KEN10420 SaleCat

POST-WAR AND CONTEMPORARY ART
Thursday 26 March 2015
AUCTION

1.00 pm
85 Old Brompton Road
London SW7 3LD
AUCTIONEERS
Tom Best, Will Porter

AUCTION CODE AND NUMBER
In sending absentee bids or

making enquiries, this sale
should be referred to as
PANANG-10420
POST-WAR AND CONTEMPORARY ART

VIEWING
Christies, 85 Old Brompton Road, London SW7 3LD

Saturday
Sunday
Monday
Tuesday
Wednesday
21 March
22 March
23 March
24 March
25 March
11.00 am
11.00 am
9.00 am
9.00 am
9.00 am
5.00 pm
5.00 pm
7.30 pm
5.00 pm
5.00 pm
AUCTION RESULTS
UK: +44 (0) 20 7839 9060

US: +1 212 703 8080
christies.com
CONDITIONS OF SALE
This auction is subject to

Important Notices, Conditions
of Sale and to reserves.
THE POST-WAR AND CONTEMPORARY ART
DEPARTMENT WOULD LIKE TO THANK:
Anna Campbell
Dave Davies
Emma Duret
Stuart Elwell
Patrizia Koenig
Georgia Lurie
Lydia Mills
Marie-Charlotte Poisson
Constanza San Mauro
Sean Smith
Giulia Turbiglio
BUYING AT CHRISTIES
For an overview of the process, see the Buying at

Christies section.
[15]
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CONTENTS
7
Auction Information
10
Property for Sale
240
Conditions of Sale and Limited Warranty
244
Important Notices and Explanation of Cataloguing Practice
245
Storage and Collection
246
Specialists and Services for this Auction
258
Salerooms and Offices Worldwide
259
Absentee Bids Form
260
Catalogue Subscriptions
262
Index
FRONT COVER:
PAGE 5:
PAGE 264 & INSIDE BACK COVER:
Lot 23
Lee Ufan, From Line No. 780231, 1978
(detail)
Lee Ufan
Courtesy Lisson Gallery
Lot 54
Idris Khan, Struggling to Hear... After
Ludwig van Beethoven Sonatas, 2005
(detail)
Lot 32
John Armleder, La Locanda, 2007
(detail)
OPPOSITE TITLE PAGE:
INSIDE FRONT COVER & PAGE 1:
Lot 17
Sturtevant, Warhol Flowers, 1964-1968
Lot 26
Fredrik Vrslev, Untitled (Canopy),
2012 (detail)
OPPOSITE CONTENTS PAGE:
COPYRIGHT NOTICE
Lot 21
Yayoi Kusama, Nets 41, 1997 (detail)
No part of this catalogue may be reproduced,

stored in a retrieval system or transmitted
by any form or by any means, electronic,
mechanical, photocopying, recording
or otherwise, without the prior written
permission of Christies.
COPYRIGHT, CHRISTIE, MANSON &
WOODS LTD. (2015)
Lot 29
Louis Eisner, Knuckleheads
THEWEIGHTHASBEENLIFTED
Knuckleheads 1, 2012 (detail)
PAGES 2 & 3:
OPPOSITE INDEX:
Lot 57
Otto Piene, Big Black Seed, 1967
(detail)
Lot 50
John Waters, Artistically Incorrect,
2006 (detail)
PAGE 4:
Lot 38
Georg Baselitz, Albert Einstein, 2003
(detail)
BACK COVER:
l1
SACHIN KAELEY (B. 1982)
PROVENANCE:
Untitled
Seventeen Gallery, London.

Private Collection, London.
signed and dated Sachin Kaeley 2011 (on the reverse)

spray enamel on adhesive tape on MDF panel
33 x 26in. (86 x 68cm.)
Executed in 2011
3,000-5,000
$4,600-7,600
4,100-6,700
l*2
BETHAN HUWS (B. 1961)
PROVENANCE:
Untitled (Social Problems within the Art World)
Yvon Lambert, Paris.

Acquired from the above by the present owner.
signed, inscribed, numbered and dated

WORD VITRINE REF. BH: WV. 001 138 AP 1/1
Bethan Huws, 2004 (on the reverse)
aluminium, glass, rubber, key and plastic letters
29 x 19 x 1in. (75 x 50 x 4.5cm.)
Executed in 2004, this work is an artists proof
from an edition of two plus one artists proof
1,500-2,500
$2,300-3,800
2,100-3,400
11
MICHAEL STANIAK (B. 1982)
PROVENANCE:
Untitled
Judith Charles Gallery, New York.

signed and dated MICHAEL STANIAK 2013

(on the reverse)
acrylic and spray enamel on MDF
47 x 35in. (121.4 x 91cm.)
Executed in 2013
7,000-10,000
$11,000-15,000
9,500-13,000
n*4
PARKER ITO (B. 1986)
PROVENANCE:
Private Collection, New York.
4SS
vinyl over UV-print and screenprint on 3M Scotchlite
63 x 45in. (161 x 115.5cm.)
Executed in 2011
15,000-20,000
$23,000-30,000
21,000-27,000
13
nl5
IDA EKBLAD (B. 1980)
PROVENANCE:
Missing Pages
Galerie Giti Nourbakhsch, Berlin.

Acquired from the above by the present owner in 2011.
signed with the artists initials I.E (lower right)

oil on canvas
63 x 51in. (160.2 x 130cm.)
Painted in 2010
7,000-10,000
$11,000-15,000
9,500-13,000
With its whirling composition of abstract

forms and refned chromatic balance,
Missing Pages, 2010, witnesses Ida
Ekblads original take on expressionism
and folk art. Washed gestural swirls
of deep blue and violet dance across
the canvas in a dynamic and harmonic
balance recalling a musical composition.
As Ekblad has said: Painting to me
combines expressions of rhythm, poetry,
scent, emotion..... It offers ways to
articulate the spaces between words,
and I cannot be concerned with its death,
when working at it makes me feel so
alive. Canvas can be attacked, copulated
with and played like an instrument. I
believe in painting like I believe in music.
Gore grind music has been invented
and can be reinvented forever, and no
two raindrops are alike... (I. Ekblad,
quoted in G. Del Vecchio, Pure Energy,
Deep Poetry, Mousse Magazine, www.
moussemagazine.it/articolo.mm?id=528).
14
EXHIBITED:
London, Saatchi Gallery, Gesamtkunstwerk: New Art

from Germany, 2011 (illustrated in colour, p. 32).
15
TAUBA AUERBACH (B. 1981)
PROVENANCE:
Bergen Kunsthall, Bergen.

Untitled
signed and dated Tauba A 2012 (lower right);
numbered 6/120 (lower left)
colour screenprint on paper
image: 30 x 22in. (76.1 x 57.2cm.)
sheet: 33 x 26in. (86.3 x 66.1cm.)
Executed in 2012, this work is number six
from an edition of one hundred twenty
1,000-2,000
16
$1,600-3,000
1,400-2,700
PROPERTY OF A PRIVATE COLLECTOR
n7
BRENDAN LYNCH (B. 1985)
PROVENANCE:
Italian Tabloid
Workshop, Venice.
spray enamel, acrylic, graphite, aluminum leaf, sand

and printed paper collage on wooden panel
60 x 48in. (152.5 x 122cm.)
Executed in 2012
6,000-8,000
EXHIBITED:
Venice, Workshop, The Still House Group, Capiche?, 2012.
$9,200-12,000
8,100-11,000
17
nl8
NICOLAS DESHAYES (B. 1983)
PROVENANCE:
Acids (3)
Jonathan Viner, London.

vacuum formed plastic in aluminium frame

on anodised aluminium, in two parts
(i) 43 x 39 x 3in. (110 x 100 x 8cm.)
(ii) 43 x 28in. (110 x 71cm.)
overall: 43 x 67 x 3in. (110 x 171 x 8cm.)
Executed in 2012
4,000-6,000
London, Jonathan Viner, Browns in Full Colour, 2012.

London, Saatchi Gallery, New Order: British Art Today,
2013 (illustrated in colour, unpaged).
$6,100-9,100
5,400-8,100
Across an anodised surface of

transmuting purple, green and ochre,
Acids (3), 2012, is an example of Nicholas
Deshayes innovative experiments in
painting that bridge the divide between
the organically gestural and industrially
produced. With its vibrating planes of
colour, Acids (3) is reminiscent of Mark
Rothkos abstract colour feld painting,
here created through the chemical
18
EXHIBITED:
activity of the metal rather than the

individual gesture of the artist. Placing
framed sections of vacuum formed plastic
on sheets of treated aluminium, Deshayes
applies heat, causing the plastic to mottle
and crease like aging human skin. Despite
their industrial production, Deshayes
works recall the frailty and mortality
of the human body.
19
SAM FALLS (B. 1984)
PROVENANCE:
Hannah Hoffman Gallery, Los Angeles.

Untitled (Palms, Green)

found printed linen
76 x 52in. (193.3 x 132.1cm.)
Executed in 2013
7,000-10,000
20
$11,000-15,000
9,500-13,000
(i)
(ii)
10
ELAD LASSRY (B. 1977)

Selkirk Rex, LaPerm
(i) signed Elad Lassry (on a label affxed to the reverse)
C-print in artists frame, in two parts
each: 14 x 11in. (36.7 x 29.2cm.)
Executed in 2011, this work is number one
from an edition of fve
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
Galerie Francesca Pia, Zurich.

EXHIBITED:
Zurich, Galerie Francesca Pia, Elad Lassry, 2011.
The pictures Im making are ones

that have become objects, or picture
objects. My whole practice raises
the question of whether the works
existence is image-based or objectbased, or whether it can be both. It
becomes a struggle between the image
and the presence or physicality of it
in space. What I am trying to get at
is basically whether the photograph
can become a presence. And I think
that the work does this by being both
a display of an image and a shelf. Its
the question of the possible hierarchy
between whats holding the object in
my arrangement and the photograph
itself as an object
(E. Lassry, quoted in M. Godfrey (ed.), On Display, Frieze,
Issue 143, November-December 2011, www.frieze.com/
issue/article/on-display/)
11
ELAD LASSRY (B. 1977)
PROVENANCE:
Red Snapper
C-print in artists frame
11 x 14in. (29 x 36.8cm.)
Executed in 2010, this work is number three
from an edition of fve plus two artists proofs
4,000-6,000
22
$6,100-9,100
5,400-8,100
David Kordansky Gallery, Los Angeles.

Private Collection, United States.
EXHIBITED:
London, Pace Gallery, Todays Specials, 2014.
nl12
NICHOLAS HATFULL (B. 1984)

Nutrition Highlights (Different Toucan)
oil and acrylic on canvas
98 x 74in. (250.3 x 190.2cm.)
Painted in 2009
4,000-6,000
$6,100-9,100
5,400-8,100
PROVENANCE:
Karsten Schubert, London.

EXHIBITED:
London, Karsten Schubert, Ignorant with the Suncream

(Seafront Delivery), 2009.
London, Saatchi Gallery, Newspeak: British Art Now,
2010 (illustrated in colour, p.123).
For my work I scavenge images from everyday graphic

sources; I have a big collection of pizza and cereal boxes. The
boxes sit around the studio and I like the idea of importing
their imagery to my canvases and re-exporting them in
painting space. The bird fgure in Nutrition Highlights is taken
from Toucan Sam, the mascot for Froot Loops. I alter the
images to make them my own by stretching, reconfguring,
and reinvesting in them. All my work has a strong relationship
to metaphysical painting ... My work uses things which are
everyday, but also have a sort of joie-de-vivre. I tend to work
in a state where rarefed art and commercial vernacular
are confused. I like the idea of pitching something into the
painting to give it a new life or buoyancy (N. Hatfull, quoted
in Nicholas Hatfull Exhibited at The Saatchi Gallery, www.
saatchigallery.com/artists/nicholas_hatfull.htm).
n13
STORM THARP (B. 1970)
PROVENANCE:
Jodie Jill
Galerie Sbastien Bertrand, Geneva.

inscribed JODIE AND WHAT SHE MEANS

(upper right); titled JODIE JILL (lower left)
ink, gouache and coloured pencil on paper
58 x 42in. (147.3 x 107.4cm.)
Executed in 2009
6,000-8,000
EXHIBITED:
New York, Whitney Museum of American Art, 2010

Whitney Biennial, 2010 (illustrated in colour, p. 109).
London, Saatchi Gallery, Paper, 2013
(illustrated in colour, p. 179).
$9,200-12,000
8,100-11,000
Im thinking about how weird realism is and how

dangerous it is to get stuck in it, for me. And I think thats why
I like the abstract parts of the paintings
(S. Tharp, quoted in B. Gilsdorf, Interview with Storm Tharp, in Daily Serving, 4 January 2010,
www.dailyserving.com/2010/01/interview-with-storm-tharp).
With its dreamlike, evanescent surface, Jodie Jill, 2009, bears

witness to Storm Tharps unique approach to portraiture.
A surreal female fgure emerges from a washed red
background, her light-blue wavy hair framing delicate facial
features, appearing before the viewer like a half-glimpsed
vision. The womans cheekbones, chin and eyes are thrown
into dark relief against the whiteness of the paper. The inks
fuidity causes the nostrils and eye sockets to splay outwards,
as if poised on the brink of physical dissolution. Inspired by
Japanese calligraphy, Tharp uses ink as an extension of the
psyche, mirroring its unexpected focuses and elisions. As
though mimicking the act of forgetting, Jodie Jills face blurs
and disappears in a cloud of marks, liquefying the subjects
24
physical presence before our very eyes. In this sense, the

work witnesses Tharps fascination with the boundaries of
fguration and abstraction. As he himself explained, I like
details, but I prefer not to have to rely on realism. So when the
work can speak for itself and come on its own terms because
of the materials, ink and water bleeding, I think thats the best
part. All of the other things, the clothing, the hair, the setting,
thats all just in aid of the more naturally found noises. Im
thinking about how weird realism is and how dangerous it
is to get stuck in it, for me. And I think thats why I like the
abstract parts of the paintings (S. Tharp, quoted in B. Gilsdorf,
Interview with Storm Tharp, in Daily Serving, 4 January 2010,
www.dailyserving.com/2010/01/interview-with-storm-tharp/).
PROPERTY FROM THE ART FOUNDATION MALLORCA
nl14
TOBY ZIEGLER (B. 1972)
PROVENANCE:
CCA Andratx, Andratx.
Saint Sebastian
signed, titled and dated Toby Ziegler 2009
Saint Sebastian (on the overlap)
oil and pencil on canvas
95 x 82in. (242 x 210cm.)
Painted in 2009
20,000-30,000
EXHIBITED:
Andratx, CCA Andratx, Reframing, 2009.
$31,000-46,000
27,000-40,000
In Toby Zieglers paintings, imagery borrowed from art

history is crafted from patterns of identical stars and discs
clouds might be borrowed from Constable, body parts from
16th-century pornography. Yet theres no doubt his visuals
originate anywhere other than CGI. Laid out according to
exacting laws of perspective, they are 3D-looking vistas
with illusory, kaleidoscopic depths
(S. Sharwin, Artist of the week 113: Toby Ziegler, The Guardian, http:/www.theguardian.
com/artanddesign/2010/nov/10/artist-week-toby-ziegler).
Painted in 2009, Saint Sebastian is a dynamic example of

Toby Zieglers technically astute practice that demonstrates
his fascination with the way in which visual information is
received, distributed and consumed. At the centre of the
composition a vertical graffti-like scrawl in luminous white
and neon turquoise emerges against the geometric pattern
of layered black ovals that proliferate the canvas in varying
degrees of translucency. Mining art historical sources from
the internet, Ziegler feeds carefully appropriated images
through the computer, transforming fgurative forms into
geometric patterns, before rendering them by hand. Placing
emphasis on the tension between digital and analogue
techniques, in his painting Ziegler explores the transformation
of objects travelling from one age and culture to another,
alluding to the process by which images are reproduced
across historical periods and translated between different
media. Here, the contorted central shape with its protruding
jagged lines, as though arrows piercing a fgure, makes
reference to the legend of Saint Sebastian. A subject
repeatedly illustrated throughout art history, Ziegler joins a
host of artists who have depicted the saint, from Botticelli,
Titian and Bellini, to Egon Schiele, Salvador Dal and Louise
Bourgeois.
With its stark juxtaposition of incandescent colour over

shadowy background, the rich surface texture of the painting
emphasises layers of depth and space. A delineation of
each virtual plane, Ziegler leaves the computer generated
oval patterns visible, endowing his painting with a sense
of three-dimensionality. As the viewer moves their eye
across the canvas, mesmerising perspectival shifts occur,
and the paintings surface quality vacillates between
fatness and depth. Zieglers multilayered oeuvre aims to
erode the binary distinctions that have defned traditional
painting. Blending geometric dexterity with rich painterly
gesture, Zieglers painting oscillates between abstraction
and fguration, merging classical composition with digital
manipulation. Operating in a space between the familiar
and the strange, and uniting the precision of graphic design
with the spontaneity of painterly expression, Saint Sebastian
encapsulates Zieglers uniquely paradoxical practice.
nl15
LUCY McKENZIE (B. 1977)
EXHIBITED:
Untitled
signed and dated Lucy McKenzie Feb. 2002
(on the stretcher)
oil, graphite and printed paper collage on canvas
76 x 51in. (195.2 x 130.6cm.)
Executed in 2002
8,000-12,000
PROVENANCE:
CCA Andratx, Andratx

(acquired directly from the artist).
$13,000-18,000
11,000-16,000
Andratx, CCA Andratx, Art Foundation Mallorca

Collection, 2008-2010.
Andratx, CCA Andratx, The CCA Collection 2001
2011. 10 Years of Residency Program, 2011-2012.
With its life-sized presence mimicking the elegant curves
of a wrought-iron gate, Untitled, 2002, testifes to Lucy
McKenzies interest in the relationship between reality and
representation, especially in regards to the design of public
and social spaces. Her trompe loeil technique creates
realistic yet surreal apparitions: the immediately recognisable
decorative motif moulds into a facial silhouette in the centre of
the composition, whose head is literally spelled out in rounded
letters reading Brain. McKenzies stylised shapes recall the
visual puns of some of Magrittes surreal work, though the
collaged Scottish pound notes give Untitled a Dadaist ironic
and dreamlike feel.
l16
DEXTER DALWOOD (B. 1960)
PROVENANCE:
Greenham Common
David Risley Gallery, Copenhagen.

signed and dated Dexter Dalwood 2008

(on the reverse)
oil on canvas
39 x 36in. (101 x 93.1cm.)
Painted in 2008
10,000-15,000
$16,000-23,000
14,000-20,000
29
17
STURTEVANT (1924-2014)
PROVENANCE:
Gift from the artist to the present owner circa 1968.
Warhol Flowers
signed and titled Warhol Flowers Sturtevant
(on the reverse)
silkscreen and acrylic on canvas
11 x 11in. (28 x 28cm.)
Executed in 1964-1968
30,000-40,000
$46,000-61,000
41,000-54,000
So when I am asked, well, What was your relationship with

Andy? I say: Youre asking me a personal question about
AndyThere was a wonderful statement: The more you
know about Andy, the less you have to know, but the more
you have to see. And then you saw him all over the place
(E. Sturtevant, quoted in, P. Eleey, Sturtevant, Double Trouble, exh. cat., Museum of
Modern Art, New York, 2015, p. 127)
Created at the dawn of Elaine Sturtevants practice, Warhol

Flowers stems from the series that launched her criticallyacclaimed career. It was in 1964, the commencing year of the
present work, that the artist created her frst appropriation
of Andy Warhols seminal Flowers. Standing among the
most iconic images of twentieth-century art, Warhols foral
silkscreens were exhibited for the frst time that same year
by Leo Castelli, the renowned dealer who had just struck
a partnership with the artist. Long before Richard Princes
Cowboys or Cindy Shermans Film Stills, Sturtevants Warhol
Flowers sought to interrogate concepts of authenticity and
authorship by faithfully reproducing contemporary artworks.
Her approach found much in common with Warhols own
practice, itself defned by a wry questioning of artistic
originality in an age of mass production. Recognising
the magnitude of Sturtevants aesthetic aims, Warhol
immediately obliged her request to borrow one of his fower
silkscreens in 1964. Indeed, when Warhol was later asked in
an interview to comment on his artistic process, he replied,
in his characteristically deadpan manner, I dont know. Ask
Elaine (A. Warhol, quoted in U. Kittelmann (ed.), Sturtevant:
The Brutal Truth, Switzerland 2004, p. 17). Gifted to the
present owner by the artist the late sixties, the work has
remained in the same private collection for nearly 50 years.
30
Within the pantheon of artists whose work Sturtevant

recreated, Warhol was a fgure of special signifcance. In
particular, his Flowers would become a recurring theme
throughout her oeuvre: the frst 1964 works, many of which
were exhibited the following year at the Bianchini Gallery,
were revisited on a larger scale in 1990. Further appropriations
of his work, including the Warhol Marilyns and the flm Warhol
Empire were made during the 1970s for her solo exhibition at
the Everson Museum of Art. Like Warhol, many of the other
artists within Sturtevants purview were connected to Leo
Castelli, including Jasper Johns and Robert Rauschenberg.
Sturtevant recognised the groundbreaking artistic potential of
these fgures and the new forms of reception that their works
demanded. As the artist has explained, the emotional and
intellectual jolt of encountering a known object that is then
denied its content results, if not in immediate rejection, in a
shifting and disturbing mode of thought. There is a loss of
balance that demands going beyond (E. Sturtevant, quoted
in Magritte, exh. cat., Muse des Beaux-Arts de Montral,
Montreal 1997, p. 125). Though much of Sturtevants early
oeuvre may be seen to prefgure the work of the so-called
Pictures Generation who came to prominence in the 1970s,
Sturtevant vehemently denied any affliation to their brand of
appropriation art, insisting she was not making copies, paying
homage [or] saying anyone can do it but rather talking about
the power and autonomy of originality, and the force and
pervasiveness of art (E. Sturtevant, quoted in U. Kittelmann
(ed.), Sturtevant: The Brutal Truth, Switzerland 2004, p. 20).
*18
ANDY WARHOL (1928-1987)
PROVENANCE:
Camoufage
stamped with the Estate of Andy Warhol stamp and
the Andy Warhol Foundation for the Visual Arts stamp
and numbered PA 85.062 (on the overlap)
synthetic polymer paint and silkscreen ink on canvas
12 x 10in. (30.5 x 25.4cm.)
Executed in 1986
35,000-45,000
$54,000-69,000
48,000-60,000
Estate of Andy Warhol.

The Andy Warhol Foundation for the Visual Arts,
New York.
Susan Sheehan Gallery, New York.
Private Collection.
EXHIBITED:
New York, Gagosian Gallery, Andy Warhol:

Camoufage, 1998-1999, no. 44 (illustrated in colour).
The work is accompanied by a certifcate of authenticity
issued by the Andy Warhol Foundation for the Visual Arts,
Inc., New York.
Abstraction was not only a way to be taken more seriously, but also
and much more signifcantly a refuge from diffculties of reality.
In that sense, the Camoufage paintings, in all their formal abstract
splendour, can be seen as true portraits of Andy Warhols inner-self
(B. Colacello, Andy Warhol, Abstraction, and the Camoufage Paintings, Andy Warhol Camoufage, exh.
cat., Gagosian Gallery, New York, 1998, p. 9).
With its vibrant green and blue palette, Camoufage belongs

to the important series of paintings that Andy Warhol created
in 1986, shortly before his death the following year. Obliquely
referencing the colour felds of Abstract Expressionism with
the cool indifference of Pop Art, the Camoufage works
derived from a forty inches sample of fabric netting that
Warhol purchased from an Army surplus store. Warhol
cropped and selected areas of this sample to create subtle
variations in the patterns articulation. Executed late in his
career, the Camoufage works stand as visual metaphors for
their creator: an artist who, throughout his life, presented
himself to the world through various flters of enigma and
disguise. During the last years of his life Warhol became
obsessed by his own mortality, and it is perhaps ftting that
his last canvases are also amongst his most deeply personal.
Coterminous with Warhols celebrated fnal series of SelfPortraits, the Camoufage paintings may be seen to operate
within a similar framework. As Bob Colacello, one of Andys
inner circle, wrote, Abstraction was not only a way to be
taken more seriously, but also and much more signifcantly
a refuge from diffculties of reality. In that sense, the
Camoufage paintings, in all their formal abstract splendour,
can be seen as true portraits of Andy Warhols inner-self (B.
Colacello, Andy Warhol, Abstraction, and the Camoufage
Paintings, Andy Warhol Camoufage, exh. cat. Gagosian
Gallery, New York 1998, p. 9).
32
After a decade of work dominated by celebrity portraiture,

between 1978 and 1987 Warhol took on many new
challenges, experimenting with abstraction, new media and
subject matter. During the early 1970s, Warhol had applied
layers of Abstract Expressionist-like paint over his images,
intentionally referencing a painterly style that he and his Pop
Art peers had rebelled against in the 1960s. His camoufage
pattern may be understood as an extension of this, and
indeed was variously applied on top of a number of other
images, including The Last Supper, Joseph Beuys and the
Self-Portraits, all of which were executed between 1985
and 1986. The Camoufage paintings are among Warhols
most technically complex works. The paintings were made
at Rupert Smiths silkscreening studio under the constant
supervision of Warhol, who would discuss, in-depth, the
progress of each canvas. Warhol would personally place the
screens upon the canvas, intentionally positioning them off
center and overlapping the edges. Four colours of ink were
then selected and squeezed or brushed on by hand, with
varying densities and pressures giving rise to a rich surface
texture. Warhols intention was not to replicate the precision
of the original army fabric, but rather to build on the potential
for variation latent in the silkscreening process. As the artist
explained, With silkscreening, you pick a photograph, blow it
up, transfer it in glue onto silk, and then roll ink across it so the
ink goes 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 (A. Warhol & P. Hackett, Popism:
the Warhol Sixties, New York 1980, p.22).
(i)
(ii)
PROPERTY FROM AN IMPORTANT SWISS COLLECTION
*19
WILLEM DE KOONING (1904-1997)

(i)-(iii) Untitled
each: signed de Kooning (lower right)
each: charcoal on paper
each: 11 x 8in. (28 x 21.3cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
The Estate of the artist.

Matthew Marks Gallery, New York.
Sprth Magers Lee, London.
Gagosian Gallery, London.
Simon Lee Gallery, London.
(iii)
I am always in the picture somewhere. The amount of space I use I am

always in, I seem to move around in it. And there seems to be a time
when I lose sight of what I wanted to do, and then I am out of it. If the
picture has a countenance I keep it. If it hasnt, I throw it away
(W. de Kooning, quoted in R. Motherwell, A. Reinhardt and B. Karpel (eds.), Modern Artists in America, First
Series, 1952, p. 12).
20
ALEXANDER CALDER (1898-1976)
PROVENANCE:
Npal
signed and dated Calder 73 (lower right)
gouache and ink on paper
29 x 43in. (74.6 x 109.2cm.)
Executed in 1973
25,000-35,000
$39,000-53,000
34,000-47,000
Galerie Maeght, Paris.

Private Collection, New York
(acquired from the above in 1974).
Anon. sale, Christies London, 27 October 1994, lot 142.
Acquired at the above sale by the present owner.
This work is registered in the archives of the Calder

Foundation, New York, under application number A11807.
I like a hard shape, something like a fresh fruit,

rather than an old, rotten shape
(A. Calder, quoted in J. Lipman, Calders Universe, New York, 1976, p. 265).
35
FIVE WORKS FROM

AN IMPORTANT PRIVATE
ASIAN COLLECTION
(LOTS 21-25)
21
FIVE WORKS FROM AN IMPORTANT

PRIVATE ASIAN COLLECTION

*21
*22
YAYOI KUSAMA (B. 1929)
YAYOI KUSAMA (B.1929)
Nets 41
Infnity Nets
signed, titled and dated yayoi Kusama 1997 Nets 41

(on the reverse)
acrylic on canvas
12 x 16in. (31.8 x 41cm.)
Painted in 1997
signed, titled in Japanese and dated yayoi Kusama

1998 (on the reverse)
acrylic on canvas
7 x 5in. (18 x 14cm.)
Painted in 1998
25,000-35,000
18,000-22,000
$39,000-53,000
34,000-47,000
PROVENANCE:
Jean Art Center, Seoul.

EXHIBITED:
Seoul, Jean Art Center, Yayoi Kusama, 2005

(illustrated in colour, unpaged).
This work is registered under no. 1997 and is accompanied by
a registration card issued by the artists studio.
$28,000-34,000
25,000-30,000
This work is registered under no. 2103 and is accompanied by

a registration card issued by the artists studio.
22
With their mesmerising surface patterns, Infnity Nets and

Nets 41 are beautiful examples of the defnitive body of work
that precipitated Yayoi Kusamas meteoric rise to critical
acclaim. First conceived upon her arrival in New York in the late
1950s, the Infnity Nets series has been a constant throughout
her celebrated oeuvre. Though initially conceived as an elegant
riposte to the gesturalism that dominated the New York
art scene, the cosmic sublimity of these vast compositions
positioned Kusama as heir to the all-over abstract practices of
Jackson Pollock and Barnett Newman. In the subtle, shifting
surfaces of the Infnity Nets, Kusama evokes an unfathomable
and transcendent space. The seemingly infnite feld of dots
constitutes the single most important motif in Kusamas
oeuvre, inspired by the hallucinatory visions that the artist
suffered from about the age of ten. She described being
struck by haunting visions of vast proliferations of dots, nets
and fowers that overwhelmed her entire being. My room,

my body, the entire universe was flled with [patterns], she
recalls; my self was eliminated, and I had returned and been
reduced to the infnity of eternal time and the absolute of
space. This was not an illusion but reality (Y. Kusama, quoted
in L. Hoptman and U. Kultermann, Yayoi Kusama, New York
2000, p. 36). Alternately suggesting the vastness of the
cosmos or the infnitesimal forms of cells or atoms, Kusamas
dots are the ultimate ciphers for the incomprehensible
dimensions of infnity. First shown alongside the work of
artists including Yves Klein, Lucio Fontana, Piero Manzoni and
Mark Rothko, Kusamas Infnity Nets had a profound impact
on the international art scene, presaging elements of the
Minimalist movement that took hold in the 1960s and 1970s.
Today, they stand as the tour de force of her oeuvre and the
ultimate embodiment of her unique aesthetic.

*23
LEE UFAN (B. 1936)
PROVENANCE:
From Line No. 780231

signed and dated L. UFAN 78 (lower right); signed,
titled and dated From line No. 780231 Lee Ufan
(on the reverse)
oil on mineral pigment canvas
28 x 35in. (72 x 91cm.)
Painted in 1978
200,000-300,000
This work is accompanied by a certifcate of authenticity.
$310,000-460,000
270,000-400,000
Executed in 1978, From Line No. 780231 stems from the

defnitive series of works for which Lee Ufan is best known.
Created largely between 1971 and 1984, it was this series,
along with the From Point works of the same period, that
were responsible for launching the artist to international
acclaim. Representing a gestural, expressive extension of his
earlier restrained vocabulary, in these works Ufan deploys
ground mineral pigment suspended in a type of viscous
animal-skin glue, characteristic of the Japanese nihonga
tradition in which he was trained. The artist drags his brush
down the canvas in a series of cascading lines, maintaining
contact with the pictorial surface until the powdered,
crystalline substance expires. Ufan adopts a symbolic
approach to colour, with shades of deep blue or orange
applied to a blank ground, evocative of the sky and earth
respectively. Through these minimal, serialised gestures, Lee
creates what he describes as a pictorial enactment of the
idea of infnity (L. Ufan, quoted in press release, Lee Ufan
Works Acquired by Tate Gallery, 12 January 1998, http:/
www.tate.org.uk/ ).
Animating the void of the picture plane, Ufan conceives
each brushstroke as a progressive act of distancing
between himself and the work. His systematic means of
articulation is designed to remove his own presence from
the painting, creating instead a temporal and spatial dialogue
with the viewer. The artist refers to this as yohaku the
art of emptiness. Referencing the structural principles of
minimalism through their appeal to grid-like formations and
serialisation, these works impart a new, gestural dimension
to this vernacular, foregrounding the basic act of mark-making
as a physical trace of existence. As the artist has explained,
One way of showing the idea of infnity in a picture is the
repetition of pictorial elements. As with living organisms, it
is a repetition of birth and death, death and birth, yet it must
be sequenced so that each moment is unique and separate.
The organic device where by each brushstroke, each element
is independent and mutually related makes a picture full of
forces (L. Ufan, quoted in press release, Lee Ufan Works
Acquired by Tate Gallery, 12 January 1998, http:/www.tate.
org.uk/).
40
Private Collection.
Anon. sale, Mainichi Art Auction Tokyo, 7 June 2014,
lot 797.
Born in South Korea in 1936, Ufan studied painting at the

College of Fine Arts at Seoul National University for just
two months before moving to Japan to study philosophy.
He came to prominence in the late 1960s as a founder
and theoretical leader of the avant-garde group Monoha (literally School of Things), one of the frst Japanese
contemporary art movements to be recognised on a global
scale. Whilst his early works deliberately went against the
abstract expressionism of the contemporary Japanese Gutai
movement, their intense focus on the pictorial surface would
go on to inform the central principles of Mono-ha. Closely
related to the European Arte Povera movement of the 1960s,
the groups aesthetic aims were centred on materiality and
perception, rejecting Western notions of representation
in favour of artworks that attempted to induce a physical
experience in the viewer. Ufan was also a central fgure of
the Korean school of tansaekhwa, or monochrome painting,
which sought to breathe new life into minimalist abstraction,
attempting to record the passage of time through gestural,
bodily traces. From Line and From Point represent the
clearest expression of this aesthetic, and their technique
would continue to evolve in his subsequent Correspondence
works of the 1990s. As a writer and philosopher as well as
an artist, Ufan combines his practice with a deep interest
in Asian metaphysics, and his prolifc output of critical texts
work in close tandem with his paintings and sculptures. Now
Professor emeritus at Tama Art University, Lee has recently
been the subject of major solo exhibitions at Chateau de
Versailles (2014) and the Solomon R. Guggenheim Museum,
New York (2011). In 2001, he was awarded the Praemium
Imperiale, one of Japans most prestigious international
prizes. Today his work is held in international museum
collections, including the Centre Georges Pompidou, Paris;
Tate, London; the Museum of Modern Art, New York and the
Tokyo Metropolitan Art Museum, Japan.

*24
LEE UFAN (B. 1936)

From Point No. 780101
signed and dated L. UFAN 78 (lower right); signed,
titled and dated From point No.780101, L.Ufan
(on the reverse)
oil and mineral pigment on canvas
15 x 18in. (38.1 x 45.7cm.)
Painted in 1978
40,000-60,000
$61,000-91,000
54,000-81,000
PROVENANCE:
Private Collection.
Anon. sale, Mainichi Art Auction Tokyo, 6 April 2013, lot 172.
42
The scholars of East Asia have thought

with the brush for centuries, using it
both for writing and painting. The object
before the eyes and the image in the mind
are all constructed of points and lines,
and expressed in rhythm with the rising
and falling of the breath. Because of this,
the viewer ... can observe the dynamic
relationship between the painting and
the canvas, the condition of the painters
body, the movement of his heart, his
character and the atmosphere of the age
(L. Ufan, quoted in J. Fischer (ed.), Lee Ufan: The Art of
Encounter, Cologne 2008, p. 25).

