cont2 ny nov final

contemporary art 12 &13 november 2 0 09 new york

PART IICONTEMPORARY ART

13 NOVEMBER 2 0 0 9 10 am & 2pm NEW YORK

LOTS 101-364

Viewing

Saturday 7 November 10am 6pm

Sunday 8 November 12pm 6pm

Monday 9 November 10am 6pm

Tuesday 10 November 10am 6pm

Wednesday 11 November 10am 6pm

Thursday 12 November 10am 12pm

SESSION I 10 am Lots 101-245

101 IVN NAVARRO b. 1972Large Wall Hole, 2004

Fluorescent light tubes and fixtures, mirrors and painted wooden frame. 54 x 54

1/8 x 3 1/8 in. (137.2 x 137.5 x 7.9 cm). This work is from an edition of three plus one

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

Estimate $10 , 0 0 0 -15 , 0 0 0

PROVENANCE Roebling Hall, New York

EXHIBITED Hartford (Connecticut), 960 Main Street, exh.05.05.06103, October 14 -

December 5, 2005

102 STERLING RUBY b. 1972Untitled, 2006

Glazed ceramic. 8 1/2 x 17 1/2 x 11 in. (21.6 x 44.5 x 27.9 cm). Inscribed SR 06 on

the underside.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Private Collection

103 MARK GROTJAHN b. 1968Untitled (colored rainbow in black flower), 2004

Colored pencil and graphite on paper. 23 7/8 x 19 in. (60.6 x 48.3 cm). Signed,

titled and dated Mark Grotjahn Untitled colored rainbow in black flower 2004 on

paper affixed to the reverse.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Blum & Poe, Los Angeles

104 JOHN ARMLEDER b. 1948J Painting, 2005

Acrylic, gesso, vinylique gouache and graphite on canvas. 24 1/8 x 24 1/8 in.

(61.3 x 61.3 cm). Signed, titled and dated John Armleder J Painting 2005 on

the overlap.

Estimate $10 , 0 0 0 -15 , 0 0 0

PROVENANCE World House Gallery, Middlebury (Connecticut)

This work is from the artists ongoing Dot Painting series. J Painting is

one of only two white on white dot paintings smaller than a meter

square that the artist has ever created.

105 JOHN McCRACKEN b. 1934Molecule, 1994

Polyester resin and fiberglass on plywood. 14 1/4 x 15 7/8 x 16 in. (36.2 x 40.3 x 40.6 cm).

Inscribed JMcCracken Molecule 1994 on the underside.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Acquired directly from the artist

10 6 DASH SNOW 1981 - 2009EAT SHIT AND DIE, 2005

Fujichrome Crystal Archive print mounted on Plexiglas, found chair and vintage

record player, US dollar bill, plastic mask, adhesive, cocaine and mirror.

45 3/4 x 33 1/2 x 19 1/2 in. (116.2 x 85.1 x 49.5 cm) as installed.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Rivington Arms, New York

EXHIBITED New York, Whitney Museum of American Art, Whitney Biennial 2006: Day

for Night, March 2 - May 28, 2006; Portland Arts Center, The Inside Game-a selection from

PDX art collections, September 7 - October 1, 2006

LITERATURE W. Sherman, Dash Snows Creative Universe, Animal (online content),

July 14, 2009 (illustrated); A. Goldstein, M. Hoskins, Dash Snow, Art We Love (online content),

August 5, 2009

107 MATTHEW BARNEY b. 1967Cremaster 4: Loughton Ram, 1994

C-print in the artists self-lubricating plastic frame. 33 1/2 x 23 1/2 x 1 1/2 in.

(85.1 x 59.7 x 3.8 cm). Signed Matthew Barney on the reverse. This work is from

an edition of six plus one artists proof.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

PROVENANCE Regen Projects, Los Angeles; Collection Lambert, Geneva

EXHIBITED New York, Whitney Museum of American Art, 1995 Biennial Exhibition, March

15 - June 25, 1995 (another example exhibited); Rotterdam, Museum Boijmans Van

Beuningen, October 21, 1995 - January 1, 1996; Bordeaux, Muse dArt Contemporain,

January 26 - April 8, 1996; Kunsthalle Bern, Matthew Barney: PACE CAR for the HUBRIS PILL,

May 17 - June 23, 1996 (another example exhibited); Munich, Sammlung Goetz, Matthew

Barney-Tony Oursler-Jeff Wall, July 22, 1996 - January 31, 1997 (another example exhibited);

Deichtorhallen Hamburg, Emotion: Young British and American Art from the Goetz Collection,

October 30 - January 17, 1999 (another example exhibited); Skovvej (Denmark), Arken,

Museum for Moderne Kunst, June 3 - September 3, 2000; Sydney, Museum of

Contemporary Art, Veronicas Revenge, November 16, 2000 - March 4, 2001; Cologne,

Museum Ludwig, June 6 - September 1, 2002; Muse dArt Moderne de la Ville de Paris,

October 10, 2002 - January 5, 2003; New York, Solomon R. Guggenheim Museum, Matthew

Barney: The CREMASTER Cycle, February 21 - June 4, 2003 (another example exhibited)

LITERATURE M. Arzenton, ed., Matthew Barney Cremaster 4, Cologne, 1995, n.p.

(illustrated); N. Wakefield, R. Flood, Matthew Barney: PACE CAR for the HUBRIS PILL,

Rotterdam, 1995, n.p. (illustrated); I. Goetz, C. Meyer-Stoll, Matthew Barney-Tony

Oursler-Jeff Wall, Hamburg, 1996, p. 18 (illustrated); Z. Felix, A. Sievert, Emotion: Young

British and American Art from the Goetz Collection, Ostfildern-Ruit, 1998, p. 95 (illustrated);

N. Spector, Matthew Barney: The Cremaster Cycle, New York, 2003, p. 331 (illustrated)

108 SHARON CORE b. 1965Cream Soups, 2003

C-print mounted to aluminum with Plexiglas face. 29 3/4 x 37 in. (75.6 x 94 cm).

This work is from an edition of five.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

PROVENANCE Bellwether Gallery, New York

EXHIBITED New York, Bellwether Gallery, Thiebauds, February 13, 2004 - March 22, 2004

LITERATURE K. Johnson, Sharon Core Thiebauds, The New York Times, March 5,

2004; C. Howard, Thiebauds Bellwether, The Brooklyn Rail (online content), March 2004

109 JIM LAMBIE b. 1964Breakdown, 2001

Vinyl record with yarn and glue. 12 in. (30.5 cm) diameter. This work is accompanied

by a certificate of authenticity signed by the artist.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

PROVENANCE Jack Hanley Gallery , San Francisco

EXHIBITED San Francisco, Jack Hanley Gallery, Blank Generation, March 1 - 31, 2001

(Reverse)

110 GREGORY CREWDSON b. 1962Untitled (butterflies and ball of larvae), 1990

C-print. 19 7/8 x 24 in. (50.5 x 61 cm) paper size. Signed Gregory Crewdson and

numbered of 10 on the reverse. This work is from an edition of 10.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Blum Helman Warehouse, New York

111 DAVID LACHAPELLE b. 1964Cathedral, 2007

C-print. 23 3/4 x 31 5/8 in. (60.3 x 80.3 cm). Signed David LaChapelle on a

label adhered to the reverse. This work is from an edition of 10.

Estimate $12 , 0 0 0 -18 , 0 0 0

PROVENANCE Tony Shafrazi Gallery, New York

EXHIBITED New York, Tony Shafrazi Gallery, David LaChapelle: Awakened, February 24

- August 3, 2007 (another example exhibited)

LITERATURE M. Barone, David LaChapelle, Artnet Magazine (online content), March

3, 2007 (illustrated); S. Kessler, David LaChapelle: Renaissance Man, Whitewall, Issue

15, Fall 2009, p. 95 (illustrated)

112 GERHARD RICHTER b. 1932Untitled (20.2.96), 1996

Oil on color photograph. 4 x 6 in. (10.2 x 15.2 cm). Signed and dated

20.2.96-Richter lower right and again on the reverse of the backing board.

Estimate $12 , 0 0 0 -18 , 0 0 0

PROVENANCE Wako Works of Art, Tokyo; Barbara Mathes Gallery, New York;

Private Collection

113 LOUISE LAWLER b. 1947Untitled (1950-51), 1987

Cibachrome. 29 1/8 x 39 in. (74 x 99.1 cm). Signed Louise A. Lawler on a label

adhered to the reverse. This work is from an edition of five.

Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Metro Pictures, New York; Yvon Lambert, Paris; Galera Pepe Cobo, Sevilla

EXHIBITED Kassel, documenta 12, June 16 - September 23, 2007 (another example exhibited)

LITERATURE L. Lawler, Louise Lawler: An Arrangement of Pictures, New York, 2000, n.p.

(illustrated); H.J. Hafner, Nicht Formlos Kontingent, Artnet Magazine (online content,

German edition), July 23, 2007 (illustrated)

114 ANSELM REYLE b. 1970Untitled, 2007

Acrylic and silver PVC foil on canvas in Plexiglas box. 28 x 23 5/8 x 4 3/4 in.

(71.1 x 60 x 12.1 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

PROVENANCE Galerie Almine Rech, Paris

115 ROSEMARIE TROCKEL b. 1952Less Savage Than Others, 1989

Felt and cardboard stapled over wooden plinth (in two parts). 44 1/4 x 13 7/8 x

15 1/4 in. (112.4 x 35.2 x 38.7 cm). Signed and dated RTrockel 89 on the top of

plinth. This work is unique.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

PROVENANCE Barbara Gladstone Gallery, New York

LITERATURE S. Stich, ed., Rosemarie Trockel, Munich, 1991, p. 96, no. 4 (illustrated)

116 SUE WILLIAMS b. 1954The Gaze (Grey), 1995

Acrylic on canvas. 84 x 72 in. (213.4 x 182.9 cm). Signed and dated Sue Williams 95

on the reverse.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE 303 Gallery, New York; Private collection, Geneva

117 MIKE KELLEY b. 1954Katy Keene Drawings/Cal Living (n.11), 2000

Ink on paper. 19 x 24 in. (48.3 x 61 cm). Signed and dated M. Kelley 2000 on

the reverse.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

PROVENANCE Galleria Emi Fontana, Milan

119 PAUL RUSCONI b. 1965Barack Obama, 2008

Digital screen inks on Plexiglas with c-print mounted to Sintra in the artists

wooden frame. 48 1/2 x 62 in. (132.2 x 157.5 cm). Artists blindstamp on metallic

label adhered to the reverse. This work is unique.

Estimate $ 5 , 0 0 0 -7, 0 0 0


118 RAYMOND PETTIBON b. 1957No Title (Monica does her...), 1999

Ink and graphite on paper. 8 7/8 x 10 in. (22.5 x 25.4 cm). Signed and dated

Raymond Pettibon 99 on the reverse.

