L10021 Catalogue

Contemporary Art Day Auction
London, Thu, 11 Feb 2010, 2:00 PM, L10021
LOT 101
CARLOS CRUZ DIEZ

b. 1923
PHYSICHROMIE NO. 202
signed, titled and dated Paris Dec. 1965 on the reverse

oil and laminated plastic on board
60 by 16 by 7.5cm.; 23 5/8 by 6 1/4 by 3in.
ESTIMATE 25,000 - 35,000 GBP

Contemporary Art Day Auction, Thu, 11 Feb 2010, 2:00 PM, Lot 101
PROVENANCE
Private Collection, Germany
Acquired directly from the above by the present owner
LOT 102
VICTOR VASARELY
1908-1997
BELLE-ISLE "MEAUX"
signed and titled on the reverse

oil on board
23.5 by 86.8cm.; 9 1/2 by 34 1/8 in.
Executed in 1954-55.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Galerie Denise René, Paris
EXHIBITED
Oslo, Kunstnernes Hus, Victor Vasarely, 1971
CATALOGUE NOTE
The authenticity of this work has kindly been confirmed by Pierre Vasarely
LOT 103
LUCIO FONTANA
1899 - 1968
CONCETTO SPAZIALE
each: signed and numbered 240/500 on the underside

polished bronze, in two parts
each: 27 by 22 by 22cm.; 10 5/8 by 8 5/8 by 8 5/8 in.
Executed in 1967.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Tokyo Gallery, Tokyo
Private Collection, Japan
Acquired diectly from the above by the present owner circa 2002
EXHIBITED
Tokyo, Machida City Museum of Graphic Arts, Multiple Show: From Duchamp to Lichtenstein,
2005, p. 52, no. 28, illustrated in colour
LITERATURE
Cinzia Mascheroni (Ed.), Lucio Fontana: Beyond Space, Milan 2008, p. 63, illustration of another
example in colour
LOT 104
LUCIO FONTANA
1899 - 1968
CONCETTO SPAZIALE
signed
pencil and punched holes on paper
43.5 by 31.7cm.; 17 1/8 by 12 1/2 in.
Executed circa 1965.
ESTIMATE 8,000 - 12,000 GBP

PROVENANCE
Private Collection, Stockholm
LOT 105
LUCIO FONTANA
1899 - 1968
UNTITLED
signed
gouache and punched holes on paper
67 by 50cm.; 26 5/8 by 19 3/4 in.
Executed in 1960.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
Acquired directly from the artist by the present owner in 1960
LOT 106
JAN SCHOONHOVEN
1914-1994
AG '69-1
signed with the artist's inital and dated '69; signed, titled and dated 1969 on the reverse; dedicated to Lothar Wolleh and variously inscribed on a
sheet accompanying the work
verre églomisée
65 by 50cm.; 25 5/8 by 19 3/4 in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Lothar Wolleh, Berlin (a gift from the artist in 1969)
LOT 107
ALIGHIERO BOETTI
1940 - 1994
NOVE QUADRATI
each: signed with the artist's initials and inscribed H. C.

watercolour and pencil on paper, in nine parts
each circa: 19 by 19cm.; 7 1/2 by 7 1/2 in.
Executed in 1979, this work is from a edition of 40 uniquely painted works plus 5 Hors Commerces.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Private Collection, Italy
Sale: Christie's, London, Post War & Contemporary Art, 25 June 2004, Lot 156
Private Collection, Switzerland
CATALOGUE NOTE
This work is registered in the Archivio Alighiero Boetti, Rome under number 3503 and is
accompanied by a certificate of authenticity
LOT 108
ALIGHIERO BOETTI
1940 - 1994
INASPETTATAMENTE
signed and dated 1987; signed and dated on the overlap

embroidery on fabric mounted on panel
33 by 35cm.; 13 by 13 3/4 in.
ESTIMATE 12,000 - 18,000 GBP

PROVENANCE
Sale: Sotheby's, London, Contemporary Art, 18 June 2007, Lot 599
CATALOGUE NOTE
This work is recorded in the Archivio Alighiero Boetti, Rome under number 4875 and is
LOT 109
ENRICO CASTELLANI
b.1930
SUPERFICIE BIANCA
signed, titled and dated 1980 on the overlap

acrylic on shaped canvas
100 by 100cm.; 39 3/8 by 39 3/8 in.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Galerie von Braunbehrens, Munich
Acquired directly from the above by the present owner in 1987
CATALOGUE NOTE
"...Castellani focuses his attention on shadow in order to highlight the fact that, according to the
logic of artistic language, one element is as valid as another, and the optimal approach aims at
presenting both and arranging them according to every logically conceivable combination."
(Germano Celant, 'Behind the Picture: Enrico Castellani' in: Exhibition Catalogue, Milan,
Fondazione Prada, Enrico Castellani, 2001, p. 12)
LOT 110
GIANPIETRO CARLESSO
b. 1961
CURVATURA SETTE
white alabaster
43 by 75 by 75cm.; 16 7/8 by 29 1/2 by 29 1/2 in.
Executed in 2009.
ESTIMATE 12,000 - 15,000 GBP

PROVENANCE
Acquired directly from the artist by the present owner
LOT 111
CARLOS CRUZ-DIEZ
b.1923
PHYSICHROMIE NO. 122
signed, titled and dated Paris May 1964 on the reverse

oil and laminated plastic on board
30.5 by 61cm.; 12 by 24in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Galleri Gurholt, Oslo
LOT 112
MIMMO ROTELLA
1918 - 2006
ARRUOLAMENTO MILITARE
signed; titled and dated 1961 on the reverse

décollage on canvas
89.5 by 89.5cm.; 35 1/4 by 35 1/4 in.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
Coen & Pieroni, Pescara
Private Collection, Paris
CATALOGUE NOTE
This work is recorded in the Fondazione Mimmo Rotella, Milan
Convinced that everything in art had already been done, Rotella felt in the early 50's a sense of
over-all dissatisfaction, confessing 'when I went back to Rome for the second time after the war, I
realised several paintings in the figurative, expressionist, surrealist and even cubist styles but I
was never satisfied.' (Mimmo Rotella, Autorella. Autobiografia di un Artista, Milan 1972, p. 26).
This exasperated research and deep introspection improvised what he defined as the Zen
illumination, the discovery of the advertising consumerist poster as the channel for a new artistic
mode of expression.
Armed with a penknife, the artist at night wandered the streets of Rome, ripping posters off the
walls from which to create his celebrated double – décollages in which the poster was first ripped
from the wall, torn up and reworked in the artist's studio, then re-adhered to canvas or masonite –
a technique which would become one of the most expressive and violent manifestations of post-
war art. By retaining the original character of these arrangements, Rotella re-created, in effect,
essential fragments of the urban landscape, successfully adapting the collage traditionally used
by the Cubists to the Dadaist venture of unpredictably tearing the objet trouvé, mastering as a
result a poetic recycling of urban, industrial and advertising reality.
Executed in 1961, Arruolamento Militare was created in conjunction with the historically acclaimed
A 40° au-dessus de Dada Paris exhibition curated by Pierre Restany- the art critic who had
defined a year earlier, in the home of Yves Klein with the likes of Arman, Christo, Deschamps,
Raysse, St. Phalle and Rotella "Nouveau Realisme" or the "New perspective approaches to
Reality." The present work therefore embodies the magical and unexpected significance of the
arbitrarily decomposed and recomposed traces left on the city by consumerist posters, giving an
account of the reality of their time. Rotella was convinced that art was only capable of fully
capturing the essence and moods of reality if it emerged through direct contact with reality or the
space for action. The search for Reality was paradoxically achieved within the torn space- a
space which was accidentally created through the loss or partial destruction of the object
embodying that very mood or reality.
In Arruolamento Militare or Military Enlistment the choice of subject, title as well as technique,
beautifully encapsulate Italy's essential need to revive its naval capacity following the Second
World War. The tattered yet distinct Italian Navy flag located in the upper right quadrant of the
composition acts as a testimony for the changing role and capabilities of the Italian Navy in the
1960's. Having tragically failed to make any significant impact during the Second World War, and
as soon as Victor Emmanuel III surrendered in 1943, the country's remaining ships sailed to Malta
to be redistributed to the Allies.
Significant not only as one of the artist's early masterpieces, but also as the defining moment in
his artistic maturity, the deeply intense décollage in Arruolamento Militare can be seen to establish
the principal tenets that would inform Rotella's later work. Its politically charged atmosphere
combined with its violent linearity and vivid colours led critic Alberto Fiz to acknowledge the
radicalism of an oeuvre that has abolished 'painting's artificial space to get hold of reality through
a passage that is first physical and then psychological'.(Alberto Fiz cited in: Mimmo Rotella,
Mimmo Rotella- Early Works, Milan 2007, p. 14)
LOT 113
GIUSEPPE CAPOGROSSI
1900 - 1972
COMPOSITION N25
signed, titled and dated 1951 on the reverse

oil on canvas
73 by 54cm.; 28 3/4 by 21 1/4 in.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Zimmergalerie Franck, Frankfurt
Private Collection, Europe
LITERATURE
Giulio Carlo Argan, Ed., Capogrossi, Rome 1967, p. 146, no. 82
Exhibition Catalogue, Haarlem, Frans Hals Museum, Moderne italiaanse kunst in nederlands
partikulier en museaal bezit, 1971, no. 28, illustrated
CATALOGUE NOTE
This work is accompanied by a certificate of authenticity issued by the Fondazione Capogrossi,
Rome
LOT 114
ALIGHIERO BOETTI
1940 - 1994
ATTIRARE L'ATTENZIONE
(i), (iii-iv) signed on the overlap

embroidery on canvas, in four parts
(i) 22 by 23cm.; 8 5/8 by 9in. (ii) & (iv) 21.5 by 22.5cm.; 8 1/5 by 8 7/8 in. (iii) 22 by 21.5cm.; 8 5/8 by 8 1/2 in.
Executed in 1985.
ESTIMATE 50,000 - 60,000 GBP

PROVENANCE
Private Collection, Europe (acquired directly from the artist in 1985)
CATALOGUE NOTE
This work is recorded in the Archivio Alighiero Boetti, Rome under number 6383 and is
LOT 115
JEAN DUBUFFET
1901 - 1985
CAFETIÈRE, TASSE ET SUCRIER III
signed, signed with the artist's initials, dated 65 and dedicated à David Sylvester; signed, titled and dated 22 sept. 65 on the reverse
vinyl paint on canvas
60 by 73cm.; 23 5/8 by 28 3/4 in.
ESTIMATE 220,000 - 320,000 GBP

PROVENANCE
David Sylvester, London
Goldman-Kraft Gallery, Chicago
EXHIBITED
Basel, Galerie Beyeler, Stillleben im 20. Jahrhundert, 1978-79
LITERATURE
Max Loreau, Catalogue des Travaux de Jean Dubuffet, fasc. XXI: L'Hourloupe II, Paris 1968, p.
98, no. 166, illustrated
CATALOGUE NOTE
"This cycle of work was characterized by a much more seriously arbitrary and irrational mood than
anything I had done before. This was a plunge into fantasy, into a phantom parallel universe. My
renewed interest in outsider art was no doubt not unconnected with this sudden new
development."
(The Artist cited in: Exhibition Catalogue, Salzburg, Museum de Moderne; Bilbao, Guggenheim,
Jean Dubuffet: Trace of an Adventure, 2003-2004, p. 174)
Dubuffet's L'Hourloupe series manifested itself in the summer of 1962 after the artist began
doodling with red and blue ball-point pen whilst on the telephone. It was a strictly two dimensional
exploration, without any sense of depth or space, and was soon to incorporate everyday objects
and rework the traditional subject of the still life. This series would preoccupy the artist for the
following twelve years, leading on from previous anti-academic explorations, most immediately
pre-empted by the highly vivacious Paris Circus series. Dubuffet would later realise this
exploration through three-dimensional sculpture and through the means of performance.
The Hourloup series saw Dubuffet manipulating the pictorial plane into a more mental and visceral
space, thus achieving a total unique rendering of subject using a limited palette unlike any of his
contemporaries. Here, in Cafetière, Tasse et Sucrier III, the coffee pot, cup and sugar bowl are
almost masked by the elaborate yet simple network of forged misshapen elements; only the
subtle black outlines against a slight black background allow the objects to show themselves. The
viewer is immersed in this play on shapes and colour, which displays the artist's desire to create a
new way of seeing.
The notorious art critic David Sylvester held an internationally acclaimed reputation as one of the
leading commentators on 20th Century art, amongst other artistic genres. He was impressed by
the raw quality hefound in the work of untrained artists such as Dubuffet and said of him in 2004:
''His preoccupation with style arises ... out of his recognition of the decadence of our culture, his
feeling that the styles we accept are all played out, his disgust at an art that feeds on art ..., and
out of a desire to create an art that might rise above it all, above all the fancy nonsense, in spite of
everything.'' (David Sylvester cited on the Tate Modern website www.tate.org.uk)
In clearly dedicating Cafetière, Tasse et Sucrier III to David Sylvester in the lower left of the
composition, this painting is an historical commentary on the mutual friendship and respect
shared by the two great thinkers, and their acknowledgement of each other's ideas. With its bold
execution and immediacy, Dubuffet does not apologise for his utterly original direction.
LOT 116
NIKI DE SAINT-PHALLE
1930 - 2002
NANA AU SERPENT
signed, numbered 0/0 and inscribed original on the underside

painted resin
73 by 42 by 23cm.; 28 3/4 by 16 1/2 by 9in.
Executed in 1984, this work is the artist's prototype aside from the edition of 7 plus 3 artist's proofs.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
Gimpel Fils, London
LITERATURE
Carla Schulz-Hoffman, et al., Niki de Saint Phalle, Bonn 1987, p. 119, no. 36, illustration of
another example in colour
LOT 117
PROPERTY OF A PRIVATE AMERICAN COLLECTION

BARRY FLANAGAN
1941 - 2009
NIJINSKI FIVE
stamped with the artist's monogram and foundry mark and numbered 2/8
bronze with black patina
77.2 by 36.9 by 47cm.; 30 3/8 by 14 1/2 by 18 1/2 in.
Executed in 2005, this work is number 2 from an edition of 8 plus 3 artist's proofs.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
Paul Kasmin Gallery, New York
LITERATURE
Exhibition Catalogue, Palma de Mallorca, Centro de Cultura Sa Nostra, Art Report 2005: Diario
de Mallorca, 2005-2006, illustration of another example in colour
Exhibition Catalogue, Montreal, Galerie de Bellefeuille, Gdb International, 2006, illustration of
Exhibition Catalogue, Stockholm, Wetterling Gallery, Barry Flanagan, 2007, p. 37, illustration of
LOT 118
YVES KLEIN
1928 - 1962
UNTITLED (SE 288)
signed with the artist's initials and dated 58 on the reverse