*25
KIM TSCHANG-YEUL (B. 1929)

Waterdrops ENS 212
signed and dated T. Kim 1979 (lower right); signed,
signed in Chinese, titled, inscribed and dated twice
CSH 65 1979 ENS 212 1979 T. Kim (on the overlap)
oil on hemp cloth
31 x 45in. (79.5 x 115cm.)
Executed in 1979
40,000-60,000
$61,000-91,000
54,000-81,000
PROVENANCE:
Private Collection.
Anon. sale, United Asian Auctioneers, 25 May 2013, lot 83.
Water is a nearly universally recognised symbol, embodying

ideas of purity and spiritual cleansing, emptiness and the
infnite. These symbolic properties can be found not only
visually but in the extended, deliberately meditative practice
of Kim Tschang Yeul. After World War II and the subsequent
Korean War, many artists throughout Korea and Japan turned
away from fgurative expression, instead moving towards
expressive forms that bear some resemblance to Minimalism
in the West. At the same time, the spiritual and philosophical
underpinnings of these creations had distinct roots in East
philosophy and aesthetics. Born in 1929, Kim Tschang-Yeul,
a learned man in classical Chinese calligraphy and Asian
philosophy, was exposed to Western art by his mother, who
passionately encouraged his interest in the arts. Settling in
Paris in 1970, Kim developed his signature style and motif: the
representation of the water drop. As the artist has explained:
I paint water drops because I want to dissolve everything
inside them, and return to nothingness. Anger, anxiety, fear-I
want them all to become emptiness (T.-Y. Kim, quoted in,
Kim Tsang-Yeul, exh. cat., Tokyo Gallery, 1988).
nl26
FREDRIK VRSLEV (B. 1979)
PROVENANCE:
Untitled (Canopy)
Johan Berggren Gallery, Malmo.

signed and dated Fredrik Vrslev 2012

(on the overlap)
primer, spray paint and white spirit on canvas
79 x 49in. (200.9 x 125.5cm.)
Executed in 2012
60,000-80,000
$92,000-120,000
81,000-110,000
Just wait till the painting has been exposed to a couple of

showers, been gashed a little by some sharp nails and so
forth, and then been carted around the world in all sorts of
miserable, leaking boxes Oh yes, in due course I think
this should be good! It only needs few faws in order to
become really good
(E. Munch, quoted in Fredrik Vrslev: Lanterne Rouge, Standard (Oslo), http:/www.
standardoslo.no/en/exhibitions/lanterne_rouge).
Bridging the divide between abstraction and representation,

the weathered canvas of Fredrik Vrslevs Untitled (Canopy)
witnesses the collision of high and low culture. Part of his
Canopy series of paintings, the present work takes as its
subject that familiar icon of suburban living: the canopy,
or awning. Developing the theme of his previous Terrazzo
paintings in which Vrslev imitated the appearance of the
polished surface of a gallerys marbled foor, Untitled (Canopy)
offers a trompe loeil illusion. Through neat geometric
segmentation and compartmentalised colour, Vrslev
translates the structured repetitions of the outdoor awning to
canvas. In Vrslevs oeuvre meteorology and methodology
are inextricably linked: subject to the chance variations of
seasonal change, the canopy represents the link between
architecture and nature, and, carrying the marks of natural
intervention, becomes a representation of the environment
itself. Like the awnings that his paintings take as source
material, the artist exposes his primed canvases to the
elements, leaving them outside of his studio for extended
periods of time. Explaining the long process by which his
works are made, Vrslev has said, theres this incredibly
44
slow part that happens when dealing with decisions made by

Nature; to make the works dry, frost, fade in the sunlight, and
age the way Id like them to. It can easily take months before I
apply another brushstroke or a spill that is yet again a decision
made in a split second (F. Vrslev, quoted in E. Rosales,
Finishing Touches, in Mousse Magazine, no. 28, April 2011,
p. 237).
With their meticulous striped aesthetic, Vrslevs Canopy
paintings are embedded in a network of art historical
references, from Barnett Newmans Abstract Expressionist
zips, to the Minimalist vision of Frank Stellas concentric
stripes and Daniel Burens precisely measured motif. Despite
its stylistic similarities to this pre-existing formal vocabulary,
Vrslevs concern is not with geometric abstraction or the
legacy of abstract painting, but rather in how the abstract can
be representational. Like Yves Kleins Cosmogonies, in which
the artist captured on canvas the trace of the elements, in
Untitled (Canopy) Vrslev forges a conceptual link between
abstraction, representation and illusion.
27
ETHAN COOK (B. 1983)
PROVENANCE:
Galerie Jeanroch Dard, Paris.

Untitled #19
signed with artists initials and dated EFC 2013
(on the reverse)
hand woven cotton canvas in artists frame
30 x 24in. (77.2 x 62.5cm.)
Executed in 2013
7,000-10,000
46
$11,000-15,000
9,500-13,000
nl28
MARKUS AMM (B. 1969)
LITERATURE:
J. Cape & Saatchi Gallery (ed.), Germania, London 2008

(illustrated in colour, p.195).
Untitled
enamel, tape, felt-tip pen, graphite, metallic sticker
and paper collage on plywood
61 x 49in. (155.3 x 125.2cm.)
Executed in 2001
5,000-7,000
$7,700-11,000
6,800-9,400
PROVENANCE:
Patricia Low Contemporary, Gstaad.

EXHIBITED:
Gstaad, Patricia Low Contemporary, Finding Neverland, 2006.
In Markus Amms Untitled, 2001, layers of tape, enamel and

photographs accumulate on the surface of the canvas overlaid
by precise geometric sketches, exemplifying the German
artists fne draughtsmanship. Upon a wooden panel, Amm
traces delicate lines in pencil and coloured pen, exploring the
tension between the two-dimensionality of illustration and the
physical texture of his ephemeral material. The additive process
of collage results in a dialogue between line, pattern and
texture, generating an illusion of optical depth. An architectural
drawing of an imagined panorama, Untitled addresses the
relationship between illusionistic and material space.
PROPERTY OF A PRIVATE COLLECTOR
n29
LOUIS EISNER (B. 1988)

Knuckleheads THEWEIGHTHASBEENLIFTED
Knuckleheads 1
signed and dated Louis 2012
(on the reverse of a panel)
ink on Sheetrock, in four parts
each: 96 x 48in. (244 x 122cm.)
overall: 96 x 192in. (244 x 488cm.)
Executed in 2012
30,000-50,000
$46,000-76,000
41,000-67,000
PROVENANCE:
Acquired directly from the artist by the present owner.
Executed in 2012, Knuckleheads THEWEIGHTHASBEENLIFTED

Knuckleheads 1 comes from Eisners series of the same name.
Across four panels, Eisner lays out Popeyes head with a rubber
stamp within a delicate linear grid in blue chalk. Popeyes
winking face is encircled by four arms; each fst grabs the next
forearm in a complete loop, knuckles bulging with the effort.
Together they form a four-pointed star, reminiscent of a Hindu
swastika, the symbol for the evolution of the universe. As the
viewers eye moves across the panels from left to right, the
regular network of stamps becomes less frequent although still
highly regular, suggesting a coded visual language.
48
Eisner is a member of the Still House Group in New York, a

cutting-edge collective of young artists based in New York
founded by Isaac Brest and Alex Perweller. A graduate of
Columbia University, Eisner holds a degree in Art History. In
Knuckleheads THEWEIGHTHASBEENLIFTED Knuckleheads
1 Eisner mines this academic background, responding to
Andy Warhols legacy of appropriation, and his fusion of massproduction and the hand-crafted. Created from an original
painting by Eisner, the rubber stamp used in the fabrication
of this work features an image of Popeye that sees the artist
bring together Pop technique and technical skill.
n30
RAPHAEL HEFTI (B. 1978)

Untitled (from the series Subtraction as Addition)
Luxar-coated double-glazed museum glass
86 x 47 x 1in. (220 x 120 x 2.5cm.)
Executed in 2012
5,000-7,000
$7,700-11,000
6,800-9,400
PROVENANCE:
White Cube.
EXHIBITED:
London, Inside the White Cube, Raphael Hefti, 2012

50
31
XYLOR JANE (B. 1963)

Scott Ross
signed twice, titled and dated SCOTT ROSS 2005
Xylor Jane XYLOR Jane (on the reverse)
felt-tip pen on paper
30 x 22in. (76.5 x 56cm.)
Executed in 2005
2,000-3,000
PROVENANCE:
Canada Gallery, New York.

Anon. sale. Rago Arts and Auction Center,
12 November 2011, lot 728.
$3,100-4,600
2,700-4,000
Color is Janes emotional key, and, not surprisingly, her

use of it is both extremely controlled and utterly subjective.
Rarely brushed, it is applied in single, unmodulated dots,
sometimes as tiny as a millimetre in diameter. The daubs
come in geometric clusters, and within those tiny clusters the
color breaks down further into discrete rows, like bands in a
rainbow or light refracted through a prism. Tracking the colors
up close will give you a deep respect for obsessive markmaking-and more than a little eyestrain. From afar they yield
pure optical pleasure of the sort that just doesnt translate in
reproduction
(S. Schmerler, Xylor Jane, in Art in America, 12 October
2012, www.artinamericamagazine.com/reviews/xylor-jane/ ).
51
n32
JOHN ARMLEDER (B. 1948)
PROVENANCE:
La Locanda
Massimo De Carlo, Milan.

signed and dated John Armleder 2007 (on the overlap)

acrylic, lacquer and glitter on canvas
98 x 59in. (250.5 x 151.4cm.)
Executed in 2007
40,000-60,000
$61,000-91,000
54,000-81,000
I never really believed in author. I think that we are

collective beings; our intelligence is the result of an
exchange, a conversation or a negotiation, which is of course
defned by the time or place in which we live. Nowadays, I
think that we can escape the place where we live
(J. Armleder, interview with A. Bellini, Curated by John Armleder, in Kaleidoscope, Issue 21,
Summer 2014, reproduced at http://www.ok-rm.co.uk/project/kaleidoscope-21).
With its luminous cascade of colours ranging from green to

yellow, to an intense red, La Locanda, 2007, is a beautiful
example of John Armleders abstract pictorial vocabulary.
Playing with the legacy of Minimalism and Abstract
Expressionism, Armleder reinvents Modernist painting for
a Postmodern audience. As Giacinto Di Pietrantonio has
observed, The idea one gets when looking at the work of
John Armleder is the idea of the twentieth century itself, the
age of modernity (G. di Pietrantonio, Images, Things and
Participation, in Parkett, No. 50/51, 1997, p. 31). La Locandas
vibrant washes of paint drip and intermingle over the surface
of the canvas, recalling Morris Louis iconic canvases of
surging colour. The chromatic swaths achieve a luminescent
effect that seems to emerge from the surface of the canvas
while permeating throughout. Layers of thinned pigment
soak into the canvas, leaving the grain of fabric visible, which
provides the work with a unique texture. Armleders training
with the Fluxus group in the 1960s and 1970s is underlined in
La Locanda by the artists reliance on the force of gravity for
the creation of chance encounters of texture and colour.
52
One of the most infuential Swiss artists of his generation,

Armleder has always resisted any categorisation or affliation
with any particular artistic agenda. Infuenced by John
Cages improvisational and performative practice, the artist
is interested in the viewers diverse responses to his work,
as well as in the nature of the exhibition space and the way it
infuences the experience of art. As Armleder has explained:
In my opinion, its the viewer who produces a work of art by
using a fund of information he or she has received or acquired.
Its obvious that a painting by Fra Angelico will not be viewed
today in the same way as when it was painted. Its something
created the very moment you start looking at it. Once we have
become aware of this as artists, we know people wont see
the same things we did while we were painting (J. Armleder,
quoted in John M Armleder, in Annual Magazine, Issue 5,
2012, www.annualartmagazine.com/conversation/john-marmleder).
l33
GERHARD RICHTER (B. 1932)
EXHIBITED:
Domecke I (Cathedral Corner I)

signed, numbered and dated 39/60 Richter 1998
(on the reverse)
Cibachrome mounted to Plexiglas
30 x 21in. (78 x 55cm.)
Executed in 1998, this work is number thirty-nine
from an edition of sixty plus six artists proofs
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
Galerie Thaddaeus Ropac, Salzburg.

Dallas, Dallas Museum of Art, Gerhard Richter in Dallas

Collections, 2000 (another from the edition exhibited).
Cleveland, The Cleveland Museum of Art, Photography
Transformed, 2002 (another from the edition exhibited,
illustrated in colour, p. 175).
Bonn, Kunstmuseum, Gerhard Richter: Printed!
Druckgrafk, Foto-Editionen und Knstlerbcher,
2004-2005 (another from the edition exhibited). This
exhibition later travelled to Lucerne, Kunstmuseum
Luzern; Emden, Kunsthalle Emden; Tbingen, Kunsthalle
Tbingen and Salzburg, Museum der Moderne.
New York, Marlborough Gallery, Landscape
Cityscape, 2005 (another from the edition exhibited).
Dusseldorf, Galerie Schnewald und Beuse, Gerhard
Richter. Ausgewhlte Editionen, 2008
(another from the edition exhibited).
Munich, Galerie Leu, Gerhard Richter: Paintings and
Editions, 2008 (another from the edition exhibited).
Oberstdorf, Kunsthaus Villa Jauss, Wege in der
Gegenwart. Gerhard Richter, 2009
Berlin, me Collectors Room, Gerhard Richter: Editionen
1965-2011, 2012-2013 (another from the edition
exhibited). This exhibition later travelled to Turin,
Fondazione Sandretto Re Rebaudengo
Munich, Kunstbau Mnchen, Gerhard Richter: Atlas
Mikromega, 2014 (another from the edition exhibited).
LITERATURE:
H. Butin, S. Gronert and T. Olbricht (eds.), Gerhard

Richter. Editionen 1965-2013, Ostfldern 2014, no. 97
(another from the edition illustrated in colour, p. 268).
54
l34

Teydelandschaft (Teide Landscape)
signed and dated Richter 1971 (lower right);
numbered 72/150 (lower left)
offset print on paper
image: 13 x 18in. (33.3 x 48cm.)
sheet: 17 x 23in. (45.4 x 59.9cm.)
Executed in 1971, this work is number seventy-two
from an edition of one hundred and ffty
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
Private Collection, Darmstadt.

EXHIBITED:
Cape Town, German Art of the Sixties, 1972 (another

from the edition exhibited). This exhibition later
travelled to Pretoria, Port Elizabeth and Durban.
Bremen, Kunsthalle Bremen, Gerhard Richter:
Editionen 1965-1993, 1993 (another from the edition
exhibited).
Dallas, Dallas Museum of Art, Gerhard Richter in Dallas
Collections, 2000 (another from the edition exhibited).
Frankfurt, Galerie Bernd Slutzky, Gerhard Richter.
Ausgewhlte Druckgrafk 1966-1990, 2001
Bonn, Kunstmuseum Bonn, Gerhard Richter:

Printed, Photo! Druckgrafk, Foto-Editionen und
Knstlerbcher, 2004 (another from the edition
exhibited).This exhibition later travelled to Emden,
Kunsthalle Emden; Tbingen, Kunsthalle and Salzburg,
Museum der Moderne.
Strombeek-Bever, Cultuurcentrum Strombeek
Grimbergen, Gerhard Richter: Panorama, 2008
Lbeck, Kunsthalle St. Annen, Deutsche Bilder.
Meisterwerke aus der Sammlung Wrth, 2009
Nashville, Vanderbilt University Fine Art Gallery, Wide
Angle: Photography and its Infuence on Contemporary
Art: A Selection from the Vanderbilt University Fine
Arts Gallery Collection, 2011
Berlin, me Collectors Room, Gerhard Richter: Editionen
1965-2011, 2012-2013 (another from the edition
exhibited). This exhibition later travelled to Turin,
Fondazione Sandretto Re Rebaudengo.
Nashville, Vanderbilt University Fine Art Gallery,
Historys Shadow: German Art and the Formulation of
National Identity, 2014
LITERATURE:
H. Butin, S. Gronert and T. Olbricht (eds.), Gerhard

Richter. Editionen 1965-2013, Ostfldern 2014, no. 41
l35
PROVENANCE:
Foundation Beyeler, Riehen.

Private Collection, Paris.
Bouquet
chromogenic print mounted on aluminium
23 x 34in. (60 x 88.5cm.)
Executed in 2014, this work is number two hundred
and thirty-six from an edition of fve hundred
2,000-3,000
$3,100-4,600
2,700-4,000
I dont have a specifc picture in my minds eye. I want to end up with

a picture that I havent planned...Each picture has to evolve out of a
painterly or visual logic; it has to emerge as if inevitably. And by not
planning the outcome, I hope to achieve the same coherence and
objectivity that a random slice of Naturealways possesses
(G. Richter, interview with S. Schultz, in D. Elger, Gerhard Richter: A Life in Painting, Chicago 2009, p. 312).
57
l36
MARTIN KIPPENBERGER (1953-1997)

Lat die Unterwsche an, ich hab nicht die Zeit, alles
zu begreifen (Keep the underwear on, I dont have
the time, to understand everything)
PROVENANCE:
Galerie Erhard Klein, Bonn.

Anon. sale, Christies London, 28 June 2002, lot 404.
signed with the artists initial and dated K. 85

(upper right of board)
acrylic, felt-tip pen and printed lettering on plastic,
canvas board on two stretched and stitched pieces
of cotton and synthetic fabrics
25 x 17in. (65.1 x 45.5cm.)
Executed in 1985
12,000-18,000
$19,000-27,000
17,000-24,000
The awkward painted copies of photographic projections,

sculptures that are cobbled together, cheap materials - these
all gradually coalesce into a melancholy language, setting an
international trend that will continue for a decade
In Kippenberger, this practice becomes a way of life; or it can
certainly no longer be confned to a cycle of works. The recycling
of visual motifs Kippenberger organizes in this photographs,
books, posters, paintings matches the way culture is produced
outside the domain of autonomous art. He thus transgresses a
quite essential boundary, that between the making of art and the
collective cultural production, which had, in the late capitalist
society, assumed the form of consumption. This, I think, is Martin
Kippenbergers true art-historical signifcance
(S. Schmidt-Wulffen, quoted in Interview with Josephine von Perfall, 16 October 2012, in J. von Perfall
(ed.), Kippenberger & Friends, Berlin 2013, p. 134).
58
nl37
JRG IMMENDORFF (1945-2007)
PROVENANCE:
Untitled
signed with the artists initials and dated FF06
(lower right)
oil, metallic paint and graphite on canvas
70 x 55in. (180 x 140.3cm.)
Executed in 2006
20,000-30,000
$31,000-46,000
27,000-40,000
Galerie Michael Werner, Cologne.

Galleri Bo Bjerggaard, Copenhagen.
EXHIBITED:
Copenhagen, Galleri Bo Bjerggaard, Jrg Immendorff:

Painting and Drawing, 2006
(illustrated in colour, unpaged).
This work will be included in the forthcoming Jrg Immendorff
Catalogue Raisonn of Paintings being prepared
by Prof. Dr. Siegfried Gohr.
[Jrg Immendorff] wants painting to take him to where he hasnt

been, to where he intuits to go. He looks back across the history of
his forms and motifs, his own life, and rereads them from a different
perspective, experiencing them anew, fnding surprises in their
associations with new forms
(K. Power, Jrg Immendorff: The Light and the Night in Jrg Immendorff: Neue Bilder, exh. cat., Galerie
Michael Werner, Cologne, 2006, p. 29).
Executed in 2006, Jrg Immendorffs Untitled is a captivating

large-scale example of the artists late practice. Laced with
art historical reference and stylistic collisions, the work
bears witness to the artists richly layered, deeply personal
iconography, cultivated throughout his lifetime and pursued
until his death in 2007. Like his contemporary Georg
Baselitz, Immendorffs latter works sought to rework motifs
and symbols from his earlier oeuvre in conjunction with
images drawn from past and present realities. In Untitled, a
honeycomb-like grid of evenly-spaced circles recalls Sigmar
Polkes iconic raster dots, overlaid with images drawn from
the canon of art history. A scene from Goyas Disasters
of War series is juxtaposed with graphically-rendered
statuesque fgures, including an inverted vanitas image
reminiscent of Cranach. Immendorff was struck by illness in
the fnal stages of his life, and these works are the product of
an intense refection on artistic outlook. As Kevin Power has
written, Illness gave Immendorff the recognition that what he
had been saying no longer suffced. It was not simply a matter
of a physical restriction but above all a mental and emotional
recognition within the self He wants painting to take him
to where he hasnt been, to where he intuits to go. He looks
back across the history of his forms and motifs, his own life,
and rereads them from a different perspective, experiencing
them anew, fnding surprises in their associations with new
forms (K. Power, Jrg Immendorff: The Light and the Night
in Jrg Immendorff: Neue Bilder, exh. cat., Galerie Michael
Werner, Cologne, 2006, p. 29).
60
Immendorffs subversive artistic language frst began to

develop whilst he was still a student under Joseph Beuys
during the 1960s. His political activism within the ruptured
social landscape of post-War Germany inspired a new
generation of artists, in particular Martin Kippenberger and
Albert Oehlen. His acclaimed series paintings, including
Caf Deutschland, Caf de Flore and The Rakes Progress,
addressed issues of history, politics and cultural identity. His
late works, many of which engage current affairs within their
art-historical assemblages, extend the eclectic vocabulary
nurtured in these earlier series, presenting the viewer with
ghosts of the past and feeting visions of the present. As
Power describes, Disturbed by a strange beauty, all is sent
to the fnal fames. Immendorff reviews his life, his times, his
work, events that pulse parallel to his actual daily living and
hurls them all on the pyre and from there they surge, like a
phoenix, back to life. It is a shadow-world of nocturnal vision,
like the wondrous last quartets of Beethoven, a massive
unyielding rebellious gesture of goodbye and at the same
time a massive affrmation of the energies of life, a chaotic
rushing of a multiple image-world through his consciousness:
impressive, generous, deeply moving (K. Power, Jrg
Immendorff: The Light and the Night in Jrg Immendorff:
Neue Bilder, exh. cat., Galerie Michael Werner, Cologne,
2006, p. 29).
nl38
GEORG BASELITZ (B. 1938)
PROVENANCE:
Albert Einstein
Galerie Thaddaeus Ropac, Salzburg.

signed G. Baselitz (lower left); dated 7.XII 2003

(lower right)
watercolour, gouache and ink on paper
82 x 66in. (210.6 x 169.7cm.)
Executed in 2003
50,000-70,000
Paris, Galerie Thaddaeus Ropac, Georg Baselitz:

Monumental Watercolours, 2004.
Salzburg, Galerie Thaddaeus Ropac, 20 Years, 2004.
$77,000-110,000
68,000-94,000
With its vast double portrait of Albert Einstein playing the

violin, Georg Baselitzs Albert Einstein is an exquisite example
of the monumental watercolour works that the artist produced
during the early 2000s. This distinctive series of paintings,
examples of which are currently held in the Albertina, Vienna,
marks a defnitive phase in Baselitzs recent career. Since
the reunifcation of Germany in 1990, much of Baselitzs
work has been concerned with looking back, refecting upon
his native countrys past as well as recalling elements of his
own personal life. Alongside portrayals of his wife and family,
the monumental watercolours feature historical icons and
imagery drawn from the vernacular of Socialist Realism. As an
artist whose practice has, since the 1960s, engaged with the
fractures and divisions of his post-War homeland, Baselitzs
presentation of Albert Einstein is signifcant: as a fgure whose
groundbreaking theories were denounced by the Nazi regime,
Einsteins work is deeply embedded within the cultural and
political history of twentieth-century Germany. Stretching
the intimate, domestic connotations of watercolour painting
onto an unparalleled scale of gigantic proportions, Baselitz
combines his own unique graphic style with dark, liquescent
swathes of paint. Blurring the boundaries between drawing
and painting, Baselitzs watery pigments create thin veils of
colour that seem to mirror the slippages of time and memory.
In his dramatic overhaul of the medium, Baselitz redefnes
the technical limitations of watercolour painting, creating
fuid gestural surfaces that act as vehicles for personal and
historical refection.
62
EXHIBITED:
Through their colossal scale and individual narratives,

Baselitzs monumental watercolours may be seen to relate
to the series of large cedar-wood sculptures that he initiated
during the year of the present work. The frst of these, Meine
Neue Mtze (My New Hat), was conceived as a self-portrait:
holding a skull with his wristwatch set to midnight, the artists
self-depiction took the form of a poignant memento mori,
magnifed to overwhelming proportions. Indeed, much of
Baselitzs work from this period engages directly with his
own sense of identity, both as a German and as an artist,
and his refections on national history are intricately bound
up with this tendency. In many ways, the monumental
watercolours may be seen to pave the way for the so-called
Remix paintings, conceived just two years later in 2005,
which reworked motifs and compositions from his earlier
oeuvre. In the present work, Baselitz invokes his signature
upside down mode, initiated in 1969 during the formative
years of his practice. However, like many of the works from
his watercolour series, Baselitz presents his image in both
inverted and non-inverted format, one on top of the other,
creating a dual-aspect vision of his subject that enhances
the works sense of temporal displacement. Baselitzs
upside-down technique was originally conceived as a way of
distancing himself from the symbolism of his chosen subject
matter and engaging more closely with the physical substance
of his media. However, working here with ink and watercolour
rather than the thick impasto of his youth, Baselitzs inverted
image is transformed into an instance of formal play, a hazy
recollection of a past way of seeing.
l39
ISA GENZKEN (B. 1948)
PROVENANCE:
Untitled
Kunstverein Bonn, Bonn.

signed, titled and dated 20.Sept.1987 isa Genzken

(lower right)
enamel and graphite on paper
11 x 8in. (29.6 x 21cm.)
Executed in 1987
4,000-6,000
64
$6,100-9,100
5,400-8,100
(ii)
(i)
l40
(iii)
(iv)
GEORG BASELITZ (B. 1938)
PROVENANCE:
(i) Die groe Nacht im Eimer (Remix)

(The Big Night in the Bucket (Remix))
EXHIBITED:
(ii) Der neue Typ (Remix) (The New Model (Remix))

(iii) Maler im Mantel (Remix)
(Painter in Coat (Remix))
(iv) Der Hirte (Remix) (The Shepard (Remix))
each: signed, numbered and dated 5/20 G. Baselitz
2006 (along the lower edge)
(i)(ii) aquatint, drypoint and etching on paper
(iii) aquatint and etching on paper
(iv) aquatint and drypoint on paper
each image: 26 x 19in. (66 x 49.5cm.)
each sheet: 33 x 25in. (84.5 x 64.5cm.)
each: Executed in 2006, this work is number fve from
an edition of twenty
8,000-12,000
$13,000-18,000
11,000-16,000
(i)(iii) Cottbus, Vattenfall Central Administration Europe

Mining & Generation, Georg Baselitz, Grafk 1967
bis 2006, 2008 (another from the edition exhibited,
illustrated in colour pp. 8-9).
LITERATURE:
The Paragon Press/ Sabine Knust Maximilian Verlag,

Georg Baselitz, Remix, Munich/London 2006
(illustrated in colour).
C. Booth-Clibborn, Contemporary Print in Art: The
Paragon Press 2006-2010, London 2012 (another from
the edition illustrated in colour, p. 27, p. 31, pp. 36-37).
41
ON KAWARA (1933-2014)
I Am Still Alive
(i) telegram
(ii) envelope
(i)11 x 8in. (28.6 x 21cm.)
(ii) 4 x 9in. (11.5 x 23cm.)
Executed in 1988
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Gift from the artist to the present owner in 1988.
66
[On] Kawaras I am still alive telegrams

are eloquent also through what
they dont say - as saying anything
would be impossible - were their
message untrue. As with Descartes,
the I am is indubitable at the time of
writing and still alive constitutes an
acknowledgement of the dimension of
time already embodied in the telegram.
Its humor is derived from the fact that
the recipient would be unaware of any
recent life-threatening circumstances
befalling the artist. It is like the answer
to a question that hasnt been asked.
And it is perfectly deadpan
(J. Watkins, quoted in,J. Watkins & R. Denizot, On Kawara,
New York 2002, p. 87).
l42
JOSEPH BEUYS (1921-1986)
PROVENANCE:
Capri-Batterie
light bulb, electrical plug and lemon
4 x 5 x 3in. (11.7 x 14.3 x 9cm.)
Executed in 1985, this work is from an edition
of two hundred
7,000-10,000
$11,000-15,000
9,500-13,000
Lucio Amelio, Naples.

Anon. sale, Christies London, 26 March 2014, lot 42.
LITERATURE:
J. Schellmann, Joseph Beuys: Die Multiples, Munich,

1992, no. 546 (another from the edition, illustrated in
colour, p. 399).
This work is accompanied by the original case.
67
43
ALLAN McCOLLUM (B. 1944)

Untitled
signed and dated Allan McCollum
SEPT 71 (on the reverse)
iron-on patches
22 x 17in. (57 x 45.5cm.)
Executed in 1971
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
Nicholas Wilder Gallery,

Los Angeles.
Private Collection, Oakland.
Acquired from the above by the
present owner.
PROPERTY FROM A PRIVATE SWISS

COLLECTION
*44
ALLAN McCOLLUM (B. 1944)

Incidental to the Action
black and white photograph
image: 19 x 15in. (50 x 39.6cm.)
sheet: 20 x 16in. (51 x 40.5cm.)
Executed in 1983,
this work is unique
1,500-2,000
$2,300-3,000
2,100-2,700
PROVENANCE:
Artists Space, New York.

Anon. sale, Christies New York, 23
February 1994, lot 228.
Acquired at the above sale by the
present owner.
68
n45
TIM ROLLINS AND K.O.S. (B. 1955)

A Letter from a Birmingham City Jail
(after Rev. Dr. Martin Luther King, Jr.)
signed, titled and dated A Letter from a Birmingham
City Jail (after Rev. Dr. Martin Luther King, Jr.) Tim
Rollins and K.O.S. 2008 (on the reverse)
acrylic and book pages on canvas
70 x 90in. (178.1 x 228.6cm.)
Executed in 2008
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
Lehmann Maupin, New York.

Executed in 2008, A Letter from a Birmingham City Jail

(after Rev. Dr. Martin Luther King, Jr.) witnesses Tim
Rollins continued engagement with the community of the
Bronx, New York, where in 1984 he launched the Art and
Knowledge Workshop with a group of at-risk students who
called themselves K.O.S. (Kids of Survival). With its rhythmic
succession of black and white streaks, the work initially
seems to pay homage to the formal qualities of Minimalism,
recalling Daniel Burens striped paintings in particular.
However, a closer look reveals an underlying typed text: book
pages painted over with slightly irregular lines of white and
black paint. The words are those of Martin Luther King Jr.,
taken from his Letter from a Birmingham City Jail, composed
from prison in 1963 during the throes of the American civil
rights movement. As the works mesmerising optical vibration
render the text almost illegible, the black stripes become
symbolic prison-cell bars through which Kings defense of
nonviolent resistance strains to be heard. Engaging one
of the twentieth centurys most powerful texts, the work
exemplifes the unique collaboration between Rollins and
his students: a piece of American history translated in a
compelling visual language.
*46
AL TAYLOR (1948-1999)
Untitled (Counting Without Riggers)
inscribed and dated D-98.III (on the reverse)
gouache, graphite, felt-tip pen, mica and correction
fuid on tracing paper laid on paper
22 x 17in. (56.1 x 43.6cm.)
Executed in 1998
5,000-7,000
$7,700-11,000
6,800-9,400
PROVENANCE:
Gagosian Gallery, New York.

Carl Berg Gallery, Los Angeles.
With its precise and poetic sign making, Untitled (Counting

Without Riggers) witnesses Al Taylors unique spatial
experimentations in drawing. Taylors practice, encompassing
print-making, painting and sculpture, is characterised by
a ceaseless dialogue that aims to break down boundaries
between the imaginary and the objective, and twodimensional and illusionistic space. Executed in 1998, in
Untitled (Counting Without Riggers) mysterious round
shapes reach out from the fctitious depth created by a grid of
subtly traced squares and irregular lines. As Faye Hirsch has
observed, Even in two dimensions his vision tied to objects
and phenomena in the world, however abstracted [is] richly
spatial (F. Hirsch, Book Review: Al Taylor Prints: Catalogue
Raisonn, in Art in Print, July August 2014, p. 47).
47
SOL LEWITT (1928-2007)

Windows
signed and numbered LeWitt 13/20 (lower right)
seventy-two chromogenic print mounted on card
34 x 30in. (87.8 x 78.1cm.)
Executed in 1980, this work is work is thirteen
from an edition of twenty plus fve artists proofs
8,000-12,000
$13,000-18,000
11,000-16,000
To work with a plan that is preset is one way of avoiding

subjectivity. It also obviates the necessity of designing each
work in turn. The plan would design the work. Some plans
would require millions of variations, and some a limited
number, but both are fnite. Other plans imply infnity. In each
case, however, the artist would select the basic form and rules
that would govern the solution of the problem. After that the
fewer decisions made in the course of completing the work,
the better. This eliminates the arbitrary, the capricious, and the
subjective as much as possible. This is the reason for using
this method (S. LeWitt, Paragraphs on Conceptual Art, 1967).
PROVENANCE:
Private Collection, Europe.
71
(i)
(ii)
(iv)
(iii)
(v)
(vi)
l48
MICHAEL BUTHE (19441994), KAZUO KATASE

(B. 1947), JUAN MUOZ (1953-2001),
BRUCE NAUMAN (B. 1941), PEKKA NEVALAINEN
(B. 1951), FRANZ WEST (1947-2012)
Documenta Edition 1992
(i) Thrse dAvila (Michael Buthe)
(ii) Umweltkatastrophe (Kazuo Katase)
(iii) Magari (Juan Muoz)
(iv) Untitled (Bruce Nauman)
(v) What does this bring into your mind (Pekka
Nevalainen)
(vi) Untitled (Franz West)
colophon page: signed Jan Hoet
(i) signed, titled, numbered and dated Michael Buthe
24/45 1992 Thrse dAvila (lower right)
(ii) signed, numbered and dated 24/45 Kazuo Katase
(iii) signed, titled and numbered 24/45 MAGARI
Munoz (along the lower edge)
(iv) signed, numbered and dated Bruce Nauman 14/45
92 (lower right)
(v) signed, titled, inscribed,numbered and dated

T.P.La. 24/45 1992 Pekka Nevalainen What does this
bring into your mind (lower centre)
(vi) signed and numbered 24/45 F West
(along lower edge)
(i) inkjet print on paper
(ii) offset lithograph on paper
(iii) colour lithograph on paper
(iv) colour photograph on paper
(v) photolithograph on paper
(vi) photolithograph on paper
each ranging from: 14 x 22in. (37.9 x 56.3cm.)
to 27 x 19in. (69.5 x 50.1cm.)
(i)-(iii), (v)-(vi) Executed in 1992, this work is
number twenty-four from an edition of forty-fve
(iv) Executed in 1992, this work is number fourteen
from an edition of forty-fve
6,000-8,000
$9,200-12,000
8,100-11,000
PROVENANCE:
documenta IX, Kassel.

