea embodies process becoming form. Furnas pours paint onto the

canvas allowing his work to continually seek its own form. Traditional

compositional boundaries are broken down; the paint becomes a living

entity, its movements and moods dictating the work’s visual outcome.

There is an ongoing tension between its fluctuating surface and the

enigmatic layers which lie beneath. The tranquil background of the light

blue sky is enveloped by a frenzied flood of redness. The rich and vibrant

red carries with it associations of passion, rage and blood and engulfs the

viewer; the composition shifts and pulsates with an extreme immediacy.

As Furnas himself has said when creating this painting, “you pour red

paint and have this incredible formalist experience… you’ve got a foot in

both worlds. It’s really happening” (in Calvin Tompkins, ‘The Pour’,

New Yorker, 13 March 2006).

.


122 WALID RAAD b. 1967

Missing Lebanese Wars, 1996–2003

colour coupler print

114 × 131.5 cm (44 7/8 × 51 3/4 in)

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

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 ‡

PROVENANCE

Anthony Reynolds Gallery, London



123 SETH PRICE b. 1973

Untitled, 2009

UV-cured inkjet on high-impact polystyrene vacuum-formed over ropes

243.8 × 121.9 cm (95 7/8 × 47 7/8 in)


Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200

PROVENANCE

Friedrich Petzel Gallery, New York



124 CERITH WYN EVANS b. 1958

Once a Noun, Now a Verb, 2005

chandelier (Luce Italia), flat-screen monitor, Morse code unit, computer

approximately: 250 × 150 × 150 cm (98 3/8 × 59 × 59 in)

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

Estimate £70,000–90,000 $111,000–143,000 €88,500–114,000 z Ω

PROVENANCE

Neu Gallery, Berlin


EXHIBITED

Berlin, Galerie Neu, Cerith Wyn Evans: Once a Noun, Now a Verb, May–July 2005

“A work has to have a resonance so that it can move on different levels.”

(Cerith Wyn Evans, ‘Frieze talks to Cerith Wyn Evans’, Frieze, issue 71,

November–December 2002)

The bulbs of the chandelier work Once a Noun, Now a Verb from 2005

blink out words and sentences in Morse code, and the resulting cryptic

messages are transcribed onto a nearby monitor. This particular work is

the largest and most recent of Wyn Evans’s ‘Chandelier’ series and it has

appeared in exhibitions around the world. William Stover, curator at the

MFA Boston where these works have been exhibited and where there is

one in the collection, has described the work as “absolutely beautiful at

first; then if you delve into his sources, you realize it is also intellectually

brilliant” (in M. Carlock, ‘Words Imagined: Cerith Wyn Evans’, Sculpture,

vol. 24 no. 5, June 2005).

detail



125 CERITH WYN EVANS b. 1958

Eclipse, 2005

negative neon

11 × 34.8 × 2.5 cm (4 3/8 × 13 3/4 × 7/8 in)

This work is number four from an edition of ten and is accompanied by a

certificate of authenticity signed by the artist.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 ♠Ω

PROVENANCE

White Cube, London

Acquired directly from the above by the present owner


126 HIROSHI SUGIMOTO b. 1948

Baltic Sea, Rugen, 1997

gelatin silver print

50.6 × 61 cm (19 7/8 × 24 in)

Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800

PROVENANCE

Friedrich Rosenstiel, Cologne



127 JOHN BALDESSARI b. 1931

Prima Facie: Suffering / Strained / Gleeful, 2005

archival digital prints, mounted on board in three parts

each: 65.8 × 106.8 cm (25 7/8 × 42 in)


Estimate £100,000–150,000 $159,000–238,000 €126,000–190,000 ‡

PROVENANCE

Margo Leavin Gallery, Los Angeles

Skarstedt Gallery, New York


EXHIBITED

Los Angeles, Margo Leavin Gallery, John Baldessari – Prima Facie, 9 April – 14 May 2005

Deurle, Belgium, The Museum Dhondt-Dhaenens, John Baldessari – The Prima Facie Series,

17 September – 3 December 2006

New York, Skarstedt Gallery, Group Show, 9 September – 18 October 2009

LITERATURE

John Baldessari – The Prima Facie Series, exh. cat., The Museum Dhondt-Dhaenens, Deurle,

Belgium, 2006, p. 9 (illustrated)



128 JOHN BALDESSARI b. 1931

Horizontal Series: Blind, 2003

archival digital print, mounted on Sintra

99 × 197 cm (38 7/8 × 77 1/2 in)

This work is unique.

Estimate £50,000–70,000 $79,400–111,000 €63,200–88,500 ‡

PROVENANCE

Marian Goodman Gallery, New York




129 CINDY SHERMAN b. 1954

Untitled Film Still #1, 1977

gelatin silver print

25 × 20 cm (9 7/8 × 7 7/8 in)

Signed, dated and numbered ‘Cindy Sherman 1977 9/10’ on the reverse. This work

is number nine from an edition of ten.

Estimate £60,000–80,000 $95,300–127,000 €75,900–101,000 ‡

PROVENANCE

Metro Pictures, New York


EXHIBITED

New York, The Museum of Modern Art, Cindy Sherman, 26 February – 11 June 2012 (another

example exhibited)

LITERATURE

Cindy Sherman, exh. cat., The Museum of Modern Art, New York, 2012, p. 102 (another

example illustrated)


130 RICHARD PRINCE b. 1949

Untitled (Almost Original), 2006

two original illustrations: graphite on paper and oil on cardboard in artist’s

metal frame

124 × 134 cm (48 7/8 × 52 3/4 in)

Signed and dated ‘Richard Prince 2006’ on the reverse.

Estimate £80,000–120,000 $127,000–191,000 €101,000–152,000 ‡

PROVENANCE

Gladstone Gallery, New York

Simon Lee Gallery, London



130A JEAN-MICHEL BASQUIAT 1960–1980

Untitled (crown of thorns), circa 1982

crayon on paper

35.6 × 31.2 cm (14 × 12 1/4 in)

Estimate £100,000–150,000 $159,000–238,000 €126,000–190,000 ‡

PROVENANCE

Larry Gagosian Gallery, Los Angeles

Private Collection



131 MIQUEL BARCELÓ b. 1957

À Livorno, 2007

mixed media on canvas

65 × 82 cm (25 5/8 × 32 1/4 in)

Signed and dated ‘Barceló 07’ on the reverse.

Estimate £90,000–120,000 $143,000–191,000 €114,000–152,000 z

PROVENANCE

Galerie Bruno Bischofberger, Zurich


EXHIBITED

Hong Kong, Ben Brown Fine Arts, Miquel Barceló: Recent Paintings, Ceramics and Sculpture,

24 May – 29 July 2011

“Chauvet, Africa, still lifes, termites, masks or skulls, everything is linked

like archetypes of humanity. For me, it is my everyday, my material and

thought for each day. I trace maps of geographies that link all these

worlds together.”

(Miquel Barceló in E. Mezil, ed., Terramare: Miquel Barceló, Collection

Lambert en Avignon, Arles, 2010, p. 241)

Throughout his oeuvre, Miquel Barceló has employed the materials

that allow him to create the richly textured, expressive canvases highly

evocative of the surface of the earth. À Livorno, from 2007, is a beautiful

example of the artist’s gift to produce work that is abstract, yet at the

same time highly referential. It allows the viewer to be guided in their

imagination by those reference points, be they a stone, plant, fruit, or

a skull, to contemplate the landscape and its origins. The title À Livorno

indicates the place in Italy that inspired the artist and in this painting

the sea port of Livorno is beautifully depicted by the pebbles set against

the white and yellow background evoking the sunlit landscape and sea.

In the artist’s own words: “I like the phenomenology of painting to look

like nature”.

À Livorno is painted in the traditional technique of the artist which

remains a key aspect of Barceló’s practice. He has not succumbed to

the new media, but instead prefers to explore and further develop more

conventional materials from the earth itself: “Video camera, digital

camera… actually I find it a bit pathetic. I really like to find my materials.

Also, I always think of the modernity of thought, not of technique” (in E.

Mezil, ed., Terramare, 2010, p. 236).



132 JUAN MUÑOZ 1953–2001

From the Raincoat Drawings, 1989

white chalk on commercial black fabric used to produce raincoats

over wooden panel

140 × 100 cm (55 1/8 × 39 3/8 in)

Estimate £35,000–45,000 $55,600–71,500 €44,200–56,900 z

PROVENANCE

Galerie Karsten Greve, Cologne

Phillips de Pury & Company, New York, ‘Contemporary Art Part II’, 12 November 2004, lot 174

Private Collection

EXHIBITED

Washington, D.C., Hirshhorn, Museum and Sculpture Garden, 18 October 2001 – 13 January 2002

Los Angeles, The Museum of Contemporary Art, 21 April – 28 July 2002

The Art Institute of Chicago, Juan Muñoz, 14 September – 8 December 2002, then travelled to

Houston, The Contemporary Arts Museum (1 February – 30 March 2003)


133 JUAN MUÑOZ 1953–2001

Clock, 1988

wall-mounted sculpture, welded steel, painted bell and rope

100.3 × 100.3 × 25.4 cm (39 1/2 × 39 1/2 × 10 in)

Estimate £60,000–80,000 $95,300–127,000 €75,900–101,000 z

PROVENANCE

Galerie Margo Paz, Madrid

Phillips de Pury & Company, New York, ‘Contemporary Art Part II’, 13 May 2005, lot 404

Private Collection


134 CANDIDA HÖFER b. 1944

Igreja de São Francisco de Assis Salvador de Bahia I, 2005


224 × 180 cm (88 1/4 × 70 7/8 in)

Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200 z�‡

PROVENANCE

Acquired directly from the artist

Private Collection, USA

Private Collection, Europe



135 WILLIAM KENTRIDGE b. 1955

Learning the Flute, 2003

PAL DVD player, stereo amplifier, two small studio monitors, adjustable pole mount

for the LCD projector, blackboard and easel

blackboard: 127 × 165.5 × 2 cm (50 × 65 1/8 × 3/4 in); easel: 191 × 112.5 × 95 cm

(75 1/4 × 44 1/4 × 37 3/8 in)

This work is number eight from an edition of eight.

Estimate £100,000–150,000 $159,000–238,000 €126,000–190,000 ‡

PROVENANCE

Goodman Gallery, Johannesburg


EXHIBITED

Johannesburg, Goodman Gallery, Zeno Writing, 8 November 2002 – 4 January 2003 (another

example exhibited)

New York, Museum of Modern Art, William Kentridge: Five Themes, 24 February – 17 May 2010

(another example exhibited)

The South African artist William Kentridge is widely recognised for his

extraordinarily imaginative animations and films in which he combines the

serious and the playful in absorbing and profound works. Having witnessed

the dissolution of apartheid first-hand, Kentridge uses these means to

bring the ambiguity and subtlety of personal experience to public concerns

and issues that are more commonly constrained by narrow and predefined

terms. Using film, drawing, sculpture, animation and performance, he

transmutes serious South African political discourse into powerful poetic

allegories.

So it is entirely appropriate that Kentridge should have taken on the stage

design of Mozart’s Die Zauberflöte (The Magic Flute), an opera replete

with transformations and beguilement overlaying philosophical and

political themes. Learning the Flute (2003) is in fact part of Kentridge’s

visual preparation for his celebrated production of the opera, which was

first staged in 2005 at the Royal Opera House in Belgium. The artist has

described how Learning the Flute was a preparatory work for his staging of

the opera:

“I needed to try to find a language for the production, as a way of making

sense of the opera as a whole. I had the idea of a blackboard as sketchpad,

on which ideas could be tested. The blackboard as object remains. The

film is projected onto a blackboard; it becomes the screen, but in the end

I did not use it for the drawings themselves … The images tested out on

the blackboard range from the Egyptian (particularly the falcon but also

the sphinx in the cage) to the Napoleonic – slightly after Mozart’s time but

referring to Schinkel’s great designs for the opera. There is diagrammatic

Baroque stage machinery. The 20th century has a look-in through Man Ray’s

perfect Masonic objects (the eye on the arm of a metronome).”

(www.kappatosgallery.com)



136 OLAFUR ELIASSON b. 1967

Untitled, 1994

Duratrans and halogen lamp (in three parts)

overall: 307 × 296 cm (120 7/8 × 116 1/2 in)


Estimate £40,000–60,000 $63,500–95,300 €50,600–75,900 z

PROVENANCE

Tommy Lund, Copenhagen

Private Collection


137 ELMGREEN & DRAGSET b. 1961 and b. 1969

Untitled (Prada Marfa), 2007

photographic print on Dibond

160 × 204 cm (62 7/8 × 80 3/8 in)

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

Estimate £30,000–50,000 $47,600–79,400 €37,900–63,200 z †

PROVENANCE

Galerie Perrotin, Paris

Private Collection, London


Appropriating the form of a Prada Store, Prada Marfa is a permanently

installed sculpture by the Berlin- and London-based artists Elmgreen

& Dragset. With their characteristic subversive satirical wit, the artists

readjust our understanding of the familiar in their installations and

sculptures. The work occupies a space just off U.S. Route 90 about 60km

northwest of the city of Marfa, Texas. The installation echoes a Prada

store not simply in form but also in content. Real shoes and handbags,

donated by Miuccia Prada from the autumn/winter collection of 2005,

sit in its window display; the company even allowed the artists to use its

trademark. The only departure from reality is that the door of the shop

does not open. Upon its completion, the sculpture became the first

individual Prada store in Texas.

Prada Marfa is an ambitious extension of an earlier work in which

Elmgreen & Dragset installed signs in the windows of a Chelsea gallery

in New York that read “Prada, Coming Soon”. This work was realised at

the time when the influx of designer shops forced the SoHo art scene to

relocate to Chelsea.


138 TRACEY EMIN b. 1963

Be Faithful to Your Dreams, 1998

blue neon on Plexiglas

40.5 × 223.5 × 7.5 cm (15 7/8 × 87 7/8 × 2 7/8 in)

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

Estimate £40,000–60,000 $63,500–95,300 €50,600–75,900 ♠

PROVENANCE

Private Collection, Suffolk, UK

EXHIBITED

London, Hayward Gallery, Tracey Emin: Love is What You Want, 18 May – 29 August 2011

“I need art like I need God.” Tracey Emin

Tracey Emin uses neon light to illuminate emotions, memories,

feelings and ideas in graphic messages. While neon has its sleazy

connotations, Emin finds it sexy: “It’s spangly, it’s pulsating. It’s out

there, it’s vibrant”. Translating handwriting into blown and bent neon

tubing presents a crucial shift of context. This work was one of Emin’s

first neon works and for her retrospective at the Hayward Gallery,

London in 2011, the present lot was prominently displayed on the

façade of the gallery walls.



139 YAYOI KUSAMA b. 1929

Infinity Nets LNXA, 2011

acrylic on canvas

97 × 130.3 cm (38 1/4 × 51 1/4 in)

Signed, titled and dated ‘2011’ on the reverse.

Estimate £100,000–150,000 $159,000–238,000 €126,000–190,000

PROVENANCE

Sotheby’s, London, ‘Contemporary Art Day Auction’, 30 June 2011, lot 228

Acquired from the above sale by the present owner



140 UGO RONDINONE b. 1964

Echoes Down the Corridor, 2000

varnished wooden frame, mirrored Plexiglas

136 × 106 × 2.6 cm (53 1/2 × 41 3/4 × 1 in)

Signed and dated ‘2000 Rondinone’ on the reverse. This work is number

one from an edition of five.

Estimate £7,000–9,000 $11,100–14,300 €8,900–11,400 †

PROVENANCE

Galerie Hauser & Wirth & Presenhuber, Zurich



141 PAOLA PIVI b. 1971

Untitled (Pearls), 2004

multicoloured transparent pearls on canvas

56 × 54 × 18 cm (22 × 21 1/4 × 7 1/8 in)


Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800 z

PROVENANCE

Massimo de Carlo, Milan



142 ANISH KAPOOR b. 1954

Untitled, 2008

gouache and acrylic on paper

67 × 101 cm (26 3/8 × 39 3/4 in)

Signed and dated ‘Anish Kapoor 2008’ on the reverse.