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE David Zwirner, New York

118

119

120 MIKE KELLEY b. 1954Black Garbage (Grassy Island, [Canadian]); White Garbage (Bob Lo Island), 2001

Diptych: two cibachrome prints mounted on board. 71 3/4 x 48 in. (182.2 x 121.9 cm)

each. Each signed M. Kelley on a label adhered to the reverse. This work is

from an edition of five.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

PROVENANCE Patrick Painter Editions, Hong Kong

121 CARL ANDRE b. 1935AL 4 Blocks, 2008

Aluminum (in four parts). 2 x 7 5/8 x 4 in. (5.1 x 19.4 x 10.2 cm) each; 2 x 15 1/4 x 8 in.

(5.1 x 38.7 x 20.3 cm) overall. This work is accompanied by a certificate of authenticity

signed by the artist.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE RULE Gallery, Denver; Private collection, St. Louis

122 GEORGE RICKEY 1907 - 2002Inverted Column, 1966

Stainless steel kinetic sculpture. 36 x 6 x 12 in. (91.4 x 15.2 x 30.5 cm). Inscribed

Rickey 1966 on the wall mount; titled Inverted Column on the reverse of the

wall mount. This work is unique.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Maxwell Davidson Gallery, New York

LITERATURE M. Davidson III, George Rickey: The Early Years, New York, 2004,

p. 209 (illustrated)

123 TERENCE KOH b. 1977The Golden Balls of my Youth, 2007

Bronze, 24 karat gold plating and wire. 10 7/8 x 9 5/8 x 5 1/2 in. (27.6 x 24.4 x 14 cm).

This work is from an edition of five plus two artists proofs.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Peres Projects, Berlin

124 JIM HODGES b. 1957Another Day, 2004

23 karat gold on cut paper. 15 x 22 1/2 in. (38.1 x 57.2 cm). Signed, titled and dated

J. Hodges Another Day 2004 on the reverse.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0

PROVENANCE Stephen Friedman Gallery, London

125 KAREN KILIMNIK b. 1955The cult of Isis at Chateau Beaufort north of Paris, 1999

Water soluble oil on canvas. 8 x 10 in. (20.3 x 25.4 cm). Signed, titled and dated

Karen Kilimnik June 10 99 July 16 99 The cult of Isis at Chateau Beaufort north

of Paris on the reverse.

Estimate $18 , 0 0 0 - 2 5 , 0 0 0

PROVENANCE Emily Tsingou Gallery, London

EXHIBITED London, Emily Tsingou Gallery, Karen Kilimnik, November 2 - December 20, 2000

LITERATURE K. Kilimnik, Karen Kilimnik Paintings, Zurich, 2001, pp. 148 and 149 (illustrated)

126 WILLIAM KENTRIDGE b. 1955 Untitled (from Sleeping on Glass), 1999

Charcoal, colored pencil and graphite on paper. 47 1/2 x 62 7/8 in. (120.7 x 159.7 cm)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

PROVENANCE Goodman Gallery, Johannesburg; Private collection, USA

127 TONY CRAGG b. 1949Yellow Axe, 1981

Installation comprised of 63 found yellow plastic objects. 12 1/4 x 55 x 65 in.

(31.1 x 139.7 x 165.1 cm) as installed. This work is accompanied by an artist-

designed installation template.

Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Marisa del Re Gallery, New York

128 PETER HALLEY b. 1953Untitled, 2004

Acrylic, Day-Glo acrylic, and Roll-a-Tex on canvas (in three parts).

70 1/4 x 45 1/8 x 3 3/4 in. (178.4 x 114.6 x 9.5 cm). Signed and dated Peter Halley

2004 on the reverse.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

PROVENANCE Galerie Thaddaeus Ropac, Paris

129 DAMIEN HIRST b. 1965Untitled (Spin Drawing), 2003

Pastel, acrylic ink, wax pastel, glitter, felt-tip pen and colored pencil on paper.

30 x 22 in. (76.2 x 55.9 cm). Signed Damien Hirst lower right.

Estimate $18 , 0 0 0 - 2 2 , 0 0 0

PROVENANCE Gifted by the artist to the previous owner; Private collection, Los Angeles

130 PETER HALLEY b. 1953Adapter, 1998

Acrylic, metallic acrylic paint and Roll-a-Tex on canvas (in two parts).

92 1/8 x 68 1/2 x 3 3/4 in. (234 x 174 x 9.5 cm) overall. Signed twice and dated

Peter Halley 1998 on the reverse.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0

PROVENANCE Mary Boone Gallery, New York

LITERATURE S. Kandel, T. Nichols, C. Reynolds and P. Halley, Peter Halley: Maintain

Speed, New York, 2000, p. 206 (illustrated)

131 TIM NOBLE & SUE WEBSTER b. 1966 and b. 1967A Fucking Beautiful Detail, 2000

Hot pink neon, hardware and transformer (in three parts). 19 1/2 x 47 1/2 x 1 1/2 in.

(49.5 x 120.7 x 3.8 cm). This work is from an edition of 10.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

PROVENANCE Modern Art, London

132 JULIAN OPIE b. 1958This is Shahnoza 39, 2006

Vinyl on wooden stretcher. 89 1/4 x 41 3/4 in. (226.7 x 106 cm). Signed

Julian Opie on the overlap.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0

PROVENANCE Barbara Krakow Gallery, Boston; Private Collection

133 CHUCK CLOSE b. 1940Self-Portrait, 2006

Jacquard tapestry with stainless steel brackets and rod. 99 1/2 x 77 x 3 1/2 in.

(252.7 x 195.6 x 8.9 cm). Signed Chuck Close on a label sewn to the reverse.

This work is a publishers proof from an edition of 10 plus three artists and three

publishers proofs.

Estimate $ 9 0 , 0 0 0 -12 0 , 0 0 0

PROVENANCE The Magnolia Tapestry Project, Oakland

For over thirty years, Chuck Closes face has emerged from tonal

grids of fingerprints, pointillist dots, brushstrokes, paper pulp and

countless other media. The inspiration for the present lot derives

from a series of daguerrotypes begun in the mid-1990s. The technique

draws its influence from two methods separated by nearly two hundred

years of art history- namely the 19th century photographic technique,

defined by its infinite detail and emotional resonance and the Magnolia

Tapestry Projects digitally-driven 21st century approach to weaving.

This newly developed technique, a result of experiments conducted

within the last decade, begins with the creation of a digital weave file

and is then sent to an electronic jacquard loom for fabrication. Unlike

traditional weaving, there is no cartoon or interpretation by weavers;

the loom is guided entirely by the digital file, meaning that the artists

intention is precisely realized with no mediation. The formidable

impact of Self-Portrait, with its crisp, animated detail and rich texture

allows the viewer to participate in a powerful somatic experience: a

wordless, intimate confrontation with a dedicated artistic pioneer.

134 ADAM FUSS b. 1961Untitled, 2003

Gelatin silver print photogram. 87 x 55 1/2 in. (221 x 141 cm). This work is unique.

Estimate $18 , 0 0 0 - 2 5 , 0 0 0

PROVENANCE Cheim & Read, New York

EXHIBITED New York, Cheim & Read, Adam Fuss: New Work, October 16 - November 15, 2003

135 CHRISTOPHER WOOL b. 1955Untitled, 1989

Enamel on paper. 35 3/8 x 26 in. (89.9 x 66 cm). Signed and dated Christopher

Wool 89 on the reverse.

Estimate $18 , 0 0 0 - 2 5 , 0 0 0

PROVENANCE Luhring Augustine, New York; Gagosian Gallery, London

136 JOHN WATERS b. 1946Playdate, 2006

Two figures comprised of silicone, human and synthetic hair, cotton flannel and

polar fleece. Installation dimensions variable. Jackson: 15 3/4 x 26 x 15 1/2 in.

(40 x 66 x 39.4 cm); Manson: 18 3/4 x 12 1/2 x 13 in. (47.6 x 31.8 x 33 cm). Signed and

titled John Waters Playdate and numbered of five on the reverse of the Manson

figure. This work is from an edition of five.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Marianne Boesky Gallery, New York

EXHIBITED New York, Marianne Boesky Gallery, John Waters: Unwatchable, April 21 -

May 20, 2006 (another example exhibited); Charlottesville, University of Virginia Art

Museum, Complicit! Contemporary American Art and Mass Culture, September 1 -

October 29, 2006 (another example exhibited); St. Louis, Laumeier Sculpture Park,

Artistically Incorrect: The Photographs and Sculptures of John Waters, October 11, 2008 -

January 11, 2009 (another example exhibited)

LITERATURE R.C. Baker, Laugh Till You Cry, The Village Voice, May 2, 2006; D. DArcy,

John Waters: Unwatchable, GreenCine, May 17, 2006 (illustrated); A.C. Robinson, John

Waters Unwatchable, Gay City News, Volume 5, Issue 18, May 4 - 10, 2006 (illustrated);

D. Bonetti, Camping it up with John Waters, STLtoday.com (online content), October 12,

2008 (illustrated); H. Barnes, John Waters still wants to shock, but affluence is good, too,

St. Louis Beacon, 2008 (illustrated); A. Goldstein, In Memoriam: A Retrospective of Michael

Jacksons Image in Contemporary Art, Art We Love (online content), June 26, 2009

John Waters, internationally-acclaimed director, filmmaker, entertainer

and artist brings to light his typical, quirky insight from his life in

entertainment in the present lot titled Playdate. Here Waters captures

an eerie, life-like rendering of the archetypal figures Michael Jackson

and Charles Manson. Informed from the artists everyday life, the

shrill dark satire exhibits itself as the viewer engages with the

characters significance as rather unusual playdates amongst the

well-heeled artworld.

137 KEITH TYSON b. 1969Oct. 2002 A Last Minute Problem...Recycling the Rubbish...(version 2), 2002 - 2007

Color Xerox, oil, watercolor and gouache on paper. 59 7/8 x 48 1/4 in. (152.1 x 122.6 cm).

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

PROVENANCE Haunch of Venison, London; PaceWildenstein, New York;

Private Collection

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

138 JASON RHOADES 1965 - 2006 Pink Lipped Custard Sucker, 2003

Neon mounted on dark red translucent Plexiglas with wire, string, lace and

transformer. 25 1/4 x 46 3/4 x 2 in. (64.1 x 118.7 x 5.1 cm).

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

PROVENANCE David Zwirner, New York

EXHIBITED New York, David Zwirner, Meccatuna, September 12 - October 25, 2003

139 STEVEN PARRINO 1958 - 2005Untitled for J.O., 1984

Acrylic and enamel on linen. 12 x 22 1/8 in. (30.5 x 56.2 cm). Titled and dated

Untitled for J.O 1984 on the reverse; stamped Steven Parrino on right turning edge.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0


140 MARILYN MINTER b. 1948 Goldi, 2004

C-print mounted on aluminum. 51 1/8 x 37 7/8 in. (130 x 96 cm.) This work is from

an edition of five and is accompanied by a certificate of authenticity.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

PROVENANCE Private collection, Europe

141 THOMAS RUFF b. 1958Nudes wh 20, 2001

C-print face-mounted to Diasec in the artists wooden frame. 55 x 1/4 x 43 3/8 in.