This work is accompanied by the original portfolio box.
49
ALLEN RUPPERSBERG (B. 1944)

Siste Viator (Stop Traveler)
each book: inscribed with a WWII soldiers name
bookends, facsimile books and shelf,
in twenty-three parts
overall: 18 x 39 x 6in.(48 x 100 x 17cm.)
Executed in 1993, this work is from an unnumbered
edition of ffty
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Private Collection (acquired directly from the artist).

EXHIBITED:

Andratx, CCA Andratx, Black Hole, 2009.
LITERATURE:
A. McCollum, F. Paul and A. Ruppersberg, Allen

Ruppersberg; Books, Inc., Limoges, 2000
(another of the edition illustrated in colour, p.102).
With its ready-made appearance, Siste Viator (Stop Traveler)

bears witness to Allen Ruppersbergs conceptual exploration
of the way everyday objects are loaded with memories,
meaning and independent consciousness. The work presents
a set of two World War II era bookends and twenty facsimile
books in four languages English, Dutch, Polish and German.
One book in each language printed in its entirety, whilst the
others are printed with their covers only. Ruppersberg has
inscribed each bookplate with a soldiers name, creating an
evocative memorial to British, Dutch, Polish and German war
casualties. Siste Viator, or Stop Traveler, is in fact the frst
sentence of many epitaphs found carved in war memorials,
asking the passer-by to pause in mourning of the soldiers
fallen on the battlefeld. As the artist describes, This work is
a collection of narratives. It is about the telling of stories both
fact and fction. A memorial to individual memories and the
reading of books of the private imagination combined with
the public, political history. A link is established between the
private experience and public memory. As this era of World
War II recedes from the realm of immediate experience,
I propose to create in the public mind a new personal
memory that is not just another replaceable image. Dignity
in a memorial is usually associated with stone and statue,
with pose and gesture and with the body. I propose a similar
attitude with words, as was once done with an epitaph. A
comparison of words, a collision of worlds, nationalities, ideas,
ideals, and kinds of literature. (A. Ruppersberg, quoted in A.
McCollum, What One Loves About Life Are the Things That
Fade, in Allen Ruppersberg:Books, Inc, Limousin 2001).
PROPERTY FROM A PRIVATE SWISS COLLECTION
*50
JOHN WATERS (B. 1946)
PROVENANCE:
Artistically Incorrect
(xvi) signed, titled and numbered
Artistically Incorrect 5/5 John Waters
(on the reverse and on the reverse of the mount)
C-print, in fourteen parts
each: 4 x 6in. (10 x 15cm.)
Executed in 2006, this work is number fve
2,000-3,000
Marianne Boesky Gallery, New York.

De Pury & Luxembourg, Zurich.
EXHIBITED:
Zurich, De Pury & Luxembourg Gallery,

John Waters Unwatchable, 2006.
$3,100-4,600
2,700-4,000
Drew Daniel: But what about the capacity of your objects to have
that magic effect on others? If youre saying, Well, this is my
work, but Im not calling it art, that seems rather coy to me.
John Waters: I hope its art. But I just think art is a word thats too
loosely used. Art is a review, isnt it? If you think something is art
that means its good. You can say, good art or bad art thats ok.
But art to me means good. So I dont say that. Ive always made fun
of my career: Ive called myself a flth elder; I say the movies are
an exercise in poor taste. I was trying to be humble in a way, and
humorous. Obviously, Im commenting on the art world. I did a whole
project called Artistically Incorrect [2006], which contained a piece
that said: All Photographs Fade [2006].
DD: Its not quite institutional critique, as youve said that you
have no problem with the elitism of the art world, and yet youre
constantly calling attention to this frame, openly fagging the
context of who can afford it, and under what conditions
JW: See you in Basel, bitch. Art is like joining a biker gang; you have
to wear a certain outft and learn a certain lingo. Its a special club.
DD: So, whats the relationship between art works and jokes?
JW: Is my work funny? I dont know. I hope its witty. Thats different
to funny.
(J. Waters, interview with D. Daniel, Experience & Innocence, in frieze, issue 148, June-August
2012, reproduced at http:/www.frieze.com/issue/article/experience-innocence/).
74
51
JOHN DIVOLA (B. 1949)

Zuma #16
archival pigment print on rag paper
image: 21 x 26in. (53.3 x 66cm.)
sheet: 23 x 29in. (60 x 75.5cm.)
Executed in 1977, this work is number four
from an edition of ten
3,000-5,000
PROVENANCE:
Laura Bartlett Gallery, London.

David Zwirner, New York.
76
$4,600-7,600
4,100-6,700
On initially arriving I would move

through the house looking for areas
or situations to photograph. If nothing
seemed to interest me I would move
things around or do some spray painting.
The painting was done in much the same
way that one might doodle on a piece
of paper. At that point I would return to
the camera and explore whatever new
potentials existed
(J. Divola, quoted in C. Kelsey, John Divolas Floating Eye,
in Interview Magazine, www.ahornmagazine.com/issue_5/
essay_shea_divola/essay_shea_divola.html).
*52
DAN GRAHAM (B. 1942)

Glass Offce Building, Los Angeles, California
signed, titled and dated Glass Offce Building, Los
Angeles, California Dan Graham 1975 (on the mount)
colour photograph
image: 14 x 10in. (37.5 x 26.5cm)
sheet: 19 x 27in. (50 x 70cm.)
Executed in 1975, this work is unique
3,000-4,000
$4,600-6,100
4,100-5,400
You have to make a commitment in

terms of taking time out. Most of the
public/private pieces are to be walked
past and not thought about. Youre not
really stopped in your tracks. Theyre
really designed for semi-distracted
observation
(D. Graham, quoted in Dan Graham by Mike Metz, in Bomb
Magazine, no. 46, Winter 1994, www.bombmagazine.org/
article/1722/dan-graham).
PROVENANCE:
Annemarie Verna Galerie, Zurich.

EXHIBITED:
Zurich, Kunsthaus Zrich, Public Affairs. Von Beuys bis

Zittel: Das ffentliche in der Kunst, 2002, p.108.
77
l*53
IMI KNOEBEL (B. 1940)
PROVENANCE:
Independent Curators International, New York.

Projections
(i) signed with the artists initials, numbered and dated
1 IM 1974 (on the reverse)
(xxviii) signed with the artists initials, numbered and
dated 28 IM 1974 (on the reverse)
gelatin silver print, in twenty-eight parts
each: 9 x 11in. (24 x 29.7cm.)
Executed in 1974, this work is number two
from an edition of nine
12,000-18,000
$19,000-27,000
17,000-24,000
Consistently exploiting the possibilities of abstraction

and the conceptual legacy of high Modernist
principles, Imi Knoebel is one of the most important
contemporary German artists. Created in 1974, shortly
after completing his fne art degree under the tutelage
of Joseph Beuys at the Kunstakademie Dsseldorf,
Projections is an early example of Knoebels bold
departure from the materiality of traditional painting.
Between 1968 and the mid-1970s, Knoebel realised a
series of light experiments in which he cast shapes
of light onto the walls of darkened studio or on
buildings en plein air with empty slide projectors.
As one of Beuys frst students to use photography
an independent artistic medium, he captured
these feeting impressions on camera. The twentyeight photographs in Projections each capture the
ephemeral interplay of shadow and light, and of
abstraction and fguration. Light beams illuminate
fragments of a table, a chair, a fruit bowl or window
blinds, but also allow abstract forms to emerge from
a pitch-black interior space. The work witnesses
Knoebels interest in how minimal changes to objects,
initially devoid of sense or meaning, could develop the
power to generate pictures. Taking elements from his
surroundings as a starting point for his art, Knoebel
advances Kazimir Malevichs theory of the Black
Square, which postulated paintings independence
from reality, whether subjectively felt and objectively
given. His razor-sharp light beams foreshadow the
signature Messerschnitte or knife cuts that would
consistently recur in his later acclaimed work.
78
nl54
IDRIS KHAN (B. 1978)
PROVENANCE:
Struggling to Hear... After Ludwig van Beethoven

Sonatas
signed, numbered and dated 6/6 I Khan 2005
(on the reverse)
lamda digital C-print mounted on aluminium
96 x 70in. (245.2 x 179.3cm.)
from an edition of six
25,000-35,000
EXHIBITED:
London, Victoria Miro, Idris Khan, 2006

$39,000-53,000
34,000-47,000
With its blurred accumulation of black lines, Struggling

to Hear After Ludwig van Beethoven Sonatas, 2005,
witnesses Idris Khans interest in the role of appropriation
and repetition in contemporary art practices. Obliterated by
a dynamic mass of tangled notes, the regular linear pattern
of a stave becomes abstracted. This complex and evocative
image is the result of digitally layering musical scores by
Ludwig van Beethoven. In this way, Beethovens oeuvre is
condensed into one singular artwork whose encyclopedic aim
is nullifed by the inevitable indecipherability of the individual
musical compositions. Struggling to Hear After Ludwig van
Beethoven becomes then a visual comparative to John Cages
4 33 and the Futurists noise machine which replicated the
cacophonic chaos of modernity.
Paying homage to one of the greatest composers of all
time, Khan questions to what extent Beethovens powerful
music can survive oblivion with the passing of time. With
its signifcant title Struggling to Hear Khan invites debate
over fame and immortality. Presenting an optically complex
photograph in which an overwhelming cacophony of notes
80
Victoria Miro, London.

overlay, intertwine and coalesce, Khan investigates the

future of Beethovens music, asking what will pass to future
generations, a postmodern collision of references or just
silence?
In Struggling to Hear After Ludwig van Beethoven, with
its intricate abstract tangle of musical notes, Khan poignantly
addresses Beethovens deteriorating hearing in his old
age and the great frustration this must have caused. The
translation of music onto score paper represents a form of
abstraction to Khan. His mother trained as a pianist, and
the artist was always attracted by the nature of music as
an accumulation of different sounds, an endless variation
on a theme. Khans art practice, informed by the typologies
of Karl Blossfeldt and Bernd and Hilla Becher, explores the
relationship between notions of accumulation and erasure, of
authorship and replication. Struggling to Hear After Ludwig
van Beethoven, a piece poignantly obfuscating the border
between creation and erasure, is an elegant embodiment
of the aesthetic and conceptual consequences of artistic
saturation.
nl55
HERMANN GOEPFERT (1926-1982)
PROVENANCE:
Untitled
aluminium plates, wire and nails
on concave aluminium on panel
Executed in 1965
6,000-8,000
$9,200-12,000
8,100-11,000
Atelier HG, Frankfurt.

Galerie Ad Libitum, Antwerp.
Private Collection, Brussels.
EXHIBITED:
Antwerp, Koninklijk Museum voor Schone Kunsten,

Zero International Antwerpen, 1979-1980, no. 44.
LITERATURE:
B. Kemfert (ed.), Hermann Goepfert, Ostfldern 2015,

no. 315 (illustrated, p. 219).
82
l56
FRANOIS MORELLET (B. 1926)
PROVENANCE:
Sphre-Trame
Denise Ren, Paris.

incised with the artists signature, inscribed and

numbered morellet ed. Denise Ren 74-200
(on one stainless steel element)
stainless steel
17 x 17 x 17in. (45 x 45 x 45cm.)
Executed in 1962, this work is number seventy-four
from an edition of two hundred
8,000-12,000
$13,000-18,000
11,000-16,000
This work is registered in the archives of Franois Morellet

under No. 62001E.
l*57
OTTO PIENE (1928-2014)
PROVENANCE:
Big Black Seed

titled Big Black Seed (lower left); signed and dated
Piene 67 (lower right)
oil, soot and gouache on cardboard
26 x 37in. (67.5 x 96cm.)
Executed in 1967
22,000-28,000
$34,000-43,000
30,000-38,000
Big Black Seed (Lot 57) and Orange Fire

(Lot 58) stand as powerful examples
of Otto Pienes Rauchgemlde and
Feuerbilder, showcasing his innovative
use of fre and smoke in his paintings.
Throughout his oeuvre, Piene
demonstrates a decisive change in the
manner in which the canvas is handled,
tested and pushed to its material limits
beyond the application of paint. As
one of the founding members of Zero,
Pienes oeuvre is synonymous with the
groups key premise: the rejection of
expressionism and subjectivity and an
enthusiasm for the renewal of art via new
materials. Piene commented, ZERO is
an incommensurable zone in which the
old state turns into the new (O. Piene,
quoted in U. Schmitt, The Zero Era
in The Zero Era: The Lenz Schonberg
Collection, Germany 2009, p. 7). With
their abstract aesthetic and unorthodox
mode of production, these works
perfectly embody the reaction to the
psychologically-charged expressionism of
the post-War period.
Executed in 1967, a year after the Zero

group disbanded, Pienes Big Black Seed
represents a continuation of the energy
and free-spirited experimentation that
defned the movements original aims.
For Piene, the darkness represents the
paintings of the past: I pierce it with
light, I make it transparent, I take its
terror from it, I turn it into a volume of
power with the breath of my life like my
own body, and I take smoke so it can
fy (Otto Piene, Paths to paradise, in:
ZERO 3, Dsseldorf 1958; Reprint ZERO
1-3, Heinz Mack and Otto Piene, Cologne
1973, p. 148). In Big Black Seed, the single
scorched circle becomes a centrifugal
black void that dissolves into the
intense red background of the painting,
encapsulating the Zero groups emphasis
on pure colour through the creation of
monochromatic works.
l*58

Orange Fire
signed, titled, dedicated and dated ORANGE FIRE
For Mira3 Piene 73 (on the reverse)
soot and pigment on canvas
26 x 37in. (68 x 96.2cm.)
Executed in 1973
20,000-30,000
$31,000-46,000
27,000-40,000
PROVENANCE:
Our interest in fugitive phenomena and effects on the environment

makes fre an appealing medium. It shines, warms, reacts strongly
to other elements, and retain power even when confronted with
massive technology. To master fre is an old challenge to man
(O. Piene, More Sky, exh. cat., Neue Nationalgalerie Staatliche Museen zu Berlin, Berlin, and Verlag der
Buchandlung Walther Knig, Cologne, 2014, p.78).
In Orange Fire, Piene has continued his

exploration of fre by burning pigment
directly onto the canvas. The resulting
bubbles and crusts that form give the
circular composition a strange depth,
an alchemistic quality. The radiant
surface appears to vibrate, achieving
a sublime sense of simplicity and
coherence without external reference.
For Piene, works such as Orange Fire
make visible the elusive forces of pure
energy. As the artist explained, the
eye is more important than the hand.
Bodily involvement is relatively modest
compared to, say, the gesture-rich
practice of Informel painter. Direct
contact of hand-to-paper does not
occur The smoke drawings are without
handwriting. Anonymity of the author
is widely sustained (O. Piene, quoted in
Otto Piene, Villorba 2011, p. 106).
86
l59
GNTHER FRG (1952-2013)
PROVENANCE:
Galerie Terminus, Munich.

Galerie Brbel Grsslin, Frankfurt.
Private Collection, Germany.
Untitled
signed and dated Frg 97 (upper right)
acrylic on canvas
39 x 31in. (100 x 80cm.)
Painted in 1997
28,000-35,000
We are most grateful to Mr. Michael Neff from the Estate of

Gnther Frg for the information he has kindly provided.
$43,000-53,000
38,000-47,000
Gnther Frgs Untitled (1997) (Lot 59)

and Untitled (2001) (Lot 60) are stunning
examples of the artists long-standing
exploration of colour, abstraction and
form. In Untitled (1997), Frg restricts
his compositions to simple broad areas
of colour that emphasise the twodimensionality of the work, whilst the
bold composition of Untitled (2001)
explores intricacies of colour and markmaking. Addressing traditional issues
in painting while testing the limits
of pictorial composition, these two
canvases undoubtedly reference the
masters of abstraction - Piet Mondrian,
Blinky Palermo, Barnett Newman and
Mark Rothko. Examples of Frgs
artworks are found in major international
museum collections such as the Tate
Modern, London, Stedelijk Museum,
Amsterdam, and Museum of Modern Art,
New York.
88
The reductive appearance of

Untitled (1997) brings to mind the colourfeld paintings of Barnett Newman and
Mark Rothko. Its limited palette also
suggests a tension between presence and
absence that challenges our perceptual
threshold. As the artist has explained, I
think if we take a broader perspective we
could say that, fundamentally as soon
as we engage with painting, we have
the same problems that faced those at
the beginning of the century or even
before; problems around colour, form,
composition (G. Frg, interview with D.
Ryan, Talking Painting, Karlsruhe 1997,
unpaged). Frg introduces a tension
between the so-called fatness of the
picture plane and the brushstroke by
juxtaposing his foating, rhythmic marks
with the physical presence of contrasting
horizontal bands. Our comprehension of
the work shifts as we frst concentrate on
the fat surface of the picture plane and
then turn our attention to the literal space
it occupies. Consequently, the experience
of these paintings becomes a contrast of
intimacy and psychological distancing.
nl60
GNTHER FRG (1952-2013)

Untitled
signed and dated Frg 01 (upper right)
acrylic on canvas
47 x 39in. (120.5 x 100cm.)
Painted in 2001
30,000-40,000
$46,000-61,000
41,000-54,000
PROVENANCE:
Unlike Rothko and Newman, who

aspired to clarity in their work, Frg
embraces ambiguity. He contrasts
systems of perception only to shake
our belief in their apparent logic.
Confronted by...Frgs paintings, we
become adrift in an atmosphere of
uncertainty. Ultimately, we arrive at the
realization that no system is reliable
and all resolutions of order are merely
momentary
(B. Clearwater, Gnther Frg: Beyond Painting, in B.
Clearwater, S. Ellis (eds.), Gnther Frg. Paintings/Sculpture/
Installation, exh. cat., Newport Harbor Art Museum, Newport
Beach, 1989, p. 23).
The conceptual underpinnings and formal

explorations present within Untitled
(1997) and Untitled (2001) are also
motivated by other aspects of Frgs
artistic practice in which the various
forms of media interact and collaborate
with each other. Frgs paintings of this
size make reference to architectural
structures, particularly doors and
windows, creating a view into illusionistic
space. A prolifc multi-disciplinarian, his
art is a constant dialogue between
painting, sculpture, architecture and
photography. If photography can
uncover the subjective world with a
clear objectivity, then abstract painting
can be discussed in these terms too. As
Frg has explained: I switch from one
medium to another, from, say, painting
to photography ... if there is a key to all
this diversity, then it is architecture. That
is the thread that holds all these things
together (G. Frg, interview with D.
Ryan, Talking Painting, Karlsruhe 1997,
reproduced at http:/www.david-ryan.
co.uk/Gunther0Forg.html)
90
Frgs works have often been included in

the long debated Modernist discussions
of abstraction and colour. From Piet
Mondrians concept of purity through
pictorial grids to Barnett Newmans
zip paintings, Frgs application of
colour exploits the basic principles
of this discourse. Yet perhaps the
most important key to understanding
Frgs art is to accept the contrary and
contradictory nature of his work. Hailed
as a painters painter Frg conceives
a style of painting which champions
the painting itself, the objective fact of
painting and its presence within our
physical world.
61
SAM FRANCIS (1923-1994)
EXHIBITED:
Milan, Galleria San Carlo, Sam Francis: Opere dal 1960

al 1991, 2008 (illustrated in colour, p. 40).
Untitled
acrylic on paper
15 x 12in. (40.5 x 30.4cm.)
Executed in 1990
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
Private Collection (acquired directly from the artist).

Gallery Delaive, Amsterdam (acquired from the above
in 2005).
Galleria San Carlo, Milan.
This work is identifed with the interim identifcation number

of SF90-346 in consideration for the forthcoming Sam
Francis: Catalogue Raisonn of Unique Works on Paper. This
information is subject to change as scholarship continues by
the Sam Francis Foundation.
62
SAM FRANCIS (1923-1994)
EXHIBITED:
Untitled
stamped with the artists signature and with the Estate
of Sam Francis stamp (on the reverse)
acrylic and paper collage on card
20 x 13in. (52 x 34cm.)
Executed in 1990
15,000-20,000
$23,000-30,000
21,000-27,000
PROVENANCE:
Private Collection.
Galerie Delaive, Amsterdam (acquired from the above
in 2005).
Private Collection.
Amsterdam, Galerie Delaive, Sam Francis:

The Unknown Works from the 1990s, 2005
This work is identifed with the interim identifcation number
of SF90-289 in consideration for the forthcoming Sam
Francis: Catalogue Raisonn of Unique Works on Paper. This
information is subject to change as scholarship continues by
the Sam Francis Foundation
Manner, gesture, sound, line, and color

in these we have a primitive, pure, and
direct means of expression
(S. Francis, quoted in Sam Francis: Monotype Prints and Other
Works, Tokyo 1990, unpaged).
nl63
CSAR (1921-1998)
PROVENANCE:
Interview
signed Csar (lower right)
accumulation of magazines and spray paint on canvas
laid on panel
63 x 51in. (161 x 129.8cm.)
Executed in 1989
12,000-18,000
94
$19,000-27,000
17,000-24,000
Private Collection.
Anon. sale, Sothebys Olympia, 15 October 2005, lot 511.
This work is recorded in the Denyse Durand Ruel Archives
under no. 5486.
nl64
YVES KLEIN (1928-1962)
PROVENANCE:
Table rose
Galerie Guy Pieters, Knokke-Heist.

Acquired from the above by the present owner
pigment, Plexiglas, glass and stainless steel

14 x 39 x 49in. (36.8 x 100.3 x 125.1cm.)
This table is part of an edition begun in 1963 under the
supervision of Rotraut Klein-Moquay based on a model
by Yves Klein and is accompanied by a plaque signed
R. Klein-Moquay and numbered ND RE-US
(on a label affxed to the underside)
12,000-18,000
$19,000-27,000
17,000-24,000
Yves chooses madder rose Having thus acquired the third

element, Yves Klein, can, from now on, present the cosmological
trilogy of personal transmutation of colours: ultramarineblue IKB,
gold, and pink The transfer to monopink in the monochrome
trilogy is revealing. Madder rose represents the Holy Spirit before
the gold of the Father and the blue of the Son; gold for immateriality
and blue for sensibility
(P. Restany, Fire at the Heart of the Void, New York 2005, pp. 24-26).
l*65
SERGE POLIAKOFF (1906-1969)
PROVENANCE:
Composition abstraite
Galerie Berggruen, Paris.

Private Collection, Oslo.
signed SERGE POLIAKOFF (lower centre)

gouache on paper
18 x 24in. (48 x 63cm.)
Executed in 1959
20,000-30,000
$31,000-46,000
27,000-40,000
LITERATURE:
A. Poliakoff, Serge Poliakoff, Catalogue Raisonn:

1959-1962, vol. III, Munich 2011, no. 59-105
This work is registered in the Serge Poliakoff Archives
under no. 859106.
l*66
MAURICE ESTVE (1904-2001)
PROVENANCE:
Untitled
signed and dated Estve 64 (lower right)
watercolour on paper
19 x 12in. (49.5 x 31.8cm.)
Executed in 1964
10,000-15,000
Neue Galerie Dr. Peter Nathan, Zurich.

Acquired from the above by the previous owner
and thence by descent.
This work is registered in the Maurice Estve Archives
under no. 847.A.
$16,000-23,000
14,000-20,000
97
l67
KAREL APPEL (1921-2006)
PROVENANCE:
London Graphic Art Associates, London.

Untitled
signed and dated appel 69 (lower left)
acrylic and crayon on paper laid on canvas
25 x 20in. (65.4 x 51.3cm.)
Executed in 1969
10,000-15,000
98
$16,000-23,000
14,000-20,000
l68
NIKI DE SAINT PHALLE (1930-2002)

Nana Vase
signed, numbered and stamped with foundry
mark Niki Plastiques dArt R. Haligon XXIX/
XXXV (on the base)
painted polyester
18 x 11 x 11in. (48 x 30 x 29cm.)
Executed in 1984, this work is artists proof
number twenty-nine from an edition of one
hundred ffty plus thirty-fve artists proofs
18,000-22,000
PROVENANCE:
Gift from the artist

to the present owner in 1996.
$28,000-34,000
25,000-30,000
l*69
MANOLO MILLARES (1926 - 1972)
PROVENANCE:
Composition Noire, Rose et Rouge
Galerie Beyeler, Basel.

signed Millares (lower left)

acrylic and watercolour on cardboard
19 x 27in. (49.5 x 70cm.)
Executed in 1960
8,000-12,000
100
$13,000-18,000
11,000-16,000
l70
MANOLO MILLARES (1926-1972)

Mutilado de Paz (Mutilated Peace)
signed MILLARES (lower left); signed, titled and
dated MILLARES MUTiLADO DE PAZ 1965
(on the reverse)
acrylic and watercolour on paper
19 x 25in. (50 x 65.1cm.)
Executed in 1965
10,000-15,000
$16,000-23,000
14,000-20,000
I believe a great confusion arises from

that excessive desire of the artist to
explain the unexplainable things which
appear in his paintings or sculptures.
Few are the artists who dare confess
their ignorance looking at their own
work
(Manolo Millares in exh. cat., Manolo Millares: Recent
Paintings, New York, Pierre Matisse Gallery, April-May 1960.)
PROVENANCE:
Galerie Buchholz, Munich.

EXHIBITED:
Munich, Galerie Buchholz, Manolo Millares, 1966

(illustrated on the exhibition invitation).
101
l71
MARIO MERZ (1925-2003)
PROVENANCE:
Seifenblasende Kuh (Soap Blowing Cow)

neon tube, watercolour, ink and metallic spray enamel
on two fabric sheets
overall: 102 x 110in. (260 x 280cm.)
Executed circa 1980
20,000-30,000
$31,000-46,000
27,000-40,000
With its complex interaction of materials and techniques,

Seifenblasende Kuh (Soap blowing Cow) witnesses Mario
Merzs restless formal experimentation within the Arte
Povera movement. In the present work, everyday objects
are modifed and rearranged by the artist in order to unveil
the energy implicit in their juxtaposition. A luminous vibration
runs through the neon tube, establishing a dialogue between
the two pieces of fabric that enhances their tactile quality.
The poetry resulting from the interaction between raw and
manufactured materials has always been at the core of Merzs
practice and testifes to the artists interest in the relationship
between nature and culture. In this sense, the cow drawn
in the right panel seems to be infused with an uncanny
humanisation through the neon light stretching from the black
left panel. Merz, talking about his animals, once explained, I
have drawn animals as though they were a kind of dream of
something which is no longer there, and I have also drawn
them in order to say that we have been made with fngers,
fngernails and legs etc., and that we have still not completely
become cybernetic machines. Sometimes I feel more like
an animal, and sometimes I feel less like one, but the animal
is always there, always present. Its a bit like in Kafka where
the hero wakes up in the morning and fnds himself turned
into a large beetle. On the one hand hes no longer himself,
because hes now a beetle, but hes conscious of it. With all
due respect for Kafka, my problem is much the same (M.
Merz, quoted, in translation, in D. Soutif, Mario Merz, ligloo
et le glouglou, in Libration, 22 July 1987, p. 24).
102
Galerie Konrad Fischer, Dusseldorf.

Anon. sale, Christies London, 5 April 1990, lot 579.
This work is registered with the Archivio Mario Merz
under no. 504/1980/TL.
l72
ARMAN (1928-2005)
La Fenice n. 1 (Phoenix)
incised with the artists signature and numbered with
foundry mark Arman bocquel fd. XI/XXX (on the base)
bronze
23 x 14 x 11in. (60.7 x 36 x 28cm.)
Executed in 2004, this work is number eleven (XI)
from an edition of one hundred plus ten HC plus twenty
artists proofs, plus thirty (XXX)
5,000-7,000
$7,700-11,000
6,800-9,400
PROVENANCE:
Galerie Artemis, Paris.

This work is recorded in the Arman Studio Archives New York
under number: APA# 8401.04.002.
104
The object which Burri composes is a painting or, if one

prefers, the fction of a painting, a sort of reversed trompeloeil in which it is not the painting that simulates reality
but reality that simulates the painting
(G. C. Argan, quoted in F. Pirani, Notes on the Critical Vicissitudes of Alberto Burri, in Burri
1915-1995: Retrospektive, exh. cat., Palazzo delle Esposizioni, Rome, 1996, p. 131).
l73
ALBERTO BURRI (1915-1995)
PROVENANCE:
Untitled
Galleria Mazzoleni, Turin.

acrylic on cellotex on plywood

6 x 9in. (16 x 23cm.)
Executed in 1981
10,000-15,000
EXHIBITED:
$16,000-23,000
14,000-20,000
Turin, Galleria Mazzoleni, Alberto Burri. Tra Materia

e Forma. Opere scelte 1948-1993, 2003, no. 39
(illustrated in colour, pp. 88-89).
This work is registered in the Fondazione Palazzo Albizzini,
Citt di Castello, under no. 8151 and will be included in the
forthcoming Catalogue Raisonn being published by the
Fondazione Palazzo Albizzini, Citt di Castello.
105
l74
MICHAL BORREMANS (B. 1963)

De Mystieke Congregatie der Edelmoedigen
(The Mystique Congregation of the Noblemen)
signed, titled and numbered Michal M.C.G
Borremans - DE MYSTIEKE CONGREGATIE DER
EDELMOEDIGEN - Eigen Druk. 1/1 (lower margin)
etching on paper
image: 14 x 22in. (37.5 x 57.8cm.)
sheet: 26 x 41in. (67.3 x 104.2cm.)
Executed in 1991, this work is the artists proof
from an edition of twelve plus one artists proof
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
106
I dont refer to these things [the history

of art] intentionally the references
are there in all my work. There are
references to the history of art that
are not specifc. They appeal to your
consciousness in a very open way.
Its something I think about. All the
imagery of the 20th century and earlier
is baggage we have to deal with. My
work is an answer to that, a dialogue
with that
(M. Borremans, quoted in D. Coggins, Interview: Michael
Borremans, in Art in America, March 2009, www.
artinamericamagazine.com/news-features/magazine/michaelborremans/).
l*75
ANTONI CLAV (1913-2005)
PROVENANCE:
Private Collection, Tokyo.
Untitled
This work is accompanied by a certifcate of authenticity

issued by the Archives Antoni Clav.
signed Clav (lower right)

gouache, acrylic and ink on paper
13 x 21in. (33 x 54.4cm.)
Executed in 1953
6,000-8,000
$9,200-12,000
8,100-11,000
107
The mystical consciousness - almost undefnable - seems fundamental

for an artist. It is like a suffering of reality, a state of constant
hyper-sensitivity to everything that surrounds us, good and bad, light
and darkness. It is like a voyage to the center of the universe which
furnishes the perspective necessary for placing all things of life in their
real dimension
(A. Tpies, quoted in, I am a Catalan, in K. Stiles and P. Selz, Theories and Documents of Contemporary
Art: A Sourcebook of Artists Writings, Los Angeles 1996, p. 56).
l76
ANTONI TPIES (B. 1923-2012)
PROVENANCE:
Trois Taches Rouges (Three Red Marks)

signed Tpies (lower right)
charcoal, graphite and wax crayon on paper
12 x 17in. (32.5 x 44.5cm.)
Executed in 1987
10,000-15,000
$16,000-23,000
14,000-20,000
Private Collection.
Anon. sale, Sothebys London, 12 December 2007, lot 103.
l77
MIQUEL BARCEL (B. 1957)
PROVENANCE:
Five Islands
signed Barcelo (lower left); titled and dated
FIVE ISLANDS 1987 (lower right)
watercolour and charcoal on paper
13 x 10in. (35 x 26.5cm.)
Executed in 1987
7,000-10,000
Private Collection.
Acquired from the above by the present owner circa 1996.
$11,000-15,000
9,500-13,000
109
l78
PANAYIOTIS VASSILAKIS TAKIS (B. 1925)

Signal
incised twice with the artists signature Takis
(on the base)
found objects and steel rods
39 x 4 x 4in. (100.4 x 11.2 x 11.2cm.)
Executed in 1973
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
Private Collection, Athens.
My work gives energy; it brings a

balance to your body. It gives energy.
And this energy gives something to
you, because you already have energy.
And your energy and the works energy
come to be in harmony, without you
having to think. But this does not cancel
out all the beautiful things that you can
see. Its a manner of approaching: its
just the magnetic feld that is radiating
and that harmonizes your own magnetic
feld. I am not interested in the visual, I
am interested in energy'
(Takis, quoted in J. Van den Akkerveken, Communicating
Energies. Takis on magnetism, truth, hope and
water, Axel Vervoordt Gallery, Antwerp 2012,
www.axel-vervoordt.com/data/fles/artistsV/26_
communicatingenergiesinterviewwithtakis.pdf).
nl79
MARKUS AMM (B. 1969)
PROVENANCE:
Grey #2
signed, titled and dated Grey #2 Amm 2008

(on the overlap)
oil on canvas
71 x 53in. (180.5 x 135.2cm.)
Painted in 2008
EXHIBITED:
4,000-6,000
$6,100-9,100
5,400-8,100
111
n80
NED VENA (B. 1982)
PROVENANCE:
(i)-(iii) Untitled
Socit, Berlin.
each: signed and dated VENA 2011 (on the reverse)

each: vinyl on aluminium construction
each: 97 x 48in. (246.5 x 122.2cm.)
each: Executed in 2011
25,000-35,000
112
$39,000-53,000
34,000-47,000
With its interlocking pattern of black and white lines,

Ned Venas triptych Untitled, 2011, combines precise
draughtsmanship with optical pyrotechnics. Three shiny
aluminium panels are overlaid with complex vinyl ridges,
creating a hypnotic series of geometric undulations. With its
near-sculptural physical form, Untitled engages the audience
in a mesmerising visual dialogue: the vinyl peaks are activated
through the sweep of the viewers eye, introducing a kinetic
dimension that interrupts the compositions stasis. In this
sense, Untitled induces a heightened awareness of our own
physical presence in the exhibition space, highlighting the
subtle shifts and movements that occur within our vision.
Venas decision to use industrial materials questions the
status of the work of art, highlighting its manufactured nature

as well as its commodity-like reproducibility. The artist not
only blurs the borders between art and the everyday, but also,
referencing Minimalism and Frank Stella in particular, the
traditional division between painting and sculpture.
Born in Boston, Massachusetts, in 1982, Vena currently lives
and works in Brooklyn, New York. He had solo shows at Galerie
Gebr. Lehmann, Berlin, at Clifton Benevento, New York, and
at Socit, Berlin, and between 2014 and 2015 participated in
the group exhibition Beware Wet Paint, travelling between the
Institute of Contemporary Arts in London and the Fondazione
Sandretto Re Rebaudengo in Turin.
l*81
ANNA OSTOYA (B. 1978)

Exposures: 20.02.2011
signed, titled and dated ANNA OSTOYA
Exposures: 20.02.2011, 2011 (on the reverse)
acrylic and newspaper collage on canvas
24 x 19in. (60.8 x 50.5cm.)
Executed in 2011
3,500-4,500
$5,400-6,900
4,700-6,000
PROVENANCE:
Bortolami Gallery, New York.