Estimate £30,000–40,000 $47,600–63,500 €37,900–50,600 z ‡

PROVENANCE

Regan Projects, Los Angeles



143 YAYOI KUSAMA b. 1929

Petals, 1988

acrylic on canvas

53 × 45 cm (20 7/8 × 17 3/4 in)

Signed and dated ‘Yayoi Kusama 1988’ on the reverse.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900

PROVENANCE

Gallery Sho, Tokyo

Private Collection, Dublin


144 TIM NOBLE & SUE WEBSTER b. 1966 and b. 1967

The Muthafucka, 2000

528 coloured turbo caps, lamps and holders, foamex, electronic light sequencer

(24-channel fill and shimmer effect)

diameter 244 cm (96 1/8 in)

Estimate £100,000–150,000 $159,000–238,000 €126,000–190,000 z Ω

PROVENANCE

Modern Art, London


68536


145 HARLAND MILLER b. 1964

Too Cool to Die, 2004

oil on canvas

213 × 155 cm (83 7/8 × 61 in)

Signed and dated ‘Harland Miller 2004’ on the reverse.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900 z

PROVENANCE

Acquired directly from the artist by the present owner



146 MARK WALLINGER b. 1959

Brown’s (Mr. Harold Brown), 1993

acrylic on canvas

110 × 110 cm (43 1/4 × 43 1/4 in)

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300 z

PROVENANCE



147 STEPHAN BALKENHOL b. 1957

Man with White Shirt and Black Trousers, 2008

painted wood

169 × 25 × 24.5 cm (66 1/2 × 9 7/8 × 9 5/8 in)

Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200 ♠

PROVENANCE

Valentina Bonomo, Rome



148 GEORG BASELITZ b. 1938

Adler, 1974

watercolour and pencil on paper

29.9 × 21 cm (11 3/4 × 8 1/4 in)

Signed and dated ‘G Baselitz Sept. 74’ lower right.

Estimate £7,000–9,000 $11,100–14,300 €8,900–11,400 z

PROVENANCE

Private Collection


149 JIM LAMBIE b. 1964

The Byrds, 2005

ceramics, handbags with mirror, paint

figure: 108 × 116 × 60 cm (42 1/2 × 45 5/8 × 23 5/8 in)


Estimate £35,000–45,000 $55,600–71,500 €44,200–56,900 z�‡

PROVENANCE

Modern Institute, Glasgow

EXHIBITED

Glasgow, The Modern Institute/Toby Webster Ltd, The Byrds, 7 October – 11 November 2005

Tate Britain, Turner Prize 2005, 18 October 2005 – 22 January 2006

details



150 JOSEPH KOSUTH b. 1945

YOU ARE REQUESTED (Z&N) TO SHUT ONE/THE EYE(S), 1987

neon light, two transformers, electric cables

50 × 286 × 6.5 cm (19 5/8 × 112 5/8 × 2 1/2 in)

This work is unique and is accompanied by a signed certificate of ownership.

Estimate £70,000–90,000 $111,000–143,000 €88,500–114,000

PROVENANCE





152 RAYMOND PETTIBON b. 1957

Untitled (hitting from both sides of the plate…), 2002

ink and watercolour on paper

60 × 45 cm (23 5/8 × 17 3/4 in)

Signed and dated ‘Raymond Pettibon, 4-02’ on the reverse.

Estimate £18,000–22,000 $28,600–34,900 €22,800–27,800

PROVENANCE


151 RAYMOND PETTIBON b. 1957

Untitled (the ways of trade are grown…), circa 2000

gouache and watercolour on paper

45.5 × 57 cm (17 7/8 × 22 1/2 in)

Signed ‘Raymond Pettibon’ on the reverse.

Estimate £18,000–22,000 $28,600–34,900 €22,800–27,800

PROVENANCE




153 MARTIN KIPPENBERGER 1953–1997

Three works: (i) Untitled (Architektur), 1990; (ii) Klaus Birkel, 1989; (iii) Untitled (Die

Einfalt im höchsten Grade), 1990

mixed media on hotel stationery

(i) 29.5 × 21 cm (11 5/8 × 8 1/4 in); (ii) 26 × 18 cm (10 1/4 × 7 1/8 in); (iii) 29.5 × 21 cm

(11 5/8 × 8 1/4 in)

(i) Signed and dated ‘M.K.90’ lower right; (ii) signed and dated ‘M.K.89’ lower

right; (iii) signed and dated ‘M.K.90’ lower right.

Estimate £20,000–25,000 $31,800–39,700 €25,300–31,600 z�‡

PROVENANCE

Galerie Gisela Capitain, Cologne

Thomas Ammann Fine Art, Zurich

Private Collection

EXHIBITED

Basel, Kunsthalle, Martin Kippenberger, 2 – 15 November 1998

Hamburg, Deichtorhallen, Martin Kippenberger, 11 February – 25 April 1999

Tübingen, Kunsthalle Tubingen, Martin Kippenberger. Schattenspiel im Zweigwerk. Die

Zeichnungen, 16 April – 22 June 2003, (ii) and (ii)

LITERATURE

Martin Kippenberger. Die gesamten Plakate 1977 – 1997, exh. cat., Kunsthaus Zurich, 1998,

no. 23 in the leaflet (reproduction in black and white), (i) p. 57, (iii) p. 47

(i) (ii)


(iii)


154 JAKUB JULIAN ZIOLKOWSKI b. 1980

Untitled, 2006

mixed media on paper

66 × 50 cm (25 7/8 × 19 5/8 in)

Stamped ‘JJZ 06’ lower right.

Estimate £6,000–7,000 $9,500–11,100 €7,600–8,900 z

PROVENANCE

Hauser & Wirth, London

Private Collection, Belgium


155 JOHANNES KAHRS b. 1965

Gemälde 1 (good man/bad man), 1993

oil on canvas

200 × 150.5 cm (78 3/4 × 59 1/4 in)

Signed, titled and dated ‘Johannes Kahrs 1993 Gemälde 1 (good man/bad man)’

on the reverse.

Estimate £40,000–60,000 $63,500–95,300 €50,600–75,900 z

PROVENANCE




156 KEITH HARING 1958–1990

Untitled, 1981

acrylic on canvas board

27.9 × 35.6 cm (10 7/8 × 14 in)

Signed twice and dated ‘K. Haring’ and ‘Dec. 29 – 81’ on the reverse. This work is

accompanied by a certificate of authenticity.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900

PROVENANCE

Christie’s, New York, ‘First Open Post-War and Contemporary Art’, 23 September 2009, lot 26

Guy Hepner, Los Angeles



157 MARTIN KIPPENBERGER 1953–1997

James Dean, 1989

collage on paper and adhesive foil on glass in artist’s frame

98.5 × 67.5 cm (38 3/4 × 26 5/8 in)

Signed, titled and dated ‘Affe 89 KIPPENBERGER’ lower right.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z‡

PROVENANCE

Thomas Ammann Fine Art, Zurich

Private Collection

EXHIBITED

Washington, D.C., Hirshhorn Museum and Sculpture Garden, Directions: Martin

Kippenberger, 20 July – 22 October 1995

Zurich, Kunsthaus Zurich, Martin Kippenberger: Frühe Bilder, Collagen, Objekte, die gesamten

Plakate und späte Skulpturen, 12 September – 15 November 1998

LITERATURE

Martin Kippenberger. Die gesamten Plakate 1977 – 1997, exh. cat., Zurich, 1998, no. 23 in the

leaflet (reproduction in black and white)


158 JIM LAMBIE b. 1964

Untitled, 2007

rug on aluminium with copper sheet, brass sheet, wooden chairs

painted in household gloss

220 × 327 × 29 cm (86 5/8 × 128 3/4 × 11 3/8 in)

Estimate £30,000–50,000 $47,600–79,400 €37,900–63,200 z

PROVENANCE

The Modern Institute, Glasgow





159 SEAN LANDERS b. 1962

Le Sculpteur, 2000

oil on canvas

162.6 × 132 cm (64 × 51 7/8 in)

Signed, titled and dated ‘Sean Launders “Le Sculpteur” 2000’ on the reverse.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900

PROVENANCE



160 PAUL McCARTHY b. 1945

17" Double Back to Back Grey Grey, 2007

chocolate, plastic bucket, MDF board and dolly

61 × 64 × 52 cm (24 × 25 1/4 × 20 1/2 in)

Estimate £50,000–70,000 $79,400–111,000 €63,200–88,500

PROVENANCE

Maccarone, New York

Acquired directly from the above by the present owner

EXHIBITED

New York, Maccarone, Paul McCarthy’s Chocolate Factory, 15 November–

24 December 2007


161 DASH SNOW 1981–2009

Untitled, 2006

diptych: digital colour coupler prints

left sheet: 121.9 × 100.3 cm (47 7/8 × 39 1/2 in); right sheet: 125.7 × 98.4 cm

(49 1/2 × 38 3/4 in)

This work is from an edition of three.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000

PROVENANCE

The Proposition, New York

Phillips de Pury & Company, New York, ‘Contemporary Art Part II’, 1 May 2010, lot 380



162 DASH SNOW 1981–2009

Gimme Head Till I’m Dead, 2007

chair, photography, skull, record player

113 × 78 × 74 cm (44 1/2 × 30 3/4 × 29 1/8 in)

Signed on the reverse.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300

PROVENANCE

Contemporary Fine Arts, Berlin



163 MATIAS FALDBAKKEN b. 1973

Newspaper Ad 02, 2007

Lightjet print on Fuji Crystal archival paper

79 × 60 cm (31 1/8 × 23 5/8 in)

Signed, titled and dated ‘Matias Faldbakken, Newspaper Ad 02, 2007’ on the reverse.

Estimate £5,000–7,000 $7,900–11,100 €6,300–8,900 z

PROVENANCE

Standard Oslo, Oslo



164 GARDAR EIDE EINARSSON b. 1976

Caligula (Kaligula), 2009

acrylic on canvas

152.5 × 122.5 cm (60 × 48 1/4 in)

Signed ‘Gardar Eide Einarsson’ on the overlap; further signed, titled and dated ‘Gardar

Eide Einarsson, “Caligula (Kaligula)”, 2009’ on the stretcher bar on the reverse.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE



166 STERLING RUBY b. 1972

Red, White, Blue, 2005

Lambda print, mounted to Plexiglas

164 × 121.5 cm (64 5/8 × 47 7/8 in)

This work is from an edition of three.

Estimate £7,000–9,000 $11,100–14,300 €8,900–11,400

PROVENANCE

Galerie Christian Nagel, Cologne


165 OSCAR TUAZON b. 1975

Basement, 2007

folded digital colour coupler print

15 × 20 × 2 cm (5 7/8 × 7 7/8 × 3/4 in)

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

Estimate £4,000–6,000 $6,400–9,500 €5,100–7,600

PROVENANCE

Maccarone, New York




167 EILEEN QUINLAN b. 1972

Fahrenheit #12, 2008

UV-laminated chromogenic print mounted on Sintra

102.1 × 76.7 cm (40 1/4 × 30 1/4 in)

Signed ‘Eileen Quinlan’ on a label affixed to the reverse. This work is

number four from an edition of five.

Estimate £5,000–7,000 $7,900–11,100 €6,300–8,900

PROVENANCE

Sutton Lane Gallery, London


168 WALEAD BESHTY b. 1976

two works: Gelatin Silver Contact Print (Los Angeles, California, February 27th 2011,

Ilford Multigrade Fiber), 2011

black and white fibre-based photographic paper

each image: 20 × 25 cm (7 7/8 × 9 7/8 in); each frame: 29 × 34 cm (11 3/8 × 13 3/8 in)

Estimate £6,000–8,000 $9,500–12,700 €7,600–10,100 z

PROVENANCE

Regen Projects, Los Angeles

Fourteen30 Contemporary, Oregon

Private Collection, Paris

EXHIBITED

Oregon, Fourteen30 Contemporary, To Make A Flame: Glen Baldridge, Walead Beshty, Mike

Bray, Brendan Fowler, Alex Hubbard, 4 November – 11 December 2011



169 ROBIN RHODE b. 1976

Motorbike, 2001

colour coupler print on aluminium (in 28 parts)

each: 21 × 28 cm (8 1/4 × 11 in); each placed on a back board: 165 × 225 cm (64 7/8 × 88 5/8 in)

This work is from an edition of three and is accompanied by a certificate of authenticity.

Estimate £35,000–45,000 $55,600–71,500 €44,200–56,900 ‡

PROVENANCE

Carlier Gebauer, Berlin



170 LOUISE LAWLER b. 1947

Untitled, 1992–96

dye destruction print on museum box

73.6 × 73.6 cm (28 7/8 × 28 7/8 in)

Signed, dated and numbered ‘Louise Lawler, 1/5, 1992/96’ on the reverse.

Estimate £8,000–10,000 $12,700–15,900 €10,100–12,600

PROVENANCE

Metro Pictures, New York




Bibliothèque Nationale de France, Paris II, 1997


image: 60 × 60 cm (23 5/8 × 23 5/8 in); frame: 87 × 87 cm (34 1/4 × 34 1/4 in)

Signed ‘Candida Höfer’ on the reverse. This work is number two from an

edition of six.

Estimate £8,000–12,000 $12,700–19,100 €10,100–15,200 z

PROVENANCE

Galerie Karlheinz Meyer, Karlsruhe




Palacio del Congreso Nacional de Buenos Aires I, 2006


image: 236.5 × 180 cm (93 1/8 × 70 7/8 in); frame: 261.5 × 205 cm (102 7/8 × 80 3/4 in)

Signed ‘Candida Höfer’ on a label affixed to the reverse. This work is number five

from an edition of six.

Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200 z

PROVENANCE

Galerie Rüdiger Schöttle, Munich




173 ROBIN RHODE b. 1976

The Fridge (Refrigerator), 2004

colour coupler print (in five parts)

each: 45 × 29 cm (17 3/4 × 11 3/8 in)

Signed ‘Robin Rhode’ on a label affixed to the reverse. This work is number one

from an edition of three.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000

PROVENANCE

Galerie Kamel Mennour, Paris




174 DAVID LaCHAPELLE b. 1963

Deluge, 2006

digital colour coupler prints, Diasec mounted (in three parts)

each: 180 × 234.5 cm (70 7/8 × 92 3/8 in); overall: 180 × 703.5 cm (70 7/8 × 276 in)

Signed ‘David LaChapelle’ on a studio label accompanying the work. This work is

number four from an edition of five plus two artist’s proofs.

Estimate £50,000–70,000 $79,400–111,000 €63,200–88,500

PROVENANCE

Private Collection

EXHIBITED

Milan, Palazzo Reale, David LaChapelle, September 2007–January 2008

Tel Aviv Museum of Art, David LaChapelle: Postmodern Pop Photography, 23 July–

20 November 2010

Bratislava, Galeria Mesta, Lost and Found, 14 September–31 October 2011

San Juan, Museo Arte Contemporaneo de Puerto Rico, Nosotros La Humanidad Al Borde,

23 October 2011–25 March 2012

Seoul, Hangaram Design Museum, November 2011–March 2012

Prague, Galerie Rudolfinum, Thus Spoke LaChapelle, 7 December 2011–26 February 2012

(each another example exhibited)

LITERATURE

David LaChapelle, Florence: Giunti, 2007, pl. 1, pp. 122–23



175 VIK MUNIZ b. 1961

Don Quixote in his Study, after William Lake Price c. 1890 (from Rebus), 2004

dye destruction print

123.5 × 102.5 cm (48 5/8 × 40 3/8 in)

Signed and dated ‘Vik Muniz 2004’ on the reverse. This work is number three from

an edition of six plus four artist’s proofs.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300

PROVENANCE

Galeria Elba Benítez, Madrid




176 SARAH LUCAS b. 1962

Four works from Self-Portraits 1990–1998: (i) Divine, 1991; (ii) Got a Salmon On #3,

1997; (iii) Self Portraits with Skull, 1997; (iv) Fighting Fire with Fire, 1996

each: inkjet print on Somerset paper

each: 56 × 76 cm (22 × 29 7/8 in) or the reverse

These works are from an edition of 150.

Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800 z

PROVENANCE


(i)

(ii) (iii)

(iv)


177 THOMAS RUFF b. 1958

Nudes F.T.04, 2001


165.1 × 120 cm (65 × 47 1/4 in)

Signed, numbered and dated ‘Thomas Ruff, 4/5, 2001’ in pencil on the reverse.

