Post-War & ContemPorary art - Bonhams Thomas Kamm +49 89 2420 5812 [email protected] Paris Catherine Yaiche +33 1 42 61 10 10 [email protected] Rome Emma dalla Libera

Post-War & ContemPorary artTuesday November 11, 2014New York

INSIDE FRONT COVER

Thomas StruthIgreja Matriz de Nossa

Senhora do Pilar, Ouro Preto© Thomas Struth

Lot 24

Lot 14 (detail)

Lot 57

Lot 15

Bonhams 580 Madison AvenueNew York, New York 10022bonhams.com

PreviewSaturday November 8, 12pm to 5pmSunday November 9, 12pm to 5pmMonday November 10, 10am to 7pmTuesday November 11, 10am to 3pm

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sale numBer: 21801Lots 1 - 82

Catalog: $35

inquiriesNew YorkJeremy GoldsmithDirector of the Americas+1 (917) 206 [email protected]

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Online bidding will be available for this auction. For further information please visit:www.bonhams.com/21801

Please see pages 151 to 155 for bidder information including Conditions of Sale, after-sale collection and shipment.

illustrationsFront cover: Lot 17Inside front cover: Lot 43Pages 2 and 3: Lot 24Page 4: Lot 14Page 5: Lot 57Facing page: Lot 15Page 8: Lot 35Inside back cover: Lot 18Back cover: Lot 42

Post-war & ContemPorary artTuesday November 11, 2014 at 4pmNew York

© 2014, Bonhams & Butterfields Auctioneers Corp.; All rights reserved. Bond No. 57BSBGL0808Principal Auctioneer: Malcolm J. Barber, License No. 1183017

Lot 35

New YorkJeremy GoldsmithDirector of the Americas+1 (917) 206 1656 [email protected]

Megan Murphy,Associate Specialist+1 (212) 644 9020 [email protected]

international oFFiCesHong KongMagnus Renfrew, Director of Asia+852 2918 [email protected]

ViennaJaqueline Wowikovsky+43 (0) 1 403 [email protected]

Beijing Hongyu Yu +86 10 6528 0922 [email protected]

Cologne Amelie von Buelow +49 221 2779 9650 [email protected]

Geneva Victoria Rey de Rudder +41 22 300 3160 [email protected]

Milan Camilla Prini +39 02 4953 9020 [email protected]

Munich Thomas Kamm +49 89 2420 5812 [email protected]

Paris Catherine Yaiche +33 1 42 61 10 10 [email protected]

Rome Emma dalla Libera +39 06 485 900 [email protected]

Singapore Bernadette Rankine +65 6701 8038 [email protected]

Taipei Summer Fang +886 2 8758 2898 [email protected]

Tokyo Akiko Tsuchida +81 3 5532 8636 [email protected]

sPeCialists

Los AngelesDane Jensen, Specialist+1 (323) 436 5451 [email protected]

Alexis Chompaisal, Director+1 (323) 850 [email protected]

San FranciscoSarah Nelson, Director+1 (415) 503 3311 [email protected]

LondonRalph Taylor, Director UK Board+44 20 7468 [email protected]

Gareth WilliamsDepartmental Director+44 20 7468 5879 [email protected]

Giacomo BalsamoSenior Specialist+44 20 7468 5837 [email protected]

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BerlinHonor Westmacott, Specialist+49 030 2243 [email protected]

Hong KongMagnus RenfrewDeputy Chairman, Asia +852 3607 0028 [email protected]

Julia Heinen, Senior Specialist [email protected] +44 20 7468 5873

ProPerty From a Private los angeles ColleCtion

1sol lewitt (1928-2007)Wavy Brushstrokes, 1996-2005 signed and dated ‘S Lewitt 05’ (lower right)gouache on paper14 3/4 x 22in. (37.5 x 55.9cm)$15,000 - 20,000

ProvenanceA gift from the artist to the present owner.

The Fluxists’ conceptualism, which predated mine, was influenced by Duchamp. My thinking was a reaction to theirs. As far as Minimalism goes, I don’t think it existed as an idea at all. It was only a stylistic reaction to the rhetoric of Abstract Expressionism. It was self-defeating, because simplicity of form could only go so far. It ended once the simplest form was achieved—exemplified by Robert Morris’s installation of polyhedrons at Green Gallery in 1964, or Rauschenberg’s white paintings, though of course Robert Ryman can still do white paintings of great depth and inspiration. In my case, I used the elements of these simple forms—square, cube, line and color—to produce logical systems. Most of these systems were finite; that is, they were complete using all possible variations. This kept them simple.

– Sol LeWitt

(Sol LeWitt, quoted in conversation with Saul Ostrow, in S. Ostrow, “Sol LeWiit”, in BOMB Magazine, no. 85, Fall 2003)

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POST-WAR & CONTeMPORARY ART | 11

2sam FranCis (1923-1994)Untitled (SF66-166), 1966 signed, inscribed and dated ‘Sam Francis 1966 Tokyo’ (on the reverse)acrylic on paper9 7/8 x 15 7/8in. (25 x 40.4cm)$25,000 - 35,000

ProvenanceGeorge Page, Los Angeles (acquired directly from the artist’s studio).Graystone Gallery, San Francisco.Acquired from the above by the present owner circa 1970.

exhibitedSan Francisco, San Francisco Museum of Art, Sam Francis Exhibition of Drawings and Lithographs, 23 August–24 September, 1967, no. 84. This exhibition later traveled to Los Angeles, Dickson Art Gallery, University of California.

This work is identified with the interim identification number of SF66-166 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.

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3sam FranCis (1923-1994)Untitled (SF78-255), 1978 signed and dated ‘Sam Francis 1978’ and with the Estate of Sam Francis stamp (on the reverse)acrylic on paper29 1/2 x 41 1/4in. (74.9 x 104.8cm)$25,000 - 30,000

ProvenanceAce Gallery, Los Angeles.Private Collection, Los Angeles (acquired from the above in March 1981).Anon. sale, Santa Monica Auctions, Los Angeles, 19 November 2006, lot 94. Acquired at the above sale by the present owner.

exhibitedLos Angeles, Ace Gallery, Sam Francis: Major Paintings and Drawings, 20 March-25 April 1981.

This work is identified with the interim identification number of SF78-255 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.


4aleXander Calder (1898-1976)Balloons out of the Blue, 1969 signed and dated ‘Calder 69’ (lower right)gouache and ink on paper43 1/4 x 29 1/2in. (109.9 x 74.9cm)$60,000 - 80,000

ProvenancePerls Galleries, New York.Acquavella Galleries Inc., New York.Charlotte Ford, New York (1975).Private Collection, Beverly Hills (acquired from the above by the previous owner in 1975). Acquired from the above by the present owner in 1989.

This work is registered in the archives of the Calder Foundation, New York, under application no. A06275.

The simplest forms in the universe are the sphere and the circle. I represent them by disks and then I vary them... spheres of different sizes, densities, colours and volumes, floating in space, traversing clouds, sprays of water, currents of air, viscosities and odours – of the greatest variety and disparity.

– Alexander Calder

(Alexander Calder, quoted in C. Giménez & A.C.S. Rower (eds.), Calder: Gravity and Grace, London, 2004, p. 52)

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ProPerty From the ColleCtion oF Jere l. CoX

5aleXander Calder (1898-1976)Untitled, 1975 signed, dedicated and dated ‘Jere Cox amicalement, Calder 75’ (lower right) gouache, ink and pencil on paper14 3/4 x 40 1/8in. (37.5 x 101.9cm)$15,000 - 25,000

ProvenanceA gift from the artist to the present owner in 1975.


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ProPerty From the ColleCtion Jere l. CoX

6aleXander Calder (1898-1976)Untitled, 1973 signed with artist’s monogram and dated ‘CA 73’ (lower right)gouache and ink on paper38 x 82 1/8in. (96.5 x 208.6cm)$30,000 - 40,000




7aleXander Calder (1898-1976)Helix at Left, 1971 signed with artist’s monogram and dated ‘CA 71’ (lower right)gouache and ink on paper7 x 15 1/2in. (17.8 x 39.4cm)$20,000 - 30,000

ProvenancePerls Galleries, New York.Private Collection, New York (acquired from the above in 1971).By descent from the above to the previous owner.By descent from the above to the present owner in 1999.


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ProPerty From a Private northern CaliFornia ColleCtion

8Jim dine (B. 1935)Untitled (Hearts and Tomato), 1971 signed and dated ‘Jim Dine 1971’ (upper left)color lithograph, airbrush, charcoal, oil and paper collage on paper30 x 40in. (76.2 x 101.6cm)$20,000 - 30,000


ProPerty From a Private toronto ColleCtion

9romare Bearden (1914-1988)Under the Waterfall, circa 1970 signed ‘Romare Bearden’ (upper right)mixed media and collage on board13 7/8 x 10 7/8in. (35.3 x 27.8cm) $10,000 - 15,000

ProvenanceGraphis Gallery, Toronto (acquired directly from the artist in 1974).Acquired from the above by the present owner circa 1975.

exhibitedToronto, Graphis Gallery, Romare Bearden, circa 1975.

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ProPerty From a Private ranCho mirage, CaliFornia ColleCtion

10Karel aPPel (1921-2006)The Delft’s Blue Horse, 1973 signed and dated ‘Appel 73’ (lower right) glazed ceramic22 1/2 x 21 3/8 x 10 5/8in. (57.2 x 54.3 x 27cm) $15,000 - 25,000

ProvenanceMartha Jackson Gallery, New York.Gallery Moos, Toronto.Acquired from the above by the present owner.

exhibitedNew York, Aberbach Fine Art, Karel Appel, Recent Works, 12 September 1973, no. 38 (illustrated).

LiteratureK. Appel, Karel Appel: The Complete Sculptures 1936-1990, New York, 1990, no. 73-001 (illustrated).U. Lehmann-Brockhaus, Incontro Internazionale della Ceramica: Albisola, Sommer 1954, Rome, 2013, no. 25 (illustrated, p. 29).


ProPerty From a virginia estate

11allan d’arCangelo (1930-1998)Constellation #14, 1970 signed, titled, inscribed and dated ‘© A D’Arcangelo NYC 1970 “Constellation #14” 60” x 60” MC’ (on the reverse)acrylic on canvas60 x 60in. (152.4 x 152.4cm)$10,000 - 15,000

ProvenanceMarlborough-Gerson Gallery, New York.Irving Galleries, Milwaukee.Acquired from the above by a previous owner in 1970.By descent from the above to the previous owner.Anon. sale, Christie’s, New York, 30 June 2008, lot 141.Acquired at the above sale by the present owner.

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ProPerty From a Private ameriCan ColleCtion

12louise nevelson (1899-1988)City - Space - Scape XVII, 1968-1969 incised ‘NEVELSON 69’ (on the upper edge)painted wood and Formica32 3/4 x 29 3/4 x 4in. (83.2 x 75.5 x 10.2cm)$50,000 - 70,000

ProvenanceThe Pace Gallery, New York.Acquired from the above by the present owner in 1969.

exhibitedNew York, The Pace Gallery, Nevelson: Recent Wood Sculpture, 22 March-22 April 1969.


ProPerty From a Private ranCho mirage, CaliFornia ColleCtion

13Karel aPPel (1921-2006)Personnage avec Animal, 1969 signed ‘Appel’ (lower left); titled and inscribed ‘Personnage Avec Animale [sic] Londres’ (on the stretcher)acrylic and oilstick on paper on canvas48 x 63 3/4in. (122 x 161.9cm) $80,000 - 120,000

ProvenanceGimpel Fils Gallery Ltd., London.The New Art Centre, London.Gimpel & Hanover Galerie, Zürich.Anon. sale, Christie’s, London, 5 December 1985, lot 71.Acquired at the above sale by the present owner.

This work is accompanied by a photo-certificate of authenticity issued by the Karel Appel Foundation, Amsterdam.

It’s (painting) like this – you are in front of your canvas, your hands holds the painting, ready, raised. The canvas waits, waits, empty and white – but all the time it knows what it wants. So – what does it want, anyway? My hand comes near, my eyes begin to transform the waiting canvas; and when – with my hand holding the paint and my eyes seeing the forms – I touch the canvas, it trembles, it comes to life. The struggle begins, to harmonize canvas, eye, hand forms. New apparitions stalk the earth.

– Karel Appel

(Karel Appel, quoted in H. Claus and H. N. Abrams, “Karel Appel, Painter”, New York, 1962; as quoted in K. Stiles & P. Selz (eds.), “Theories and Documents of Contemporary Art”, University of California Press, 1996, p. 1998)

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ProPerty From an imPortant Private ColleCtion

14niKi de saint Phalle (1930-2002)Horus, 1990 incised ‘Niki de Saint Phalle 2/3’ (on the reverse)painted and polished bronze90 5/8 x 55 1/8 x 63in. (230 x 140 x 160cm)This work is number two from an edition of three.$300,000 - 500,000

ProvenanceAcquired directly from the artist by the present owner circa 1990.

exhibitedMexico City, Museo Rufino Tamayo, Niki de Saint Phalle, 7 November 1995-18 February 1996, no. 29 (another from the edition exhibited). This exhibition later traveled to Caracas, Museo de Arte Contemporaneo de Caracas Sofia Imber; Bogotá, Museo de Arte Moderno; Rio de Janeiro, Fundação Casa França-Brasil; São Paulo, Pinacoteca do Estado; Buenos Aires, Museo Nacional de Bellas Artes and Santiago de Chile, Sala de Exposiciones Edificio CTC.Charlotte, Bechtler Museum of Modern Art, Niki de Saint Phalle: Creation of a New Mythology, 18 March-3 October, 2011 (another from the edition exhibited).

This work is accompanied by a certificate of authenticity issued by the Niki Charitable Art Foundation and is registered in their archives.

Niki de Saint Phalle is a priestess that can handle the contradictions of life in the form of death, who knows how to dominate despair and fear by making them emotionally acceptable, and gentle, even joyful and pleasurable, who knows how to attract the eye to make us discover poetry, fairy tales and children’s stories while adding magic inspiration, constantly opposing and comparing it to the realities and brutality of society.

– Pontus Hulten

(Pontus Hulten, quoted in Niki de Saint Phalle, exh. cat., Bonn, Kunst and Ausstellungshalle, 1992, p. 13)

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Niki de Saint Phalle, Grosetto, Italy, 1989. © Chris Felver / Bridgeman Images

Currently the subject of a major solo retrospective at the Grand Palais, Paris and due to travel to the Guggenheim Museum, Bilbao in 2015, Niki de Saint Phalle’s bold and emotionally charged work defies conventional boundaries and holds a distinct place in 20th Century art history.

Most celebrated for her monumental, highly ornate and embellished sculptures, the present work Horus, 1990 is a pinnacle example of her oeuvre. Depicting one of the most significant and religiously charged deities in ancient Egypt, Horus appears here as a triumphant master of his domain emblazed in golden bronze with a halo of brilliant colors executed in a mosaic pattern recalling architectural themes from the

region. Worshipped from the pre-dynastic period through the Greco-Roman era, Horus was depicted and was represented in various different forms, but most often as a falcon or a falcon headed man. As one of the most celebrated Gods, Horus was regarded as the god of the sky, and in turn the sun and the moon, acting as protector over all that occurs in times of peace and in times of war. His image served many functions in the Egyptian pantheon where he came to be seen as an icon of majesty and power, as well as the model of the pharaohs, who were said to be Horus in human form. The falcon evolved as a powerful symbol and representative of the greatest cosmic powers. He was believed to embody the sky, and therefore possessed the sun and the moon.

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Rameses I between Horus and Anubis, fresco, burial chamber, Tomb of Ramesses I (KV16), Valley of the Kings, Thebes (Unesco World Heritage List, 1979). Egyptian civilization, New Kingdom, Dynasty XIX. / De Agostini Picture Library / S. Vannini / Bridgeman Images

Niki de Saint Phalle was often drawn to cosmic and mythological themes in her work, best rendered in her Il Giardino dei Tarocchi or The Garden of Tarot in Pescia Fiorentina, Italy which was inspired by Antonio Gaudi’s Parc Güell in Barcelona and exhibits twenty-two monumental figures depicting the greater mysteries of the tarot in mosaic patterns. While constructing this public project, the artist lived inside the sphinx-like Empress for several months on the garden grounds.

Worshipping Horus, the celestial falcon, became representative of worshipping the greatest cosmic powers of the universe. The falcon’s right eye was symbolic of the sun and the left eye the moon. The speckled colorful feathers were considered to be the stars, while his

soaring wings were the sky that created the wind. Horus became the patron of the Nekhen monarchy and was thus regarded as the first known national god. Recorded in Egyptian hieroglyphs, the pronunciation has been reconstructed as Haru, literally translating to “falcon”. The Eye of Horus is an ancient symbol of protection and royal power from deities.

Egyptian myth and figures and dominant themes that appear repeatedly in Niki de Saint Phalle’s work. Considering that the Tarot originated in Egypt, it is apparent that the artist was fascinated with the otherworldly and it frequently inspired her creation. Closely related works such as Anubis, the dog god and Thoeris, depicting the


Colossal statue of Ramses II as a child with god Horus, made of granitoid rock and limestone from New Kingdom. De Agostini Picture Library / S. Vannini / Bridgeman Images

hippo goddess loved by ancient Egyptians as goddess of motherly fertility is her infamous Nana, ‘earth mother’ sculptures. Through this mythological Egyptian series, Niki, with her boundless adventurous spirit and limitless free creativity, constructs an original mythological world which best embodies her personal world in its entirety, and capturing her relentless curiosity for culture.

De Saint Phalle first visited Egypt in 1970 with fellow Nouveau Réaliste artist Jean Tinguely, whom she would marry a year later. Her collaboration with the Swiss artist Tinguely on the landmark Stravinsky Fountain for the plaza of the Centre Pompidou in Paris is world renowned. It was not until 1989 she began working in bronze

for the first time and it was then she found this material the best medium for conceiving her series of Egyptian gods. De Saint Phalle emerged as a key figure and the only woman in the Nouveau Réalistes movement founded in 1960 by the art critic Pierre Restany and the painter Yves Klein during the first collective exposition in the Apollinaire Gallery in Milan. Restany wrote the original manifesto for the group proclaiming “Nouveau Réalisme – new ways of perceiving the real” and was endorsed by contemporaries Christo, Martial Raysse, César, Mimmo Rotella, Jean Tinguely, Niki de Saint Phalle among others. While Pop art was dominating the scene in America in the 1960s, new realism was one of the numerous tendencies of the avant-garde in France and Europe at large. Members of the nouveaux réalistes

(reverse)

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Damien Hirst, Sadness, 2009 – 2010, glass, gold plated stainless steel, steel, aluminum, nickel and cubic zirconia, 72 1/8x 108 3/8 x 4 in. Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS 2014

group sought to bring life and art closer together and saw the world as an image from which they could derive elements to incorporate into their works. Embracing the notion that they had joined together on the basis of a new and real awareness of their ‘collective singularity’, they were united on the front that they were uniquely different from each other, yet held the same beliefs when approaching a work of art. Their antic, absurdist works challenged conventional ideas about art making in ways that echoed the earlier Dada movement. Regardless of the differing nature of their output, the common basis comprised of adopting a method of direct appropriation of reality and a return to “reality” in opposition to the lyricism of abstract painting, much like their contemporaries in the US and the rise of Pop art.

Widely regarded in Europe and the U.S., de Saint Phalle is a heroine of feminism years before the modern movement even emerged and her works are often charged with socio-political issues of the time. Illustrated in vibrant hues, themes from the mythical, spiritual, joyful and playful to the profound and intellectual, her work is an ongoing paradox sought to be explored. Similar to Andy Warhol, she was successful in creating a public persona that transcended her art and was able to engage the media with which put her on the map as one of the first women artists to achieve international acclaim during her lifetime. Niki de Saint Phalle constructed a unique identity producing an amalgam of Pop, Surrealism, Folk and outsider art that bear her trademark whimsical style and reflect her endlessly fertile, visionary imagination.


ProPerty From a Private san diego ColleCtion

15roy liChtenstein (1923-1997)Untitled, 1987 signed and dated ‘rf Lichtenstein’ (on the underside)acrylic and pencil on bisque ceramic5in. (12.7cm) high $60,000 - 80,000

Provenance Anon. sale, Neiman Marcus, San Diego, Having a Ball Benefit, November 1987. Acquired at the above sale by the present owner.