EXHIBITED:
New York, Bortolami Gallery, Anna Ostoya, 2011.
With its poignant play of black and white collaged images,

interrupted by a staccato of grey vertical stripes, Exposures:
20.02.2011 is a beautiful example of Anna Ostoyas
original practice that engages with the history of art, from
Conceptualism and Dada, to Minimalism. Fragmented fgures
collide in a harmony of barely distinguishable impressions,
while a photograph of a man crouching, camera poised,
breaks the regularity of dark stripes in the lower right corner.
Conceptually reminiscent of On Kawaras Today series,
Exposures: 20.02.2011 is made of collaged pieces from that
specifc days newspaper, and constitutes a visual account
of a passing moment in the life of humanity, an impression
highlighted by the shuttering effect created by the rhythmic
alternation of grey stripes. She writes, In my painting I
deconstruct images to construct new ones. I vivisect images
into fragments letting new connections and new contents
appear. Then I arrange what I see, trying to enclose the
chaos in a lasting picture (A. Ostoya, Disclosures, http:/
bortolamigallery.com/site/wp-content/uploads/2014/10/AnnaWall-Text-in-Disclosures.pdf?23a211).
nl82
CALLUM INNES (B. 1962)

Exposed Painting Light Grey on White
signed and dated Callum Innes 98
(on the overlap and on the stretcher)
oil on canvas
40 x 38in. (102.7 x 97.7cm.)
Painted in 1998
8,000-12,000
$13,000-18,000
11,000-16,000
PROVENANCE:
Frith Street Gallery, London.

Six or seven years ago my work was fgurative. I felt that the
paintings had so much of myself in them that it was absolutely
clear what l was feeling when l made them. I wanted to keep
that distance so I could look at the paintings on a refective
plane, and other people could also. For a while there was a
need for a lot of artists to keep a distance from their work, but
actually I enjoy it when people do realise that theres some of
you in it, and that its not just a process painting. Because then
it is just a process painting to me. In my work there is also
something emotional, perhaps slightly spiritual going on in the
canvases, especially the white ones. I just didnt want them to
be completely self-evident (C. Innes, quoted in Callum Innes.
In Conversation, Issue 2, November-December 1991, www.
frieze.com/issue/article/callum_innes/ ).
115
l83
SHIRAZEH HOUSHIARY (B. 1955)
PROVENANCE:
Gift from the artist to the present owner.
Untitled
signed and dated S. Houshiary 1992 (on the reverse)
coloured pencil on paper
22 x 22in. (56.7 x 56.7cm.)
Executed in 1992
4,000-6,000
116
$6,100-9,100
5,400-8,100
nl84
BECKY BEASLEY (B. 1975)
PROVENANCE:
Offce Baroque Gallery, Brussels.

Glen Herbert Gold

Black American walnut, green acrylic glass and brass
57 x 42 x 36in. (147 x 107.8 x 91cm.)
from an edition of two
3,000-5,000
$4,600-7,600
4,100-6,700
117
n*85
CHRISTIAN ROSA (B. 1982)
PROVENANCE:
Untitled
signed and dated Christian Rosa 2014 (on the reverse)
oil, charcoal, oil stick and graphite on canvas
78 x 78 in. (200 x 200cm.)
Executed in 2014
30,000-50,000
$46,000-76,000
41,000-67,000
Untitled is characteristic for the reductivist and

eloquent approach to abstract painting that Brazilianborn contemporary artist Christian Rosa has become
known for. A fast-rising artist, Rosa was prominently
featured in the group exhibitions Pangaea: New Art
from Africa and Latin America at the Saatchi Gallery
London in 2014. Playing with the formal legacy of
such great Abstract painters as Wassily Kandinsky,
Kazimir Malevich and Piet Mondrian and citing the
lyrical abstraction of Cy Twombly and the automatism
of Joan Miro, Rosa explores the archaeology of
painting by creating abstract pictorial universes with
a raw energy that is simultaneously reminiscent of
Jean-Michel Basquiat. Using pencil, charcoal, spray
and oil paint, Rosa allows disparate black squares,
gestural calligraphic squiggles, marks and blotches
of primary colour, suggestive of anthropomorphic
forms, to foat across the large canvas. With his unique
punk rebelliousness, however, Rosa dispenses with
the rules of high Modernism. By incorporating the
notion of failure and chance as a guiding conceptual
model into his paintings, he allows for emotive,
visual experience and gives rise to open-ended works
that encourage the viewer towards more interior
contemplation and modes of enquiry.
118
l86
GREGOR HILDEBRANDT (B. 1974)
PROVENANCE:
Ibid, London.
All Cats Are Grey (Cure)

signed, titled and dated 2008 Gregor Hildebrandt
All cats grey (cure) (on the reverse)
cassette tape on canvas
50 x 34in. (129.3 x 88.3cm.)
Executed in 2008
7,000-10,000
$11,000-15,000
9,500-13,000
EXHIBITED:
London, Ibid, Sights from a Steeple, 2008.
87
ANNA BETBEZE (B. 1980)
PROVENANCE:
Kate Werble Gallery, New York.

Savanna
signed, titled and dated Savanna Anna Betbeze 2012
(on the reverse)
acid dyes and watercolour on wool
diameter: 96in. (244cm.)
Executed in 2012
6,000-8,000
$9,200-12,000
8,100-11,000
121
nl88
ALEXANDRA BIRCKEN (B. 1967)
PROVENANCE:
Unit 1
BQ, Cologne.
coated aluminium, aluminium rods, polyurethane foam,

fabric, wadding and wool
55 x 86 x 3in. (140 x 220 x 9cm.)
Executed in 2008
Amsterdam, Stedelijk Museum, Units, 2008.

from Germany, 2011 (illustrated in colour, pp.12-13).
5,000-7,000
LITERATURE:
$7,700-11,000
6,800-9,400
EXHIBITED:

I called them UNITS because theyre individual, each one is an

individual frame or statementThey grow out of themselves
and are much more organicIt is something that grows from the
insideYou have that given frame like piece of paper and you
have to react to that. And I think thats why each one turned out
differently. It is much more like a collage.like when you have a
piece a paper, you have something that you have to react too, rather
than starting with the things you have in your hands. Its a very
different procedure
(A. Birken, interview at Stedelijk Museum Docking Station, 2008, reproduced at http://artforum.com/
video/mode=large&id=20865)
With its conglomeration of irregular objects and organic

shapes, Unit 1 is an example of Alexandra Birckens radical
practice, informed by her background in fashion design and
interest in old-fashioned crafts. Executed in 2008, Unit 1 sees
the combination of lowly materials such as found tree trunks,
slices of Styrofoam, building offcuts and thin cloth swatches,
which are coloured by the artist, hung and displayed on
strings and aluminium rods. Embedded and held aloft as
if on a weavers loom, they are reincarnated in a delicate
composition which twists traditional painting and sculpture
122
into icons of vernacular art and craft. Reminiscent of feminist

art from the 1960s and 1970s, which reclaimed traditionally
feminine art forms for a new purpose, Bircken has said, I
am interested in dismantling prevailing hierarchies of value
regarding these objects and materials by way of connecting
them, thus putting them in a new context to each other. Its
an alternative system or cycle (A. Bircken, quoted in http:/
www.saatchigallery.com/artists/alexandra_bircken.htm).
l*89
WOLFGANG TILLMANS (B. 1968)
PROVENANCE:
(i) Day Disco (Left)
Wako Works of Art, Tokyo.

Private Collection, Japan.
(ii) Day Disco (Right)

(i) signed, titled, inscribed, numbered and dated
day disco, left ph 2005 pr WT 05/2005 5/10+1
Wolfgang Tillmans (on the reverse)
(ii) signed, titled, inscribed, numbered and dated
day disco, right ph 2005 pr WT 04/2005 5/10+1
Wolfgang Tillmans (on the reverse)
each: C-print
each image: 16 x 10in. (40.5 x 27.4cm.)
each: Executed in 2005, this work is number fve
from an edition of ten plus one artists proof
3,500-4,500
124
$5,400-6,900
4,700-6,000
LITERATURE:
W. Tillmans (ed.), Wolfgang Tillmans: truth study

center, 2005 (illustrated in colour, unpaged).
l*90

Sammlung
signed, titled, inscribed, numbered and dated
Sammlung ph 2006 pr. WT 04/2006 3/10+1 Wolfgang
Tillmans (on the reverse)
C-print
image: 10 x 16in. (26.5 x 40.5cm.)
sheet: 12 x 16in. (30.3 x 40.5cm.)
Executed in 2006, this work is number three from an
edition of ten plus one artists proof
2,000-3,000
$3,100-4,600
2,700-4,000
Really looking and observing is hard,

and you cant do it by following a
formula. What connects all my work
is fnding the right balance between
intention and chance, doing as much
as I can and knowing when to let go,
allowing fuidity and avoiding anything
being forced
(W. Tillmans, quoted in Look, Again, in Frieze, 1 October
2008, www.frieze.com/issue/print_article/lohttp:/www.frieze.
com/issue/print_article/look_again/ok_again).
PROVENANCE:

125
nl*91
MIRCEA CANTOR (B. 1977)

Talking Mirror
cowboy hat, Perspex, motor oil and plastic
on scrap lumber wooden construction
overall: 46 x 30 x 30in. (116.9 x 76.5 x 76.5cm.)
from an edition of three
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:

EXHIBITED:
San Antonio, Artpace, Power Play, 2007 (another from

the edition exhibited).
Mexico City, Fundacin Jumex, Brave New Worlds,
2008 (another from the edition exhibited).
Berlin, Johnen Galerie, Preventative Kiss for Suspicious
War, 2009 (another from the edition exhibited).
A fantastical modern-day ready-made, Mircea Cantors Talking

Mirror is an eloquent example of the Romanian conceptual
artists practice. Cantor is considered one of the most
important young artists to emerge on the international art
scene in the last decade and was awarded the Prix Marcel
Duchamp in 2011. While the work conjures a myriad of art
historical references with its Surrealist hat placed within
a translucent, minimalist cube atop an impromptu plinth,
the found objects particularly evoke American culture and
the Hollywood Western. Created in 2007, the same year
that the George W. Bush administration signed the Energy
Independence and Security Act, Talking Mirror is a playful
and open-ended, yet simultaneously earnest and critical
meditation on the political realities and social orders of our
contemporary world. The title of Talking Mirror references
the ancient myth of the vain and proud hunter Narcissus,
who was so entranced with his refection that he could not
look away and wasted away to death. Representing societys
absorption with fossil fuels, the pool of oil functions as a
mirror in which we see our own refection suggesting that
perhaps we too are complicit in these global circumstances.
As such, Talking Mirror encapsulates all of the immediacy and
global currency that Mircea Cantors oeuvre is acclaimed for.
Another work from this edition is held in
the permanent collection of the Walker Art
Center, Minneapolis.
(i)
92
(ii)
GABRIEL OROZCO (B. 1962)
PROVENANCE:
Galerie Chantal Crousel, Paris.

(i) Cuatro Parques (Four Parks)

(ii) Follaje (Foliage)
(i) signed, titled, numbered and dated 3/5 CUATRO
PARQUES 1997 GABRIEL OROZCO (on the reverse)
(ii) signed, titled, numbered and dated 1/5 FOLLAJE
1997 GABRIEL OROZCO (on the reverse)
each: iris print
(i) image: 22 x 34in. (58.2 x 88cm.)
sheet: 28 x 39in. (71 x 100.5cm.)
(ii) image: 22 x 34in. (57.2 x 87.5cm.)
sheet: 23 x 35in. (59.5 x 89.5cm.)
(i) Executed in 1997, this work is number three
(ii) Executed in 1997, this work is number one
12,000-18,000
$19,000-27,000
17,000-24,000
LITERATURE:
(i) D. Aaronson (ed.), Photography Transformed: The

Metropolitan Bank & Trust Collection, New York 2002
(ii) D. Aaronson (ed.), Photography Transformed: The
Metropolitan Bank & Trust Collection, New York 2002,
no.66 (another from the edition illustrated in colour, p. 245).
127
(i)
93
ANRI SALA (B. 1974)
PROVENANCE:
(i) Untitled (Ball)
Galerie Rdiger Schttle, Munich.

(ii) Untitled (Ball and Lion)

(i) signed, numbered and dated 2001 5/5 A Sala
(on the reverse)
(ii) signed, numbered and dated 2001 2/5 A Sala
(on the reverse)
each: C-print on alucobond
each image: 23 x 35in. (60 x 90cm.)
(i) Executed in 2001, this work is number fve
(ii) Executed in 2001, this work is number two
6,000-8,000
128
$9,200-12,000
8,100-11,000
(ii)
When I grew up we didnt have the same flms, comic books

or reminiscences that someone my age in Paris shares with
someone in New York, Berlin or London. We didnt laugh or cry
at the same things. When we remember we do not remember
the same I hope to make work whose precondition for
communication with the viewer is openness and responsiveness
rather than knowledge
(A. Sala, quoted in Hans Ulrich Obrist in conversation with Anri Sala in M. Godfrey, et al (eds.), Anri
Sala, London 2006, p. 19).
n94
ANRI SALA (B. 1974)
PROVENANCE:
Galerie Chantal Crousel, Paris.

31 - 131
black and white photograph on baryta paper
image: 39 x 59in. (101 x 150.7cm.)
sheet: 44 x 64in. (113 x 163cm.)
from an edition of fve plus two artists proofs
4,000-6,000
$6,100-9,100
5,400-8,100
Born in Albania in 1974, Anri Salas photography is an integral

part of a practice that encompasses a range of media,
including video and installation, providing an illuminating
platform from which to address the key themes that lie
at the heart of his oeuvre: dislocation of identity, narrative
uncertainty, the alienation of everyday reality and the function
of language. Treading the border between authenticity and
fantasy, in works such as Untitled (31 - 131), Untitled (Ball)
and Untitled (Ball and Lion), Sala presents the viewer with a
solitary enigmatic image that challenges narrative resolution.
Photography has been a prevalent aspect of Salas practice
since the beginning of his career: his frst substantial artistic
project was a series of documentary photographs taken in
1992 when the artist was just eighteen years old. Published
in 2003 in a volume entitled, A Thousand Windows The
World of the Insane, the collection documents the explosion
of the free press on the streets of Tirana following the fall of
the communist government. In stark contrast to the excess
of information that foods these early black and white images,
reengaging with photography in the early 2000s, Salas
mature work plays with the ambiguity that still images offer;
describing this strategy as a gift, Sala writes, Now that Im
also working with photography, it feels as if I could have that
gift back again, I mean this possibility of negotiating meanings
all through one image (A. Sala, quoted in M. Gioni and M.
Robecchi, Anri Sala: Unfnished Histories, Flash Art, Vol.
XXXIV, July-September 2001, p. 107).
Sala has commented that his photographic interests lie in
the relation between the cadre and hors cadre, or what is
represented on and off screen (A. Sala, quoted in M. Godfrey,
Missing Presences: on Anri Salas photography, Parkett, no.
73, 2005, p. 62). Unlike the roaming lens of a video camera,
the photographic camera has a compressing function,
generating a single, immobile image that raises questions,
rather than seeking answers. In Untitled (31 - 131) the
coordinates in the title detail the location (South Japan),
LITERATURE:
M. Godfrey, H. U. Obrist & L. Gillick (eds.), Anri Sala,

New York 2006 (another from the edition illustrated in
colour, pp. 76-77).
T. J. Damos, Vitamin PH: New Perspectives in
Photography, New York 2006 (another from the edition
illustrated in colour, p. 236).
yet this precision highlights the absence of information

in the image itself. Addressing the dynamic of presence
and absence in his photography, Sala has explained, Im
interested in whats missing, forgotten or left over (A. Sala,
quoted in M. Godfrey, Articulate Enigma: The Works of Anri
Sala in M. Godfrey, et al (eds.), Anri Sala, London 2006, p. 76).
Throughout his practice Sala has rejected site specifcity,
arguing that to understand or appreciate a work one should not
have to submit to a certain set of references. He attributes this
to growing up in a small community in which many broader
cultural experiences escaped him: When I grew up we didnt
have the same flms, comic books or reminiscences that
someone my age in Paris shares with someone in New York,
Berlin or London. We didnt laugh or cry at the same things.
When we remember we do not remember the same I
hope to make work whose precondition for communication
with the viewer is openness and responsiveness rather
than knowledge (A. Sala, quoted in Hans Ulrich Obrist in
conversation with Anri Sala in M. Godfrey, et al (eds.), Anri
Sala, London 2006, p. 19). This isolationist upbringing has led
him to challenge the Western quest for order and narrative
legitimacy. In Untitled (Ball) and Untitled (Ball and Lion) the
viewer observes two scenes from which one has had an
object removed, or perhaps the other has had something
added: there is no clear chronological trajectory. For Sala,
historical order is only one possible narrative in a body of
work that dissolves temporality: Im thrilled by the moment
when, hunting for a potential image, you frst frame it, and
so help it leave the context in which it was born and gained
its independence. What it was becomes what it will be
forever. The time that was before and the time that would
have been after it was taken become a past continuous and
future continuous that will never leave the image (A. Sala,
quoted in M. Godfrey, Missing Presences: on Anri Salas
photography, Parkett, no. 73, 2005, p. 75).
nl95
HELENE APPEL (B. 1976)

Tender Leaf Salad
signed and dated H. Appel 2007 (on the reverse)
oil on linen
86 x 71in. (220 x 182.5cm.)
Painted in 2007
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
The Approach, London.

EXHIBITED:
London, The Approach, Assistant: Helene Appel, 2008.
A hyper-realist rendering of an ephemeral

subject, German artist Helene Appels
Tender Leaf Salad brings abstract
painting into direct correspondence with
the domestic realm. With its complex
visual language and formal arrangement
the illusionistic lettuce leaves in Tender
Leaf Salad appear to spell out words;
the careful composition explores the
tension between representation and
communication, investigating the
relationship between artist and viewer.
n*96
LATIFA ECHAKHCH (B. 1974)
PROVENANCE:
Danse Macabre
Kaufmann Repetto, Milan.

metal jacks, wood box and linoleum laid on MDF plinth

overall: 12 x 44 x 27in. (31 x 113.5 x 70.5cm.)
Executed in 2010
7,000-10,000
$11,000-15,000
9,500-13,000
EXHIBITED:
Reims, FRAC Champagne-Ardenne, Le rappel des

oiseaux, 2010 (detail illustration in colour), p. 51. This
exhibition later travelled to Bergamo, Galleria dArte
Moderna e Contemporanea.
Executed in 2010 and exhibited at FRAC ChampagneArdenne in Reims in the same year, Danse Macabre is a
superb example of Latifa Echakhchs poetic and playful take
on the visual language of minimalism. Echakhch, the fourth
woman to win the prestigious Prix Marcel Duchamp in 2013,
aesthetically and conceptually revisits the masculine language
of Minimalism; what frst appears to be a pseudo-cube of
connected blocks with a cool metallic surface reminiscent of
Judds wall creations or Carl Andres checkerboards is in fact
medium-density fbreboard plinth lined by a sheet of linoleum.
As a group of small red and silver metal jacks are scattered
across the cubic structure, the structures begins to appear
as an oversized, three-dimensional board game in which the
accepted function of the pawns are replaced with a more
abstract and ambiguous dimension.
The resulting work is one that eludes immediate interpretation

or understanding, yet is distinguished by a remarkable
poetic material sensibility. As Echakhch elucidated, Maybe
an object that we think of as obsolete or dead can start a
new existence, free itself from its frst use and necessity,
and became something else. Its also this same kind of
strangeness when we discover an object that we do not
know about: its become a kind of magic. An object found
inappropriate in a situation or a space also gives a strange
feeling. The consistency of objects that interest me is about
all theses possible slips and slides of meaning (L. Echakhch,
quoted at http://www.contemporaryartdaily.com/2010/10/
latifa-echakhch-at-gamec/ ).
133
We are pleased to present the fnalists of a new and

unique collaboration with Christies this season: the frst
ever crowd-sourced auction initiative.
Empowering great artists to reach new audiences is
a core value of ArtStack - this project is about giving
exciting new talent the best possible platform and
enabling art lovers to participate in the curatorial
process.
Informed by the current trend for crowd-sourcing, the
ArtStack x Christies open call received a phenomenal
response: over 11,000 works were submitted in two
weeks, resulting in some terrifc discoveries. Following
public voting, a high-profle panel of art world, fashion
and media fgures have selected eight from among the
most stacked (voted) works for inclusion in this auction.
Each artist has been incredibly generous, having agreed to
donate 25% of the sale price to the Whitechapel Gallery,
whose programme has long championed emerging
artists. The remaining 75% of proceeds from each work
sold will go to the artist.
Thousands of people voted for fantastic artists to help
us make this selection - were excited to present these
works for sale and help support these great new talents
and the Whitechapel Gallery!
James Lindon and Ezra Konvitz

Co-Founders, ArtStack
theArtStack.com and iPhone, iPad and Android
ArtStack and Christies would like to thank all the artists who
submitted artworks to the competition, each ArtStack user who
cast their vote by stacking artworks and to the judges for lending
their insight and expertise to select the fnalists shown in the
following pages.
Bianca Chu
Head of First Open/LDN,
Post-War & Contemporary
Art, Christies
Penny Martin
Editor in Chief, The
Gentlewoman magazine
Omar Kholeif
Curator,
Whitechapel Gallery
Rohan Silva
Co-founder of
Second Home
James Lindon
Art dealer and
Co-Founder of
ArtStack
Dan Stevens
Actor and Booker Prize judge
Sarah McCrory
Director of Glasgow
International and curator
of Monteverdi Tuscany
Russell Tovey
Actor and art collector
97
JAMES BALMFORTH (B. 1980)

Phase Boundary #4
gallium and fat in museum glass
17 x 21in. (43.5 x 53.5cm.)
Executed in 2014
3,500-4,500
$5,400-6,900
4,700-6,000
Gallium and Fat share a Phase Boundary, the

point at which a material changes state, such
as from solid to liquid. Gallium is a solid metal
at room temperature but melts on contact with
the body. It is the only elemental metal with
such a close relationship to human metabolic
heat. Fat functions in part as an energy store
and to generate warmth in animals. It is a lifesustaining substance essential for nourishment
and fuel. Gallium and fat occupy discrete
categories of metal / fesh, inorganic / organic,
and it was coming to understand both the
contrasts and correspondences of these two
materials that led to the making of the Phase
Boundary series
(James Balmforth, 2015).
136
98
ROMAN LIKA (B. 1980)

Untitled (Silver Dazzle Orange Mesh)
signed and dated Roman Lika 2012
(on the reverse and on the stretcher)
screenprint on refective fabric, spray paint on mesh
fabric, metal beaded chain and eyelets on stretcher
43 x 31in. (115 x 80cm.)
Executed in 2012
4,000-6,000
$6,100-9,100
5,400-8,100
The present lot is a prime example of Roman

Likas broad range of artistic production. Over
the surface, a luminescent bright orange draps
over the picture plane, with metal beaded
chains slicing through creating new forms and
spaces in the painting. By introducing these
and other innovative materials into his practice
the artist continues to contribute to the
ongoing dialogue in recent contemporary art,
re-imagining and expanding upon traditional
notions of painting.
99
JIMMY MERRIS (B. 1983)

Self Portrait with Swimming Goggles
signed, titled, inscribed and dated Self Portrait
with Swimming Goggles 4/4 Jimmy Merris 2013
(on the reverse)
goggles, 2K lacquer and screenprint on screen
with metal stretcher
37 x 28in. (94 x 71cm.)
Executed in 2013, this work is from a series of four,
each unique
3,000-5,000
138
$4,600-7,600
4,100-6,700
I went to the Tate and I got the audio guide,

and the curator, Flavia Frigeri, said that Matisse
went diving in wooden goggles. Id already
made the work by this point, but it cheered me
up nonetheless.
(Jimmy Merris, 2015).
*100
MARISA OLSON (B. 1977)

Untitled (from the series Time Capsules)
gold spray paint on mobile phone
overall: 6 x 1 x in. (16 x 4.5 x 2.4cm.)
Executed in 2014
800-1,200
$1,300-1,800
1,100-1,600
The Time Capsules series contends with the

areas between modern technologys inherent
obsolescence and the seemingly boundless
methods of production and distribution. In these
sculptures and installations, I am concerned
with what I have termed upgrade culture
and the environmental impacts of consumers
trashing former objects of commodity fetishism
in favor of newer toys and tools. Often exhibited
in site-specifc assemblages resembling
landflls or garbage piles, I see these objects as
endangered units of time otherwise destined
for burial, but instead rescued, taken out of
circulation, and painted gold (Fort Knox-style)
in reclamation of their value.
(Marisa Olson, 2015).
n101
OSKAR RINK (B. 1980)

Der Gedanke (color) (The Thought) (color)
signed, titled and dated Der Gedanke color, 2014
Oskar Rink (on the reverse)
oil, graphite and black ball-point pen on paper
61 x 49in. (155 x 125cm.)
Executed in 2014
2,000-3,000
140
$3,100-4,600
2,700-4,000
Der Gedanke is an allusion to the efforts,

endeavors, impulses, inclinations and
undertakings of the ever striving, never resting
human mind. Scattered thoughts are depicted
in their cross-connectedness, whilst being
exposed to the logical incoherence of sense and
sensitivity
(Oskar Rink, 2015).
*102
FELIX BAUDENBACHER (B. 1977)

Gradient Edges Blue
signed and dated Bau 2014 (on the overlap)
oil and gesso on canvas in artist's frame
15 x 17in. (38.8 x 44.7cm.)
Executed in 2014
2,500-3,500
$3,900-5,300
3,400-4,700
My artistic ambition is and has been nothing

less than to apply some of the most important
lessons from modernist painting and postpainterly abstraction to my own practice and stubbornly rejecting ready-made contemporary
strategies - to push on through to a place and a
language so much of my own making that my
work becomes undeniable beyond categories
of mere taste
(Felix Baudenbacher, 2015).
n103
MICHAELA ZIMMER (B. 1964)

140801
acrylic, lacquer, spraypaint and foil on canvas
95 x 63in. (240 x 160cm.)
Executed in 2014
4,000-6,000
$6,100-9,100
5,400-8,100
Michaela Zimmers paintings bring the body

forward as an argument. This is not necessarily
visible at frst, but it is palpable, because the
format and interior structure of the canvases
are based on the artists height and reach.
Thus a performative space is portrayed which
corresponds directly with each viewer, since
like Le Corbusiers Modulor, it takes man as
the measure. If one engages with it, not only
does a fusion of pictorial and actual space
occur, the painting support and the picture
also become one. For lack of a fxed source
of light in the picture, the distance collapses
which separates the viewer from the site of
the visual experience...What is specifc about
these canvases, characterised by a virtually
incorporeal, foating chromatic space, is the
fourth dimension inscribed within them: time
manifested as traces of the performative
(S. Prinz, quoted in Falsas Prospettivas, exh. cat., Umstellen,
Berlin, Kunstverein Tiergarten, 2014).
142
104
NATHANIEL RACKOWE (B. 1975)

SP21
powder coated scaffolding tubes, scaffolding
clamps, fuorescent light and electrical wiring
48 x 14in. (122 x 37cm.)
from an edition of three plus one artists proof
5,000-7,000
$7,700-11,000
6,800-9,400
This work is accompanied by a certifcate of

authenticity issued by the artist.
SP21 is a continuation of the Scaffolding

Piece series, utilising scaffolding tubes that
have been industrially coated in black, and
bolted into their confguration with zinc
plated cast steel scaffolding clamps. Cool
fuorescent tubes of light pass through
each black length, creating a stark contrast
between light and structure. Hanging
yellow cables punctuate the surrounding
wall space; lines of acid yellow. The works
urban point of infuence is balanced with its
art historical references of both Flavin and
Tatlin. The hard materials drawn from a built
environment are transformed and softened
by light, creating a new and unexpected
aesthetic of raw beauty.
(Nathaniel Rackowe, 2015).
nl105
CERITH WYN EVANS (B. 1958)
PROVENANCE:
White Cube.
Acquired at the above by the present owner.
Meanwhile ... across town

negative neon and transformer
from an edition of three
8,000-12,000
Cerith Wyn Evans

Photo: Stephen White
Courtesy White Cube
$13,000-18,000
11,000-16,000

signed by the artist.
l106
CERITH WYN EVANS (B. 1958)

(i) Figures in a Landscape #2
(ii) Figures in a Landscape #3
each: silkscreen print on woodgrain printed paper on card
each: 29 x 19in. (73.7 x 48.5cm.)
each: Executed in 2008
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Ive always tried to invoke a level of complexity. Even if the

piece superfcially looks like one light bulb going on and off,
there are things immersed within the texture of the work that
allude to other spaces and possibly other times. A work has
to have a resonance so that it can move on different levels.
Im interested in evoking polyphony, superimposition, layers,
levels, the occluded and the visibility of the mask. There are
points of entry, as Burroughs would say. Certain conduits
for thinking become different avenues for travel, rehearsing
different scenarios, different routes that its possible to take
(C. Wyn Evans, quoted in Innocence and Experience, in
Frieze, Issue 71, November-December 2002, www.frieze.
com/issue/article/innocence_and_experience/ ).
EXHIBITED:

145
n107
CINDY SHERMAN (B. 1954)
EXHIBITED:
Untitled #312
signed, numbered and dated Cindy Sherman 1/6 1994
(on the reverse of the mount)
Cibachrome print
59 x 40in. (152 x 101.8cm.)
20,000-30,000
$31,000-46,000
27,000-40,000
PROVENANCE:
Metro Pictures, New York.

Galeria Juana de Aizpuru, Madrid.
Galleri Susanne Ottesen, Copenhagen.
Zurich, Kunsthalle Zrich, Signs & Wonders: Niko

Pirosamani (1862-1918) and Recent Art, 1995, no. 74
(illustrated in colour, unpaged). This exhibition later
travelled to Santiago de Compostela, Centro Galego de
arte Contemporanea.
Los Angeles, Museum of Contemporary Art, Cindy
Sherman: Retrospective, 1999 (illustrated in colour,
p. 188). This exhibition later travelled to Chicago,
Museum of Contemporary Art; Prague, Galerie
Rudolfnum; London, Barbican Art Gallery; Bordeaux,
CAPC Muse dart contemporain; Sydney, Museum of
Contemporary Art and Toronto, Art Gallery of Toronto.
Paris, Jeu de Paume, Cindy Sherman. A Cindy Book.
1964-1965, 2006 (another from the edition exhibited,
illustrated in colour, p. 261). This exhibition later
travelled to Bregenz, Kunsthaus Bregenz; Humlebk,
Louisiana Museum of Modern Art and Berlin,
Martin-Gropius-Bau.
Oslo, Astrup Fearnley Museet, Cindy Sherman:
Untitled Horrors, 2013 (another from the edition
exhibited, illustrated in colour, p. 187). This exhibition
later travelled to Zurich, Kunsthaus Zrich; and
Stockholm, Moderna Museet.
LITERATURE:
Cindy Sherman, exh. cat., New York, Museum of

Modern Art, 2012 (another from the edition illustrated
in colour, p. 61).
P. Moorhouse, Cindy Sherman, London 2014
Part of Cindy Shermans renowned Sex Pictures series, in

Untitled #312, 1994, the artist continues her interrogation
into how the media proliferation of images shape our
perception of the world, creating an image of constructed
reality. During the 1990s, a decade characterised by politically
motivated debate over censorship in the arts and the AIDS
crisis, Sherman turned to grotesque and sinister narratives
in which, for the frst time, the artist abandoned her role as
model in her photographs. Expressing her fascination with
the abject, photographs such as Untitled #312 return to
those images of horror frst explored in the Fairy Tale series
of 1985. Exploring the physical disintegration of the body
Shermans Sex Pictures created anatomically impossible
models bought from medical supply catalogues. Arranged in
a graphic tableau against a theatrical satin sheet, the dolls in
Untitled #312 act as human surrogates, the lighting effects
endowing the scene with an eerie realism despite the tangible
artifciality of the hybrid bodies. Described by Jerry Saltz as
the unsexiest sex pictures ever made, visions of feigning,
fghting, perversion, in Untitled #312 the three dolls male,
female, child represent a broken family, their transplanted
bodies and hideous, mask-like faces presenting a distressing
146
vision of childhood through a perverse vision of adult sexuality

(J. Saltz, Cindy Sherman: Becoming, New York Magazine,
12 February 2012, http:/nymag.com/fashion/12/spring/cindysherman-2012-2/ ).
Reminiscent of Surrealist artist Hans Bellmers contorted dolls
that reconstituted artifcial body parts to create works that
explore sexual fantasy, Shermans Sex Pictures offer a critical
response to masculine voyeuristic fetishism. They were a
refusal to make a sexy image about sex, she said. Ive never
wanted to do that Nudity can be a cop out. That is why
I use fake tits and asses, to avoid sensationalisms, which I
wanted to subvert (C. Sherman, quoted in E. Respini, Will
the Real Cindy Sherman Please Stand Up? in Cindy Sherman,
exh. cat., Museum of Modern Art, New York, 2012, p. 37).
Shermans work is rooted in contemporary culture, exposing
the fallacy of a world unconcerned by judgment or taste,
in which cosmetic surgery allows for the distortion of the
human form. With its surreal subject matter and hyperbolic
artifciality, Shermans Sex Pictures place her alongside artists
of grotesquerie such as Paul McCarthy, Mike Kelley and Jake
and Dinos Chapman.
nl108
CHANTAL JOFFE (B. 1969)
PROVENANCE:
Black Camisole

oil on panel
119 x 48in. (304.5 x 122.1cm.)
Executed in 2004
12,000-18,000
EXHIBITED:
London, Saatchi Gallery, Body Language, 2013

$19,000-27,000
17,000-24,000
Standing three metres tall, Chantal

Joffes Black Camisole, 2004, is an
imposing example of the artists
dynamic painting practice, characterised
by its liquescent drips and fat planes of
colour. Based on images of models from
fashion magazines, the present work
is taken from a series that challenges
the impersonality and mask-like faces
of the women portrayed in these
glossy tomes, endowing them with an
uncompromising sense of power and
complexity. Born in 1969, Chantal Joffe
lives and works in London. She holds
an MA from the Royal College of Art
and was awarded the Royal Academy
Woollaston Prize in 2006.
148
l*109
PROVENANCE:

Womb
signed, titled, inscribed, numbered and dated womb
ph 7 99 pr WT 8 99 6/10+1 Wolfgang Tillmans
(on the reverse)
C-print
image: 16 x 10in. (40.6 x 26.5cm.)
sheet: 16 x 12in. (40.6 x 30.4cm.)
Executed in 1999, this work is number six from an
edition of ten plus one artists proof
2,000-3,000
$3,100-4,600
2,700-4,000
EXHIBITED:
Hamburg, Deichtorhallen Hamburg, Wolfgang

Tillmans- Aufsicht, 2001-2002 (another from the
edition illustrated in colour, p. 35). This exhibition
later travelled to Turin, Castello di Rivoli Museo
darte Contemporanea; Paris, Palais de Tokyo and
Humlebaek, Louisiana Museum of Modern Art.
LITERATURE:
W. Tillmans (ed.), Wolfgang : truth study center, 2005

no. 16 (illustrated, unpaged).
l110
LYNETTE YIADOM-BOAKYE (B. 1977)
EXHIBITED:
Roses
signed, titled and dated Roses Lynette 2007
(on the reverse)
oil on canvas
16 x 11in. (40.5 x 30cm.)
Painted in 2007
7,000-10,000
PROVENANCE:
$11,000-15,000
9,500-13,000
Andratx, CCA Andratx, M25: Around London, 2008.