IKB pigment and synthetic resin on natural sponge
31 by 31 by 14cm.; 12 1/4 by 12 1/4 by 5 5/8 in.
Executed in 1958.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Alexander Iolas, New York
Acquired directly from the above by the present owner in the early 1980s
CATALOGUE NOTE
Please note that this work has been requested for the Yves Klein Retrospective which will take
place at the Hirshhorn Museum and Sculpture Garden, Washington, DC (20 May - 12 September,
2010) and at the Walker Art Center, Minneapolis (23 October, 2010 - 13 Feburary, 2011).
"It is the sponge's extraordinary capacity to impregnate itself with anything fluid that attracted me.
Thanks to the wild living material of sponges, I was going to be able to do the portraits of the
beholders of my monochromes, who, after having seen them, after having travelled through the
blue of my paintings, come back totally impregnated in sensibility, like sponges."
(Yves Klein cited on www.yveskleinarchives.org)
LOT 119
CORNEILLE
b.1922
PREMIÈRE VERDURE
signed and dated 59; signed, titled and dated 59 on the reverse
oil on canvas
65 by 92cm.; 25 5/8 by 36 1/8 in.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Galleri Haaken, Oslo
Acquired directly from the above by the previous owner in the 1960s
Thence by descent
EXHIBITED
Amsterdam, Stedelijk Museum, Corneille, 1966
LOT 120
MARIA HELENA VIEIRA DA SILVA

1908 - 1992
L'ESCALIER (THE STAIRWAY)
signed and dated 1962

tempera on paper
66 by 51cm.; 26 by 20in.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
Knoedler Gallery, New York
Private Collection, U.S.A.
EXHIBITED
New York & Washington, M. Knoedler & Co. & Phillips Collection, Vieira da Silva, 1963, no. 21,
illustrated
LITERATURE
Virginie Duval & Diane Daval Béran, Vieira da Silva: Catalogue Raisonné, Geneva 1994, p. 373,
no. 1849, illustrated
LOT 121
WOLS
1913 - 1951
UNTITLED
signed
watercolour, ink and gouache on paper
11.6 by 21cm.; 4 5/8 by 8 1/4 in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Sale: Christie's, London, Contemporary Art, 22 February 1990, Lot 343
CATALOGUE NOTE
The authenticity of this work has kindly been confirmed by Dr. Ewald Rathke
LOT 122
WOLS
1913 - 1951
L'HOMME TERRIFIÉ, LES REINS DANS LES GENOUX
signed
watercolour and indian ink on hand-made paper
23.6 by 31.5cm.; 9 1/4 by 12 3/8 in.
ESTIMATE 25,000 - 30,000 GBP

PROVENANCE
Gréty Wols, Germany
Galerie Natalie Seroussi, Paris
EXHIBITED
Rennes, Musée ( & travelling), Wols - Dessins, Aquarelles, Peintures 1932-1951, 1974-1976, no.
36
Hamburg, Kunsthaus; Esslingen, Villa Merkel; Dresden, Staatliche Kunstsammlungen,
Kupferstichkabinett, Wols. Aquarelle, Zeichnungen, Notizblätter aus dem Besitz von Marc
Johannes, 2000-2001, p. 19, no. 2, illustrated
LITERATURE
Shigeo Chiba, L'Oeuvre des Wols, PhD Thesis, Paris 1974, p. 142
Claire van Damme, Kunst als Catharsis en Psychogenese. Het exstreem subjectivistisch
kunstscheppen van de Duitse surrealistische en informele kunstenaar Wols 1913-1951, Gent
1985, p. 110, no. 87, illustrated
Philipp Gutbrod, Wols: Die Arbeiten auf Papier (Werkverzeichnis), PhD Thesis, Heidelberg 2003,
no. A173, illustrated
CATALOGUE NOTE
The authenticity of this work has kindly been confirmed by Dr. Ewald Rathke
LOT 123
ALEXANDER CALDER
1898 - 1976
UNTITLED
signed and dated 63

ink on paper
74.9 by 104.7cm.; 29 1/2 by 41 1/4 in.

PROVENANCE
The Estate of the Artist
American Friends of Tel Aviv Museum of Art
Acquired directly from the above by the present owners in 2007
EXHIBITED
New York, PaceWildenstein, Calder Gouaches: 1942-1976, 2006, p. 20, no. 17, illustrated in
colour
CATALOGUE NOTE
This work is registered in the archives of the Calder Foundation, New York, under application
number A04356
LOT 124
ALEXANDER CALDER
1898 - 1976
UNTITLED
signed and dated 70

ink on paper
74.9 by 108cm.; 29 1/2 by 42 1/2 in.

PROVENANCE
American Friends of Tel Aviv Museum of Art
Acquired directly from the above by the present owners in 2007
LITERATURE
Exhibition Catalogue, New York, PaceWildenstein, Calder Gouaches: 1942-1976, 2006, p. 43,
illustrated in colour
CATALOGUE NOTE
number A04196
LOT 125
SAM FRANCIS
1923 - 1994
UNTITLED (SF77-169)
acrylic on paper
39.5 by 30cm.; 15 5/8 by 11 3/4 in.
Executed in 1977.

PROVENANCE
CATALOGUE NOTE
This work is registered in the Sam Francis Foundation Archives under the number SF77-169 and
wil be included in the forthcoming catalogue raisonné of unique paintings and works on paper
edited by Debra Burchett-Lee and published by the University of California Press
LOT 126
SAM FRANCIS
1923 - 1994
UNTITLED
acrylic and ink on paper
56.4 by 38.3cm.; 22 1/4 by 15 1/8 in.
Executed in 1959.

PROVENANCE
CATALOGUE NOTE
This work is registered in the Sam Francis Foundation Archives under the number SF59-525 and
wil be included in the forthcoming catalogue raisonné of unique paintings and works on paper
edited by Debra Burchett-Lee and published by the University of California Press
LOT 127
KAREL APPEL
1921-2006
DEUX TÊTES
signed
oil and pencil on paper laid down on canvas
90 by 120cm.; 35 3/8 by 47 1/4 in.
Executed in 1988.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Sale: Christie's, Paris, Art d'Après-Guerre et Contemporain, 12 December 2007, Lot 199
LOT 128
KAREL APPEL
1921-2006
UNTITLED
signed and dated 56

oil on canvas
46.4 by 27.5cm.; 18 1/4 by 10 3/4 in.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Galerie Anne Abels, Cologne
Private Collection
Sale: Christie's, London, Post War & Contemporary Art, 26 March 1992, Lot 1
Galería Gavar, Madrid
Private Collection, Madrid
LOT 129
JEAN DUBUFFET
1901 - 1985
PAYSAGE URBAIN II
signed with the artist's initials and dated 74

coloured crayon and felt tip pen on paper
32.5 by 25cm.; 12 3/4 by 9 7/8 in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
EXHIBITED
Berlin, Akademie der Künste; Vienna, Museum Moderner Kunst; Cologne, Josef Haubrich-
Kunsthalle, Dubuffet Retrospektive, 1980-1981, p. 263, no. 312, illustrated
London, Waddington Galleries, Jean Dubuffet: Works on Paper from 1943 to 1985, 2000, p. 40,
no. 29, illustrated
LITERATURE
Max Loreau, Catalogue des Travaux de Jean Dubuffet, fasc. XXIX: Crayonnages, Récits,
Conjectures, Paris 1979, p. 26, no. 47, illustrated
LOT 130
SERGE POLIAKOFF
1906 - 1969
COMPOSITION ABSTRAITE
signed
oil on canvas
72.9 by 52.9cm.; 28 3/8 by 20 5/8 in.
Executed in 1957.
ESTIMATE 90,000 - 120,000 GBP

PROVENANCE
Galerie di Meo, Paris
Sale: Sotheby's, London, Contemporary Art, 2 July 1987, Lot 668
Peer Lorentzen Collection, Denmark
Gorm Rasmussen Fine Art, Denmark
CATALOGUE NOTE
The authenticity of this work has kindly been confirmed by Alexis Poliakoff
LOT 131
ARMAN
1928 - 2005
ACCUMULATED MONOCHROMES
signed on the overlap; titled and dated 1987-1989 on the reverse

acrylic and paint tubes on canvas
81 by 65cm.; 31 7/8 by 25 5/8 in.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
AH Grafik, Stockholm
LITERATURE
Donald Kuspit, Arman: Monochrome Accumulations 1986-1989, New York 1990, p. 45, no. 2503,
illustrated
CATALOGUE NOTE
This work is recorded in the Denyse Durand-Ruel Archives under number 4385
LOT 132
ANDRÉ LANSKOY
1902 - 1976
LE SENS DIRECT ET OPPOSÉ
signed; titled and dated 57 on the reverse

oil on canvas
73 by 100cm.; 28 3/4 by 39 3/8 in.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Galerie Louis Carré & Cie, Paris
Galerie Frans Jacobs, Amsterdam
Private Collection, London
CATALOGUE NOTE
The authenticity of this work has kindly been confirmed by André Schoeller, Paris
LOT 133
DAVID HOCKNEY
b.1937
COLOURED CURTAIN STUDY
signed with the artist's initials, titled and dated Oct. 63

pencil and coloured crayon on paper
43 by 31.1cm.; 17 by 12 1/4 in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Paul Kasmin, London
Ronald B. Alley, London
EXHIBITED
London, The Whitechapel Art Gallery, ( & travelling), David Hockney: Paintings, prints and
drawings 1960-1970, 1970, no. D9
LITERATURE
David Hockney, David Hockney, London 1976, p. 80, illustrated
LOT 134
PAULA REGO
b. 1935
THE GRANDMOTHER
signed and inscribed Unique Proof

pastel and watercolour over lithographic template
75 by 56.4cm.; 29 1/2 by 22 1/4 in.
Executed in 2001-2005, this work is unique.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
Marlborough Fine Art, London
LOT 135
FRANK AUERBACH
b. 1931
RECLINING HEAD OF J.Y.M.

oil on board
29.8 by 30.6cm.; 11 3/4 by 12in.
Executed in 1984.
ESTIMATE 90,000 - 120,000 GBP

PROVENANCE
Marlborough Fine Art, London
Acquavella Galleries, New York
Crane Kalman Gallery, London
Sale: Christie's London, Post War & Contemporary Art, 22 June 2006, Lot 41
LITERATURE
William Feaver, Frank Auerbach, New York 2009, p. 295, no. 508, illustrated in colour
CATALOGUE NOTE
Executed in 1984, Reclining Head of J.Y.M. exhibits Auerbach's explosive painterly technique at
its most effective. Across the picture plane, layers of glistening oil paint are built up and scraped
back in an eruption of vigorous brushstrokes and powerful blows. The reclining head emerges
against a deep aubergine ground, its contours defined by jewel-like hues of emerald, amber and
rose; each colour punctuated by expressive daubs of black. Celebrated for portraits displaying a
tangible sense of both subject and surface, Auerbach himself declared, 'I don't know how they can
talk about thickness, really... Is blue better than red, thick better than thin? - no. But the sense of
corporeal reality, that's what matters. English twentieth-century painting tends to be thin, linear
and illustrative. I wanted something different; I wanted to make a painting that, when you saw it,
would be like touching something in the dark' (the artist cited in: Robert Hughes, Frank Auerbach,
London 1990, p. 86).
J.Y.M., acronym for Julia Yardley Mills, is one of the cornerstone subjects of the artist's canon.
She first posed for him in 1956 when she was a professional model at Sidcup College of Art, and
continued to do so every Wednesday and Sunday for over forty years until 1997. When Reclining
Head of J.Y.M. was painted she had been sitting for him for almost three decades. Through
brilliant colour and a faultless exhibition of compelling painterly gesture, this portrait carries a
remarkable psychological and emotional charge, and confirms Catherine Lampert's observation
that J.Y.M. "was a force of nature" (Exhibition Catalogue, London, Royal Academy of Arts, Frank
Auerbach, 2001, p. 26).
LOT 136
PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTION

MARCEL BROODTHAERS
1924 - 1976
ALLEGRO MODERATO
titled; stamped by the Broodthaers Estate and signed by Maria Gilissen Broodthaers on the reverse
plastic sign
83.1 by 120.1cm.; 32 3/4 by 47 1/4 in.
Executed in 1969, this work is number 2 from an edition of 7.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Galerie Isy Brachot, Brussels
Rhona Hoffman, Chicago
Acquired directly from the above by the present owner 1989
LOT 137

MARCEL BROODTHAERS
1924 - 1976
LE SOUS-SOL
titled; signed with the artist's initials, dated 69 and numbered 1/7 Ex. n. 1 on a label affixed to the reverse
plastic sign
123.2 by 86.4cm.; 48 1/2 by 34in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Isy Brachot Gallery, Brussels
Rhona Hoffman Gallery, Chicago
LOT 138
PABLO ATCHUGARRY
b.1954
UNTITLED
signed
marble
48.3 by 17.5 by 15.5cm.; 19 by 6 7/8 by 6 1/8 in.
Executed in 2005.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Private Collection, Treviglio
LOT 139
SERGIO CAMARGO
1930-1990
UNTITLED
marble
height: 10.8cm.; 4 1/2 in.
ESTIMATE 12,000 - 18,000 GBP

PROVENANCE
Galerie Gromholt, Oslo
LOT 140
MANOLO MILLARES
1926 - 1972
UNTITLED
signed
gouache and ink on paper
68 by 98cm.; 26 3/4 by 38 5/8 in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Private Collection, Stockholm
LOT 141
MANOLO MILLARES
1926 - 1972
ROJO, NEGRO
signed; signed and dated 1961 on the reverse

ink, gouache and newspaper collage on paper
69.5 by 49cm.; 27 3/8 by 19 1/4 in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Arthur Tooth & Sons Ltd., London
Acquired directly from the above by the present owner in the early 1960s
LOT 142
ANTONIO SAURA
b.1930
UNTITLED
signed and dated 61

ink and wash on paper
64 by 48.9cm.; 25 1/4 by 19 1/4 in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Arthur Tooth & Sons Ltd., London
CATALOGUE NOTE
This work is registered in the Antonio Saura Archives, Geneva, and is accompanied by a
certificate of authenticity
LOT 143
MANOLO VALDÉS
b. 1942
MATISSE COMO PRETEXTO
signed, dated 99 and inscribed N.Y. on the reverse

oil, tissue, canvas collage and mixed media on burlap
190 by 138cm.; 74 3/4 by 54 1/4 in.
ESTIMATE 150,000 - 200,000 GBP