Roy Lichtenstein’s ‘Perfect/Imperfect’ series began in 1985 and continued to be a three year project encompassing sculpture, paintings, drawings and prints. ‘Perfects/Imperfects’ can be identified by their trademark style, a geometric arrangement of converging angular forms often containing fields of color, patterened lines or ben-day dots. The shapes, when ‘imperfect’, transcend the picture plane extending out beyond the edges of a rectangular canvas. The rubric ‘perfect’ denoted works, which stay within the edges or framework of the piece. At times, the works were created with no up or down, and Lichteinstein would often change his mind about how the work would be oriented. Untitled seen here was commissioned in 1987 for a benefit auction organized by the luxury fashion retailer Neiman Marcus. Rendered in a bisque porcelain sphere in the artist’s ‘perfect’ style, black intersecting lines of Magna delineate triangles of muted red adjacent to sections in vivid yellow and blue Buren-esque stripes—almost recalling the frivolity of a poolside beach ball game.

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(actual size)


ProPerty oF a teXas ColleCtor

16Keith haring (1958-1990)Untitled (Man Under Foot), 1982 signed and dated ‘April 6 - 1982 - K. Haring’ (on the reverse)Sumi ink on paper22 x 28in. (56 x 71cm)$50,000 - 70,000

ProvenanceMartin and Janet Blinder, Arizona.Martin Lawrence Limited Editions, Los Angeles (acquired from the above).Martin Lawrence Galleries, New York.Acquired from the above by the present owner in 1994.

exhibitedFlushing Meadows-Corona Park, New York, Queens Museum, Keith Haring: Future Primeval, 15 September-25 November 1990, no. 118.3, p. 127 (illustrated, p. 118). This exhibition later traveled to Normal, Illinois, Illinois State University, University Galleries and Tampa, Tampa Museum of Art.

For Haring, the idea of a universal art was a philosophy informed by a strong interest in the aesthetics of decoration that coincided with the focus of the post-modern currents of the eighties. Additionally, it was an attempt at the deconstruction of objectivity (his works are deliberately “untitled”) in the name of the subjectivity of the observer (the artist’s ideas are not fundamental to the meaning of the work). Rather, it is the observer who becomes an artist, in the sense that he or she must find his or her own unique way towards understanding.

– Gianni Mercurio

(Gianni Mercurio, quoted in “Keith Haring: In The Moment”, in The Keith Haring Show, exh. cat., Milan, 2005, pp.17-27)

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ProPerty oF a teXas ColleCtor

17andy warhol (1928-1987)Campbell’s Soup Box (Onion Mushroom), 1986 signed and dated ‘Andy Warhol 86’ (on the overlap)synthetic polymer paint and silkscreen inks on canvas20 x 20in. (50.8 x 50.8cm)$300,000 - 500,000

ProvenanceMartin Lawrence Galleries, New York.Acquired from the above by the present owner in 1993.

exhibitedLos Angeles, Michael Kohn Gallery, Warhol: Campbell’s Soup Boxes, December 1986-January 1987, p. 24, no. 087 (illustrated in color, pp. 25 and 30).

I love soup, and I love it when other people love soup, too… You know, when I was little, my mother always used to feed us this kind of soup. But now she’s gone, and sometimes when I have soup I remember her and I feel like she’s right here with me again.

– Andy Warhol

(Andy Warhol, quoted in D. Bourdon, Warhol, New York, 1989, p. 99)

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It is practically impossible to tell one person’s productions from anothers. This is the anonymity of creators of labels for canned foods. It has nothing to do with the movement of faith that animated the builders of our cathedrals.

– Georges Boudaille

(Georges Boudaille, review of the Salon de la Jeune Peinture, 1965, Les Lettres Françaises, January 1965.)

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Andy Warhol in Luebeck (b/w photo), German Photographer, (20th century). © SZ Photo / Dietmar Gottschall / Bridgeman Images © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

As a poetic reflection of the imagery that launched his career, Andy Warhol’s Campbell’s Soup Box (Onion Mushroom), 1986 represents the culmination of a lifetime of work, as well as an ingenious retelling of the evolution of appropriation, consumerism and commodity within Contemporary Art. Redefining the idea of artistic authorship and the notion of authenticity, Warhol’s adoption of industrialization as an extension of himself stresses that the core of any artwork is the artist and the choice and drive behind one’s art. Commissioned by the very brand whose marketing imagery served as the central focus of his 1962 groundbreaking exhibition, Warhol’s silkscreens of boxed Campbell’s soup reflect the extensive relationship and importance he placed on consumerism, symbolism and brand recognizability. Warhol believes that the power of symbolism is in fact the best manner of communication – a learnable language for the masses, and goes to

say “my image is a statement of the symbols of the harsh, impersonal products and brash materialistic object on which America is built today. It is a projection of everything that can be bought and sold, the practical but impermanent symbols that sustain us.”1 The irony of this relationship - ad man turned artist, turned back to ad man and market maker – reveals the value of the familiar and the power of the symbolism within contemporary culture.

The 1962 and 1986 iterations of Warhol’s silkscreens are sublime examples of the Duchampian play between the handmade and the machined – exploiting the seriality of the image, producing a simpler yet hybridized notion of the work – where the imperfections and subtle screening differences present in each work denote the hand of the artist. As the artist explained: ‘In August ’62 I started


Andy Warhol, Campbell’s Tomato Juice, 1964, synthetic polymer paint & screenprint ink on wood. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

Andy Warhol, Brillo Boxes, 1964, enamel on plywood. Allen Memorial Art Museum, Oberlin College, Ohio, USA / Gift of John Coplans in memory of Ruth C. Roush / Bridgeman Images © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

dong silkscreens. The rubber-stamp method I’d been using to repeat mages suddenly seemed too homemade: I wanted something stronger that gave more of an assembly-line effect. With silkscreening, you pick the photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple-quick and chancy. I was thrilled with it.”2 The present work, however, is a unique amalgamation of two of Warhol’s iconic pieces. This boxed soup transcends the picture plane in a way that he can could not, where Warhol seemingly reformatted the Campbell’s imagery onto the space-invading Brillo box form. With the implied volume of the box, this 1982 silkscreen presence a refined image of nostalgia – combing together new design with known imagery.

This was not the first time Warhol had reused past imagery of his work. In his Reversals and Retrospectives series, Warhol adopted once again the familiar celebrity imagery of his era, breathing new life into themes and images he was first drawn to. In this series, Warhol seems to have modified or adapted the earlier image to be more inline with current times and trends—creating more flashy imagery that spoke to the buzz and craziness of the 1980s. With the Soup Boxes again Warhol updates his imagery. In this case it is more in line with current packaging and presentation, and what consumers are used to seeing. By the this time you could of course still purchase Campbell’s in a can, but now, likely due to a faster paced society, we had instant soup in a box – just add hot water. Where as the earlier imagery was more “realist” here, like in the reversals, we see a more stylized and bolder technique. Throughout the series variations of bright and bold colors bolster the static image of the soup box – in a more rare instance in the present lot, Warhol has contrasted the iconic Campbell’s red with a brilliant and reflective silver.

The 1962 show at the Ferus Gallery in Los Angeles was staged in way to reflect the consumer culture of the 1950s and 60s where they were staged to reflect the aisle

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(detail)

Andy Warhol, Campbell’s Soup Box (Onion Mushroom), 1986, graphite on HMP paper, 31 5/8 x 23 3/4 in. Davis Museum and Cultural Center, Wellesley College, MA, USA / Museum purchase and partial gift of The Andy Warhol Foundation for the Visual Arts, Inc. / Bridgeman Images © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

of a supermarket. These repeated images, or pantry stacks of art, hint at the normalcy many yearned for in times of political and economic unease. In an almost Janus-like take on his work, Warhol’s repurposed imagery of 1982 once again underlined the relationship between consumer and producer – however it was Campbell’s who came calling, requesting Warhol’s translation and reinterpretation of their now standard symbolism. Only Warhol could have been commissioned to create art that was meant to inspire consumption, and this series reveals Warhol’s reworking of a system he created, making himself an invaluable player in his own retrospective and redefining the position of the artist.

1 Andy Warhol, quoted in, ‘New Talent U.S.A.’, Art in America, vol. 50, no. 1,1962.2 Andy Warhol, quoted in, ex. cat., Monaco, Gri-maldi Forum, Super Warhol, 2003, p. 65.


18dennis hoPPer (1936-2010)Roy Lichtenstein In His Studio, 1964, 2009 signed and dated ‘D. Hopper 2009’ (on the overlap)oil on canvas82 1/2 x 120in. (208.6 x 304.8cm)$130,000 - 180,000

ProvenanceTony Shafrazi Gallery, New York.Acquired from the above by the present owner in 2009.

exhibitedNew York, Tony Shafrazi Gallery, Dennis Hopper: Signs of the Times, 12 September-24 October 2009.

I walked in to the Ferus Gallery one day, and Irving Blum, who was running the gallery said ‘Dennis, I want to show you something.’ He showed me two slides, one of which was a soup can, and the other was a cartoon. It was Andy and Roy Lichtenstein. I went crazy, started jumping up and down and said, ‘That’s it! That’s it!’ Irving said, ‘That’s what?’ I said, ‘That’s the return to reality!’

– Alex Simon

(A. Simon, “Dennis Hopper is Riding Easy”, in The Hollywood Interview, 4 February 2013)

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POST-WAR AND CONTeMPORARY ART | 43

I want to say that the myth that I started out as a photographer and painter before becoming an actor isn’t true. I did it all simultaneously. So it wasn’t one thing or another

– Dennis Hopper

Dennis Hopper, Roy Lichtenstein, 1964, photograph, 9 3/4 x 6 1/2in. The Hopper Art Trust. © Dennis Hopper, courtesy The Hopper Art Trust. www.dennishopper.com.

(Dennis Hopper, quoted in Dennis Hopper et le Nouvel Hollywood, Paris, 2008).

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Andy Warhol (1928-87), Dennis Hopper, 1971, synthetic polymer and silkscreen inks on canvas.Private Collection / Photo © Christie’s Images / Bridgeman Images © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

While the late Dennis Hopper will always be memorialized for his brilliant performances as an actor, most notably in Rebel Without a Cause (1955) and Easy Rider (1969), he will also be remembered for a number of major exhibitions of his photographs and paintings, fur-ther underscoring his artistic talents and sense as a true renaissance man. With a major exhibition currently being held at the Royal Acad-emy of Art in London, another major solo exhibition in Los Angeles at the Museum of Contemporary Art, and numerous raved-upon gallery shows in the past decade, it is clear that Hopper’s contributions to photography and painting are equally remarkable and noteworthy as his film performances.

Although Hopper was born and raised mainly in the mid-west, Dodge City in fact, California would come to be his home and inspiration for the majority of his life. In 1949, his family moved to San Diego for his father’s work, which exposed the young artist to a new world of culture and Americana. While he had already been interested in film, theatre and art throughout school, his new life on the West Coast opened up a world of possibilities as the cinema and film industry took center stage, revealing a potential career in the arts. 1954 was a landmark year for Hopper—it was the year he went to Hollywood armed with references and introduction letters and marked his entrance into the world of the moving picture. Hop-per had been making pictures, both photographs and paintings all along up until this point - the latter being abstract in nature, but his art would not be as important to him as it later became until the early 1960s when he was “exiled” from the film industry due to disagree-ments with certain studio executives. Hopper’s friends at the time, notably James Dean, were all interested in what was happening in the Contemporary Art world and would bring each other along to exhibitions and to meet the artists who were making the art and changing the cultural landscape in front of them.

When Pop Art first emerged at the beginning of the 1960s to mixed reactions, some of the earliest supporters could be found in Los Angeles. The legendary dealer and curator, Irving Blum, who took over the exhibitions program at the Ferus Gallery in 1958, became not only a huge proponent of Pop Art, but also a great friend to Hop-per. Blum stated that, “from the start, Dennis was very interested in what was happening in contemporary art. When pop art broke in Los Angeles in 1961, he was one of the first people to pick up on it. I sold him one of the Campbell’s soup cans for $100 in 1962. He bought some Lichtenstein landscapes before that when no one had even heard of pop. He saw the transparencies on my desk, and he just said, ‘Yes! I want them.’ You could tell he was someone with an understanding of the zeitgeist where art was concerned. He was utterly instinctive and absolutely on the money.”1

Hopper’s relationship with Blum would prove to be hugely important to his development as not only as a patron of the arts, but as an artist in his own right. Through Blum, Hopper was introduced to the most important artists of the day, including Ed Ruscha, Andy Warhol and Roy Lichtenstein. Shortly after his introduction to Blum, Hopper actually became the gallery’s in-house photographer and was called upon to photograph the gallery’s artists for all of their catalogs and flyers. Ruscha noted that, “Dennis was shooting many portraits of his friends in those days, especially artists. I remember, with me, he picked the location, a storefront on Santa Monica Boulevard that sold saws and industrial tools. There was not a lot of making ready or posing to my portrait. He used his trusty Nikon 35mm camera. In 10 to 15 minutes, he had just what he wanted.”2 Interestingly, Hopper wasn’t the only artist at the time to make pictures of fellow artists. Warhol himself did a series of paintings with famous actors and artists as their subject matter, including one of Hopper.

Throughout his career as a photographer, Hopper engaged a number of subjects, portraits and landscapes, political and social, but it was the photographs of artists that he not only became famous for, but also really succeeded at. He once said, ‘the only

people that I really found comfortable being photographed were artists. They asked me to photograph them. They wanted to be photographed. And that was cool.”3 Hopper met Lichtenstein on a number of occasions, the first being a trip to New York he took with Blum where he visited Warhol at his studio. On that trip he bought his first work by Lichtenstein, Sinking Sun, but he would end up acquiring many works by the artists.

In 1964, on a visit to Lichtenstein’s studio, Hopper took several photographs of the artist, of which Roy Lichtenstein in His Studio, 1964, 2009 is based upon. Hopper’s entire output from the 60s through to the 21st century were notably photographs. While he had painted prior to the 60s, he gave up the medium in 1961 after a fire destroyed his home, including his paintings and his art collection. In the early 2000s, however, Hopper returned to the medium in his own a way. He had always been interested in outdoor billboard advertising that dominated the Southern California landscape, and so, in a manner reflective of Warhol’s transformation of mass produced print media to fine art, Hopper began transforming his own photographs to large scale paintings which resembled in scale and impact, billboards. He himself referred to these paintings as billboard paintings. To achieve the ‘realism’ and transformation he was looking for, Hopper actually employed a number of billboard artists to create these large scale paintings, again mimicking production techniques which Pop Artists like Warhol, and later Jeff Koons even employed.

With its arresting presence and dynamic composition, Hopper’s Roy Lichtenstein in His Studio pays homage not only to his own work, but also to his friend Lichtenstein and the city that he called home. Hopper will always be remembered as a star of the big screen, but with works such as is this, his art in its own way has become a star of the big screen as well.

1 Irving Blum, quoted in S. O’Hagan, “Dennis Hopper’s Lost Album: life both sides of the lens”, in The Observer, 14 June 2014.2 Ed Ruscha, quoted in S. O’Hagan, “Dennis Hopper’s Lost Album: life both sides of the lens”, in The Observer, 14 June 2014.3 Dennis Hopper, quoted in Ibid.


ProPerty From a Private northern CaliFornia ColleCtion

19roBert Cottingham (B. 1935)J.C., 1982 titled ‘J.C.’ (lower left), signed and dated ‘Cottingham 1982’ (lower right)acrylic on paper21 1/4 x 28 3/4in. (54 x 73cm)$10,000 - 15,000

ProvenanceThomas Segal Gallery, Boston.Anon. sale, Sotheby’s, New York, 5 October 1989, lot 148.Acquired at the above sale by the previous owner.

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20riChard PettiBone (B. 1938)Brian Wilson, 1975 signed, titled and dated ‘Brian Wilson Richard Pettibone 1975 (on the overlap)oil on canvas4 7/8 x 4in. (12.4 x 10.2cm)$10,000 - 15,000

ProvenanceLeo Castelli Gallery, New York.Acquired from the above by the present owner in 2009.

exhibitedCornwall, Tate St Ives, If Everybody Had an Ocean: Brian Wilson, 26 May-23 September 2007. This exhibition later traveled to Bordeaux, Musée d’Art Contemporain.

(actual size)


21george Condo (B. 1957)Untitled, 2007 signed and dated ‘Condo 2007’ (lower center), dedicated ‘To Emmanuel with all Best Wishes’ (upper center)pencil on paper12 5/8 x 10 7/8in. (32.2 x 27.5cm)$9,000 - 12,000


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22Cindy sherman (B. 1954)Untitled (Line-Up), 1977-2011 signed, numbered and dated ‘Cindy Sherman 13/20 1977/2011’ (on the reverse)gelatin silver print10 x 8in. (25.2 x 20.2cm)This work is number thirteen from an edition of twenty. $10,000 - 15,000

ProvenanceMetro Pictures, New York. Private Collection.

LiteratureG. Schor, Cindy Sherman: The Early Works: Catalogue Raisonné, 1975-1977, 2012, p. 343, no. 59.1.


Felix [Guttari] said I was the only portrait painter who ever painted entirely imaginary subjects. Picasso was always painting Dora Maar or whoever, Bacon’s portraits could always be traced to some existing person. But not my portraits. They were all imaginary.

– George Condo

23george Condo (B. 1957)The Big Boss, 1991 signed, titled, inscribed and dated ‘Condo 91 The Big Boss on his way to the office looks into the mirror and sees the Indian chief startled he looks more like a snail’s shell than the most powerful of the artificial stimulants’ (upper right)India ink, pigment and pencil on paper41 1/2 x 29 1/2in. (105 x 75cm)$30,000 - 40,000

ProvenanceGaleria de arte Soledad Lorenzo, Madrid.Sprüth Magers, London.Private Collection, London.

(George Condo, quoted in S. Jeffries, “George Condo: ‘I was delirious. Nearly Died’”, The Guardian, 10 February 2014)

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ProPerty From a Private new yorK ColleCtion

24george Condo (B. 1957)Green On Green Collage Painting, 2000 signed, titled, and dated ‘Condo 4/2000 Green on Green Collage Painting’ (on the reverse)acrylic, oil, ink, graphite, charcoal, crayon and collage on canvas50 1/4 x 60in. (127.6 x 152.4cm)$300,000 - 500,000

Provenance Acquired directly from the artist by the present owner.

exhibitedNew York, Gering & Lopez Gallery, Just what is it that makes today’s painting so different, so appealing?, 5 November-23 December 2009.

I describe what I do as psychological cubism. Picasso painted a violin from four different perspectives at one moment. I do the same with psychological states. Four of them can occur simultaneously. Like glimpsing a bus with one passenger howling over a joke they’re hearing down the phone, someone else asleep, someone else crying—I’ll put them all in one face.

– George Condo

(George Condo, quoted in S. Jeffries, “George Condo: ‘I was delirious. Nearly Died’”, in The Guardian, 10 February 2014)

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Pablo Picasso, Woman in a Red Armchair, 1932, oil on canvas Musee Picasso, Paris, France / Giraudon / Bridgeman Images © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

(detail)

For over thirty years, the omnipresent American painter George Condo has been dazzling and dizzying audiences with his often radical and maniacal style of portraiture. From his first ‘mature’ painting, The Madonna (1982), through his expanding canvases of the late 1980s, the introduction of his ‘antipodal’ beings in the 1990s and finally to his ‘psychological Cubist’ paintings of more recent years, one draws several key conclusions about his oeuvre. First and foremost, is the notion that Condo has always been deeply attracted and forever indebted to the concept of artistic appropriation—albeit it in a completely personalized manner than we have come to understand through the works of Contemporary artists like Richard Prince and Richard Pettibone. Second, is the understanding that no matter how abstract his works may appear at first glance, that at their core they are all intimate portraits. Lastly, is the realization that Condo is responsible not only for reinventing figurative painting at a time when the genre was long thought dead, but even more importantly he paved the way for future generations to explore the notion of contemporary portraiture, all the while dressing his own painterly practice in an appropriated garb. What is perhaps most interesting and truly exceptional about the present work, Green on Green Collage Painting, is that it not only readily embodies these three concepts of appropriation, portraiture and repurposing, but more importantly, the piece reflects the entirety of Condo’s career—incorporating imagery from each period of his illustrious practice—and in a sense appropriating his own work.