I always loved fgurative painting and Ive always wondered
what that power was that I kept coming back to and I realized
it was less about individuals than about how they had been
pictorially constructed. What was it about their eyes? How
was that achieved through this painting? (L.Y.-Boayke,
quoted in J. Higgie, A Life in a Day: The Fictitious Portraits
of Lynette Yiadom-Boakye, in Frieze, issue 146, April 2012,
http:/www.frieze.com/issue/article/a-life-in-a-day/).
151
n111
KATHERINE BERNHARDT (B. 1975)
EXHIBITED:
Gstaad, Patricia Low Contemporary, Flesh for Fantasy, 2006.
Anna Barrios Pucci Bikini Print

signed, titled and dated Katherine Bernhardt 2006
Anna Barrios Pucci Bikini Print (on the reverse)
acrylic on canvas
72 x 59in. (183.5 x 152.2cm.)
Painted in 2006
4,000-6,000
$6,100-9,100
5,400-8,100
PROVENANCE:
Patricia Low Contemporary, Gstaad.

With its acrylic glare and strident painterly gestures, Anna

Barrios Pucci Print, 2006, is a striking example of Katherine
Bernhardts engagement with the fantastical trappings
of seduction, decadence and corruption. Looming larger
than life, Bernhardts signature demoiselle is at once it-girl,
goddess and super-heroine, languishing in the ennui of
money, power, and style. Ill-ftting triangles becomes a
designer bikini, lurid circles pose as eye-shadow, and pink
terrains of skin drip with melting suggestion of fake tan or
plastic surgery. Approaching painting as a platform for fctional
narratives, Bernhardts imagined characters hint at the vacuity
of media images and contemporary consumer culture.
nl112
RACHEL HOWARD (B. 1969)

Franz
signed and titled FRANZ R.L.Howard
(on the stretcher); dated 2008 (on the overlap)
acrylic and household gloss on canvas
60 x 47in. (152.7 x 119.7cm.)
Painted in 2008
12,000-18,000
$19,000-27,000
17,000-24,000
PROVENANCE:
CCA Andratx, Andratx (acquired directly from the

artist).
EXHIBITED:
Andratx, CCA Andratx, M25: Around London, 2008.

With its dynamic fow of paint and contrasting felds of colour,

Franz, 2008, witnesses Rachel Howards original exploration
of the physical properties of her medium. In a practice in
which close research meets powerful subject matter, Howard
combines different types of acrylic and household gloss paint,
leaving the medium to separate and react according to its
chemical properties. Brian Dillon has stated: The frst thing
that strikes you about [Howards] pictures, [is] this seamless
downpour of paint: a vertical torrent that seems to advance
from one painting to another, sometimes fading out before
it reaches the bottom of the canvas, only to fall unbidden
from the upper edge of another (B. Dillon, On Pathos in
How to Disappear Completely, exh. cat., Haunch of Venison,
London 2008). Franzs striking luminosity is due to the
pigment being dragged down the canvas by a shiny layer of
heavier varnish; the force of gravity provides the work with its
watery, evanescent mark making, replacing the paintbrush in
tracing a fuid stream of colour which suggests unrestrained
movement.
n113
MATTHEW DAY JACKSON (B. 1974)
PROVENANCE:
Anatormica Man
Grimm Gallery, Amsterdam.

signed, titled and dated twice MATTHEW DAY

JACKSON Anatormica Man 2011 (on the reverse)
laminated wood
72 x 58in. (183 x 147.3cm.)
Executed in 2011
35,000-45,000
154
EXHIBITED:
Amsterdam, Grimm Gallery, Heel Gezelling- Matthew

Day Jackson, 2011.
$54,000-69,000
48,000-60,000
In Matthew Day Jacksons graphic

Anatormica Man, 2011, the head, neck
and shoulders of a man are depicted
tilted back. Viewed from below, the
subject gazes upwards set against a
muted computerised cloudscape. As
though medically dissected, Jackson
has peeled back the mans skin to reveal
a cross section of his anatomy: sinewy
muscle, sawed off ribs, the beating
heart from which a network of veins
climbs organically upwards into the
fgures cranium. Joining a host of artists
fascinated by the anatomy of the human

body, including Jean-Michel Basquiat,
Jacksons detailed study is reminiscent
of Leonardo da Vincis graphite drawings
which explore with surgical precision
the mechanics of the human frame, and
the illustrative diagrams in the famous
medical volume Grays Anatomy. Jackson
is interested in the ways in which
the human body limits and controls
experience. In this way, the search for
truth and the investigation of science is
central to his entire practice.
Leonardo da Vinci, Vitruvian Man, circa 1490

Accademia, Venice
Photo Scala, Florence - courtesy of the Ministero
Beni e Att. Culturali
With its gruesome corporeality and

fne scientifc detail, Anatormica Man
addresses themes of mortality and the
materiality of being. Jackson has said,
We are not simply fesh and bone, but
also the materials through which we
express ourselves to the world outside
(M. D. Jackson, quoted in, Matthew Day
Jackson: Everything Leads to Another,
2011, Hauser & Wirth London [http:/
www.hauserwirth.com/exhibitions/958/
matthew-day-jackson-everything-leadsto-another/view/]). For Jackson, all
external gestures are a refection of who
we are on the inside. Through the use of
computer mapping, Jackson achieves
the collision of the inside and outside,
examining what lies at the heart of
the human corpus both physically and
psychologically.
*114
RAYMOND PETTIBON (B. 1957)
PROVENANCE:
Private Collection.
Anon. sale, Rago Arts and Auction Center,
17 November 2012, lot 657.
Untitled (The question is)

signed and dated Raymond Pettibon 87
(on the reverse)
ink on paper
22 x 17in. (56.6 x 44.2cm.)
Executed in 1987
7,000-10,000
156
$11,000-15,000
9,500-13,000
n115
NICK VAN WOERT (B. 1979)
PROVENANCE:

Bathroom
signed, titled and dated NICK VAN WOERT
BATHROOM 2010 (on the side)
plywood and polyurethane adhesive
74 x 48in. (189 x 122.5 cm.)
Executed in 2010
8,000-12,000
$13,000-18,000
11,000-16,000
157
l116
REBECCA HORN (B. 1944)
PROVENANCE:
Capuzzelle 1
Galerie Beyeler, Basel.

signed and dated R.Horn 2002 (lower right)

acrylic, ink, crayon and wine on paper
12 x 9in. (32 x 23.7cm.)
Executed in 2002
3,000-5,000
$4,600-7,600
4,100-6,700
l117
REBECCA HORN (B. 1944)
PROVENANCE:
La Nuit de Walpurgis I (Walpurgis Night I)

signed R.Horn (lower right); dated 2002 (lower left)
acrylic, ink, gouache, crayon and tree needle on paper
12 x 9in. (32 x 23.7cm.)
Executed in 2002
3,000-5,000
Galerie de France, Paris.

Galerie Ziegler, Zurich.
$4,600-7,600
4,100-6,700
159
l118
NIGEL COOKE (B. 1973)

On the Block
(i) Smoking Rabbit
(ii) Geo Party
(iii) Go Home
(iv) Bring Out the Dead
(v) Art Student Hitler
(vi) Modern Bird
(i) signed twice, titled, inscribed and dated Nigel Cooke
On the Block #1 (6) - Smoking Rabbit 2005 N.Cooke
(on the reverse)
(ii) signed twice, titled, inscribed and dated Nigel
Cooke On the Block #2 (6) - Geo Party 2005 N.Cooke
(on the reverse)
(iii) signed twice, titled, inscribed and dated Nigel
Cooke On the Block #3 (6) - Go Home 2005 N.Cooke
(on the reverse)
160
(iv) signed twice, titled, inscribed and dated Nigel

Cooke On the Block #4 (6) - Bring out the Dead 2005
N.Cooke (on the reverse)
(v) signed twice, titled, inscribed and dated Nigel
Cooke On the Block #5 (6) - Art student Hitler 2005
(vi) signed twice, titled, inscribed and dated Nigel
Cooke On the Block #6 (6) - Modern Bird 2005
(i),(iii)-(vi) watercolour on paper
(ii) watercolour and paper collage on paper
each: 11 x 15in. (27.9 x 38cm.)
Executed in 2005
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
Modern Art, London.

nl119
LIAM GILLICK (B. 1964)

Resisted Production
painted aluminium and transparent Plexiglas
39 x 39 x 8in. (100 x 101 x 22.1cm.)
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
The ICA Auction, Sothebys London, 20 October 2008,

lot 105 (donated by the artist).
On the occasion of the 60th anniversary of the ICA in 2008,

the artist produced Resisted Production. The aim behind the
colour screen sculpture is an investigation of the relationship
between architecture and social ideologies and how they
affect one another. As the artist has elaborated: I remain
interested in the potential of art, except Ive always been
more struck by applied modernism than high modernism.
Its partly because of feminist theory and being brought up
in the 70s, with questioning who is speaking, and why, and
what authority theyre carrying. But Im also operating in the
gap between the trajectory of modernity and the trajectory of
modernism. So what people think is design is not design its
my attempt to engage with the trajectory of modernity (L.
Gillick, interview with M. Brannon, in Interview Magazine,
2005, reproduced at http://www.interviewmagazine.com/art/
liam-gillick#/page4).
161
l*120
DAMIEN HIRST (B. 1965)

Abacus - The Dream is Dead
incised with the artists signature, titled and numbered
Abacus Damien Hirst The Dream is dead 2/12
(on the reverse)
silver
5 x 5 x 8in. (14.5 x 14 x 21cm.)
from an edition of twelve
20,000-30,000
$31,000-46,000
27,000-40,000
PROVENANCE:
White Cube.
Anon. sale, Christies London, 29 June 2011, lot 117.
I remember I was thinking that there were four important things

in life: religion, love, art and science. At their best, theyre all just
tools to help you fnd a path through the darkness. None of them
really work that well, but they help. Of them all, science seems to
be the one right now. Like religion, it provides the glimmer of hope
that maybe it will be all right in the end
(D. Hirst, quoted in conversation with S. OHagan in New Religion Damien Hirst, exh. cat., British
Council, London, 2006, p. 5)
162
l*121
TACITA DEAN (B. 1965)
LITERATURE:
T. Dean, Teignmouth Electron, London 1999 (another

example illustrated, frontispiece, unpaged).
Tacita Dean: Recent flms and other works, exh. cat.,
London, Tate Britain, 2001 (another from the edition
illustrated, p. 12).
Teignmouth Electron, Cayman Brac

black and white photograph
40 x 27in. (102.5 x 69cm.)
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:

EXHIBITED:
Basel, Schaulager, Tacita Dean. Analogue: Films,

Photographs, Drawings 1991 - 2006. Francis Als.The
Sign Painting Project (1993-97): A Revision, 2006, p.129.
I do not want to give these images explanations: descriptions

by the fnder about how and where they were found, or
guesses as to what stories they might or might not tell. I
want them to keep the silence of the feamarket; the silence
they had when I found them; the silence of the lost object.
(T. Dean, quoted at http:/www.frithstreetgallery.com/shows/
view/foh).
(i)
(ii)
(iii)
nl*122
GLENN BROWN (B. 1966)
PROVENANCE:
Galerie Max Hetzler, Berlin.

The Dead
gelatin silver print, in three parts
(i) image: 34 x 51in. (88.5 x 129.5cm.)
sheet: 38 x 54in. (97 x 138.6cm.)
(ii) image: 34 x 51in. (88.3 x 130cm.)
sheet: 38 x 54in. (97.3 x 139cm.)
(iii) image: 34 x 50in. (88.5 x 129cm.)
sheet: 38 x 54in. (97 x 138cm.)
from an edition of fve plus one artists proof
10,000-15,000
EXHIBITED:
Sydney, Museum of Contemporary Art, Veronicas

Revenge: Contemporary Perspectives on Photography,
2000-2001 (another from the edition exhibited).
$16,000-23,000
14,000-20,000
123 No Lot
165
l124
PHYLLIDA BARLOW (B. 1944)

Untitled (Chair)
cement and acrylic on timber
45 x 20 x 18in. (114.6 x 50.8 x 47cm.)
Executed in 2006
3,000-5,000
$4,600-7,600
4,100-6,700
PROVENANCE:
New Art Centre, Roche Court.

Acquired from the above by the present
owner in 2007.
Sculptures reality is its

realitybeing there with
it and walking around it,
stalking it. Every movement
we make in relationship
to a sculpture generates
another point of view that
is also another image.
Our physical movement in
relationship to sculptures
stillness is the triumph of
sculpture
(P. Barlow, quoted in V. Fecteau (ed.),
Phyllida Barlow and Vincent Fecteau, in
Bomb Magazine, no. 126, Winter 2014,
www.bombmagazine.org/article/7459/
phyllida-barlow-vincent-fecteau).
166
l125
MARC QUINN (B. 1964)

Drowned World
incised with the artists signature, numbered
and dated MARC QUINN 2008 14/45
(on the base)
cast bronze with heat treated chrome patina
14 x 3 x 3in. (35.6 x 10 x 10cm.)
Executed in 2008, this work is number
fourteen from an edition of forty-fve
plus fve artists proofs
2,500-3,500
PROVENANCE:
White Cube.
$3,900-5,300
3,400-4,700
l126
JAKE AND DINOS CHAPMAN (B. 1966 & B. 1962)

UHM008
titled UHM008 (on the reverse)
bronze
3 x 4 x 3in. (9.5 x 10.5 x 8cm.)
3,000-4,000
$4,600-6,100
4,100-5,400
PROVENANCE:
White Cube.
EXHIBITED:
London, White Cube, Jake and Dinos Chapman,

Works from the Chapman Family, 2002.
168
The Chapmans work is infectious,

morbid, nomadic, zygotic, (oxy)
moronic, threatening social and
capital power with the enslavement
that is inherent in reaction. With or
without genitals, these are not people
or children or anything. They are what
they are. They cannot be interpreted or
incorporated, they are reproductive, not
representational
(K. Biesenbach and E. Dexter, Foreword, in Chapmanworld,
exh. cat., Kunst-Werke Berlin, 1997, n.p.).
(i)
(ii)
(iii)
(iv)
(v)
(vi)
(vii)
(viii)
(ix)
(x)
(xi)
(xii)
l127
JAKE AND DINOS CHAPMAN (B. 1966 & B. 1962)

Minderwertigkinder (Class of 2011)
(i) Elephant Child
(ii) Witch Child
(iii) Chicken Child
(iv) Donkey Child
(v) Small Duck Child
(vi) Bear Child
(vii) Duck Child
(viii) Mouse Child
(ix) Lion Child
colour photograph in artists frame,

in thirteen parts
each: 9 x 7in. (22.8 x 17.8cm.)
Executed in 2011, this work is number
eighteen from an edition of forty-fve
2,000-3,000
$3,100-4,600
2,700-4,000
(xiii)
PROVENANCE:
White Cube.
(x) Pig Child

(xi) Wolf Child
(xii) Rat Child
(xiii) Vegetable Child
169
l128
MICHAEL FULLERTON (B. 1971)

David Milligan (Surveillance Specialist, Glasgow City
Council, Housing Beneft Anti-Fraud Unit)
oil on linen
36 x 28in. (91.5 x 71cm.)
Painted in 2004
5,000-7,000
$7,700-11,000
6,800-9,400
PROVENANCE:
Counter Gallery, London.

David Milligan (Surveillance Specialist Glasgow City Council,

Housing beneft Anti-Fraud Unit), 2006, is a haunting example
of Michael Fullertons original take on the traditional genre
of portraiture. Emerging from a hazy background of subdued
blue and violet, the subject radiates a heavenly light as though
a saintly fgure. Laden with irony, in fact, Fullerton portrays
David Milligan, known amongst the artists community as the
dole spy for his undercover work for the Social Services in
Glasgow. Challenging the conventions of portraiture, Fullerton
questions the nature and value of representation, exploring to
what extent a painting is able to communicate the complexity
of human nature.
nl129
LUCY McKENZIE (B. 1977)

Untitled
gouache and graphite on canvas
83 x 63in. (212 x 160cm.)
Executed in 1999
6,000-8,000
$9,200-12,000
8,100-11,000
PROVENANCE:
Cabinet Gallery, London.

With its powerful iconography transfgured through washed,

delicate ochre tones, Untitled witnesses Lucy McKenzies
interest in the visual language of idealism, its symbols of
seduction and power. Executed in 1999, the work reduces
the 1980 Moscow Olympic poster design to an abstract motif,
a requiem to the power of painting. Bright bands of colour
frame the central form of a broken octagram: a damaged
symbol of completeness and regeneration. Reminiscent
of supremacist painting, Untitled sentimentalises a failed
Utopian vision. Whitewashing over her canvas, McKenzie
sanitises an awkward history, and references the paintings of
Kasimir Malevich, an art at odds with Stalinist policy.
171
l130
FIONA BANNER (B. 1966)
PROVENANCE:
Group

signed with the artists initials, titled and dated

Group F.B. 2003 (lower left)
ink on paper
27 x 33in. (69.5 x 85cm.)
Executed in 2003
3,000-5,000
172
$4,600-7,600
4,100-6,700
l131
SARAH LUCAS (B. 1962)
LITERATURE:
Is Suicide Genetic?
colour photograph
19 x 15in. (50 x 40cm.)
Executed in 1996, this work is number twelve
from an edition of seventeen plus three artists proofs
7,000-10,000
$11,000-15,000
9,500-13,000
PROVENANCE:
Private Collection.
E. Janus (ed.), Veronicas Revenge: Contemporary

Perspective on Photography, Zurich 1998 (another
from the edition illustrated in colour, p.174).
In her work she is reacting very immediately and visually to
her environment and aspects of daily life. She commonly uses
existing objects for these visual expresssions. There is also a
lot of humour in her work. By taking the everyday so far out of
its context, it becomes almost absurd and tasteless. Sarah uses
bananas and melons, toilet pots and slot machines in order to
express her ideas about men and women (A. Paalman, Self
Portraits. Caldic Collection, Rotterdam 1998, p. 144).
n*132
TRACEY MOFFATT (B. 1959)
PROVENANCE:
Guapa (Goodlooking) Series
L.A. Galerie Lothar Albrecht, Frankfurt.

each: signed, numbered and dated T.MOFFATT 95

4/20 (on the reverse)
black and white photograph on chromogenic paper,
in ten parts
each image: 31 x 42in. (80.5 x 108.5cm.)
each sheet: 37 x 48in. (94.5 x 124cm.)
Executed in 1995, this work is number four
from an edition of twenty
3,000-4,000
$4,600-6,100
4,100-5,400
Guapa (Goodlooking) Series encapsulates Tracey Moffatts

unique cinematic imagination and compelling stance on
power and gender relationships. Executed in 1995 when
the Australian artist was in residence at ArtPace in Texas,
this series of ten photographs captures the frenetic and
intense energy of a roller derby match, the ferocious female
players crashing into each other and battling it out for victory.
Together, the individual images present a dynamic narrative,
appearing as though flm stills from an action-packed movie
on pause. In this regard, this series bears witness to Moffatts
inception as a flmmaker and music video producer in the
1980s: her photo-essays retain a staged appearance that
reveals Moffatts role as a director, recruiting and supervising
actors taken from the streets, directing them in visual scripts
functioning as statements about sexual, gender and social
issues. Challenging the unrealistic ideals of beauty promoted
in the media, the women in Guapa (Goodlooking) Series are
powerful and aggressive, forceful and energetic. Capturing
174
EXHIBITED:
(v)(vi) New York, Dia Art Foundation, Tracey Moffatt:

Free-Falling, 1997-1998 (another from the edition
exhibited, illustrated in colour, pp. 33-34).
Bristol, Arnolfni, Tracey Moffatt, 1998 (another from
the edition exhibited).
Vienna, Kunsthalle Wien, Tracey Moffatt, 1998
(another from the edition exhibited, illustrated in colour,
pp. 84-95). This exhibition later travelled to Stuttgart,
Wrtembergisher Kunstverein.
(i)(ii)(iv)-(vi) Wellington, City Gallery Wellington, Tracey
Moffatt, 2002 (another from the edition exhibited,
illustrated in colour, pp. 81-85).
Milan, Spazio Oberdan, Tracey Moffatt: Between
Dreams and Reality, 2006 (another from the edition
exhibited, illustrated in colour, pp.103-112).
these strong female characters in black and white recalls

the old American roller derby broadcasts. Moffatt envelops
her subjects in a romantic atmosphere by printing her black
and white negatives on colour photographic paper: delicate,
washed hues of magenta create a dreamlike atmosphere,
reminiscent of the ambient environment portrayed in Alfred
Stieglitzs and Julia Margaret Camerons photographs,
photographers Moffatt has found profoundly inspiring:
Im always looking to the past for inspiration, pouring over
old photography books and thinking of turn-of-the-century
photographyAlfred Stieglitz and another wonderful
photographer, Annie Brigman, who was part of the Californian
Pictorialist group. Those pictures were printed with the
platinum process, a very beautiful, romanticized photography
before hard-edged modernist photography was invented (T.
Moffatt, quoted in C. Fusco (ed.), Tracey Moffatt, in BOMB
Magazine, no. 64, Summer 1998, www.bombmagazine.org/
article/2149/tracey-moffatt).
nl133
MARTINA STECKHOLZER
(B. 1974)
Exile
signed, titled and dated EXILE,
2006 Martina Steckholzer
(on the overlap)
acrylic on canvas
51 x 67in. (130 x 170cm.)
Painted in 2006
1,000-2,000
$1,600-3,000
1,400-2,700
PROVENANCE:
Galerie Meyer Kainer, Vienna.

present owner.
nl134
MARTINA STECKHOLZER
(B. 1974)
Turbine
signed, titled and dated
TURBINE 2006 Martina
Steckholzer (on the overlap)
acrylic on canvas
51 x 67in. (130 x 170cm.)
Painted in 2006
1,000-2,000
$1,600-3,000
1,400-2,700
PROVENANCE:
Galerie Meyer Kainer, Vienna.

present owner.
176
135
HIROSHI SUGIMOTO (B. 1948)
PROVENANCE:
Asahi Breweries - Philippe Starck
Lehmann Maupin Gallery, New York.

blind stamped with number 5/25 901 (lower right);

signed Hiroshi Sugimoto (on the mount)
gelatin silver print laid on card
image: 23 x 18in. (58.7 x 47cm.)
sheet: 23 x 23in. (60.5 x 59.5cm.)
Executed in 1997, this work is number fve
from an edition of twenty-fve
8,000-12,000
$13,000-18,000
11,000-16,000
177
n136
GREGORY CREWDSON (B. 1962)

Untitled (Girl in Window)
signed Gregory Crewdson
(on a label affxed to the reverse)
laser direct Cibachrome print
mounted on PVC foam board
48 x 60in. (121.9 x 152.2cm.)
Executed in 1999, this work is number seven
from an edition of ten plus two artists proofs
and two printers proofs
4,000-6,000
$6,100-9,100
5,400-8,100
PROVENANCE:
Luhring Augustine, New York.

EXHIBITED:
New York, Luhring Augustine, Gregory Crewdson:

Twilight, 2000 (another from the edition exhibited).
Santa Fe, SITE Santa Fe, Gregory Crewdson:
Photographs, 2001 (another from the edition exhibited).
Turin, Castello di Rivoli, Form Follows Fiction. Forma e
fnzione nellarte di oggi, 2002 (another from the edition
exhibited).
Aspen Art Museum, New Work 6: Gregory Crewdson,

Twilight, 2002-2003 (another from the edition
exhibited).
North Adams, Mass MOCA, Fantastic, 2003-2004
LITERATURE:
R. Moody,Twilight: Photographs by Gregory Crewdson,

New York 2002, no. 31 (another from the edition
illustrated in colour, unpaged).
D. Aaronson (ed.), Photography Transformed: The
Metropolitan Bank & Trust Collection, New York, 2002,
no. 40 (another from the edition illustrated in colour, p.
229).
The whole reason I make these pictures is for those
moments of clarity. For that single moment, everything
seems to make sense in my world. And I think we all look
for that in our lives, because our lives are generally flled
with chaos and confusion and disorder and complication.
And we all strive to fnd moments of clarity, of order (G.
Crewdson, quoted in A. Loh, In Conversation. Interview with
photographer Gregory Crewdson, in The American Reader,
http:/theamericanreader.com/interview-with-photographergregory-crewdson/ ).
(i)
(ii)
(iii)
(iv)
*137
DOUG AITKEN (B. 1968)
PROVENANCE:
(i) the mirror #1
Galerie Hauser & Wirth & Presenhuber, Zurich.

(ii) the mirror #2
EXHIBITED:
(iii) the mirror #3

(iv) the mirror #4
each: signed and numbered Doug Aitken 6/10
(on the reverse)
each: C-print laminated on Plexiglas
each image: 20 x 25in. (51 x 63.5cm.)
each: Executed in 1998, this work is number six
from an edition of ten
12,000-18,000
Humlebk, Louisiana Museum of Modern Art, Doug

Aitken: Rise, 2002-2003. This exhibition later travelled to Le
Magasin, Centre National dArt Contemporain, Grenoble.
Wolfsburg, Kunstmuseum Wolfsburg, Painting
Pictures : Paintings and Media in the Digital Age, 2003
(iv) illustrated in colour, p.163).
LITERATURE:
(i)(ii)(iv) D. Birnbaum, A. Sharp & J.Heiser, Doug Aitken,

New York 2001 (another from the edition illustrated,
p.102).
$19,000-27,000
17,000-24,000
179
I am much more interested in

the process than the destination.
Those images are not about
decisive moments. I am fascinated
by the indecisive moment and the
peripheral view
(D. Aitken, quoted in W. Oliver, Doug Aitken on Art in
Dazed Digital, October 2010)
n*138
DOUG AITKEN (B. 1968)
PROVENANCE:
plateau
chromogenic transparency, acrylic and
fuorescent lights in aluminum lightbox
52 x 122 x 14in. (132.5 x 310 x 35.5cm.)
30,000-40,000
180
$46,000-61,000
41,000-54,000

EXHIBITED:
Barcelona, CaixaForum, Doug Aitken: Were safe as

long as everything is moving, 2004 (illustrated in colour,
p. 45). This exhibition later travelled to Bilbao, Sala
Rekalde.
Executed in 2002, Doug Aitkens plateau is a mesmerising

work from his series of aluminum lightboxes. Within an
oeuvre that has harnessed photography, flm and installation
to explore shifting states of reality, these works represent
a fusion of multiple strands of his practice. Described by
the artist as a meta-city, plateau presents a composite
photographic vision of an urban metropolis, its buildings
constructed exclusively from FedEx boxes. A vast, nearly
three-metre long panorama of contemporary architectural
forms, Aitkens city is branded with corporate logos, built
from the debris of consumer culture. The artists expansive
clinical wasteland is both chaotic and vacant, its containerlike faades standing as mere ciphers for human presence.
Illuminated within the shrine-like temple of Aitkens lightbox,
the view is at once a pristine, utopian vision and a disarming
parable of cosmopolitan existence. Large black birds survey
the scene, lonely scavengers within Aitkens desolate
landscape. Other lightboxes from this series feature similar
futuristic vistas, composed from Coca-Cola, Macintosh and
IBM boxes and featuring alternative species of birds from

sparrows to swans. The work was included in Aitkens solo
exhibition Doug Aitken: Were safe as long as everything is
moving at the CaixaForum Barcelona in 2004, subsequently
travelling to the Sala Rekalde in Bilbao.
Much of Aitkens practice is devoted to exploring the collisions,
simultaneities and states of fux that characterise the various
domains of human existence. William Oliver, in interview with
the artist, asks There is a dream like quality in parts of your
work, a sense that you are looking at a hazy memory. What
are you trying to convey in these images? Aitkens response
speaks directly to the composite nature of the present work:
I think the visual landscape that youre referring to is a kind of
in-between space. I am much more interested in the process
than the destination. Those images are not about decisive
moments. I am fascinated by the indecisive moment and the
peripheral view (D. Aitken, quoted in W. Oliver, Doug Aitken
on Art in Dazed Digital, October 2010).
.
n139
TOMS SARACENO (B. 1973)
PROVENANCE:
Untitled (Study for 14 Billions)
Andersens Contemporary, Copenhagen.

Acquired from the above the present owner.
C-print on computer-rendered 3D drawing

58 x 85in. (149.5 x 216.8cm.)
Executed in 2010, this work is from an edition of three
plus one artists proof
7,000-10,000
182
$11,000-15,000
9,500-13,000
EXHIBITED:
Copenhagen, Andersens Contemporary, Toms

Saraceno, 2010 (another from the edition exhibited).
The subject of the weather covers a whole spectrum from sheer profanity to high
philosophy, from a high degree of complexity (in the case of chaos theory, for
example) to the mere fact of having to put on a raincoat to avoid getting sick with
pneumonia In Latin, the weather is called tempo, which also means time, and
time of course is a key factor in experience
(O. Eliasson, interview with C. Gilbert, Olafur Eliasson by Chris Gilbert, in BOMB 88, Summer 2004, reproduced at http://
bombmagazine.org/article/2651/olafur-eliasson).
l140
OLAFUR ELIASSON (B. 1967)
PROVENANCE:
Untitled (Iceland Series)
Tanya Bonakdar Gallery, New York.

each: signed Olafur Eliasson

(on a label affxed to the reverse)
colour coupler print, in three parts
each: 23 x 35in. (60 x 90cm.)
7,000-10,000
$11,000-15,000
9,500-13,000
183
nl141
OLAFUR ELIASSON (B. 1967)
PROVENANCE:
Eye See You
Acquired directly from the artist

by the present owner in 2007.
incised with the artists signature, titled, numbered and

dated Eye see you 2006 Ed. 20/30 Olafur Eliasson
(on the base)
stainless steel, aluminium, colour-effect flter glass
and bulb
88 x 52 x 21in. (224.5 x 134 x 55cm.)
Executed in 2006, this work is number twenty
from an edition of thirty
30,000-40,000
EXHIBITED:
Stockholm, Jarla Partilager, Summer Solstice, 2008

LITERATURE:
O. Eliasson, A. Engberg-Pedersen & P. Ursprung,

Studio Olafur Eliasson: An Encyclopedia, 2008
$46,000-61,000
41,000-54,000
As I use these ideas of seeing-yourself-sensing or sensingyourself-seeing, they are about trying to introduce relationships
between having an experience and simultaneously evaluating
and being aware that you are having this experience. Its not
about experience versus interpretation but about the experience
inside the interpretive act, about the experience itself being
interpretive. You could say that Im trying to put the body in the
mind and the mind in the body
(O. Eliasson, interview with C. Gilbert, Olafur Eliasson by Chris Gilbert, in BOMB 88, Summer
2004, reproduced at http://bombmagazine.org/article/2651/olafur-eliasson).
With its captivating glow, Eye See You is a stunning example of Olafur
Eliassons continued engagement with light as installation art. Eye
See You is made from a prefabricated cooking light which works by
harnessing the sun. Here, Eliasson ftted the lamp with a warm yellow
sodium light, and veiled it with a glass disk. Thin ribs on the glass disk
create a subtle moir effect, producing subtle chromatic shifts as the
viewer passes by. When the disk appears blue, the piece seems like
an eye; when it is yellowed and caramel, it blazes like a sun or glittering
jewel. Executed in 2006 for a commission from Louis Vuitton, Eye See
You flled the display windows of the luxury stores worldwide over the
Christmas period.
(alternative view, detail)
184
Eliassons work is committed to activating the publics experience of

the city with his art. In a museum, the tradition is to suggest that you
are alone, Eliasson says of Eye See You. Here you are staged as an
actor, and the rest of the street is the audience. Eye See You breaks
down the psychological barrier of looking into a shop window and being
looked at. Instead of seeing products, he aims to refect the gaze of the
viewer. As he explains, When you look into the light, you see more of
yourself than you ever have (O. Eliasson, quoted in A. Browne, An I
for an Eye, in The New York Times, 5 November 2006, http://www.
nytimes.com/2006/11/05/magazine/05matter.html?_r=0).
n142
TONY OURSLER (B. 1957)
PROVENANCE:
Viz
signed, titled and dated VIZ Tony Oursler 2005
(on each DVD)
fbreglass sculpture, DVDs, wiring, hard drive,
projector, remote control and projector mount
fbreglass sculpture:
58 x 44 x 19in. (148.5 x 113.5 x 49cm.)
overall dimensions variable
Executed in 2005
25,000-35,000
$39,000-53,000
34,000-47,000
In Tony Ourslers mesmerising video work, Viz, ten blinking

eyes gaze vacantly in divergent directions, projected onto a
biomorphic construction of interconnected orbs. In a fickering
array of psychedelic colours each transfxed eye stares
outwards, the sockets framed by synthetic hues that defy the
works organic cell-like structure. Part of Ourslers ongoing
ocular fxation, Viz explores our relationship with seeing in
a media-driven world; from televisions and computers, to
mobile phones and cinema, our day to day lives are saturated
with multimedia screens that both guide and distract our
existence. Illustrating this chronic media consumption, each
eye is immersed in something beyond the viewers reach,
the focus of its line of vision revealed in the refection of a
screen in the cornea. In the repeated constriction and dilation
of pupil and iris, in Viz Oursler highlights the dual connectivity
and isolation that technology affords us. We are constantly
connected, yet, as demonstrated here by the distracted
gaze of the eyes, we are always disconnected, never totally
engaging with what is in front of us. With its intentionally lowgrade format and uncanny subject, Viz presents a dystopian
vision that witnesses the convergence of science fction with
our media afficted reality. A contemporary of Mike Kelley
and John Baldessari, Ourslers multimedia installations are
held in international museum collections including Tate,
186
Metro Pictures, New York.