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

Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200 z�‡

PROVENANCE

Marc Jancou Fine Art, New York

Stellan Holm Gallery, New York

Sotheby’s, London, ‘Contemporary Art Day Sale’, 8 February 2007, lot 361


EXHIBITED

Baden-Baden, Staatliche Kunsthalle, Thomas Ruff: 1979 to the Present, 17 November

2001 – 13 January 2002, then travelled to Essen, Museum Folkwang (17 February – 14 April

2002), Oslo, Museet for Samtidskunst (20 January – 5 April 2002), Munich, Städtische Galerie

im Lenbachhaus (26 April – 14 July 2002), Dublin, Irish Museum of Modern Art (2 August –

6 October 2002), Vitoria-Gasteiz, Artium, Centro-Museo Vasco de Arte Contemporaneo,

(8 October 2002 – 18 January 2003), Porto, Museo de Arte Contemporanea de Serralves

(24 January – 20 April 2003), Tate Liverpool (22 May – 6 July 2003) (another example exhibited)

LITERATURE

Thomas Ruff: 1979 to the Present, Cologne, 2001, p. 240, no. NUD 075 (another example

illustrated)

Michel Houellebecq, Thomas Ruff Nudes, A Short Story, Munich, 2003, p. 63 (another

example illustrated)


178 MASSIMO VITALI b. 1944

Spiaggiona senza moda, 2001

colour coupler print mounted on aluminium

180 × 218.5 cm (70 7/8 × 86 in)

This work is number one from an edition of nine and is accompanied by a

certificate of authenticity.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300 z

PROVENANCE

Galeria Senda, Barcelona


LITERATURE

Massimo Vitali, Massimo Vitali: Landscape with Figures, Göttingen: Steidl, 2004, p. 157


179 KRIS MARTIN b. 1972

One Second of My Life, 2004

series of ten lambda prints

each: 14 × 14 cm (5 1/2 × 5 1/2 in)

This work is from an edition of three plus one artist’s proof and is accompanied by

a certificate of authenticity signed by the artist.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300 z

PROVENANCE

Johann König, Berlin

Sies + Höke, Düsseldorf




180 KEITH TYSON b. 1969

Studio Wall Drawing: The Edges of Things #29: A Molten Purple Tessellation, 2002

colour coupler print, gouache and marker

151.5 × 121 cm (59 5/8 × 47 5/8 in)

Signed, titled and dated ‘K. Tyson, Purple tessellation (The edges of things) 2002’

on the reverse.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE


EXHIBITED

London, Tate Britain, Turner Prize, 30 October 2002 – 5 January 2003


181 KATY MORAN b. 1975

Untitled 2, 2005

acrylic on MDF board

31.5 × 30 cm (12 3/8 × 11 3/4 in)

Signed and dated ‘Katy Moran 2005’ on the reverse.

Estimate £8,000–12,000 $12,700–19,100 €10,100–15,200 z

PROVENANCE



182 KEITH TYSON b. 1969

Nature Painting, 2005

oil and varnish on aluminium

61 × 61 cm (24 × 24 in)

Signed, titled and dated ‘Nature Painting K. Tyson 2005’ on the reverse.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300 z †

PROVENANCE

Haunch of Venison, London



183 FRANZ WEST 1947–2012

Pass Stuck, 1983

plaster on armature

109.9 × 27.9 × 27.9 cm (43 1/4 × 11 × 11 in)

Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200 z

PROVENANCE


LITERATURE

Franz West: Proforma, exh. cat., Museum Moderner Kunst, Vienna, 1996, p. 164,

illustration N.243 Franz West with Pass Stuck, 1983


185 FRANCIS ALŸS b. 1959

Untitled (La Theorie des Ensembles), 1999

oil, graphite and tape on vellum

24 × 21 cm (9 1/2 × 8 1/4 in)

Signed and dated ‘Francis Alÿs 1999’ on the reverse. This work is accompanied by

a certificate of authenticity.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE

Goff and Rosenthal, New York


184 FRANZ WEST 1947–2012

Die Rinder Der … Wer Knorrt Hat’s Leichter IM Leben [Hommage an Pop-Art], 1984

mixed media collage on cardboard

32 × 156 cm (12 5/8 × 61 3/8 in)

Estimate £8,000–12,000 $12,700–19,100 €10,100–15,200 z

PROVENANCE


184

185


186 MARC QUINN b. 1964

Higher Atmosphere, 2006

acrylic on canvas

168 × 255 cm (66 1/8 × 100 3/8 in)

Signed, titled and dated ‘Marc Quinn, Higher

Atmosphere, 2006’ on the reverse.

Estimate £80,000–120,000

$127,000–191,000 €101,000–152,000 z

PROVENANCE




187 ANSELM REYLE b. 1970

Untitled, 2004

mixed media on canvas

135 × 114 cm (53 1/8 × 44 7/8 in)

Signed and dated ‘Anselm Reyle 2004’ on the reverse.

Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200 z

PROVENANCE

Christie’s, London, ‘Post-War and Contemporary Art Day Sale (Afternoon Session)’, 7 February 2008, lot 468



188 ANSELM REYLE b. 1970

Untitled, 2006

mixed media on canvas, acrylic glass

143 × 121 × 15.5 cm (56 1/4 × 47 5/8 × 6 1/8 in)

Estimate £40,000–60,000 $63,500–95,300 €50,600–75,900 z †

PROVENANCE

The Modern Institute, Glasgow

Modern Collections, London



189 PETER HALLEY b. 1953

Small White Prison, 2002

acrylic and Roll-A-Tex on canvas

125 × 102 × 9.5 cm (49 1/4 × 40 1/8 × 3 3/4 in)

Signed and dated ‘Peter Halley 2002’ on the reverse.

Estimate £18,000–25,000 $28,600–39,700 €22,800–31,600

PROVENANCE

Galeria Senda, Barcelona



190 DANIEL BUREN b. 1938

PVC bleu pour un angle, 2003

plastic foil on PVC board (in four parts)

overall: 200.1 × 200.1 cm (78 3/4 × 78 3/4 in); each: 95.8 × 95.8 cm (37 3/4 × 37 3/4 in)


Estimate £30,000–40,000 $47,600–63,500 €37,900–50,600 z

PROVENANCE

Private Collection, Belgium


191 BERNAR VENET b. 1941

Arc × 4, 1999

rolled steel

60 × 58 cm (23 5/8 × 22 7/8 in)

Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200 z

PROVENANCE

Galerie Karsten Greve, Cologne



alternative view


192 ROBERT MOTHERWELL 1915–1991

Untitled, 1979

oil and graphite on board

51 × 66.5 cm (20 1/8 × 26 1/8 in)

Initialled and dated ‘RM 6 May 79’ upper left.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900

PROVENANCE

The Dedalus Foundation, New York

Marlborough Gallery, New York

Mira Godard Gallery, Toronto

Hillsboro Fine Art Gallery, Dublin

Private Collection, Ireland

EXHIBITED

Basel, Galeria Joan Prats at the Basel Art Fair, Robert Motherwell, June 1991, n.p. (illustrated)

New York, Marlborough Gallery, Robert Motherwell: Drawings, 16 February–13 March 1999

Denver, Robischon Gallery, Robert Motherwell: Early Drawings, 1963–1976, 13 January–

3 March 2001

Dublin, Hillsboro Fine Art, International Collectibles, 4–27 August 2005

LITERATURE

M. Paglia, ‘Slights of Hand: Robischon Salutes Three Generations of New York School

Artists’, Denver Westword, 15 February 2001, p. 53 (illustrated)

This work will be included in the forthcoming Robert Motherwell: Paintings

and Collages, A Catalogue Raisonné, 1941–1991, to be published by Yale

University Press, October 2012.


193 ROBERT MOTHERWELL 1915–1991

Grey and Black Open, 1979

acrylic on canvas on board

38 × 76 cm (14 7/8 × 29 7/8 in)

Incised ‘Motherwell’ lower right.

Estimate £40,000–60,000 $63,500–95,300 €50,600–75,900

PROVENANCE

The Dedalus Foundation, New York

Knoedler & Co., New York

Galerie Klüser, Munich

Hillsboro Fine Art, Dublin

Private Collection, Ireland

EXHIBITED

Leverkusen, Museum Morsbroich, Motherwell, 17 October 2004–30 January 2005, p. 76

(illustrated)

Munich, Galerie Bernd Kluser, Robert Motherwell: Paintings, Collages, Works on Paper,

4 May–30 July 2005

Dublin, Hillsboro Fine Art, Summer Exhibition, 7 June–6 July 2007

LITERATURE

R. Stiftel, ‘Stürmisches Schwarz’, Westfälischer Anzeiger, 21 December 2004, p. 298

This work will be included in the forthcoming Robert Motherwell: Paintings

and Collages, A Catalogue Raisonné, 1941–1991, to be published by Yale

University Press, October 2012.


194 CLAIRE BARCLAY b. 1968

Let Loose, 2007

aluminium, leather, acetal, silkscreen on paper

430 × 95 × 196 cm (169 1/4 × 37 3/8 × 77 1/8 in)

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE

Doggerfisher, Glasgow



195 CALLUM INNES b. 1962

Twelve Indentified Forms, 2004

oil on canvas

105 × 95 cm (41 3/8 × 37 3/8 in)

Signed and dated ‘Callum Innes 04’ on the overlap; further signed, titled and dated

‘Callum Innes, Twelve Identified Forms 2004’ on the stretcher bar.

Estimate £6,000–8,000 $9,500–12,700 €7,600–10,100 z ‡

PROVENANCE

Jensen Gallery, Auckland



196 TAKASHI MURAKAMI b. 1962

Superflat Monogram (White), 2004

acrylic on canvas on panel

60 × 60 cm (23 5/8 × 23 5/8 in)

Estimate £60,000–80,000 $95,300–127,000 €75,900–101,000 ‡

PROVENANCE

Marianne Boesky Gallery, New York



197 TOM SACHS b. 1966

Nazi Bondage Babe, 2002

synthetic polymer on canvas

152 × 184 cm (59 7/8 × 72 1/2 in)

Estimate £50,000–70,000 $79,400–111,000 €63,200–88,500

PROVENANCE

Sperone Westwater, New York



198 YOSHITMOTO NARA b. 1959

Live Skulls, 2003

coloured pencil on paper

24 × 32.8 cm (9 1/2 × 12 7/8 in)

Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800

PROVENANCE

Tomio Koyama Gallery, Tokyo



199 INKA ESSENHIGH b. 1969

Manmade Garden, 2001

oil on board

182.9 × 213.4 cm (72 × 84 in)

Signed, titled and dated ‘Inka Essenhigh’ on the reverse.

Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200 ‡

PROVENANCE

Victoria Miro, London



200 JOHN BOCK b. 1965

Die Sieben Samurai, 2001

trousers, shirts, coloured sweaters, wooden wall-mounted clothes rack, wooden

hangers, Hantarex TV screen, electrical cables

dimensions variable

Estimate £8,000–12,000 $12,700–19,100 €10,100–15,200 z

PROVENANCE

Gio Marconi, Milan



201 NAM JUNE PAIK 1932–2006

Untitled, 1989

inkjet on canvas (in two parts); two tin cars and two videos

267 × 246 × 22 cm (105 1/8 × 96 7/8 × 8 5/8 in)

Signed and dated ‘Paik ’89’ lower left.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900

PROVENANCE

Guy Pieters Gallery, Knokke



202 ANDRÉ BUTZER b. 1973

Untitled, 2008

oil on canvas

230 × 320 cm (90 1/2 × 125 7/8 in)

Signed ‘A. Butzer’ lower right.

Estimate £15,000–25,000 $23,800–39,700 €19,000–31,600 z

PROVENANCE

Patrick Painter Inc., Santa Monica




203 ERWIN WURM b. 1954

Untitled, 2008

acrylic, wood, textile

77 × 44 × 23 cm (30 3/8 × 17 3/8 × 9 in)


Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800 ♠ ‡

PROVENANCE

Private Collection, Switzerland


204 INKA ESSENHIGH b. 1969

Sunshine, 2004

oil on canvas

193 × 178 cm (75 7/8 × 70 1/8 in)

Signed, titled and dated ‘Inka Essenhigh 2004 Sunshine’ on the reverse.

Estimate £40,000–50,000 $63,500–79,400 €50,600–63,200

PROVENANCE

Victoria Miro, London



205 THOMAS ZIPP b. 1966

Margit, 2003

oil on canvas

110 × 70 cm (43 1/4 × 27 1/2 in)

Signed, titled and dated ‘Margit Thomas Zipp 03’ on the reverse.

Estimate £8,000–12,000 $12,700–19,100 €10,100–15,200 z †

PROVENANCE

Marc Jancou Fine Art, New York

Phillips de Pury & Company, New York, ‘Contemporary Art Part II’, 17 November 2006, lot 188



206 DAN ATTOE b. 1975

Accretion #36 (You Are Not Alone), 2006

oil on canvas on panel, and oil painted wooden sculpture

painting: 92 × 121.7 cm (36 1/4 × 47 7/8 in); sculpture: 13 × 4 × 4 cm (5 1/8 ×

1 5/8 × 1 5/8 in)

Signed and dated ‘Dan Attoe, May 2006’ on the reverse.

Estimate £6,000–8,000 $9,500–12,700 €7,600–10,100 ‡

PROVENANCE

Peres Projects, Los Angeles

Acquired from the above by the present owner detail


207 TONY OURSLER b. 1957

Blue Transmission, 2000

video projection, wood and glass sculpture

dimensions variable

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900 Ω

PROVENANCE

Lisson Gallery, London




Walt N, 2006

oil on canvas

260 × 200 cm (102 3/8 × 78 3/4 in)

Signed ‘A. Butzer’ lower right; further signed and dated ‘A. Butzer ’06’

on the reverse.

Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200 z

PROVENANCE

Galerie Max Hetzler, Berlin



209 JONATHAN MEESE b. 1970

Die Totale Frau, 2004–05

oil, plastic sword, cardboard and newspaper on canvas

120 × 100.5 cm (47 1/4 × 39 5/8 in)

Initialled and dated ‘JM 2004 2005’ lower right; further signed and dated ‘Meese

2004–2005’ on the reverse.

Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800 z

PROVENANCE

Galerie Krinzinger, Vienna




Friedens – Siemens XIII, 2003

oil on canvas

300 × 210.5 cm (118 1/8 × 82 7/8 in)

Signed ‘A. Butzer’ lower right; further signed, titled and dated ‘A. Butzer ’03

“Friedens – Siemens” XIII’ on the reverse.

Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800 z�‡

PROVENANCE

Patrick Painter Gallery, Santa Monica



211 CHRISTOPH RUCKHÄBERLE b. 1972

Untitled (Schachspieler), 2005

oil on canvas

190 × 250 cm (74 3/4 × 98 3/8 in)

Estimate £8,000–12,000 $12,700–19,100 €10,100–15,200 z

PROVENANCE

Galerie Kleindienst, Leipzig



212 AXEL GEIS b. 1970

Untitled, 2007

oil on canvas

205 × 122 cm (80 3/4 × 48 in)

Signed, titled and dated on the reverse.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE

Galerie Jan Wentrup, Berlin



213 JONATHAN MEESE b. 1970

Nietzsche, Hallo, 2006

oil and mixed media on canvas

80.5 × 60 cm (31 3/4 × 23 5/8 in)

Initialled and dated ‘JM 06’ lower right; further signed, titled and dated ‘JMeese 06,

NIETZSCHE, HALLO’ on the reverse.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE

Contemporary Fine Arts, Berlin



214 WILHELM SASNAL b. 1972

Untitled (Record Player), 2002

oil on canvas

24.4 × 29.8 cm (9 5/8 × 11 3/4 in)

Signed and dated ‘Wilhelm Sasnal 2002’ on the overlap.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE




215 RAFAEL BUJNOWSKI b. 1974

Window, 2001–05

oil on canvas

145 × 145 cm (57 1/8 × 57 1/8 in)

Estimate £7,000–9,000 $11,100–14,300 €8,900–11,400 z

PROVENANCE

Raster Gallery, Warsaw



216 GREGOR HILDEBRANDT b. 1974

Der Garten (Einstürzende Neubauten), 2008

cassette tape laid on canvas

292 × 192 cm (114 7/8 × 75 5/8 in)

Signed, titled and dated ‘Gregor Hildebrandt “Der Garten (Einstürzende

Neubauten)” 2008’ on the reverse.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300 z

PROVENANCE

Galerie Jan Wentrup, Berlin

Private Collection


217 MARTIN EDER b. 1968

Seven works: Diana and Charles, 1997

watercolour on paper

smallest: 17.6 × 20.7 cm (6 7/8 × 8 1/8 in); largest: 26.6 × 18.5 cm (10 1/2 × 7 1/4 in)

Each signed and dated ‘Martin Eder 1997’ in the margin; (v) and (vii) are further

titled.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900 z

PROVENANCE

Jesco von Puttkamer, Berlin



Various titles: (i) Diana and Charles, (ii) Diana and photographer, (iii) Yacht,

(iv) Driver Diana, (v) Diana at hotel, (vi) Elton John, (vii) Crash

(i)

(vi)

(ii)

(iii)

(vi)

(vii)

(v)



218 KAREN KILIMNIK b. 1955

Snow Reports, 1998

crayon and pastel on paper

88.5 × 65.5 cm (34 7/8 × 25 3/4 in)

Dated ‘January 20 ‘98 1.40pm January 21 98’ lower right.