PROVENANCE
Galería Cayón, Madrid
Private Collection, U.S.A.
Private Collection, Spain
CATALOGUE NOTE
"Painting is a specific activity. Just as literature comes from literature, my painting comes from
painting. My work is always inspired by pieces I like, or rather I live through those pieces."
(Manolo Valdés cited in Exhibition Catalogue, Valencia, Palau Gallery, Manolo Valdés, 1983)
Manolo Valdés' portraiture actively engages with the history of art and addresses in it issues
ranging from representation and appropriation to heritage, style and tradition. His distinctive
method combines painting with sculpture and employs diverse materials and fabrics from which
he recreates often familiar icons and motifs from art history in an immensely personal and richly
textured manner of figuration.
Taking portraiture as his aesthetic code, Valdés examines the power of art and the unique
expressive capacity afforded to it. Texture, materials, colour and the stylisation of faces form the
essential components of his language which he communicates with immediacy and vigour. In the
present work, Matisse Con Pretexto, Valdés takes his inspiration from one of Henri Matisse's
best-known portraits of his daughter Marguerite. Magnifying it to a monumental scale, Valdés
accentuates the selected fragment's underlying code and tonal structure, revitalizing its form in a
way that adds fresh meaning and new possibilities. The entirely new synthesis of form and
material it presents surpasses realms of appropriation, combining instead inherited artistic idioms
of the past with the formal and thematic concerns of the present. In so doing Valdés embraces
and celebrates the inheritance of his subject matter and asserts his place alongside the masters
within the lineage of inevitable comparison in art history.
"I am just a narrator who comments on the history of painting in various ways, using new
materials: it is like a game that consists of changing the code and the key to the artwork.... Many
of my colours, materials and textures are the product of relived experiences of other masters. My
painting involves much reflection." (Manolo Valdés cited in Exhibition Catalogue, Madrid, Museo
Nacional Centro de Arte Reina Sofía, Valdes 1981-2006, 2006, p. 21)
LOT 144

JUAN MUÑOZ
1953-2001
MALMO BALCONY III

wood and wrought iron
61 by 90 by 33cm.; 24 by 35 1/2 by 13in.
Executed in 1991.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
Galerie Ghislaine Hussenot, Paris
LOT 145
ANTONI TÀPIES
b.1923
WOODEN GRILLE
signed on the reverse

oil, pencil and glue on wood
195.6 by 129.6cm.; 77 by 51in.
Executed in 1975.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Martha Jackson Gallery, New York
David Anderson Gallery, Buffalo
EXHIBITED
Boston, Nielson Gallery, Works on Paper, 1976
Saskatoon, Mendel Art Gallery, Antoni Tàpies, 1978, no. 10, illustrated in colour
New York, Martha Jackson Gallery, Tàpies, 1978, no. 15, illustrated
LITERATURE
Anna Augustí, Tàpies: The Complete Works, Vol. 3: 1969-1975, Barcelona 1992, p. 477, no.
2983, illustrated in colour
LOT 146
PROPERTY FROM AN IMPORTANT SWISS PRIVATE COLLECTION

LUIS FEITO
b. 1929
NÚMERO 103

oil and sand on canvas
116 by 150cm.; 45½ by 59in.
ESTIMATE 20,000 - 25,000 GBP

PROVENANCE
Acquired by the grandmother of the present owner circa 1959
Thence by descent
LOT 147
ANTONI CLAVÉ
1913-2005
LE ROI
signed
embroidered tapestry
200 by 155cm.; 78 3/4 by 61in.
ESTIMATE 80,000 - 120,000 GBP

PROVENANCE
Acquired directly from the artist by the family of the present owner
Thence by descent
EXHIBITED
Zaragoza, Sala Luzan, Clavé, 1980-1981, no. 101
LITERATURE
Exhibition Catalogue, Barcelona, Sala Gaspar, Clavé: Tapisseries/Assemblages, 1968, no. 3,
illustrated in colour (detail on front cover)
Pierre Seghers & Pierre Cabanne, Clavé, Barcelona 1988, p. 242, no. 253, illustrated
LOT 148
SALVATORE SCARPITTA
b. 1919
PAGODA AT THE GROVE

bandage and mixed media on canvas laid down on board
60.5 by 61.5cm.; 23 7/8 by 24 1/4 in.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
Acquired directly from the artist by the present owner circa 1970
EXHIBITED
New York, Scott-Hanson Gallery, Sal Scarpitta, 1990
LITERATURE
Luigi Sansone, Salvatore Scarpitta: Catalogue Raisonné, Milan 2005, p. 187, no. 320, illustrated
LOT 149
PROPERTY OF AN IMPORTANT AMERICAN COLLECTOR

JANNIS KOUNELLIS
b.1936
UNTITLED
lead and glass
200 by 180 by 35cm.; 78 3/4 by 70 7/8 by 13 3/4 in.
Executed in 1998.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Ace Gallery, Los Angeles
LOT 150
JOSEPH BEUYS
1921 - 1986
MÄDCHEN MIT APFEL

pencil and watercolour on paper
29.5 by 21cm.; 11 5/8 by 8 1/4 in.
Executed in 1954.
ESTIMATE 18,000 - 25,000 GBP

PROVENANCE
Galerie Michael Werner, Cologne
Achenbach Art Consulting, Düsseldorf
LOT 151
JOSEPH BEUYS
1921 - 1986
UNTITLED

watercolour and brown ink on paper
24.2 by 17cm.; 9 1/2 by 6 3/4 in.
Executed in 1955.
ESTIMATE 12,000 - 18,000 GBP

PROVENANCE
Acquired directly from above by the present owner in 2001
LOT 152
JOSEPH BEUYS
1921 - 1986
PARTITUR
pencil and ink stamp on paper
29.5 by 21cm.; 11 5/8 by 8 1/4 in.
Executed in 1959.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
LOT 153
JOSEPH BEUYS
1921 - 1986
ISOLATOREN, SPANNUNGSSÄULEN (LEUCHTENDE ENTLADUNG)

pencil on paper
21 by 29.5cm.; 8 1/4 by 11 5/8 in.
Executed in 1954.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
EXHIBITED
Krefeld, Kaiser Wilhelm Museum, Joseph Beuys, 1976
LOT 154
JOSEPH BEUYS
1921 - 1986
REBUS
pencil and ink stamp on paper
27 by 18cm.; 10 5/8 by 7 1/8 in.
Executed in 1958.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
LOT 155
JOSEPH CORNELL
1903 - 1972
UNTITLED (BLUE SAND FOUNTAIN)

wooden box construction, glass, shell, botttleneck, sand and cork
28.1 by 20 by 10cm.; 11 by 7 7/8 by 4in.
Executed circa 1955-58.
ESTIMATE 70,000 - 90,000 GBP

PROVENANCE
C & M Arts, New York
EXHIBITED
Zürich, Galerie Hauser & Wirth, Joseph Cornell: Boxes, Collages, Films, 1996
LITERATURE
Kynaston McShine, et al., Joseph Cornell, New York 1990, no. 193, illustrated
LOT 156
ALEXANDER CALDER
1898 - 1976
UNTITLED
signed with the artist's monogram on the base

painted sheet metal, brass and wire standing mobile
25 by 39 by 13cm.; 9 3/4 by 15 3/8 by 5 1/8 in.
ESTIMATE 120,000 - 180,000 GBP

PROVENANCE
Galerie Maeght, Paris
Galleri Samlaren, Stockholm (acquired directly from the above in 1962)
CATALOGUE NOTE
number A08448
LOT 157
CARL ANDRE
b. 1935
8 FE SUMMED
steel, 36 units
each: 0.08 by 5.1 by 5.1cm.; 1/32 by 2 by 2 in.
overall: 0.08 by 41.3 by 41.3cm.; 1/32 by 16 1/4 by 16 1/4 in.
Executed in 2000.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Paula Cooper Gallery, New York
Private Collection, New York
CATALOGUE NOTE
This work will be included in the register of sculpture, as RS #2000-13 and is accompanied by a
certificate of authenticity signed by the artist
LOT 158
CARL ANDRE
b. 1935
12 FE DIAGONAL
rusted steel, 12 units
each: 0.6 by 18.4 by 9.5cm.; 1/4 by 7 1/2 by 3 3/4 in.
overall: 0.6 by 127.6 by 9.8cm.; 1/4 by 50 1/4 by 3 7/8 in.
Executed in 2000.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
CATALOGUE NOTE
This work will be included in the register of sculpture, as RS #2000-14 and is accompanied by a
certificate of authenticity signed by the artist
LOT 159
DONALD JUDD
1928 - 1994
UNTITLED
signed, dated 88 and inscribed AG Menziken on the reverse

anodized aluminium and coloured plexiglas
25 by 100 by 25cm.; 9 7/8 by 39 3/8 by 9 7/8 in.
ESTIMATE 150,000 - 200,000 GBP

PROVENANCE
LOT 160
ANISH KAPOOR
b.1954
FROM 1000 NAMES

dry pigment on resin
excluding plinth: 41 by 38 by 36cm.; 16 1/8 by 15 by 14 1/8 in.
Executed in 1983.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
DJT Fine Art, New York
LOT 161
JOHN MCCRACKEN
b.1934
VELOCITY

polyester resin and fibreglass on plywood
20 by 193 by 24.5cm.; 7 7/8 by 76 by 9 5/8 in.
ESTIMATE 70,000 - 90,000 GBP

PROVENANCE
Galerie Tanit, Munich
LOT 162
MARK GROTJAHN
b. 1968
UNTITLED (BUTTERFLY WITH GREEN EYES CR SL LY CY AND CREAM 763)

coloured pencil on paper
181.5 by 121cm.; 71 1/2 by 47 5/8 in.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Gagosian Gallery, New York
LOT 163
NATE LOWMAN
b. 1979
PINK ESCALADE
silkscreen ink on canvas
diameter: 179cm.; 70 1/2 in.
Executed in 2005.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
LOT 164
GREGOR HILDEBRANDT
b. 1974
A NIGHT LIKE THIS

cassette tapes on canvas
130 by 97cm.; 51 1/8 by 38 1/4 in.
Executed in 2007.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Wentrup Gallery, Berlin
LOT 165
YAYOI KUSAMA
b. 1929
METEMPSYCHOSIS
signed and dated 1988 on the reverse

acrylic on canvas
72 by 60cm.; 28 3/8 by 23 5/8 in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
LOT 166
ANISH KAPOOR
b.1954
UNTITLED
gourds, acrylic and pigment
measurements variable
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
Nishimura Gallery, Tokyo
Acquired directly from the above by the previous owner
EXHIBITED
Tokyo, Nishimura Gallery, Gourd, 1993-1995, illustrated in colour
LOT 167
SUBODH GUPTA
b.1964
UNTITLED (9 UNITS)
brass and rope
340.4 by 61 by 61cm.; 134 by 24 by 24in.
Executed in 2006.
ESTIMATE 200,000 - 300,000 GBP

This work is accompanied by a certificate of authenticity signed by the artist
PROVENANCE
Jack Shaiman Gallery, New York
CATALOGUE NOTE
Widely regarded as India's most influential Contemporary artist, Subodh Gupta's varied sculptural
practice brings together the languages of Western and Eastern art to communicate the artist's
own experiences of living in India and his perception of the rapid cultural, social and economic
changes underway there and as well as further afield. In Untitled Gupta confronts the viewer with
a monumental sculptural installation created from a tower of traditional Indian copper cooking
vessels stacked one on top of the other. This visually arresting and dynamic manipulation of an
everyday, utilitarian object references numerous sculptural precedents, ranging from the
metaphorical and Conceptual principles of Marcel Duchamp's readymade sculptures, to
Minimalism's investigations into an object's purity of form and its materiality, to the dynamic
vertical repetition of Constantin Brancusi's La colonne sans fin.
Always keenly aware of his chosen objects' physical presence and the aesthetic and symbolic
attributes of their materials, the lowly copper cooking vessel in Gupta's world becomes a
metaphor for the upwardly mobile aspirations of India's newly wealthy middle classes as much as
a reminder of the daily poverty hanging over the country's rapidly expanding urban population. His
choice of the traditional copper cooking vessels as opposed to their cheaper, more readily
available stainless-steel counterparts has added symbolic connotations too; specifically of the
rapidly changing cultural values in Indian society and the way in which modern techniques and
mass-produced products are frequently usurping the country's traditional practices and objects.
Divorced from their original quotidian function and presented here as if sentimental relics of the
"old" way of life, Gupta endows the now obsolete traditional copper cooking pots with a more
profoundly decorative function that in turn raises questions regarding notions of cultural
inheritance and the concept of progress in the ever-changing global society. As Gupta says: "All
these things were part of the way I grew up. They are used in the rituals and ceremonies that
were party of my childhood. Indians either remember them from their youth, or they want to
remember them."
LOT 168
RICHARD LONG
b. 1945
(I) & (II) UNTITLED

River Avon mud on stone, in two parts
each diameter: 31.8cm.; 12 1/2 in.
Executed in 1988.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Galería Estiarte, Madrid
LOT 169
TONY CRAGG
b.1949
FIRST APPEARANCES, SECOND THOUGHTS

bronze
100 by 80 by 70cm.; 39 3/8 by 31 1/2 by 27 1/2 in.
Executed in 2002, this work is from an edition of 6.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
Galerie Bernd Klüser, Munich
LOT 170
ANTONY GORMLEY
b. 1950
GUT IV
mild steel blocks
154 by 53 by 65cm.; 60 5/8 by 20 7/8 by 25 5/8 in.
Executed in 2002.
ESTIMATE 150,000 - 200,000 GBP