(139.7 x .6 x 110.2 cm). Signed, titled, dated Thomas Ruff wh 20 2001 and

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

artists proofs.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0

PROVENANCE David Zwirner, New York; Private collection, New York

LITERATURE M. Winzen, Thomas Ruff 1979 to the Present, Cologne, 2001, p. 241

(illustrated); T. Ruff, Thomas Ruff Nudes, New York, 2003, p. 7 (illustrated)

142 TONY OURSLER b. 1957Flower Power, 1987

Hand sewn fabric collage puppet on bamboo rod, DVD and DVD player, Sony

Data projector and plastic Kinetoscopes focusing device on an artist designed

custom-built painted wooden plinth. 60 3/4 x 16 x 24 in. (154.3 x 40.6 x 61 cm)

overall. Signed and dated Tony Oursler 93 on the reverse of the puppets head.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0


(Detail)

143 MATTHEW BARNEY b. 1967Cremaster 3: Basis Found, 2002

C-print in the artists acrylic frame. 53 3/8 x 43 3/8 in. (135.6 x 110.2 cm). Signed

and dated Matthew Barney 02 on the reverse. This work is from an edition of

six plus one artists proof.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0


LITERATURE N. Spector, ed., The Cremaster Cycle, New York, 2002, p. 512

144 JOSH SMITH b. 1976Untitled, 2005

Acrylic and newspaper collage on wooden panel. 60 x 48 in. (152.4 x 121.9 cm).

Signed and dated Josh Smith 2005 on the reverse.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Galerie Catherine Bastide, Brussels

145 JOSH SMITH b. 1976Untitled, 2007

Oil on canvas. 60 1/4 x 48 in. (153 x 121.9 cm). Signed and dated Josh Smith 2007

on the reverse.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE de Pury & Luxembourg, Zurich

146 RAYMOND PETTIBON b. 1957No Title (Hack Killecuda...), 1993

Ink and watercolor on paper. 19 1/2 x 15 in. (49.5 x 38.1 cm). Signed and dated


Estimate $12 , 0 0 0 -18 , 0 0 0


147 ROXY PAINE b. 1966Untitled (Craters), 1995

Bin primer, casein and graphite on paper. 19 x 23 3/4 in. (48.3 x 60.3 cm). Signed

and dated Roxy Paine 95 lower right.

Estimate $7, 0 0 0 - 9 , 0 0 0


146

147

148 FRANZ WEST b. 1947Untitled, 1989

McCallan single-malt whiskey glass bottle wrapped in papier-mch over metal

rod. 94 x 5 x 5 in. (238.8 x 12.7 x 12.7 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

PROVENANCE Andr Simoens Gallery, Knokke

EXHIBITED Nice, Villa Arson, Franz West, November 19, 1995 - January 14, 1996

149 AGNES MARTIN 1912 - 2004Untitled, 1995

Graphite, ink and watercolor on onion skin paper. 11 x 11 in. (27.9 x 27.9 cm).

Signed and dated a.martin 95 lower right.

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0

PROVENANCE PaceWildenstein, New York; Private collection, New York; Anthony

Meier, San Francisco; Hester van Roijen, London; Private collection, Massachusetts

EXHIBITED New York, PaceWildenstein, Agnes Martin New Drawings and Watercolors,

March 28 - April 27, 1996

The work of Agnes Martin can be characterized by wonderfully subtle

abstractions that, despite their mechanical nature, are intensely

poetic. In her grid drawings, Martin directly confronts her Minimalist

contemporaries through her trademark pattern by demanding long

meditative contemplation from her viewers regardless of the patterns

seemingly simple structure. This meditative experience is at odds

with the major tenets of American Minimalism.

The powerful tension the present lot exudes is due to the artists

manipulation of an arrangement of lines, normally considered cold,

intellectual and purely formal into a serene and delicate motif that

transcends its own simplicity. Martins artistic triumph is her ability

to elicit emotion from rational order; her gentle reduction of the

visual image until it conveys the most basic archetypal form allows

her to evoke the most fundamental emotional responses.

150 JULIAN OPIE b. 1958Flocked Painting No. 50, 2007

Flocking on canvas. 69 1/4 x 82 7/8 in. (175.9 x 210.5 cm). Signed Julian Opie on

the overlap.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0

PROVENANCE Patrick De Brock Gallery, Knokke

151 ANDY WARHOL 1928 - 1987Plate of Food with Mans Chest, circa 1976 - 1986

Four gelatin silver prints stitched with thread. 21 1/4 x 27 1/2 in. (54 x 69.9 cm).

Stamped with the Estate and Foundation seals and numbered FL14.00007 on

the reverse. This work is unique.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

PROVENANCE The Estate of Andy Warhol, New York; Greenberg van Doren Gallery,

New York; Private collection, New York

152 ANDY WARHOL 1928 - 1987Tom Royal, circa 1952

Ink and ink wash on paper. 23 x 29 in. (58.4 x 73.7 cm). Stamped with the Estate

and Foundation seals and numbered 292.006 on the reverse.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Susan Sheehan Gallery, New York

153 ANDY WARHOL 1928 - 1987Gateau of Marzipan, circa 1959

Ink and ink wash on paper. 23 x 29 in. (58.4 x 73.7 cm). Stamped with the Estate and

Foundation seals and numbered 345.005 on the reverse.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Susan Sheehan Gallery, New York

154 ANDY WARHOL 1928 - 1987Joseph Kennedy III, Orange, Red, Pink, Black, circa 1986

Screenprint on HMP paper. 31 1/2 x 23 7/8 in. (80 x 60.6 cm). Stamped with the

Estate and Foundation seals and numbered UP42.02 on the reverse. This work

is unique.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Sandroni.Rey, Los Angeles

LITERATURE C. Defendi, F. Feldman, J. Schellmann, et. al., Andy Warhol Prints: A Catalogue Raisonn, 2003, p. 313 (illustrated), no. 111c.76 (a)

155 ANDY WARHOL 1928 - 1987Joseph Kennedy III, Orange, Red, Pink, circa 1986

Screenprint on HMP paper. 31 1/2 x 23 7/8 in. (80 x 60.6 cm). Stamped with the

Estate and Foundation seals and numbered UP42.03 on the reverse. This work

is unique.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Sandroni.Rey, Los Angeles

156 ANDY WARHOL 1928 - 1987Two works: Mineola Motorcycle and Mineola Motorcycle (Negative), 1985 - 1986

Silkscreen inks and synthetic polymer paint on canvas. 16 x 20 in. (40.6 x 50.8 cm)

each. (i) Stamped with the Estate and Foundation seals and numbered PA10.127

on the overlap; (ii) stamped with the Estate and Foundation seals and numbered

PA10.119 on the overlap.

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0

PROVENANCE Gagosian Gallery, Beverly Hills; Gagosian Gallery, New York

LITERATURE (ii) C. Stuckey, Andy Warhol Heaven and Hell Are Just One Breath Away!

Late Paintings and Related Works, 1984 - 1986, New York, 1992, p. 65 (illustrated)

(i)

To counter ... self doubt, starting in the late 1970s Warhol undertook

project after project, culminating in a large uncommisioned group of

black-and-white paintings and drawings in his trademark plagiarist

fashion; that is, based directly on newspaper advertisements, street

leaflets, and ordinary book illustrations. These works constitute the

present volume like all of Warhols art, these lots pictures take visual

cues from the ubiquitous Western media at the service of consumerism

and publicity, while also addressing more personal and ultimate concern:

the power of the mind for spiritual salvation, the capacity for the body to

be improved, and military geopolitics. With reconsideration of the last

years of Warhols career, when critics pressured the artist to revitalize

what they considered to be a career that had lapsed after he became the

victim of a newly-successful murder attempt in 1968, the rich implications

of this black-and-white series newly provides material for a much needed

last chapter to the Warhol story. (C. Stuckey, Heaven and Hell are Just

One Breath Away, Andy Warhol, New York, 1992, p. 10)

(ii)

157 ANDY WARHOL 1928 - 1987Somebody Wants To Buy Your Apartment Building! (Negative), 1985

Silkscreen inks and synthetic polymer paint on canvas. 16 x 20 in. (40.6 x 50.8 cm).

Stamped with the Estate and Foundation seals and numbered PA10.118 on

the overlap.

Estimate $ 9 0 , 0 0 0 -12 0 , 0 0 0

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

collection, Los Angeles; Karl Hutter Fine Art, Beverly Hills

EXHIBITED New York, Gagosian Gallery, Andy Warhol: B & W Paintings: Ads and

Illustrations 1985 - 86, March 2 - March 30, 2002

LITERATURE C. Stuckey, Andy Warhol Heaven and Hell Are Just One Breath Away! Late

Paintings and Related Works, 1984 - 1986, New York, 1992, p. 68 (illustrated)

The present lot, produced near the end of Andy Warhols prolific

career, was highly influenced by his friendship and working

relationship with Jean-Michael Basquiat. It was while working with

Basquiat that Warhol developed his own graffiti-art look, and

extended his 1979 Reversals methodology by reversing black and

white areas when transferring images onto canvas. His advertising

images are also tributes to the careers of Keith Haring and Claes

Oldenburg, which embraced both Pop art and graffiti.

The significance of Warhols late black-and-white works based on

advertising images and lettering is perhaps most apparent in these

mural-scale hybrids of the sacred and the profane: the black-and-white

images are Warhols final subversive lexicon of street art images awaiting

transposition into art gallery and museum contexts where they will

expand post-Pop, postmodern taste.

(C. Stuckey, Heaven and Hell Are Just One Breath Away! in Andy

Warhol: Heaven and Hell Are Just One Breath Away! Late Paintings and

Related Works, 1984-1986, Gagosian Gallery, New York, Rizzoli, 1992, p. 31)

The artist-rebel of his time, Jean-Michel Basquiat is one of the most

influential figures within post-war 20th Century art. He had the

exceptional ability to create a work imbued with personal history and

cultural legacy, culminating in a visceral sculptural display of

magnificence. His work is charged with an identity that requires

viewers to move about a piece and examine its every angle, offering an

active experience instead of observed passivity. By forcing the observer

to move around the work, Basquiat establishes a visual and structural

play on the idea of semioticswhere the signifier and the signified

enter a reciprocal relationship, making one reliant on the other, yet

completely dependant on the experience of the work itself. Through the

power of words and symbols, both pure and abstract, he referenced the

Native American culture, the African Diaspora, and the New York Punk

music generation, an unparalleled synthesis of image, text, and

meaning. Much of Basquiats inspiration lies with the founder of the

Beat Generation, William S. Burroughs, the radical and unconventional

genius of the post-modern world. Burroughs was greatly respected by

the culture which roamed the East Village in the 80s, his anti-

establishment standing striking a cord with those exploring an

unimagined future as fiercely independent individuals.