Estimate £6,000–8,000 $9,500–12,700 €7,600–10,100

PROVENANCE



219 KAREN KILIMNIK b. 1955

Demi’s not Smitten with Him, 1998

crayon on paper

88 × 65.5 cm (34 5/8 × 25 3/4 in)

Dated ‘January 1998 215 pm January 20 ’98’ lower right.

Estimate £6,000–8,000 $9,500–12,700 €7,600–10,100

PROVENANCE



220 WILLIAM N. COPLEY 1919–1996

Untitled, 1965

acrylic on canvas

91 × 121 cm (35 7/8 × 47 5/8 in)

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900

PROVENANCE

Nolan/Eckman Gallery, New York



221 KIKI SMITH b. 1954

Untitled, 2001

ink and coloured pencil on Nepalese collage paper

235 × 156 cm (92 1/2 × 61 3/8 in)

Signed and dated ‘Kiki Smith 2001’ lower right.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900

PROVENANCE

Private Collection



222 WIM DELVOYE b. 1965

Delft Shovel (B), 1990

enamel on metal shovel with wooden handle

154 × 35 × 20 cm (60 5/8 × 13 3/4 × 7 7/8 in)

Signed, titled and dated ‘Wim Delvoye, Delft Shovel (B), 1990’ on the reverse.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE




223 WIM DELVOYE b. 1965

Mum, Keys are You Know Where, 1996

inkjet print on fabric

270 × 394 cm (106 1/4 × 155 1/8 in)

Signed, titled and dated ‘W Delvoye “Mum…” 1996’ on the reverse.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300 z

PROVENANCE



224 WOLFGANG LAIB b. 1950

Rice House, 1988

aluminium, wood, wax sticks and rice

aluminium house: 55 × 55 × 23 cm (21 5/8 × 21 5/8 × 9 in)

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900 z

PROVENANCE

André Simoens, Knokke



225 SAM FRANCIS 1923–1994

Untitled, 1978

acrylic and ink on paper

31.5 × 46.5 cm (12 3/8 × 18 1/4 in)

Signed and dated ‘Sam Francis 1978’ on the reverse.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000

PROVENANCE



226 MARTIN BOYCE b. 1967

Two works: Untitled, 2008

silkscreen print on paper

each: 79.8 × 59.8 cm (31 3/8 × 23 1/2 in)

Each signed, dated and numbered ‘Martin Boyce 08 5/10’ lower margin. These

works are number five from an edition of ten.

Estimate £7,000–9,000 $11,100–14,300 €8,900–11,400 z

PROVENANCE

Ikon, Birmingham




227 ANISH KAPOOR b. 1954

Shadow III portfolio, 2009

the complete portfolio of nine colour etchings on Somerset textured soft white

paper

each: 72.5 × 96.5 cm (28 1/2 × 37 7/8 in)

Each signed and numbered ‘Anish Kapoor, 10/39’ on the reverse. This work is

number 10 from an edition of 39 plus six artist’s proofs and one printer’s proof.

Published by The Paragon Press.

Estimate £30,000–40,000 $47,600–63,500 €37,900–50,600 z †

PROVENANCE

Private Collection, New York



228 MICHELANGELO PISTOLETTO b. 1933

Frattali, 1999–2000

acrylic on mirror

58 × 75 cm (22 7/8 × 29 1/2 in)

Signed, titled and dated ‘Pistoletto 1999/2000 Frattali’ on the reverse. This work is

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

Estimate £6,000–8,000 $9,500–12,700 €7,600–10,100 z

PROVENANCE

Centro d’Arte Fuoriuso, Pascara, Italy



229 CY TWOMBLY 1928–2011

Roman Notes VI (from Roman Notes), 1970

colour offset lithograph

86.5 × 69 cm (34 × 27 1/8 in)

Signed and dated ‘Cy Twombly 70’ on the reverse. This work is from an edition of

100 plus 10 artist’s proofs and published by Neuendorf Verlag, Hamburg.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300

PROVENANCE



230 DAMIEN HIRST b. 1965

A Single Unique Butterfly from The Souls On Jacob’s Ladder Take Their Flight, 2008

colour photogravure etching on 400gsm Velin Arches paper

119.6 × 108.4 cm (47 1/8 × 42 5/8 in)

Signed, dated and inscribed ‘Damien Hirst U.P. 2008’ lower margin. This work

is unique, registered in the Damien Hirst Archive under number ‘DHS 10381’,

published by The Paragon Press, 2008 and is accompanied by a certificate of

authenticity.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900 z

PROVENANCE

Galerie Guy Pieters, Knokke-Heist



231 TOM WESSELMANN 1931–2004

Smoker Banner, 1971

11 colours and transparent sewn vinyl and plastic

110 × 110 cm (43 1/3 × 43 1/3 in)

This work is a trial proof aside from the signed and numbered edition of 30 and is

published by Multiples, Inc.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000

PROVENANCE

Private Collection, Florida

LITERATURE

Tom Wesselmann: Graphics 1964–1977, exh. cat., Institute of Contemporary Art, Boston,

April–June 1978, p. 18 (illustrated)


232 TOM WESSELMANN 1931–2004

Monica Nude with Cézanne, 1993

colour silkscreen on museum board

101.5 × 144.7 cm (39 7/8 × 56 7/8 in)

Signed and numbered ‘Wesselmann 82/90’ lower right. Published by International

Images.

Estimate £9,000–15,000 $14,300–23,800 €11,400–19,000 †

PROVENANCE

Private Collection, Berlin



233 RACHEL WHITEREAD b. 1963

12 Objects, 12 Etchings, 2010

the complete portfolio of twelve etchings on Somerset Velvet White paper

each image: 24.8 × 24.8 cm (9 3/4 × 9 3/4 in); each sheet: 39.8 × 38.2 cm

(15 5/8 × 15 in)

Each signed ‘Rachel Whiteread’ lower right; each numbered ‘10/42’ on the

reverse. This portfolio is number 10 from an edition of 42 plus nine artist’s

proofs and two printer’s proofs and is published by Charles Booth-Clibborn,

The Paragon Press, London.

Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800 z�†

PROVENANCE



234 PETER DOIG b. 1959

Untitled (Photos 1–9), 2000

the complete portfolio of nine works: Chromogenic prints

each: 67 × 101 cm (26 3/8 × 39 3/4 in) or the reverse

Signed, titled, numbered and dated ‘Peter Doig 5/12 2000 photos 1–9’ on the

reverse. This work is number five from an edition of 12.

Estimate £18,000–22,000 $28,600–34,900 €22,800–27,800 z�†

PROVENANCE

Patrick Painter Inc., Los Angeles



Butterfly Etching (Portfolio of 12), 2009

the complete portfolio of twelve colour etchings contained in a portfolio box

each sheet: 47 x 39.1 cm (18 1/2 × 15 3/8 in); each image: 30 × 24.5 cm (11 3/4 × 9 5/8 in)

Each signed ‘Damien Hirst’ right lower margin, numbered and stamped ‘5/45 Hirst’

in the left lower margin. Although the prints are from an edition of 45, only seven

complete portfolios were assembled for which these portfolio boxes were designed.

Estimate £28,000–35,000 $44,500–55,600 €35,400–44,200 z †

PROVENANCE

Private Collection London




Oleoylsarcosine, 2008

unique two-inch spot etching with 48 different colour spots on Hahnemühle paper

85 × 62.5 cm (33 1/2 × 24 5/8 in)

Signed ‘Damien Hirst’ lower right. This work is unique and is registered in the

Damien Hirst archive under UP11144.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300 z †

PROVENANCE



Gold Thioglucose, 2008

colour silkscreen on pure gold leaf and silkscreen on Somerset tub paper

75.5 × 95.5 cm (29 3/4 × 37 5/8 in)

Signed ‘Damien Hirst’ lower right in pencil. Numbered ‘20/45’ on lower left in

pencil. This work is number 20 from an edition of 45.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300 z †

PROVENANCE




238 GRAYSON PERRY b. 1960

Map of Nowhere, 2008

etching on woven paper

153 × 113 cm (60 1/4 × 44 1/2 in)

Signed and numbered ‘Grayson Perry 8/15’ in pencil on the reverse. This work is

number eight from an edition of 15. Published by The Paragon Press, London.

Estimate £18,000–22,000 $28,600–34,900 €22,800–27,800 z †

PROVENANCE




Psalm print: Benedictus Dominus, 2009

silkscreen print with glaze and diamond dust

109.5 × 108 cm (43 1/8 × 42 1/2 in)

Signed and numbered ‘Damien Hirst 23/50’ lower left. Stamped Hirst lower right.

This work is number 23 from an edition of 50.

Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800 z †

PROVENANCE

Private Collection, Cologne


240 KEITH HARING 1958–1990

Untitled 2, 1985

lithograph on wove paper

image: 81 × 99.5 cm (31 7/8 × 39 1/8 in); frame: 102.5 × 121 cm (40 3/8 × 47 5/8 in)

Signed and dated ‘EP K.Haring 85’ lower right. This work is from an edition of 60

plus 15 EPs and is published by Matthieu Litho, Switzerland.

Estimate £5,000–7,000 $7,900–11,100 €6,300–8,900

PROVENANCE



Dark Rainbow, 2009

mixed media sculpture

work: 44 × 41 × 11 cm (17 3/8 × 16 1/8 × 4 3/8 in); with stand: 55 × 41 × 25 cm (21 5/8 ×

16 1/8 × 9 7/8 in)

Signed and numbered ‘Damien Hirst 9/40’ on the reverse. This work is number

nine from an edition of 40 and is produced by Other Criteria, London.

Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800 z�†

PROVENANCE



242 TAKASHI MURAKAMI b. 1962

Petit Panda, 2009

polyester, acrylic and plastic

55 × 41 × 30 cm (21 5/8 × 16 1/8 × 11 3/4 in)

This work is number 62 from an edition of 150 and is accompanied by a

certificate of authenticity signed by the artist.

Estimate £8,000–12,000 $12,700–19,100 €10,100–15,200

PROVENANCE

Private Collection, Tokyo


243 ANDY WARHOL 1928–1987

Sunset and Evening Shoe

gouache, ink and pencil on paper

image: 18 × 23 cm (7 1/8 × 9 in); frame: 34.2 × 40 cm (13 1/2 × 15 3/4 in)

Signed ‘Andy Warhol’ lower right.

Estimate £8,000–12,000 $12,700–19,100 €10,100–15,200 ‡

PROVENANCE



244 DAVID HOCKNEY b. 1937

Celia Making Tea, 1982

photographic collage on board

63 × 53 cm (24 3/4 × 20 7/8 in)

Signed, titled, numbered and dated ‘David Hockney, Celia making tea, New York

Dec 1982, #5’ lower centre.

Estimate £7,000–9,000 $11,100–14,300 €8,900–11,400 z

PROVENANCE

Richard Gray Gallery, Chicago

Nishimura Gallery, Tokyo


LITERATURE

David Hockney, Cameraworks, London, Thames & Hudson, 1984, pl. 82 (illustrated in colour)



$ (1), circa 1982

colour screenprint on paper mounted on foam board

87.6 × 55.9 cm (34 1/2 × 22 in)

This work is accompanied by a photograph certificate stamped by the Andy

Warhol Art Authentication Board Inc. and numbered 116.122.

Estimate £35,000–45,000 $55,600–71,500 €44,200–56,900

PROVENANCE

Michael Emms, Atlanta

Private Collection of Rudolf Budja, Austria


247 JOSEPH BEUYS 1921–1986

Unionpack für Feuerstelle

coal briquet and plastic in Plexiglas case

12 × 38 × 16 cm (4 3/4 × 14 7/8 × 6 1/4 in)

Signed and titled ‘Joseph Beuys, für Feuerstelle’. This work is from an

edition of three.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z

PROVENANCE

Galerie Edition Staeck, Heidelberg


246 JOAN MITCHELL 1925–1992

Trees IV, 1994

colour lithograph on paper

144 × 210 cm (56 3/4 × 82 5/8 in)

Signed, numbered and dated ‘11/34 Joan Mitchell 1944’ lower right. This

work is number 11 from an edition of 34 and is published by Tyler Graphics

Ltd, New York.

Estimate £9,000–12,000 $14,300–19,100 €11,400–15,200 †

PROVENANCE




Two works: Campbell’s Onion Soup Box, 1986

synthetic polymer paint and silkscreen ink on canvas

each: 50.8 × 50.8 cm (20 × 20 in)

These works are accompanied by certificates of authenticity from the Andy

Warhol Foundation for the Visual Arts, Inc. and numbered PA 90.014 and PA

90.010 respectively.

Estimate £60,000–80,000 $95,300–127,000 €75,900–101,000

PROVENANCE




249 CHRISTO b. 1935

Wrapped Walk Ways: Two Parks Project (Project for Ueno Park, Tokyo, Japan and

Sonsbeek Park, Arnheim Netherlands), 1970

collage with pencil, fabric, wax crayon, photograph, staples, map and tape

71 × 56 cm (27 7/8 × 22 in)


Estimate £25,000–35,000 $39,700–55,600 €31,600–44,200

PROVENANCE

Galleria Sperone, Turin




250 ZAO WOU-KI b. 1921

Untitled, 1981

watercolour on paper

37 × 27.7 cm (14 5/8 × 10 7/8 in)

Signed in Chinese and Pinyin ‘ZAO’ lower right.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300 z�‡

PROVENANCE

Galerie Kutter, Luxembourg

Private Collection, Luxembourg

Christie’s, Paris, ‘Art Contemporain’, 8 December 2010, lot 101



251 KIM TSCHANG-YEUL b. 1929

Untitled, circa 1978–80

oil on canvas

162.5 × 130.3 cm (63 7/8 × 51 1/4 in)

Signed [in Korean] ‘Kim Tschang-Yeul’ on the overlap.

Estimate £70,000–90,000 $111,000–143,000 €88,500–114,000

PROVENANCE

Fondation Veranneman, Kruishoutem



252 REZA DERAKSHANI b. 1952

Two works: Untitled from the series The Rose & The Nightingale, 2007

oil and glaze on canvas in artist’s frame

each overall: 80 × 70 cm (31 1/2 × 27 1/2 in)

(i) Initialled and dated ‘D ‘07’ lower right; (ii) initialled and dated ‘D ‘07’ lower left.

Estimate £6,000–8,000 $9,500–12,700 €7,600–10,100

PROVENANCE

Acquired directly from the artist by the previous owner




THIS LOT IS SOLD WITH NO RESERVE

253 HASSAN HAJJAJ b. 1961

Gossiping, 2000

colour coupler print in the artist’s wooden frame with inset accumulation of matchboxes

65 × 86.5 cm (25 5/8 × 34 in)

Signed, titled [in English and Arabic], numbered and dated ‘”GOSSIPING” HASSAN

HAJJAJ 5/10 2000’ on the reverse of the backing. This work is number five from the

edition of 10.

Estimate £3,000–5,000 $4,800–7,900 €3,800–6,300 z r

PROVENANCE

Acquired directly from the artist by the previous owner

LITERATURE

L.Ball-Lechgar, ‘Street chic: Hassan Hajjaj’, Canvas, vol. 4, May/June 2008, pp. 148 – 49 (another

work from the edition illustrated)


THIS LOT IS SOLD WITH NO RESERVE

254 SAMIRA ALIKHANZADEH b. 1967

#10 Family Album, 2008

acrylic, inkjet print, mirror and charcoal on MDF board

79.5 × 119.5 cm (31 1/4 × 47 in)

Signed in Farsi, numbered and dated ‘Samira 1/3, 2008’ lower right.

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

Estimate £3,000–5,000 $4,800–7,900 €3,800–6,300 r

PROVENANCE



255 ROKNI HAERIZADEH b. 1978

Nine works: Let yourself be fucked and scream with joy! (Fictionville), 2009


each: 21 × 29.5 cm (8 1/4 × 11 5/8 in) or the reverse

Each signed in Farsi and English and dated ‘Rokni Haerizadeh 2009’ on the

reverse; each further titled ‘Let yourself be fucked…with joy’ on the backing.