PROVENANCE
Xavier Hufkens, Brussels
CATALOGUE NOTE
"Making sculpture stems from a need to leave a trace of existence, but there is an even greater
need to challenge existence itself with mute objects that look back at us and question our
materiality with their own."
(Antony Gormley cited in: Michael Mack, (ed.), Antony Gormley, Göttingen 2007, p. 9)
Located at the seam between inner and outer spaces, Antony Gormley's sculptures explore the
idea of the body as a site of experience. Using his own physical form as a language through
which to communicate individual as well as universal concerns, through the physical medium of
sculpture, Gormley investigates the fundamental forces underpinning the human experience in a
way that encourage the viewer to question their own sense of place and being within the world.
LOT 171
GERHARD RICHTER
b.1932
GRAT 2
signed, titled, dated 1989 and numbered 689-2 on the reverse

oil on canvas
61.8 by 83cm.; 24 3/8 by 32 3/8 in.
ESTIMATE 300,000 - 400,000 GBP

PROVENANCE
Gallery Ham / Jinno Collection, Tokyo
Sale: Christie's, London, Post War & Contemporary Art, 23 June 2006, Lot 234
EXHIBITED
Tokyo, National Museum of Modern Art, Gerhard Richter, 1989
Paris, Musée d'Art Moderne de la Ville de Paris; Bonn, Kunst- und Ausstellungshalle der
Bundesrepublik Deutschland; Stockholm, Moderna Museet; Madrid, Museo Nacional Centro de
Arte Reina Sofiá, Gerhard Richter, 1993
LITERATURE
Angelika Thill, et al., Gerhard Richter, Catalogue Raisonné: 1962-1993, Vol. III, Osternfildern-Ruit
1993, no. 689-2, illustrated in colour
CATALOGUE NOTE
"I want to end up with a picture that I haven't planned. This method of arbitrary choice, chance,
inspiration and destruction may produce a specific type of picture, but it never produces a
predetermined picture... I just want to get something more interesting out of it than those things I
can think out for myself."
(the artist interviewed in 1990 in: Huburtus Butin, Stefan Gronert, & the Dallas Museum of Art,
Eds., Gerhard Richter: Editions 1965-2004, Catalogue Raisonné, Ostfildern-Ruit 2004, p. 36)
Executed in 1989, the powerful colour harmony and lyrical resonance of Grat 2 projects an
atmosphere of density, chaos and romance. The interplay of hues and the complex coating of
malleable oil are deliberately ambiguous, seeming both to reveal and conceal at the same time:
the viewer is invited both to look at and through the laminas of material due to the hues being
simultaneously unveiled and hidden. In an elegantly reduced palette of black and ivory with
highlights of electric blue and crimson, the colours seem to glide across the surface, enshrouding
the background in a beautiful layer of tromp-l'oeil which lends the painting an intriguing sense of
depth.
Richter's working practice for his Abstract Paintings has been described as remarkably
methodical: he begins by placing a number of white primed canvases around the walls of his
studio, eventually working on several of them simultaneously and re-working them until they are
completely harmonised. Tracts of colour are dragged across the canvas using a squeegee, so
that the various strains of malleable, semi-liquid pigment suspended in oil are fused together and
smudged first into the canvas, and then layered on top of each other as the paint strata
accumulate. The painting under goes multiple variations in which each new accretion brings
colour and textural juxtapositions until they are completed, as Richter himself declares, "there is
no more that I can do to them, when they exceed me, or they have something that I can no longer
keep up with' (the artist in: Exhibition Catalogue, Chicago, Museum of Contemporary Art,
Gerhard Richter: Paintings, 1988, p. 108).
The result of Richter's phenomenal technical aptitude has led to his reputation as one of the
outstanding painters of our era. Grat 2 lays testament to his relentless technical explorations in
the field of abstract art and to the painterly and intellectual elasticity unique in his work. With its
sumptuous layers of colour and deliberate negation of symmetry and constructive unity, Grat 2
embodies the ultimate painterly experience.
LOT 172
HIROSHI SUGIMOTO
b.1948
BAY OF SAGAMI ATAMI
signed on the backing sheet; blindstamped with the title, date 1997 and numbers 4/25
gelatin silver print
image: 42.2 by 54.4cm.; 16 5/8 by 21 3/8 in.
sheet: 47.5 by 60cm.; 18 3/4 by 23 5/8 in.
ESTIMATE 12,000 - 15,000 GBP

PROVENANCE
Ileana Sonnabend Gallery, New York
Acquired directly from the above by the previous owner circa 1997
LOT 173
HIROSHI SUGIMOTO
b. 1948
SOUTH BAY DRIVE-IN
signed on the backing sheet; blindstamped with the title, date 1993 and numbers 9/25 728
image: 47.7 by 58cm.; 18¾ by 22 7/8 in.
sheet: 52 by 54.5cm.; 20½ by 21½in.
ESTIMATE 12,000 - 15,000 GBP

PROVENANCE
LITERATURE
Dr. Hans Belting, Theatres: Hiroshi Sugimoto, New York 2000, p. 193, illustration of another
example
LOT 174
THOMAS STRUTH
b.1954
GALLERIA DELL 'ACCADEMIA II, VENEZIA
signed on a label affixed to the reverse

cibachrome print, in artist's frame
image: 176 by 140cm.; 69 1/4 by 55 1/8 in.
overall: 227 by 185.5cm.; 89 3/8 by 73in.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
Galleria Monica de Cardenas, Milan
LITERATURE
Exhibition Catalogue, Nîmes, Carré d'Art; Amsterdam, Stedelijk Museum; Paris, Centre National
de la Photographie, Thomas Struth: Still, 1998, p. 94, illustration of another example in colour
LOT 175

THOMAS STRUTH
b.1954
MUSÉE DU LOUVRE III
signed, titled, dated Paris 1989, numbered 4/10 and inscribed Print: 1990 on the reverse
cibachrome print in artist's frame
154.9 by 170.1 cm.; 61 by 67in.
Executed in 1989, this work is number 4 from an edition of 10 and was printed in 1990.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Galerie Paul Andriesse, Amsterdam
LITERATURE
Exhibition Catalogue, Hamburg, Kunsthalle, Thomas Struth - Museum Photographs, 1993-1994,
p. 33, no. 2, illustration of another example in colour
LOT 176
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

CHRISTIAN BOLTANSKI
b.1944
TIROIRE
black and white photograph, tin drawer with wire mesh lid, clothes and light
photograph: 61.3 by 51.3cm.; 24 1/8 by 20 1/4 in.
drawer: 12.1 by 60 by 39.5cm.; 4 3/4 by 23 5/8 by 15 1/2 in.
Executed in 1988.

PROVENANCE
Marian Goodman Gallery, New York
LOT 177

CHRISTIAN BOLTANSKI
b.1944
MONUMENT
photographs, lightbulbs and fixtures
160 by 134.9cm.; 63 by 53 1/8 in.
Executed in 1986.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Marian Goodman Gallery, New York
LOT 178
NAM JUNE PAIK

1932 - 2006
ARCTURUS
aluminium, 6 Sony 8' Trinitrons, 1 Sony laser disk player, 1 original Paik laser disc, painted hubcap and mixed media
86 by 48cm.; 33 7/8 by 18 7/8 in.
Executed in 1990.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
Carl Solway, Los Angeles
EXHIBITED
St. Gallen, Hauser & Wirth Collection, The House of Fiction, 2002, p. 56, no. 127, illustrated in
colour
LOT 179
NAM JUNE PAIK

1932 - 2006
FIN DE SIÈCLE MAN
signed, dated '92 and numbered 22/25 on rucksack

video casette, video reel, laser disk, electronic elements, tape cassette cases, hand painted dish, VHS tape and mixed media
80 by 61 by 28cm.; 31 1/2 by 24 by 11in.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
Hauser & Wirth, Zürich
EXHIBITED
Zürich, Galerie Hauser & Wirth, Nam June Paik: Jardin Illuminé, 1993, p. 11 & 45, illustrated in
colour
LOT 180
DOUGLAS GORDON
b. 1966
SCRATCH HITHER
DVD installation
dimensions variable

PROVENANCE
Gagosian Gallery, London
LITERATURE
Katrina M. Brown, Douglas Gordon, London 2004, p. 105, illustration of another example in colour
LOT 181
IVÁN NAVARRO
b.1972
SKYLINE
bulbs, mahogany wood and mirror
82.9 by 83 by 13cm.; 32 5/8 by 32 5/8 by 5 1/8 in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Galerie Daniel Templon, Paris
LOT 182
PANAMARENKO
b.1940
ELLEBOOG
wood, metal, fabric and shoes
115 by 62cm.; 45 1/4 by 24 3/8 in.
Executed in 1997, this work is unique.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Galleria Continua, San Gimignano
EXHIBITED
Brussels, Koninklijke Musea voor Schone Kunsten van België, Panamarenko, de restrospectieve!,
2005-2006
LOT 183
WIM DELVOYE
b.1965
CEMENT TRUCK CHINA

carved wood
34 by 44 by 65cm.; 13 3/8 by 17 3/8 by 25 5/8 in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Guy Pieters Gallery, Knokke-Le-Zoute
LOT 184
WIM DELVOYE
b.1965
CATERPILLAR #4
laser cut stainless steel
79 by 74 by 155cm.; 31 1/8 by 28 1/8 by 61in.
Executed in 2004.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Sperone Westwater, New York
LOT 185
TATSUO MIYAJIMA
b.1957
CF RAINDROP NO. 2
LEDs, electric wire and mixed media
226.3 by 11.5 by 11.5cm.; 89 1/8 by 4 1/2 by 4 1/2 in.
Executed in 2007.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Scai The Bath House, Tokyo
CATALOGUE NOTE
This work is accompanied by a certificate of authenticity signed by the artist
LOT 186
THOMAS RUFF
b. 1958
03H 44M/-45°
signed with the artist's initials, titled, dated 1990 and numbered 2/2 on the backing board
chromogenic colour print mounted with diasec face
258 by 186cm.; 101 5/8 by 73 1/4 in.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
Galerie Mai 36, Zürich
LITERATURE
Exhibition Catalogue, Baden-Baden, Staatliche Kunsthalle, Thomas Ruff: 1979 to the Present,
2001, p. 196, no. STE3.13, illustrated
LOT 187
RONI HORN
b.1955
UNTITLED #1
right panel: signed on the reverse

cibachrome print, in two parts
each: 56 by 56cm.; 22 by 22in.
Executed in 1998, this work is artist's proof 2/5 aside from an edition of 15.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
LOT 188
RONI HORN
b.1955
KEY AND CUE N1158 (BEST WITCHCRAFT IS GEOMETRY)
stamped with the numbers 1158 on the underside

aluminium and black plastic
148 by 5 by 5cm.; 58 1/4 by 2 by 2in.
ESTIMATE 35,000 - 45,000 GBP

PROVENANCE
I 8 Gallery, Reykjavik
LOT 189
ROBERT LONGO
b.1953
(I) GRABLE (FROM THE LUST OF THE EYE SERIES)

(II) MONROE (FROM THE LUST OF THE EYE SERIES)
each: signed and dated 2003

each: charcoal and ink on paper
(i) 33 by 25.5cm.; 13 by 10in.
(ii) 33 by 25.5cm.; 13 by 10in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Galería Soledad Lorenzo, Madrid
LOT 190

ROSEMARIE TROCKEL
b.1952
UNTITLED
two black and white photographs and pair of leather shoes
each photograph: 141.4 by 98.2cm.; 55 3/4 by 38 3/4 in.
each shoe: 11.4 by 50.8 by 17.7cm.; 4 1/2 by 20 by 7in.
Executed in 1987, this work is from an edition of 3.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Donald Young Gallery, Chicago
EXHIBITED
Munich, Galerie Tanit, Rosemarie Trockel, 1987
LOT 191
FRANCESCO VEZZOLI
b.1971
VERUSCHUKA IS EXPECTED TO BE HERE

colour laser print on canvas with metallic embroidery in artist's frame
overall: 37.2 by 29cm.; 14 5/8 by 11 3/8 in.
Executed in 2001.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
Private Collection, Geneva
LOT 192
VIK MUNIZ
b.1961
BRIGITTE BARDOT (DIAMOND DIVAS)
signed and dated 2004 on a label affixed to the backing board

cibachrome print
150 by 120cm.; 59 by 47 1/4 in.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Galerie Xippas, Paris
LOT 193
JOSÉ-MARÍA CANO
b. 1959
ALAN GREENSPAN
titled; signed on the backing board

encaustic and pigment on canvas mounted on wood
210 by 150cm.; 82 5/8 by 59 1/8 in.
Executed in 2007.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
ProjectB, Milan
EXHIBITED
Comillas, Palacio de Sobrellano, José-María Cano: WS100, 2006, p. 31, illustrated
LITERATURE
Exhibition Catalogue, Málaga, Centro de Arte Contemporáneo, José-María Cano: Materialismo-
Matérico, 2007-2008, p. 257, illustrated
Exhibition Catalogue, Prague, Dox Centre for Contemporary Art, José-María Cano: Welcome to
Capitalism!, 2008-2009, p. 68, illustrated in colour
LOT 194
HIROSHI SUGIMOTO
b. 1948
SIR WINSTON CHURCHILL

149 by 119cm.; 58 5/8 by 46 7/8 in.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
White Cube, London
LITERATURE
Exhibition Catalogue, New York, Solomon R. Guggenheim Museum, Sugimoto Portraits, 2000, p.
135, illustration of another example
LOT 195

JOHN BALDESSARI
b.1931
ELBOW ROOM: YES/NO; STOP/GO

hand coloured black and white photographs with black and white photographs, in 4 parts
overall: 196.9 by 276.2cm.; 77 1/2 by 108 3/4 in.
Executed in 1986.
ESTIMATE 120,000 - 180,000 GBP

PROVENANCE
LOT 196
MATTHEW BARNEY
b. 1967
HER MAGICIAN
gelatin silver print in acrylic frame
69.2 by 59cm.; 27 1/4 by 23 1/4 in.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
Galeria Ramis Barquet, New York
LITERATURE
Exhibition Catalogue, Cologne, Museum Ludwig; Paris, Musée d'Art Moderne de la Ville de Paris;
New York, Solomon R Guggenheim Museum, Matthew Barney: The Cremaster Cycle, 2002-2003,
p. 402, illustration of another example
LOT 197

JOHN BALDESSARI
b.1931
STAIRS UP (WITH VOID)

vinyl on black and white photographs, in three parts
overall: 246.4 by 156.2cm.; 97 by 61 1/2 in.
Executed in 1986.
ESTIMATE 120,000 - 180,000 GBP