The present lot, Nod, 1986, a commanding sculptural piece with an

accompanying work on paper, Untitled, 1986, is a kind of homage from

Basquiat to Burroughs. The source of the title is threefold: it is first a

biblical reference to the dwelling place of Cain, the original outsider in

the history of man. And Cain (following the treacherous murder of his

brother Abel) went out from the presence of the Lord, and dwelt in the

land of Nod, on the east of Eden. (Genesis 4:15-16, King James

Version.). Second, Nod is the Hebrew root of the verb to wander, the

peripatetic lifestyle of Cain. And lastly Nod is also the state of heroin

or opioid intoxication referred to as being in the land of Nod

characterized by the nodding off into a different world. The three

foundations of the title summarize the kinship between these two

geniuses; both lived much of their lives as outcasts from society, were

constant wanderers of innovation, and finally both men turned to drugs

in their pursuit of an alternative world. Nod and Untitled serve as an

emblem to this kinship, forever uniting the two men in a monumental

and omnipresent work, affirming the powerful affect each had on each

others lives.

(ii)

158 JEAN-MICHEL BASQUIAT 1960 - 1988Two works: Nod and Untitled, 1986

Acrylic, oilstick, nails, metal hardware and Xerox paper collage on wood and ink

and paper collage on paper. 25 1/2 x 14 1/4 x 14 in. (64.8 x 36.2 x 35.6 cm) and

13 7/8 x 8 1/2 in. (35.2 x 21.6 cm). (i) signed and dated Jean-Michel Basquiat 86

on the reverse of box and (ii) signed and dated Jean Michel Basquiat Sept 16 or

18th 1986 lower right. (ii) is accompanied by a color Xerox signed Jean-Michel

Basquiat on the reverse.

Estimate $12 0 , 0 0 0 -18 0 , 0 0 0

PROVENANCE William S. Burroughs, Lawrence (Kansas); Estate of William S.

Burroughs, Lawrence (Kansas); Private collection, New York

EXHIBITED Los Angeles County Museum of Art, Ports of Entry: William S. Burroughs

and the Arts, July - October 1996

LITERATURE R. Sobieszek, W.S. Burroughs, Ports of Entry: William S. Burroughs and

the Arts, 1996, p. 143 (illustrated); Galerie Enrico Navarra, ed., Jean-Michel Basquiat, Paris,

2000, pp. 252-253 (illustrated)

46299

(i)

159 WILLEM DE KOONING 1904 - 1997Woman Study, 1959

Sumi ink and graphite on paper. 10 3/4 x 8 1/2 in. (27.3 x 21.6 cm). Signed de

Kooning lower right.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

PROVENANCE Allan Stone Gallery, New York

160 ARSHILE GORKY 1904 - 1948Untitled, 1946

Ink wash and crayon on paper. 11 x 8 1/2 in. (27.9 x 21.6 cm).

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0

PROVENANCE Allan Stone Gallery, New York

161 WILLEM DE KOONING 1904 - 1997Bewitched Woman, 1965

Oil on paper laid down on masonite. 29 7/8 x 11 in. (75.9 x 27.9 cm). Signed

de Kooning lower left.

Estimate $ 2 0 0 , 0 0 0 - 3 0 0 , 0 0 0

PROVENANCE Noah Goldowsky Gallery, New York; Allan Stone Gallery, New York;

Collection Winston and Susan McGee, Cleveland; Collection Larry Gordon, Los

Angeles; Private Collection; Spanierman Gallery, New York

I dont feel like a non-objective painter at allit had to do with the female

painted through all the ages, all those idols. And maybe Id been stuck to

a certain extent, couldnt go on. And it did one thing for me: it eliminated

composition, arrangement, relationships, light all this silly talk about

line, color and form... because that was the thing I wanted to get hold

of. I put it in the center of the canvas because there was no reason to put

it a bit on the side. So I thought I might as well stick to the idea that its

got two eyes, a nose and a mouth and neck I got to the anatomy and I

felt myself always getting flustered. I really could never get hold of it. It

always petered out it became compulsive in the sense of not being able

to get hold of itit really is very funnyto get stuck with a womans

knees, for instance. You say, what the hell am I going to do with that

nowits really ridiculousit became a problem of picture painting,

because the very fact that it had word connected with it- figure of a

woman- made it more precise. [Forms] ought to have the emotion of a

concrete experienceI am very happy to see that grass is green. At one

time, it was very daring to make a figure red or blue: I think now that it is

just as daring to make it flesh-colored.

Willem de Kooning, in a 1960 BBC interview with David Sylvester,

taken from M. Glimcher, Willem de Kooning Jean Dubuffet The Women,

New York, 1990, pp.7 - 8.

The present lot, Bewitched Woman, executed in 1965, delights in de

Koonings emergence from his steadfast 1950s forms of pure abstraction

and delves straight into the highly stylized and fetishistic era of the 1960s

with his form-filled depictions of women. The color, form and gestural

splashes of brushwork evoke de Koonings most typical forms, but the

palette and vividness of the composition awaken another sense to the

artists deepest form of expression. This work, in essence, is a true homage

to the female spirit and the artists own spirit, too.

162 FRANZ WEST b. 1946Untitled, 2004

Lacquered aluminum. 21 x 56 x 46 in. (53.3 x 142.2 x 116.8 cm).

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0

PROVENANCE Galerie Brbel Grsslin, Frankfurt; Private collection, USA

The past decade has witnessed an extraordinary jump in Wests international

exposure, due in no small measure to the large public commissions he has

completed. Among other effects, the execution of outdoor projects at

Innsbruck [2000], New York [2004], and Paris [2007] has affected the size

and complexity of his worksAs the forms materialize from highly polished

sheets, the metal is bent and buckled into submission. Shapes develop

from collaged-on fragments: loops, obelisks, balls, and wedges. And then

the colors come as if extracted from a Toys R Us catalogue, with lemon

yellows, sky blues, and bubblegum pinks adding festivity to the glossy

chrome bodies of these monumentally humble objects. Ambitious,

demanding of high-end manufacture, but unabashedly stitched together

like a salvaged car, these enormous and enormously appealing forms now

populate parks and plazas on both sides of the Atlantic.

D. Alexander, ed., Franz West, To Build a House You Start with the Roof:

Work, 1972 - 2008, Baltimore, 2008, p. 96

Fundamentally sculptural in construction, Wests work veers frequently

toward the biomorphic and prosthetic, mines the intellectualism of

Freud and Wittgenstein, and possesses an awkward beauty that speaks

with equal fluency to the aesthetics of painterly abstraction and trash

art. The present lot, a pearlescent, delectable shade of pink delights its

viewer in not only color and form but presentation as well: one is

enraptured to touch, sit, and enjoy the work in its entirety. West is

indeed a master of the medium here for the flesh of the aluminum

and the vivacity of the paint layers enliven and play with the mundane

and imagination one and the same. It is no surprise that these lively

sculptures play out amongst private and public spaces worldwide,

bringing the focus of West to the forefront of the international art world.

(Alternate view)

163 ANDY GOLDSWORTHY b. 1956Leaf Horn

Sweet chestnut leaves and thorns. 11 3/4 x 13 1/2 x 5 1/2 in. (29.8 x 34.3 x 14 cm).

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Haines Gallery, San Francisco

163

164

164 DAVID NASH b. 1945Birch Crack and Warp Column, 1999

Caen-y-coed Birch wood. 18 1/4 x 9 1/4 x 8 in. (46.4 x 23.5 x 20.3 cm).

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Haines Gallery, San Francisco

165 FRANCESCO CLEMENTE b. 1952Stupa, 1991

Acrylic and spray-paint on canvas and linen (in five parts). 130 3/4 x 39 1/4 in.

(332.1 x 99.7 cm).

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0

PROVENANCE Diego Cortez Arte Limited, New York; Private collection, Boston

166 RIVANE NEUENSCHWANDER b. 1967Untitled, 2000

Scotch tape and ants. 46 1/2 x 54 1/4 in. (118.1 x 137.8 cm).

Estimate $ 6 , 0 0 0 - 8 , 0 0 0


167 DORIS SALCEDO b. 1958Atrabiliarios (Irritable), 1996

Wall installation comprised of found shoe, cow bladder and surgical thread

on drywall. 47 1/4 x 32 x 1 in. (120 x 81.3 x 2.5 cm).

Estimate $18 , 0 0 0 - 2 5 , 0 0 0

PROVENANCE White Cube, London

168 DR. LAKRA b. 1972Untitled (the sun bath), 2005

Ink on vintage photograph. 7 x 5 1/2 in. (17.8 x 14 cm). Signed Dr. Lakra upper left.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

PROVENANCE kurimanzutto, Mexico City

(Actual Size).

169 GABRIEL OROZCO b. 1962Untitled, 2000

Ink, watercolor and graphite on paper. 9 7/8 x 7 in. (25.1 x 17.8 cm). Signed and

dated Gabriel Orozco 2000 on the reverse.

Estimate $10 , 0 0 0 -15 , 0 0 0

PROVENANCE kurimanzutto, Mexico City

170 MEYER VAISMAN b. 1960Untitled (Turkey XXXIII), 1995

Taxidermied turkey, nylon stockings and bale of hay with twine. 29 1/2 x 36 x 19 in.

(74.9 x 91.4 x 48.3 cm).

Estimate $7, 0 0 0 - 9 , 0 0 0


171 JOS DAMASCENO b. 1968Imminent Circuit, 2005

Installation comprised of 16 solid semi-precious stones and wooden pool cue

rack. Installation dimensions variable. Each stone: 8 in. (20.3 cm) diameter; overall

installed dimensions. 35 x 44 x 172 in. (88.9 x 111.8 x 436.9 cm) as illustrated. This

work is from an edition of three.

Estimate $12 , 0 0 0 -18 , 0 0 0

PROVENANCE The Project, Los Angeles

EXHIBITED The Project, Los Angeles: Imminent Circuit, March 5- April 16, 2005

LITERATURE Brazzil Magazine, ed, New York and LA Get to Know Brazils

Damasceno Art, Brazzil Magazine (online content), March 2, 2005

172 SIGMAR POLKE b. 1941Untitled, 1983

Acrylic, spray and metallic paint on paper. 26 1/2 x 18 3/4 in. (67.3 x 47.6 cm).

Signed and dated S. Polke 83 on the reverse.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0


173 SIGMAR POLKE b. 1941Untitled, 1983

Acrylic, spray-paint and watercolor on paper. 26 1/2 x 18 3/4 in. (67.3 x 47.6 cm).