Galleri Susanne Ottesen, Copenhagen.
London; Museum of Modern Art, New York; Centre Georges

Pompidou, Paris; and Hirshhorn Museum and Sculpture
Garden, Washington, DC.
Viz an abbreviation of visible or vision plays with the
concept of watching and being watched. While the magnifed
eyes, watery and red-veined, appear to take on a dystopian
Big Brother function, it is, in fact, the viewer who is the
voyeur; absorbed in a moment of media consumption the
distracted eyes are unaware of their examination. Amputated
from the body the eye assumes a synecdochial signifcance
in which both human psyche and form is reduced to an
eye. Oursler explains, One could say that the recursive
relationship between the viewer and the movie screen
is all concentrated in the eye. And, of course, the body. But
the thought of making an eye on the same scale as the body
would be colossal! (T. Oursler, quoted in E. Janus, Talking
Back: A Conversation with Tony Oursler, Williams College
Museum of Art, http:/tonyoursler.com/individual_text.php?n
avItem=text&textId=32&dateStr=Apr.%204,%202010&sub
Section=Interviews&title=Talking%20Back:%20A%20
Conversation%20with%20Tony%20Oursler).
187
nl143
MICHAEL BAUER (B. 1973)
LITERATURE:

(illustrated in colour, pp. 90-91).
Pol 1 (Smart Estrus)

signed, titled and dated M.Bauer 2005 Pol 1
(smart Estrus) (on the reverse)
oil on canvas
55 x 47in. (140 x 120cm.)
Painted in 2005
3,000-4,000
$4,600-6,100
4,100-5,400
PROVENANCE:
Hotel Gallery, London.

With its biomorphic forms and distorted conglomeration of

doodled elements, Pol 1 (Smart Esrus), 2005, bears witness
to Michael Bauers play with the iconography of power. A
male profle, framed by a decorative vignette, appears as
a grotesque heraldic emblem, reminiscent of Giuseppe
Arcimboldos bizarre anthropomorphic portraits, his grey and
muddy forms entangling like entrails. Lumpy scar tissue and
decaying matter converge to form a forlorn memento mori.
Bauer balances the obscene with the delicate, creating a
fragile seduction within his barbarous image. Subtitled Smart
Estrus, Bauers painting suggests lurid tales of patriarchal
power and noble lineage.
l144
NICHOLAS HATFULL (B. 1984)
EXHIBITED:
Like Carra Sings

signed and dated N. Hatfull 09 (on the reverse)
acrylic, gouache and crushed Froot Loops on paper
27 x 19in. (70 x 50cm.)
Executed in 2009
1,000-2,000
$1,600-3,000
1,400-2,700
PROVENANCE:
Karsten Schubert, London.

London, Karsten Schubert, Ignorant with the Suncream

(Seafront Delivery), 2009.
London, Saatchi Gallery, Newspeak: British Art Now,
2010 (illustrated in colour, p. 125).
Like Carra Sings is a collage and there are crushed Froot
Loops glued onto it that look like sand. Froot Loops are this
really bland empty oat fller that have vitamins added to
them, and I think of them as an analogy for painting: adding a
moment of vivid nutrition to a homogenous base. Sometimes
the images are relatively bland and I agitate them to give
them more life or levity (N. Hatfull, quoted in Nicholas Hatfull
Exhibited at The Saatchi Gallery, www.saatchigallery.com/
artists/nicholas_hatfull.htm).
nl145
HENNING BOHL (B. 1975)
PROVENANCE:
Garden of Theory History
Private Collection, Denmark.

signed, inscribed and dated Variations Clemens

Alexander Wimmer, Geschichte der Gartentheorie
Darmstadt 1989/ 2006 Henning Bohl (on the overlap)
tape on canvas
86 x 70in. (220 x 180cm.)
Executed in 2006
4,000-6,000
190
$6,100-9,100
5,400-8,100
EXHIBITED:
Andratx, CCA Andratx, The Berlin Box, 2010.
l146
DEXTER DALWOOD (B. 1960)
PROVENANCE:
Auden
David Risley Gallery, Copenhagen.

signed and dated Dexter Dalwood 2011

(on the reverse)
oil on canvas
18 x 24in. (46 x 61cm.)
Painted in 2011
8,000-12,000
$13,000-18,000
11,000-16,000
191
nl147
JOHN KRNER (B. 1967)
PROVENANCE:
The Ice
signed, titled and dated THE ICE Krner 04
(on the reverse)
acrylic on canvas
71 x 94in. (180.3 x 240cm.)
Painted in 2004
8,000-12,000
Galerie Christina Wilson, Copenhagen.

EXHIBITED:
J.Cape & Saatchi Gallery (ed.), The Triumph of Painting,

London 2005 (illustrated in colour, p. 301).
$13,000-18,000
11,000-16,000
With its surreal composition, articulated in liquescent

blocks of bright red and deep-blue acrylic paint, The
Ice, 2004, is an evocative example of John Krners
joyful exploration of paintings physical properties
and representational possibilities. In The Ice Krner
imagines a lone boat mid-journey. From its myriad
sails fragile architectural structures emerge around
which birds swarm in an uncanny convocation of land,
sea and sky. Krners fuid washes of paint, dripping
and confusing the borders between foreground and
background, take form in a dreamlike landscape of the
mind, inspiring calm meditation. As Krner himself
has explained, The language that my paintings
represent is the imaginary and the poetic. It is a very
refned language which must be cared for and which I
dont want to destroy by supporting it with manifestos
or interpretations.. It uses familiar motifs. . I then
isolate these motifs within an abstract environment in
a way that enables viewers, by means of a very simple
symbolism, to work out for themselves the connection
between these fgures and the environment in which
they are placed, while at the same time allowing the
intermingling of abstract elements (J. Krner, quoted
in P. Albrethsen, Interview with John Krner, in
John Krner. Women for Sale, www.johnkorner.com/
portfolio-item/women-for-sale).
192
nl148
STEFAN KRTEN (B. 1963)
PROVENANCE:
The Silence
signed, titled and dated THE SILENCE Stefan Krten
oil on canvas
73 x 104in. (187 x 266cm.)
Painted in 2001
7,000-10,000
$11,000-15,000
9,500-13,000
Alexander and Bonin, New York.

Galerie Michael Cosar, Dusseldorf.
EXHIBITED:

from Germany, 2011 (illustrated in colour, p. 100).
LITERATURE:

Enveloping the viewer through its hyper-realistic surface,

The Silence, 2001, bears witness to Stefan Krtens broad
catalogue of imagery, combining modernist architecture
with the verdant freshness of a garden. The work succeeds
in merging the impersonal with an intimate sense of
presence, creating a disarming but comforting domestic
geography. As the artist puts it, the paintings are differing
versions of an idyll, or rather stages of disappearing idylls.
They seem to fnd a last refuge in all sorts and styles of
picturesque houses with manicured lawns and cosy living
rooms, or tamed and domesticated versions of nature, the
gardens and parks of our communal recreation, counterimages and escapes from the quotidian and its purposeful
rationality. Like faded images from a long expired dream,
their very lack of authenticity makes them true (S. Krten,
quoted in Selected Works by Stefan Krten, www.
saatchigallery.com/artists/stefan_kurten_articles.htm).
194
nl*149
BJARNE MELGAARD (B. 1967)
Im very interested in the idea that

you dont observe a painting but the
painting is observing you. When you
have one of my paintings at home it also
observes your life
Untitled
signed and dated Bjarne Melgaard 2007
(on the reverse)
oil on canvas
39 x 39in. (100 x 100cm.)
Painted in 2006
6,000-8,000
$9,200-12,000
8,100-11,000
PROVENANCE:
Galleri Faurschou, Copenhagen.

196
(B. Melgaard, interview with F. Gavin, Q&A/Art: Bjarne

Melgaard, in Dazed Digital, September 2013, reproduced at
http://www.dazeddigital.com/artsandculture/article/14265/1/
qa-art-bjarne-melgaard)
nl150
JONATHAN MEESE (B. 1971)
PROVENANCE:
TOTAL DUTY, PUT IT IN YOUR MOUTH, BABY,

go home to HUMPTY DUMPTY, dont cry
Contemporary Fine Arts, Berlin.

Modern Art, London.
Acquired at the above by the present owner.
(i) signed, titled and dated TOTAL DUTY, PUT

IT IN YOUR MOUTH, BABY, go home to HUMPTY
DUMPTY, dont cry. JMeese 08 (on the reverse)
(ii) signed twice, titled and dated twice TOTAL
DUTY, PUT IT IN YOUR MOUTH, BABY, go home to
HUMPTY DUMPTY, dont cry. JMeese 08 JMeese 08
(on the reverse)
oil, acrylic, resin, fabric, shells, toilet roll, scissor, foam
pad, metallic element, plastic element, paintbrush and
printed paper collage on two attached canvases
overall: 82 x 110in. (210 x 280cm.)
Executed in 2008
15,000-20,000
EXHIBITED:
London, Modern Art, CASINOZ BABYMETABOLISMN

(Put DR. NOS MONEY in your mouth, Baby), 2009.
$23,000-30,000
21,000-27,000
197
l151

Edmond Dants
titled EDMOND DANTS
(upper left); signed and dated
JMeese 07 (lower left)
acrylic and graphite on paper
27 x 19in. (70 x 50cm.)
Executed in 2007
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:

Galerie Daniel Templon, Paris.
present owner.
EXHIBITED:
Paris, Galerie Daniel Templon,

Jonathan Meese: Lamour de
Monte Cristo, 2007.
l152

Edmond Dants
titled Edmond Dants (along the
upper left edge); signed and dated
JMeese 07 (lower right)
acrylic on paper
27 x 19in. (70 x 50cm.)
Executed in 2007
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:

Galerie Daniel Templon, Paris.
present owner.
EXHIBITED:
Paris, Galerie Daniel Templon,

Jonathan Meese: Lamour de
Monte Cristo, 2007.
198
l153
MATTA (1911-2002)
PROVENANCE:
Private Collection, Malta.

Galera del Cisne, Madrid.
Acquired from the above by the present owner,
VUS
oil on paper laid on canvas
35 x 30in. (89.2 x 78.1cm.)
Executed in 1997
10,000-15,000
$16,000-23,000
14,000-20,000

signed by Madame Germana Matta Ferrari.
199
l154
ANTONI TPIES (1923-2012)
PROVENANCE:
Galerie Maeght, Paris.

Galerie van de Loo, Munich.
Forma de Cama (Form of Leg)

watercolour on Japan paper
24 x 39in. (61.5 x 99.4cm.)
Executed in 1967
5,000-7,000
200
EXHIBITED:
Paris, Galerie Maeght, Tpies: Encres et collages,

1968, no. 36.
$7,700-11,000
6,800-9,400
LITERATURE:
A. Agust, Tpies: The Complete Works: 1961-1968,

Vol. II, Barcelona 1990, no. 1750 (illustrated, p. 381).
l155
ANTONI TPIES (1923-2012)
PROVENANCE:
Galerie van de Loo, Munich.

Dibujo con ngulo (Drawing with Angle)

graphite on paper
28 x 40in. (73 x 101.6cm.)
Executed in 1963
4,000-6,000
EXHIBITED:
Munich, Galerie van de Loo, Antoni Tpies, Gouachen,

Zeichnungen und Collagen, 1965.
$6,100-9,100
5,400-8,100
LITERATURE:
A. Agust, Tpies: The Complete Works: 1961-1968,

Vol. II, Barcelona 1990, no. 1226 (illustrated, p. 176).
201
PROPERTY SOLD TO BENEFIT THE MIRIAM HYMAN MEMORIAL TRUST
l156
ANTONY GORMLEY (B. 1950)

Learning to Think
signed, titled, dedicated and dated Learning to think
for Miriam Hyman memorial foundation Antony
Gormley 2014 (on the reverse)
carbon and casein on paper
7 x 11in. (18.8 x 27.9cm.)
Executed in 2014
5,000-7,000
PROVENANCE:
Donated by the artist.
202
$7,700-11,000
6,800-9,400
This concern with the somatic effects

of the work on the viewers perception
continued with PORE and LEARNING
TO THINK, both works that introduce
the body in impossible ways into
architecture: LEARNING TO THINK,
treating the body of the room as if it
were a flled swimming pool
(A. Gormley, quoted in Suspended and Gravity Works, 1984
2012, Antony Gormley, www.antonygormley.com/sculpture/
item-view/id/225#p0).
PROPERTY SOLD TO BENEFIT THE MIRIAM HYMAN MEMORIAL TRUST
l157
ANISH KAPOOR (B. 1954)

Untitled
signed A. Kapoor (lower right); numbered 88/150
(lower left)
polymer gravure type etching on paper
image: 9 x 11in. (22.9 x 29.6cm.)
sheet: 12 x 15in. (32 x 38cm.)
Executed in 2014, this work is number eighty-eight
from an edition of one hundred and ffty
700-1,000
PROVENANCE:
$1,100-1,500
940-1,300
I think the real subject for me, if there

is one, is the sublime. Its this whole
notion of somehow trying to shorten
the distance of sublime experience. If
one is looking at a Friedrich painting of
a fgure looking at the sunset, then one
is having ones reverie in terms of their
experience. It is my wish to make that
distance shorter so that the reverie is
direct. Youre not watching someone
else do it; youre compelled to do it
yourself
(A. Kapoor, quoted in interview with M. Gayford, Modern
Painters, Spring 2000).
l158
GIUSEPPE PENONE (B. 1947)

Spazio di Luce (Space of Light)
signed, titled and numbered Spazio di Luce
Giuseppe Penone 30/40 (lower centre)
drypoint etching on paper
image: 9 x 6in. (24.5 x 17cm.)
sheet: 12 x 15in. (31.3 x 39.9cm.)
Executed in 2012, this work is number thirty
from an edition of forty
1,000-2,000
$1,600-3,000
1,400-2,700
PROVENANCE:
Whitechapel Gallery, London.

l159
ERNESTO CAIVANO (B. 1972)

Blind Spots in Shadows 12
signed with the artists initials and dated EC05
(lower left)
ink on paper
11 x 14in. (29 x 36.5cm.)
Executed in 2005
1,500-2,500
158
$2,300-3,800
2,100-3,400
PROVENANCE:
Grimm Rosenfeld, Munich.

Carlier Gebauer, Berlin.
159
l160
MICHELANGELO PISTOLETTO (B. 1933)
PROVENANCE:
Frattali
Centro DArte Fuoricentro, Pescara.

signed, titled and dated Pistoletto 1999/2000 Frattali

(on the reverse)
acrylic on mirror
22 x 30in. (57.6 x 77cm.)
5,000-7,000
$7,700-11,000
6,800-9,400
205
nl161
ZBIGNIEW ROGALSKI (B. 1974)

Death of Partisan 1
signed, titled and dated ZBIGNIEW
ROGALSKI DEATH OF PARTISAN
1 2005 (on the overlap)
oil on canvas
50 x 70in. (130 x 180cm.)
Painted in 2005
1,000-2,000
$1,600-3,000
1,400-2,700
PROVENANCE:
Raster Gallery, Warsaw.

present owner.
EXHIBITED:
Warsaw, Raster Gallery, Death of

Partisan, 2007.
Lodz, Muzeum Stuki w todzi, The
Parallax and the Gaze of Zbigniew
Rogalski, 2010 - 2011 (illustrated in
colour, p. 49).
162
PAVEL PEPPERSTEIN (B. 1966)

Night in Village (after Wedding)
signed, titled and dated in English
and Russian P. PeppeRsteiN 97
Night in village (after wedding)
(on the reverse)
oil on canvas
19 x 23in. (49.5 x 59.8cm.)
Painted in 1997
4,000-6,000
$6,100-9,100
5,400-8,100
PROVENANCE:
Loushy Art & Projects, Tel Aviv.

present owner.
206
l163
MARCIN MACIEJOWSKI (B. 1974)
Translation of text in the present lot:
Od Kogo to Zalezy (Who Does it Rely on)
- Who does it rely on?

- On the Home Offce Minister.
- Then its done. Hes a friend of mine.
signed and dated M. MACIEJOWSKI 06.

(on the reverse)
oil on canvas
27 x 31in. (70 x 79cm.)
Painted in 2006
6,000-8,000
$9,200-12,000
8,100-11,000
PROVENANCE:
Raster Gallery, Warsaw.

Anon. sale, Christies London, 17 October 2009, lot
219.
EXHIBITED:
Warsaw, Raster Gallery, Structures of Good, 2006.

207
nl164
UWE KOWSKI (B. 1963)
PROVENANCE:
Ware
Galerie Eigen + Art, Berlin.

signed and dated KOWSKI06 (lower right); signed,

titled and dated U.KOWSKI 2006 WARE
(on the reverse)
oil on canvas
74 x 59in. (190 x 150.3cm.)
Painted in 2006
2,000-3,000
208
$3,100-4,600
2,700-4,000
EXHIBITED:
Emden, Kunsthalle Emden, Uwe Kowski. Paintings and

Watercolours 2000 2008, 2008 (illustrated in colour,
p. 143).
l165
JOS-MARA CANO (B. 1959)
PROVENANCE:
Rev. Martin Luther King Jr.
Private Collection (gift from the artist).

Private Collection, UK.
signed and dated Jos-Mara Cano 2007

(on the reverse)
encaustic on canvas laid on board
47 x 31in. (119.5 x 81.5cm.)
Executed in 2007
12,000-18,000
LITERATURE:
(ed.), Jos-Mara Cano, Welcome to

J. Andel
Capitalism, 2008 (another example illustrated in colour,
p. 177).
$19,000-27,000
17,000-24,000
209
THE PROPERTY OF A GENTLEMAN
n*166
DAVID SALLE (B. 1952)
PROVENANCE:
Untitled
signed and dated David Salle 1981 (lower right)
acrylic on paper
59 x 40in. (152 x 101.6cm.)
Executed in 1981
2,000-3,000
210
$3,100-4,600
2,700-4,000
Mary Boone, New York.

Sperone Westwater Fischer, New York.
Tony Shafrazi Gallery, New York.
Private Collection.
Anon. sale, Sothebys New York, 9 May 1996, lot 323A.
Private Collection.
Anon. sale, Christies New York, 16 November 2001, lot 465A.
167
TOM WESSELMANN (1931-2004)
PROVENANCE:
Working Drawing for Smoking Cigarette #1
signed, dedicated and dated For Hank. Wesselmann

80 (lower right)
coloured pencil and graphite on velum
8 x 12in. (22.8 x 30.5cm.)
Executed in 1980
4,000-6,000
$6,100-9,100
5,400-8,100
211
nl168
PANAYIOTIS VASSILAKIS TAKIS (B. 1925)
Private Collection, Athens.
Magnetic Wall-The Forth Dimension

signed and titled Takis 4 FORTH D. (on the reverse)
oil, steel wire and magnets on canvas
Executed in 1999
5,000-7,000
212
PROVENANCE:
$7,700-11,000
6,800-9,400
nl169
RAINER FETTING (B. 1949)
PROVENANCE:
Imagine NY
signed, titled and dated Fetting 97 imagine N.Y
(on the reverse)
oil on canvas
86 x 78in. (219.5 x 200cm.)
Painted in 1997
7,000-9,000
$11,000-13,500
9,400-12,000
213
nl170
CORNELIUS QUABECK (B. 1974)
PROVENANCE:
Jugend (Youth)
Galerie Christian Nagel, Cologne.

acrylic and airbrush paint on canvas

86 x 70in. (220 x 179.8cm.)
Executed in 2006
1,000-2,000
214
EXHIBITED:
Cologne, Galerie Christian Nagel, Hellfre Club, 2006.

$1,600-3,000
1,400-2,700
LITERATURE:
C. Quabeck (ed.), Cornelius Quabeck: Hood, Rotterdam

2007 (illustrated).
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
nl171
BOO RITSON (B. 1969)
PROVENANCE:
The Sunbather
Poppy Sebire Gallery, London.

archival digital print mounted on aluminium

43 x 76in. (109.5 x 193cm.)
from an edition of three plus two artists proofs
5,000-7,000
$7,700-11,000
6,800-9,400
215
172
JACK PIERSON (B. 1960)
PROVENANCE:
Betrayal
Galerie Thaddaeus Ropac, Paris.

signed, titled, numbered and dated A.P. Betrayal, 1997

Jack Pierson (on the reverse)
C-print on Diasec
19 x15in. (50.3 x 40cm.)
Executed in 1997, this work is the artists proof
from an edition of three plus one artists proof
2,500-3,500
216
$3,900-5,300
3,400-4,700
EXHIBITED:
Paris, Galerie Thaddaeus Ropac, Jack Pierson: La Vie,

2000.
nl173
KATHARINA GROSSE (B. 1961)

Untitled
signed, titled and dated Katharina Grosse Ohne Titel
spray enamel on canvas
86 x 110in. (219 x 281cm.)
Executed in 2000
6,000-8,000
$9,200-12,000
8,100-11,000
PROVENANCE:
Galerie nchst St. Stephan

Rosemarie Schwarzwlder, Vienna.
The painting process is a curious

coincidence of thinking and acting. Lets
say you start out with one paradigm
and while doing the frst steps in the
painting exactly that paradigm gets
extinguished by the newly materialized
situation. That triggers off another set
of paradigms that will be dropped as a
consequence of the work process, and
so on and on. It is the continuous fux of
visual intelligence constituting reality
in every moment. Aggression is the
energy that enables you to bear the loss
of what has to go. It feeds and sustains
that process
(K. Grosse, quoted in D. Ebony, Artist Katharina Grosse,
in Art in America, www.artinamericamagazine.com/newsfeatures/interviews/katharina-grosse/).
nl174
ANSELM REYLE (B. 1970)
PROVENANCE:
Untitled
Andersens Contemporary, Copenhagen.

foil and acrylic on canvas in acrylic glass box

56 x 47 x 8in. (142.5 x 121.5 x 21cm.)
Executed in 2012
30,000-50,000
$46,000-76,000
41,000-67,000
With its fickering optical glare, Untitled,

2012, is a fascinating example of Anselm
Reyles celebrated foil paintings. The
articulated surface of the work irresistibly
attracts the viewers gaze. A deepblue crumpled sheet of shimmering
foil applied on canvas is enclosed in
an acrylic glass box light runs and
moves across its angles and peaks,
highlighting the mediums shimmering
materiality. Seduced by this game of
refections, the viewer is encouraged to
explore the tactile quality of the foil, its
malleability and fragility contained in
the geometric safe environment of the
glass box. Untitleds object-like presence
blurs the boundaries between painting
and sculpture, witnessing Reyles
continued questioning of the legacy of
twentieth- century abstraction. Yves
Kleins International Blue meets Armans
readymades in a fashing explosion
of colour alluding to the imagery of
billboards and high-street wrapping
paper, an ironic celebration of the kitsch
of todays glossy consumer culture.
Creating a dialogue between high and
low art, Reyle explores the dialogue
between abstraction and decoration,
obscuring the distinction between
the static heritage of fne art and the
dynamism of contemporary reality.
218
Photo: Matthias Kolb
l175
JASON MARTIN (B. 1970)
PROVENANCE:
Madonna
Lisson Gallery, London.

oil on stainless steel, in two parts

each: 11 x 11 x 5in. (28.5 x 28.5 x 14cm.)
Executed in 1996
6,000-8,000
$9,200-12,000
8,100-11,000
I want them to have the authority of sculpture, but to have the

appearance of painting
(J. Martin quoted in A. Woods, Jason Martin. Interview, in Transcript, vol. 2, no. 3, p. 44-45).
220
n176
AARON CURRY (B. 1972)
PROVENANCE:
Untitled
Michael Werner Gallery, New York/London.

painted aluminium
95 x 43in. (243.5 x 111.5cm.)
Executed in 2010
12,000-18,000
EXHIBITED:
London, Michael Werner Gallery, Aaron Curry

MMNKTLPLKT, 2010.
$19,000-27,000
17,000-24,000
n177
NATE LOWMAN (B. 1979)
PROVENANCE:
Human Traffc, South America a.k.a. The Last Supper

for Art & Language
print on satin banner
56 x 94in. (142.5 x 239cm.)
Executed in 2004, this work is number two from an
edition of three plus one artists proof
5,000-7,000
222
$7,700-11,000
6,800-9,400
Ritter/Zamet Gallery, London.

EXHIBITED:
London, Ritter/Zamet Gallery, Nate Lowman: Re: Re:

Re: Produce, 2004 (another from the edition exhibited).
signed by the artist.
178
ZAK SMITH (B. 1976)
PROVENANCE:
Untitled
Kavi Gupta, Berlin.

signed with the artists initials ZZS (lower right)

ink and felt-tip pen on paper
13 x 10in. (34.1 x 26cm.)
Executed in 2008
6,000-8,000
$9,200-12,000
8,100-11,000
223
l179
PHOEBE UNWIN (B. 1979)

The Shape of Humans
signed, titled and dated The Shape
of Humans 2007 Phoebe Unwin
(on the overlap)
acrylic and graphite on linen
31 x 27in. (80 x 70.3cm.)
Executed in 2007
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
Wilkinson Gallery, London.

present owner.
nl180
PHOEBE UNWIN (B. 1979)

Couples
signed, titled and dated Couples
Phoebe Unwin 2007
(on the overlap)
acrylic on linen
68 x 59in. (175 x 150cm.)
Painted in 2007
2,000-3,000
$3,100-4,600
2,700-4,000
PROVENANCE:
Wilkinson Gallery, London.

present owner.
224
nl181
RYAN MOSLEY (B. 1980)
PROVENANCE:
Holy Man
Regina Gallery, London.

signed twice, titled and dated

RYAN MOSLEY HOLY MAN 2010 Ryan Mosley
(on the overlap and the stretcher)
oil on canvas
47 x 39in. (120 x 100cm.)
Painted in 2010
4,000-6,000
$6,100-9,100
5,400-8,100
225
l182
PHILLIP ALLEN (B. 1967)
PROVENANCE:
Nimzzo
Galerie Xavier Hufkens, Brussels.

signed, titled and dated PHIL ALLEN 2004 NIMZZO

(on the reverse)
oil on board
24 x 30in. (62.5 x 76cm.)
Executed in 2004
2,000-3,000
226
$3,100-4,600
2,700-4,000
nl183
FERMIN AGUAYO (1926 - 1977)
PROVENANCE:
Composition
signed and dated Aguayo 55 (lower right); signed,
inscribed and dated aguayo N12 55 (on the reverse)
oil on canvas
35 x 41in. (90 x 104.5cm.)
Painted in 1955
2,000-3,000
Galerie Jeanne Bucher, Paris.

Acquired from the above by the previous owner and
thence by descent.
$3,100-4,600
2,700-4,000
227
184
ANTONIO HENRIQUE AMARAL (B. 1935)

Banana No 83
signed with the artists initials AHA (lower right);
signed, titled, inscribed and dated ANTONIO
HENRIQUE AMARAL BANANA No83 1971 BRASIL
(on the reverse)
oil on canvas
24 x 38in. (62.5 x 97.8cm.)
Painted in 1971
6,000-8,000
228
$9,200-12,000
8,100-11,000
PROVENANCE:
Private Collection.
Anon. sale, Dorotheum, 20 December 2012, lot 206.
PROPERTY FROM AN IMPORTANT SWISS COLLECTION
n*185
VIK MUNIZ (B. 1961)

Still Life (Morning in the Mountains, after Caspar
David Friedrich) (from Pictures of Magazines)
digital chromogenic print laid on aluminium
43 x 124in. (110 x 316.2cm.)
18,000-22,000
$28,000-34,000
25,000-30,000
PROVENANCE:

Im interested in how pictures get

conveyed. Whats the language of the
thing Im photographing and how do I
learn about it? How does a photograph
bring to mind somebody, and how can I
photograph them? Im interested in the
linguistics of an image. I want to see
where the verb is, and the subject. Is
there an article? Whats the object? I
try to break images down like that and
analyze them. So, in a way, its a very
analytical approach, but I try to make
it seamless. I dont want the images to
look conceptual
(V. Muniz, quoted in L. Benedict-Jones, An Interview with Vic
Muniz, www.vikmuniz.net/library/an-interview-with-vik-muniz).
229
nl186
DIRK SKREBER (B. 1961)

Untitled (Green Sofa)
oil on canvas
59 x 90in. (150.2 x 230cm.)
Painted in 1992
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
Galerie Luis Campaa, Berlin.

Skrebers paintings romp in the

buffer zone between abstraction and
representation, engaging in material
play that seems less about irony or
gee-whiz effects than about expedient
ways of laying down color or line at the
service of an image
(C. Miles, Blum & Poe Dirk Skreber, in Artforum,
September 2001).
nl187
TILL GERHARD (B. 1971)
PROVENANCE:
Wochenendhaus (Weekend House)
Private Collection, Germany.

signed with the artists initials, titled and dated

TG 2004 WOCHENENDHAUS (on the reverse)
oil, acrylic and varnish on canvas
89 x 78in. (228 x 200.5cm.)
Painted in 2004
3,000-5,000
$4,600-7,600
4,100-6,700
231
(i)
(ii)
(i) verso
(ii) verso
188
JEFF KOONS (B. 1955)

(i) Lips
(ii) Split-Rocker
each: signed and dated Jeff Koons 11/27/12
(on the reverse)
each: screenprint on Bernardaud plate
each diameter: 12in. (31.5cm.)
(i) Executed in 2012, this work is number one hundred
twelve from an edition of two thousand fve hundred
232
(ii) Executed in 2012, this work is number one hundred

eighty four from an edition of two thousand fve
hundred
2,000-3,000
PROVENANCE:
$3,100-4,600
2,700-4,000
l189
THOMAS SCHEIBITZ (B. 1968)
PROVENANCE:
Untitled
signed and dated Scheibitz 04 (lower left)
acrylic, enamel, screenprint and offset print on paper
35 x 25in. (90 x 65cm.)
Executed in 2004
3,000-4,000
Cubitt Gallery, London.

Anon. sale, Bonhams New York, 13 May 2008, lot 1.
$4,600-6,100
4,100-5,400
233
190
GEORGE CONDO (B. 1957)

After Arcimboldo
signed and dated Condo 83
(lower left)
oil on canvas
23 x 18in. (60 x 45.5cm.)
Painted in 1983
10,000-15,000
$16,000-23,000
14,000-20,000
PROVENANCE:
Gene Kelly Collection, Beverly Hills

(acquired directly from the artist).
Private Collection, Ireland.
n191
DAVID RATCLIFF (B. 1970)

Man With No Name
signed, titled, inscribed and dated
MAN WITH NO NAME OCTOBER
2005 LOS ANGELES DAVID
RATCLIFF (on the overlap)
spray enamel and acrylic on canvas
73 x 66in. (187.7 x 168cm.)
Executed in 2005
1,000-2,000
$1,600-3,000
1,400-2,700
PROVENANCE:
Team Gallery, New York.

present owner.
234
(LOTS 192-195)
Founded in 1967, Crisis is the national charity for single homeless people. Homelessness is a devastating
experience, leaving people vulnerable and isolated. Crisis believes that everyone deserves a place to call
home and the chance to live a fulflled and active life. The charity helps thousands of homeless people across
the country rebuild their lives every year through its housing, health, education and employment services and
has ambitious plans to work with many more.
Crisis are also determined campaigners, working to prevent people from becoming homeless and change the
way society thinks and acts towards homeless people. In the last year alone, the charity worked with over
6,000 people, awarding 2,108 qualifcations and fnding homes for a further 3,000 helping them break the
cycle of homelessness with solid ground to move on in their lives.
As part of these year-round services the charity also has a long-standing relationship with the arts, running
classes and activities that help people leave homelessness behind. These offer a safe space to relax and
think, rebuild confdence and interact. To escape, even for a couple of hours, from the stress, isolation and
misery of living without a place to call home can literally be life changing. Some of the charitys clients have
even gone on to forge a career in the arts, proving that great art can come out of adversity and adversity can
be overcome through art.
An example of the charitys commitment to the arts is The Crisis Commission, a unique project funded
by GSK and directed by Crisis challenging leading contemporary artists to create ambitious new work in
response to a given theme. At this years Crisis Commission exhibition, an evocative selection by 18 artists
was displayed alongside artworks created by people with experience of homelessness, offering a poignant
combined refection on Home. These major works are now for sale with all of the proceeds going directly to
Crisis, helping the charity support thousands more of the most vulnerable people in society in the year ahead.
l192
ANN CHRISTOPHER (B. 1947)
PROVENANCE:
Found Line
incised with the artists initials twice and dated
AC 14 (on the base)
stainless steel
8 x 2 x 3in. (21.6 x 5 x 9.2cm.)
Executed in 2014
1,000-2,000
236
$1,600-3,000
1,400-2,700
EXHIBITED:
London, Bermondsey Project, The Crisis Commission,

2014. This exhibition later travelled to London, The
Strand Gallery.
l193
ANN CHRISTOPHER (B. 1947)
PROVENANCE:
Found Line - 5
incised with the artists initials twice and dated
AC 92/14 (on the base)
stainless steel
8 x 23 x 2in. (20.2 x 60 x 5cm.)
1,500-2,500
EXHIBITED:

Strand Gallery.
$2,300-3,800
2,100-3,400
237
nl194
MAT CHIVERS (B. 1973)
PROVENANCE:
Home
patinated bronze
each chair: 28 x 13 x 14in. (72 x 35 x 36cm.)
table: 25 x 37 x 24in. (75 x 94 x 62cm.)
installation dimensions variable
Executed in 2014
2,000-3,000
$3,100-4,600
2,700-4,000
EXHIBITED:

Strand Gallery.
nl195
PROVENANCE:
BEN HENDY (B. 1990)
Welcome to No. 12
EXHIBITED:
linocut collage on paper, in two parts

each: 85 x 36in. (216.5 x 93.5cm.)
Executed in 2014
1,500-2,500

Strand Gallery.
$2,300-3,800
2,100-3,400
END OF SALE
239
CONDITIONS OF SALE BUYING AT CHRISTIES