PROVENANCE
EXHIBITED
Madrid, Museo Nacional Centro de Arte Reina Sofiá; Bordeaux, CAPC Musée d'Art
Contemporain; Valencia, IVAM Centre Julio González, John Baldessari: Not Even So, 1989
Chicago, The Museum of Contemporary Art, Toward the Future: Contemporary Art in Context,
1990
LOT 198
FLORIAN MAIER-AICHEN
B. 1973
UNTITLED (MALIBU NORTH)
signed, dated 2004 and numbered 3/6 on a label affixed to the reverse
cibachrome print
image: 37.7 by 48cm.; 14 7/8 by 18 7/8 in.
sheet: 58.5 by 68.5cm.; 23 by 27in.
ESTIMATE 12,000 - 18,000 GBP

PROVENANCE
Blum & Poe, Los Angeles
LOT 199
B. 1973
UNTITLED (MULHOLLAND)
cibachrome print
120.5 by 155.8cm.; 47 1/2 by 61 3/8 in.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Blum & Poe, Los Angeles
LOT 200
PETER DOIG
b.1959
OLIN MK4

oil on canvas
56 by 45.5 by cm.; 22 by 17 7/8 in.
ESTIMATE 150,000 - 200,000 GBP

PROVENANCE
Contemporary Fine Arts, Berlin
CATALOGUE NOTE
Peter Doig's early life in Canada and the vast deserted landscapes of that country had a profound
effect on his artistic vision. Here, man's insignificance in nature became abundantly clear in
comparison, to say the man-made advanced capitalist landscape of London which the artist
moved to in the 1980s. It is the dramatic contrasts between these two opposing habitats which
combine powerfully in Doig's work. Highly influenced by the grand tradition of landscape painting
in the canon of art history, from Peter Breughel and Edvard Munch to the Impressionists and the
Canadian Group of Seven painters in the early 20th century, Doig mixes these inspirations with his
passion for film, photography and music to create contemporary paintings of Post-Modern
existence.
Based on a skiing holiday photograph in his extensive image archive, Olin MK4 takes as its
subject one of the artist's best known motifs from which he has made several larger variations,
each one using a different crop and colouration. As the smallest example, the present work was
probably the first version he made. It possesses a filmic Edward Hopper-like tension whose
ambiguous narrative is left tantalizingly out of the viewer's reach. As he has stated, "I think the
way that the paintings come out is more a way of trying to depict an image that is not about a
reality, but one that is somehow in between the actuality of a scene and something that is in your
head." (Peter Doig in Matthew Higgs, Peter Doig – 20 Questions, London 2001, p. 15)
Doig has often referred to his paintings as flashbacks – a cinematic term that is played out in the
present work by the featureless silhouetted figures and their other-worldly, nostalgic environment
whose glowing forms and colours seem to breathe and coalesce into each other. Representative
and abstract at the same time, Olin MK IV occupies a twilight zone of reality in which photo-album
memory meets waking dream. The effect is one of eerie tranquillity - of a snowy idyll frozen under
the bewitching spell of the artist's brush. Neither day nor night, the frozen serenity of its green-
edged landscape is tinged with a foreboding sense of the unknown emanating from the luminous
infeasibility of its palette. Inhabiting the rich seam between memory and imagination, Olin MK4
offers a profound investigation into painting's possibilities in a world suffused with photographic
images.
LOT 201
CHRIS OFILI
b.1968
SALZAU
watercolour, ink and pencil on paper
24 by 15.5cm.; 9 3/8 by 6 1/8 in.
Executed in 1999.

PROVENANCE
Sale: Phillips, de Pury & Luxembourg, New York, Contemporary Art, 12 November 2002, Lot 235
LOT 202
CHRIS OFILI
b.1968
UNTITLED
watercolour, ink and pencil on paper
24 by 15.5cm.; 9 1/2 by 6 1/8 in.
Executed in 1998.

PROVENANCE
Galleria Le Case d'Arte, Milan
LOT 203
PETER MCDONALD
b. 1973
PAINTING
each panel: signed, titled and dated 2003 on the reverse; signed and dated 14/04/03 on the stretcher
acrylic and gouache on canvas, in two parts
each: 221 by 164cm.; 87 by 64 1/2 in.
overall: 221 by 328cm.; 87 by 129in.

PROVENANCE
Kate MacGarry, London
EXHIBITED
London, Kate MacGarry, Painting, 2004
LITERATURE
Kate MacGarry, Peter Mc Donald: Teaching, Airport, Hair Salon, Bakery, Snooker, Rotterdam
2007, pp. 74-75, illustrated in colour
CATALOGUE NOTE
Peter McDonald's work explores the human condition through a brightly coloured world of
indeterminate characters presented in imaginary settings. Featureless, balloon-like heads are
combined with imagery McDonald has gleaned from newspapers, magazines and everyday
scenes, creating a unique pictorial language and a piercing insight into the absurdities and
idiosyncrasies of modern society.
Executed in 2003, Painting captures a faceless artist, paintbrush in hand, at work on an oversized
rectangular canvas. The rear wall of the imagined studio space is decorated with a medley of
candy coloured paintings, while the artist's tools are arranged on a wooden trolley. The inflated
ovoid of the figure's head a trademark of McDonald's artistic vocabulary - along with the
elongated canvas on which he paints, stretches across the picture plane in both a visual and
physical link between the work's two constituent panels. Taking his inspiration from daily life,
McDonald adapts his source imagery into small sketches, which are in turn developed into
painted works on paper, before being further refined and distilled when translated onto canvas. As
the process evolves, figures morph into ciphers, while colours overlap and merge across the
composition. McDonald says of this process, "the transparent effect is an illusion in many cases. I
mix the merging colours to produce a see-through effect. Sometimes the heads merge with the
background too, which helps to create depth in the picture plane. Visually, this also helps depict
the dissolution of boundaries between people and their environment" (the artist writing in: The
Observer, 20 September 2009).
Awarded the prestigious John Moores Painting Prize in 2008 for his work Fontana - a depiction of
the artist Lucio Fontana slashing an ovoid canvas - McDonald has most recently undertaken a
residency at Southwark Underground station in London. The resulting mural, Art for Everybody, is
a vibrant and monumental thirty-seven metre frieze inspired by the lively London underground
staff and visitors to the nearby Tate Modern. Just as in Painting, the artist's facility for acute
observation and intuitive colouring are perfectly captured, culminating in McDonald's trademark
combination of irreverence and insight. Indeed, as he himself has observed, "seeing, hearing,
feeling – all this gives you a way into some sort of vision" (the artist cited in: The Observer, 20
September 2009).
LOT 204
GILBERT & GEORGE

b. 1943 & b. 1942
NET
signed, titled and dated 2005

9 cibachrome prints in original artists' frames
overall: 253 by 213cm.; 99 5/8 by 83 7/8 in.
ESTIMATE 80,000 - 120,000 GBP

PROVENANCE
White Cube, London
LITERATURE
Rudi Fuchs, Gilbert & George: The Complete Pictures, Vol. II, 1971-2005, London 2007, p. 1181,
LOT 205
PETER DOIG
b.1959
DESERT CANYON'S LAKE NINE
signed twice, titled, dated 95 and inscribed For Zombie Golf on the reverse
oil on board
124.5 by 184.5cm.; 49 by 72 5/8 in.
ESTIMATE 350,000 - 450,000 GBP

PROVENANCE
Victoria Miro Gallery, London
EXHIBITED
London, Bank Art Space, Burbage House, Zombie Golf, 1995, illustrated in colour
CATALOGUE NOTE
Drawing upon the rich heritage of landscape painting and colouring it with his own experiences
and upbringing in the vast Canadian wilderness, Peter Doig's eerie depictions of rural panoramas
take as their subject humanity's ambiguous placement within its surroundings and the tensions
that arise when the two spheres collide. Like a master composer, Doig seamlessly blends the
disparate visual influences that inspire his paintings into a language entirely his own. Selecting
motifs from a wide range of contemporary and traditional sources, and adding them into his
extensive visual archive of snapshots and personal memories, the images Doig creates possess
an uncanny feeling of familiarity as well as an tangible sense of impending, cinematic drama.
In Zombie Golf Doig transports the viewer onto a mountainous golf course whose manmade
carefully-manicured contours lie juxtaposed within the surrounding wilderness of its rugged
landscape. Curiously devoid of human life or activity, the feeling of silence and estrangement that
Doig casts over this otherwise idealised, picture-postcard setting is heightened by the lurid,
dreamy palette of its forms and the fluid organic shapes of the wooden board underneath the
image which together challenge the serenity of the picture plane. As Doig explains,
"At the time I was thinking about how the effect of a material could be used to describe conditions
of weather or to suggest weather....Maybe the surface is an abstraction of the memory of being in
a certain frame of mind under certain weather conditions and in certain places." (Peter Doig
quoted in 'Kitty Scott in, conversation with Peter Doig', in Adrian Searle, Et al., Peter Doig, London
2007, p. 14)
LOT 206
GRAYSON PERRY
b.1960
ART IS LOVE
signed with the artist's monogram and titled

painted and glazed ceramic
37 by 46cm.; 14 1/2 by 18 1/8 in.

PROVENANCE
Birch & Conran Gallery, London
LOT 207
GRAYSON PERRY
b.1960
ONE OF LIFE'S WANKERS
signed with the artist's monogram and titled

painted and glazed ceramic
38 by 44.6cm.; 15 by 17 1/2 in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Birch & Conran Gallery, London
LOT 208
GRAYSON PERRY
b.1960
BAD ART, BAD POTTERY
signed with the artist's monogram

glazed ceramic
58 by 31 by 31cm.; 22 7/8 by 12 1/4 by 12 1/4 in.
Executed in 1995.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Anthony d'Offay Gallery, London
EXHIBITED
London, Anthony d'Offay Gallery, Grayson Perry - New York, 1996-1997, no, 11
LITERATURE
Jacky Klein, Grayson Perry, London 2009, p. 235, illustrated in colour
CATALOGUE NOTE
The images on this pot are mainly made up from sexual fantasies: pictures of women bound and
gagged, dumped in stinging-nettle-filled ditches, a sort of suburban sex-fetish hell." (the artist
cited in: Jacky Klein, Grayson Perry, London 2009, p. 235)
LOT 209

DAMIEN HIRST
b.1965
CHLOROPHYLL B
household gloss on canvas
84 by 99cm.; 33 by 39in.
Executed in 1999.
ESTIMATE 120,000 - 150,000 GBP

PROVENANCE
Private Collection, London (acquired directly from the artist)
Paul Kasmin Gallery, New York
CATALOGUE NOTE
"I believe all painting and art should be uplifting for the viewer... I love colour. I feel it inside me. It
gives me a buzz"
(Damien Hirst, I want to Spend the Rest of My Life Everywhere, with Everyone, One to One,
Forever, Now, London 1997, p. 246).
Executed in 1999, Chlorophyll B is a kaleidoscopic display of complex colour harmonies from

Hirst's celebrated series, The Pharmaceutical Paintings. Joyous candy coloured spots are
precisely arranged in a rigorous geometric system across a pristine white ground; no colour is
ever repeated, and the spacing between each dot is perfectly equal. Hirst said of the series,
"mathematically with the spot paintings, I probably discovered the most fundamentally important
thing in any kind of art which is the harmony of where colour can exist on its own, interacting with
other colours in a perfect format" (the artist cited in: Gordon Burn & Damien Hirst, On The Way to
Work, London 2001, pp. 119-120). The resulting disjunction between the varied spot colours and
their formal arrangement simultaneously creates and disrupts harmony, serving as a metaphor for
the futility of the compulsive human desire to organise, classify and control the things that we fear
most in our bid to evade mortality.
First exhibited at the seminal Freeze exhibition of 1988, The Pharmaceutical Paintings have since
become a distinctive signature of Hirst's ground-breaking work. Recalling Gerhard Richter's colour
chart paintings, the surface sheen of Pop and the elegance of minimalism, the Spot paintings also
embody the fundamental tenets of Hirst's oeuvre: the common ground between the antithetical
faculties of science and art. He declared, 'Art doesn't purport to have all the answers; the drug
companies do. Hence the title of the series, The Pharmaceutical Paintings... Art is like medicine –
it can heal" (Damien Hirst, I want to Spend the Rest of My Life Everywhere, with Everyone, One
to One, Forever, Now, London 1997, p. 244-245). With their uniformly circular shape and bright
colouring, the spots are analogous to the life-giving pills of modern medicine. In Hirst's work,
contemporary science reaches its apotheosis, as the artist taps into our blind credence in the
restorative powers of man-made drugs. Just as old masters in past centuries used art for the
evocation of saintliness, decorating churches with paintings inspired by biblical scenes to create
an atmosphere conducive to religious fervour, so here with Chlorophyll B Hirst presents us with an
artistic temple to the new religion of science.
LOT 210
MARC QUINN
b. 1964
TUNDRA LAND HILL

oil on canvas
169 by 242cm.; 66 1/2 by 95 1/4 in.
ESTIMATE 70,000 - 90,000 GBP

PROVENANCE
Galerie Hopkins-Custot, Paris
LOT 211
DAMIEN HIRST
b.1965
VIRGIN (EXPOSED)
signed and numbered 5/15 on the base

acrylic on resin
overall (including base): 61 by 29.3 by 13.3cm.; 24 by 11 1/2 by 5 1/4 in.
ESTIMATE 120,000 - 150,000 GBP

PROVENANCE
José Mugrabi, New York
CATALOGUE NOTE
"Hirst's sculpture re-establishes the unity and integrity of the body, through the simplicity of its
mechanics and at the same time the complexity of its maintenance and its existential
considerations...Hirst subverts the humanism and allegorical anthropomorphism of traditional
sculpture, indicating and recalling with surgical precision what occurs continually and without
knowing, within our body, exposed and in turn heedless to the ravages of history: cells that
multiply and die, blood that flows, glands that secrete, lungs that exhale and inhale air, the liver
that filters the spoils of the everyday hunt, white corpuscles that attack infection. All this occurs
parallel to, and in the absence of, any respite from what is going on outside us and despite us.
But at the same time, in an increasingly accelerated, technological, virtual, robotized world,
anatomical exposition re-solidifies reality around the verification of the senses, around error,
around the degenerative aspect of the body. And, as in all of Hirst's work, it conveys, mirrors, and
excavates life's tortuous journey between fear and desire."
(Mario Codognato in Exhibition Catalogue, Naples, Museo Archelogico Nazionale Napoli, Damien
Hirst, 2005, p. 46)
LOT 212
NAN GOLDIN
b. 1953
SIMON AND JESSICA IN THE SHOWER, PARIS
signed, titled, dated 2001 and numbered 3/3 on a label affixed to the reverse
chromogenic print mounted on aluminium
182.8 by 121.9cm.; 72 by 48in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Matthew Marks Gallery, New York
Private Collection
Sale: Sotheby's, New York, Contemporary Art, 12 November 2008, Lot 518
LOT 213
DAVID LACHAPELLE
b. 1964
COURTNEY LOVE, PIETA

digital c-print
233 by 183cm.; 91 7/8 by 72in.
Executed in 2006-2008, this work is number 1 from an edition of 2.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
Thomaso Renolido Bracco, Milan
EXHIBITED
Milan, Palazzo Reale, David LaChapelle, 2007-2008, p. 142 (detail of image) & p. 147, illustrated
in colour
LOT 214
SHEZAD DAWOOD
b. 1974
HE IS SUCCESSFUL WHO GROWS IN PURITY

neon
50 by 70cm.; 19 3/4 by 27 5/8 in.
Executed in 2007, this work is number 3 from an edition of 3 plus 1 artist's proof.