Signed and dated S. Polke 83 on the reverse.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0


174 HELMUT FEDERLE b. 1944Basics on Composition XXI (For Lee Harvey Oswald), 1992

Oil on linen. 15 3/4 x 19 3/4 in. (40 x 50.2 cm). Signed, titled and dated Federle 92

Basics on Composition XXI (For Lee Harvey Oswald) on the stretcher bar.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Acquired directly from the artist; Galerie Nchst St. Stephan, Vienna;

Tony Wuethrich Galerie, Basel

175 HELMUT FEDERLE b. 1944Zwei Gleiche Formen, Ungleich (Das Gestade Des Sees Ruhig Und Klar, Herbstliches

Wasser) [Two Equal Shapes, Unequal] [The Shore of the Lake Silent and Clear,

Autumnal Water], 1996

Oil on linen. 23 x 26 in. (58.4 x 66 cm). Signed, titled and dated Zwei Gleiche

Forman Ungleich Zwei Gleiche Formen, Ungleich (Das Gestade Des Sees Ruhig

Und Klar, Herbstliches Wasser) Federle 96 on the reverse and stretcher bar.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Galerie Nchst St. Stephan, Vienna

EXHIBITED Munich, Maximilian Verlag Sabine Knust, Helmut Federle, November

1996- January 1997

176 GNTHER FRG b. 1952Untitled, 1998

Acrylic on canvas. 79 x 65 in. (200.7 x 165.1 cm). Signed and dated Frg 98 on

the reverse.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0


177 SERGEJ JENSEN b. 1973Untitled, 2002

Bleach on jute. 71 x 43 1/2 in. (180.3 x 110.5 cm). Signed and dated Sergej Jensen

2002 on the overlap.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0

PROVENANCE Galerie Neu, Berlin; Patrick De Brock Gallery, Knokke

178 NATHAN HYLDEN b. 1978Untitled, 2008

Acrylic on linen. 67 1/2 x 47 in. (171.5 x 119.4 cm). Signed and dated Nathan

Hylden 08 on the reverse.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Richard Telles Fine Art, Los Angeles; art:concept, Paris

179 NATHAN HYLDEN b. 1978Some Other Way of Counting II, 2007

Acrylic and metallic paint on linen. 94 x 67 1/2 in. (238.8 x 171.5 cm). Signed and

dated Nathan Hylden 07 on the reverse.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

PROVENANCE art:concept, Paris

EXHIBITED Paris, art:concept, Nathan Hylden Just Something Else, September 8-

October 13, 2007

LITERATURE M. Lesauvage, Nathan Hylden, Just Something Else, ParisArt

(online content), 2007 (illustrated)

180 HEIMO ZOBERNIG b. 1958Untitled, 1998

Mirror mounted to cardboard on wood. 19 3/4 x 19 3/4 x 2 1/4 in. (50.2 x 50.2 x 5.7

cm). Signed and dated Heimo Zobernig 1998 on the reverse.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

PROVENANCE Kunstraum Hans Widauer, Innsbruck; Private collection, New York

181 JOSEPHINE MECKSEPER b. 1964Untitled, 2003

Acrylic and collaged fabric on canvas. 48 x 40 in. (121.9 x 101.6 cm).

Estimate $ 8 , 0 0 0 -12 , 0 0 0

PROVENANCE Elizabeth Dee, New York

EXHIBITED Kunstmuseum Stuttgart, Josephine Meckseper, July 14- October 28, 2007

LITERATURE M. Ackermann, ed., Josephine Meckseper, Ostfildern-Ruit, 2007, pp. 96

and 160 (illustrated)

182

183

182 HELEN MIRRA b. 1970Ulmebuckel jung (elm hummock), 2002

Stitched wool (in two parts). 3 x 24 x 24 in. (7.6 x 61 x 61 cm). Titled Ulmebuckel

jung elm hummock on a label stitched to the underside of top element; titled

Ulmebuckel jung elm hummock younger on a label stitched to the underside

of bottom element.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

PROVENANCE Meyer Riegger Gallery, Karlsruhe

183 HELEN MIRRA b. 1970Embroidered Grid, 2000

Cotton thread on paper. 12 1/4 x 12 1/4 in. (31.1 x 31.1 cm).

Estimate $1, 5 0 0 - 2 , 5 0 0

PROVENANCE Meyer Riegger Gallery, Karlsruhe

184 FRANK NITSCHE b. 1964MRG 30, 2002

Oil on canvas. 90 1/2 x 78 5/8 in. (229.9 x 199.7 cm). Signed, titled and dated

Nitsche MRG 30-2002 on the reverse.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

PROVENANCE Galerie Max Hetzler, Berlin; Patrick De Brock Gallery, Knokke

185

186

185 MARCIA HAFIF b. 192921 April 1963, White-grey-yellow: Italian Series No. 21, 1963

Acrylic and varnish on canvas. 17 3/4 x 17 3/4 x 2 1/2 in. (45.1 x 45.1 x 6.4 cm).

Signed, titled and dated Hafif April 1963 21 on the stretcher bar.

Estimate $7, 0 0 0 - 9 , 0 0 0

PROVENANCE Galleria Edieuropa, Rome

186 SERGEJ JENSEN b. 1973Untitled (Hand), 2005

Neoprene and vinyl cutout affixed to linen. 15 3/4 x 12 in. (40 x 30.5 cm). Signed

and dated Sergej Jensen 2005 on the overlap.

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Patrick De Brock Gallery, Knokke

187 FRANCIS ALS b. 1959Maestro Zamora (Teacher Zamora), 1995

Gold and silver leaf and enamel on glass. 22 x 27 3/4 in. (55.9 x 70.5 cm). Signed

and dated Francis Als 1995 on the reverse of the backing board.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

PROVENANCE galera OMR, Mexico City; Tilton Gallery, New York

188 JONATHAN MEESE b. 1970Der Unbekannte Daddy (The Unknown Daddy), 2007

Oil on linen. 39 1/4 x 31 1/2 in. (99.7 x 80 cm). Initialed and dated JM 07 lower left;

signed, titled and dated JMeese 07 Der Unbekannte Daddy on the reverse.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Contemporary Fine Arts, Berlin

189 STEPHAN BALKENHOL b. 1957Lady with Red Dress, 2001

Oil on carved wawa wood. 59 x 21 x 11 1/2 in. (149.9 x 53.3 x 29.2 cm) overall.

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

PROVENANCE galera OMR, Mexico City

EXHIBITED Costa Mesa (California), Frank A. Doyle Arts Pavilion at Orange Coast

College, Seeing the Figure Anew: Selections from the Marsha and Darrel Anderson

Collection, February 5- March 20, 2009

190 FRANK NITSCHE b. 1964Untitled, 1996

Oil on canvas. 51 1/4 x 45 1/4 in. (130.2 x 114.9 cm). Signed and dated Nitsche 96

on the reverse.

Estimate $12 , 0 0 0 -15 , 0 0 0

PROVENANCE Galerie Gebr. Lehmann, Dresden

191 CARLO MARIA MARIANI b. 1931Il pittore mancino (The left handed painter), 1982


Carlo Maria Mariani Il pittore mancino 82 on the reverse.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

PROVENANCE Gian Enzo Sperone, Rome; Sperone Westwater, New York; Private

collection, Boston

EXHIBITED Washington D.C., The Hirschhorn Museum and Sculpture Garden,

October 3, 1985- January 5, 1986; Akron Art Museum, A New Romanticism: Sixteen

Artists from Italy, January 28- April 6, 1986; Darmstadt (Germany), Institut

Mathildenhhe, Carlo Maria Mariani, December 15, 1991- January 26, 1992; Los Angeles

County Museum of Art, Carlo Maria Mariani, February 27- May 17, 1992

192

193

192 LUC TUYMANS b. 1958Premonition (Series II), 2003

Colored monoprint on J. Whatman 1961 HMP paper. 21 x 17 3/8 in. (53.3 x 44.1 cm).

Signed and titled Luc Tuymans Premonition and numbered of six lower margin.

This work is from a series of six monoprints.

Estimate $10 , 0 0 0 -15 , 0 0 0

PROVENANCE Brooke Alexander Gallery, New York

193 RAFAL BUJNOWSKI b. 1974Untitled (cookies), 2004

Oil and graphite on canvas. 18 x 24 in. (45.7 x 61 cm). Signed and dated

Bujnowski / 04 on the reverse.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

PROVENANCE daniel hug, Los Angeles

194 EBERHARD HAVEKOST b. 1967Untitled, 1997

Oil on canvas. 11 3/4 x 15 3/4 in. (29.8 x 40 cm). Signed and dated Havekost 97

on the reverse.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0

PROVENANCE Galerie Gebr. Lehmann, Dresden; Collection Hhne, Cuxhaven

(Germany); Private Collection

195 WANG JINSONG AND ZHANG DALI b. 1963Three works: (i) Parents, (ii) Dialogue Series, (iii) Dialogue Series, (i) 1998,

(ii) 1999, (iii) 2003

Color photographs. (i) 23 x 25 in. (58.4 x 63.5 cm), (ii) 31 5/8 x 42 3/4 in.

(80.3 x 108.6 cm), (iii) 41 x 29 1/2 in. (104.1 x 74.9 cm). (i) Titled and dated

PARENTS 1998 [in English and Chinese] on lower left; signed Wang Jinsong

[in English and Chinese] and numbered of 30 on lower right. This work is from

an edition of 30; (ii) signed and dated Zhang Dali 1999 [in English and Chinese]

and numbered of 10 on lower margin and on the reverse. This work is from an

edition of 10; (iii) signed and dated Zhang Dali 2003 [in English and Chinese]

and numbered of 10 on lower margin and on the reverse. This work is from an

edition of 10.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Private collection, New York

(i)

(ii)

(iii)

196

197

196 ZHANG HUAN b. 1965To raise the water level in a fish pond (waterchild), 1997

Chromogenic print. 37 x 48 in. (94 x 121.9 cm) paper size. This work is

accompanied by a label signed, titled and dated To raise the water level in a fish

pond (waterchild) Zhang Huan 1997 Beijing [in Chinese] and numbered of 15.

This work is from an edition of 15.

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Xunta de Galicia and Cotthem Gallery, eds., Zhang Huan - Pilgrimage to

Santiago, Santiago de Compostela, 2001, pp. 162 and 163 (illustrated); M. Chiu, K. Bu, E.

Hartney, Z. Huan, Zhang Huan: Altered States, Milan, 2007, p. 37 (illustrated)

197 ZHANG DALI b. 1963Two works: Dialogue Series and Demolition Series, 2003 and 2004

Color photographs. 31 5/8 x 43 1/4 in. (80.3 x 109.9 cm) and 43 1/2 x 31 5/8 in.

(110.5 x 80.3 cm) . Each signed, titled and dated Zhang Dali [in English and

Chinese] and numbered of 10 lower right. These works are from an edition of 10.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

198 FANG LIJUN b. 19631999.6.1, 1999

Six woodblock prints and ink on paper scrolls with wooden dowels and fabric.

192 3/4 x 286 1/2 in. (489.6 x 727.7 cm) overall. Signed in Chinese lower right of

each scroll. Sixth print is also titled, numbered of eight and dated 1999.6.1

lower left and center. This work is from an edition of eight.

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0

PROVENANCE Benefit Auction, Neue Nationalgalerie, Berlin

199

200

199 SHI GUORUI b. 1964Himalayas Everest 8844.43 M Nov.20.2005, 2005

Camera obscura gelatin silver print. 50 3/4 x 157 1/2 in. (128.9 x 400.1 cm). Signed,

titled and dated Himalayas Everest 8844.43 M Nov. 20.2005 Shi Guorui 2005

on the reverse. This work is unique.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Chinese Contemporary, New York

20 0 LIN TIANMIAO b. 1961Focus III A, 2006-2007

Lithograph and silkscreen with embossing on STPI handmade paper.

49 1/2 x 40 in. (125.7 x 101.6 cm). Signed and dated Lin Tianmiao 2007

and numbered of 20 lower right. This work is from an edition of 20.

Estimate $7, 0 0 0 - 9 , 0 0 0


201

201 LIN TIANMIAO b. 1961Focus XII A, 2006 - 2007

Lithograph, embossing, and flocking on hand-colored, STPI handmade paper.