Estimate £15,000–20,000 $23,800–31,800 €19,000–25,300

PROVENANCE

Galerie Thaddaeus Ropac, Paris




256 CHÉRI SAMBA b. 1956

J’aime la couleur, 2003

acrylic and glitter on canvas

135 × 194.5 cm (53 1/8 × 76 5/8 in)

Signed, titled and dated ‘J’aime la couleur, Chéri Samba, Oct. 2003’ lower right.

Estimate £18,000–25,000 $28,600–39,700 €22,800–31,600

PROVENANCE




257 MAX VITYK b. 1964

Silver Bullet, 2009

acrylic, spray paint, enamel on canvas

149.5 × 199.5 cm (58 7/8 × 78 1/2 in)

Signed ‘M. Vityk’ lower left; further signed, titled [in Cyrillic and English] ‘M. Vityk,

Silver Bullet, 2009’ on the reverse.

Estimate £8,000–12,000 $12,700–19,100 €10,100–15,200

PROVENANCE


EXHIBITED

Kiev, Triptych Gallery, Silver and Black, 8 August – 2 Sepember 2009

Lviv Palace of Art, Lviv, US Art Days in Ukraine, November 2010

Kiev, M17 Contemporary Art Center, Max Vityk, 15 – 18 May 2012

LITERATURE

Vityk, exh. cat., Modern Art Research Institute, Kiev, 2011, p. 53


258 OLEG TISTOL b. 1960

Stranger #17, 2012

140 × 120 cm (55 1/8 × 47 1/4 in)

Signed [in Cyrilic], dated and numbered ‘O. Tistol 2012 #17’ lower left; further

signed, titled [in Cyrilic] and dated ‘O. Tistol 2012 “Stranger #17”’ on the reverse.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 ‡

PROVENANCE

Art-agent Ukr Gallery, Kiev

“The theme of stereotypes was continued by Oleg Tistol in his painting

series National Geography (1998–2004) where he combined the local and

the foreign, the authentic and the borrowed, the ethnic and the global

problematic. The sources of this series were the old illustrated magazines

with ethnographic photos of different tribes. National exoticism was

viewed here as the contemporary strategy of selling local brands in the

global market.”

(B. Groys in G. Sklyarenko, Oleg Tistol’s Khudfond: Several Words about the

Beauty of Stereotypes, Kiev, 2009)


259 DUBOSSARSKY & VINOGRADOV b. 1964 and b. 1963

Night Blues, 2003

triptych: oil on canvas

overall: 195 × 435 cm (76 3/4 × 171 1/4 in)

Signed and dated ‘Dubossarsky Vinogradov 2003’ lower right.

Estimate £40,000–60,000 $63,500–95,300 €50,600–75,900

PROVENANCE





260 KOSTYA TOTIBADZE b. 1969

Birthday, 2010

oil on canvas

101 × 141 cm (39 3/4 × 55 1/2 in)

Signed ‘Kostya Totibadze’ lower right; further signed, titled [in Cyrillic] and dated

‘Totibadze K., 2010, “Birthday”’ on the reverse.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900 ‡

PROVENANCE


EXHIBITED

Moscow, Atlas Art Gallery, Gallery at Mosfilm, Georgy and Konstantin Totibadze. Painting,

20 – 31 May 2010

LITERATURE

Russian Art Magazine, 2010, no. 1, p. 77

Georgy and Konstantin Totibadze. Painting, exh. cat., Atlas Art Gallery, Moscow, 2010



261 GOGI TOTIBADZE b. 1967

Forest, 2011

ink on paper

150.5 × 290 cm (59 1/4 × 114 1/8 in)

Signed in Georgian ‘Gogi Totibadze’ lower edge.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 ‡

PROVENANCE




262 GAVIN TURK b. 1967

Rubbish Print, 2005

synthetic polymer paint on canvas

180.5 × 250 cm (71 1/8 × 98 3/8 in)

Signed, titled and dated ‘Gavin Turk Rubbish Print 2005’ on the reverse.

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900 z

PROVENANCE




263 REBECCA HORN b. 1944

Lolita, 1997

leather glove, ostrich egg and copper rod in Plexiglas box

107 × 70 × 35 cm (42 1/8 × 27 1/2 × 13 3/4 in)

Estimate £20,000–30,000 $31,800–47,600 €25,300–37,900 z

PROVENANCE

Galerie Franck + Schulte, Berlin



264 KATHARINA GROSSE b. 1961

Untitled, 2002

spray paint on aluminium

188 × 125 cm (74 × 49 1/4 in)

Dated ‘2002’ on the reverse.

Estimate £8,000–12,000 $12,700–19,100 €10,100–15,200 z

PROVENANCE

Galerie Conrads, Düsseldorf



265 KATJA STRUNZ b. 1970

Aktive Stagnation, 2005

rusted and powder coated steel

200 × 167 × 30.2 cm (78 3/4 × 65 3/4 × 11 7/8 in)

Signed, titled and dated ‘K. Strunz, Aktive Stagnation, 2005’ in the portfolio with

installation instructions.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z�‡

PROVENANCE

Galerie Giti Nourbakhsch, Berlin



266 VANESSA BEECROFT b. 1969

VB43.035.all, 2000

digital print on C-type paper

128.3 × 181 cm (50 1/2 × 71 1/4 in)

This work is number one from an edition of six.

Estimate £10,000–15,000 $15,900–23,800 €12,600–19,000 z ‡

PROVENANCE

Gagosian Gallery, New York



267 BARNABY HOSKING b. 1976

Reclining Figure, 2005

DVD, cold cast bronze, velvet screen

figure: 27 × 167 × 57 cm (10 5/8 × 65 3/4 × 22 1/2 in); screen: 140 × 249.5 cm

(55 1/8 × 98 1/4 in); DVD duration: 10 mins

Signed ‘Barnaby Hosking’ on stretcher bar on the reverse of the screen.

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

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

Estimate £4,000–6,000 $6,400–9,500 €5,100–7,600 z�Ω

PROVENANCE

Max Wigram Gallery, London



268 VIK MUNIZ b. 1961

Four works: (i) Romario; (ii) Ronaldo; (iii) Boniek; (iv) Raul from Pictures of Chocolate, 2004

digital colour coupler prints

(i) 150 × 118 cm (59 × 46 1/2 in); (ii) 150 × 118 cm (59 × 46 1/2 in); (iii) 156 × 128 cm (60 1/2

× 50 3/8 in); (iv) 147.5 × 129 cm (58 × 50 7/8 in)

Each signed and dated ‘Vik Muniz 2004’ on a label affixed to the reverse. These works

are an artist’s proof from an edition of five.

Estimate £25,000–30,000 $39,700–47,600 €31,600–37,900 z

PROVENANCE


(i) (ii)

(iii)


(iv)


269 ROBERT LONGO b. 1953

Two works: (i) Study for Sword of the Pig, 1983; (ii) Body of a Comic,

4 New Works for Los Angeles, 1984


(i) 77 × 112 cm (30 3/8 × 44 1/8 in); (ii) 112 × 77 cm (44 1/8 × 30 3/8 in)

(i) Signed, dated and titled ‘Study for sword of the pig, Robert Longo

83’ in the margin; (ii) signed, dated and titled ‘Body of a Comic, 4 New

Works for Los Angeles, Robert Longo 84’ in the margin. These works

are accompanied by a certificate of authenticity.

Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800

PROVENANCE

Galleria Mazzoli, Modena



PROPERTY FROM THE KIT FINANCE COLLECTION

270 HANS OP DE BEECK b. 1969

Yves-Pascal, 2008

laser-hardened 3-D resin print, metal plinth,

Perspex case, plastic and wood

overall: 195.7 × 70 × 70 cm (77 × 27 1/2 × 27 1/2 in);

figure: 74 × 25 cm (29 1/8 × 9 7/8 in)

Titled ‘YVES-PASCAL’ on the underside of the base.

This work is number one from an edition of three.

Estimate £6,000–8,000 $9,500–12,700 €7,600–10,100 z ‡

PROVENANCE

Xavier Hufkens, Brussels



271 IVÁN NAVARRO b. 1972

DIE (Prototype), 2009

neon light, painted black plywood, mirror, one-way mirror

61.5 × 61 × 61 cm (24 1/4 × 24 × 24 in)

This work is number one from an edition of three plus one artist’s proof and is

accompanied by a certificate of authenticity signed by the artist.

Estimate £12,000–18,000 $19,100–28,600 €15,200–22,800

PROVENANCE

Robert Goff Gallery, New York


EXHIBITED

New York, Robert Goff Gallery, Missing: Work by Titus Kaphar, Iván Navarro, Trevor Paglen,

Courtney Smith, Noh Suntag, 2 – 27 February 2010



PHILLIPS de PURY & COMPANY

Dr. Michaela de Pury

Senior International Director

Olivier Vrankenne

Senior International Specialist

Michael McGinnis

Senior Director and Worldwide Head

Simon de Pury

Chairman

CONTEMPORARY ART, NEW YORK

Zach Miner

Head of Evening Sale, New York

Sarah Mudge

Head of Day Sale, New York

Jean-Michel Placent

Senior Specialist, New York

Benjamin Godsill

Specialist, New York

Corey Barr

Specialist, New York

Karen Levy

Junior Specialist, London

Helen Rohwedder

Junior Specialist London

Henry Highley

Junior Specialist, London

CONTEMPORARY ART, LONDON

Henry Allsopp

Senior Specialist, London

Matt Langton

Specialist, London

George O’Dell

Head of Day Sale, London

Peter Sumner

Head of Evening Sale, London

CTA_UK_Oct12_Day_Backmatter_220-237.indd 220 18/09/12 11.41

CONTEMPORARY ART, WORLDWIDE

Edouard de Moussac

Specialist, Paris

Laura Garbarino

Senior International Specialist, Milan

Thomas Dryll

Senior Specialist, Paris

Shirin Kranz

Specialist, Berlin

Katie Kennedy Perez

Specialist, Geneva

Niklaus Kuenzler

Specialist, Zurich

Bérénice Chef

Specialist, Brussels

Svetlana Marich

Specialist, Moscow

Maya McLaughlin

Specialist, Los Angeles

Philae Knight

Private Client Services

PRIVATE CLIENT SERVICES

Michael Berger-Sandhofer

Private Client Services


GUIDE FOR PROSPECTIVE BUYERS

BUYING AT AUCTION

The following pages are designed to offer you information on how to buy at auction at

Phillips de Pury & Company. Our staff will be happy to assist you.

CONDITIONS OF SALE

The Conditions of Sale and Authorship Warranty which appear later in this catalogue

govern the auction. Bidders are strongly encouraged to read them as they outline the legal

relationship between Phillips de Pury & Company, the seller and the buyer and describe the

terms upon which property is bought at auction. Please be advised that Phillips de Pury &

Company generally acts as agent for the seller.

BUYER’S PREMIUM

Phillips de Pury & Company charges the successful bidder a commission, or buyer’s

premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer

as part of the total purchase price at the following rates: 25% of the hammer price up to and

including £25,000, 20% of the portion of the hammer price above £25,000 up to and including

£500,000 and 12% of the portion of the hammer price above £500,000.

VAT

Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium.

The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the

VAT AND OTHER TAX INFORMATION FOR BUYERS section in this catalogue.

1 PRIOR TO AUCTION

Catalogue Subscriptions

If you would like to purchase a catalogue for this auction or any other Phillips de Pury &

Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

Pre-Sale Estimates

Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high

and low estimate range should, in our opinion, offer a chance of success. However, many

lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’

appears, please contact the specialist department for further information. It is advisable to

contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale

estimates do not include the buyer’s premium or VAT.

Pre-Sale Estimates in US Dollars and Euros

Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction

catalogues may also be printed in US dollars and/or euros. Since the exchange rate is

that at the time of catalogue production and not at the date of auction, you should treat

estimates in US dollars or euros as a guide only.

Catalogue Entries

Phillips de Pury & Company may print in the catalogue entry the history of ownership of a

work of art, as well as the exhibition history of the property and references to the work in art

publications. While we are careful in the cataloguing process, provenance, exhibition and

literature references may not be exhaustive and in some cases we may intentionally refrain

from disclosing the identity of previous owners. Please note that all dimensions of the

property set forth in the catalogue entry are approximate.

Condition of Lots

Our catalogues include references to condition only in the descriptions of multiple works

(e.g., prints). Such references, though, do not amount to a full description of condition.

The absence of reference to the condition of a lot in the catalogue entry does not imply

that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips

de Pury & Company may provide condition reports. In preparing such reports, our

specialists assess the condition in a manner appropriate to the estimated value of the

property and the nature of the auction in which it is included. While condition reports are

prepared honestly and carefully, our staff are not professional restorers or trained

conservators. We therefore encourage all prospective buyers to inspect the property at

the pre-sale exhibitions and recommend, particularly in the case of any lot of significant

value, that you retain your own restorer or professional advisor to report to you on the

property’s condition prior to bidding. Any prospective buyer of photographs or prints

should always request a condition report because all such property is sold unframed,

unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury

& Company accepts no liability for the condition of the frame. If we sell any lot unframed,

we will be pleased to refer the purchaser to a professional framer.

Pre-Auction Viewing

Pre-auction viewings are open to the public and free of charge. Our specialists are available

to give advice and condition reports at viewings or by appointment.

Electrical and Mechanical Lots

All lots with electrical and/or mechanical features are sold on the basis of their decorative

value only and should not be assumed to be operative. It is essential that, prior to any

intended use, the electrical system is verified and approved by a qualified electrician.

Symbol Key

The following key explains the symbols you may see inside this catalogue.

O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee

may be provided by Phillips de Pury & Company, by a third party or jointly by us and a

third party. Phillips de Pury & Company and third parties providing or participating in a

guarantee may benefit financially if a guaranteed lot is sold successfully and may incur

a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed

lot and may be allowed to net the financial remuneration received in connection with the

guarantee against the final purchase price if such party is the successful bidder.

∆ Property in which Phillips de Pury & Company has an Ownership Interest

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in

part or has an economic interest in the lot equivalent to an ownership interest.

�r No Reserve

Unless indicated by a r, all lots in this catalogue are offered subject to a reserve. A reserve

is the confidential value established between Phillips de Pury & Company and the seller and

below which a lot may not be sold. The reserve for each lot is generally set at a percentage

of the low estimate and will not exceed the low pre-sale estimate.

z Property Subject to the Artist’s Resale Right

Lots marked with z are subject to the Artist’s Resale Right calculated as a percentage of the

hammer price and payable as part of the purchase price as follows:

Portion of the Hammer Price (in EUR) Royalty Rate

From 0 to 50,000 4%

From 50,000.01 to 200,000 3%

From 200,000.01 to 350,000 1%

From 350,000.01 to 500,000 0.5%

Exceeding 500,000 0.25%

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a

maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based

on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the

European Central Bank.

∑ Endangered Species

Lots with this symbol have been identified at the time of cataloguing as containing

endangered or other protected species of wildlife which may be subject to restrictions

regarding export or import and which may require permits for export as well as import.

Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the

Conditions of Sale.

†, §, ‡, or Ω Property Subject to VAT

Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’

in this catalogue for additional information.

2 BIDDING IN THE SALE

Bidding at Auction

Bids may be executed during the auction in person by paddle or by telephone or prior to the

sale in writing by absentee bid. Proof of identity in the form of government-issued

identification will be required, as will an original signature. We may also require that

you furnish us with a bank reference.

Bidding in Person

To bid in person, you will need to register for and collect a paddle before the auction begins.

New clients are encouraged to register at least 48 hours in advance of a sale to allow

sufficient time for us to process your information. All lots sold will be invoiced to the name

and address to which the paddle has been registered and invoices cannot be transferred to

other names and addresses. Please do not misplace your paddle. In the event you lose it,

inform a Phillips de Pury & Company staff member immediately. At the end of the auction,

please return your paddle to the registration desk.

Bidding by Telephone

If you cannot attend the auction, you may bid live on the telephone with one of our

multilingual staff members. This service must be arranged at least 24 hours in advance of


AUCTION 16 OCTOBER 2012 NEW YORK

Viewing 6 – 15 October

Phillips de Pury & Company 450 Park Avenue New York 10022

Enquiries +1 212 940 1268 Catalogues +1 212 940 1240

PHILLIPSDEPURY.COM

GEORGE CONDO Girl with Purple Dress, 1986 (detail)

Estimate $200,000 – 300,000

DIALOGUES BETWEEN ART & DESIGN


the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone

bids may be recorded. By bidding on the telephone, you consent to the recording of your

conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and

VAT, which we can execute on your behalf in the event we are unable to reach you

by telephone.