PROVENANCE
Paradise Row, London
CATALOGUE NOTE
He is Successful who Grows in Purity, 2007, dates from Shezad Dawood's first major London solo
show at Paradise Row, 'If I Should Fall from Grace with God', in which the half-Indian, half-
Pakistani, London based artist exhibited a powerful body of work about the clashing cultures of
East and West. In the present work, the graceful calligraphy references Islam's 99 Names of God
and was juxtaposed with paintings of cowboys and vitrines of tumbleweed which alluded to the
myths and traditions of the American Wild West, especially as articulated by the Western film
genre. Avoiding the obvious, Dawood presents an interesting reflection on the conflict. As Ana
Finel Honigman said in her review of the show for Art in America, "In [Dawood's] view, the Iraq
war is not a contest between modernity and its antecedents, or between a culture fixated on static
abstract symbols and a slick, worldly society obsessed with the future at the cost of traditional
values. Instead, he portrays a battle between two cultures' unyielding devotion to anachronistic
systems of self-representation." (Ana Finel Honigman, 'Shezad Dawood at Paradise Row' in Art in
America, April 2008
LOT 215
TRACEY EMIN
b.1963
BLINDING
neon
152.4 by 152.4cm.; 60 by 60in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
White Cube, London
LITERATURE
Carl Freedman, Rudi Fuchs & Jeanette Winterson, Tracey Emin, New York 2006, p. 354,
illustration of another example in colour
LOT 216
CHRIS OFILI
b.1968
WITHIN REACH 5
gouache and gold leaf on paper in artist's frame
image: 31.5 by 16cm.; 12 3/8 by 6 1/4 in.
Executed in 2002.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Victoria Miro Gallery, London
EXHIBITED
Venice, British Pavilion, L Biennale Internazionale dell'Arte, Chris Ofili: Within Reach, 2003,
LOT 217
DAMIEN HIRST
b.1965
THE BOWL OF HYGEIA AND THE SERPENT OF EPIDAURUS
signed; signed on the overlap

acrylic on canvas
61 by 61cm.; 24 by 24in.
Executed in 2004.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
The Royal Academy Exhibition Patrons Group, London (donated by the artist)
Sale: Sotheby's, London, Damien Hirst's Pharmacy, 18 October 2004, Lot 108
LOT 218
PROPERTY FROM THE ESTATE OF ANGUS FAIRHURST

SARAH LUCAS
b.1962
EATING A BANANA
100 by 110cm.; 39 3/8 by 43 3/8 in.
Executed in 1990, this work is from an edition of 4 plus 4 artist's proofs.
ESTIMATE 18,000 - 25,000 GBP

PROVENANCE
Acquired directly from the artist
LITERATURE
Elizabeth Janus, ed., Veronica's Revenge: Contemporary Perspectives in Photography, New York
1998, p. 223, illustration of another example
Matthew Collings, Sarah Lucas, London 2002, p. 20 & 75, illustration of another example
Exhibition Catalogue, London, Tate, In-A-Gadda-Da-Vida, 2004, p. 94, illustration of another
example
Yilmaz Dziewior, Sarah Lucas: Exhibitions and Catalogue Raisonné 1989-2005, Ostfildern-Ruit
CATALOGUE NOTE
Sotheby's is honoured to present a selection of nine works from the Estate of Angus Fairhurst
(1966-2008). One of the original and most influential members of the Young British Artists or
YBAs, Angus's art was characterised as much by its brilliant inventiveness of style and medium as
its witty provocation and profound sensitivity to human nature. Thoughtful, lyrical and self effacing,
his work was conceived with conceptual rigour and formalism, even when challenging the
parameters of the contemporary art milieu in which he worked. Along with Damien Hirst he co-
curated and exhibited in the groundbreaking Freeze show of 1988, an exhibition which introduced
the world to a generation of artists whose approach and ideas – provocative, controversial,
inventive – would set the tone for contemporary art in Britain for the next two decades.
Born in Kent in 1966, Fairhurst studied at Canterbury College of Art before proceeding to
Goldsmiths, where he formed close friendships with Sarah Lucas, Hirst and Gary Hume. Since
the seminal Freeze show, Fairhurst exhibited in most of the subsequent important exhibitions of
his generation: Brilliant! New Art From London at the Walker Art Centre in Minneapolis in 1995,
Some Went Mad, Some Ran Away at the Serpentine in 1994, Apocalypse at the Royal Academy
in 1997, and more recently as part of the Serpentine's In the darkest hour there may be light:
Works from Damien Hirst's Murderme Collection (2006) and at the Tate's In-A-Gadda-Da-Vida in
2004.
LOT 219

SARAH LUCAS
b.1962
THE OLD IN OUT (SAGGY VERSION)

cast polyurethane toilet
42 by 52cm by 35cm.; 16 1/2 by 20 1/2 by 13 3/4 in.
Executed in 1998, this work is unique.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
A gift from the artist
LITERATURE
2005, p. 150, illustrations of other examples from the series
CATALOGUE NOTE
Sotheby's is honoured to present a selection of nine works from the Estate of Angus Fairhurst
(1966-2008). One of the original and most influential members of the Young British Artists or
YBAs, Angus's art was characterised as much by its brilliant inventiveness of style and medium as
its witty provocation and profound sensitivity to human nature. Thoughtful, lyrical and self effacing,
his work was conceived with conceptual rigour and formalism, even when challenging the
parameters of the contemporary art milieu in which he worked. He exhibited in the
groundbreaking Damien Hirst-curated Freeze show of 1988, an exhibition which introduced the
world to a generation of artists whose approach and ideas – provocative, controversial,
inventive – would set the tone for contemporary art in Britain for the next two decades.
Born in Kent in 1966, Fairhurst studied at Canterbury College of Art before proceeding to
Goldsmiths, where he formed close friendships with Sarah Lucas, Hirst and Gary Hume. Fairhurst
was later to collaborate with Lucas on various projects, and for several years was her boyfriend.
Since the seminal Freeze show, Fairhurst exhibited in most of the subsequent important
exhibitions of his generation: Brilliant! New Art From London at the Walker Art Centre in
Minneapolis in 1995, Some Went Mad, Some Ran Away at the Serpentine in 1994, Apocalypse at
the Royal Academy in 1997, and more recently as part of the Serpentine's In the darkest hour
there may be light: Works from Damien Hirst's Murderme Collection (2006) and at the Tate's In-A-
Gadda-Da-Vida in 2004.
LOT 220

GARY HUME
b.1962
MONKEY MAN

ink on paper
112 by 101cm.; 44 1/8 by 39 3/4 in.

PROVENANCE
LOT 221

SARAH LUCAS
b.1962
LISTS
(i) letterset on paper(ii)-(vii) pencil on paper
(i) 50.5 by 38cm.; 19 7/8 by 15in. (ii)-(vii) 47.5 by 32.5cm.; 18 3/4 by 12 3/4 in.

PROVENANCE
LITERATURE
2005, p. 117, text reference for the series of Five Lists
LOT 222

SAM TAYLOR-WOOD
b.1967
UNTITLED (LEG OF MICHAEL MADSEN)

cibachrome print
40.5 by 30.5cm.; 16 by 12in.
Executed in 2004.

PROVENANCE
LOT 223

SARAH LUCAS
b.1962
IS SUICIDE GENETIC?
cibachrome print
52 by 35.5cm.; 20 1/2 by 14in.
Executed in 1996, this work is from an edition of 17 plus 3 artist's proofs.

PROVENANCE
Acquired directly from the artist
LITERATURE
LOT 224

RAYMOND PETTIBON
b.1957
UNTITLED (AS LONG AS)

gouache and ink on paper
56 by 43cm.; 22 by 17in.

PROVENANCE
Sadie Coles HQ, London
Acquired directly from the above
EXHIBITED
London, Sadie Coles HQ, Raymond Pettibon, 2000
LOT 225

RAYMOND PETTIBON
b.1957
UNTITLED (EVERYWHERE IS THE)

pen and ink on paper
56 by 31cm.; 22 by 12 1/4 in.

PROVENANCE
LOT 226

RAYMOND PETTIBON
b.1957
UNTITLED (I'LL TELL YOU)

55 by 76cm.; 21 5/8 by 29 7/8 in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Sadie Coles HQ, London
EXHIBITED
London, Sadie Coles HQ, Raymond Pettibon, 2000
LOT 227
RAYMOND PETTIBON
b.1957
UNTITLED (AS THOUGH IT)

50.8 by 42cm.; 20 by 16 1/2 in.

PROVENANCE
Baronian Francey, Brussels
LOT 228
ANDY WARHOL
1928 - 1987
UNTITLED (EYE)
signed, stamped by the Andy Warhol Foundation for the Visual Arts, Inc. and by The Estate of Andy Warhol, New York and numbered VF 302.005
on the reverse
ink and gouache on paper
31.5 by 30.5 cm.; 12 3/8 by 12in.
Executed in 1953.

PROVENANCE
Brooke Alexander, New York
LOT 229
ANDY WARHOL
1928 - 1987
UNTITLED (FORTUNE)
stamped by the Andy Warhol Foundation for the Visual Arts, Inc. and by The Estate of Andy Warhol, New York and numbered VF 336.002 on the
reverse
ink and gouache on paper
36 by 27.6cm.; 14 1/8 by 10 7/8 in.

PROVENANCE
Brooke Alexander, New York
LOT 230
JEAN-MICHEL BASQUIAT
1960 - 1988
UNTITLED
signed and indistinctly dated on the reverse

pencil, coloured pencil and oilstick on paper
106.7 by 74.9cm.; 42 by 29 1/2 in.
ESTIMATE 70,000 - 90,000 GBP

PROVENANCE
Sale: Christie's, New York, Post War and Contemporary Art, 10 May 2006, Lot 514
CATALOGUE NOTE
This work is accompanied by a certificate of authenticity issued by the Authentication Committe
of the Estate of Jean-Michel Basquiat
LOT 231

ROY LICHTENSTEIN
1923 - 1997
UNTITLED (MODERN PAINTING)

oil on canvas
40.6 by 40.6cm.; 16 by 16in.
ESTIMATE 150,000 - 200,000 GBP

PROVENANCE
Lawrence Levine, New York
James Goodman Gallery, New York
James Shelton Jr., Texas
Private Collection
Spanierman Gallery, New York
CATALOGUE NOTE
Begun the year of his first major retrospective, the 'Modern' series signalled an important
departure for Roy Lichtenstein that was to influence the course and the evolution of his mature
career over the next 20 years. Whereas his 'Comic' and 'Brushstroke' paintings of the early 1960s
took their subjects and inspiration from the prevailing high and low art forms of the decade in
which they were painted, in the 'Modern' paintings, Lichtenstein began what was to become a
lifelong retrospective engagement with art of the past; specifically in this series with Art Deco and
its self-consciously "Modern" aesthetic of the 1930s.
In Untitled (Modern Painting), Lichtenstein condenses Modernism's angular, constructivist

principles into a perfectly balanced, rectangular composition, in which lines of speed and defining
characteristics of Art Deco become transformed by the bold aesthetic of his signature Benday
dots and outlines. Just like he had with the comic book paintings, Lichtenstein's Modern paintings
emphasise the way in which size, position, brightness and texture are frequently lost through
mass produced reproductions; and how individual attributes of style and uniqueness are
smoothed over to become non-descript, clichéd aesthetics. Through his reductive visual
language, Modernism's embrace of new technologies and materials and its preference for
revolutionary rather than evolutionary design are flattened into anonymous shapes with a purely
symbolic role. Glistening brass surfaces and ornate industrial details become flat planes of vibrant
yellow, blue and white, all delineated against a buzzing backdrop of Benday dots that achieves a
new level of technical proficiency. Layered on one top of the other, the individual forms, patterns
and colours of the composition coexist in visual harmony creating an illusion of volume and space
beyond the confines of the densely packed canvas.
Compositionally, the Modern series allowed Lichtenstein greater creative freedom to fully explore
the possibilities of his painting style than had been possible in the comic and brushstroke
paintings. It also gave him the confidence to put forward the argument for style over content,
echoing Marshall McLuhan's creed that 'the medium is the message.' "These paintings take the
populist, commercial style of the 1930's – the Art Deco of ocean liners, theatre foyers and
enamelled jewellery – as a source of form in opposition to the simplified lines of more respected
design...Right-angled but garrulous, abstract but frantically playful, these paintings catch without
qualms the heavy design sense of the period. These tightly locked geometrics were, as the artist
has pointed out, originally emblems of the future. However, enough time has passed for us to be
overwhelmed by a sense of these forms' remoteness. There is a poignant sense of time as we
look at the symbolic geometry that derives from a decade in which, to quote Lichtenstein, 'they felt
much more modern than we feel we are now." (Lawrence Alloway, Roy Lichtenstein, New York
1983, p. 40)
LOT 232
ANDY WARHOL
1928 - 1987
CAMPBELL'S ONION SOUP BOX
signed and dated 86 on the overlap

acrylic and silkscreen ink on canvas
35 by 35cm.; 13 3/4 by 13 3/4 in.
ESTIMATE 100,000 - 150,000 GBP