50x 40 in. (127 x 101.6 cm). Signed and dated Lin Tianmiao 2007 and numbered

of 20 lower right. This work is from an edition of 20.

Estimate $7, 0 0 0 - 9 , 0 0 0


EXHIBITED New York, Museum of Modern Art, Multiplex: Directions in Art 1970 to Now,

November 2007- July 2008; New York, Mary Ryan Gallery, Lin Tianmiao: Focus & Wu

Moonching: Photographs, March 13- May 3, 2008; Beijing, Long March Space, Lin

Tianmiao: Focus, April 12- June 15, 2008 (other examples from the edition exhibited

in each case)

202

203

202 HAI BO b. 1962The Four Seasons-Winter, 2000 - 2002

Color photograph. 48 3/4 x 47 3/4 in. (123.8 x 121.3 cm). This work is from an edition

of 10.

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Private Collection, New Jersey

EXHIBITED New York, Max Protetch, Hai Bos Solo Exhibition, June- August 2004

LITERATURE Max Protetch, Hai Bo, New York, 2006, p. 17 (illustrated)

203 HAI BO b. 1962They, 2000

Diptych: two gelatin silver prints. 23 7/8 x 16 3/4 in. (60.6 x 42.5 cm) each. Signed

and dated Hai Bo [in Chinese] 2000 and numbered of 20 lower right and again

on the reverse. This work is from an edition of 20.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Private Collection, New Jersey

204 WANG JIN b. 1962To Marry a Mule, 1995

C-print. 40 x 27 5/8 in. (101.6 x 70.2 cm). Signed, titled and dated To Marry a Mule

1995 July 28 Beijing, Chaoyang Qu, Guang Yinxiang [in Chinese] Wang Jin [in

Chinese and English] and stamped and numbered along the lower margin. This

work is an artist proof from an edition of five plus two artists proofs.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0


EXHIBITED New York, Asia Society Galleries and P.S. 1 Contemporary Art Center,

September 15, 1998- January 3, 1999; San Francisco Museum of Modern Art and the

Asian Art Museum of San Francisco, February 26- June 1, 1999; Monterrey, Museo de

Arte Contemporneo, July 9- October 10, 1999; Tacoma Art Museum and the Henry Art

Gallery, Inside Out: New Chinese Art, 2000, November 18, 1999- March 7, 2000 (another

example exhibited); New York, Friedman Benda, Wang Jin, March 22- April 22, 2007

LITERATURE Paris, Centre Pompidou, ed., Alors, La Chine?, Paris, 2003 (illustrated); V.

Tam, China Chic, p. 275 (illustrated); P. Lu, ed., 90s Art China, Hunan, 1999 (illustrated);

M. Gao, ed., Inside Out: New Chinese Art, Berkeley, 1998, p. 32 (illustrated); H. Lu, ed.,

Conceptual Art, Hunan 1999, p. 58 (illustrated)

205 YE YONGQING b. 1958Poem, 2001

Acrylic on canvas. 85 1/2 x 77 1/4 in. (217.2 x 196.2 cm). Signed and dated Ye Yong

Qing [in Chinese and English] 2001 lower right.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0


LITERATURE X. Wang, ed., Skys Fate, Hebei, 2005, p. 23 (illustrated); H. Lee and

L. Weng, Beyond Boundaries, Shanghai, 2003, p. 176 (illustrated); H. Deng and X. Liu,

eds., Chengdu Biennale 2001, Sichuan, 2001, p. 183 (illustrated)

20 6 FENG MENGBO b. 19662005L01, 2005

Acrylic and VeeJet on canvas. 98 1/2 x 83 in. (250.2 x 210.8 cm). Signed and dated

Feng Mengbo [in Chinese] on the reverse.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0


207 HUA JIMING b. 1964Two works: Baby and Fashion Icon, 2006 and 2007

Oil on canvas. 59 x 78 3/4 in. (149.9 x 200 cm) and 78 1/8 x 58 3/4 in. (198.4 x 149.2 cm).

Signed and dated Hua Jiming 2006 [in English and Chinese] lower left; signed

and dated Hua Jiming 2007 [in English and Chinese] lower right.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0


208

209

208 ZHU JIAHE b. 1979Little Red Classroom, 2008

Oil on canvas. 58 x 77 1/2 in. (147.3 x 196.9 cm). Signed, dated and stamped Zhu

Jiahe [in Chinese] 08 lower right.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0


209 SHI LIFENG b. 1968Ferry to Happiness, 2006

Oil on canvas. 52 x 70 in. (132.1 x 177.8 cm). Signed and dated Shi Lifeng 2006 [in

English and Chinese] lower right.

Estimate $7, 0 0 0 - 9 , 0 0 0


210

211

210 WANG QINGSONG b. 1966Another Battle No. 1, 2001

C-print face-mounted on Diasec. 39 1/4 x 26 in. (99.7 x 66 cm). Signed and dated

Wang Quingsong 2001 [in English and Chinese] and numbered of 20 lower right.

This work is from an edition of 20.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Stux Gallery, New York

EXHIBITED London, Albion, Wang Qingsong, June 6 - July 7, 2006 (another example

exhibited); New York, Stux Gallery, Chinese Relativity: Part II, November 20 - December

22, 2007 (another example exhibited)

LITERATURE M. Falconer, Chinese Relativity: Part 1 at Stux Gallery, New York,

Saatchi Online TV & Magazine (online content), December 1, 2006 (illustrated); K. Roach,

Wang Qingsong, London, 2006, pp. 56, 129 (illustrated)

211 CANG XIN b. 1967Communication Series 4, Beijing, Temple of Heaven, 2000

C-print. 48 3/4 x 48 3/4 in. (123.8 x 123.8 cm). Signed, titled and dated Cang Xin

Communication Series 4, Beijing, Temple of Heaven 2000 [in English and

Chinese] and numbered of 10 along the margin. This work is from an edition of 10.

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Private Collection, New Jersey

212 CANG XIN b. 1967Communication Series, 1999

Six c-prints. 23 5/8 x 19 5/8 in. (60 x 49.8 cm) each. Signed and dated Cang Xin

1999 [in English and Chinese] and numbered of 10 on the reverse. These works

are from an edition of 10.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 PROVENANCE Private Collection, New Jersey

LITERATURE H. Du, Existence in Translation, Beijing, 2002, pp. 41 and 42 (illustrated)

213 NOBUYOSHI ARAKI b. 1940Untitled (Tokyo Comedy), 1996 - 1997

Gelatin silver print. 35 5/8 x 28 3/8 in. (90.5 x 72.1 cm).

Estimate $7, 0 0 0 - 9 , 0 0 0

PROVENANCE Studio Guenzani, Milan

LITERATURE Taschen, ed., Araki, Cologne, 2002, n.p. (illustrated)

214 HIROSHI SUGIMOTO b. 1948Hunting dog, 1980

Gelatin silver print. 19 1/8 x 23 3/4 in. (48.6 x 60.3 cm) image size. Signed Hiroshi

Sugimoto on lower right of matte board. This work is from an edition of 25.

Estimate $12 , 0 0 0 -18 , 0 0 0

PROVENANCE James Cohan Gallery, New York

215 NAN GOLDIN b. 1953 Joana and Aurelia Making Out in My Apartment, NYC, 1999

Cibachrome mounted to Plexiglas. Signed, titled and dated Joana and Aurelia

making out in my apartment, NYC 1999 Nan Goldin on the reverse.

Estimate $ 8 , 0 0 0 -12 , 0 0 0


LITERATURE N. Goldin, The Devils Playground, New York, 2003, p. 167 (illustrated)

216 TOM FRIEDMAN b. 1965Untitled (Road Atlas), 2005

Lambda print. 43 5/8 x 33 3/4 in. (110.8 x 85.7 cm) paper size. This work is from an

edition of five plus two artists proofs.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0


217 VIK MUNIZ b. 1961(Self portrait) Lucky, 2005

C-print. 60 1/4 x 47 1/4 in. (153 x 120 cm). Signed and dated Vik Muniz 2005 on a

label adhered to the reverse. This work is from an edition of six.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0


218 VIK MUNIZ b. 1961Electric Chair (Pictures of Glitter), 2001

C-print. 48 x 64 7/8 in. (121.9 x 164.8 cm). Signed Vik Muniz and numbered of five

on a label adhered the reverse. This work is from an edition of five.

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0

PROVENANCE Galerie Xippas, Paris

EXHIBITED Santiago de Compostela, Centro Galego de Arte Contempornea,

December 18, 2003- March 7, 2004; Dublin, Irish Museum of Modern Art, March 31-

June 13, 2004; Madrid, Fundacin Telefnica, Vik Muniz, November 17, 2004-

January 9, 2005 (another example exhibited)

LITERATURE Centro Galego de Arte Contempornea, ed., Vik Muniz, Santiago de

Compostela, 2003, p. 145 (illustrated); M. dos Anjos, J. Elkins, S. Rice, Vik Muniz: Obra

Incompleta/IncompleteWorks, Rio de Janeiro, 2004, p. 37 (illustrated)

219

220

219 SARAH LUCAS b. 1962Laugh?, 1998

R-print. 29 x 19 3/4 in. (73.7 x 50.2 cm). This work is from an edition of 10 plus one

artists proof.

Estimate $ 8 , 0 0 0 -12 , 0 0 0


LITERATURE Y. Dziewior, B. Ruf, eds., Sarah Lucas, 2005, Ostfildern-Ruit, p. 149 (illustrated)

220 COLLIER SCHORR b. 1963The rivalry between God and other gods, 2002

C-print. 47 x 37 3/4 in. (119.4 x 95.9 cm). This work is from an edition of five plus

one artists proof.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Modern Art, London

LITERATURE G. Williams, What are you looking at?, Tate Etc., Issue 2, Autumn

2004 (illustrated)

221 CINDY SHERMAN b. 1954Untitled # 217, 1984, printed in 1990

Color coupler print. 51 x 34 in. (129.5 x 86.4 cm). Signed and dated Cindy

Sherman 1984/90 and numbered of 12 on a label adhered to the reverse. This

work is from an edition of 12 plus two artists proofs.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Metro Pictures, New York; Aspen Art Museum, Aspen

LITERATURE R. Krauss, Cindy Sherman 1975- 1993, New York, 1993, p. 238 (illustrated)

222

223

222 KIM-JOON b. 1966Duet-dog, 2006

C-print face-mounted to Plexiglas. 55 x 39 1/8 in. (139.7 x 99.4 cm). Signed and

titled Kim Joon Duet-dog and numbered of five on a label adhered to the

backing board. This work is from an edition of five.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Hamburg Kennedy Photographs, New York

223 LAURIE SIMMONS b. 1949Kaleidoscope House #11, 2000

Digital flex print. 24 x 16 1/4 in. (61 x 41.3 cm). Signed, titled, dated Laurie

Simmons Kaleidoscope House # 11 and numbered of five on the reverse. This

work is from an edition of five.

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

PROVENANCE Deitch Projects, New York

224 RUUD VAN EMPEL b. 1958World #8, 2005

C-print mounted to aluminum with Plexiglas face. 41 5/8 x 59 3/8 in. (105.7 x 150.8

cm). This work is from an edition of nine.