Absentee Bids

If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury

& Company will be happy to execute written bids on your behalf. A bidding form can be

found at the back of this catalogue. This service is free and confidential. Bids must be

placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the

lowest possible price taking into account the reserve and other bidders. Always indicate

a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be

accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the

event of identical bids, the earliest bid received will take precedence.

Employee Bidding

Employees of Phillips de Pury & Company and our affiliated companies, including the

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

reserve when submitting their absentee bids and otherwise comply with our employee

bidding procedures.

Bidding Increments

Bidding generally opens below the low estimate and advances in increments of up to 10%,

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments

set below may be lowered to the next bidding increment.

UK£50 to UK£1,000 by UK£50s

UK£1,000 to UK£2,000 by UK£100s

UK£2,000 to UK£3,000 by UK£200s

UK£3,000 to UK£5,000 by UK£200s, 500, 800 (eg. UK£4,200, 4,500, 4,800)

UK£5,000 to UK£10,000 by UK£500s

UK£10,000 to UK£20,000 by UK£1,000s

UK£20,000 to UK£30,000 by UK£2,000s

UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000

UK£50,000 to UK£100,000 by UK£5,000s

UK£100,000 to UK£200,000 by UK£10,000s

above UK£200,000 at the auctioneer’s discretion

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

own discretion.

3 THE AUCTION

Conditions of Sale

As noted above, the auction is governed by the Conditions of Sale and Authorship

Warranty. All prospective bidders should read them carefully. They may be amended by

saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement

In situations where a person allowed to bid on a lot has a direct or indirect interest in such

lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or

a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will

make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding; No Reserve Lots

The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The

auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing

consecutive bids or bids in response to other bidders. If a lot is offered without reserve,

unless there are already competing absentee bids, the auctioneer will generally open the

bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the

auctioneer will proceed backwards at his or her discretion until a bid is recognized and will

then advance the bidding from that amount. Absentee bids on no reserve lots will, in the

absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at

the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid

whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

4 AFTER THE AUCTION

Payment

Buyers are required to pay for purchases immediately following the auction unless other

arrangements have been agreed with Phillips de Pury & Company in writing in advance of

the sale. Payments must be made in pounds sterling either by cash, cheque drawn on a UK

bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate

policy not to make or accept single or multiple payments in cash or cash equivalents in

excess of the local currency equivalent of US$10,000. Payment must be made by the

invoiced party only.

Credit Cards

As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa,

MasterCard and UK-issued debit cards to pay for invoices of £50,000 or less. A processing

fee will apply.

Collection

It is our policy to request proof of identity on collection of a lot. A lot will be released to the

buyer or the buyer’s authorized representative when Phillips de Pury & Company has received

full and cleared payment and we are not owed any other amount by the buyer. After the auction,

we will transfer all lots to our fine art storage facility located near Wimbledon and will so advise

all buyers. If you are in doubt about the location of your purchase, please contact the Shipping

Department prior to arranging collection. We will levy removal, interest, storage and handling

charges on uncollected lots.

Loss or Damage

Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to

lots for a maximum of seven days following the auction.

Transport and Shipping

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand

carry only. We do not provide packing, handling or shipping services directly. However, we

will coordinate with shipping agents instructed by you in order to facilitate the packing,

handling and shipping of property purchased at Phillips de Pury & Company. Please refer to

Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licences

Before bidding for any property, prospective bidders are advised to make independent

enquiries as to whether a licence is required to export the property from the United

Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply

with all import and export laws and to obtain any necessary licences or permits. The denial

of any required licence or permit or any delay in obtaining such documentation will not

justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

require a licence or certificate prior to exportation and additional licences or certificates

upon importation to any country outside the European Union (EU). Please note that the

ability to obtain an export licence or certificate does not ensure the ability to obtain an

import licence or certificate in another country, and vice versa. We suggest that prospective

bidders check with their own government regarding wildlife import requirements prior to

placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import

licences or certificates as well as any other required documentation. The denial of any

required licence or certificate or any delay in obtaining such documentation will not justify

the cancellation of the sale or any delay in making full payment for the lot. Please note that

lots containing potentially regulated plant or animal material are marked as a convenience

to our clients, but Phillips de Pury & Company does not accept liability for errors or for

failing to mark lots containing protected or regulated species.

IMPORTANT NOTICES

Items Sold under Temporary Admission

We wish to draw your attention to changes recently made to items sold under temporary

admission (originally called temporary importation). The cancelling or refunding of

applicable VAT is now subject to items being exported from the EU within 30 days of

payment, rather than 90 days from the date of sale as previously required. For up-to-date

information on this matter, please refer to the section entitled VAT and Other Tax

Information for Buyers below.

Identification of Business or Trade Buyers

As of January 2010, Her Majesty’s Revenue & Customs (“HMRC”) has made it an official

requirement for auction houses to hold evidence of a buyer’s business status, due to the

revised VAT rules regarding buyer’s premium for lots with symbols for businesses outside

the UK.

r�8IFSF�UIF�CVZFS�JT�B�OPO�&6�CVTJOFTT �1IJMMJQT�EF�1VSZ��$PNQBOZ�SFRVJSFT�FWJEFODF�PG�

the business status by means of the company identification, Certificate of Incorporation,

Articles of Association or government-issued documents showing that the company exists.

r�8IFSF�UIF�CVZFS�JT�BO�&6�7"5�SFHJTUFSFE�CVTJOFTT �1IJMMJQT�EF�1VSZ��$PNQBOZ�SFRVJSFT�

the above as well as the business’s VAT registration number in the form of a government-

issued document or paperwork from the local EU tax/VAT office showing the VAT number.

These details can be scanned and emailed to us, or alternatively they can be faxed or

mailed. If these requirements are not met, we will be unable to cancel/refund any

applicable VAT.


AUCTIONS 29 OCTOBER 2012 NEW YORK

Phillips de Pury & Company 450 Park Avenue New York 10022

Enquiries +1 212 940 1220 Catalogues +1 212 940 1240

PHILLIPSDEPURY.COM

JASPER JOHNS Target (ULAE 147), 1974 Estimate $180,000 – 250,000 ANDY WARHOL Marilyn Monroe

(Marilyn), 1967 Estimate $60,000 – 80,000 © 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists

Rights Society(ARS), New York CY TWOMBLY Natural History Part I Mushrooms portfolio, 1974 Estimate

$80,000 – 120,000 PABLO PICASSO Minotaur aveugle guide fillette dans la nuit, from La suite Vollard, 1934

Estimate $70,000 – 90,000 © 2012 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

EDITIONSEVENING & DAY


VAT AND OTHER TAX INFORMATION FOR BUYERS

The following paragraphs provide general information to buyers on the VAT and certain

other potential tax implications of purchasing property at Phillips de Pury & Company.

This information is not intended to be complete. In all cases, the relevant tax legislation

takes precedence, and the VAT rates in effect on the day of the auction will be the rates

charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is not

usually treated as agent and most property is sold as if it is the property of Phillips de Pury

& Company. In the following paragraphs, reference to VAT symbols shall mean those

symbols located beside the lot number or the pre-sale estimates in the catalogue (or

amending saleroom addendum).

1 PROPERTY WITH NO VAT SYMBOL

Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s

Margin Scheme, and VAT will not normally be charged on the hammer price.

Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will

charge an amount in lieu of VAT at 20% on the buyer’s premium. This amount will form part

of the buyer’s premium on our invoice and will not be separately identified.

2 PROPERTY WITH A † SYMBOL

These lots will be sold under the normal UK VAT rules, and VAT will be charged at 20%

on both the hammer price and buyer’s premium.

Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business

person in a non-EU country then no VAT will be charged on the buyer’s premium. This is

subject to Phillips de Pury & Company being provided with evidence of the buyer’s VAT

registration number in the relevant Member State (non-UK) or the buyer’s business status

in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence

not be provided then VAT will be charged on the buyer’s premium.

3 PROPERTY WITH A § SYMBOL

Lots sold to buyers whose registered address is in the EU will be assumed to be remaining

in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer

advises us that the property is to be exported from the EU, Phillips de Pury & Company will

re-invoice the property under the normal VAT rules.

Lots sold to buyers whose address is outside the EU will be assumed to be exported from

the EU. The property will be invoiced under the normal VAT rules. Although the hammer

price will be subject to VAT, the VAT will be cancelled or refunded upon export. The buyer’s

premium will always bear VAT unless the buyer is a relevant business person in the EU

(non-UK) or is a relevant business person in a non-EU country, subject to Phillips de Pury &

Company receiving evidence of the buyer’s VAT registration number in the relevant Member

State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax

Registration Certificate. Should this evidence not be provided VAT will be charged on the

buyer’s premium.

4 PROPERTY SOLD WITH A ‡ OR Ω SYMBOL

These lots have been imported from outside the EU to be sold at auction under temporary

admission. Property subject to temporary admission will be offered under the Auctioneer’s

Margin Scheme and will be subject to import VAT of either 5% or 20%, marked by ‡ and Ω

respectively, on the hammer price and an amount in lieu of VAT at 20% on the buyer’s

premium. Anyone who wishes to buy outside the Auctioneer’s Margin Scheme should

notify the Client Accounting Department before the sale.

Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant

business person in the EU (non-UK) or is a relevant business person in a non-EU country

then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury &

Company receiving evidence of the buyer’s VAT registration number in the relevant Member

State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax

Registration Certificate. Should this evidence not be provided VAT will be charged on the

buyer’s premium.

5 EXPORTS FROM THE EUROPEAN UNION

The following types of VAT may be cancelled or refunded by Phillips de Pury & Company on

exports made within three months of the sale date if strict conditions are met:

r�5IF�BNPVOU�JO�MJFV�PG�7"5�DIBSHFE�PO�UIF�CVZFS�T�QSFNJVN�GPS�QSPQFSUZ�TPME�VOEFS�

the Auctioneer’s Margin Scheme (i.e., without a VAT symbol).

r�5IF�7"5�PO�UIF�IBNNFS�QSJDF�GPS�QSPQFSUZ�TPME�VOEFS�UIF�OPSNBM�7"5�SVMFT�

(i.e., with a † or a § symbol).

The following type of VAT may be cancelled or refunded by Phillips de Pury & Company

on exports made within 30 days of payment date if strict conditions are met:

r�5IF�JNQPSU�7"5�DIBSHFE�PO�UIF�IBNNFS�QSJDF�BOE�BO�BNPVOU�JO�MJFV�PG�7"5�PO�

the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a Ω

symbol) under the Auctioneer’s Margin Scheme.

In each of the above examples, where the appropriate conditions are satisfied, no VAT

will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury &

Company to export the property from the EU. If such instruction is received after payment, a

refund of the VAT amount will be made.

Where the buyer carries purchases from the EU personally or uses the services of a third

party, Phillips de Pury & Company will charge the VAT amount due as a deposit and

refund it if the lot has been exported within the timelines specified below and either of

the following conditions are met:

r�'PS�MPUT�TPME�VOEFS�UIF�"VDUJPOFFS�T�.BSHJO�4DIFNF�PS�UIF�OPSNBM�7"5�SVMFT �

Phillips de Pury & Company is provided with appropriate documentary proof of

export from the EU within three months of the date of sale. Buyers carrying their

own property should obtain hand-carry papers from the Shipping Department to

facilitate this process.

r�'PS�MPUT�TPME�VOEFS�UFNQPSBSZ�BENJTTJPO �1IJMMJQT�EF�1VSZ��$PNQBOZ�JT�QSPWJEFE�

with a copy of the correct paperwork duly completed and stamped by HMRC which

shows the property has been exported from the EU via the UK within 30 days of

payment date. It is essential for shippers acting on behalf of buyers to collect

copies of original import papers from our Shipping Department. HMRC insist that

the correct customs procedures are followed and Phillips de Pury & Company will not

be able to issue any refunds where the export documents do not exactly comply with

governmental regulations. Property subject to temporary admission must be

transferred to another customs procedure immediately if any restoration or repair

work is to be carried out.

Buyers carrying their own property must obtain hand-carry papers from the Shipping

Department, for which a charge of £20 will be made. The VAT refund will be processed once

the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips de

Pury & Company is not able to cancel or refund any VAT charged on sales made to UK or EU

private residents unless the lot is subject to temporary admission and the property is

exported from the EU within 30 days of payment date. Any refund of VAT is subject to a

minimum of £50 per shipment and a processing charge of £20.

Buyers intending to export, repair, restore or alter lots under temporary admission should

notify the Shipping Department before collection. Failure to do so may result in the import

VAT becoming payable immediately and Phillips de Pury & Company being unable to refund

the VAT charged on deposit.

6 VAT REFUNDS FROM HM REVENUE & CUSTOMS

Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be

possible to seek repayment from HMRC. Repayments in this manner are limited to businesses

located outside the UK and may be considered for example for Import VAT charged on the

hammer price for lots sold under temporary admission.

All claims made by customers located in another member state to the UK will need to be

made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is no

longer in operation.

If you are located in an EU member state other than the UK you will now need to apply for a

refund of UK VAT directly to your local tax authority. This is done via submission of an

electronically based claim form which should be accessed through the website of your local

tax authority. As a result, your form may include VAT incurred in a number of member

states. Furthermore, from 1 January 2010 you should only submit one form per year, rather

than submitting forms throughout the year.

Please note that the time limits by which you must make a claim have been extended. When

making a claim for VAT incurred in another EU member state any claim will still be made on

a calendar year basis but must now be made no later than 30 September following that

calendar year. This effectively extends the time by which claims should be made by three

months (e.g., for VAT incurred in the year 1 January to 31 December 2010 you should make a

claim to your local tax authority no later than 30 September 2011). Once you have submitted

the electronic form to your local tax authority it is their responsibility to ensure that

payment is obtained from the relevant member states. This should be completed within four

months. If this time limit is not adhered to you may receive interest on the unpaid amounts.

If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC

(the rules for those located outside of the EU have not changed). Claim forms are only

available from the HMRC website. Go to http://www.hmrc.gov.uk/index.htm, and follow

Quick Links, then Find a Form. The relevant form is VAT65A. Completed forms should be


AUCTION 15 NOVEMBER 2012 NEW YORK

PHILLIPSDEPURY.COM

CHRISTOPHER WOOL Untitled (P 492), 2005 Estimate $1,000,000 – 1,500,000

CONTEMPORARY ART

EVENING SALE


returned to: HM Revenue & Customs, VAT Overseas Repayment Directive, Foyle House,

Duncreggan Road, Londonderry, Northern Ireland, BT48 7AE, (tel) +44 2871 305100 (fax) +44

2871 305101.

You should submit claims for VAT to HMRC no later than six months from the end of the 12

month period ending 30 June (e.g., claims for the period 1 July 2009 to 30 June 2010 should

be made no later than 31 December 2010).

Please note that refunds of VAT will only be made where VAT has been incurred for a

business purpose. Any VAT incurred on articles bought for personal use will not be

refunded.

7 SALES AND USE TAXES

Buyers from outside the UK should note that local sales taxes or use taxes may become

payable upon import of lots following purchase. Buyers should consult their own tax

advisors.

CONDITIONS OF SALE

The Conditions of Sale and Authorship Warranty set forth below govern the relationship

between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers,

on the other hand. All prospective buyers should read these Conditions of Sale and

Authorship Warranty carefully before bidding.

1 INTRODUCTION

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

and Authorship Warranty; (b) additional notices and terms printed in other places in this

catalogue, including the Guide for Prospective Buyers, and (c) supplements to this

catalogue or other written material posted by Phillips de Pury & Company in the saleroom,

in each case as amended by any addendum or announcement by the auctioneer prior to

the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as

so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all

the terms on which Phillips de Pury & Company and the seller contract with the buyer.

2 PHILLIPS de PURY & COMPANY AS AGENT

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in

this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a

lot directly, in which case we will act in a principal capacity as a consignor, or a company

affiliated with Phillips de Pury & Company may own a lot, in which case we will act as agent

for that company, or Phillips de Pury & Company or an affiliated company may have a legal,

beneficial or financial interest in a lot as a secured creditor or otherwise.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

such description is changed or supplemented, as provided in Paragraph 1 above) and in the

condition that they are in at the time of the sale on the following basis.

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially

dependent on information provided to us by the seller, and Phillips de Pury & Company is

not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers

acknowledge this fact and accept responsibility for carrying out inspections and

investigations to satisfy themselves as to the lots in which they may be interested.