PROVENANCE
Guy Pieters Gallery, Knokke-Le-Zoute
CATALOGUE NOTE
G.S: Why did you start painting soup cans?
A.W: "Because I used to drink it. I used to have the same lunch every day, for twenty years, I
guess, the same thing over and over again. Someone said my life has dominated me; I liked that
idea. I used to want to live at the Waldorf Towers and have soup and a sandwich, like that scene
in the restaurant in Naked Lunch."
(Andy Warhol interviewed by Gene Swenson, "What is Pop Art? Interviews with Eight Painters
(Part I)", Art News, New York, November, 1963).
LOT 233
BANKSY
b. 1975
KATE MOSS
signed, dated 05 and numbered 17/50

screenprint on paper
70 by 70cm.; 27 1/2 by 27 1/2 in.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Andipa Gallery, London
CATALOGUE NOTE
Authenticated by Pest Control Office
LOT 234
ANDY WARHOL
1928 - 1987
MICHAEL JACKSON
stamped by The Andy Warhol Foundation for the Visual Arts, Inc. and The Estate of Andy Warhol and numbered VF115. 216 on the reverse
silkscreen ink and paper collage on paper
81 by 61cm.; 31 7/8 by 24in.
Executed in 1984.
ESTIMATE 80,000 - 120,000 GBP

PROVENANCE
The Estate of Andy Warhol, New York
EXHIBITED
Basel, Kunstmuseum ( & travelling), Andy Warhol: Drawings, 1942-1987, 1998, no. 218,
LOT 235
ANDY WARHOL
1928 - 1987
THE BEATLES
screenprint and coloured graphic art paper collage on board
81.3 by 101.6cm.; 32 by 40in.
Executed in 1980.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
Galerie Thaddaeus Ropac, Paris
EXHIBITED
Vienna , Albertina; Paris, Galerie Thaddaeus Ropac, Andy Warhol Popstars: Drawings and
Collages, 2006-2007, p. 92, no. 49, illustrated in colour
Asker, Galleri Trafo, Andy Warhol: Automat, 2008
LOT 236
TOM WESSELMANN
1931 - 2004
CALIFORNIA NUDE (VARIABLE EDITION)
signed, dated 81 and numbered AP3; signed, titled, dated 1981 and numbered AP3 on the reverse
thinned liquitex and pencil on Bristol board
20.7 by 14.8cm.; 8 1/8 by 5 7/8 in.
This work is artist's proof 3 of 4, aside from an edition of 5 works, each uniquely painted.
ESTIMATE 30,000 - 50,000 GBP

PROVENANCE
LOT 237
ANDY WARHOL
1928 - 1987
CANDY BOX OPEN
stamped by the Estate of Andy Warhol on the reverse; stamped by the Estate of Andy Warhol and by the Andy Warhol Foundation for the Visual
Arts, and numbered PA 86.031 on the overlap
35.6 by 27.9cm.; 14 by 11in.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
Kantor Gallery, Los Angeles
Sale: Christie's, New York, Post-War and Contemporary Art, 7 February 2002, Lot 570
LOT 238
ANDY WARHOL
1928 - 1987
DRAG QUEEN
stamped by The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts on the reverse
silkscreen ink on paper
image: 80.6 by 63.5cm.; 31 3/4 by 25in.
sheet: 94 by 73.8cm.; 37 by 29in.
Executed circa 1975, this work is unique.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
Wooster Projects, New York
Skarstedt Gallery, New York
LITERATURE
Frayda Feldman & Jörg Schellmann, Andy Warhol Prints: A Catalogue Raisonné, New York 2003,
p. 287, no. IIIC.3
LOT 239
ANDY WARHOL
1928 - 1987
UNTITLED (BUILDING)
signed, dated 84, stamped by the Andy Warhol Art Authentication Board and numbered A130.9511 on the overlap
142.2 by 106.7cm. 56 by 42in.
ESTIMATE 120,000 - 180,000 GBP

PROVENANCE
Private Collection (acquired directly from the artist)
Sale: Sotheby's, New York, Contemporary Art, 9 May 1996, Lot 219
LOT 240
TOM WESSELMANN
1931 - 2004
MONICA NUDE WITH LICHTENSTEIN (DIAMOND WALLPAPER)

enamel on cut-out steel
127 by 190.5cm.; 50 by 75in.
ESTIMATE 140,000 - 180,000 GBP

PROVENANCE
Private Collection, Sweden
LITERATURE
Exhibition Catalogue, Rome, Museo d'Arte Contemporanea (MACRO), Tom Wesselmann, 2005,
p. 181, illustrated in colour
LOT 241
ANDY WARHOL
1928 - 1987
PORTRAIT OF TERESA AND ZENA SCHARF
stamped by the Estate of Andy Warhol and by The Andy Warhol Foundation for the Visual Arts, and numbered PO 50.844 twice on the overlap;
numbered PO 50.844 on the stretcher
101.6 by 101.6cm.; 40 by 40in.
Executed in 1984.
ESTIMATE 70,000 - 90,000 GBP

PROVENANCE
Tony Shafrazi Gallery, New York
Private Collection, Norway
LITERATURE
Tony Shafrazi Ed., Andy Warhol Portraits, New York 2007, p. 255, illustrated in colour
LOT 242
ANDY WARHOL
1928 - 1987
PORTRAIT OF DOUGLAS CRAMER
stamped by The Estate of Andy Warhol twice and by The Andy Warhol Foundation for the Visual Arts, and numbered PO 50.044 on the overlap;
numbered PO 50.044 on the stretcher
102.1 by 102cm.; 40 1/4 by 40 1/4 in.
Executed in 1985.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Private Collection, Norway
LITERATURE
Tony Shafrazi Ed., Andy Warhol Portraits, New York 2007, p. 273, illustrated in colour
LOT 243

DOUGLAS GORDON
b. 1966
SELF PORTRAIT OF YOU + ME (ELKE SOMMER)

colour photograph, smoke and mirror, in artist's frame
image: 25 by 9cm.; 9 7/8 by 7 1/2 in.
Executed in 2006.

PROVENANCE
Galeria Estrany - De la Mota, Barcelona
LOT 244

DOUGLAS GORDON
b. 1966
SELF PORTRAIT OF YOU + ME (ANNE BAXTER)

colour photograph, smoke and mirror, in artist's frame
image: 25 by 9cm.; 9 7/8 by 7 1/2 in.
Executed in 2006.

PROVENANCE
LOT 245

DOUGLAS GORDON
b. 1966
SELF PORTRAIT OF YOU + ME (SOPHIA LOREN)

gelatin silver print, smoke and mirror, in artist's frame
image: 25 by 9cm.; 9 7/8 by 7 1/2 in.
Executed in 2006.

PROVENANCE
LOT 246
RICHARD PRINCE
b. 1949
UNTITLED (MAN'S HAND WITH CIGARETTE)
signed, dated 1980 and numbered 7/10 on the reverse

ektacolor photograph
50.8 by 61cm.; 20 by 24in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Gladstone Gallery, New York
LITERATURE
Exhibition Catalogue, New York, Whitney Museum of American Art, ( & travelling), Richard
Prince, 1992, p. 26, illustration of another example
LOT 247
RICHARD PRINCE
b. 1949
UNTITLED (PUBLICITY)
signed
ink on colour photographs and printed paper in artist's frame
overall (including frame): 105 by 155.5cm.; 41 3/8 by 61 1/4 in.
Executed in 2003.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Barbara Gladstone Gallery, New York
LOT 248
RICHARD PRINCE
b.1949
GOOD NURSE
19 offset colour lithographs with graphite, hand-colouring and printed paper collage on paper and wood vitrine with plexiglas top and nurse's hat
each sheet: 43.2 by 35.6cm.; 17 by 14in.
plexiglas vitrine: 30 by 40 by 47cm.; 11 7/8 by 15 1/2 by 18 1/2 in.
Executed in 2007, this work is letter J from an A-Z edition of 26, published by Two Palms, New York.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
Two Palms, New York
LOT 249
PROPERTY FROM THE COLLECTION OF TATUM O'NEAL, LOS ANGELES

FRANCESCO CLEMENTE
b. 1952
THE KING AND THE CORPSE (FROM THE BOOK OF THE SEA)
watercolour on paper
102 by 105cm.; 40 by 41 1/4 in.
Executed in 1992.
ESTIMATE 40,000 - 60,000 GBP

PROVENANCE
EXHIBITED
New York, Solomon R. Guggenheim Museum; Bilbao, Guggenheim Museum, Clemente,
1999-2000, no. 70, illustrated in colour
CATALOGUE NOTE
An Interview with Francesco Clemente
Sotheby's:
Your recurring theme of self-portraiture is tied to the repetition and rebirth of the ego, from where
does this need originate for you and how does this effect you in reality?
Francesco Clemente:
I believe that paintings are tools for knowledge, concise keys to access a view of the world. A self
portrait is a reminder that at the core of our experience of the self is the perception of change, and
that the only certainty is the continuity of discontinuity
Sotheby's:
How do your experiences and creative/dreamy dimension interface and are reflected in your
work?
Francesco Clemente:
The distinctive strategy of my work is the constant renewal of materials and formats. Every new
material generates a new constellation of images. These images are organized in an open,
fragmented narrative. They are used as relative tools, meant to suggest the existence of absolute
realities, without dictating them.
Sotheby's:
How has your relationship with the body and its identity evolved over the years?
Francesco Clemente:
We barely understand the body, as we barely understand painting. Our goal is to accept that,
what looks like chaos in painting, and in the body, is nothing less than a superior form of order
Sotheby's:
Could you tell us more about your inspiration for the Book of the Sea series?
Francesco Clemente:
As I constantly renew my materials, I also renew the geographical origins of my work. Very large
watercolours are more easily made in a tropical climate, where the humidity allows more time to
rework the surface. The works of the Book of the Sea are made in the Caribbean, mostly in Port
Antonio, and are inspired by the great literature of this area, particularly the poetry of Derek
Walcott.
LOT 250

FRANCESCO CLEMENTE
b. 1952
HEAD
oil on canvas
91.4 by 91.4cm.; 36 by 36in.
ESTIMATE 45,000 - 55,000 GBP

PROVENANCE
EXHIBITED
Basel, Kunstmuseum; New York, Gagosian Gallery, Testa Coda, 1992
LOT 251

FRANCESCO CLEMENTE
b. 1952
WOMEN AND MEN #3

watercolour and pencil on paper
106.7 by 50.8cm.; 42 by 20in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Akira Ikeda Gallery, Tokyo
Sale: Sotheby's, New York, Contemporary Art, 7 November 1990, Lot 355
LOT 252
PROPERTY FROM THE SCHLUMBERGER FAMILY COLLECTION

ROBERT WILSON
b.1941
UNTITLED
signed and dated 76

charcoal on paper
91.6 by 118.7cm.; 36 by 46 3/4 in.
ESTIMATE 800 - 1,200 GBP

PROVENANCE
A gift from the artist to the previous owner
Thence by descent
CATALOGUE NOTE
A Collection of Works by Robert Wilson from the Schlumberger Family Collection
The renowned Texan director Robert Wilson is internationally acclaimed for his outstanding efforts
in pushing the boundaries of theatre. He integrates movement, music, drawings and other visual
elements in his creations, transcending theatrical convention and breaking the boundaries
between the various art disciplines. Originally trained as an architect in his native Waco, Texas
and then in New York, Wilson was soon drawn to the experimental dance scene which was then
flourishing in the city in the early 1960s and was regarded as a leader in Manhattan's burgeoning
avant-garde. His first major accomplishment was through the art of large-scale opera and later
through outstanding productions of both classic adaptations and original works, collaborating with
the leading writers and performers of his time.
Despite his success in theatre and opera, Wilson describes himself more readily as a visual artist
than as a stage director. He has won various awards such as the Golden Lion at the 1993 Venice
Biennale, and has been the subject of various retrospectives such as at the Centre Georges
Pompidou, Paris and at the Boston Museum of Fine Arts.
An avid admirer of Robert Wilson's work throughout his career, Sao Schlumberger's support was
integral to the director's 1976 collaboration with the composer Phillip Glass, the experimental
opera Einstein on the Beach. The following examples from the Schlumberger family collection
demonstrate the array of disciplines that have inspired Robert Wilson over his extensive and
prestigious career. What recurs across his various artistic practices is a slow dream-like quality of
time and space; his works are noted for their austere style, very slow movement, and often
extreme scale in space or time.
LOT 253

ROBERT WILSON
b.1941
UNTITLED
signed, dated Oct. 82 and dedicated For Sao with Love Happy Birthday
charcoal on paper
49 by 67.5cm.; 19 1/4 by 26 1/2 in.
ESTIMATE 800 - 1,200 GBP

PROVENANCE
Thence by descent
LOT 254

ROBERT WILSON
b.1941
OPERA BASTILLE, OPENING - FAUST (SCENE 1)

oilstick and paint on canvas
370 by 553cm.; 145 1/2 by 217 3/4 in.
Executed in 1989.

PROVENANCE
Yvon Lambert, Paris
Acquired directly from the above by the previous owner
Thence by descent
LOT 255

ROBERT WILSON
b.1941
UNTITLED
signed, dated 96, numbered AP 23/25 and dedicated For Sao Merry Christmas; signed and dedicated For Sao Merry Christmas on the reverse
70 by 50cm.; 27 1/2 by 19 5/8 in.
ESTIMATE 300 - 400 GBP

PROVENANCE
A gift from the artist to the present owner
Thenc by descent
LOT 256

ROBERT WILSON
b.1941
EVERYTHING YOU CAN THINK OF IS TRUE
signed, titled, dated '98 and numbered 56/100

38 by 57cm.; 15 by 22 3/8 in.

PROVENANCE
Thence by descent
LOT 257

ROBERT WILSON
b.1941
MY KINGDOM HAS THE DIMENSION OF THE WHOLE UNIVERSE

lithograph, coloured crayons and pencil on paper
19 by 27cm.; 7 1/2 by 10 5/8 in.

PROVENANCE
Thence by descent
LOT 258

ROBERT WILSON
b.1941
THE MAGIC FLUTE
signed, titled and dated '93

oil and charcoal on paper
56 by 76.4cm.; 22 by 30 1/8 in.

PROVENANCE
Thence by descent
LOT 259
JUAN MUÑOZ
1953-2001
AMSTERDAM SERIES I
acrylic and papier maché on wood
83.2 by 52 by 55cm.; 32 3/4 by 20 1/2 by 21 5/8 in.
Executed in 1988.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Sale: Phillips de Pury & Company, New York, Contemporary Art, 11 November 2005, Lot 345
EXHIBITED
Madrid, Palacio de Velásquez, Museo Nacional Centro de Arte Reina Sofiá, Juan Muñoz:
Monólogos y Diágolos, 1996-1997, p. 47, illustrated in colour
LOT 260
GEORGE CONDO
b.1957
THE COCKTAIL DRINKER'S WIFE

oil on canvas
198.8 by 198.8cm.; 78 1/4 by 78 1/4 in.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
Private Collection, Oslo
EXHIBITED
Salzburg, Museum der Moderne; Bielefeld, Kunsthalle, George Condo: One Hundred Women,
2005, p. 105, illustrated in colour
LOT 261

ROSS BLECKNER
b.1949
S/T II
signed and dated 4/1990 Madrid on the reverse

ink and watercolour on paper
76 by 56.5cm.; 29 7/8 by 22 1/4 in.