Appropriation, or taking something for one’s own purpose or use, is about as central of a place to start as any when it comes to understanding how George Condo makes his paintings. The idea of appropriation in the arts has of course been around for eons and you will find evidence of artists appropriating imagery, styles and theories throughout the course of history—but it was not actually until the 1970s that artists truly embraced and created what we now consider to be the modern ideology behind appropriation. The first artists to really propel the movement forward in a new way

were John Baldessari and Sigmar Polke—both whom although in their separate ways “looked to ready-made images and ideas as the data of personal experience as well as the raw material of one’s own expressive work.”1 Pop-artists like Andy Warhol had of course served as a precursor for Baldessari and Polke by embracing the mass produced imagery of contemporary culture and transforming it in to fine art. It was with work from these latter artists where a real departure was made, seemingly grown naturally out of Pop art using the readymade as an element within their work and/or refabricating it in their own fashion. Artists like Elaine Sturtevant, Richard Pettibone and Mike Bidlo took it one step further, literally reproducing artworks by the masters of previous generations and years later Richard Prince would introduce the idea of “re-photography” whereby he would take photographs of pictures from advertisements, blow them up and crop them.

While these artists’ works were groundbreaking in their own way, the manner in which Condo embraced appropriation was entirely different. Laura Hoptmans illustrates Condo’s approach quite clearly: “he is not a painter of appropriated imagery; nor is he a shoot-to-kill hunter of art-historical father figures. He is more like a philogist—a collector, admirer and lover or languages—in this case, languages of representation. He sees himself more in the tradition of those artists who revisited the motifs and techniques of those masters that had gone before them, not to repudiate their inspirational fathers, but to best them and, ultimately, to pay them homage. Just as Manet would emulate—and send up—Titian, and Picasso would furiously tackle the subjects of Velazquez and Manet, Condo re-imagines Picasso’s portraits and de Kooning’s human-scapes as a challenge.”2 In line with Hoptman’s assertions, Condo states: “my painting is all about this interchangeability of languages in art, where one second you might feel the background has the shading and tonalities you would see in a Rembrandt portrait, but the subject is completely different and painted like some low-culture, transgressive mutation of a comic strip.”3

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Pablo Picasso, L’Arlesienne, 1937, oil and ripolin on canvas. Private Collection / Photo © Christie’s Images / Bridgeman Images © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

(detail)

It can be seen that the artist relied not on appropriated imagery or style per se, but rather the ‘language’ or manner in which his favorite artists had produced their paintings. The old masters (Rembrandt and Titian in particular), the Surrealists (Picasso and André Masson), Abstract Expressionists (like de Kooning, Pollock and possibly Gorky), and finally the Cubists (Picasso, Cézanne and Braque) were all of keen interest to Condo and continually referenced, if not quoted directly in his work. Reflecting on this very thought, Calvin Tomkins in his excellent review of Condo’s life’s work stated that, “... appropriation was never Condo’s game. Instead of borrowing images or styles, he used the language of his predecessors, their methods and techniques, and applied them to subjects they would never have painted.”4

Condo’s references to Picasso are probably the most evident and critically discussed in all of his works. Hollander Cotter noted in his review of the artist’s New Museum Retrospective that “throughout the show pieces of Picasso are everywhere, puzzled together, piled up like kindling, broken up, gnawed on, inserted wherever there’s room. Mr. Condo clearly can’t get enough of him.”5 It is certainly true that in nearly all of his paintings from the beginning of the 1980s to the present day there is at least one element, be it Cubist, Surrealist, Classical or merely ideological that can be drawn from his work. Green on Green Collage Painting presents ample examples of this. Whether it’s the faint presence of a figure’s head in the upper right corner, the cobalt figural study in the upper center, the blue Surrealist figure in the center left, the numerous colorful abstracted figures splattered throughout or most notably the absurdly grotesque Cubist cartoon figure at the far left, Condo’s connection to and love for Picasso’s work is clear. This last example, a motif or pictorial style which has occupied much of the artist’s work from the past decade or so, is indeed heavily indebted to Picasso and also to Georges Braque. Tomkins notes that these figures, with their grotesque yet comically distorted appearance, “Condo likes to practice what he calls ‘psychological Cubism’; instead of showing different facets of an object simultaneously, as Picasso and Braque did, he paints different and often conflicting emotions in the

same face.”6 The key difference here in Condo’s work is that whereas Picasso and other artists base their images—be it portraits or still lives—from reality, Condo flips such a practice, whereas his subjects are entirely made up, drawn from the depths of his imagination.

Imaginary imagery is paramount to Condo’s work, comparing it to an improvisation or act of automatic painting. The latter of course, references the Surrealists, specifically André Masson’s automatic writing practices and by extension the writing of Jack Kerouac (a favorite of Condo), the fluidity of Jackson Pollock’s work and Willem de Kooning’s lyrical abstractions. In discussing his own work, Condo stated that one “didn’t need to think to paint, sort of like automatic writing, this is automatic painting, improvisational work, some kind of jazzed out way of expressing yourself that involves improvisation.”7 Thus with a visual language derived from his favorite art historical greats and subject matter stemming from the far reaches of his imagination, Condo quickly and fluidly transfers images from his mind to the canvas in often a single sitting without interruption. He goes on to note that “the way that Jack Kerouac wrote is how I thought a painter could paint, starting to write and writing straight through without even reading the earlier pages and just writing from one word to the end to really tell a story and not have it just simply be a lot of words. It was such an amazing thing that he did. I thought that it was a kind of extension of André Masson’s technique of automatic writing, but into literature. That’s where the expanded canvases came from, just starting from one small spot in the painting and working out to all four corners until the painting’s done, until the story has been told. And the story is a picture of your mind.”8

The imaginary is certainly evident in Green on Green Collage Painting, exemplified by the myriad figures both representative and ‘abstracted’ that populate the canvas. In fact, when viewed as a whole, the composition seemingly takes the form of a dream-like landscape, with fragments of Condo’s imagination all coming together in a disordered array of beings pushing and pulling at an artificial construct


Pablo Picasso, Portrait of Jaime Sabartes (1881-1939) in Spain, 1939, oil on canvas. Museu Picasso, Barcelona, Spain / Giraudon / Bridgeman Image © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

of reality. Curator and critic Ralph Rugoff notes of Condo’s works, that “These portraits commingle elements of the beautiful and grotesque, provoking a kind of mental whiplash that unhinges the hold such categories have on our perception.”9 In Green on Green Collage Painting this ‘whiplash’ is only augmented by the heavily abstracted shapes, planes of color and heavy black lines bisecting the canvas throughout, and harken back to Condo’s early work. While at first they appear almost distracting, it actually seems that it is these very lines and shapes that define the composition and not only dictate where each individual ‘portrait’ should lie, but also help to direct the viewer throughout the painting. Furthermore, the lines themselves and bisecting planes appear quite gestural, reminiscent of de Kooning and Gorky, further reflecting Condo’s interest in borrowing a visual language from his predecessors.

For Condo what appears abstract may not necessarily be so. In his own words, “Abstract is a word that lends itself to pre-conceptions, especially when applied to painting. People have all different reasons for it. I see abstraction as another way of describing the experiences of transformation. What I always said is that when I look at a Jackson Pollock, I see faces. I Paint the people and the places and the things that I see while looking at an abstract painting. In other words, it’s the reverse process of Leonardo looking at drips on a wall and putting buildings in there. And the opposite is true, too.”10 Considering this sentiment, when looking at the abstracted elements of Green on Green Collage Painting we are forced to consider other options. Is it purely random? Do the shapes and lines signify something? Perhaps a landscape setting of some sort to frame the composition in? This notion is even more clearly understood considering the following statement the artist once made concerning these types of collaged paintings, “These canvases are like the real place where I live. Because I see them in some way as landscapes, sort of psychological landscapes to some degree. The psychological landscapes of not only the characters within the painting but also of the creator who saw them... The landscape I live in is the landscape

of ripped drawings, of paint all over the place, of pencil sketches and drawings that have been compiled, images that have been thought about and turned and twisted.”

It is therefore quite apparent that in a painting such as Green on Green Collage Painting, Condo is employing all the “words” in his visual vocabulary to create his composition; Cubist and Surrealist ideas are represented alongside a profound sense of movement and balance of space reminiscent of the great Abstract Expressionist works of de Kooning, Gorky and Pollock. At the same time it is clear that unlike a Bidlo, Sturtevant, Prince or Levine, Condo has not appropriated imagery and style of past artists, but more gracefully and tactfully translated and later combined them into the creation of his own syntax that is simultaneously deferential to the masters, but also quite successfully masterful in its own right.

It has already been noted that portraiture and figurative painting was not only out of style, but a dying genre when Condo first appeared on the scene in New York in the 1980s. One could probably count the number of successful portrait artists on one hand at the time, whereas in today’s market a large number of the leading generations of artists are based in figurative works. Cotter argues that Condo is “the missing link, or one of them (Carroll Dunham is another), between an older tradition of fiercely loony American figure painting—Willem de Kooning’s grinning women, Phillip Guston’s ground-meat guys, Jimm Nutt’s cubist cuties, anything by Peter Saul—and the recent and updated resurgence of that tradition in the work of Mr. Currin, Glenn Brown, Nicole Eisenman, Dana Schutz and others.”11 David Rimanelli goes one step further, claiming that Condo’s successful reinterpretation and re-figuration of portraiture not only changed the perception and importance placed on the genre, but also elevated the artist to an almost godly status in the field. He states, “Condo’s interest in art that is ‘”official,” that looks like art,’ touching on a language of simulation and parody that had a more complicated valence in the late 1980s, can now be read as

(detail)

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Arshile Gorky, Year After Year, 1947, oil on canvas. Private Collection / Photo © Christie’s Images / Bridgeman Images © 2014 The Arshile Gorky Foundation / The Artists Rights Society (ARS), New York

a kind of populism, arguably making him a godfather to a younger generation of artists, among them John Currin, Lisa Yuskavage, and Sean Landers. This rehashing of traditional forms deflects anxiety, providing a much-appreciated balm for the social and psychological uncertainties that underpin modern living.”12 John Currin, one of the most important figurative painter of the current generation, clearly learned quite a bit from Condo while developing his own interpretation or practice of appropriation. Considering his Lucas Cranach influenced portraits or his more recent canvases populated by somewhat grotesque although sumptuously painted figures reminiscent of Otto Dix, it is quite something to realize that without Condo’s work these may never have come to be.

Condo’s importance as a ‘father figure’ of contemporary figuration demonstrates his reverence for and appropriation of historical greats. It is prudent to return once again to the present lot, where deferring to the influential New York Times critic Roberta Smith: “Mr. Condo makes things that look like paintings, that have the presence, completeness, and frontal tautness of paintings, yet in some essential way they are not so much paintings as artifacts, signs of another time and place.” the Times critic Roberta Smith wrote in 1988” (Smith quoted in C. Tomkins, “Portraits of Imaginary People: How George Condo reclaimed Old Master Painting”, in The New Yorker, 17 January 2011, pp. 63-64). This thought, although expressed over a decade before Green on Green Collage Painting was painted, could not be more appropriate when considering the importance of this canvas. The painting, highly frenetic yet delicately balanced, holds the viewer in a trance and presents a real glimpse in to the mind of the artist. In a sense, this masterful painting can be seen as a sort of retrospective of the artist’s career all wrapped up neatly in one canvas—presenting all of his ideas, references and influences all at once. It is in this way that Condo most successfully masters his art. As Hoptman notes of his most successful works, “Polymorphous and polyglot, possessed of an enormous memory bank of references, Condo proves through his production that he can do anything—and has done almost everything.”13

“Characterized by a fearless and unbridled approach to subject matter, his work has often made the general range of contemporary picture-making seem narrow and constrained by comparison. Over the years he has populated his canvases with an arresting parade of tragi-comic beings (as well as subjects like Jesus, God and the Queen of England) that exude an unsettling and profoundly compelling oddness. Forged from fragments of art-historical memory, these portraits wantonly commingle elements of the beautiful and the grotesque, provoking a kind of mental whiplash that unhinges the hold such categories have on our perception.”14

1 J. Fineberg, Art Since 1940 Strategies of Being, Second Edition, New York, 2000, p. 467.2 L. Hoptman, “Abstraction as a State of Mind”, in George Condo: Mental States, exh. cat., New York, New Museum, 2011, pp. 24-27.3 George Condo quoted in J. Belcove, “George Condo Interview”, in The Financial Times, 21 April 2013.4 C. Tomkins, “Portraits of Imaginary People: How George Condo reclaimed Old Master Painting”, in The New Yorker, 17 January 2011, p. 63.5 H. Cotter, “A Mind Where Picasso Meets Looney Tunes”, in The New York Times, 27 January 2011.6 C. Tomkins, “Portraits of Imaginary People: How George Condo reclaimed Old Master Painting”, in The New Yorker, 17 January 2011, p. 58.7 Condo quoted in M. Cashdan, “The Mental States of George Condo”, in HUFFPOST, ARTS & CULTURE.8 Ibid.9 R. Rugoff, “The Madness of King George”, in Time Out London, 13-19 October 2011, p. 20.10 Condo quoted in A. Gartenfeld, “Warhol’s Mother, George Condo’s Muse?”, in Interview Magazine, 26 January 2011.11 H. Cotter, “A Mind Where Picasso Meets Looney Tunes”, in The New York Times, 27 January 2011.12 D. Rimanelli, “George Condo, New Museum, New York”, in Artforum, 1 April 2011.13 L. Hoptman, “Abstraction as a State of Mind”, in George Condo: Mental States, exh. cat., New York, New Museum, 2011, p. 23.14 R. Rugoff, “The Mental States of America”¸ in George Condo: Mental States, exh. cat., New York, New Museum, 2011, p. 11.

Willem de Kooning, Asheville, 1948, oil & enamel on cardboard. The Phillips Collection, Washington, D.C., USA / Acquired 1952 / Bridgeman Images© 2014 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York


ProPerty oF a Private new yorK ColleCtor

25dana sChutZ (B. 1976)Sleeping Starlett, 2006 signed and dated ‘Dana Schutz 2006’ (on the reverse)oil on canvas22 1/8 x 18 1/8in. (56.2 x 46cm)$40,000 - 60,000

ProvenanceZach Feuer Gallery, New York. Acquired from the above by the present owner.

I don’t write out stories, in the way a writer would; the situations are very loose. I never want the viewer to have to know the whole story to “get” the painting. What you see is what you get. If it’s a painting of a person eating their hands, they’re eating their hands. Often I will invent hypothetical situations that can act as surrogate situations for conditions that I am thinking about and that I always feel are logical.

– Dana Schutz

(Dana Schutz, quoted in M. Chin, “Dana Schutz”, in BOMB Magazine, no. 95, Spring 2006)

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26BarnaBy Furnas (B. 1973)Untitled (Brimstone and Fire), 2008 signed, titled, inscribed and dated ‘Barnaby Furnas 9/10/08 NYC Untitled (Brimstone and Fire)’ (on the reverse)Guerra water dispersed pigments on linen18 1/2 x 28 3/4in. (47 x 73cm)$30,000 - 40,000

ProvenanceMarianne Boesky Gallery, New York. Acquired from the above by the present owner.

Furnas is surprisingly gentle and mild-mannered given his dark subject matter, or perhaps because of it, his work acting as a form of catharsis.

- Scott Indrisek

(Scott Indrisek, quoted in “Barnaby Furnas”, in Art + Auction, January 2011)

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27gert & uwe toBias (B. 1973)Untitled, 2008 woodcut and ink on paper80 5/8 x 73 7/8in. (204.7 x 187.6cm)$20,000 - 30,000

ProvenanceGalerie Rodolphe Janssen, Brussels. Acquired from the above by the present owner.

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28anselm reyle (B. 1970)Little Cody, 2010 signed and dated ‘Anselm Reyle 2010’ (on the reverse)acrylic, glitter and Plexiglas on canvas on panel in artist’s frame30 x 25 1/2in. (76.2 x 64.8cm)$45,000 - 60,000

ProvenanceAndersen’s Contemporary, Copenhagen.Acquired from the above by the present owner in 2010.

exhibitedBerlin, Contemporary Fine Arts, ANSELM REYLE: LITTLE CODY, 30 April-11 June 2011.


29anselm reyle (B. 1970)Curious Charles, 2010 signed and dated ‘Anselm Reyle 2010’ (on the reverse)mixed media on canvas in artist’s frame55 1/8 x 40 1/8 1 3/4in. (140 x 102 x 4.5cm)$80,000 - 100,000

ProvenanceAlmine Rech Gallery, Brussels.Acquired from the above by the present owner in 2010.

exhibitedBerlin, Contemporary Fine Arts, ANSELM REYLE: LITTLE CODY, 30 April-11 June 2011.

Everything I make, all my artistic work, is based on something pre-existing. Whether it’s foil I’ve found in a storefront window, or found images from recent art history . . . Or African artisanship, or even Punk welding art from ‘80s Berlin . . . The basic idea comes from something that’s already there.

– Anselm Reyle

(Anselm Reyle, quoted in F. Browning, “Broken Tea Sets & Neon Jungles: Anselm Reyle”, in Huffington Post, 3 May 2013

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30marK Flood (B. 1957)Another Painting (leaves), 2009 spray paint, leaves and acrylic on canvas40 x 40in. (101.6 x 101.6cm)$20,000 - 30,000

ProvenanceZach Feuer Gallery, New York. Private Collection.

In my younger days, I tried earnestly to learn everything about art, its power and its structures, as well as its relationship to society, reality, and the human body. Now, I’m old and successful and I use what I know to cause as much trouble as possible.

– Mark Flood

(Mark Flood, quoted in A. Meier, “27 Questions with Irreverent Conceptual Artist Mark Flood”, in Bouin Artinfo, 24 September 2012)

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31dennis hoPPer (1936-2010)Bad Heart (downtown Los Angeles), 1961-2001 signed, numbered and dated ‘1961 15/15 D Hopper’ (on the reverse)gelatin silver print16 x 24in. (40.6 x 61cm)This work is number fifteen from an edition of fifteen printed in 2001.$7,000 - 15,000

ProvenanceTony Shafrazi Gallery, New York.Acquired from the above by the present owner in 2009.

exhibitedNew York, Tony Shafrazi Gallery, Dennis Hopper: Signs of the Times, 12 September-24 October 2009.

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32roBert goBer (B. 1954)Untitled, 2000 signed, numbered and dated ‘R. Gober 2000 Ed. 6/40’ (on the reverse)gelatin silver print9 1/2 x 13 5/8in. (34.7 x 24.1cm)This work is number six from an edition of forty. $3,500 - 4,500

ProvenanceMerce Cunningham Dance Company, New York.Acquired from the above by the present owner.



33FÉliX gonZÁleZ-torres (1957-1996)Untitled, 1987 stamped with artist’s address and dated twice ‘1987’ (on the reverse)Photostat print6 1/4 x 9 1/8in. (16.1 x 23.4cm)$30,000 - 40,000

ProvenanceAcquired directly from the artist by the present owner in 1988.

I hope that everything that I make is needed by my culture. I always think that when culture foregrounds something, it is because it is needed. It could be an idea, an object, whatever. It could have been there for a long, long time, but it is only when culture feels that it is ready that this object or idea becomes important.

– Félix González-Torres

(Félix González-Torres, quoted in T. Rollins, «Felix Gonzalez-Torres, (interview)», Between Artists: Twelve contemporary American artists interview twelve contemporary American artists (L. Barnes, M. Barosh, W. Bartman, and R. Sappington (eds.). Los Angeles: ART Press, 1996, p. 92)

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34FÉliX gonZÁleZ-torres (1957-1996)1987, 1987 stamped twice with artist’s address, titled and dated ‘1987’ (on the reverse)Photostat print7 7/8 x 10in. (20 x 25.2cm)$30,000 - 40,000

ProvenanceAcquired directly from the artist by the present owner in 1988.

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35anselm reyle (B. 1970)Untitled (Turquoise), 2008 acrylic and foil on canvas in artist’s Plexiglas box28 1/8 x 23 3/4 x 5 1/4in. (71.5 x 60.5 x 13.5cm)$50,000 - 70,000

ProvenanceAlmine Rech Gallery, Brussels.Acquired from the above by the present owner in 2009.

I found this cheap foil at a studio of a friend. He wanted to use it for a project but never did. Well I hope not... So I was very fascinated by this material. The quality--that it was so glossy. I’ve always liked the fact that you have to do very little to make it look good. In this case, you really have a lot of interesting effects created by almost nothing. All the colours reflect and also it has a very psychedelic effect when you look at it from a close distance. A bit like on an acid trip. The fact that this cheap store foil work is such a big contrast to the expensive acrylic box around it, is another aspect. Without this box, it would have been more trashy, cheap and even more fragile. But when it’s inside it gets more serious leaving no doubt that it’s a real piece of art... I like this simple grip. The way of working with these two opposite parts and perspectives. I also like the reference to the art history - that it has to do with Manzoni and Yves Klein and the presentation of their works today.