CONDITIONS OF SALE
These Conditions of Sale and the Important
Notices and Explanation of Cataloguing
Practice set out the terms on which we offer
the lots listed in this catalogue for sale. By
registering to bid and/or by bidding at auction
you agree to these terms so you should read
them carefully before doing so. You will find
a glossary at the end explaining the meaning
of the words and expressions coloured in bold.
Unless we own a lot, marked with a symbol ,
Christies acts as agent for the seller.
A BEFORE THE SALE
1 DESCRIPTION OF LOTS
(a) Certain words used in the catalogue
description have special meanings. You can find
details of these on the page headed Important
Notices and Explanation of Cataloguing
Practice which forms part of these terms. You
can find a key to the Symbols found next to
certain catalogue entries under the section
of the catalogue called Symbols Used in this
Catalogue.
(b) Our description of any lot in the catalogue,
any condition report and any other statement
made by us (whether orally or in writing) about
any lot, including about its nature or condition,
artist, period, materials, approximate
dimensions or provenance are our opinion
and not to be relied upon as a statement of
fact. We do not carry out in-depth research of
the sort carried out by professional historians
and scholars. All dimensions and weights are
approximate only.
2 OUR RESPONSIBILITY FOR OUR
DESCRIPTION OF LOTS
We do not provide any guarantee in relation to
the nature of a lot apart from our authenticity
warranty contained in paragraph E2 and to the
extent provided in paragraph I below.
3 CONDITION
(a) The condition of lots sold in our auctions
can vary widely due to factors such as age,
previous damage, restoration, repair and wear
and tear. Their nature means that they will
rarely be in perfect condition. Lots are sold as
is, in the condition they are in at the time of the
sale, without any representation or warranty
or assumption of liability of any kind as to
condition by Christies or by the seller.
(b) Any reference to condition in a catalogue
entry or in a condition report will not amount
to a full description of condition, and images
may not show a lot clearly. Colours and shades
may look different in print or on screen to how
they look on physical inspection. Condition
reports may be available to help you evaluate
the condition of a lot. Condition reports are
provided free of charge as a convenience to
our buyers and are for guidance only. They
offer our opinion but they may not refer to all
faults, inherent defects, restoration, alteration
or adaptation because our staff are not
professional restorers or conservators. For that
reason they are not an alternative to examining
a lot in person or taking your own professional
advice. It is your responsibility to ensure that
you have requested, received and considered
any condition report.
4 VIEWING LOTS PRE-AUCTION
(a) If you are planning to bid on a lot, you
should inspect it personally or through a
knowledgeable representative before you
make a bid to make sure that you accept the
description and its condition. We recommend
you get your own advice from a restorer or
other professional adviser.
(b) Pre-auction viewings are open to the public
free of charge. Our specialists are available to
answer questions at pre-auction viewings or
by appointment.
5 ESTIMATES
Estimates are based on the condition, rarity,
quality and provenance of the lots and on prices
recently paid at auction for similar property.
Estimates can change. Neither you, nor anyone
else, may rely on any estimates as a prediction
or guarantee of the actual selling price of a lot
or its value for any other purpose. Estimates
do not include the buyers premium or any
applicable taxes.
6 WITHDRAWAL
Christies may, at its option, withdraw any lot
at any time prior to or during the sale of the lot.
Christies has no liability to you for any decision
to withdraw.
2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last
two years or if you want to spend more than on
7 JEWELLERY
(a) Coloured gemstones (such as rubies, previous occasions, please contact our Credit
sapphires and emeralds) may have been Department on +44 (0)20 7839 9060.
treated to improve their look, through methods
such as heating and oiling. These methods are 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
accepted by the international jewellery trade
but may make the gemstone less strong and/or If in our opinion you do not satisfy our bidder
require special care over time.
identification and registration procedures
(b) All types of gemstones may have been including, but not limited to completing any
improved by some method. You may request a anti-money laundering and/or anti-terrorism
gemmological report for any item which does financing checks we may require to our
not have a report if the request is made to us at satisfaction, we may refuse to register you to
least three weeks before the date of the auction bid, and if you make a successful bid, we may
cancel the contract for sale between you and
and you pay the fee for the report.
(c) We do not obtain a gemmological report the seller.
for every gemstone sold in our auctions.
Where we do get gemmological reports 4 BIDDING ON BEHALF OF
from internationally accepted gemmological
ANOTHER PERSON
laboratories, such reports will be described If you are bidding on behalf of another
in the catalogue. Reports from American person, that person will need to complete the
gemmological laboratories will describe any registration requirements above before you can
improvement or treatment to the gemstone. bid, and supply a signed letter authorising you
Reports from European gemmological to bid for him/her. A bidder accepts personal
laboratories will describe any improvement liability to pay the purchase price and all other
or treatment only if we request that they do sums due unless it has been agreed in writing
so, but will confirm when no improvement with Christies before commencement of the
or treatment has been made. Because of auction that the bidder is acting as an agent
differences in approach and technology, on behalf of a named third party acceptable
laboratories may not agree whether a particular to Christies and that Christies will only seek
gemstone has been treated, the amount of payment from the named third party.
treatment or whether treatment is permanent.
The gemmological laboratories will only report 5 BIDDING IN PERSON
on the improvements or treatments known to If you wish to bid in the saleroom you must
the laboratories at the date of the report.
register for a numbered bidding paddle at
(d) For jewellery sales, estimates are based on least 30 minutes before the auction. You may
the information in any gemmological report register online at www.christies.com or in
or, if no report is available, assume that the person. For help, please contact the Credit
gemstones may have been treated or enhanced. Department on +44 (0)20 7839 9060.
7 WATCHES & CLOCKS
(a) Almost all clocks and watches are repaired
in their lifetime and may include parts which
are not original. We do not give a warranty
that any individual component part of any
watch is authentic. Watchbands described as
associated are not part of the original watch
and may not be authentic. Clocks may be sold
without pendulums, weights or keys.
(b) As collectors watches often have very fine
and complex mechanisms, a general service,
change of battery or further repair work may be
necessary, for which you are responsible. We do
not give a warranty that any watch is in good
working order. Certificates are not available
unless described in the catalogue.
(c) Most wristwatches have been opened to
find out the type and quality of movement.
For that reason, wristwatches with water
resistant cases may not be waterproof and
we recommend you have them checked by a
competent watchmaker before use.
Important information about the sale, transport
and shipping of watches and watchbands can
be found in paragraph H2(h).
B
REGISTERING TO BID
1 NEW BIDDERS
(a) If this is your first time bidding at Christies
or you are a returning bidder who has not
bought anything from any of our salerooms
within the last two years you must register
at least 48 hours before an auction to give
us enough time to process and approve your
registration. We may, at our option, decline to
permit you to register as a bidder. You will be
asked for the following:
(i) for individuals: Photo identification (driving
licence, national identity card or passport) and,
if not shown on the ID document, proof of your
current address (for example, a current utility
bill or bank statement).
(ii) for corporate clients: Your Certificate of
Incorporation or equivalent document(s)
showing your name and registered address
together with documentary proof of directors
and beneficial owners; and
(iii) for trusts, partnerships, offshore companies
and other business structures, please contact
us in advance to discuss our requirements.
(b) We may also ask you to give us a financial
reference and/or a deposit as a condition of
allowing you to bid. For help, please contact
our Credit Department on +44 (0)20 7839 9060.
6 BIDDING SERVICES
The bidding services described below are a free
service offered as a convenience to our clients
and Christies is not responsible for any error
(human or otherwise), omission or breakdown
in providing these services.
C
AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in
any auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject
to a reserve. We identify lots that are offered
without reserve with the symbol next to the
lot number. The reserve cannot be more than
the lots low estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards
in any way he or she may decide, or change the
order of the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after
the hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the
bidding, determine the successful bidder,
cancel the sale of the lot, or reoffer and resell
any lot. If any dispute relating to bidding arises
during or after the auction, the auctioneers
decision in exercise of this option is final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders
through Christies LIVE (as shown above in
Section B6); and
(c) written bids (also known as absentee bids
or commission bids) left with us by a bidder
before the auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option,
bid on behalf of the seller up to but not
including the amount of the reserve either by
making consecutive bids or by making bids in
response to other bidders. The auctioneer will
not identify these as bids made on behalf of
the seller and will not make any bid on behalf
of the seller at or above the reserve. If lots are
offered without reserve, the auctioneer will
generally decide to open the bidding at 50%
of the low estimate for the lot. If no bid is
made at that level, the auctioneer may decide
to go backwards until a bid is made, and then
continue up from that amount. In the event
that there are no bids on a lot, the auctioneer
may deem such lot unsold.
(a) Phone Bids

Your request for this service must be made
no later than 24 hours prior to the auction.
We will accept bids by telephone for lots only
if our staff are available to take the bids. If
you need to bid in a language other than in
English, you must arrange this well before the
auction. We may record telephone bids. By
bidding on the telephone, you are agreeing to
us recording your conversations. You also agree 6 BID INCREMENTS
that your telephone bids are governed by these Bidding generally starts below the low estimate
Conditions of Sale.
and increases in steps (bid increments). The
auctioneer will decide at his or her sole option
where the bidding should start and the bid
(b) Internet Bids on Christies Live
For certain auctions we will accept bids over increments. The usual bid increments are
the Internet. Please visit www.christies.com/ shown for guidance only on the Written Bid
livebidding and click on the Bid Live icon to Form at the back of this catalogue.
see details of how to watch, hear and bid at the
auction from your computer. As well as these 7 CURRENCY CONVERTER
Conditions of Sale, internet bids are governed The saleroom video screens (and Christies
by the Christies LIVE terms of use which are LIVETM) may show bids in some other major
available on www.christies.com.
currencies as well as sterling. Any conversion
is for guidance only and we cannot be bound
by any rate of exchange used. Christies is not
(c) Written Bids
You can find a Written Bid Form at the back responsible for any error (human or otherwise),
of our catalogues, at any Christies office or by omission or breakdown in providing these
choosing the sale and viewing the lots online services.
at www.christies.com. We must receive your
completed Written Bid Form at least 24 hours 8 SUCCESSFUL BIDS
before the auction. Bids must be placed in the Unless the auctioneer decides to use his or
currency of the saleroom. The auctioneer will her discretion as set out in paragraph C3
take reasonable steps to carry out written bids above, when the auctioneers hammer strikes,
at the lowest possible price, taking into account we have accepted the last bid. This means a
the reserve. If you make a written bid on a lot contract for sale has been formed between the
which does not have a reserve and there is seller and the successful bidder. We will issue
no higher bid than yours, we will bid on your an invoice only to the registered bidder who
behalf at around 50% of the low estimate or, made the successful bid. While we send out
if lower, the amount of your bid. If we receive invoices by post and/or email after the auction,
written bids on a lot for identical amounts, and we do not accept responsibility for telling you
at the auction these are the highest bids on whether or not your bid was successful. If you
the lot, we will sell the lot to the bidder whose have bid by written bid, you should contact us
written bid we received first.
by telephone or in person as soon as possible
after the auction to get details of the outcome
of your bid to avoid having to pay unnecessary
storage charges.
9 LOCAL BIDDING LAWS

You agree that when bidding in any of our sales
that you will strictly comply with all local laws
and regulations in force at the time of the sale
for the relevant sale site.
D
THE BUYERS PREMIUM, TAXES

AND ARTISTS RESALE ROYALTY
1 THE BUYERS PREMIUM
In addition to the hammer price, the successful
bidder agrees to pay us a buyers premium
on the hammer price of each lot sold. On all
lots we charge 25% of the hammer price up
to and including 50,000, 20% on that part of
the hammer price over 50,000 and up to and
including 1,000,000, and 12% of that part of
the hammer price above 1,000,000.
2 TAXES
The successful bidder is responsible for
any applicable tax including any VAT, sales
or compensating use tax or equivalent tax
wherever they arise on the hammer price
and the buyers premium. It is the buyers
responsibility to ascertain and pay all taxes
due. You can find details of how VAT and
VAT reclaims are dealt with in the section
of the catalogue headed VAT Symbols and
Explanation. VAT charges and refunds depend
on the particular circumstances of the buyer
so this section, which is not exhaustive,
should be used only as a general guide. In
all circumstances EU and UK law takes
precedence. If you have any questions about
VAT, please contact Christies VAT Department
on +44 (0)20 7389 9060 (email: VAT_london@
christies.com, fax: +44 (0)20 3219 6076).
3 ARTISTS RESALE ROYALTY
In certain countries, local laws entitle the artist
or the artists estate to a royalty known as
artists resale right when any lot created by
the artist is sold. We identify these lots with the
symbol next to the lot number. If these laws
apply to a lot, you must pay us an extra amount
equal to the royalty. We will pay the royalty to
the appropriate authority on the sellers behalf.
The artists resale royalty applies if the hammer
price of the lot is 1,000 euro or more. The
total royalty for any lot cannot be more than
12,500 euro. We work out the amount owed
as follows:
Royalty for the portion of the hammer price
(in euros)
4% up to 50,000
3% between 50,000.01 and 200,000
1% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
over 500,000, the lower of 0.25% and 12,500
euro.
We will work out the artists resale royalty
using the euro to sterling rate of exchange of
the European Central Bank on the day of the
auction.
E
WARRANTIES
1 SELLERS WARRANTIES
For each lot, the seller gives a warranty that
the seller:
(a) is the owner of the lot or a joint owner of
the lot acting with the permission of the other
co-owners or, if the seller is not the owner or a
joint owner of the lot, has the permission of the
owner to sell the lot, or the right to do so in law;
and
(b) has the right to transfer ownership of the
lot to the buyer without any restrictions or
claims by anyone else.
If either of the above warranties are incorrect,
the seller shall not have to pay more than
the purchase price (as defined in paragraph
F1(a) below) paid by you to us. The seller will
not be responsible to you for any reason for
loss of profits or business, expected savings,
loss of opportunity or interest, costs, damages,
other damages or expenses. The seller gives no
warranty in relation to any lot other than as set
out above and, as far as the seller is allowed
by law, all warranties from the seller to you,
and all other obligations upon the seller which
may be added to this agreement by law, are
excluded.
2 OUR AUTHENTICITY WARRANTY
We warrant, subject to the terms below, that the
lots in our sales are authentic (our authenticity
warranty). If, within five years of the date of
the auction, you satisfy us that your lot is not
authentic, subject to the terms below, we will
refund the purchase price paid by you. The
meaning of authentic can be found in the glossary
at the end of these Conditions of Sale. The terms

of the authenticity warranty are as follows:
(a) It will be honoured for a period of five
years from the date of the auction. After such
time, we will not be obligated to honour the
authenticity warranty.
(b) It is given only for information shown
in UPPERCASE type in the first line of the
catalogue description (the Heading). It does
not apply to any information other than in the
Heading even if shown in UPPERCASE type.
(c) The authenticity warranty does not apply
to any Heading or part of a Heading which
is qualified. Qualified means limited by a
clarification in a lots catalogue description
or by the use in a Heading of one of the
terms listed in the section titled Qualified
Headings on the page of the catalogue
headed Important Notices and Explanation of
Cataloguing Practice. For example, use of the
term ATTRIBUTED TO in a Heading means
that the lot is in Christies opinion probably a
work by the named artist but no warranty is
provided that the lot is the work of the named
artist. Please read the full list of Qualified
Headings and a lots full catalogue description
before bidding.
(d) The authenticity warranty applies to the
Heading as amended by any Saleroom Notice.
(e) The authenticity warranty does not apply
where scholarship has developed leading to a
change in generally accepted opinion. Further,
it does not apply if the Heading either matched
the generally accepted opinion of experts at
the date of the sale or drew attention to any
conflict of opinion.
(f) The authenticity warranty does not apply if
the lot can only be shown not to be authentic
by a scientific process which, on the date we
published the catalogue, was not available
or generally accepted for use, or which was
unreasonably expensive or impractical, or
which was likely to have damaged the lot.
(g) The benefit of the authenticity warranty is
only available to the original buyer shown on
the invoice for the lot issued at the time of the
sale and only if the original buyer has owned
the lot continuously between the date of the
auction and the date of claim. It may not be
transferred to anyone else.
(h) In order to claim under the authenticity
warranty you must:
(i) give us written details, including full
supporting evidence, of any claim within five
years of the date of the auction;
(ii) at Christies option, we may require you to
provide the written opinions of two recognised
experts in the field of the lot mutually agreed
by you and us in advance confirming that the
lot is not authentic. If we have any doubts, we
reserve the right to obtain additional opinions
at our expense; and
(iii) return the lot at your expense to the
saleroom from which you bought it in the
condition it was in at the time of sale.
(i) Your only right under this authenticity
warranty is to cancel the sale and receive a
refund of the purchase price paid by you to us.
We will not, in any circumstances, be required
to pay you more than the purchase price nor
will we be liable for any loss of profits or
business, loss of opportunity or value, expected
savings or interest, costs, damages, other
damages or expenses.
(j) Books. Where the lot is a book, we give
an additional warranty for 14 days from the
date of the sale that if on collation any lot is
defective in text or illustration, we will refund
your purchase price, subject to the following
terms:
(a) This additional warranty does not apply to:
(i) the absence of blanks, half titles, tissue
guards or advertisements, damage in respect
of bindings, stains, spotting, marginal tears or
other defects not affecting completeness of the
text or illustration;
(ii) drawings,
autographs,
letters
or
manuscripts, signed photographs, music,
atlases, maps or periodicals;
(iii) books not identified by title;
(iv) lots sold without a printed estimate;
(v) books which are described in the catalogue
as sold not subject to return; or
(vi) defects stated in any condition report or
announced at the time of sale.
(b) To make a claim under this paragraph you
must give written details of the defect and
return the lot to the sale room at which you
bought it in the same condition as at the time
of sale, within 14 days of the date of the sale.
F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you
must pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above;
and
(iv) any duties, goods, sales, use, compensating
or service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot
change the buyers name on an invoice or
re-issue the invoice in a different name. You
must pay immediately even if you want to
export the lot and you need an export licence.
(c) You must pay for lots bought at Christies
in the United Kingdom in the currency stated
on the invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to
certain conditions. To make a cardholder not
present (CNP) payment, you must complete
a CNP authorisation form which you can get
from our Cashiers Department. You must send
a completed CNP authorisation form by fax to
+44 (0)20 7389 2869 or by post to the address
set out in paragraph (d) below. If you want to
make a CNP payment over the telephone, you
must call +44 (0)20 7839 9060. CNP payments
cannot be accepted by all salerooms and are
subject to certain restrictions. Details of the
conditions and restrictions applicable to credit
card payments are available from our Cashiers
Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of
5,000 per buyer per year at our Cashiers
Department only (subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and
there may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds
sterling from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when
making a payment. All payments sent by
post must be sent to: Christies, Cashiers
Department, 8 King Street, St Jamess, London,
SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20
7839 9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase price, even in circumstances where
we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of
the following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot
is taken into care by a third party warehouse
as set out on the page headed Storage and
Collection, unless we have agreed otherwise
with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in
full by the due date, we will be entitled to do
one or more of the following (as well as enforce
our rights under paragraph F5 and any other
rights we have by law):
(i) to charge interest from the due date at a
rate of 5% a year above the UK Lloyds Bank base
rate from time to time on the unpaid amount
due;
(ii) we can cancel the sale of the lot. If we
do this, we may sell the lot again, publicly or
privately on such terms we shall think necessary

or appropriate, in which case you must pay us
any shortfall between the purchase price and
the proceeds from the resale. You must also
pay all costs, expenses, losses, damages and
legal fees we have to pay or may suffer and
any shortfall in the sellers commission on the
resale;
(iii) we can pay the seller an amount up to
the net proceeds payable in respect of the
amount bid by your default in which case you
acknowledge and understand that Christies
will have all of the rights of the seller to pursue
you for such amounts;
(iv) we can hold you legally responsible for
the purchase price and may begin legal
proceedings to recover it together with other
losses, interest, legal fees and costs as far as we
are allowed by law;
(v) we can take what you owe us from any
amounts which we or any company in the
Christies Group may owe you (including any
deposit or other part-payment which you have
paid to us);
(vi) we can, at our option, reveal your identity
and contact details to the seller;
(vii) we can reject at any future auction any
bids made by or on behalf of the buyer or
to obtain a deposit from the buyer before
accepting any bids;
(viii) to exercise all the rights and remedies of
a person holding security over any property in
our possession owned by you, whether by way
of pledge, security interest or in any other way
as permitted by the law of the place where such
property is located. You will be deemed to have
granted such security to us and we may retain
such property as collateral security for your
obligations to us; and
(ix) we can take any other action we see
necessary or appropriate.
(b) If you owe money to us or to another
Christies Group company, we can use any
amount you do pay, including any deposit or
other part-payment you have made to us, or
which we owe you, to pay off any amount you
owe to us or another Christies Group company
for any transaction.
5 KEEPING YOUR PROPERTY
If you owe money to us or to another Christies
Group company, as well as the rights set out in
F4 above, we can use or deal with any of your
property we hold or which is held by another
Christies Group company in any way we are
allowed to by law. We will only release your
property to you after you pay us or the relevant
Christies Group company in full for what you
owe. However, if we choose, we can also sell
your property in any way we think appropriate.
We will use the proceeds of the sale against
any amounts you owe us and we will pay any
amount left from that sale to you. If there is
a shortfall, you must pay us any difference
between the amount we have received from
the sale and the amount you owe us.
G COLLECTION AND STORAGE
1 COLLECTION
Once you have made full and clear payment,
you must collect the lot within seven days from
the date of the auction.
(a) You may not collect the lot until you have
made full and clear payment of all amounts due
to us.
(b) If you have paid for the lot in full but you do
not collect the lot within 90 calendar days after
the sale, we may sell it, unless otherwise agreed
in writing. If we do this, we will pay you the
proceeds of the sale after taking our storage
charges and any other amounts you owe us and
any Christies Group company.
(c) Information on collecting lots is set out
on an information sheet which you can get
from the bidder registration staff or Christies
Cashiers +44 (0)20 7839 9060.
2 STORAGE
(a) If you have not collected the lot within
seven days from the date of the auction, we or
our appointed agents can:
(i) charge you storage fees while the lot is still
at our saleroom; or
(ii) remove the lot at our option to a warehouse
and charge you all transport and storage costs
(b) Details of the removal of the lot to a
warehouse, fees and costs are set out at the
back of the catalogue on the page headed
Storage and Collection. You may be liable to
our agent directly for these costs.
H TRANSPORT AND SHIPPING

1
TRANSPORT AND SHIPPING
We will enclose a transport and shipping form
with each invoice sent to you. You must make
all transport and shipping arrangements.
However, we can arrange to pack, transport
and ship your property if you ask us to and
pay the costs of doing so. We recommend that
you ask us for an estimate, especially for any
large items or items of high value that need
professional packing. We may also suggest
other handlers, packers, transporters or experts
if you ask us to do so. For more information,
please contact Christies Art Transport on +44
(0)20 7389 9060. See the information set out
at www.christies.com/shipping or contact
us at arttransport_london@christies.com.
We will take reasonable care when we are
handling, packing, transporting and shipping
a lot. However, if we recommend another
company for any of these purposes, we are
not responsible for their acts, failure to act or
neglect.
2 EXPORT AND IMPORT
Any lot sold at auction may be affected by laws
on exports from the country in which it is sold
and the import restrictions of other countries.
Many countries require a declaration of export
for property leaving the country and/or an
import declaration on entry of property into
the country. Local laws may prevent you from
importing a lot or may prevent you selling a lot
in the country you import it into.
(a) You alone are responsible for getting
advice about and meeting the requirements
of any laws or regulations which apply to
exporting or importing any lot prior to bidding.
If you are refused a licence or there is a delay
in getting one, you must still pay us in full
for the lot. We may be able to help you apply
for the appropriate licences if you ask us to
and pay our fee for doing so. However, we
cannot guarantee that you will get one. For
more information, please contact Christies Art
Transport Department on +44 (0)20 7389 9060.
See the information set out at www.christies.
com/shipping or contact us at arttransport_
london@christies.com.
(b) Lots made of protected species
Lots made of or including (regardless of the
percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. This material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whalebone, certain species of
coral, and Brazilian rosewood. You should check
the relevant customs laws and regulations
before bidding on any lot containing wildlife
material if you plan to import the lot into
another country. Several countries refuse
to allow you to import property containing
these materials, and some other countries
require a licence from the relevant regulatory
agencies in the countries of exportation as
well as importation. In some cases, the lot can
only be shipped with an independent scientific
confirmation of species and/or age and you
will need to obtain these at your own cost.
If a lot contains elephant ivory, or any other
wildlife material that could be confused with
elephant ivory (for example, mammoth ivory,
walrus ivory, helmeted hornbill ivory), please
see further important information in paragraph
(c) if you are proposing to import the lot into
the USA. We will not be obliged to cancel your
purchase and refund the purchase price if your
lot may not be exported, imported or it is seized
for any reason by a government authority. It
is your responsibility to determine and satisfy
the requirements of any applicable laws or
regulations relating to the export or import of
property containing such protected or regulated
material.
(c) US import ban on African elephant ivory
The USA prohibits the import of ivory from
the African elephant. Any lot containing
elephant ivory or other wildlife material that
could be easily confused with elephant ivory
(for example, mammoth ivory, walrus ivory,
helmeted hornbill ivory) can only be imported
into the US with results of a rigorous scientific
test acceptable to the US Fish & Wildlife Service,
which confirms that the material is not African
elephant ivory. Where we have conducted such
rigorous scientific testing on a lot prior to sale,
we will make this clear in the lot description. In
all other cases, we cannot confirm whether a
lot contains African elephant ivory, and you will
buy that lot at your own risk and be responsible
for any scientific test or other reports required
for import into the USA at your own cost. If
such scientific test is inconclusive or confirms
the material is from the African elephant, we
will not be obliged to cancel your purchase and
refund the purchase price.
(d) Lots containing material that originates

from Burma (Myanmar)
Lots which contain rubies or jadeite originating
in Burma (Myanmar) may not generally
be imported into the United States. As a
convenience to US buyers, lots which contain
rubies or jadeite of Burmese or indeterminate
origin have been marked with the symbol in
the catalogue. In relation to items that contain
any other types of gemstones originating in
Burma (e.g. sapphires) such items may be
imported into the United States provided
that the gemstones have been mounted or
incorporated into jewellery outside of Burma
and provided that the setting is not of a
temporary nature (e.g. a string).
(e) Lots of Iranian origin
Some countries prohibit or restrict the purchase
and/or import of Iranian-origin works of
conventional craftsmanship (works that are
not by a recognised artist and/or that have a
function, for example: carpets, bowls, ewers,
tiles, ornamental boxes). For example, the USA
prohibits the import of this type of property and
its purchase by US persons (wherever located).
Other countries, such as Canada, only permit the
import of this property in certain circumstances.
As a convenience to buyers, Christies indicates
under the title of a lot if the lot originates from
Iran (Persia). It is your responsibility to ensure
you do not bid on or import a lot in contravention
of the sanctions or trade embargoes that apply
to you.
(f) Gold
Gold of less than 18ct does not qualify in all
countries as gold and may be refused import
into those countries as gold.
(g) Jewellery over 50 years old
Under current laws, jewellery over 50 years old
which is worth 34,300 or more will require an
export licence which we can apply for on your
behalf. It may take up to eight weeks to obtain
the export jewellery licence.
(h) Watches
(i) Many of the watches offered for sale in
this catalogue are pictured with straps made
of endangered or protected animal materials
such as alligator or crocodile. These lots are
marked with the symbol ~ in the catalogue.
These endangered species straps are shown
for display purposes only and are not for sale.
Christies will remove and retain the strap prior
to shipment from the sale site. At some sale
sites, Christies may, at its sole option, make the
displayed endangered species strap available to
the buyer of the lot free of charge if collected
in person from the sale site within one year
of the date of the sale. Please check with the
department for details on a particular lot.
(ii) The importation of luxury watches such as
Rolex into the United States is highly restricted.
Such watches may not be shipped to the United
States and can only be imported personally.
Generally, a buyer may import only one
watch into the United States at a time. In this
catalogue, these watches have been marked
with a . This will not affect your responsibility
to pay for the lot. For further information
please contact our specialists in charge of the
sale.
For all symbols and other markings referred
to in paragraph H2, please note that lots are
marked as a convenience to you, but we do
not accept liability for errors or for failing to
mark lots.
I
OUR LIABILITY TO YOU
(a) We give no warranty in relation to any
statement made, or information given, by us
or our representatives or employees, about any
lot other than as set out in the authenticity
warranty and, as far as we are allowed by law,
all warranties and other terms which may be
added to this agreement by law are excluded.
The sellers warranties contained in paragraph
E1 are their own and we do not have any
liability to you in relation to those warranties.
(b) (i) We are not responsible to you for any
reason (whether for breaking this agreement
or any other matter relating to your purchase
of, or bid for, any lot) other than in the event
of fraud or fraudulent misrepresentation by
us or other than as expressly set out in these
Conditions of Sale; or
(ii) give any representation, warranty
or guarantee or assume any liability of
any kind in respect of any lot with regard
to merchantability, fitness for a particular
purpose, description, size, quality, condition,
attribution, authenticity, rarity, importance,
medium, provenance, exhibition history,
literature, or historical relevance. Except as
required by local law, any warranty of any kind
is excluded by this paragraph.
(c) In particular, please be aware that our

written and telephone bidding services,
Christies LIVE, condition reports, currency
converter and saleroom video screens are free
services and we are not responsible to you for
any error (human or otherwise), omission or
breakdown in these services.
(d) We have no responsibility to any person
other than a buyer in connection with the
purchase of any lot.
(e) If, in spite of the terms in paragraphs (a)
to (d) or E2(i) above, we are found to be liable
to you for any reason, we shall not have to
pay more than the purchase price paid by you
to us. We will not be responsible to you for
any reason for loss of profits or business, loss
of opportunity or value, expected savings or
interest, costs, damages, or expenses.
start any court proceedings (except in the limited

circumstances where the dispute, controversy
or claim is related to proceedings brought by
someone else and this dispute could be joined
to those proceedings), we agree we will each
try to settle the dispute by mediation following
the Centre for Effective Dispute Resolution
(CEDR) Model Mediation Procedure. We will use
a mediator affiliated with CEDR who we and you
agree to. If the dispute is not settled by mediation,
you agree for our benefit that the dispute will be
referred to and dealt with exclusively in the courts
of England and Wales. However, we will have
the right to bring proceedings against you in any
other court.
10 REPORTING ON
WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue
descriptions and prices, may be reported on
www.christies.com. Sales totals are hammer
price plus buyers premium and do not reflect
costs, financing fees, or application of buyers
or sellers credits. We regret that we cannot
agree to requests to remove these details from
www.christies.com.
J
OTHER TERMS
1 OUR ABILITY TO CANCEL
In addition to the other rights of cancellation
contained in this agreement, we can cancel
a sale of a lot if we reasonably believe that
completing the transaction is, or may be,
unlawful or that the sale places us or the
seller under any liability to anyone else or may
J
GLOSSARY
damage our reputation.
authentic: a genuine example, rather than a
copy or forgery of:
2 RECORDINGS
We may videotape and record proceedings (i) the work of a particular artist, author or
at any auction. We will keep any personal manufacturer, if the lot is described in the
information confidential, except to the extent Heading as the work of that artist, author or
disclosure is required by law. However, we manufacturer;
may, through this process, use or share these (ii) a work created within a particular period or
recordings with another Christies Group culture, if the lot is described in the Heading as
company and marketing partners to analyse a work created during that period or culture;
our customers and to help us to tailor our (iii) a work for a particular origin source if the
services for buyers. If you do not want to lot is described in the Heading as being of that
be videotaped, you may make arrangements origin or source; or
to make a telephone or written bid or bid (iv) in the case of gems, a work which is made
on Christies LIVE instead. Unless we agree of a particular material, if the lot is described in
otherwise in writing, you may not videotape or the Heading as being made of that material.
record proceedings at any auction.
authenticity warranty: the guarantee we give
in this agreement that a lot is authentic as set
3 COPYRIGHT
out in section E2 of this agreement.
We own the copyright in all images, buyers premium: the charge the buyer pays us
illustrations and written material produced by along with the hammer price.
or for us relating to a lot (including the contents catalogue description: the description of a lot
of our catalogues unless otherwise noted in the in the catalogue for the auction, as amended
catalogue). You cannot use them without our by any saleroom notice.
prior written permission. We do not offer any Christies Group: Christies International Plc,
guarantee that you will gain any copyright or its subsidiaries and other companies within its
other reproduction rights to the lot.
corporate group.
condition: the physical condition of a lot.
4 ENFORCING THIS AGREEMENT
due date: has the meaning given to it in
If a court finds that any part of this agreement paragraph F1(a).
is not valid or is illegal or impossible to enforce, estimate: the price range included in the
that part of the agreement will be treated as catalogue or any saleroom notice within which
being deleted and the rest of this agreement we believe a lot may sell. Low estimate means
will not be affected.
the lower figure in the range and high estimate
means the higher figure. The mid estimate is
5 TRANSFERRING YOUR RIGHTS
the midpoint between the two.
AND RESPONSIBILITIES
hammer price: the amount of the highest bid
You may not grant a security over or transfer the auctioneer accepts for the sale of a lot.
your rights or responsibilities under these terms Heading: has the meaning given to it in
on the contract of sale with the buyer unless paragraph E2.
we have given our written permission. This lot: an item to be offered at auction (or two or
agreement will be binding on your successors more items to be offered at auction as a group).
or estate and anyone who takes over your other damages: any special, consequential,
rights and responsibilities.
incidental or indirect damages of any kind or
any damages which fall within the meaning of
6 TRANSLATIONS
special, incidental or consequential under
If we have provided a translation of this local law.
agreement, we will use this original version purchase price: has the meaning given to it in
in deciding any issues or disputes which arise paragraph F1(a).
under this agreement.
provenance: the ownership history of a lot.
qualified: has the meaning given to it in
7 PERSONAL INFORMATION
paragraph E2 and Qualified Headings means
We will hold and process your personal the section headed Qualified Headings on
information and may pass it to another the page of the catalogue headed Important
Christies Group company for use as described Notices and Explanation of Cataloguing
in, and in line with, our privacy policy at www. Practice.
christies.com.
reserve: the confidential amount below which
we will not sell a lot.
8 WAIVER
saleroom notice: a written notice posted next
No failure or delay to exercise any right or to the lot in the saleroom and on www.christies.
remedy provided under these Conditions of com, which is also read to prospective telephone
Sale shall constitute a waiver of that or any bidders and notified to clients who have left
other right or remedy, nor shall it prevent or commission bids, or an announcement made
restrict the further exercise of that or any other by the auctioneer either at the beginning of
right or remedy. No single or partial exercise of the sale, or before a particular lot is auctioned.
such right or remedy shall prevent or restrict UPPER CASE type: means having all capital
the further exercise of that or any other right letters.
or remedy.
warranty: a statement or representation in
which the person making it guarantees that the
facts set out in it are correct.
9 LAW AND DISPUTES
This agreement, and any non-contractual
obligations arising out of or in connection with
this agreement, or any other rights you may have
relating to the purchase of a lot will be governed by
the laws of England and Wales. Before we or you
VAT SYMBOLS AND EXPLANATION
You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of the
catalogue headed Conditions of Sale
VAT payable
Symbol
No
Symbol
We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see symbol above)
For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.
VAT refunds: what can I reclaim?

If you are:
A non VAT registered
UK or EU buyer
UK VAT registered
buyer
No refund is possible
No symbol and
* and
EU VAT registered
buyer
No Symbol, and #
Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
The VAT amount in the buyers premium cannot be refunded. However,
on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT
rules (as if the lot had been sold with a symbol).
See below for the rules that would then apply.
If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.
* and
The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol).
See above for the rules that would then apply.
Non EU buyer
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
No Symbol
1. We CANNOT offer refunds of VAT

amounts or Import VAT to buyers who
do not meet all applicable conditions
in full. If you are unsure whether you
will be entitled to a refund, please
contact Client Services at the address
below before you bid.
2. No VAT amounts or Import VAT
will be refunded where the total
refund is under 100.
3. In order to receive a refund of VAT
amounts/Import VAT (as applicable)
The VAT amount in the buyers premium cannot be refunded.