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

PROVENANCE Stux Gallery, New York

225 MASSIMO VITALI b. 1944Rosignano Donna Sola, 2004

C-print with Diasec face. 70 3/4 x 86 1/4 in. (179.7 x 219.1 cm). This work is

accompanied by a label signed, titled, dated Massimo Vitali Rosignano Donna

Sola 2004 and numbered of six. This work is from an edition of six.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Galerie Ernst Hilger, Vienna

226 MASSIMO VITALI b. 1944Negresco Mare, 2005

C-print with Diasec face. 59 x 71 7/8 in. (149.9 x 182.6 cm) paper size. Signed,

titled, dated Massimo Vitali Negresco Mare 2005 and numbered of six on a

label adhered to the reverse. This work is from an edition of six.

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0

PROVENANCE Hamburg Kennedy Photographs, New York

227

228

227 OLAFUR ELIASSON b. 1967Untitled (Iceland Series), 1999

Color photograph. 23 1/4 x 35 in. (59.1 x 88.9 cm). Signed and dated Olafur

Eliasson 1999 on a label adhered to the reverse. This work is unique.

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Bonakdar Jancou Gallery, New York

228 DARREN ALMOND b. 1971Fullmoon@Arpenaz, 2001

Lambda print in the artists frame. 50 3/4 x 50 3/4 in. (128.9 x 128.9 cm). This work

is from an edition of five.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

PROVENANCE Galerie Max Hetzler, Berlin

EXHIBITED Berlin, Galerie Max Hetzler, E-Werk, Abspannwerk Buchhndlerhof, April

20- May 26, 2001 (another example exhibited)

229 DOUG AITKEN b. 1968distant sign, 2005

C-print mounted to aluminum in the artists wooden frame. 49 3/4 x 62 1/4 in.

(126.4 x 158.1 cm). Signed Doug Aitken on a label adhered to the reverse. This

work is from an edition of six.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE 303 Gallery, New York

230

231

230 WOLFGANG TILLMANS b. 1968Boot/foot, 1992, printed 1994

Cibachrome print. 24 x 20 in. (61 x 50.8 cm). Signed, titled, dated Wolfgang

Tillmans boot/foot photo Aug. 92 print Apr. 94 and numbered of three on the

reverse. This work is from an edition of three plus one artists proof.

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Interim Art/Maureen Paley, London

LITERATURE B. Riemschneider, ed., Wolfgang Tillmans, Cologne, 1995, n.p.

(illustrated); W. Tillmans, Wolfgang Tillmans if one thing matters, everything matters,

London, 2003, pg. 48, no. 40 (illustrated)

231 WOLFGANG TILLMANS b. 1968Kitchen after party, 1992, printed 1993

Cibachrome print. 24 x 20 in. (61 x 50.8 cm). Signed, titled, dated Wolfgang

Tillmans Kitchen after party ph.Oct 92 Pr. WT Oct 93 and numbered of three on

the reverse. This work is from an edition of three plus one artists proof.

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Interim Art/Maureen Paley, London

LITERATURE B. Riemschneider, ed., Wolfgang Tillmans, Cologne, 1995, n.p. (illustrated)

232 PAUL McCARTHY b. 1945Meat Cake 2, Odd Fellows Temple, Pasadena, CA, 1978, 1995

C-print mounted to aluminum. 37 3/8 x 25 3/4 in. (94.9 x 65.4 cm). Signed and

dated Paul McCarthy 95 on the reverse.

Estimate $10 , 0 0 0 -15 , 0 0 0


233 PAUL MCCARTHY b. 1945Baby Boy 2, 1982, 1996

C-print. 30 x 39 7/8 in. (76.2 x 101.3 cm). Signed and dated Paul McCarthy 1996

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

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Tomio Koyama Gallery, Tokyo

EXHIBITION Los Angeles, Museum of Contemporary Art, Paul McCarthy,

November 12, 2000 - January 21, 2001 (another example exhibited)

234 PAUL MCCARTHY b. 1945Baby Boy 1, 1982, 1996

C-print. 30 x 39 7/8 in. (76.2 x 101.3 cm). Signed and dated Paul McCarthy 1996

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

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Tomio Koyama Gallery, Tokyo

EXHIBITED Los Angeles, Museum of Contemporary Art, Paul McCarthy,

November 12, 2000- January 21, 2001 (another example exhibited)

235 RICHARD PRINCE b. 1949Untitled (For Richard Prince Cant Wait Pamela Anderson), 1997

Publicity photograph with felt-tip pen. 10 x 8 in. (25.4 x 20.3 cm). Inscribed

For Richard Prince Cant Wait Pamela Anderson on the face and reverse.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

PROVENANCE Anton Kern Gallery, New York

236 RICHARD PRINCE b. 1949Untitled (Cowboys), 1992

Ektacolor photograph. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). Initialed RP on the

reverse. This work is from an edition of 26.

Estimate $12 , 0 0 0 -18 , 0 0 0

PROVENANCE Per Skarstedt Fine Art, New York; Gagosian Gallery, New York

LITERATURE R. Prince, Richard Prince Adult Comedy Action Drama, Berlin, 1995,

p. 231 (illustrated)

237 ANDRES SERRANO b. 1950A History of Sex (The Mime), 1995

Cibachrome, silicone and Plexiglas in the artists wooden frame. 45 1/8 x 37 3/4 in.

(114.6 x 95.9 cm). Signed and titled Andres Serrano A History of Sex (The Mime)

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

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Paula Cooper Gallery, New York

LITERATURE M. Wilson, A History of Andres Serrano: A History of Sex, Amsterdam,

1997, p. 92 (illustrated)

238 ANDRES SERRANO b. 1950A History of Sex (Head), 1996

Cibachrome, silicone and Plexiglas in the artists wooden frame. 45 1/8 x 37 3/4 in.

(114.6 x 95.9 cm). Signed and titled Andres Serrano A History of Sex (Head) and

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

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Paula Cooper Gallery, New York; juana de aizpuru, Madrid

239

240

239 MATTHEW BARNEY b. 1967A Pele da Lamina, 2004

C-print in the artists high-density polyethylene frame. 28 3/4 x 19 1/2 x 2 1/2 in.

(73 x 49.5 x 6.4 cm). Signed and dated Matthew Barney 04 on the reverse.

This work is from an edition of 50 plus 10 artists proofs.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0


EXHIBITED Palermo, Galleria Civica dArte Moderna, Heretic: Transcendence and

Profanity in Contemporary Art, July 27- September 20, 2006 (another example exhibited)

LITERATURE D. Paparoni, Heretic: Transcendence and Profanity in Contemporary Art,

Milan/Geneva, 2006, n.p. (illustrated)

240 LORETTA LUX b. 1969Milo 2, 2004

Ilfochrome print. 11 7/8 x 11 7/8 in. (30.2 x 30.2 cm). Signed, titled and dated

Loretta Lux 2004 Milo 2 on the reverse. This work is a printers proof from

an edition of 20 plus one printers proof.

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Yossi Milo Gallery, New York; In Motion Benefit Auction,

March 14, 2005

EXHIBITED Southampton (New York), Parrish Art Museum, All the More Real:

Portrayals of Intimacy and Empathy, August 12- October 14, 2007 (another example

exhibited); Louisville (Kentucky), 21c Museum, Creating Identity: Portraits Today,

August 14- December 31, 2009 (another example exhibited)

LITERATURE M. W. Weiss, All The More Real: Portrayals of Intimacy and Empathy

at the Parrish, Dans Hamptons, Issue #24, September 7, 2007

241 GREGORY CREWDSON b. 1962Untitled (sleep walker), 1999

C-print. 47 1/2 x 59 1/2 in. (120.7 x 151.1 cm). Signed Gregory Crewdson on a label

adhered to the reverse. This work is an artists proof from an edition of 10 plus

two artists proofs.

Estimate $10 , 0 0 0 -15 , 0 0 0

PROVENANCE Luhring Augustine, New York

LITERATURE S. Berg, ed., Gregory Crewdson 1985 - 2005, Hanover, 2005, pl. 40 (illustrated)

242 FRANK THIEL b. 1966Stadt 10/06/A (Berlin), 2001

Chromogenic print face-mounted to Plexiglas. 71 1/4 x 100 5/8 in. (181 x 255.6 cm).

Signed, titled, dated Frank Thiel Stadt 10/06/A (Berlin) 2001 and numbered of

four on the reverse. This work is from an edition of four.

Estimate $10 , 0 0 0 -15 , 0 0 0

PROVENANCE Sean Kelly Gallery, New York

EXHIBITED New York, Sean Kelly Gallery, Frank Thiel, February 9 - April 6, 2002

(another example exhibited)

LITERATURE F. Thiel, Frank Thiel: A Berlin Decade 1995- 2005, Ostfildern-Ruit, 2007,

p. 40 (illustrated)

243 FLORIAN MAIER-AICHEN b. 1973Untitled (Factory), 2001

C-print. 49 1/4 x 63 3/4 in. (125.1 x 161.9 cm) paper size. Signed and dated Florian

Maier Aichen 2001 and numbered of six on the reverse of the backing board.

This work is from an edition of six.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Blum & Poe, Los Angeles; Gallery MinMin, Tokyo

244 JEAN-LUC VILMOUTH b. 1952Vue dune chaise, 1986

Wooden chair and 19 cibachrome photographs. Chair: 32 5/8 x 14 1/2 x 14 1/2 in.

(82.9 x 36.8 x 36.8 cm); photographs: 13 1/4 x 15 3/4 in. (33.7 x 40 cm) each.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Galleria Francesca Kaufmann, Milan; Private collection, Miami

245 LORNA SIMPSON b. 1960Coiffure, 1991

Three gelatin silver prints and 10 engraved plastic plaques. 81 5/8 x 127 1/4 x 1 3/4 in.

(207.3 x 323.2 x 4.4 cm) overall. Signed Lorna Simpson on a label adhered to the

reverse of the left panel; signed and titled Lorna Simpson coiffure on the reverse

of the center panel. This work is an artists proof from an edition of three plus one

artists proof.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Sean Kelly Gallery, New York

EXHIBITED Minneapolis, Walker Arts Center, November 5, 1994 - March 26, 1995;

Miami, Center for Fine Arts, Duchamps Leg, December 2, 1995 - March 3, 1996 (another

example exhibited); Los Angeles, Museum of Contemporary Art, April 16 - July 10, 2006;

Miami Art Museum, October 13, 2006- January 21, 2007; New York, Whitney Museum of

American Art, February 8- May 6, 2007; Kalamazoo (Michigan), Kalamazoo Institute of

Arts, May 25- August 19, 2007; Charleston (South Carolina), Gibbes Museum of Art,

Lorna Simpson, September 7- December 2, 2007 (another example exhibited); Washington

D.C., Corcoran Gallery of Art, The American Evolution: A History through Art, March 1-

July 27, 2008 (another example exhibited)

LITERATURE J. Haber, Trying So Hard to Forget, Habers Art Reviews (online content),

2007; A. Cheimets, Parallel Evolution American History Through Art, The Georgetown

Independent, Washington D.C., March 31, 2008

SESSION II 2pm Lots 246 -364

246 JIM HODGES b. 1957Untitled (Landscape IV), 2000 - 2001

Collaged sheet music and graphite mounted on matte board. 25 1/2 x 21 1/8 in.