– Anselm Reyle

(Anselm Reyle, quoted on whatspace, interview with Anselm Reyle, www.whatspace.nl)

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36marK Flood (B. 1957)Sand Castle, 2004 signed, titled and dated ‘Mark Flood “Sand Castle” 18-04’ (on the overlap)acrylic on canvas on board60 1/8 x 48in. (152.5 x 121.9cm)$40,000 - 60,000

ProvenanceMarty Walker Gallery, Dallas. Private Collection.

I started to realize I needed a new technique to go further...So I saw piece of lace, and I thought that it was kind of like silkscreen, which I had done a lot of. I just tried rolling paint through the lace at first, and I realized it was kind of interesting-lace does weird things with paint.

– Mark Flood

(Mark Flood, quoted in A. Walleston, “More Than Lace: Mark Flood at Luxembourg & Dayan”, in Art in America, 1 August 2012)

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37sterling ruBy (B. 1972)Untitled, 2004 signed ‘Sterling Ruby’ (lower right)spray paint, colored pencil and collage on paper26 3/8 x 42in. (67 x 106.7cm)$40,000 - 60,000

ProvenanceAcquired directly from the artist by the present owner.

I definitely feel that ‘beauty’ is a contemporary question. But I probably prefer to look at it this way, which is to view it by different standards. It’s interesting to see how beauty is represented and how different takes on beauty can be so dichotomous and different. I like to think about art as being similar to poetry: it can’t be proven. It just exists and there’s an aura about it that people get or don’t get. Beauty has to do a lot with that.

– Sterling Ruby

(Sterling Ruby, quoted in H.-M. Post, “Interview”, in Utopia Parkway, 10 December 2009)

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38ChristoPher wool (B. 1955)Untitled, 1991 signed, dated and numbered ‘Wool 1991 D34’ (on the reverse)enamel on paper52 1/4 x 40 1/8in. (132.7 x 101.9cm)$200,000 - 300,000

ProvenanceJack Hanley Gallery, San Francisco.Acquired from the above by the present owner.

exhibitedSan Francisco, Jack Hanley Gallery, Herold, Oehlen, Wool: Works on Paper, 5-28 March 1992.

Christopher makes things to be looked at. You stare at what he makes. What he makes pours over your eyeballs. It seeps into your brain. And it sits there and occupies what you think about. What do you think about when you’re occupied by Christopher Wool?

– Richard Prince

(Richard Prince, quoted in “WOOLWLOOOLOWOOWLLOWOOWLOOOLWLOOW”, Christopher Wool, New York, The Solomon R. Guggenheim Foundation, 2013, p. 234)

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At the close of the 19th Century, a new age in the applied arts emerged and flourished, reflecting the sentiment that modern culture no longer centered itself with the preoccupation of beauty. During this time, Austrian architect Adolf Loos wrote a seminal essay entitled Ornament and Crime (1910), where Loos looked to define modern culture through the lens of his own discipline, arguing that decorative elements disguise ‘the truth’ behind a seductive surface.2 Loos changed the lexicon from the ‘decorative arts’ to ‘design’, signalling a fundamental shift away from the use of surface ornament in favor of the simplicity of material itself. Such an example would be a gilded chair upholstered in toile de jouy it would be relegated to history, eventually replaced by the monochromatic fibreglass composite of the machine-moulded seat from Charles and Ray Eames. Adeptly stated by Marshall McLuhan “the medium is the message” would have retroactively apropos as the modern age favored the ‘honesty’ of material to the ‘deception’ of decorative.

Today we are in yet another new age. Post-modernity. The slippage out of Modernity can be traced to the late 1970’s and a small group of artists including Richard Prince, Cindy Sherman and Jack Goldstein. The seminal exhibition Pictures (1977) at Artists Space and its accompanying essay by Douglas Crimp, ushered in during a time of where the past was being reconsidered through its own reconstitution, emphasized the idea of using raw material for the creation of the new. This new direction in art took hold and influenced many of the artists in New York searching for new ways to make art.

As a young artist in New York in the late 1970’s, Christopher Wool found inspiration in the vary form of deception of Loos feared. Wool

observed this decorative deception in his everyday life through the common practice of frugal landlords adding an aesthetic touch to run-down residential properties through adding painted patterns to building’s interior walls with patterned paint rollers—an inexpensive alternative to wallpaper. In what would seem to be the ultimate coup de grace for a bygone decorative age, wallpaper emblazoned with filigrees, sinuous vines and flowers—once a sign of luxury and beauty—could now be purchased by any slum-lord in the city and employed at will with some house paint and a roller.

The results of Wool’s own experimentation with decorative paint rollers would become a series known as ‘pattern paintings’, a loosely grouped, ever-evolving body of work that would allow him to repeatedly render and rework content in a variety of methods. The aforementioned flowers, vines, and filigrees—genericized staples of interior ornament—are, through a refined, multi-stepped process, rolled, enlarged, then stamped by the artist onto metal and paper. “Wool’s pattern paintings evokes a particular disjunction between the prettifying intention of the rollers and the ascetic formal language of in which he deployed them, described by the artist as ‘an interesting friction generated by putting forms that were supposed to be decorative in such severe terms.’”3 And therein lies Wool’s deception, a simple co-option of a dime-store roller, masks a complex network of ideas touching upon mechanization, the readymade, design, the history of painting, and materiality.

The ongoing ‘friction’ Wool alludes to is found within the roller (and subsequent stamp created from the roller by Wool), a kind of meta-DIY device which reveals a series of dichotomies Wool thrives upon.

Do not weep. Do you not see the greatness of our age resides in our very inability to create new ornament? We have gone beyond ornament, we have achieved plain, undecorated simplicity.

-Adolf Loos

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Bicycle Wheel, 1913/64 (bicycle wheel & fork mounted on stool), Duchamp, Marcel (1887-1968), The Israel Museum, Jerusalem, Israel / Vera & Arturo Schwarz Collection of Dada and Surrealist Art / Bridgeman Images © Succession Marcel Duchamp/ADAGP, Paris and DACS, London 2014

“With painting, you can contradict yourself from one painting to the next, you can contradict yourself from one painting and that’s really exciting to me”4 Wool said. The roller is a product of the mechanized, modern world, created on an assembly line for a consumer to then repetitively recreate patterns. The vine and flower motifs on the roller present a fusion of ‘the unnatural’ through both the machine-like quality of the apparatus and pattern it creates, one derived from ‘the natural world.’ Furthermore, the style of the patterns is nostalgic, emblematic of a time when decorative arts were crafted by hand, yet, here can be made from en masse.

Perhaps the most profound discussions found in the artist’s technique are those which reflect upon the history of the arts. Contrary to the exactitude with which this roller device was meant to achieve (similar to printmaking), Wool’s work embraces the imperfectness of the gestural approach to autonomy of Abstract Expressionism. The muckiness of printed stamp pressed against the page as the paint begins adhere, leaving residual marks as the roller imprints its pattern. One can almost hear the audible ‘suck’ as the stamp pulls away from the surface. There is a deliberate carelessness in the registration, leaving fissures in an imperfect grid—unmistakably created by ‘hand.’ Wool’s paintings possess a Duchampain element as well. Duchamp posited that all paintings are at least, in part, readymades. “Since the tubes of paint used by the artist are manufactured and ready made products we must conclude that all the paintings in the world are ‘readymades aided’ and also works of assemblage.”5 Wool’s use of stamps and rollers coupled with enamel paint (a paint used both in the arts as well as one used for commercial applications), embody the hybridised readymade described by Duchamp.

It returning to Loos, the champion of Modernism and his notions of unornamented simplicity, one can see in the era of Post-Modernism and conceptual practices simplicity is an impossibility. Even the most basic of gestures and forms, like those in Wool’s work, are lined with an underlying complexity. It is at the very core of contemporary art. From Bruce Nauman’s early videos utilizing his own body and a video camera to make art in lieu of affording funds, to Daniel Buren’s reuse of striped café awnings ubiquitous in European life, to Richard Prince’s re-photographing photography, the immediacy of proximity can be an ineffable catalyst for creation.

“Modern design wants the apocalypse now, the apocalypse that unveils things, strips them of their ornament, and causes them to be seen as they truly are. Without this claim that design manifests the truth of things, it would be impossible to understand many of the discussions among designers, artists, and art theorists over the course of the twentieth century”—Boris Groys6

1 Adolf Loos, quoted in B. Goys, “The Obligation to Self-Design”, in e-flux journal #0, November 2008, p. 3.2 Ibid3 Ibid 1.4 K. Brinson, “Trouble is My Business,” in Christopher Wool, The Solomon R. Guggenheim Foundation, New York, 201, p. 38.5 C. Wool and M. Prinzhorn, “Conversation with Christopher Wool,” museum in progress, 1997. 6 M. Sanouillet, Dada Culture: Critical Texts on the Avant-garde, 1973, p. 142.7 B. Groys, “The Obligation to Self-Design,” e-flux journal #0 (November 2008):3.


ProPerty From an imPortant Private new yorK ColleCtion

39Chris oFili (B. 1968)Charmant Four, 2005 signed, titled and dated ‘CHRIS OFILI 2005 “Charmant four”’ (on the reverse)gouache, ink, charcoal and aluminum leaf on paper57 3/8 x 24 7/8in. (145.7 x 63.4cm)$125,000 - 175,000

ProvenanceContemporary Fine Arts, Berlin.Acquired from the above by the present owner in 2005.

exhibitedBerlin, Contemporary Fine Arts, Chris Ofili: The Blue Rider, 18 November-23 December 2005, no. CO/z 249/00, p. 107 (illustrated in color, p. 73).Hanover, Kestnergesellschaft, Chris Ofili: The Blue Rider Extended Remix, 23 June-20 August 2006, p. 177 (illustrated in color, p. 75).

I was trying to find new ways to use a color to the point of saturation, to the point where you don’t see it.

– Chris Ofili

(Chris Ofili, quoted in, P. Doig, C. Becker, D. Adjaye, O. Enwezor, K. Walker, T. Golden and C. Shaw, Chris Ofili, New York 2009, p. 244)

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Cover of Der Blaue Reiter almanac, c. 1912

Franz Marc, Big blue horses, oil on canvas, 1911. De Agostini Picture Library / Bridgeman Images

Synthesizing figuration, abstraction, spiritualization and expressionism, Wassily Kandinsky, Franz Marc and August Macke’s Der Blaue Reiter (The Blue Rider) movement of 1911 sought out a connection with something outside of themselves - and found it within the experiential practice of art and the act of viewing. In 1910, Kandinsky remarked that this collaborative community would take shape in a manifesto – one that could extend beyond the cafes of Europe: “we want to establish an almanac which is to be the organ for all the new, genuine ideas of our times. Paintings, music, stage, etc. It would be published simultaneously in Paris, Munich and Moscow… We are hoping for so much that this is salubrious and stimulating, including directly for one’s own work, for the clarification of ideas, so that this almanac has become our entire dream”1. As an homage to this utopic artistic practice, Chris Ofili’s exhibition The Blue Rider pieces together an intoxicating and seductive viewing experience, where the exotic yearning for the faraway found within Expressionism acts as a guiding principle within Ofili’s work. One work from this series, Charmant Four, 2005, unfolds itself like a fan to the viewer, revealing the sensitive and fleeting moment of nocturne – where darkness, opacity and an overall tinge of sensual blue keep time at bay. In naming this collective of works The Blue Rider, Ofili solders himself and his artistic process to the central valuation on the subject, just as Marc and Kandinsky had done – whereby an examination of the arts as a whole is an all-encompassing, transcendent-like experience.

Ofili’s use of blue seen in this work is more than just a color choice – to him it is the core factor of the piece, where he believes “the tendency of blue towards deepening is so strong that, especially in deeper tones, it becomes more intrusive and seems more characteristically

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Chris Ofili: The Blue Rider, exh. cat., 2006, inside cover

inward. The deeper that blue becomes, the more it summons man into infinity, awakens in him a longing for purity and ultimately for the supernatural.”2 This reading of blue is also present in Marc’s teaming sense of unbridled energy seen in his Big Blue Horses from 1911. Energized by Der Blaue Reiter’s unification a year prior, Marc’s piece teams with excitement and promise in the same manner that Charmant Four presents an intriguing proposition of new experience that the viewer cannot ignore. Ofili’s layering of pigment deepens the tonal attitude of the work, where the color is the central focus, and it alone heightens one’s anticipatory and instinctual reflexes. Like Ofili, oher artists such as Pablo Picasso, Henri Matisse and Yve Klein have been similarly entranced by the color, relying on it more than just an auxiliary descriptant, and seeing the hue as a character in itself.

Influenced by his artist’s residency in Trinidad in 2000, Ofili relocated to the island permanently in 2005. This location change is reflected in is work, where his focus can be seen in harnessing the complexity and depth of pigment. “I’ve found that the night and twilight here enhances the imagination. In the city our relationship to the night is very particular because it’s always illuminated, but here it’s unlit, so you’re relying on the light of the moon and sensitivity of the eyes. It’s a different level of consciousness that is less familiar to me, and stimulating through a degree of fear and mystery.”3

Such mystery is keenly felt when trying to piece together the scene Ofili puts forth. This all encompassing exercise in color centers around a semi-abstracted human figure amid a haunted landscape. With a large halo-like afro, this Rastafarian-esque man sways as he plays a flute. In an abstract tropical setting, Ofili’s layering of forms alludes to dense, humid and almost claustrophobic sense of darkness, where

bodies press against each other with the melding of sweat, with a hazy and rhythmic shifting of side to side. Interrupting this intoxicating and serene calm is the sheen of a silver form - a hooded cobra takes shape and like the viewer becomes entranced by the man’s melodic talent. This charmant, or charmer, not only transfixes the audience, but he also lends a tempting and even dangerous element to the work – calming a deadly beast amidst a romantic setting. Playing off of the fall of Adam and Eve, Ofili’s mastery of the art historical pictorial language presents this work and others from The Blue Rider series into new context – casting characters of other race within an established biblical structure.

The formal analysis of this work reveals an impressive artistic vision, where layering, flattening of shapes and the expressive use of abstraction come together and create a faceted view of a complex story – revealing a dynamic although fleeting glance at a new take on a old tale. Known for his exploration and implementation of artistic narratives centralized on race and gender, Ofili’s placement of race within Charmant Four calls into the representation of blackness within the art historical canon. Here, his Garden of Eden is afro-centric – challenging the normalized view of this biblical chapter. Always conscious of the politics of gender and race within art history, Ofili positions himself to challenge outdated ideologies and stereotypical nuances, but does so in a manner that reveals his artistic spirit - relying only on his understanding of color and line above all else.

1 Franz Marc in a letter to August Macke, 8 September 1911, quoted in C. Zuschlag, “The Blue Rider”, Chris Ofili: The Blue Rider, 2006, p. 7.2 W. Kandinsky, Concerning the Spiritual in Art, 1910.3 Chris Ofili, in C., Tate Etc., Spring 2010.


40tim white-soBiesKi (Born 1961)Lab Party Before They Were Beatles, 2004-2005 signed, titled, numbered and dated ‘”Lab Party” (Before They Were Beatles series) 2004-2005 Tim White A/P’ (on the reverse of the frame)aluminum flush mount to Plexiglas71 5/8 x 98 3/8in. (182 x 250cm)This work is artist’s proof from an edition of five plus one artist’s proof.$12,000 - 25,000

ProvenancePrivate Collection (acquired directly from the artist).Anon. sale, Phillip’s, London, 17 May 2008, lot 306.Paradise Row/Lauren Prakke Contemporary, London.Acquired from the above by the present owner in 2009.

exhibitedLondon, Paradise Row/Lauren Prakke Contemporary, PLAY: A Festival of Fun Group, 9 October- 2 November 2009.

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ProPerty From a Florida ColleCtion

41sandy sKoglund (B. 1946)The Green House, 1990 signed, titled, numbered and dated ‘The Green House © 1990 Sandy Skogland 26/30’ (lower right)dye destruction print laid down on Plexiglas65 x 75in. (165.1 x 190.5cm)This work is number twenty-six from an edition of thirty.$20,000 - 30,000

ProvenanceJanet Borden, Inc., New York.Acquired from the above by the present owner in 1990.

LiteratureSandy Skoglund. Reality under Siege. A Retrospective, New York, 1998 (another from the edition illustrated, pl. 37).H.-M. Koetzle, Photo Icons: The Story Behind the Pictures, Volume 2, Cologne, 2002 (another from the edition illustrated, p. 157).Sandy Skoglund: Magic Time, exh. cat., Bescia, Galleria Paciarte Arte Contemporanea, 2008 (another from the edition illustrated, p. 32).

exhibitedNew York, Janet Borden, Inc., The Green House, 4-29 September 1990 (another from the edition exhibited).New York, International Center of Photography, Eye of the Beholder: Photographs from the Avon Collection, 12 September-16 November 1997 (another from the edition exhibited).


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thomas struth

Thomas StruthIglesia de San Francisco, Lima, Peru© Thomas Struth


The person we look at, or who feels he is being looked at, looks at us in turn. To experience the aura of an object we look at means to invest it with the ability to look back as us.

– Walter BenjaminThere is a fundamental difference between a building and architecture—one is meant to be a container for its occupants, the other is meant to inspire awe. Perhaps, there are no two institutions who understand this better then religion and the museum. Both are aspirational places, ones created with the purpose of housing objects which transcend time, auratic objects of art which possess their own power and mythology. This power to encourage to viewing both inward and outward generated by museums and holy sites profits from their own unavailability, providing rare experiences which has given way to a booming culture industry. The German-born artistThomas Struth has built much of his artistic practice by inhabiting the halls of such places, recording them with stunning detail and often at a monumental scale. Struth’s work seeks to reveal truths about our own era and those who congregate within these exalted structures dotted throughout the globe, offering unique insights into the contemporary world through an art historical lens.

Struth began to photograph museums while in living in Italy in the 1980’s, where Tobia Bezzola and James Linwood note: “his experiences living in Naples and Rome, the proximity to a culture where painting was intimately connected to religion, were a catalyst for a reflection on the on the different function of art in a more secular world and they ways in which historic paintings are experienced in museums today.”1 He began to photograph people looking and paintings at the Louvre, then at the National Gallery in London, and on to the Art Institute of Chicago, the Galleria dell’Accademia in Venice and so on. On the surface they appear to simply museumgoers caught in the act of viewing, having a private moment in a public space. But Struth was after a more profound level of introspection:

“The idea behind the museum photographs was to retrieve the masterpieces from the fate of fame, to recover them from their status as iconic paintings, to remind us that these were works which were created in a contemporary moment, by artists who had everyday lives. They can be admired but revering the artists and their work can also be an impediment. In essence, I wanted to bring together the time of the picture and the time of the viewer.”2

Struth seeks to strip away the mystique which has been built up around the word’s treasures—works by David, Géricault and Delacroix among others – and does so by exposing this pure interaction of object and viewer – showing an honest interaction between person and place/item. He sought to collapse the distance between the viewer and the creator. Philosopher Boris Groys posited “the traditional painting was seen as something that prevents the gaze of a spectator to recognize it as a combination of shapes and colors on canvas.”3 The reverence around the cult object fades in Struth’s photographs and the paintings become merely an instrument—a portal—for both the spectator and the viewer to connect. Both the museum-goer and artist who created the work depicted in Struth’s picture retain a degree of invisibility, as the viewer’s face remains unseen, and the artist is visible only symbolically through their painting.

The anachronistic nature of the museum, however—exhibiting works removed from their original context—pushed Struth’s practice in another direction, one which was out-of-character for the artist. Starting with San Zaccaria, Venice (1995) Struth began to photograph global places of worship—“spaces humanity has built for itself and reflected on the systems of belief.”4 His intellectual curiosity brought him to disparate places around the globe to depict the interaction between worshipers and the objects which symbolize their devotion and adoration.