However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol). Subject to HMRCs rules,
you can then reclaim the VAT charged through your own VAT return.
We will refund the VAT amount in the buyers premium.
and
We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.
(wine only)
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on
the buyers premium can only be refunded if you are an overseas business. The VAT amount
in the buyers premium cannot be refunded to non-trade clients.
* and
We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.
non-EU buyers must:

(a) have registered to bid with an
address outside of the EU; and
(b) provide immediate proof of
correct export out of the EU within the
required time frames of: 30 days via
a controlled export for * and lots.
All other lots must be exported within
three months of collection.
4. Details of the documents which
you must provide to us to show
satisfactory proof of export/shipping
are available from our VAT team at the

address below.
We charge a processing fee of 35.00
per invoice to check shipping/export
documents. We will waive this
processing fee if you appoint Christies
Shipping Department to arrange your
export/shipping.
5. If you appoint Christies Art
Transport or one of our authorised
shippers to arrange your export/
shipping we will issue you with an
export invoice with the applicable VAT

or duties cancelled as outlined above.
If you later cancel or change the
shipment in a manner that infringes
the rules outlined above we will issue
a revised invoice charging you all
applicable taxes/charges.
6. If you ask us to re-invoice you
under normal UK VAT rules (as if the
lot had been sold with a symbol)
instead of under the Margin Scheme
the lot may become ineligible to be
resold using the Margin Schemes. You

should take professional advice if you
are unsure how this may affect you.
7. All reinvoicing requests must be
received within four years from the
date of sale.
If you have any questions about VAT
refunds please contact Christies Client
Services on info@christies.com
Tel: +44 (0)20 7389 2886.
Fax: +44 (0)20 7839 1611.
SYMBOLS USED IN THIS CATALOGUE

The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue
headed Conditions of Sale
Christies has a direct financial interest in

the
lot. See Important Notices and Explanation
of Cataloguing Practice.
Owned by Christies or another Christies

Group company in whole or part. See
Important Notices and Explanation of
Cataloguing Practice.
Christies has a direct financial interest in

the lot and has funded all or part of our
interest with the help of someone else.
See Important Notices and Explanation of
Cataloguing Practice.
Artists Resale Right. See Section D3 of the

Conditions of Sale.
Lot offered without reserve which will be

sold to the highest bidder regardless of the
pre-sale estimate in the catalogue.
~
Lot incorporates material from
endangered species which could result in
export restrictions.
See Section H2(b) of the Conditions of Sale.
Lot which may not be able to be shipped

to the US.
See Section H2(h)of the Conditions of Sale.
Lot containing jadeite and rubies from

Burma or of indeterminate origin. See
Section H2(d) of the Conditions of Sale.
?, *, , , #,
See VAT Symbols and Explanation.
See Storage and Collection Pages on South

Kensington sales only.
Please note that lots are marked as a convenience to you and we shall not be liable for any
errors in, or failure to, mark a lot
IMPORTANT NOTICES AND EXPLANATION OF

CATALOGUING PRACTICE
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is identified in the catalogue with the symbol next to
its lot number.
On occasion, Christies has a direct financial
interest in lots consigned for sale, which may
include guaranteeing a minimum price or making an advance to the consignor that is secured
solely by consigned property. Where Christies
holds such financial interest on its own we identify such lots with the symbol next to the lot
number. Where Christies has financed all or part
of such interest through a third party the lots
are identified in the catalogue with the symbol
. When a third party agrees to finance all or
part of Christies interest in a lot, it takes on all or
part of the risk of the lot not being sold and will
be remunerated in exchange for accepting this
risk based on a fixed fee if the third party is the
successful bidder or on the final hammer price
in the event that the third party is not the successful bidder. The third party may also bid for
the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against
the final purchase price. If the lot is not sold, the
third party may incur a loss. Please see http://
www.christies.com/financial-interest/ for a more
detailed explanation of minimum price guarantees and third party financing arrangements.
Where Christies has an ownership or financial
interest in every lot in the catalogue, Christies
will not designate each lot with a symbol, but will
state its interest at the front of the catalogue.
FOR PICTURES, DRAWINGS, PRINTS AND

MINIATURES
Terms used in this catalogue have the meanings
ascribed to them below. Please note that all statements in this catalogue as to authorship are made
subject to the provisions of the Conditions of Sale
and authenticity warranty. Buyers are advised to
inspect the property themselves. Written condition reports are usually available on request.
Qualified Headings
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by
the artist in whole or in part.
*Studio of / Workshop of
In Christies qualified opinion a work executed
in the studio or workshop of the artist, possibly
under his supervision.
*Circle of
In Christies qualified opinion a work of the period
of the artist and showing his influence.
*Follower of
In Christies qualified opinion a work executed in
the artists style but not necessarily by a pupil.
*Manner of
In Christies qualified opinion a work executed in
the artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date)
of a work of the artist.
Signed /Dated /Inscribed
In Christies qualified opinion the work has been
signed/dated/inscribed by the artist.
With signature / With date /

With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other
than that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate
date when prefixed with circa) on which the
matrix was worked and not necessarily the date
when the impression was printed or published.
*This term and its definition in this Explanation of
Cataloguing Practice are a qualified statement as
to authorship. While the use of this term is based
upon careful study and represents the opinion of
specialists, Christies and the consignor assume
no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue
described by this term, and the authenticity warranty shall not be available with respect to lots
described using this term.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for
use in a private home or now offered solely as
works of art. These items may not comply with
the provisions of the Furniture and Furnishings
(Fire) (Safety) Regulations 1988 (as amended in
1989 and 1993, the Regulations). Accordingly,
these items should not be used as furniture in
your home in their current condition. If you do
intend to use such items for this purpose, you
must first ensure that they are reupholstered,
restuffed and/or recovered (as appropriate) in
order that they comply with the provisions of the
Regulations.
STORAGE AND COLLECTION

STORAGE & COLLECTION CHARGES
Specified lots, marked with a filled square ()
not cleared from Christies by 5.00 pm on the
day of the sale and all sold and unsold lots not
cleared from Christies by 5.00 pm on the fifth
Friday following the sale will be removed to the
warehouse of:
Cadogan Tate Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
Lots will be available for collection on the first
full business week after transfer to Cadogan
Tate Ltd and every business weekday from 9.00
am to 5.00 pm.
Property, once paid, can be released to Christies
Fine Art Storage Services (CFASS) in London,
New York or Singapore FreePort at any time for
environmentally controlled long term storage,
per client request. CFASS is a separate subsidiary
of Christies and clients enjoy complete
confidentiality. Visit www.cfass.com, or contact
london@cfass.com. Telephone: +44 (0)20 7622
0609 for details.
TRANSFER, STORAGE & RELATED CHARGES
(PER LOT)
CHARGES
Furniture/
Large Objects
Pictures/
Small Objects
Transfer/Admin 42.00
21.00
Storage per day 5.25
2.65
Extended
The lower amount of 0.6%
of Liability Charge:
Hammer
Price or 100% of the
above charges
All charges are subject to VAT. Very large or
heavy items may be subject to a surcharge.
Please note that there will be no charge to
purchasers who collect their lots within two
weeks of this sale.
COLLECTION & PAYMENT OF ANY CHARGES DUE

Lots will be available for collection from
Cadogan Tate Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
on every business day after the day of transfer,
from 9.00 am until 5.00 pm.
Lots may only be released by Cadogan Tate upon
a) production of the Collection Order
obtained from the cashiers office at
Christies, 85 Old Brompton Road, London SW7
or Christies, 8 King Street, London SW1
b) payment of any charges that may be due to
Cadogan Tate Ltd
To assist Cadogan Tate to provide a swift release
please telephone on the business day prior to
collection to ensure that Lots are available and
to ascertain any charges due. If sending a carrier
please ensure that they are provided with all
necessary information, your written authority to
collect, the Collection Order and the means to
settle any charges.
COLLECTION FROM CADOGAN TATE
Please note that Cadogan Tate Ltds opening
hours are Monday to Friday 9.00 am to
5.00 pm, and purchases transferred to their
warehouse are not available for collection at
weekends.
EXTENDED LIABILITY CHARGES

All services provided by Cadogan Tate Ltd
(Cadogan Tate) will be subject to their
standard Conditions of Business, copies
of which are available at Christies South
Kensington.
Please note in particular that Cadogan Tate
does not accept any liability for damage
or loss, due to its negligence or otherwise,
exceeding the Hammer Price of a Lot plus
associated Buyers Premium, or, at its sole
option, the cost of repairing or replacing the
damaged or missing Lot and
it reserves a lien over all goods in its
possession for payment of storage and all
other charges due to it and
it automatically arranges on behalf of the
Lots owner and at the owners cost, insurance
of the Lot for the sum of the Hammer price
plus Buyers Premium. The Extended Liability
Charge covers the Lot from the time of
collection from the saleroom until release of
the Lot to the owner or the owners agent.
The Extended Liability Charge payable by the
owner of the Lot is 0.6% of the sum of the
Hammer Price and Buyers Premium or 100% of
the transfer and storage charges, whichever is
the smaller. This Extended Liability will not be
arranged and no charge will be payable only
on receipt by Cadogan Tate of advance written
notice from the owner of the lot together with
formal waiver of subrogation from the owners
insurers.
Christies Fine Art Storage Services (CFASS) also
offers storage solutions for fine art, antiques
and collectibles in New York and Singapore
FreePort. CFASS is a separate subsidiary
of Christies and clients enjoy complete
confidentiality.
Visit www.cfass.com for charges and other
details.
Cadogan TaTe LTds Warehouse

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
28/10/14
245
POST-WAR & CONTEMPORARY ART

SENIOR INTERNATIONAL TEAM
Brett Gorvy
Laura Paulson
Francis Outred
Jussi Pylkknen
Chairman and International Head

of Post-War & Contemporary Art
+1 212 636 2342
bgorvy@christies.com
Chairman, Post-War &

Contemporary Art,
Americas
+1 212 636 2134
lpaulson@christies.com
Chairman and Head of Post-War

& Contemporary Art, EMERI
+44 (0)20 7389 2270
foutred@christies.com
Global President
+44 (0)20 7389 2836
jpylkkanen@christies.com
Lori Hotz
Robert Manley
Mariolina Bassetti
Marianne Hoet
International Managing Director,

Post-War & Contemporary Art
+1 212 707 5915
lhotz@christies.com
International Director,
Post-War & Contemporary Art,
New York
+1 212 636 2381
rmanley@christies.com
International Director, Head of

Southern Europe
+39 06 686 33 30
mbassetti@christies.com
International Director, Head of

Northern Europe
+32 2 289 13 39
mhoet@christies.com
INFORMATION AND SERVICES FOR THIS AUCTION

Enquiries
Bianca Chu
Head of Auction
+ 44 20 7389 2502
bchu@christies.com
Business Manager
South Kensington
Giulia Archetti
+ 44 20 7389 2317
garchetti@christies.com
Zo Klemme
Junior Specialist
+ 44 20 7389 2249
zklemme@christies.com
Client Liaison
Aina Truyols
+ 44 20 7752 3179
atruyols@christies.com
Auction Administrator &

Condition Reports
Liberty Paterson
Administrator
+ 44 20 7752 3094
libertypaterson@christies.com
Business Director, London

Zoe Ainscough
+ 44 20 7389 2958
zainscough@christies.com
For full contact details, please refer to page 243
246
Services
Payment
Absentee and Telephone

Bids
+44 20 7752 3225
+44 20 7581 1403 fax
Internet: www.christies.com
Buyers
Tel: +44 20 7839 9060
Fax: +44 20 7389 2869
Auction Results
UK: +44 20 7839 9060
US: +1 212 703 8080
Catalogues Online
Lotfinder
Client Services
+44 20 7839 9060
+44 20 7389 2869 fax
Email : info@christies.com
Consignors
Tel: +44 20 7389 2915
Fax: +44 20 7581 5295
Shipping
Tel: +44 20 7389 2712
Fax: +44 20 7389 2869
Storage and Collection
Tel: +44 20 7752 3248
Fax: +44 20 7581 3321

EUROPE
Andreas Rumbler
Herrad Schorn
Arno Verkade
Rene Lahn
Leonie Moschner
Chairman, Switzerland
Senior Specialist,
Germany
Managing Director,
Germany
Senior Specialist,
Switzerland
Senior Specialist,
London
Jutta Nixdorf
Renato Pennisi
Guillermo Cid
Specialist, Germany,
Switzerland
Specialist, Italy
Nina Kretzschmar
Peter van der Graaf
Specialist, Spain
Anne Lamuniere
Specialist, Germany,
Netherlands
Specialist, Netherlands
Specialist, Switzerland
Edmond Francey
Dina Amin
Darren Leak
Alice de Roquemaurel Beatriz Ordovas
Head of Department
Senior Specialist
Senior Specialist
Specialist Head of
Auctions
Specialist Head of
Private Sales
Katharine Arnold
Cristian Albu
Rosanna Widen
Leonie Grainger
Bianca Chu
Tom Best
Head of Evening Auction
Co-Head of Day Auction
Co-Head of Day Auction
Specialist
Head of First Open/LDN
Specialist
Amanda Lo Iacono
Jacob Uecker
Alexandra Werner
Alessandro Diotallevi
Paola Saracino Fendi
Zo Klemme
Associate Specialist
Junior Specialist
Junior Specialist
Junior Specialist
Junior Specialist
LONDON
247

AMERICAS
248
Loic Gouzer
Barrett White
Andrew Massad
Jonathan Laib
Martha Baer
International Director
International Specialist
International Specialist
Ingrid Dudek
Koji Inoue
Sara Friedlander
Jennifer Yum
Saara Pritchard
Senior Specialist
Specialist
Specialist
Specialist
Specialist
Lisa Layfer
Xan Serafin
Ana Maria Celis
Michael Gumener
Amelia Manderscheid
Specialist
Sales Director
Specialist
Specialist
Specialist
Alexis Klein
Ed Tang
Edouard Benveniste
Joanna Szymkowiak
Kevie Yang
Specialist
Specialist
Specialist

INTERNATIONAL SPECIALIST DIRECTORY
AMERICAS
New York
Martha Baer
+1 917 912 5426
mbaer@christies.com
Edouard Benveniste
+1 212 974 4549
ebenveniste@christies.com
Ana Maria Celis
+1 212 641 5774
acelis@christies.com
Ingrid Dudek
+1 212 468 7133
idudek@christies.com
Kristen Force
+1 212 492 5479
kforce@christies.com
Sara Friedlander
+1 212 641 7554
sfriedlander@christies.com
Brett Gorvy
+1 212 636 2342
bgorvy@christies.com
Loic Gouzer
+1 212 636 2248
lgouzer@christies.com
Michael Gumener
+1 212 636 2174
mgumener@christies.com
Laura Hosfield
+1 212 636 2106
lhosfield@christies.com
Koji Inoue
+1 212 636 2159
kinoue@christies.com
Alexis Klein
+1 212 641 3741
aklein@christies.com
Jonathan Laib
+1 212 636 2101
jlaib@christies.com
Lisa Layfer
+1 212 636 2103
lblayfer@christies.com
Amelia Manderscheid
+1 212 468 7113
amanderscheid@christies.
com
Robert Manley
+ 1 212 636 2381
rmanley@christies.com
Andy Massad
+1 212 636 2104
amassad@christies.com
Laura Paulson
+1 212 636 2134
lpaulson@christies.com
Saara Pritchard
+1 212 468 7104
spritchard@christies.com
Xan Serafin
+1 212 636 2454
xserafin@christies.com
Therese Stark
+1 212 636 2927
tstark@christies.com
Joanna Szymkowiak
+1 212 974 4440
jszymkowiak@christies.com
Edward Tang
+1 212 468 7177
edtang@christies.com
Harrison Tenzer
+1 212 468 7154
htenzer@christies.com
Han-I Wang
+1 212 484 4835
hwang@christies.com
Barrett White
+1 212 636 2151
bwhite@christies.com
Kevie Yang
+1 212 468 7136
kyang@christies.com
Jennifer Yum
+1 212 468 7123
jyum@christies.com
Alice de Roquemaurel
+44 20 7389 2049
aderoquemaurel@christies.
com
Jacob Uecker
+44 20 7389 2400
juecker@christies.com
Alexandra Werner
+44 207 389 2713
awerner@christies.com
Rosanna Widen
+44 20 7389 2187
rwiden@christies.com
Italy
Mariolina Bassetti
+39 06 686 3330
mbassetti@christies.com
Barbara Guidotti
+39 02 3032 8333
bguidotti@christies.com
Renato Pennisi
+39 06 686 3332
rpennisi@christies.com
Elena Zaccarelli
+39 02 303 28332
ezaccarelli@christies.com
Malaysia
Lim Meng Hong
+603 6207 9230
mlim@christies.com
South Kensington
Bianca Chu
+44 20 7389 2502
bchu@christies.com
Zoe Klemme
+44 20 7389 2249
zklemme@christies.com
Taiwan
Ada Ong
+886 2 2736 3356
aong@christies.com
EUROPE
London
King Street
Cristian Albu
+44 20 7752 3006
calbu@christies.com
Dina Amin
+44 20 7389 2921
damin@christies.com
Katharine Arnold
+44 20 7389 2024
karnold@christies.com
Tom Best
+44 20 7752 3218
tbest@christies.com
Alessandro Diotallevi
+44 20 7389 2954
adiotallevi@christies.com
Paola Saracino Fendi
+44 207 389 2796
pfendi@christies.com
Edmond Francey
+33 1 40 76 84 25
efrancey@christies.com
Leonie Grainger
+44 20 7389 2946
lgrainger@christies.com
Darren Leak
+44 20 7389 2025
dleak@christies.com
Amanda Lo Iacono
+4 20 7389 5207
aloiacono@christies.com
Leonie Moschner
+44 20 7389 2012
lmoschner@christies.com
Beatriz Ordovas
+44 20 7389 2920
bordovas@christies.com
Francis Outred
+44 20 7389 2270
foutred@christies.com
Belgium
Marianne Hoet, Brussels
+32 2 289 13 39
mhoet@christies.com
Netherlands
Peter van der Graaf,
Amsterdam
+31 20 575 52 74
pvanderGraaf@christies.com
Jetske Homan van der Heide
+31 20 575 5287
jhoman@christies.com
Elvira Jansen, Amsterdam
+31 20 575 5286
ejansen@christies.com
Nina Kretzschmar,
Amsterdam
+49 17 076 958 90
nkretzschmar@christies.com
Austria
Angela Baillou
+43 1 583 88 12 14
abaillou@christies.com
France
Laetitia Bauduin
+33 1 40 76 85 95
lbauduin@christies.com
Christophe Durand-Ruel
+33 1 40 76 85 79
CDurand-Ruel@christies.
com
Edmond Francey
+33 1 40 76 84 25
efrancey@christies.com
Paul Nyzam
+33 1 40 76 84 15
pnyzam@christies.com
Etienne Sallon
+33 1 40 76 86 03
esallon@christies.com
Germany
Nina Kretzschmar, Cologne
+49 17 076 958 90
nkretzschmar@christies.com
Jutta Nixdorf
+41 44 268 10 10
jnixdorf@christies.com
Christiane Rantzau,
Hamburg
+49 40 279 4073
crantzau@christies.com
Herrad Schorn, Dusseldorf
+49 211 491 59311
hschorn@christies.com
Eva Schweizer, Stuttgart
+49 711 226 9699
eschweizer@christies.com
Arno Verkade
+49 211 491 59313
averkade@christies.com
Spain
Guillermo Cid, Madrid
+34 91 532 66 27
gcid@christies.com
Switzerland
Eveline de Proyart, Geneva
+41 22 319 17 50
edeproyart@christies.com
Rene Lahn
+41 44 268 10 21
rlahn@christies.com
Anne Lamuniere
+41 22 319 17 10
alamuniere@christies.com
Jutta Nixdorf
+41 44 268 10 10
jnixdorf@christies.com
ASIA
Hong Kong
Elaine Holt
+852 2978 6787
eholt@christies.com
Jane Yoon
+852 2978 9997
jyoon@christies.com
India
Nishad Avari
+91 22 2280 7905
navari@christies.com
Indonesia
Charmie Hamami
+62 21 7278 6268
chamami@christies.com
Japan
Ryutaro Katayama
+81-3-6267-1771
rkatayama@christies.com
Singapore
Tang Wen Li
+65 6235 3828
wtang@christies.com
South Korea
Hye-Kyung Bae
+82 2 720 5260
hkbae@christies.com
REST OF WORLD
Argentina
Cristina Carlisle
+54 11 4393 4222
ccarlisle@christies.com
Australia
Ronan Sulich
+61 2 9326 1422
rsulich@christies.com
Brazil
Candida Sodre
+55 21 2225 6553
csodre@christies.com
Nathalia Lenci
+55 11 3061-2576
nlenci@christies.com
Chile
Elaine Holt
+852 2978 6787
eholt@christies.com
Israel
Roni Gilat-Baharaff
+972 3 695 0695
rgilat-baharaff@christies.
com
Mexico City
Gabriela Lobo
+52 55 5281 5446
globo@christies.com
Russia
Guy Vesey
+7 495 937 6364
gvesy@christies.com
United Arab Emirates
Hala Khayat, Dubai
+971 4425 5647
hkhayat@christies.com
Masa Al-Kutoubi, Dubai
+971 4 425 5647
mal-kutoubi@christies.com
Bibi Naz Zavieh, Dubai
+ 971 4425 5647
bzavieh@christies.com
249
29 January to
18 April 2015
Christies Mayfair
103 New Bond Street
London W1S 1ST
250
Contact:
+44 (0)20 7389 2400
juecker@christies.com
dleak@christies.com
Modern & Contemporary Arab,

Iranian & Turkish Art
Dubai 18 March 2015
Viewing
Contact
15-18 March 2015

Jumeirah Emirates Towers Hotel,
Godolphin Ballroom
Bibi Naz Zavieh

bzavieh@christies.com
+971(0) 56 69 65 876
MURAT PULAT (TURKISH, B. 1978)

Untitled
oil on canvas 70 x 70in. (180 x 180cm.)
Painted in 2014
$18,000 22,000
251
Modern British and Irish Art Day Sale

Invitation to consign: closing date for entries 15 April 2015
London, King Street 23 June 2015
Viewing
Contact
18-22 June 2015

8 King Street, St. Jamess,
London SW1Y 6QT
Pippa Jacomb
pjacomb@christies.com
+44 (0)20 7389 2293
LEON KOSSOFF (B. 1926)

Outside Kilburn Underground, 1976
charcoal on paper
17 x 26 in. (44.5 x 67.5 cm.)
30,00050,000
The Collection of
Robert Hatfeld Ellsworth
Christies is honoured to present the collection of this distinguished
American scholar, dealer, and collector whose groundbreaking work
transformed the study and appreciation of Asian art.
Featuring ancient bronzes, Ming furniture, fne jade, modern Chinese
paintings, and Himalayan, Indian and Southeast Asian works of
art in addition to important English furniture, fne art, silver, and
decorative arts this exceptional selection of works is recognised as
one of the worlds greatest collections.
Auctions in New York
Online Auctions
Viewing
Contact
1720 March 2015
Beginning 18 March
1118 March
20 Rockefeller Plaza
New York, NY 10020
Gemma Sudlow
ellsworth@christies.com
+1 212 636 2000
christies.com/ellsworth
253
MARC QUINN
First Open / NY
New York 6 March 2015
Viewing
Contact
28 February - 3 March
20 Rockefeller Plaza
New York, NY 10020
Ed Tang
edtang@christies.com
+1 212 636 2100
MARC QUINN (B. 1964)

Byzantium
painted bronze
64 x 29 x 36 in. (162.5 x 75.5 x 91.4 cm.)
Executed in 2008. This work is number three from an edition of three
$200,000300,000
Post War and Contemporary Art Sale

Amsterdam 14 and 15 April 2015
Viewing
Contact
10-13 April 2015

Cornelis Schuytstraat 57
1071 JG Amsterdam
Peter van der Graaf

pvandergraaf@christies.com
+31 (0)20 575 59 57

Rasterbild
signed and dated OPiene 59 (on the overlap)
oil on canvas
70 x 96 cm.
Painted in 1959
120,000-180,000
255
PAULA REGO (B. 1935)

Secrets and Stories
etching and aquatint, 1989, signed and numbered 18/50, published by the artist and Marlborough Graphics, London
Image: 333 x 516 mm., Sheet: 565 x 765 mm
1,200-1,800
Paula Rego: Thirty Years of Print

Online Only 1019 March 2015
Contact
Lucia Tro Santaf
ltrosantafe@christies.com
+44 (0) 20 7389 2472
christies.com
WORLDWIDE SALEROOMS AND OFFICES

AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 8812

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+91 (98) 1032 2399

Sanjay Sharma
SPAIN
BARCELONA
NORTH
ISRAEL
TEL AVIV
+34 (0)93 487 8259

Carmen Schjaer
+44 (0)20 7752 3004

Thomas Scott
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
SOUTH
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
+44 (0)1730 814 300

Mark Wrey
EAST
SWEDEN
STOCKHOLM
+44 (0)20 7752 3004

Thomas Scott
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhl&n
(Consultant)
NORTHWEST AND
WALES
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
Business Development
Director
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+33 (0)1 40 76 85 85
+31 (0)20 57 55 255
GERMANY
DSSELDORF
PEOPLES REPUBLIC
OF CHINA
BEIJING
+49 (0)21 14 91 59 30
Arno Verkade
+86 (0)10 8572 7900
FRANKFURT
HONG KONG
+49 (0)173 317 3975

Anja Schaller
(Consultant)
SHANGHAI
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
+852 2760 1766

+86 86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+41 (0)44 268 1010

Dr. Bertold Mueller
TURKEY
ISTANBUL
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI
+971 (0)4 425 5647
+44 (0)20 7839 9060
+44 (0)20 7930 6074
+44 (0)20 7752 3004

Jane Blood
SCOTLAND
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032

CHANNEL ISLANDS
+44 (0)1534 485 988

Melissa Bonn
IRELAND
+353 (0)59 86 24996

Christine Ryall
UNITED STATES
NEW YORK
+1 212 636 2000
+351 919 317 233

Mafalda Pereira
Coutinho
(Independent
Consultant)
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
E NQ UI RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com
E MA I L info@christies.com
23/01/15
FIrsT oPen / Ldn

Thursday 26 March 2015 at 1.00 pm
85 Old Brompton Road, London SW7 3LD
Code Name: PANANG
Sale number: 10420
(Dealers billing name and address must agree with tax exemption
certificate. Once issued, we cannot change the buyers name on an
invoice or re-issue the invoice in a different name.)
BID ONLINE FOR THIS SALE

AT CHRISTIES.COM
ABSENTEE BIDS FORM

Christies South Kensington
Written bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. If you have not received
confirmation within one business day, please contact the Bid Department.
Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com
10420
Client Number (if applicable)
Sale Number
Billing Name (please print)
BIDDING INCREMENTS
Bidding generally starts below the low estimate and increases in steps
(bid increments) of up to 10 per cent. The auctioneer will decide where
the bidding should start and the bid increments. Written bids that do
not conform to the increments set below may be lowered to the next
bidding interval.
UK50 to UK 1,000
UK1,000 to UK2,000
UK2,000 to UK3,000
UK3,000 to UK5,000
UK5,000 to UK10,000
UK10,000 to UK20,000
UK20,000 to UK30,000
UK30,000 to UK50,000
UK50,000 to UK100,000
UK100,000 to UK120,000
Above UK200,000
by UK50s
by UK100s
by UK200s
by UK200, 500, 800
(eg UK4,200, 4,500, 4,800)
by UK500s
by UK1,000s
by UK2,000s
by UK2,000, 5,000, 8,000
(eg UK32,200, 35,000,
38,000)
by UK5,000s
by UK10,000s
at auctioneers discretion
The auctioneer may vary the increments during the course

of the auction at his or her own discretion.
1. I request Christies to bid on the stated lots up to the
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful, the amount
payable will be the sum of the hammer price and the
buyers premium (together with any taxes chargeable on
the hammer price and buyers premium and any applicable
Artists Resale Royalty in accordance with the Conditions
of Sale). The buyers premium rate shall be an amount
equal to 25% of the hammer price of each lot up to and
including 50,000, 20% on any amount over 50,000 up
to and including 1,000,000 and 12% of the amount above
1,000,000. For wine and cigars there is a flat rate of 17.5%
of the hammer price of each lot sold.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
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30.01.15
259
POST-WAR & CONTEMPORARY

Works by 20th century artists from 1945 through to the present day including CoBrA, Art informel, Abstract Expressionism,
Pop Art, Nouveau Ralisme, German Figuration, minimalism,
Photorealism, Conceptualism, Arte Povera and Installation Art.
expert knowledge beautifully presented
Code
A237
D147
L347
M200
N347
P347
K234
Subscription Title
Post-War & Contemporary
Post War and Contemporary Art
Modern and Contemporary Arab,
Iranian and Turkish Art
Post War and Contemporary Art (including Italian Art)
Modern and Contemporary Art
Location
Issues
UKPrice
US$Price
EURPrice
Amsterdam
Dubai
2
2
27
70
44
114
40
106
King Street
Milan
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South Kensington
7
1
8
8
2
200
13
281
38
29
333
22
456
61
48
306
20
426
57
44
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29/01/15
/ INDEX
A
Aguayo, F., 183

Aitken, D., 137, 138
Allen, P., 182
Amaral, A.H., 184
Amm, M., 28, 79
Appel, H., 95
Appel, K., 67
Arman, 72
Armleder, J., 32
Auerbach, T., 6
Dalwood, D., 16,146

Day Jackson, M., 113
de Kooning, W., 19
de Saint Phalle, N., 68
Dean, T., 121
Deshayes, N., 8
Divola, J., 51
Kaeley, S., 1
Kapoor, A., 157
Kawara, O., 41
Khan, I., 54
Kim, T. Y., 25
Kippenberger, M., 36
Klein, Y., 64
Knoebel, I., 53
Koons, J., 188
Krner, J., 147
Kowski, U., 164
Krten, S., 148
Kusama, Y., 21, 22
Quabeck, C., 170

Quinn, M., 125
B
Balmforth, J., 97
Banner, F., 130
Barcel, M., 77
Barlow, P., 124
Baselitz, G., 38, 40
Baudenbacher, F., 102
Bauer, M., 143
Beasley, B., 84
Bernhardt, K., 111
Betbeze, A., 87
Beuys, J., 42
Bircken, A., 88
Bohl, H., 145
Borremans, M., 74
Brown, G., 122
Burri, A., 73
Buthe, M., Katase, K.,
Muoz, J., Nauman, B.,
Nevalainen, P., West F., 48
C
Calder, A., 20
Cano, J-M., 165
Cantor, M., 91
Cavaino, E., 159
Csar, 63
Chapman, J. & D.,
126,127
Chivers, M., 194
Christopher, A., 192, 193
Clav, A., 75
Condo, G., 190
Cook, E., 27
Cooke, N., 118
Crewdson, G.,136
Curry, A., 176
E
Echakhch, L., 96
Eisner, L., 29
Ekblad, I., 5
Eliasson, O., 140, 141
Estve, M., 66
F
Falls, S., 9
Fetting, R., 169
Frg, G., 59, 60
Francis, S., 61, 62
Fullerton, M., 128
G
Genzken, I., 39
Gerhard, T., 187
Gillick, L., 119
Goepfert, H., 55
Gormley, A., 156
Graham, D., 52
Grosse, K., 173
H
Hatfull, N., 12, 144
Hefti, R., 30
Hendy, B., 195
Hildebrandt, G., 86
Hirst, D., 120
Horn, R., 116, 117
Houshiary, S., 83
Howard, R., 112
Huws, B., 2
I
Immendorf, J., 37
Innes, C., 82
Ito, P., 4
J
Jane, X., 31
Joffe, C., 108
L
Lassry, E., 10, 11
Lee, U., 23, 24
Lewitt, S., 47
Lika, R., 98
Lowman, N., 177
Lucas, S., 131
Lynch, B., 7
M
Maciejowski, M., 163
Martin, J., 175
Matta, 153
McCollum, A., 43,44
McKenzie, L., 15, 129
Meese, J., 150. 151, 152
Melgaard, B., 149
Merris, J., 99
Merz, M., 71
Millares, M., 69, 70
Moffatt, T., 132
Morellet, F., 56
Mosley, R., 181
Muniz, V., 185
O
Olson, M., 100
Orozco, G., 92
Ostoya, A., 81
Oursler, T., 142
P
Penone, G., 158
Pepperstein, P., 162
Pettibon, R., 114
Piene, O., 57, 58
Pierson, J., 172
Pistoletto, M., 160
Poliakoff, S., 65
R
Rackowe, N., 104
Ratcliff, D., 191
Reyle, A., 174
Richter, G., 33, 34 35
Rink, O., 101
Ritson, B., 171
Rogalski, Z., 161
Rollins, T., 45
Rosa, C., 85
Ruppersberg, A., 49
S
Sala, A., 93, 94
Salle, D., 166
Saraceno, T., 139
Scheibitz, T., 189
Sherman, C., 107
Skreber, D., 186
Smith, Z., 178
Staniak, M., 3
Steckholzer, M., 133,134
Sturtevant, E., 17
Sugimoto, H., 135
T
Takis, 78,168
Tpies, A., 76,154.155
Taylor, A.,46
Tharp, S., 13
Tillmans, W., 89, 90, 109
U
Unwin, P., 179, 180
V
Vrslev, F., 26
Van Woert, N., 115
Vena, N., 80
W
Warhol, A., 18
Waters, J., 50
Wesselmann, T., 167
Wyn Evans, C., 105, 106
Y
Yiadom-Boakye, L., 110
Z
Ziegler, T., 14
Zimmer, M., 103

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POST-WAR AND CONTEMPORARY ART

Thursday 26 March 2015

Thursday 26 March 2015

Tom Best, Will Porter

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POST-WAR AND CONTEMPORARY ART

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No part of this catalogue may be reproduced,

SACHIN KAELEY (B. 1982)

Seventeen Gallery, London.

signed and dated Sachin Kaeley 2011 (on the reverse)

BETHAN HUWS (B. 1961)

Untitled (Social Problems within the Art World)

Yvon Lambert, Paris.

signed, inscribed, numbered and dated

MICHAEL STANIAK (B. 1982)

Judith Charles Gallery, New York.

signed and dated MICHAEL STANIAK 2013

PARKER ITO (B. 1986)

Private Collection, New York.

IDA EKBLAD (B. 1980)

Galerie Giti Nourbakhsch, Berlin.

signed with the artists initials I.E (lower right)

With its whirling composition of abstract

London, Saatchi Gallery, Gesamtkunstwerk: New Art

TAUBA AUERBACH (B. 1981)

Bergen Kunsthall, Bergen.

PROPERTY OF A PRIVATE COLLECTOR

BRENDAN LYNCH (B. 1985)

spray enamel, acrylic, graphite, aluminum leaf, sand

Venice, Workshop, The Still House Group, Capiche?, 2012.

NICOLAS DESHAYES (B. 1983)

Jonathan Viner, London.

vacuum formed plastic in aluminium frame

London, Jonathan Viner, Browns in Full Colour, 2012.

Across an anodised surface of

activity of the metal rather than the

SAM FALLS (B. 1984)

Hannah Hoffman Gallery, Los Angeles.

Untitled (Palms, Green)

ELAD LASSRY (B. 1977)

Galerie Francesca Pia, Zurich.

Zurich, Galerie Francesca Pia, Elad Lassry, 2011.

The pictures Im making are ones

ELAD LASSRY (B. 1977)

David Kordansky Gallery, Los Angeles.

London, Pace Gallery, Todays Specials, 2014.

NICHOLAS HATFULL (B. 1984)