Notwithstanding the foregoing, we shall exercise such reasonable care when making

express statements in catalogue descriptions or condition reports as is consistent with our

role as auctioneer of lots in this sale and in light of (i) the information provided to us by the

seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of

relevant experts, in each case at the time any such express statement is made.

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on

the basis that bidders (and independent experts on their behalf, to the extent appropriate

given the nature and value of the lot and the bidder’s own expertise) have fully inspected the

lot prior to bidding and have satisfied themselves as to both the condition of the lot and the

accuracy of its description.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that

they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

prepare and provide condition reports to assist prospective buyers when they are

inspecting lots. Catalogue descriptions and condition reports may make reference to

particular imperfections of a lot, but bidders should note that lots may have other faults not

expressly referred to in the catalogue or condition report. All dimensions are approximate.

Illustrations are for identification purposes only and cannot be used as precise indications

of size or to convey full information as to the actual condition of lots.

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

estimate, whether written or oral, and information in any catalogue, condition or other

report, commentary or valuation, is not a representation of fact but rather a statement of

opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a

prediction of the selling price or value of the lot and may be revised from time to time by

Phillips de Pury & Company at our absolute discretion. Neither Phillips de Pury & Company

nor any of our affiliated companies shall be liable for any difference between the pre-sale

estimates for any lot and the actual price achieved at auction or upon resale.

4 BIDDING AT AUCTION

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction

or participation in the sale. All bidders must register for a paddle prior to bidding, supplying

such information and references as required by Phillips de Pury & Company.


AUCTION 16 NOVEMBER 2012 NEW YORK

PHILLIPSDEPURY.COM

TOM WESSELMANN Study for Bedroom Painting #69, 1983 Estimate $150,000 – 200,000

CONTEMPORARY ART

DAY SALE


(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury &

Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

Bids must be placed in the currency of the sale. The bidder must clearly indicate the

maximum amount he or she intends to bid, excluding the buyer’s premium and value added

tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which

does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at

the lowest possible price taking into account the reserve and other bidders. Any absentee

bid must be received at least 24 hours in advance of the sale. In the event of identical bids,

the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips

de Pury & Company reserves the right to require written confirmation of a successful bid

from a telephone bidder by fax or otherwise immediately after such bid is accepted by the

auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder

consents to the recording of the conversation.

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

accepts personal liability to pay the purchase price, as described more fully in Paragraph 6

(a) below, plus all other applicable charges unless it has been explicitly agreed in writing

with Phillips de Pury & Company before the commencement of the auction that the bidder is

acting as agent on behalf of an identified third party acceptable to Phillips de Pury &

Company and that we will only look to the principal for such payment.

(e) By participating in the auction, whether in person, by absentee bid or on the telephone,

each prospective buyer represents and warrants that any bids placed by such person, or on

such person’s behalf, are not the product of any collusive or other anti-competitive

agreement and are otherwise consistent with federal and state antitrust law.

(f) Arranging absentee and telephone bids is a free service provided by Phillips de Pury &

Company to prospective buyers. While we undertake to exercise reasonable care in

undertaking such activity, we cannot accept liability for failure to execute such bids except

where such failure is caused by our wilful misconduct.

(g) Employees of Phillips de Pury & Company and our affiliated companies, including the

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

reserve when submitting their absentee bids and otherwise comply with our employee

bidding procedures.

5 CONDUCT OF THE AUCTION

(a) Unless otherwise indicated by the symbol r, each lot is offered subject to a reserve, which

is the confidential minimum selling price agreed by Phillips de Pury & Company with the

seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a

lot for sale (including after the fall of the hammer) if he or she believes there may be error or

dispute and take such other action as he or she deems reasonably appropriate. Phillips de

Pury & Company shall have no liability whatsoever for any such action taken by the

auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer

may accept bids made by a company affiliated with Phillips de Pury & Company provided

that the bidder does not know the reserve placed on the lot.

(c) The auctioneer will commence and advance the bidding at levels and in increments he or

she considers appropriate. In order to protect the reserve on any lot, the auctioneer may

place one or more bids on behalf of the seller up to the reserve without indicating he or she is

doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is

offered without reserve, unless there are already competing absentee bids, the auctioneer

will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a

bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is

recognized and will then advance the bidding from that amount. Absentee bids on no reserve

lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale

estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there

is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For

the benefit of international clients, pre-sale estimates in the auction catalogue may be

shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.

Accordingly, estimates in US dollars or euros should be treated only as a guide.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk

and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’,

‘returned to owner’ or ‘bought-in’.

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of

Sale and Authorship Warranty as if sold in the auction.

6 PURCHASE PRICE AND PAYMENT

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s

premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the

‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including

£25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000

and 12% of the portion of the hammer price above £500,000. Phillips de Pury & Company

reserves the right to pay from our compensation an introductory commission to one or more

third parties for assisting in the sale of property offered and sold at auction.

(b) VAT is payable in accordance with applicable law. All prices, fees, charges and

expenses set out in these Conditions of Sale are quoted exclusive of VAT.

(c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us

an amount equal to the resale royalty provided for in those regulations and we undertake to

the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we

are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the

nationality of the artist, we will identify the lot with the symbol z next to the lot number and will

invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the

artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the

buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the

resale royalty on a particular lot, we become aware that information provided to us prior to the

auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale

royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice.

(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

following the auction regardless of any intention to obtain an export or import licence or

other permit for such lot. Payments must be made by the invoiced party in pounds sterling

either by cash, cheque drawn on a UK bank or wire transfer, as follows:

(i) Phillips de Pury & Company will accept payment in cash provided that the total

amount paid in cash or cash equivalents does not exceed the local currency

equivalent of US$10,000.

(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and the

buyer provides to us acceptable government-issued identification. Cheques and

banker’s drafts should be made payable to “Phillips de Pury & Company Limited”.

If payment is sent by post, please send the cheque or banker’s draft to the

attention of the Client Accounting Department at Howick Place, London SW1P

1BB and ensure that the sale number is written on the cheque. Cheques or

banker’s drafts drawn by third parties will not be accepted.

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company.

Bank transfer details will be provided on the Invoice for purchased lots.

(e) As a courtesy to clients, Phillips de Pury & Company will accept American Express,

Visa, MasterCard and UK-issued debit cards to pay for invoices of £50,000 or less.

A processing fee will apply.

(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

release a lot to the buyer until title in the lot has passed and appropriate identification has

been provided, and any earlier release does not affect the passing of title or the buyer’s

unconditional obligation to pay the Purchase Price.

7 COLLECTION OF PROPERTY

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding

amounts due to Phillips de Pury & Company or any of our affiliated companies, including

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

other terms as we in our sole discretion shall require, including completing any anti-

money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied

all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or

+44 (0) 207 318 4082 to arrange for collection of purchased property.

(b) The buyer must arrange for collection of a purchased lot within seven days of the date of

the auction. After the auction, we will transfer all lots to our fine art storage facility located

near Wimbledon and will so advise all buyers. Purchased lots are at the buyer’s risk,

AWCHRIS BURDENOLDENBURGDADUGONZALES-TGERHARD RICHTER HENRI MARMIRJULIAN OPIE KEHINDE WILEYSIMMONSLOUISE NEVELSON CHAKIPPENBERGER BONEMCCRICHARD ARSERRAINDIANMORBLAKE TERRY WINTERSCELMINSTHIEBELMGREEN & MORANDILILI TSCHUDIWHITEREAD


AGNES MARTIN ALBERTO GIACOMETTI ALEX KATZ ALLEN RUPPERSBERG ANDYWARHOL ANTONY GORMLEY BRICE MARDEN BRUCE NAUMAN CHIHO AOSHIMA CHRIS BURDEN CHRISTOPHER WOOL CHUCK CLOSE CINDY SHERMAN CLAES OLDENBURG CY TWOMBLY DAMIEN HIRST DAVID HOCKNEY DAVID SALLE DAVID WOJNAROWICZ DONALD BAECHLER DONALD JUDD DONALD SULTAN DUANE MICHALS ED RUSCHA ELLEN GALLAGHER ELLSWORTH KELLY FELIX GONZALES-TORRES FRANK STELLA GEORG BASELITZ GEORGES BRAQUE GERHARD RICHTER GRACE HARTIGAN GUNTHER FORG HELEN FRANKENTHALER HENRI MATISSE JACKSON POLLOCK JAKE AND DINOS CHAPMAN JAMES ROSENQUIST JASPER JOHNS JEFF KOONS JENNY HOLZER JIM DINE JOANMIRÓ JOHN BALDESSARI JOHN COPLANS JOSEF ALBERS JOSEPH BEUYS JULIAN OPIE JULIO LARRAZ KARA WALKER KAREN KILMINIK KATARINA FRITSCH KEHINDE WILEY KEITH HARING KEN PRICE KIKI SMITH LARRY ZOX LAURIE SIMMONS LEE KRASNER LESLEY DILL LISA YUSKAVAGE LOUISE BOURGEOIS LOUISE NEVELSON LUCIEN FREUD LUCIO FONTANA LYNN CHADWICK MARC CHAGALL MARCEL BROODTHAERS MARCEL DUCHAMP MARTIN EDER MARTIN KIPPENBERGER MARTIN LEWIS MEG CRANSTON MIKE BIDLO MUIRHEAD BONE ODILON REDON PABLO PICASSO PAT STEIR PAUL KLEE PAULMCCARTHY PHILIP GUSTON RAYMOND PETTIBONE RICHARD ANUSZKIEWICZ RICHARD ARTSCHWAGER RICHARD DIEBENKORN RICHARD ESTES RICHARD SERRA RICHARD TUTTLE ROBERT GOBER ROBERT GOODNOUGH ROBERT INDIANA ROBERT LONGO ROBERT MANGOLD ROBERT MORRIS ROBERTMOTHERWELL ROBERT RAUSCHENBERG ROBERT RYMAN ROMARE BEARDEN ROY LICHTENSTEIN SALVADOR DALI SAM FRANCIS SIGMAR POLKE SIR PETERBLAKE SOL LEWITT SOPHIE CALLE TAKASHI MURAKAMI TERRY FROST TERRY WINTERS TOM OTTERNESS TOM WESSELMANN VICTOR VASARELY VIJACELMINS VIK MUNIZ VITO ACCONCI WALTON FORD WASSILY KANDINSKY WAYNE THIEBAUD WILLIAM DE KOONING ARMAN BRIDGET RILEY EDVARD MUNCHELMGREEN & DRAGSET EMIL NOLDE FRANCIS BACON GHADA AMER GIORGIO MORANDI GRAYSON PERRY HENRI DE TOULOUSE-LAUTREC JAMES WHISTLER LILI TSCHUDI LUDWIG KIRCHNER M.C. ESCHER MAN RAY OTTO DIX RACHEL WHITEREAD PAUL GAUGUIN RICHARD HAMILTON SYBIL ANDREWS TRACEY EMIN

LONDON

Robert Kennan

Old Master to Contemporary Editions

+44 207 318 4010

[email protected]

NEW YORK

Kelly Troester

Old Master to Modern Editions

+1 212 940 1221

[email protected]

NEW YORK

Cary Leibowitz

Contemporary Editions

+1 212 940 1222

[email protected]

PHILLIPSDEPURY.COM

EDITIONS

ANNOUNCING

NEW

LONDON

INAUGURAL AUCTION 2013

OPEN FOR CONSIGNMENTS


including the responsibility for insurance, from (i) the date of collection or (ii) seven days

after the auction, whichever is the earlier. Until risk passes, Phillips de Pury & Company will

compensate the buyer for any loss or damage to a purchased lot up to a maximum of the

Purchase Price paid, subject to our usual exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap

purchased lots for hand carry only. We do not provide packing, handling, insurance or

shipping services. We will coordinate with shipping agents instructed by the buyer, whether

or not recommended by Phillips de Pury & Company, in order to facilitate the packing,

handling, insurance and shipping of property bought at Phillips de Pury & Company. Any

such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for

acts or omissions of third party packers or shippers.

(d) Phillips de Pury & Company will require presentation of government-issued

identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 FAILURE TO COLLECT PURCHASES

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of

the auction, the buyer will incur a late collection fee of £50, storage charges of £10 per day

and pro rated insurance charges of 0.1% of the Purchase Price per month on each

uncollected lot. Additional charges may apply to oversized lots. We will not release

purchased lots to the buyer until all such charges have been paid in full.

(b) If a purchased lot is paid for but not collected within six months of the auction, the buyer

authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by

auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

reasonable discretion. The proceeds of such sale will be applied to pay for storage charges

and any other outstanding costs and expenses owed by the buyer to Phillips de Pury &

Company or our affiliated companies and the remainder will be forfeited unless collected by

the buyer within two years of the original auction.

9 REMEDIES FOR NON-PAYMENT

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement

fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the

auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the

following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at

the buyer’s sole risk and expense; (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 a deposit; (iv) charge interest at 12% per annum from the

date payment became due until the date the Purchase Price is received in cleared funds; (v)

subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in

the possession of Phillips de Pury & Company and instruct our affiliated companies to

exercise a lien over any of the buyer’s property which is in their possession and, in each case,

no earlier than 30 days from the date of such notice arrange the sale of such property and

apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated

companies after the deduction from sale proceeds of our standard vendor’s commission, all

sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or

private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

discretion, it being understood that in the event such resale is for less than the original

hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall

together with all costs incurred in such resale; (vii) commence legal proceedings to recover

the hammer price and buyer’s premium for that lot, together with interest and the costs of

such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer

against any amounts which we or any of our affiliated companies may owe the buyer in any

other transactions; (ix) release the name and address of the buyer to the seller to enable the

seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take

such other action as we deem necessary or appropriate.

(b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the

buyer’s property which is in our possession upon notification by any of our affiliated

companies that the buyer is in default of payment. Phillips de Pury & Company will notify the

buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury & Company,

upon notification by any of our affiliated companies that the buyer is in default of payment,

to pledge the buyer’s property in our possession by actual or constructive delivery to our

affiliated company as security for the payment of any outstanding amount due. Phillips de

Pury & Company will notify the buyer if the buyer’s property has been delivered to an

affiliated company by way of pledge.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de Pury &

Company to instruct any of our affiliated companies in possession of the buyer’s property

to deliver the property by way of pledge as the buyer’s agent to a third party instructed by

Phillips de Pury & Company to hold the property on our behalf as security for the payment of

the Purchase Price and any other amount due and, no earlier than 30 days from the date of

written notice to the buyer, to sell the property in such manner and for such consideration

as can reasonably be obtained on a forced sale basis and to apply the proceeds to any

amount owed to Phillips de Pury & Company or any of our affiliated companies after the

deduction from sale proceeds of our standard vendor’s commission, all sale-related

expenses and any applicable taxes thereon.

10 RESCISSION BY PHILLIPS de PURY & COMPANY

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

without notice to the buyer if we reasonably believe that there is a material breach of the

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury &

Company and the seller with respect to such rescinded sale.

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENCES AND PERMITS

Before bidding for any property, prospective buyers are advised to make their own enquiries

as to whether a licence is required to export a lot from the United Kingdom or to import it

into another country. Prospective buyers are advised that some countries prohibit the

import of property made of or incorporating plant or animal material, such as coral,

crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age,

percentage or value. Accordingly, prior to bidding, prospective buyers considering export

of purchased lots should familiarize themselves with relevant export and import regulations

of the countries concerned. It is solely the buyer’s responsibility to comply with these laws

and to obtain any necessary export, import and endangered species licences or permits.

Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of

the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips de

Pury & Company has marked in the catalogue lots containing potentially regulated plant or

animal material, but we do not accept liability for errors or for failing to mark lots containing

protected or regulated species.

12 DATA PROTECTION

(a) In connection with the management and operation of our business and the marketing

and supply of auction related services, or as required by law, we may ask clients to provide

personal information about themselves or obtain information about clients from third parties

(e.g., credit information). If clients provide us with information that is defined by law as

‘sensitive’, they agree that Phillips de Pury & Company and our affiliated companies may use it

for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or

process sensitive information for any other purpose without the client’s express consent. If you

would like further information on our policies on personal data or wish to make corrections to

your information, please contact us at +44 20 7318 4010. If you would prefer not to receive details

of future events please call the above number.

(b) In order to fulfill the services clients have requested, Phillips de Pury & Company may

disclose information to third parties such as shippers. Some countries do not offer

equivalent legal protection of personal information to that offered within the EU. It is

Phillips de Pury & Company’s policy to require that any such third parties respect the

privacy and confidentiality of our clients’ information and provide the same level of

protection for client information as provided within the EU, whether or not they are located

in a country that offers equivalent legal protection of personal information.