“Looking at works which had not been isolated from their original context, which were still in the place and perhaps in the belief system for which they had originally been made, stimulated new possibilities. Having been raised Catholic, I was reluctant to expand my work from the realm of art-historical museums into the domain of the religious.”5

Struth’s status as an outsider is evident in his ecclesial pictures. His placement within the image and framing of the scene is one not only of a creative distance, but one of personal detachment from his subject. Often working during a service, Struth photographs from the margins of the audience, working almost unnoticed by the devoted. The audience, while in the foreground, remains secondary to the artwork which surrounds them. “The photograph places the viewer in a precise position, central and complicit, as if Struth is asking us to contemplate not only what has been built around us, the fabric of the built environment, but to consider the forces at work in this construction as well as the collective responsibility for it.”6 His approach is that of an art-historian focusing his attention on the spectacular historical and stylistic tableau which lay before him. “They incorporate a full repertoire of religious effects—a

(Walter Benjamin, quoted in “On Some Motifs in Baudelaire”, Selected Writings, 1940, p. 338)

Thomas Struth, San Zaccaria, Venice, 1995 chromogenic print, (182x 230.5cm). Image courtesy of © Thomas Struth92 | BONHAMS

Thomas Struth, Audience 07, Florence, 2004, chromogenic print, (179.5 x 238.3 cm). Image courtesy of © Thomas Struth

brilliant panoply of gilded, painted, and patterned surfaces, carvings of angels and saints in huge columns, illuminated Madonnas, huge organs and incense holders, al conspiring to overwhelm.”7 Noticebly absent is the cool, neutrality of the museums’ monochromatic walls, here replaced by a density of ornament and craftsmanship forming an amalgam of piety and power which is unmistakenly the “domain of the religious.”

While Struth’s goal was to record paintings and places of beauty within their ‘original context’, one of the most interesting aspects of this series is the way in which that context unpacks. In his museum series, Struth alludes to the nature of objects now housed in the static confines of the museum, often tinged with aspects of isolation and displacement. Such a feeling, however, can shift in meaning especially under the complex layered history of globalization. The artist’s depiction of New World cathedrals in Igreja Matriz de Nossa Senhora, Ouro Preto (2004) and Iglesia de San Francisco, Lima, Peru (2003) are exemplary of how the interior of the church transforms itself into an entanglement of temporal and geographic distinctions. These sites in Brazil and Peru respectively, under close examination become symbols for the colonization of the Americas, a riff in the cultural and territorial sovereignty of the areas.

The compositional similarity created by Struth between the artist’s San Zaccaria, Venice and Iglesia de San Francisco is compelling. “The pictorial structure echoes closely the work of made in San Zaccaria, Venice, with the small figure of the Virgin Mary radiating a brilliant white light from the heart of the picture.”8 A viewer naturally draws formal congruencies between the two sites through the similar single-point perspective both centered on the figure of the Virgin Mary. The details in historical context of the cathedral in Peru, however, stand in stark contrast to its European counterpart. Peru is the former seat of the Incan empire and many of its cultural objects suggest a past uneasy

with its present. In Cuzco, Peru, an art historical thread emerged following the Spanish conquest and soon spread to other regions throughout the Andes. As Spain began to establish its dominance over the Incas it sought to do so with cultural and ecclesiastical monuments. Many of the Catholic cathedrals were built upon the dismantled Incan temples. What cultural treasures made of gold which were not shipped back to Europe were melted down and reemployed into the gilding of Christian architecture and objects. The Cuzco School subverted the European church by depicting many of the sacred Christian scenes and figures combined with those of their Incan heritage. Guinea pigs, indigenous the region, and a staple of the Peruvian diet were inserted into scenes of the last supper, native textiles and fauna began to appear in the scenes, and adjustments were made to the poses of representational images of holy figures to more closely resemble that of the area’s past. Struth’s desire to shift the historical context of art then becomes mirroring of an uneasy power dynamic between European colonizer and an occupied land.

Columns, the structural engineering framework of a building become a proxy for an underlying strand of global conquest present in the work. …”wherever they materialize, in whatever culture, they stand for the same ideological ambitions: for permanence, stability, the imposition of authority, for an ideological superstructure that frames and shapes and controls.”9

1 Thomas Struth: Photographs 1978-20102 Ibid3 e-flux journal #04 Thomas Struth: Photographs 1978-20105 Thomas Struth: Photographs 1978-20106 Thomas Struth: Photographs 1978-20107 Ibid 169.8 Thomas Struth: Photographs 1978-20109


ProPerty From a Private southern CaliFornia ColleCtion

42thomas struth (B. 1954)Iglesia de San Francisco, Lima, Peru, 2003 signed ‘Thomas Struth’ (on a label affixed to the reverse of the frame) chromogenic print face mounted on Plexiglas70 1/8 x 92in. (178 x 233.8cm)This work is number eight from an edition of ten.$500,000 - 800,000

ProvenanceGalerie Greta Meert, Brussels (acquired directly from the artist’s studio).Acquired from the above by the present owner in November 2007.

LiteratureH. Belting, W. Grasskamp and C. Seidel, Museum Photographs: Thomas Struth, Munich 2005 (another from the edition illustrated in color, pp. 79 and 106).T. Bezzola, A. Kruszynski and J. Lingwood, Thomas Struth: Photographs 1978-2010, New York 2010 (another from the edition illustrated in color, pp. 91 and 205).

exhibitedBerlin, Galerie Max Hetzler, Thomas Struth, 29 January-12 March 2005 (another from the edition exhibited). New York, Marian Goodman Gallery, Thomas Struth: Peru Photographs, 2003-2004, 8 July-26 August 2005 (another from the edition exhibited). Düsseldorf, Kunstsammlung Nordrhein-Westfalen, Thomas Struth: Photographs 1978-2010, 26 February-19 June 2011 (another from the edition exhibited).8. Seeing is Believing” in Thomas Struth: Photographs 1978-2010, p. 170.9. Ibid 171-172.

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ProPerty From a Private southern CaliFornia ColleCtion

43thomas struth (B. 1954)Igreja Matriz de Nossa Senhora do Pilar, Ouro Preto, 2004 signed ‘Thomas Struth’ (on a label affixed to the reverse of the frame)chromogenic print face mounted on Plexiglas67 x 85 1/4in. (170 x 216.6cm)This work is number six from an edition of ten.$500,000 - 800,000

ProvenanceGalerie Max Hetzler, Berlin.Acquired from the above by the present owner in January 2007.(detail)

© Thomas Struth96 | BONHAMS


ProPerty From a Private ColleCtion

44emily JaCir (B. 1970)Spanish Class, Ramallah, April 22, 2002, 2002 signed ‘Emily Jacir’ (on the gallery label affixed to the reverse of the frame)Cibachrome print19 3/4 x 14 3/4in. (50.2 x 37.5cm)This work is number two from an edition of seven.$4,000 - 6,000

ProvenanceDebs & Co., New York.Acquired from the above by the present owner in 2003.

(detail)© Thomas Struth

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45emily JaCir (B. 1970)Shoe store, Ramallah, April 22, 2002, 2002 signed ‘Emily Jacir’ (on the gallery label affixed to the reverse of the frame)Cibachrome print14 3/4 x 19 3/4in. (37.5 x 50.2 cm)This work is number two from an edition of seven.$4,000 - 6,000

ProvenanceDebs & Co., New York.Acquired from the above by the present owner in 2003.


46masao yamamoto (B. 1957)#1189, #1213, #1160, #848, #8, #191, #1041 and #1200 (from the Nakazora series), 1987-2002i. signed in Japanese and stamped with artist’s name, titled and numbered ‘Nakazora #1189 8/40’ (on the reverse)ii. signed in Japanese and stamped with artist’s name, titled and numbered ‘Nakazora #1213 6/40’ (on the reverse)iii. signed in Japanese and stamped with artist’s name, titled and numbered ‘Nakazora #1160 5/40’ (on the reverse)iv. signed in Japanese and stamped with artist’s name, titled and numbered ‘Nakazora #848 9/40’ (on the reverse)v. signed in Japanese and stamped with artist’s name, titled, numbered and dated ‘A Box ‘Kŭ’ #8’, 1987-1996 3/40 selection 5. Ha’ (on the reverse)vi. signed in Japanese and stamped with artist’s name, titled, numbered and dated ‘A Box ‘Kŭ’ #191’, 1990-1996 2/40’ (on the reverse)vii. signed in Japanese and stamped with artist’s name, titled, numbered and dated ‘Nakazora #1041 2002 3/40’ (on the reverse)viii. signed in Japanese and stamped with artist’s name, titled and numbered ‘Nakazora #1200 5/40’ (on the reverse)i. 4 1/2 x 5 3/8in. (11.4 x 13.7cm)ii. 2 3/4 x 3 3/4in. (6.2 x 9.5cm)iii. 4 1/2 x 3 3/4in. (11.6 x 9.5cm)iv. 5 1/4 x 2 1/8in. (13.4 x 5.5cm)v. 4 x 6in. (10.2 x 15.2cm)vi. 4 1/4 x 3in. (10.6 x 7.8cm)vii. 5 7/8 x 4 5/8in. (14.9 x 11.6cm)viii. 3 3/4 x 4 3/4in. (9.6 x 12.1cm)eight gelatin silver prints with gold ink$5,000 - 7,000

ProvenanceYancey Richardson Gallery, New York.Acquired from the above by the present owner.

exhibitedTucson, Etherton Gallery, Poetics of Light: Kate Breakey, Masao Yamamoto, James Hajicek and Carol Panaro-Smith, 1 December 2009-27 February 2010 (another from the edition exhibited).

i.ii.

iii.

iv.

viii.vii.vi.v.

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47doug & miKe starn (B. 1961)Attracted to Light 45, 1996-2003 signed, numbered and dated ‘Doug Starn Mike Starn 1/5 1996-2003’ (on the reverse of the frame); titled ‘Attracted to Light’ (on the artists’ label affixed to the reverse) toned silver print on Thai mulberry paper, tape and pins in artist’s frame15 x 88in. (38.1 x 223.5cm)This work is number one from an edition of five.$7,000 - 9,000

ProvenanceAcquired directly from the artists by the present owner in 2003.



48roe ethridge (B. 1969)Sun with Refracted Suns, 2008 signed ‘Roe Ethridge’ (on the gallery label affixed to the reverse of the frame)Cibachrome print55 x 40in. (139.7 x 101.6cm)This work is number two from an edition of five plus two artist’s proofs.$6,000 - 8,000

ProvenanceAndrew Kreps Gallery, New York.Anon. sale, Aspen Art Museum, Aspen, ArtCrush Benefit, 1 August 2010.Acquired at the above sale by the present owner.

exhibitedBerlin, Gerhardsem Gerner, Nature, Group Exhibition, 12 November-14 January 2011 (another from the edition exhibited).

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49elger esser (B. 1967)Seudre Frankreich, 2001 color coupler print face mounted on Plexiglas53 3/4 x 69 7/8in. (136.5 x 177.4cm)This work is from an edition of seven. $20,000 - 30,000

ProvenanceGalleria Alessandra Bonomo, Rome. Anon. sale, Phillips de Pury & Company, New York, 31 March 2008, lot 285.Acquired at the above sale by the present owner.


50enrique martĺneZ Celaya (B. 1964)Bonn II, 2001 signed, titled, inscribed and dated ‘Martinez Celaya 2001 22 ‘Bonn II Stage 1’’ (on the reverse)oil, tar and feathers on canvas67 x 72in. (107.2 x 182.9cm)$10,000 - 15,000

ProvenanceBaldwin Gallery, Aspen.Acquired from the above by the present owner.

exhibitedAspen, Baldwin Gallery, Enrique Martinez Celaya: Mirror, 28 July-4 September 2001.

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51enrique martĺneZ Celaya (B. 1964)Loyalty, 2000 inscribed ‘No name’ (upper center)oil and pencil on canvas66 x 72in. (167.6 x 182.9cm)$12,000 - 18,000

ProvenanceGriffin Contemporary, Venice (acquired directly from the artist).Acquired from the above by the present owner.


ProPerty From a Private Far hills, new Jersey ColleCtion

52martin BarrÉ (1924-1993)59- 96 x 88-A, 1959 signed and dated ‘MARTIN BARRÉ 59’ (lower left); signed, titled and dated ‘59- 96 x 88-A MARTIN BARRÉ 1959’ (on the reverse)oil on canvas37 3/4 x 34 5/8in. (96 x 88cm)$50,000 - 70,000

ProvenanceGalerie Arnaud, Paris.Acquired from the above by the present owner circa 1960.

LiteratureY. Bois, Martin Barré, Paris 1993 (illustrated, p. 14).

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ProPerty From a Private Far hills, new Jersey ColleCtion

53martin BarrÉ (1924-1993)60-T-22, 1960 signed ‘MBARRÉ’ (upper right); signed, titled and dated ‘60-T-22 MBARRÉ 1960 (on the reverse)oil on canvas37 3/4 x 34 5/8in. (96 x 88cm)$50,000 - 70,000

ProvenanceGalerie Arnaud, Paris.Acquired from the above by the present owner circa 1960.


homage to howard wiseThe Howard Wise Gallery was one of the few select venues which exhibited European art during the xenophobic period when the New York art critic Irving Sandler boastfully entitled his book on Abstract Expressionism The Triumph of American Painting. This was countercharged, to be sure, by the French art historian’s Serge Guilbaut’s How New York Stole the Idea of Modern Art, which appeared some years later. Howard Wise, who first opened an art gallery in his native Cleveland in 1957, exhibited graphics by Pierre Soulages, Jean Dubuffet, Alberto Giacometti and Hans Hartung, and even presented a solo show of the German abstractionist Willi Baumeister.

Expecting more success in his enterprise, Wise opened a gallery in New York in 1959. He employed the architect Wilder Green, curator of Architecture to Design at MoMA, to lay out the space on West 57th Street and invited Doug MacAgy to join him as a consultant. In 1945, MacAgy had been appointed to direct the California School of Fine Arts (now the San Francisco Art Institute) and transformed an art academy into the vital center of Abstract Expressionism on the West Coast. The Howard Wise Gallery initially presented solo shows of painters who had studied at the School before moving to New York, such as Ernest Briggs, John Grillo and Edward Dugmore. The latter’s paintings of jagged and fluid planes of

color, animated by his own fervent zip, show the influence of Clyfford Still, who had been a major presence at the California School. In his early years in New York, Wise also presented the lesser known New York Abstract Expressionists. In fact, his first show on 57th Street was of Milton Resnick, who had lived in Paris after the War and worked with open overall fields of textured color in paintings which were referred to as Abstract Impressionism.

In 1971, the Gallery explored the origins of the new art movement with a solo show of Laszlo Moholy-Nagy. That year Howard Wise closed the gallery and went on to organize Electronic Arts Intermix, which served as a sponsor for the new media including electronic art. The Gallery is remembered as a place of innovation and risk and Howard Wise, a righteous man, posted an Open Letter in March 1971 which began: “Our Government is becoming increasingly obsessed with the idea of winning the war in Vietnam at no matter what the cost to our human and natural resources, and without regard to the brutalizing effect our continuing involvement is having on our children and in fact all of our young people....” Mr. Wise was aware of the present and predicted the future in politics as well as art.

- Peter Selz

If I say that I am not just making paintings, I would not be making myself clear. Of far greater significance and permanent value than what happens on the surface of the paintings are the ideas they are made of and the feelings they evoke when you look at them.

– Edward Dugmore

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ProPerty From the estate oF howard & BarBara wise

54edward dugmore (1915-1996)Untitled, 1962 signed and dated ‘DUGMORE 1962’ (on the reverse)oil on canvas45 5/8 x 50in. (116 x 127cm)$15,000 - 20,000

ProvenanceAcquired directly from the artist by the present owners.

exhibitedNew York, Howard Wise Gallery, Resnick, McNeil, Krasner, Briggs, Grillo, Mitchell and Pace, 4-29 October 1959.New York, Howard Wise Gallery, Edward Dugmore, 8 September – 1 October 1960. Berlin, Moeller Fine Art, HOWARD WISE GALLERY: EXPLORING THE NEW, 13 July-27 August 2012. This exhibition later traveled to New York, Moeller Fine Art.



55edward dugmore (1915-1996)MO, 1962 signed, titled and dated ‘DUGMORE AUGUST 1962 MO’ (on the reverse)oil on canvas67 x 80in. (170.2 x 203cm)$25,000 - 35,000


exhibitedNew York, Howard Wise Gallery, Resnick, McNeil, Krasner, Briggs, Grillo, Mitchell and Pace, 4-29 October 1959.New York, Howard Wise Gallery, Edward Dugmore, 8 September – 1 October 1960. Berlin, Moeller Fine Art, HOWARD WISE GALLERY: EXPLORING THE NEW, 13 July-27 August 2012. This exhibition later traveled to New York, Moeller Fine Art.

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56edward dugmore (1915-1996)RED AND BLACK #9, 1958 signed and dated ‘DUGMORE ‘58’ (lower left); signed, titled and dated ‘DUGMORE 1958 RED AND BLACK #9’ (on the reverse)oil on canvas65 x 84in. (165.1 x 213.4cm)$40,000 - 60,000


exhibitedNew York, Howard Wise Gallery, Resnick, McNeil, Krasner, Briggs, Grillo, Mitchell and Pace, 4-29 October 1959.New York, Howard Wise Gallery, Edward Dugmore, 8 September – 1 October 1960. University Art Museum, The University of Texas at Austin, 1968.



57hans hoFmann (1880-1966)Figur, 1945 signed and dated ‘hans hofmann 45’ (lower right)oil on board laid down on canvas26 x 22in. (66 x 55.9cm)$120,000 - 180,000

ProvenanceEstate of Hans Hofmann (1966-1973).André Emmerich Gallery, New York (1973).Makler Gallery, Philadelphia (1973).Private Collection (acquired from the above by the present owner in 1973).

exhibitedPhiladelphia, Makler Gallery, American Abstract Expressionists, 7 May-16 June 1973, no. 14 (illustrated, unpaged), misidentified as Still Life.New York, Moeller Fine Art, Crosscurrents in Modern Art, 5 November 2013-21 January 2014.

LiteratureS. Villiger, Hans Hofmann Catalogue Raisonné of Paintings, 2014, no. P537 (illustrated in color, p. 329 and listed with archival references HH cat. no. 228-1945 and Estate no. M-0761).

It has been said that Hofmann is an ‘automatic’ painter; he has also been called an ‘action painter’ because of his direct enactment of emotional content. Yet his automatism has never been mere psychic catharsis, his activity is never purely physical, and his fury, like his delicate lyricism, is that of nature as well as himself. And even in the most passionate of his work the adjustment of formal relationships can be as precise as in the compositions of Mondrian or Malevich.

– William Seitz

(William Seitz, Hans Hofmann, exh. cat., New York, The Museum of Modern Art, New York, 1963, p. 8).

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Wassily Kandinsky, Study for Improvisation 24, 1912, oil on panel. Private Collection / Bridgeman Images © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris

Throughout his career, Hans Hofmann has been called many things as his work evolves through certain styles or movements throughout his career. His style shifted quire dramatically and frequently during his painting career which began in the 1920s in Europe and ended in America in 1966. As the mid-point of his career, the 1940s were an important and defining period of the artist’s life and work. Having already achieved some notoriety, as well as explored several different genres, techniques and influences, Hofmann matured to a point where he was able to more clearly ascertain what he was after in his own work and how he would achieve it. This period would come to be defined by the colorful, lyrical and bold Surrealist paintings, of which Figur, 1945, is a brilliant example.