(64.8 x 53.7 cm). Initialed JH lower left and numbered 4 lower right.

Estimate $18 , 0 0 0 - 2 5 , 0 0 0

PROVENANCE CRG Gallery, New York

247 CHRISTOPHER WOOL b. 1955 Untitled (R27), 1990

Alkyd on rice paper. Signed and dated Wool 1990 on the reverse. 74 X 39 1/2 in.

(188 X 100.3 cm)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0

PROVENANCE Galerie Helen van der Meij, Amsterdam; Jack Hanley Gallery,

San Francisco

248 CHRISTOPHER WOOL b. 1955Untitled, 1988

Alkyd on paper. 64 3/8 X 32 1/8 in. (163.5 X 81.6 cm). Signed and dated Wool 1988

on the reverse.

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0

PROVENANCE Luhring Augustine, New York; Jack Hanley Gallery, San Francisco

249

250

249 RAYMOND PETTIBON b. 1957No Title (Wall Streets Chosen Few...), 2000

Ink and watercolor on paper. 16 x 13 7/8 in. (40.6 x 35.2 cm). Signed and dated


Estimate $7, 0 0 0 - 9 , 0 0 0


250 RAYMOND PETTIBON b. 1957No Title (An epitaph could not be found), 1999

Ink and watercolor on paper. 13 1/2 x 12 1/2 in. (34.3 x 31.8 cm). Signed and dated

Raymond Pettibon 4/99 on the reverse.

Estimate $ 4 , 0 0 0 - 6 , 0 0 0


251 ARTURO HERRERA b. 1959Bedspray (Blue/Green), 2005

Paper cutout on paper. 62 x 71 1/2 in. (157.5 x 181.6 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

PROVENANCE Brent Sikkema, New York

252 MARTIN EDER b. 1968Two works: Untitled, 2002

Ink and graphite on paper. 11 1/8 x 8 5/8 in. (28.3 x 21.9 cm) and 11 1/8 x 8 7/8 in.

(28.3 x 22.5 cm). Signed and dated Martin Eder 8/02 on lower right; signed and

dated Martin Eder 2/02 on lower right.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

PROVENANCE Private collection, Germany

LITERATURE (i) Brandenburgischer Kunstverein, ed., Memoirs of My Nervous Illness,

Potsdam, 2003, n.p. (illustrated)

(i)

(ii)

253 ELLEN GALLAGHER b. 1965Untitled, 1997

Watercolor and ink on misu paper. 39 x 25 1/4 in. (99.1 x 64.1 cm). Signed and

dated Ellen Gallagher 1997 lower right.

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

PROVENANCE Long Point Gallery, Provincetown (Massachusetts); Private

collection, Boston

EXHIBITED Provincetown (Massachusetts), Long Point Gallery, Invitational Exhibition,

June 22- July 10, 1997

254 TAL R b. 1967N, 2001

Oil on canvas. 78 3/4 x 78 3/4 in. (200 x 200 cm).

Estimate $7 0 , 0 0 0 - 9 0 , 0 0 0

PROVENANCE Contemporary Fine Arts, Berlin

EXHIBITED Horsens Kunstmuseum, Tal R: Ike Og Ancher, February 2 - April 14, 2002;

Mnchengladbach, Ststisches Museum Abteiberg, Tal R: Fruitland, May 9 - June 16, 2002

LITERATURE Ststisches Museum Abteiberg , ed., Tal R: Fruitland, Mnchengladbach,

2002, n.p. (illustrated); Tal R, ed., Ike Og Ancher, Horsens, 2002, n.p. (illustrated)

Photo: Jochen Littkemann/Courtesy of Contemporary Fine Arts, Berlin

255

256

255 KEHINDE WILEY b. 1977St. John the Baptist II (study), 2006

Graphite on paper in the artists frame. 26 3/4 x 22 3/4 in. (67.9 x 57.8 cm). Signed

and dated Kehinde Wiley 06 on the reverse.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Roberts & Tilton, Los Angeles; Private collection, Los Angeles

EXHIBITED Los Angeles, Roberts & Tilton, June 3- July 8, 2006; Columbus Museum of

Art, Kehinde Wiley: Columbus, September 8, 2006- January 7, 2007

LITERATURE S. Van Den Burg, Kehinde Wiley, Drawings & Notes (online content),

August 9, 2009 (illustrated)

256 PAUL P. b. 1977Untitled (Lamplight), 2002

Oil on canvas. 24 x 18 in. (61 x 45.7 cm). Signed, titled and dated Paul P Untitled

Lamplight 2002 twice on the reverse.

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Other Gallery, Winnipeg

257 JULIA JACQUETTE b. 1964Men and Women (Fighting), 2003

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

Men and Women (Fighting) 2003 on the reverse.

Estimate $12 , 0 0 0 -18 , 0 0 0

PROVENANCE Michael Steinberg Fine Art, New York

258 MARK LOMBARDI 1951 - 2000Untitled (all parties-BCCI, Nugan Hand, et. al.), 1997

Graphite on paper. 10 7/8 x 14 in. (27.6 x 35.6 cm).

Estimate $10 , 0 0 0 -15 , 0 0 0

PROVENANCE Pierogi, New York

259 MARK LOMBARDI 1951 - 2000Banca Nazionale del Lavoro, Reagan, Bush, Thatcher and the Arming of Iraq c. 1979-90

2nd version, 1990

Graphite on paper. 24 1/8 x 53 7/8 in. (61.3 x 136.8 cm). Signed, titled and dated

Banca Nazionale del Lavoro, Reagan, Bush, Thatcher and the Arming of Iraq

c. 1979-90 2nd version ML MCMXCV center left.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

PROVENANCE Pierogi, New York; Galerie Gabrielle Maubrie, Paris

260 THOMAS NOZKOWSKI b. 1944Untitled (X-10), 1991

Oil on paper. 10 1/4 x 16 1/4 in. (26 x 41.3 cm). Signed, titled and dated Untitled

1991 oil on paper X-10 Thomas Nozkowski on the reverse.

Estimate $7, 0 0 0 - 9 , 0 0 0

PROVENANCE Max Protetch, New York; Private Collection

261 DANIEL RICHTER b. 1962Heidelandschaft (Heathland), 2003

Oil, graphite and adhesive on paper. 28 1/2 x 14 3/4 in. (72.4 x 37.5 cm). Initialed,

titled and dated Heidelandschaft DR 03 lower right.

Estimate $ 8 , 0 0 0 -12 , 0 0 0

PROVENANCE Contemporary Fine Arts, Berlin; David Zwirner, New York

262

263

262 PHILIP TAAFFE b. 1955 Untitled, 1987

Ink, watercolor and gouache on paper. 27 1/2 x 39 1/2 in. (69.9 x 100.3 cm).

Estimate $7, 0 0 0 - 9 , 0 0 0

PROVENANCE Acquired directly from the artist; Private collection, USA

263 PHILIP TAAFFE b. 1955Untitled, 1987

Acrylic on paper. 22 x 34 in. (55.9 x 86.4 cm). Signed and dated P. Taaffe 1987

lower right.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Galleria Cardi, Milan

264 RAYMOND PETTIBON b. 1957Four works: (i) No Title (Please, no moralizing...), (ii) No Title (Baby Doll...), (iii) No

Title (In the fields...), (iv) No Title (Oh, wither away...), (i) 1990, (ii) 1991, (iii) 1995, (iv)

1997

(i) Ink on paper, (ii) ink, felt-tip pen and watercolor on paper, (iii) ink and watercolor on

paper, (iv) ink, colored pencil and graphite on paper. (i) 18 x 11 7/8 in. (45.7 x 30.2 cm);

(ii) 12 3/8 x 12 in. (31.4 x 30.5 cm), (iii) 15 3/4 x 7 1/2 in. (40 x 19.1 cm), (iv) 26 1/8 x 18 7/8

in. (66.4 x 47.9 cm). Each signed and dated on the reverse.

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

PROVENANCE (i) Georg Kargl Fine Arts, Vienna; (ii) Galerie Jrgen Becker, Hamburg;

(iii), (iv) Contemporary Fine Arts, Berlin

EXHIBITED (i) Bolzano (Italy), Museion, January 31-May 18, 2003; Museo dArte

Moderna di Bologna, Raymond Pettibon Drawings 1979-2003, June 26-August 31, 2003;

(i)-(iv) Vienna, Kunsthalle Wien, Raymond Pettibon Whatever it is Youre Looking for You

Wont Find it Here, October 13-February 25, 2007

LITERATURE (ii), (iii), (iv) T. Miessgang, G. Matt, E. Dimendberg, Raymond Pettibon

Whatever it is Youre Looking for You Wont Find it Here, Nuremberg, 2007 (illustrated)

pp. 68, 120, 220

(i)

(ii)

(iii)

(iv)

265 CECILY BROWN b. 1969Cottage No 3, 1991

Oil on canvas. 36 1/5 x 31 1/8 in. (91.9 x 79.1 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0


267

266

266 AMELIE VON WULFFEN b. 1966Two works: Untitled (White Horse) and Untitled (Tree and arch, pink), 2004 and 2003

Ink, acrylic, watercolor and collaged photograph on paper. 22 x 29 3/4 in. (55.9 x

75.6 cm) and 36 x 35 1/2 in. (91.4 x 90.2 cm). Each signed and dated on the reverse.

Estimate $10 , 0 0 0 -15 , 0 0 0

PROVENANCE Greene Naftali, New York

EXHIBITED (ii) New York, Greene Naftali, Amelie von Wulffen: Paare. Mbel. Landschaften.,

February 20-March 20, 2004

267 AMELIE VON WULFFEN b. 1966Untitled, 2002

Graphite, watercolor, oil and photographic collage on paper. 47 3/4 x 58 1/2 in.

(121.3 x 148.6 cm). Signed and dated V. Wulffen 2002 on the reverse.

Estimate $ 5 , 0 0 0 -7, 0 0 0

PROVENANCE Private collection, Europe

(i)

(ii)

268 NEAL TAIT b. 1965Untitled (Dead Houses), 2000


Untitled Dead Houses Neal 00 on the reverse.

Estimate $10 , 0 0 0 -15 , 0 0 0

PROVENANCE White Cube, London

269

270

269 JESSICA STOCKHOLDER b. 1959Turning Paper, 2000

Acrylic, fabric, glue and linoleum on board. 40 1/2 x 50 3/4 in. (102.9 x 128.9 cm).

This work is unique.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Galerie Nathalie Obadia, Paris

270 SHAAN SYED b. 1975And When Youre (Really) High No. 5, 2007

Oil on canvas. 72 1/2 x 64 in. (184.2 x 162.6 cm). Signed, titled and dated Shaan

Syed And When Youre (Really) High No. 5 2007 on the reverse.

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

PROVENANCE Brown,

cont2 ny nov final

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