By agreeing to these Conditions of Sale, clients agree to such disclosure.

13 LIMITATION OF LIABILITY

(a) Subject to sub-paragraph (e) below, the total liability of Phillips de Pury & Company, our

affiliated companies and the seller to the buyer in connection with the sale of a lot shall be

limited to the Purchase Price actually paid by the buyer for the lot.

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company,

any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether

orally or in writing, in information provided to prospective buyers by Phillips de Pury &

Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in

respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury &

Company or any of our affiliated companies in connection with the conduct of the auction or

for any other matter relating to the sale of any lot.

(c) All warranties other than the Authorship Warranty, express or implied, including any

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de

Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.

(d) Subject to sub-paragraph (e) below, none of Phillips de Pury & Company, any of our

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss

or damage is characterised as direct, indirect, special, incidental or consequential, or for

the payment of interest on the Purchase Price to the fullest extent permitted by law.


(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability

of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of

any fraud or fraudulent misrepresentation made by any of us or in respect of death or

personal injury caused by our negligent acts or omissions.

14 COPYRIGHT

The copyright in all images, illustrations and written materials produced by or for Phillips

de Pury & Company relating to a lot, including the contents of this catalogue, is and shall

remain at all times the property of Phillips de Pury & Company and, subject to the provisions

of the Copyright, Designs and Patents Act 1988, such images and materials may not be used

by the buyer or any other party without our prior written consent. Phillips de Pury &

Company and the seller make no representations or warranties that the buyer of a lot will

acquire any copyright or other reproduction rights in it.

15 GENERAL

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1

above, and Authorship Warranty set out the entire agreement between the parties

with respect to the transactions contemplated herein and supersede all prior and

contemporaneous written, oral or implied understandings, representations and agreements.

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the

department in charge of the sale, quoting the reference number specified at the beginning

of the sale catalogue. Notices to clients shall be addressed to the last address notified by

them in writing to Phillips de Pury & Company.

(c) These Conditions of Sale are not assignable by any buyer without our prior written

consent but are binding on the buyer’s successors, assigns and representatives.

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

for any reason, the remaining provisions shall remain in full force and effect. No failure by

any party to exercise, nor any delay in exercising, any right or remedy under these

Conditions of Sale shall act as a waiver or release thereof in whole or in part.

(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of

Third Parties) Act 1999 by anyone other than the buyer.

16 LAW AND JURISDICTION

(a) The rights and obligations of the parties with respect to these Conditions of Sale and

Authorship Warranty, the conduct of the auction and any matters related to any of the

foregoing shall be governed by and interpreted in accordance with English law.

(b) For the benefit of Phillips de Pury & Company, all bidders and sellers agree that the

Courts of England are to have exclusive jurisdiction to settle all disputes arising in

connection with all aspects of all matters or transactions to which these Conditions of Sale

and Authorship Warranty relate or apply. All parties agree that Phillips de Pury & Company

shall retain the right to bring proceedings in any court other than the Courts of England.

(c) All bidders and sellers irrevocably consent to service of process or any other documents

in connection with proceedings in any court by facsimile transmission, personal service,

delivery by mail or in any other manner permitted by English law, the law of the place of

service or the law of the jurisdiction where proceedings are instituted at the last address of

the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY

Phillips de Pury & Company warrants the authorship of property in this auction catalogue

for a period of five years from date of sale by Phillips de Pury & Company, subject to the

exclusions and limitations set forth below.

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of

record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not

extend to (i) subsequent owners of the property, including purchasers or recipients by way of

gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where

the description in the catalogue states that there is a conflict of opinion on the authorship of

the property; (iii) property where our attribution of authorship was on the date of sale

consistent with the generally accepted opinions of specialists, scholars or other experts;

(iv) property whose description or dating is proved inaccurate by means of scientific

methods or tests not generally accepted for use at the time of the publication of the

catalogue or which were at such time deemed unreasonably expensive or impractical to use

or likely in our reasonable opinion to have caused damage or loss in value to the lot; or

(v) there has been no material loss in value of the lot from its value had it been as described

in the heading of the catalogue entry.

(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves

the right, as a condition to rescinding any sale under this warranty, to require the buyer to

provide to us at the buyer’s expense the written opinions of two recognized experts

approved in advance by Phillips de Pury & Company. We shall not be bound by any expert

report produced by the buyer and reserve the right to consult our own experts at our

expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship

Warranty, we shall refund to the buyer the reasonable costs charged by the experts

commissioned by the buyer and approved in advance by us.

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a

claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips

de Pury & Company in writing within three months of receiving any information which

causes the buyer to question the authorship of the lot, specifying the auction in which the

property was included, the lot number in the auction catalogue and the reasons why the

authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury

& Company in the same condition as at the time of its auction and is able to transfer good

and marketable title in the lot free from any third party claim arising after the date of

the auction.

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

Authorship Warranty shall be rescission of the sale and refund of the original Purchase

Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against

Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of

any other remedy available as a matter of law. This means that none of Phillips de Pury &

Company, any of our affiliated companies or the seller shall be liable for loss or damage

beyond the remedy expressly provided in this Authorship Warranty, whether such loss or

damage is characterized as direct, indirect, special, incidental or consequential, or for the

payment of interest on the original Purchase Price.


PHILLIPS de PURY & COMPANY

ADVISORY BOARD

Maria Bell

Janna Bullock

Lisa Eisner

Lapo Elkann

Ben Elliot

Lady Elena Foster

H.I.H. Francesca von Habsburg

Marc Jacobs

Ernest Mourmans

Aby Rosen

Christiane zu Salm

Juergen Teller

Princess Gloria von Thurn und Taxis

Jean Michel Wilmotte

Anita Zabludowicz

DIRECTORS

Sean Cleary

Finn Schouenborg Dombernowsky

Patricia G. Hambrecht

Vanessa Kramer

Alexander Payne

Olivier Vrankenne

CHAIRMAN

Simon de Pury

CHIEF EXECUTIVE OFFICER

Bernd Runge

SENIOR DIRECTORS

Michael McGinnis

Dr. Michaela de Pury

OFFICE OF THE CHAIRMAN

Harmony Hambly-Smith, London +44 20 7318 4099

OFFICE OF THE CHIEF EXECUTIVE OFFICER

Eloise Ashcroft +44 20 7318 4047

WORLDWIDE HEAD OF BUSINESS DEVELOPMENT

and GENERAL COUNSEL

Patricia G. Hambrecht

MANAGING DIRECTORS

Finn Schouenborg Dombernowsky, Europe

Sean Cleary, New York

INTERNATIONAL SPECIALISTS

Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42

Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44

Bérénice Chef, Specialist, Contemporary Art +32 473 12 27 06

Buenos Aires & London Brooke Metcalfe, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

Istanbul Deniz Atac, Consultant +90 533 374 1198

London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 736 11

Los Angeles Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771

Milan Laura Garbarino, Senior International Specialist, Contemporary Art +39 339 478 9671

Moscow Svetlana Marich, Head of Representative Office +7 495 225 88 22

Paris Thomas Dryll, Senior Specialist, Contemporary Art +33 1 42 78 67 77

Edouard de Moussac, Specialist, Contemporary Art +33 1 42 78 67 77

Porto Maura Marvão, Consultant, Contemporary Art + 351 917 564 427

Zurich Niklaus Kuenzler, Specialist, Contemporary Art +41 79 533 90 00

NEW YORK

450 Park Avenue, New York, NY 10022, USA

tel +1 212 940 1300 fax +1 212 940 1378

NEW YORK

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

tel +1 212 940 1200 fax +1 212 924 3185

LONDON

Howick Place, London SW1P 1BB, United Kingdom

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

WORLDWIDE OFFICES

BERLIN

Auguststrasse 19, 10117 Berlin, Germany

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

BRUSSELS

rue Jean Baptiste Colyns 72, 1050 Brussels, Belgium

tel +32 486 43 43 44

GENEVA

23 quai des Bergues, 1201 Geneva, Switzerland

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

ISTANBUL

Meclisi Mebusan Caddesi, Deniz Apartmani No. 79/8

Beyoglu 34427, Istanbul, Turkey

tel +90 533 3741198

LOS ANGELES

7285 Woodrow Wilson, Los Angeles, CA 90068, USA

tel +1 323 791 1771

MILAN

via Vincenzo Monti 26, 20123 Milan, Italy

tel +39 339 478 9671

MOSCOW

TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia

tel +7 495 225 88 22 fax +7 495 225 88 87

PARIS

6 avenue Franklin D. Roosevelt, 75008 Paris, France

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

ZURICH

Restelbergstrasse 89, 8044 Zurich, Switzerland

tel +41 79 533 90 00


SPECIALISTS and DEPARTMENTS

DESIGN

Alexander Payne, Director +44 20 7318 4052

and Worldwide Head, Design

LONDON

Domenico Raimondo +44 20 7318 4016

Ben Williams +44 20 7318 4027

Marine Hartogs +44 20 7318 4021

Marcus McDonald +44 20 7318 4095

Annabelle Wills +44 20 7318 4019

NEW YORK

Alex Heminway, New York Director +1 212 940 1268

Marcus Tremonto +1 212 940 1268

Meaghan Roddy +1 212 940 1266

Alexandra Gilbert +1 212 940 1265

Lauren Sohn +1 212 940 1268

PHOTOGRAPHS

Vanessa Kramer, Director +1 212 940 1243

and Worldwide Head, Photographs

LONDON

Lou Proud, Head of Photographs, London +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025

Alexandra Bibby +44 20 7318 4087

Rita Almeida Freitas +44 20 7318 4062

Emma Lewis +44 20 7318 4092

NEW YORK

Shlomi Rabi +1 212 940 1246

Caroline Deck +1 212 940 1247

Sarah Krueger +1 212 940 1225

David Rimoch +1 212 940 1245

Carol Ehlers, Consultant +1 212 940 1245

PARIS

Jonas Tebib, Consultant Specialist +33 1 42 78 67 77

EXHIBITIONS

Arianna Jacobs +44 20 7318 4054

PRIVATE SALES

Susanna Brockman +44 20 7318 4041

CONTEMPORARY ART

Michael McGinnis, Senior Director +1 212 940 1254

and Worldwide Head, Contemporary Art

Joseph Carlucci, Business Director +1 212 940 1366

LONDON

Peter Sumner, Head of Evening Sale +44 20 7318 4063

George O’Dell, Head of Day Sale +44 20 7318 4093

Paul de Bono, Business Director +44 20 7318 4070

Henry Allsopp +44 20 7318 4060

Henry Highley +44 20 7318 4061

Matt Langton +44 20 7318 4074

Karen Levy +44 20 7318 4082

Helen Rohwedder +44 20 7318 4042

Larkin Erdmann +44 20 7901 2909

Tamila Kerimova +44 20 7318 4065

Charlotte Salisbury +44 20 7318 4058

Simon Tovey +44 20 7318 4084

NEW YORK

Zach Miner, Head of Evening Sale +1 212 940 1256

Sarah Mudge, Head of Day Sale +1 212 940 1259

Corey Barr +1 212 940 1234

Benjamin Godsill +1 212 940 1333

Jean-Michel Placent +1 212 940 1263

Peter Flores +1 212 940 1223

Joshua Friedman +1 212 940 1392

Laura González +1 212 940 1216

Jed Moch +1 212 940 1301

Alexandra Raponi +1 212 940 1292

Alyse Serrell +1 212 940 1303

Amanda Stoffel +1 212 940 1261

Jonathan Winter +1 212 940 1252

MODERN and CONTEMPORARY EDITIONS

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

NEW YORK

Audrey Lindsey +1 212 940 1285

Jannah Greenblatt +1 212 940 1332

LONDON

Robert Kennan, Head of Sales +44 20 7318 4010

JEWELS

NEW YORK

Nazgol Jahan, Worldwide Director +1 212 940 1283

Joanna Bengoa +1 212 940 1302

Brittany Gersh +1 212 940 1365

LONDON

Mark Hudson, Deputy Art Director

Andrew Lindesay, Sub-Editor

Tom Radcliffe, Production Director

NEW YORK

Andrea Koronkiewicz, Studio Manager

Orlann Capazorio, US Production Manager

Steven Mosier, Graphic Designer

Fernando Dias de Souza, Graphic Designer

Jeff Velazquez, Production Artist

LONDON

Fiona McGovern,

Communications and Marketing

Alex Godwin-Brown,

Communications and Marketing Manager

NEW YORK

Trish Walsh, Marketing Manager

Tiana Webb-Evans, Director of Communications

ART and PRODUCTION

Mike McClafferty, Art Director

COMMUNICATIONS and MARKETING

PRIVATE CLIENT SERVICES

Michael Berger-Sandhofer +44 20 7318 4048

Carina Brun +44 20 7318 4066

Philae Knight, New York +1 212 940 1313

Sara Tayeb-Khalifa, New York +1 212 940 1383

MUSEUM SERVICES DEPARTMENT

NEW YORK

Lauren Shadford +1 212 940 1257

Cecilia Wolfson +1 212 940 1258

CLIENT DEVELOPMENT

Marya Oja, Worldwide Head

LONDON

Isadora Tharin

Linda Pyke

NEW YORK

Carolyn Bachman

Holly Bawden

Carly Murphy


SALE INFORMATION

HOWICK PL

PIC

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HYDE PARK

CORNER

ST. JAMES’S

PARK

BU

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AC

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D

BUCKINGHAMG

AT

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HA

LL

BR

IDG

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ST

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ME

S’S

ST

PALL M

ALL

CONSTITUTION HILL

TH

E MA

LL

BIRDCAGE WALK

GR

OS

VE

NO

R

GDNS

VICTORIA STREET

KNIGHTSBRIDGE

GR

OS

VEN

OR

PLA

CE

GREEN

PARK

ST. JAMES’S PARK

GREEN PARK

BUCKINGHAM

PALACE GARDENS

VICTORIA

2

6

8

AUCTION

Day Sale, Thursday 11 October 2012, 2pm

VIEWING

Thursday 4 October, 10am – 6pm

Friday 5 October, 10am – 6pm

Saturday 6 October, 10am – 6pm

Sunday 7 October, 12pm – 6pm

Monday 8 October, 10am – 6pm

Tuesday 9 October, 10am – 6pm

Wednesday 10 October, 10am – 2pm

VIEWING & AUCTION LOCATION

Howick Place, London SW1P 1BB

WAREHOUSE & COLLECTION LOCATION

110–112 Morden Road, Mitcham, Surrey CR4 4XB

SALE DESIGNATION

When sending in written bids or making enquiries, please refer

to this sale as UK010612 or Contemporary Art Day Sale

SALE ADMINISTRATOR

Simon Tovey +44 20 7318 4084

PROPERTY MANAGER

Jon Stonton +44 207 318 4098

CATALOGUES

Emma Miller +44 20 7318 4039 +1 212 940 1291

[email protected]

Catalogues $35/€25/£22 at the Gallery

ABSENTEE & TELEPHONE BIDS

tel +44 20 7318 4045 fax +44 20 7318 4035

Anna Ho +44 20 7318 4044

Susanna Brockman +44 20 7318 4041

[email protected]

CLIENT ACCOUNTS

Jason King, Director +44 20 7318 4086

Buyer Accounts: Carolyn Whitehead +44 20 7318 4020

Seller Accounts: Surbjit Dass +44 20 7318 4072

CLIENT SERVICES

Lucinda Newman, Natasha Pryce, Rebecca Tooby-Desmond

+44 20 7318 4010

WAREHOUSE & SHIPPING

Lydia Stewart +44 207 318 4050

Tess Contla +44 207 318 4026

Jan Navratil +44 207 318 4081

Elisa Sciandro +44 207 318 4077

PHOTOGRAPHY

Hayley Giles

Printed in the United Kingdom, Phillips de Pury & Company

Warehouse and collection location

Viewing and Auction location


AUCTION 13 DECEMBER 2012 LONDON

Phillips de Pury & Company

Howick Place London SW1P 1BB

+44 20 7381 4010 | [email protected]

Catalogues +1 212 940 1240 | +44 20 7318 4039

PHILLIPSDEPURY.COM

HARLAND MILLER Incurable Romantic Estimate £5,000–7,000

UNDER THE INFLUENCE

CONTEMPORARY ART


Miquel Barceló, À Livorno, 2007, lot 131 (detail)



PH ILLIPSD EPU RY.CO M


Documents

Contemporary Art Day Sale