Hofmann spent his youth in Germany and Paris, during which he experienced the innovations of all of the masters of Modern Art including Kandinsky, Miró, Mason and Mondrian, all of who would become not only friends, but also influences on the shaping of his ideology. Hofmann once stated that, “I am often asked how I approach my work. Let me confess: I hold my mind and my work free from any association foreign to the act of painting. I am thoroughly inspired and agitated by the actions themselves which the development of the painting continuously required.”1 This statement strongly signals to is to the ideas put forward by André Breton in his Surrealist Manifesto. As critic Jed Pearl noted, “the very boldness of Hofmann’s canvases suggests an outing of the unconscious. Hofmann grappled with the tangled, the unexpected,

the dreamed-of, but he grappled with them in the clear light of day…. Automatism is the idea, more than any other, that links Hofmann with the Surrealists, and it is an idea that goes back to the early 1920s, when André Breton defined Surrealism as ‘psychic automatism in its pure state, by which one proposes to express… the actual functioning of thought’—of thoughts flowing like dreams. For artists, automatism suggested improvisational possibilities, the possibility of putting a line on a piece of paper without premeditation, and then seeing where the line took you.”2

When looking at Figur, you can readily see the automatic in his technique. Lines, shapes and colors flow out of one another in a seamless and graceful motion. While there are certainly elements or areas which appear deliberately and more carefully placed, the general forms, and most importantly, the lines that form the figure, and define the shapes, contours and planes of the composition all appear to have been applied in one extended gesture. These lines constitute an element of Hofmann’s technique that stayed with him throughout the varied stages of his career. As Walter Bannard noted, “drawing was a part of him not easily exorcised. He had drawn incessantly in the years before he began to bear down on his painting, and so for years thereafter. And there was the example of Cubism, which always informs Hofmann’s paintings and which counts so much on line, and that of Miró, hints of whose drawing can be found gracing (unnecessarily) many of the masterpieces of the 40’s… Hofmann can use Miróesque drawing to bring a picture into being.”3

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Willem de Kooning, Mailbox, 1948, oil, enamel & charcoal on paper mounted on panel. Private Collection / Photo © Christie›s Images / Bridgeman Images © 2014 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York

In Figur another, separate but equally important side to Hofmann is exquisitely exposed. The mastery of color and structure, which would dominate and define his later work in the 1960s, makes a remarkable appearance. While visually the composition is wholly different from his 60s paintings, you can see here how pure color and form are becoming more pronounced and simplified, even more so than in early surrealist pictures from the decade. It is with this is mind, that a different influence is perceived, that of Mondrian and Kandinsky. As William Seitz stated, “he admired Mondrian for the purity of his abstract structure, and also Kandinsky – whom he once called an ‘anti-plastic’ painter – for his automatism and fluid color… By synthesizing such diverse materials, Hofmann was able to pan his own variety of gold from the stream of modern painting: the unhampered autonomy of lines and planes; the elevation of color to a primary means; the maintenance of clear ‘intervals’ between color planes; the preservation of physical gestures in pigment. He cast aside the dross of systemic perspective, tonal modeling, literature, and illusionism.”4 Thus, we see a confluence of ideas in Figur, Miró, Mason, Mondrian and Kandinsky come together in one brilliantly executed painting, which not only pays homage to the masters, but projects them forward in a way that none of them could have achieved individually. Furthermore, with Figur, and other equally successful pictures from this period, it could be argued the Hofmann paved the way for the Abstract Expressionists like Willem de Kooning and Clyfford Still with his deep understanding of color and gesture.

As Bannard notes, “In the early and mid 40’s he clustered extreme lights and darks before (Clyfford) Still, poured and spattered before Pollock and painted classic Abstract Expressionist pictures in primary colors before de Kooning.”5 He goes on to point out, that in contrast to the works of these Abstract Expressionists, Hofmann’s works are “painted in the same liquid manner as others of the period, but [are] more ‘classically’ composed and ‘easily’ colored.”6

With Figur, we see Hofmann at his best. His genius is reflected in his ability to understand and dissect the language of the past Modern masters and his daringness to combine them into a new visual lexicon that would allow him to create something bold and exciting. Figur is not only visually a striking example of Hofmann’s brilliance, but also marker for potentially the biggest turning point in the artist’s career.

1 Hans Hofmann, quoted in J. Fineberg, Art Since 1940: Strategies of Being, New York 2000, p. 58.2 J. Perl, “The Unabashed Unconscious: Reflection on Hofmann and Surrealism”, in Hans Hofmann, exh. cat., New York, Ameringer & Yohe Fine Art, 2005, p. 3.3 W. D. Bannard, “Hans Hofmann”, in hans hofmann: A Retrospective Exhibition, exh. cat., Houston, Museum of Fine Arts, 1977, p. 15.4 W. Seitz, Hans Hofmann, exh. cat., New York, The Museum of Modern Art, New York, 1963, pp. 7-8.5 W. D. Bannard, “Hans Hofmann”, in hans hofmann: A Retrospective Exhibition, exh. cat., Houston, Museum of Fine Arts, 1977, p. 11.6 Ibid, p. 15.


The creative process lies not in imitating, but in paralleling nature – translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive, and every work of art should be alive.

– Hans Hofmann

ProPerty From a Private PaCiFiC northwest ColleCtion

58hans hoFmann (1880-1966)Miller Hill, 1941 signed and dated ‘hans hofmann 41’ (lower right)oil on board17 5/8 x 24in. (44.8 x 61cm)$60,000 - 80,000

ProvenanceEstate of Hans Hofmann.André Emmerich Gallery, New York (acquired from the above).Acquired from the above by the present owner in 1988.

exhibitedLondon, Crane Kalman Gallery, Hans Hofmann (1880-1966), 7-30 November 2000, no. 19 (illustrated in color, pl. 5).

LiteratureS. Villiger, Hans Hofmann Catalogue Raisonné of Paintings, 2014, no. P350 (illustrated in color, p. 208 and listed with archival reference Estate no. M-0392).

(Hans Hofmann, quoted in, ‘Hofmann, Hans; Sara T Weeks; Bartlett H Hayes’, Addison Gallery of American Art, ”Search for the real, and other essays”, Cambridge, Mass., 1967.

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I’m not really a painter. I’m only interested in learning the technique of painting to demonstrate my ideas.

- Roberto Matta

59roBerto matta (1911-2002)El Dios de las Batallas, 1985 signed ‘Matta’ (lower right)pastel on paper on canvas50 1/2 x 60 1/4in. (128.3 x 153cm)$30,000 - 50,000

ProvenanceGalerie de France, Paris.Acquired from the above by the present owner in 1985.

exhibitedParis, Galerie de France, El Quijote de Matta 1605–1985, 1985 (illustrated in color, Cap XV, p. 24).

(Roberto Matta, quoted in Phong Bui, “Matta, 1912-2002”, in The Brooklyn Rail, 1 December 2003)

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60norman Bluhm (1921-1999)Dusk, 1956 signed and dated ‘NBLUHM 1956’ (lower right); indistinctly signed, titled and dated ‘1956 Dusk’ (on the reverse)watercolor on paper22 1/8 x 30 1/8in. (56.2 x 76.6cm)$20,000 - 30,000

ProvenanceMark Borghi Fine Art Inc., New York.Acquired from the above by the present owner.

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ProPerty From a CorPorate ColleCtion

61milton resniCK (1917-2004)Pulse, 1963 signed and dated ‘Resnick 63’ (lower left)oil on paper on canvas35 5/8 x 39 3/8in. (90.5 x 100cm)$40,000 - 60,000

ProvenanceHoward Wise Gallery, New York. Acquired from the above by the present owner.

exhibitedSan Francisco, San Francisco Museum of Art, Directions – American Paintings, 20 September-20 October 1963.New York, Howard Wise Gallery, Recent Paintings by Milton Resnick, 4-29 February 1964.


62milton resniCK (1917-2004)Untitled, 1964 signed and dated ‘Resnick 64’ (lower left)oil on paper on canvas42 1/2 x 96 5/8in. (108 x 245.4cm)$80,000 - 120,000

ProvenanceB.C. Holland Gallery, Chicago.Acquired from the above by the present owner.

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63gÉrard ernest sChneider (1896-1986)Untitled, 1983 signed and dated ‘Schneider 83’ (lower left)acrylic on paper58 1/4 x 56in. (148 x 142.2cm)$10,000 - 15,000

ProvenanceGalerie Patrice Trigano, Paris.Private Collection, Paris.Acquired from the above by the present owner.

exhibitedParis, Galerie Patrice Trigano, Gérard Schneider, 1984 (illustrated in color, p. 72).

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64larry Poons (B. 1937)Anaconda, 1984signed, inscribed and dated three times ‘84 A-3 1984 L. Poons 1984’ (on the reverse)mixed media on canvas76 1/2 x 145in. (194.3 x 368.3cm) $20,000 - 30,000

ProvenanceGallery One, Toronto.Acquired from the above by the present owner.


65Conrad marCa-relli (1913-2000)Untitled, circa 1967-1977 signed ‘Marca-Relli’ (lower right)oil, burlap and canvas collage on construction paper14 3/4 x 12 3/4in. (37.5 x 32.4cm)$10,000 - 15,000

ProvenanceJoan Washburn Gallery, New York.Whitford Fine Art, London.Private Collection, New York.

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ProPerty From a Florida ColleCtion

66FranK stella (B. 1936)Chodorów (Sketch), 1972 signed, titled and dated ‘Chodorów (Sketch) F. Stella ‘72’ (lower right)felt, canvas, oil and graphite on graphing board32 3/4 x 29 7/8in. (83.2 x 76cm)$30,000 - 50,000

ProvenanceM. Knoedler & Co., New York.Acquired from the above by the present owner in 1973.


ProPerty oF a Private los angeles ColleCtor

67riChard anusZKiewiCZ (B. 1930)Soft Yellow, 1972 signed, numbered and dated twice ‘©1972 385 Richard Anuszkiewicz 1972’ (on the reverse)acrylic on canvas72 1/4 x 72 1/4in. (183.5 x 183.5cm)$50,000 - 70,000

ProvenanceSidney Janis Gallery, New York.Private Collection, New York (acquired from the above in April 1973).A gift from the above to the previous owner.By descent from the above to the present owner.

exhibitedNew York, Forum Gallery, That Seventies Show, 19 July-2 September 2011, no. 14.

Science in its broadest sense was the engine of Modernity that could provide the tools for global economic and social progress.

– Joe Houston

(Joe Houston, quoted in “1965: The Year of Op,” (2007) in ABSTRACTION (London: Whitechapel Gallery), p. 80)

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“The idea becomes the machine that makes art”1 –Sol Lewitt

It seems ironic that Op art would suffer from overexposure. Almost from the outset, the work from the likes of Richard Anuszkiewicz, Bridget Riley, and Victor Vasarely were absorbed by the public’s collective consciousness – seeping into the current cultural fabric almost instantaneously. The exhibition that presented this material in a manner that hypnotized the viewing public so fiercely was the Museum of Modern Art, New York’s The Responsive Eye (1965). According to the exhibition’s press release, the purpose of the show was to present “new kinds of subjective experiences, which result from the simultaneous contrast of colors, after-images, illusions and other optical devices, are entirely real to the eye even though they do not exist physically in the work itself. Each observer sees and responds somewhat differently.”2 Such an exciting and individualistically personal exhibition had not been presented before, drawing in crowds who wished to not only engage with the art, but more so to ask themselves the same questions curator William C. Seitz posed to the audience:

“Can such works, that refer to nothing outside themselves, replace with psychic effectiveness the content that has been abandoned? What are the potentialities of a visual art capable of affecting perception so physically and directly? Can an advanced understanding and application of functional images open a new path from retinal excitation to emotions and ideas?“3

This exhibition experienced extensive and overwhelmingly positive coverage in the international press, however, such accolades seemingly worked against the movement - making this progressive artistic

movement into a perceived pedestrian genre, causing it to fall out of favour just as fast as it rose. “Beyond the museum, the bold Op aesthetic informed commercial graphic design, nightclub architecture, and especially fashion, often to the dismay of the artists whose work was transformed into decorative patterns.”4 Despite the malign from the critical press following unprecedented attention and dissection of artistic practice, many of the artists who contributed to Op art had conceptually rigorous practices that went beyond a play of lines and planes. For example, Anuszkiewicz, who earned an MFA from Yale under the tutelage of Josef Albers, gained critical acceptance and acclaim while exhibiting at the 42nd Venice Biennale (1986) and Documenta IV (1968), as well as having legendary dealer Sidney Janis represent his work – the same man who also worked with Jackson Pollock, Robert Motherwell and Josef Albers amongst other heavyweights.

Whatever the reason, this dizzying movement fell out of favour, however now, it is poised for a comeback with an audience readily eager to interact and participate with art that was perhaps too before its time. An important part of this re-evaluation and re-reading of such works has been the rigorous and challenging exhibition Ghosts in the Machine (2012), curated by Massimiliano Gioni (renowned curator of the 55th Venice Biennale). This show opened an investigation into the art historical role of science and art, where collaborating curators focused on the corporeal aspects embedded within the exhibited works’ optics. Many of the artists in the show worked towards the “invisible, dismantling the mechanics of vision

I sometimes refer to my painting as architectural, because I work out my plan, I work out my idea, and then I go about constructing the painting.

(Richard Anuskiewicz)

(Richard Anuskiewicz, quoted in, Joseph Slate, So Hard To Look At: An Interview with Richard Anuszkiewicz, Contempora, May/June 1970, p. 7).

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New York, Sidney Janis Gallery, New Paintings by Richard Anuszkiewicz, 10 February-6 March 1971

in order to conceive new possibilities for seeing. Central to the exhibition is a re-examination of Op art and perceptual abstraction, with a particular focus on the work of painters Bridget Riley, Victor Vasarely, Richard Anuskiewicz, and Julian Stanczak, amongst others. Op art was unique in the way it internalized technology and captured both the ecstatic and threatening qualities it posed to the human body.”5

The show’s exhibition catalog also re-published key texts relating to the origins of the movement, including essays on the forgotten New Tendencies (1961) exhibitions in Zagreb, Croatia considered by many to be the catalyst for the establishment of Op art and Kinetic Art. Some believe Op art’s most resonant contribution to art was its engagement with the evolving role technology played in the contemporary world. Art historian Joe Houston writes, “in addition to its visual appeal, Op gained currency as an appropriate aesthetic for the progressive era of the 1960’s that heralded momentous advances in computers, aerospace and industry, the decade in which television finally penetrated 90 per cent of American homes.”6

While some Op artists focused heavily on the science of perception, optics, and pattern, pieces from this moment exist less as an instrument of science and more as a symbol of our society’s initial relationship with technology, grappling with how the future might look with the fusion of life and technology. Today, we now know exactly what this means - living in a contemporary society almost entirely mediated by screens, dominating our work and home life. In contrast, the 1960’s, were just coming to grips with lenses, photography, video and the projected image, all of which are mirror the ideology of Op art.

During the 1960s, there was an optimism towards the movement but

also a sense of the unknown. Anuszkiewicz, for example, discussed his new body of work produced from 1971-1972 called ‘soft paintings’ (like the one on offer). Shortly after its creation, the artist explained the danger embedded within the work through his manipulation and molding of geometry, composition and color. According to Anuszkiewicz, the “paintings before had large areas of color which could ‘shatter the optic nerve’. What I am doing [now] is working in ranges and the areas are not [as] large. . . they’re composed of many lines so that the there are no really very large solid areas. So that creates a softness in itself.”7 Understanding and underscoring the intensity of new forms of technology and art like many of the engineers of his day, Anuszkiewicz was continually experimenting with form, attempting to develop a progressive practice, with each experiment in form leading to the next. When looking at the current state of contemporary artistic practice, one must note the artist’s most keenly timed remarks where he most poetically states what we see today: “with the right juxtaposition of lines, a flat canvas becomes an infinite opening...”8.

1 S. LeWitt, “Paragraphs on Conceptual Art,” p. 80.2 Press Release, “The Responsive Eye”, MOMA, New York, 25 February 1965.3 Ibid.4 M. Gioni and G. Carrion-Murayari, “The Ghosts and the Machine,” The New Museum, New York, p. 284.5 Press Release, “The Ghosts and the Machine,” The New Museum, New York, 18 July 2012.6 J. Houston, “1965: The Year of Op,” ABSTRACTION, WhiteChapel Gallery, London, 2007, p. 80.7 D. Madden and N. Spike ed., “Anuszkiewicz: Paintings & Sculptures 1945-2001,” Firenze, p. 28.8 Ibid 11.



68mathias goeritZ (1915-1990)Untitled (Maquette) signed and dedicated ‘For George from Mathias G.’ (on the reverse)acrylic on panel13 1/2 x 43 3/4in. (34.5 x 111.1cm)$70,000 - 90,000


This work is accompanied by a certificate of authenticity signed by Dra. Lily Kassner.

132 | BONHAMS


134 | BONHAMS

69•

george riCKey (1907-2002)Column with Four Lines Up, 1974 incised ‘Rickey 1974’ (on the base)kinetic sculpture - stainless steel39in. (99cm) highThis work is unique.$15,000 - 20,000

ProvenanceGimpel & Hanover, Zürich, 1975.Gimpel & Fils, London, 1975.Private Collection (acquired from the above in 1975).By descent from the above to the present owner.

exhibitedAmsterdam, Galerie Espace, George Rickey, 19 March-14 April 1974.Zürich, Gimpel & Hanover, George Rickey, 27 May-15 July 1975. This exhibition later traveled to London, Gimpel & Fils.


ProPerty From a Private Florida ColleCtion

70alan saret (B. 1944)Gang Drawing, 1967 signed, dedicated and dated ‘Alan Daniel Saret 1967 - Love to Augusta Westheim 1976’ (on the reverse)colored pencil and graphite on paper11 x 21 3/8in. (28 x 54.5cm)$5,000 - 7,000

ProvenanceA gift from the artist to the previous owner in 1976.By descent from the above to the present owner.

ProPerty From a Private Florida ColleCtion

71alan saret (B. 1944)Infinity Cluster (Red & Silver), circa 1980 steel and lacquer-coated metal wire22in. (55.9cm) high$20,000 - 30,000

ProvenanceA gift from the artist to the previous owner.By descent from the above to the present owner.

70

136 | BONHAMS

71


ProPerty oF a Private los angeles ColleCtor

72david nash (B. 1945)Cut Corners Column, 1997 madrone wood73 x 42 x 25in. (185.4 x 106.7 x 63.5cm)$12,000 - 18,000

ProvenanceCheryl Haines Gallery, San Francisco.Acquired from the above by the present owner in 1997.

(alternate views)

It’s a generational thing. I think Andy Goldsworthy and I, and Richard Long, and most of the British artists’ collectives associated with Land art would have been landscape painters a hundred years ago. But we don’t want to make portraits of the landscape. A landscape picture is a portrait. We don’t want that. We want to be in the land.

– David Nash

(David Nash, quoted in J. Grande, “Real Living Art: A Conversation with David Nash”, in Sculpture, vol. 20, no. 10, December 2001)

138 | BONHAMS


73edward KienholZ (1927-1994) & nanCy reddin KienholZ (B. 1943)The Fandango Black, 1986 signed, titled, inscribed and dated ‘E. and N. Kienholz Hope, Idaho 1986’ (on the reverse)porcelain figurine, horns, burnt wood, rods, tar, knife and resin assemblage57 x 22 x 11 1/2in. (144.8 x 55.9 x 29.2cm)$20,000 - 30,000

ProvenanceLouver Gallery, New York.Private Collection (acquired from the above).Anon. sale, Christie’s, New York, 26 September 2002, lot 762.Acquired at the above sale by the present owner.

exhibitedDüsseldorf, Städtische Kunsthalle, Edward and Nancy Kienholz: 1980’s, 23 March-28 May 1989, p. 96 (illustrated in color, p. 97). This exhibition later traveled to Vienna, Museum Moderner Kunst.

140 | BONHAMS

ProPerty sold to BeneFit aFFordaBle housing Providers oF ameriCa, los angeles, CaliFornia

74luCas samaras (B. 1936)Wire Hanger Chair (Vesta), 1989 acrylic, yarn, mirror, nails, foam, wood, wire, photograph and mixed media construction53 1/2 x 29 x 22in. (135.9 x 73.7 x 55.9cm)$40,000 - 60,000

ProvenancePace Wildenstein, New York (acquired directly from the artist).Saatchi Collection, London.Acquired from the above by the previous owner.Acquired from the above by the present owner.

exhibitedLondon, Waddington Galleries, Lucas Samaras, 20 June–14 July 1990, no. 4 (illustrated, p. 19).Yokohama, Yokohama Museum of Art, Lucas Samaras—Self: 1961–1991, 13 October-15 December 1991, no. 27 (illustrated, p. 55). This exhibition later traveled to Hiroshima, City Museum of Contemporary Art, 11 April-24 May 1992.


ProPerty From the Prudential insuranCe ComPany oF ameriCa

75James havard (B. 1937)Virgin Gorda, 1979 signed, titled, inscribed and dated ‘Havard 79 VIRGIN GORDA’ (on the overlap)acrylic on canvas60 x 108in. (152.4 x 274.3cm)$10,000 - 15,000

ProvenanceLouis K. Meisel Gallery, New York.Acquired from the above by the present owner in 1979.

exhibitedNew York, Louis K. Meisel Gallery, James Havard, 1979.

142 | BONHAMS

76david reed (B. 1946)#401, 1997-1998 signed, titled twice and dated ‘#401 #401 1997-98 David Reed’ (on the reverse)oil and alkyd on board28 x 42in. (71.1 x 106.7cm)$15,000 - 20,000

ProvenanceMax Protech Gallery, New York.Acquired from the above by the present owner in May 1998.


77aPril gorniK (B. 1953)Untitled (Yellow Wind), 1982 signed, titled and dated ‘April Gornik 1982 Unititled (Yellow Wind)’ (on the reverse)oil on canvas66 x 76in. (167.6 x 193cm)$10,000 - 15,000

ProvenanceEdward Thorp Gallery, New York.SBC Communications, Kansas City, Kansas.Private Collection.

144 | BONHAMS

78tony sCherman (B. 1950)Jupiter Concealed, 1991 signed, titled, inscribed and dated ‘10A g B “Jupiter Concealed” Scherman 91’ (on the overlap)encaustic on canvas70 x 60in. (177.8 x 152.4cm)$20,000 - 30,000

ProvenancePerry Rubenstein Gallery, New York. Acquired from the above by the present owner in 2001.


79

146 | BONHAMS

79dÁmian gonZÁleZ (B. 1967)Piedras Grises de la Tarde, 2011 signed and dated ‘Dámian González -2011-’ (lower left); signed, titled and dated ‘212 “Piedras Grises de la Tarde”. Dámian González -2011-’ (on the reverse)oil on canvas60 x 50in. (152.4 x 127cm)$18,000 - 22,000

ProvenanceAcquired directly from the artist by the present owner.

80Janet Fish (B. 1938)Seafood, 1983 oil on canvas42 x 94in. (106.7 x 238.8cm)$20,000 - 30,000

ProvenanceRobert Miller Gallery, New York.SBC Communications, Kansas City, Kansas.Private Collection.

exhibitedHouston, Contemporary Arts Museum Houston, American Still Life: 1945-1983, 20 September- 20 November, 1983 (illustrated, p. 57).

80


81roBert graham (1938-2008)Elisa, 1993-1994 incised ‘4-21-94 NC3B’ (on the underside of the base)bronze with brass base59 1/2in. (151cm) highThis work is from an edition of twelve.$40,000 - 60,000

ProvenanceGalerie Neuendorf, Frankfurt.CDS Gallery, New York City.

LiteratureM. McClure, Robert Graham: eight statues, 1994, no. 6 (another from the edition illustrated in color, pp. 25-26).

148 | BONHAMS

ProPerty oF a lady, new yorK and Paris

82Fernando Botero (B. 1932)Untitled, 1993 signed, dedicated and dated ‘To Judith Price Botero 93’ (lower right)watercolor, graphite and colored pencil on paper18 3/4 x 14 1/8in. (47.7 x 35.8cm)$30,000 - 50,000


end oF sale


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The following Conditions of Sale, as amended by any published or posted notices or verbal announcements during the sale, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold by Bonhams & Butterfields Auctioneers Corp. and any consignor of such property for whom we act as agent. If live online bidding is available for the subject auction, additional terms and conditions of sale relating to online bidding will apply; see www.bonhams.com/WebTerms for the supplemental terms. As used herein, “Bonhams,” “we” and “us” refer to Bonhams & Butterfields Auctioneers Corp.

1. As used herein, the term “bid price” means the price at which a lot is successfully knocked down to the purchaser. The term “purchase price” means the aggregate of (a) the bid price, (b) a PREMIUM retained by us and payable by the purchaser EQUAL TO 25% OF THE FIRST $100,000 OF THE BID PRICE, 20% OF THE AMOUNT OF THE BID PRICE ABOVE $100,000 UP TO AND INCLUDING $2,000,000, AND 12% OF THE AMOUNT OF THE BID PRICE OVER $2,000,000, and (c) unless the purchaser is exempt by law from the payment thereof, any California, Arizona, Colorado, Connecticut, Florida, Georgia, Illinois, Massachusetts, Nevada, New York, Pennsylvania, Texas, Washington, D.C., Washington state, or other state or local sales tax (or compensating use tax) and other applicable taxes.

2. On the fall of the auctioneer’s hammer, the highest bidder shall have purchased the offered lot in accordance and subject to compliance with all of the conditions set forth herein and (a) assumes full risk and responsibility therefor, (b) if requested will sign a confirmation of purchase, and (c) will pay the purchase price in full or such part as we may require for all lots purchased. No lot may be transferred. Any person placing a bid as agent on behalf of another (whether or not such person has disclosed that fact or the identity of the principal) may be jointly and severally liable with the principal under any contract resulting from the acceptance of a bid.

Unless otherwise agreed, payment in good funds is due and payable within five (5) business days following the auction sale. Whenever the purchaser pays only a part of the total purchase price for one or more lots purchased, we may apply such payments, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have collected good funds for all amounts due.

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The purchaser grants us a security interest in the property, and we may retain as collateral security for the purchaser’s obligations to us, any property and all monies held or received by us for the account of the purchaser, in our possession. We retain all rights of a secured party under the California Commercial Code. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to other remedies available to us and the consignor by law, including without limitation, the right to hold the purchaser liable for the purchase price, we at our option may either (a) cancel the sale, retaining as liquidated damages all payments made by the purchaser or (b) resell the property, either publicly or privately, and in such event the purchaser shall be liable for

the payment of any deficiency plus all costs and expenses of both sales, our commission at our standard rates, all other charges due hereunder, attorneys’ fees, expenses and incidental damages. In addition, where two or more amounts are owed in respect of different transactions by the purchaser to us, to Bonhams 1793 Limited and/or to any of our other affiliates, subsidiaries or parent companies worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction to discharge any amount owed by the purchaser. If all fees, commissions, premiums, bid price and other sums due to us from the purchaser are not paid promptly as provided in these Conditions of Sale, we reserve the right to impose a finance charge equal to 1.5% per month on all amounts due to us beginning on the 31st day following the sale until payment is received, in addition to other remedies available to us by law.

3. We reserve the right to withdraw any property and to divide and combine lots at any time before such property’s auction. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lots shall be divided or combined for sale.

4. We reserve the right to reject a bid from any bidder, to split any bidding increment, and to advance the bidding in any manner the auctioneer may decide. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects.

5. If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the purchaser or a sale otherwise cannot be completed, our liability shall be limited to the sum actually paid therefor by the purchaser and shall in no event include any compensatory, incidental or consequential damages.

6. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an interest in an offered lot and the proceeds therefrom other than our commissions, we may bid therefor to protect such interest. CONSIGNORS ARE NOT ALLOWED TO BID ON THEIR OWN ITEMS.

7. All statements contained in the catalog or in any bill of sale, condition report, invoice or elsewhere as to authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, exhibition and literature of historical relevance, or physical condition ARE QUALIFIED STATEMENTS OF OPINION AND NOT REPRESENTATIONS OR WARRANTIES. No employee or agent of Bonhams is authorized to make on our behalf or on that of the consignor any representation or warranty, oral or written, with respect to any property.

8. All purchased property shall be removed from the premises at which the sale is conducted by the date(s) and time(s) set forth in the “Buyer’s Guide” portion of the catalog. If not so removed, daily storage fees will be payable to us by the purchaser as set forth therein. We reserve the right to transfer property not so removed to an offsite warehouse at the purchaser’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” Accounts must be settled in full before property will be released. Packing and handling of purchased lots are the responsibility of the purchaser. Bonhams can provide packing and shipping services for certain items as noted in the “Buyer’s Guide” section of the catalog.

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mediation and arBitration ProCedures

(a) Within 30 days of written notice that there is a dispute, the parties or their authorized and empowered representatives shall meet by telephone and/or in person to mediate their differences. If the parties agree, a mutually acceptable mediator shall be selected and the parties will equally share such mediator’s fees. The mediator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling mediations. Any communications made during the mediation process shall not be admissible in any subsequent arbitration, mediation or judicial proceeding. All proceedings and any resolutions thereof shall be confidential, and the terms governing arbitration set forth in paragraph (c) below shall govern.

(b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national arbitration service agreed to by the parties, and shall be selected as follows: (i) If the national arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the national arbitration service does not have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties. If the parties cannot agree on a national arbitration service, the arbitration shall be conducted by the American Arbitration Association, and the arbitrator shall be selected in accordance with the Rules of the American Arbitration Association. The arbitrator’s award shall be in writing and shall set forth findings of fact and legal conclusions.

(c) Unless otherwise agreed to by the parties or provided by the published rules of the national arbitration service:

(i) the arbitration shall occur within 60 days following the selection of the arbitrator;

Conditions oF sale

Conditions oF sale - Continued

(ii) the arbitration shall be conducted in the designated location, as follows: (A) in any case in which the subject auction by Bonhams took place or was scheduled to take place in the State of New York or Connecticut or the Commonwealth of Massachusetts, the arbitration shall take place in New York City, New York; (B) in all other cases, the arbitration shall take place in the city of San Francisco, California; and

(iii) discovery and the procedure for the arbitration shall be as follows:

(A) All arbitration proceedings shall be confidential;

(B) The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences;

(C) Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with California law;

(D) Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days;

(E) The award shall be made in writing no more than 30 days following the end of the proceeding. Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof.

To the fullest extent permitted by law, and except as required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitrator.

limited right oF resCission

If within one (1) year from the date of sale, the original purchaser (a) gives written notice to us alleging that the identification of Authorship (as defined below) of such lot as set forth in the Bold tyPe heading of the catalog description of such lot (as amended by any saleroom notices or verbal announcements during the sale) is not substantially correct based on a fair reading of the catalog (including the terms of any glossary contained therein), and (b) within 10 days after such notice returns the lot to us in the same condition as at the time of sale, and (c) establishes the allegation in the notice to our satisfaction (including by providing one or more written opinions by recognized experts in the field, as we may reasonably require), then the sale of such lot will be rescinded and, unless we have already paid to the consignor monies owed him in connection with the sale, the original purchase price will be refunded.

If, prior to receiving such notice from the original purchaser alleging such defect, we have paid the consignor monies owed him in connection with the sale, we shall pay the original purchaser the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the purchaser on the sale and make demand on the consignor to pay the balance of the original purchase price to the original purchaser. Should the consignor fail to pay such amount promptly, we may disclose the identity of the consignor and assign to the original purchaser our rights against the consignor with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as consignor’s agent with respect to said lot shall automatically terminate.

The foregoing limited right of rescission is available to the original purchaser only and may not be assigned to or relied upon by any subsequent transferee of the property sold. The purchaser hereby accepts the benefit of the consignor’s warranty of title and other representations and warranties made by the consignor for the purchaser’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE PURCHASER’S SOLE AND EXCLUSIVE REMEDY AGAINST BONHAMS FOR ANY

REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION.

“Authorship” means only the identity of the creator, the period, culture and source or origin of the lot, as the case may be, as set forth in the Bold tyPe heading of the print catalog entry. The right of rescission does not extend to: (a) works of art executed before 1870 (unless these works are determined to be counterfeits created since 1870), as this is a matter of current scholarly opinion which can change; (b) titles, descriptions, or other identification of offered lots, which information normally appears in lower case type below the Bold tyPe heading identifying the Authorship; (c) Authorship of any lot where it was specifically mentioned that there exists a conflict of specialist or scholarly opinion regarding the Authorship of the lot at the time of sale; (d) Authorship of any lot which as of the date of sale was in accordance with the then generally-accepted opinion of scholars and specialists regarding the same; or (e) the identification of periods or dates of creation in catalog descriptions which may be proven inaccurate by means of scientific processes that are not generally accepted for use until after publication of the catalog in which the property is offered or that were unreasonably expensive or impractical to use at the time of such publication.

limitation oF liaBility

EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR THE CONSIGNOR MAKES ANY REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE MERCHANTABILITY, FITNESS OR CONDITION OF THE PROPERTY OR AS TO THE CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE OR PERIOD OF THE PROPERTY OR AS TO WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE PURCHASER EXPRESSLY ACKNOWLEDGES AND AGREES THAT IN NO EVENT SHALL BONHAMS BE LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL DAMAGES.

as “photo auction estimate”. Alternatively, you can submit your request using our online form at www.bonhams.com/us. Digital images may be attached to the form. Please limit your images to no more than five (5) per item.

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For more information or to obtain a detailed Trust and Estates package, please visit our website at www.bonhams.com/us or contact our Client Services Department.

selling at auCtion

Bonhams can help you every step of the way when you are ready to sell art, antiques and collectible items at auction. Our regional offices and representatives throughout the US are available to service all of your needs. Should you have any further questions, please visit our website at www.bonhams.com/us for more information or call our Client Services Department at +1 (800) 223 2854 ext. 23550.

auCtion estimates

The first step in the auction process is to determine the auction value of your property. Bonhams’ world-renowned specialists will evaluate your special items at no charge and in complete confidence. You can obtain an auction estimate in many ways:

• Attend one of our Auction Appraisal Events held regularly at our galleries and in other major metropolitan areas. The updated schedule for Bonhams Auction Appraisal Events is available at www.bonhams.com/us.

• Call our Client Services Department to schedule a private appointment at one of our galleries. If you have a large collection, our specialists can travel, by appointment, to evaluate your property on site.

• Send clear photographs to us of each individual item, including item dimensions and other pertinent information with each picture. Photos should be sent to Bonhams’ address in envelopes marked

seller’s guide

Bidding & Buying at auCtionWhether you are an experienced bidder or an enthusiastic novice, auctions provide a stimulating atmosphere unlike any other. Bonhams previews and sales are free and open to the public. As you will find in these directions, bidding and buying at auction is easy and exciting. Should you have any further questions, please visit our website at www.bonhams.com or call our Client Services Department at +1 (800) 223 2854 ext. 3550.

CatalogsBefore each auction we publish illustrated catalogs. Our catalogs provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. The catalogs also include the dates and the times for the previews and auctions. We offer our catalogs by subscription or by single copy. For information on subscribing to our catalogs, you may refer to the subscription form in this catalog, call our Client Services Department, or visit our website at www.bonhams.com/us.

PreviewsAuction previews are your chance to inspect each lot prior to the auction. We encourage you to look closely and examine each object on which you may want to bid so that you will know as much as possible about it. Except as expressly set forth in the Conditions of Sale, items are sold “as is” and with all faults; illustrations in our catalogs, website and other materials are provided for identification only. At the previews, our staff is always available to answer your questions and guide you through the auction process. Condition reports may be available upon request.

estimatesBonhams catalogs include low and high value estimates for each lot, exclusive of the buyer’s premium and tax. The estimates are provided as an approximate guide to current market value based primarily on previous auction results for comparable pieces, and should not be interpreted as a representation or prediction of actual selling prices. They are determined well in advance of a sale and are subject to revision. Please contact us should you have any questions about value estimates.

reservesUnless indicated by the ¤ symbol next to the lot number, which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum auction price that the consignor is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value.

auCtion house’s interest in ProPerty oFFered at auCtionOn occasion, Bonhams may offer a lot in which it has an ownership interest, in whole or in part. Such property, if any, is identified in the catalog with a ▲ symbol next to the lot number.

Similarly, Bonhams may have an economic interest in a lot beyond its commission as a result of making an advance against anticipated proceeds to the consignor which is secured by the consigned property or where it has guaranteed the consignor a minimum auction price for consigned property. Such property, if any, is identified in the catalog with a ▲ symbol next to the lot number.

Bidding at auCtionAt Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, via fax or via email.

Valid Bonhams client accounts are required to participate in bidding activity. You can obtain registration information online, at the reception desk or by calling our Client Services Department.

By bidding at auction, whether in person or by agent, by absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale.

Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding normally begins below the low estimate. The auctioneer will accept bids from interested parties present in the saleroom, from telephone bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer may also execute bids on behalf of the consignor by placing responsive or consecutive bids for a lot up to the amount of the reserve, but never above it.

We assume no responsibility for failure to execute bids for any reason whatsoever.

in PersonIf you are planning to bid at auction for the first time, you will need to register at the reception desk in order to receive a numbered bid card. To place a bid, hold up your card so that the auctioneer can clearly see it. Decide on the maximum auction price that you wish to pay, exclusive of buyer’s premium and tax, and continue bidding until your bid prevails or you reach your limit. If you are the successful bidder on a lot, the auctioneer will acknowledge your paddle number and bid amount.

aBsentee BidsAs a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of auction online or in writing on bidding forms available from us. “Buy” bids will not be accepted; all bids must state the highest bid price the bidder is willing to pay. Our auction staff will try to bid just as you would, with the goal of obtaining the item at the lowest bid price possible. In the event identical bids are submitted, the earliest bid submitted will take precedence. Absentee bids shall be executed in competition with other absentee bids, any applicable reserve, and bids from other auction participants. A friend or agent may place bids on your behalf, provided that we have received your written authorization prior to the sale. Absentee bid forms are available in our catalogs, online at www.bonhams.com/us, at offsite auction locations, and at our San Francisco, Los Angeles and New York galleries.

By telePhone Under special circumstances, we can arrange for you to bid by telephone. To arrange for a telephone bid, please contact our Client Services Department a minimum of 24 hours prior to the sale.

onlineWe offer live online bidding for most auctions and accept absentee bids online for all our auctions. Please visit www.bonhams.com/us for details.

Bid inCrementsBonhams generally uses the following increment multiples as bidding progresses:$50-200 .........................................by $10s $200-500 .......................................by $20/50/80s $500-1,000 ....................................by $50s $1,000-2,000 .................................by $100s $2,000-5,000 .................................by $200/500/800s $5,000-10,000… ............................by $500s $10,000-20,000 .............................by $1,000s $20,000-50,000 .............................by $2,000/5,000/8,000s $50,000-100,000 ...........................by $5,000s $100,000-200,000 .........................by $10,000s above $200,000 .............................at auctioneer’s discretion

the auCtioneer may sPlit or reJeCt any Bid at any time at his or her disCretion as outlined in the Conditions oF sale.

CurrenCy Converter Solely for the convenience of bidders, a currency converter may be provided at Bonhams’ auctions. The rates quoted for conversion of other currencies to U.S. Dollars are indications only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors or omissions in the operation or accuracy of the currency converter.

Buyer’s Premium A buyer’s premium is added to the winning bid price of each individual lot purchased, at the rates set forth in the Conditions of Sale. The winning bid price plus the premium constitute the purchase price for the lot. Applicable sales taxes are computed based on this figure, and the total becomes your final purchase price.

Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment.

All sales are final and subject to the Conditions of Sale found in our catalogs, on our website, and available at the reception desk.

Payment All buyers are asked to pay and pick up by 3pm on the business day following the auction. Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within 5 business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank. For payments sent by mail, please remit to Cashier Department, 220 San Bruno Avenue, San Francisco, CA 94103.

sales taXCalifornia, Arizona, Colorado, Connecticut, Florida, Georgia, Illinois, Nevada, New York, Massachusetts, Pennsylvania, Texas, Washington state and Washington DC residents must pay applicable sales tax. Other state or local taxes (or compensating use taxes) may apply. Sales tax will be automatically added to the invoice unless a valid resale number has been furnished or the property is shipped via common carrier to destinations outside the states listed above.

shiPPing & removalBonhams can accommodate shipping for certain items. Please contact our Cashiers Department for more information or to obtain a quote. Carriers are not permitted to deliver to PO boxes. International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases.

ColleCtion oF PurChasesPlease arrange for the packing and transport of your purchases prior to collection at our office. If you are sending a third party shipper, please request a release form from us and return it to +1 (212) 644 9009 prior to your scheduled pickup. To schedule collection of purchases, please call +1 (212) 644 9001.

handling and storage ChargesPlease note that our offices have requirements for freight elevator usage. Please contact us to schedule an elevator appointment for pickup of any large or awkward items. Bonhams will hold all purchased lots in our gallery until Tuesday November 18 without penalty. After November 18 collection of lots will be by appointment only. Please call +1 (212) 644 9001 at least 24 hours in advance to make an appointment.

Storage charges of $5 per lot, per day will begin accruing for any lots not collected by the 31st day after the auction. Bonhams reserves the right to remove uncollected sold lots to the warehouse of our choice at the buyer’s risk and expense. Handling and storage fees will apply.

auCtion resultsTo find out the final purchase price for any lot following the sale, please call our automated auction results line at +1 (800) 223 2854 ext. 3400. All you need is a touch-tone telephone and the lot number. Auction results are usually available on the next business day following the sale or online at www.bonhams.com/us.

Buyer’s guide

imPortant notiCe to Buyers

ColleCtion & storage aFter sale

Please note that all oversized lots listed below, that are not collected by 5Pm on tuesday, novemBer 18 will be removed to the warehouse of Cadogan Tate Fine Art Storage Limited. Lots not so listed will remain at Bonhams; provided, however, that iF Buyers oF listed lots also Buy other non-listed items, these other lots will also Be removed to the warehouse oF Cadogan tate, so that all lots remain together and buyers can collect their entire purchases from one location. For any questions please refer to the Bonhams department.

lots will Be availaBle For ColleCtion From Cadogan tate Beginning at 2Pm et on thursday, novemBer 20.

AddressCadogan Tate Fine Art Storage Limited41-20 39th StreetSunnyside, New York, 11104

Lots will be available for collection 24hrs following transfer to Cadogan Tate every business day from 9.30am to 4.30pm ET.

Collections appointments must be booked 24 hours in advance (subject to full payment of all outstanding amounts due to Bonhams and Cadogan Tate) by contacting Cadogan Tate at (t) +1 (718) 707 2849.

handling & storage Charges

Please note: For sold lots removed to Cadogan Tate there will be transfer and insurance charges but no storage charge due for lots collected within 7 days of the transfer date. For sold lots that remain at Bonhams, there will be no storage charge for lots collected within 21 days of the sale date.

The per-lot charges levied by Cadogan Tate Fine Art Storage Ltd are as follows (plus any applicable sales tax):

Furniture/large oBJeCtsTransfer .................. $75Daily storage ........... $10Insurance (on Hammer + Premium + tax) 0.3%

small oBJeCtsTransfer ................. $37.50Daily storage ........... $5Insurance (on Hammer + Premium + tax) 0.3%

Please contact Catherine More at Cadogan Tate Fine Art Storage at (t) +1 (718) 247 2070 (f) +1 (347) 468 9916 [email protected]

For more information and estimates on domestic and International shipping, please contact Michael Driver at (t) +1 (718) 247 2064 or [email protected]

Payment

All amounts due to Bonhams and all charges due to Cadogan Tate Fine Art Storage Ltd must be paid by the time of collection of the property from their warehouse.

to maKe Payment in advanCeTelephone +1 (718) 707 2849 to ascertain the amount due, payable by cash, check, or credit card.

Payment at time oF ColleCtionMay be made by cash, check, or credit card.

Lots will only be released from Cadogan Tate’s warehouse upon production of the “Collection Slip” obtained from the Cashier’s office at Bonhams.

The removal and/or storage by Cadogan Tate of any lots will be subject to their standard Conditions of Business, copies of which are available at Bonhams.

Please note Cadogan Tate does not accept liability for damage or loss, due to negligence or otherwise, exceeding the sale price of such goods, or at their option the cost of repairing or replacing the damaged or missing goods.

Cadogan Tate reserves a lien over all goods in their possession for payment of storage and all other charges due them.

3610131418273536

373840414243475051

545556626364677273

747577788081

oversiZed lots

notes

glossary

tyPiCal headings used in the CatalogThe following are examples of the terminology used in the catalog. While every reasonable effort has been made to ensure that the statements made in the catalog are correct, all statements and terms in this catalog are subject to the provisions of the Conditions of Sale and the Galleries and Consignors make no warranties or representations with respect to any lot.

authorshiP

(artist)This is our highest category of authenticity and, as such, indicates that the work, in our best judgment, is by the named artist. (No unqualified statement as to authorship is made or intended.)

attriButed to (artist) In our best judgment a work of the period and in the style of the artist; may be the work of the artist, in whole or in part, but less certainty of authorship than in the preceding category.

studio oF (artist) In our best judgment a work by an unknown hand working in the artist’s studio.

CirCle oF (artist) In our best judgment a work of the period of the artist and closely related to the artist’s style.

aFter (artist) In our best judgment a copy of the known work by the artist.

signature

signedThe signature is, in our opinion, the signature of the artist.

Bears signature Has a signature which, in our opinion, might be the signature of the artist.

ConditionsNo statement is implied or intended regarding the imperfections or general condition of a work. If you have questions on the condition of a work, the appropriate department would be glad to provide its opinion, but all works are sold as viewed.

Bonhams and the Seller assume no risk or responsibility for the authenticity of authorship of lots executed before 1870.

Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment. Pictures are framed unless otherwise stated.

Dimensions are given height before width.

General Notice: This sale will be conducted in accordance with Bonhams Conditions of Sale, and your bidding and buying at the sale will be governed by such terms and conditions. Please read the Conditions of Sale in conjunction with the Buyer’s Guide relating to this sale and other published notices and terms relating to bidding.Payment by personal or business check may result in your property not being released until purchase funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: In the table below, please provide details of the lots on which you wish to place bids at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Buyer’s Guide in the catalog for further information relating to instructions to Bonhams to execute absentee bids on your behalf. Bonhams will endeavor to execute bids on your behalf but will not be liable for any errors or non-executed bids.

Notice to First Time Bidders: New clients are requested to provide photographic proof of ID - passport, driving license, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorizing the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bankers reference.

Notice to online bidders; If you have forgotten your username and password for www.bonhams.com, please contact Client Services.

If successfulI will collect the purchases myselfPlease contact me with a shipping quote (if applicable)I will arrange a third party to collect my purchase(s)

Please mail or fax the completed Registration Form and requested information to:Bonhams Client Services Department580 Madison AvenueNew York, New York 10022Tel +1 (212) 644 9001Fax +1 (212) 644 9009Automated Auction Results Tel +1 (415) 503 3410

Auction Registration Form (Attendee / Absentee / Online / Telephone Bidding)Please circle your bidding method above.

Paddle number (for office use only)

Type of bid(A-Absentee, T-Telephone)

Lot no. Brief description(In the event of any discrepancy, lot number and not lot description will govern.)If you are bidding online there is no need to complete this section.

MAX bid in US$ (excluding premium and applicable tax)Emergency bid for telephone bidders only*

* Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

By SIGnInG ThIS fOrm yOU AGree ThAT yOU hAve reAd And UnderSTAnd OUr COndITIOnS Of SAle And ShAll Be leGAlly BOUnd By Them, And yOU AGree TO PAy The BUyer’S PremIUm, Any APPlICABle TAxeS, And Any OTher ChArGeS menTIOned In The BUyer’S GUIde Or COndITIOnS Of SAle. ThIS AffeCTS yOUr leGAl rIGhTS.

Your signature: Date:

Shipping Address (if different than above):

Address: _____________________________________

City: _________________________________________

Country: _____________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded.

ShIPPInG

Sale title: Sale date:

Sale no. Sale venue:

Customer Number Title

First Name Last Name

Company name (to be invoiced if applicable)

Address

City County / State

Post / Zip code Country

Telephone mobile Telephone daytime

Telephone evening Fax

Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 next to the telephone number.

E-mail (in capitals)

By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams and partner organizations. Bonhams does not sell or trade email addresses.

I am registering to bid as a private client I am registering to bid as a trade client

Resale: please enter your resale license number here We may contact you for additional information.

General Bid Increments:$10 - 200 .....................by 10s$200 - 500 ...................by 20 / 50 / 80s$500 - 1,000 ................by 50s$1,000 - 2,000 .............by 100s$2,000 - 5,000 .............by 200 / 500 / 800s$5,000 - 10,000 ...........by 500s

$10,000 - 20,000 .........by 1,000s$20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s$50,000 - 100,000 .......by 5,000s$100,000 - 200,000 .....by 10,000sabove $200,000 ...........at the auctioneer’s discretion

The auctioneer has discretion to split any bid at any time.

OFFICERS

Laura King Pfaff Chairman

Patrick Meade Chief Executive Officer

James Hendy Chief Operating Officer

Leslie Wright Vice President, Trusts and Estates

Jon King Vice President, Business Development

Vice Presidents, Specialists Susan F. Abeles Rupert Banner Gary Espinosa Judith Eurich Alan Fausel Mark Fisher Martin Gammon Dessa Goddard Jim Haas Scot Levitt Frank Maraschiello Mark Osborne Hadji Rahimipour Brooke Sivo Jeffrey Smith

BONHAMS *LOS ANGELES DEPARTMENTS7601 W. Sunset BoulevardLos Angeles California 90046Tel: (800) 223 2854

20th Century Decorative Arts Angela Past, ext. 65422 Daniel Tolson, ext. 65405

20th Century Fine Art Alexis Chompaisal, ext. 65469

African, Oceanic & Pre-Columbian Art Fredric W. Backlar, ext. 65416 †

Books & Manuscripts Catherine Williamson, ext. 65442 Brian Kalkbrenner, ext. 65487

Coins & Banknotes Paul Song, ext. 65455

Entertainment Memorabilia Lucy Carr, ext. 65467 Dana Hawkes, (978) 283 1518

Furniture & Decorative Arts Andrew Jones, ext. 65432

Jewelry & Watches Dana Ehrman, ext. 65407

Collectors’ Motorcars & Motorcycles Nick Smith, ext. 65470

Contemporary Art Dane Jensen, ext. 65451

Photographs Prints Morisa Rosenberg, ext. 65435

Natural History Thomas E. Lindgren, ext. 65437 †Claudia Florian, G.J.G., ext. 65437 †

California & Western Paintings & Sculpture Scot Levitt, ext. 65425

Paintings - European Mark Fisher, ext. 65488

Period Art & Design Auctions Tim McNab, ext. 65409

Silver Aileen Ward, ext 65463

Trusts & Estates Leslie Wright, ext. 65408 Joseph Francaviglia, ext. 65443

WineWalker Strangis, ext. 65404

CONTACTSBONHAMS *SAN FRANCISCO DEPARTMENTS220 San Bruno AvenueSan Francisco California 94103Tel: (800) 223 2854

20th Century Fine ArtSarah Nelson, ext. 23311

Arms & ArmorPaul Carella, ext. 23360James Ferrell, ext. 23332David Geiger, ext. 23331

Asian Works of ArtDessa Goddard, ext. 23333

Books & ManuscriptsAdam Stackhouse, ext. 23266

Collectibles - Toys & TrainsJaynes Friedman, ext. 23366 †

Decorative ArtsPeter Scott, ext. 23326

Furniture & Decorative Arts, AmericanBrooke Sivo, ext. 23238

Furniture & Decorative Arts, EuropeanJeffrey Smith, ext. 23413Elizabeth Conlan, ext. 23226

Jewelry & WatchesDeborah Boskin, ext. 23362Lynne Arkin, ext. 23306

Collectors’ Motorcars & MotorcyclesMark Osborne, ext. 23353Jakob Greisen, ext. 23284

Museum ServicesLaura King Pfaff, ext. 23210

Native American ArtJim Haas, ext. 23294

California & Western Paintings & Sculpture Aaron Bastian, ext. 23241

Photographs PrintsJudith Eurich, ext. 23259

Oriental Rugs & CarpetsHadji Rahimipour, ext. 23392

Space HistoryAdam Stackhouse, ext. 23266

Period Art & Design AuctionsChristine Skinner, ext. 23479

Trusts & EstatesVictoria Richardson, ext. 23207

WineDoug Davidson, ext. 23363

Writing InstrumentsIvan Briggs, ext. 23255

BONHAMS *NEW YORK DEPARTMENTS 580 Madison Avenue New York, New York 10022 Tel: (212) 644 9001

20th Century Decorative Arts Frank Maraschiello, (212) 644 9059 Beth Vilinsky, (212) 710 1306

Books & Manuscripts Christina Geiger, (212) 644 9094 Cassandra Hatton, (212) 461 6531

Chinese Works of Art & Paintings Bruce MacLaren, (917) 206 1677

Collectors’ Motorcars & Motorcycles Rupert Banner, (212) 461 6515 Eric Minoff, (917) 206 1630Evan Ide

Furniture, Decorative Arts & Silver Karl Green, (212) 710 1305 Victoria Ayers, (212) 461 6532 Madelia Ring, (212) 710 1300

Fine Art American Alan Fausel, (212) 644 9039 Kayla Carlsen, (917) 206 1699

Contemporary Jeremy Goldsmith, (917) 206 1656

European Paintings Madalina Lazen, (212) 644 9108

Impressionist & Modern Tanya Wells, (917) 206 1685 William O’Reilly, (212) 644 9135

Japanese Works of Art Jeff Olson, (212) 461 6516

Jewelry Susan F. Abeles, (212) 461 6525 Carmela Manoli, (212) 644 9035

Maritime Paintings & Works of Art Gregg Deitrich, (212) 644 9001 †

Photographs & PrintsHeather Russell, (917) 206 1610 Shawna Brickley, (917) 206 1690

Russian Fine & Decorative Arts Yelena Harbick, (212) 644 9136

Space History Cassandra Hatton, (212) 461 6531

Trusts & Estates Megan Noh, (212) 461 6518 Gene Norden, (917) 206 1671

Watches & Clocks Jonathan Snellenburg, (212) 461 6530 Jessica Benhaim, (917) 206 1606

Wine & WhiskyGary D’Urso, (917) 206 1653

CLIENT SERvICES DEPARTMENT

San Francisco Tel: (415) 861 7500 Fax: (415) 861 8951

Los Angeles Tel: (323) 850 7500 Fax: (323) 850 6090

Monday through Friday 8.30am to 5pm

REPRESENTATIvES Arizona Terri Adrian-Hardy, Tel: +1 (480) 994 5362

California - Central Valley David Daniel, Tel: +1 (916) 364 1645

Southern California Christine Eisenberg, Tel: +1 (949) 646 6560 †

Colorado - Denver Julie Segraves, Tel: +1 (720) 355 3737 †

District of Columbia/Mid-Atlantic Martin Gammon, Tel: +1 (202) 333 1696

Florida Jon King Tel: +1 (561) 651 7876, Palm Beach +1 (305) 228 6600, Miami +1 (954) 566 1630, Ft. Lauderdale

Georgia Mary Moore Bethea, Tel: +1 (404) 842 1500

Illinois Ricki Harris Tel: +1 (312) 475 3922, +1 (773) 267 3300

Massachusetts/Boston/New England Amy Corcoran, Tel: +1 (617) 742 0909

Nevada David Daniel, Tel: +1 (775) 831 0330

New Jersey & Delaware Margaret Tierney, Tel: +1 (610) 644-1199

New Mexico Leslie Trilling, Tel: +1 (505) 820 0701

Oregon Sheryl Acheson, Tel: +1 (503) 312 6023

Pennsylvania Margaret Tierney, Tel: +1 (610) 644 1199

Texas Amy Lawch, Tel: +1 (713) 621 5988

Washington Heather O’Mahony, Tel: +1 (206) 218 5011

Canada Toronto, Ontario Jack Kerr-Wilson, Tel: +1 (416) 462 9004

Montreal, Quebec David Kelsey, Tel: +1 (514) 341 9238 †

New York Tel: (212) 644 9001 Fax: (323) 644 9009

Monday through Friday 9am to 5.30pm

Toll FreeTel: (800) 223 2854

The following information is recorded and available 24 hours a day, 7 days a week, through our telephone system: - Auction and Preview Information - Directions to Bonhams’s salesrooms - Automated Auction Results

* Indicates saleroom † Indicates independent contractor

PRINTS AND MULTIPLESTuesday October 21, 10am San Francisco and Los Angeles

ANDY WARHOL Flowers, 1970, (F&S II 64-73) The complete set of ten screenprints $300,000 - 400,000

PREvIEW October 10-12, Los Angeles October 18-20, San Francisco +1 (415) 503 3259 [email protected] +1 (323) 436 5435 [email protected]

bonhams.com/prints

Artwork © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

AfricAn, OceAnic And Pre-cOlumbiAn ArtWednesday November 12, 10am New York

rAre And imPOrtAnt AZtec dietY imAGe Of XOchiPilli-mAcuilXOchitlLate Postclassic, ca. A.D. 1450-1521 Light-green aragonite $80,000 - 120,000

PreVieWNovember 8-11

inquiries+1 (323) 436 5416 [email protected]

bonhams.com/tribal

bonhams.com/americanpaintings

american artWednesday November 19, 2pm New York

GeOrGe BeLLOWSTwo Women, 1924 oil on canvas 59 1/4 x 65 1/2in $1,000,000 - 1,500,000

previeWNovember 15-19 +1 (212) 710 1307 [email protected]

bonhams.com/TCM Photograph © Turner Entertainment Co.

PREVIEW November 6-9, Los Angeles November 20-24, New York

the iconic piano from ca s a bl a nca

P r o u d l y P r E s E n T

there’s no placelike hollywood

the definitive classic movie memorabilia auction

November 24, New York

+1 (323) 436 5467 [email protected]

California and Western Paintings and sCulPture Monday November 24, 6pm Los Angeles and San Francisco

bonhams.com/calwest

Charles Marion russell The Chase watercolor on paper Painted circa 1906 $250,000 - 350,000

PrevieWNovember 14-16, San Francisco November 21-23, Los Angeles


California and Western Paintings and sCulPture Monday November 24, 6pm Los Angeles and San Francisco

bonhams.com/calwest

Charles Marion russell The Chase watercolor on paper Painted circa 1906 $250,000 - 350,000

PrevieWNovember 14-16, San Francisco November 21-23, Los Angeles


FINE JEWELRY Monday December 8, 2pm New York

PREVIEWNovember 14-16, San FranciscoNovember 21-23, Los AngelesDecember 4-8, New York

+1 (212) 461 [email protected]

A BELLE EPOQUE PEARL AND DIAMOND BRACELET Cartier New York, circa 1910$75,000 - 125,000

bonhams.com/jewelry

bonhams.com/photos

the art of fashion photographYWednesday December 17, 10am New York

MarilYn MinterDeluge, 2011 C-print, 60 x 40in $25,000 - 35,000

previewDecember 13-16 Heather Russell +1 (917) 206 1610 [email protected]

bonhams.com/20thC

20TH CENTURY DECORATIVE ARTSWednesday December 17, 1pm New York

WIllIAm mORRISCanopic Jar: Fallow Deer 1994, blown glass $200,000 - 300,000

pREVIEWDecember 13-17

INQUIRIES+1 (212) 644 9059 [email protected]

EnquiriEs+44 (0) 20 7468 [email protected]

bonhams.com/contemporary

FoundEd 1793 Wednesday 28 January 2015New Bond Street, London

YvEs KlEinTable d’Or US$24,000 - 32,000£15,000 - 20,000

POST-WAR & CONTEMPORARY PRINTSFebruary 25, New YorkConsignments now invited

WAYNE THIEBAUDMeringue, 1995 Drypoint with aquatint in colorsSold for $21,250

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InDeXANUSZKIEWICZ, R. ..................................67 APPEL, K. ...........................................10, 13BARRÉ, M. .........................................52, 53 BEARDEN, R. .............................................9 BLUHM, N. ...............................................60 BOTERO, F. ..............................................82CALDER, A. ....................................4, 5, 6, 7 CELAYA, E. .........................................50, 51 CONDO, G. ..................................21, 23, 24 COTTINGHAM, R. .....................................19D’ARCANGELO, A. ...................................11 DE SAINT PHALLE, N. ..............................14 DINE, J. ......................................................8 DUGMORE, E. ..............................54, 55, 56ESSER, E. ................................................49 ETHRIDGE, R. ..........................................48FISH, J. ....................................................80 FLOOD, M. .........................................30, 36 FRANCIS, S. ...........................................2, 3 FURNAS, B. ..............................................26GOBER, R. ...............................................32 GOERITZ, M. ............................................68 GONZÁLEZ-TORRES, F. .....................33, 34 GONZÁLEZ, D. .........................................79 GORNIK, A. ..............................................77 GRAHAM, R. ............................................81HARING, K. ..............................................16 HAVARD, J. ..............................................75 HOFMANN, H. ....................................57, 58 HOPPER, D. .......................................18, 31JACIR, E. ............................................44, 45KIENHOLZ, E. & N. ...................................73LEWITT, S. ..................................................1 LICHTENSTEIN, R. ...................................15MARCA-RELLI, C......................................65 MATTA, R. ................................................59 NASH, DAVID ...........................................72 NEVELSON, L. ..........................................12OFILI, C. ...................................................39 PETTIBONE, R. .........................................20POONS, L.................................................64 REED, D. ..................................................76 RESNICK, M. ......................................61, 62 REYLE, A. .....................................28, 29, 35 RICKEY, G. ...............................................69 RUBY, S. ..................................................37SAMARAS, L. ...........................................74 SARET, A. ...........................................70, 71 SCHERMAN, T. .........................................78 SCHNEIDER, G. E. ...................................63 SCHUTZ, D. ..............................................25 SHERMAN, C. ..........................................22 SKOGLUND, S. ........................................41 STARN, D. & M. ........................................47 STELLA, F. ................................................66 STRUTH, T. .........................................42, 43TOBIAS, G. & U. .......................................27WARHOL, A. .............................................17 WHITE-SOBIESKI, T. .................................40 WOOL, C. .................................................38YAMAMOTO, M. .......................................46

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