PROVENANCE
Private Collection, Barcelona
LOT 262
RAINER FETTING
b.1949
KATJA LESEND

oil on canvas
191 by 140cm.; 75 1/4 by 55 1/8 in.
ESTIMATE 12,000 - 18,000 GBP

PROVENANCE
Galerie Raab, Berlin
Sale: Sotheby's London, Contemporary Art, 22 October 2002, Lot 451
BCA Gallery, London
LOT 263

MIQUEL BARCELÓ
b. 1957
CAT
signed and dated VI. 81

gouache and pastel on paper
73.5 by 103.4cm.; 28 7/8 by 40 3/4 in.
ESTIMATE 45,000 - 65,000 GBP

PROVENANCE
Private Collection, Barcelona
LOT 264
JIRI GEORG DOKOUPIL

b.1954
MADONNA
signed and dated 1986 twice on the overlap

oil on canvas
180.5 by 140.3cm.; 71 by 55 1/4 in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Galleri Susanne Ottesen, Copenhagen
Private Collection, Copenhagen
LITERATURE
Exhibition Catalogue, Sophienholm, Kunstmuseum; Vendsyssel, Kunstmuseum, Passion, 2003,
p. 162, illustrated in colour
LOT 265
DAVID SALLE
b.1952
DRAPE

oil and acrylic on canvas
152.4 by 91.4cm.; 60 by 36in.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
Jason Rubell Gallery, Palm Beach
Michelle Rosenfeld Gallery, New York
LOT 266
SIGMAR POLKE
b.1941
FARBPROBE ZU ZEITGEIST "DIE SCHERE"
signed, titled and dated 84 on the stretcher

oil, synthetic resin and metallic dust on canvas
50 by 40cm.; 19 3/4 by 15 3/4 in.
ESTIMATE 20,000 - 30,000 GBP

PROVENANCE
Thence by descent to the present owner in 1992
EXHIBITED
Bad Münstereifel, Galerie Klein, Sigmar Polke: Farbproben – Materialversuche – Probierbilder
aus den Jahren1973-1986, 1986, no. 12, illustrated in colour
LOT 267
GUILLERMO KUITCA
b.1961
HOUSE PLAN WITH BROKEN HEART

acrylic on canvas
190 by 126cm.; 74 3/4 by 49 5/8 in.
ESTIMATE 35,000 - 45,000 GBP

PROVENANCE
Annina Nosei Gallery New York
Gian Enzo Sperone, Rome
Galleria Galliani, Genova
LOT 268
ALBERT OEHLEN
b.1954
UNTITLED
signed and dated 87

oil on canvas
160 by 200.5cm.; 63 by 79in.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
Galerie Max Hetzler, Cologne
LOT 269
ALBERT OEHLEN
b. 1954
PRO BROWN
acrylic and oil on canvas
180 by 149.8cm.; 70 7/8 by 59in.
Executed in 2006.
ESTIMATE 80,000 - 120,000 GBP

PROVENANCE
Sale: Sotheby's, London, The Whitechapel Auction: Defining the Contemporary, 13 October 2006,
Lot 56 (donated by the artist)
LOT 270
KENNY SCHARF
b.1958
CANYANA LIQUIDOA

acrylic on canvas in painted artist's frame
52.5 by 68cm.; 20 1/2 by 26 3/4 in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
LOT 271
KENNY SCHARF
b.1958
FRESCA
signed, titled and dated '97 on the reverse

acrylic on canvas in painted artist's frame
68 by 53.5cm.; 26 3/4 by 21 1/8 in.

PROVENANCE
LOT 272
FRANZ ACKERMANN
b.1963
SOMEONE'S ARRIVAL SOMEWHERE

watercolour and mixed media on paper on aludibond
120 by 160cm.; 47 1/4 by 63in.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
Tomio Koyama Gallery, Tokyo
EXHIBITED
Tokyo, Mori Art Museum, Tokyo Berlin / Berlin Tokyo, 2006
LOT 273
FRANZ ACKERMANN
b.1963
THE MONUMENT
signed and dated '05 on the reverse

oil on canvas
195 by 160cm.; 76 3/4 by 63in.
ESTIMATE 70,000 - 90,000 GBP

PROVENANCE
EXHIBITED
Tokyo, Mori Art Museum, Tokyo Berlin / Berlin Tokyo, 2006
CATALOGUE NOTE
An inveterate traveller, Franz Ackermann's art is founded on an investigation into the relationship
between time and place. Like numerous other artists from disparate cultural backgrounds, since
the early 1990s, Ackermann has lived and worked in Berlin - a sprawling European capital
steeped in history, whose topography has been rebuilt and utterly transformed since the Second
World War. At the heart of his practice is a highly personal interpretation of cartography, based not
on the methodical charting of objectively observed terrain, but rather on the free-wheeling, visual
expression of subjective experience in often bewilderingly exotic locations.
He produced the first of his 'Mental Maps' in 1991 in Hong Kong, beginning an ongoing series of
watercolours on paper that endeavour to register the artist's fresh impressions of the visual
delirium of culture and geography in the unfamiliar cities of his travels. The quickly worked 'Mental
Maps' subsequently become the basis for larger works on paper and monumental canvases
rendered in intense, almost psychedelic colours whose dizzying convulsions offer pure surface
effect. Executed in 2005, The Monument is one of Ackermann's most dynamic and powerful
works. Set against a minimalist orange backdrop of skyscraper windows, the constructs of 21st
century city life are played beneath a towering vertical axis that descends from the undercarriage
of a plane landing overhead. Suggestive of the dizzying speed of travel and the fleeting, transitory
nature of its experiences, the crumbling, empty pedestals rising up from the metropolis below
embody the chaos and flux of cities in today's increasingly globalized society. The visual
travelogues it affords presents a provocative record of an ever shrinking planet, as each place
becomes a 'non-place'; a triumph of marketing over cultural difference, national identity and
natural exoticism.
LOT 274
HERNAN BAS
b.1978
MEPHISTOPHELES AT 17 (THE VIEW FROM HIS DEN)
signed with the artist's initials, titled and dated 07 on the stretcher
oil and acrylic on canvas
35.6 by 27.9cm.; 14 by 11in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Roslyn Oxley9 Gallery, Sidney
EXHIBITED
Sydney, Roslyn Oxley9 Gallery, Mephistopheles at 17, 2007, no. 10
LOT 275
DANIEL RICHTER
1962
UNTITLED (I, II, III)
(i)-(ii) signed with initials and dated 04

(iii) signed with initials and dated 03
(i) oil, pencil and tape on paper(ii) acrylic, pencil, watercolour and ink on paper(iii) oil, pencil and watercolour on paper
(i) 59.5 by 29.5cm.; 23 1/2 by 11 5/8 in.
(ii) 53.5 by 35.2cm.; 21 by 14in.
(iii) 54 by 40.5cm.; 21 1/4 by 16in.
ESTIMATE 18,000 - 25,000 GBP
PROVENANCE
LOT 276
EBERHARD HAVEKOST
b. 1967
UNTITLED

oil on canvas
130 by 90cm.; 51 1/4 by 35 1/2 in.
Executed in 1998.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Galerie Gebr. Lehmann, Dresden
Galerie Patrick De Brock, Knokke-Le-Zoute
LOT 277
RUDOLF STINGEL
b.1956
UNTITLED

oil on canvas
76.5 by 104cm.; 30 1/8 by 40 7/8 in.
ESTIMATE 60,000 - 80,000 GBP

PROVENANCE
LOT 278
WILHELM SASNAL
b. 1972
LENINGRAD
oil on canvas
154.5 by 154.5cm.; 60 7/8 by 60 7/8 in.
Executed in 2001.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Hauser & Wirth, Zürich
Private Collection, Belgium
LOT 279
ADAM ADACH
b. 1962
UNTITLED

oil on canvas
165 by 130cm.; 65 by 51 1/4 in.
Executed in 2004.

PROVENANCE
D'Amelio Terras, New York
LOT 280
JONATHAN MEESE
B. 1977
FISHY FISHELSN
each: signed with initials and dated 08; signed, titled and dated 08 on the reverse
oil and mixed media on canvas, in three parts
each: 210 by 139.5cm.; 82 3/4 by 54 7/8 in.
overall: 210 by 418.5cm.; 82 3/4 by 165in.
ESTIMATE 55,000 - 65,000 GBP

PROVENANCE
LOT 281
GERT AND UWE TOBIAS

b. 1973 & b. 1973
UNTITLED
acrylic, crayon and woodcut on paper
200 by 165cm.; 78 3/4 by 65in.
Executed in 2005.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Galerie Michael Janssen, Berlin
LOT 282
TONY BEVAN
b.1951
HEADS HORIZON
signed twice on the reverse

acrylic on canvas
165 by 239cm.; 65 by 94in.
Executed in 1999.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Michael Hue-Williams Fine Art, London
Abstract Securities, Ltd., Leeds
LITERATURE
Michael Hue-Williams, Ed., Tony Bevan: Paintings and Drawings, London 2000, pp. 39 & 58,
LOT 283
PETER DOIG
b.1959
THE DAY FETISOV FLEW
signed and dated 84; signed twice, titled and dated 1984 twice on the reverse
oil on canvas
122 by 107cm.; 48 by 42 1/8 in.
ESTIMATE 50,000 - 70,000 GBP

PROVENANCE
LOT 284
PROPERTY SOLD TO BENEFIT THE LUGGAGE STORE GALLERY, SAN FRANCISCO

BANKSY
b. 1975
BOMB HUGGER
spray paint and stencil on wood
120 by 99cm.; 47 1/4 by 39in.
Executed in 2003.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Mondo Pop, Newton
Private Collection, San Francisco
Donated from the above to the present owners in 2006
CATALOGUE NOTE
LOT 285
BANKSY
b. 1975
AMOURED CAR
tagged on the right edge

acrylic and spraypaint stencil on canvas
60 by 60cm.; 23 5/8 by 23 5/8 in.
Executed in 2002.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
EXHIBITED
Hamburg, St. Pauli Brauerei, Urban Discipline, 2002
CATALOGUE NOTE
LOT 286
KARA WALKER
b. 1969
UNTITLED
signed with the artist's initials and dated 95 on the backing board
paper collage on paper
132 by 153.5cm.; 52 by 60 3/8 in.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
Sale: Phillips de Pury & Company, New York, Contemporary Art, 19 May 2000, Lot 130
LOT 287
TIM STONER
b.1970
BALLROOM
signed, titled and dated 2002 on the overlap

oil on canvas
180 by 142cm.; 70 7/8 by 55 7/8 in.

PROVENANCE
The Approach, London
LOT 288
PROPERTY SOLD TO BENEFIT FRIENDS OF ISRAELI PALESTINIAN BEREAVED FAMILIES FORUM

GIDEON RUBIN
B. 1973
RED FLOWER

oil on linen
76 by 71cm.; 29 7/8 by 28in.

PROVENANCE
Donated by the Artist
LOT 289
JONATHAN YEO
b. 1970
ANDROMEDA

colour magazine collage and oil on board, in artist's frame
67.5 cm by 59cm.; 26 5/8 by 23 1/4 in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
EXHIBITED
London, Lazarides Gallery, Jonathan Yeo: Blue Period, 2008
LOT 290
WILLIAM DANIELS
b. 1976
VANITAS II

oil and pencil on board
55 by 51.5cm.; 21 5/8 by 20 1/4 in.

PROVENANCE
EXHIBITED
London, Royal College of Art, The Show, 2003
LOT 291
LUC TUYMANS
b.1958
LEAF
signed, titled and dated '98

watercolour on paper mounted on card
image: 12 by 10.7cm.; 4 3/4 by 4 1/4 in.
sheet: 39 by 30cm.; 15 3/8 by 11 7/8 in.

PROVENANCE
Zeno X Gallery, Antwerp
LOT 292
YAN PEI-MING
b. 1960
DOUBLE (MAURIZIO CATTELAN)

watercolour on paper
153 by 277cm.; 60 1/4 by 109in.
Executed in 2007.
ESTIMATE 30,000 - 40,000 GBP

PROVENANCE
David Zwirner Gallery, New York
LOT 293
MARLENE DUMAS
b.1953
JESUS

ink and watercolour on paper
24.1 by 28cm.; 9 1/2 by 11in.

PROVENANCE
LOT 294
MARLENE DUMAS
b.1953
UNTITLED (KOPF)

Indian ink and watercolour on paper
25 by 33cm.; 9 7/8 by 13in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
LOT 295
RASHID RANA
b. 1968
VEIL III
signed, titled, dated 2004 and numbered 12/20 on the reverse

digital chromogenic print mounted with diasec face
51 by 51cm.; 20 by 20in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Wedel Fine Art, London
LOT 296
SHIRIN NESHAT
b. 1957
FERVOR SERIES (CROWD OF WOMEN, ONE LEAVING)
signed, titled, dated 2000 and numbered 2/5 on the reverse

103.5 by 128cm.; 40 3/4 by 50 3/8 in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Patrick Painter Inc., Santa Monica
LOT 297
HIROSHI SUGIMOTO
b.1948
HALL OF THIRTY THREE BAYS
signed on the backing sheet; blindstamped with the numbers 6/25 024
image: 42.1 by 54cm.; 16 5/8 by 21 1/4 in.
sheet: 45 by 59.5cm.; 17 3/4 by 23 3/8 in.
Executed in 1995.

PROVENANCE
LITERATURE
G. Roger Denson, 'Belichtung und Erleuchtung: das Phäenomen des hermeneutischen Zirkels in
Hiroshi Sugimoto's kontemplativer Photographie', in: Parkett, no. 46, Zürich 1996, p. 151,
illustration of another example
LOT 298
SPENCER TUNICK
b. 1967
MAINE 2
signed, dated 1997 and numbered 4/6 on the backing board

gelatin silver print mounted on aluminium
120.5 by 147.5cm.; 47 3/8 by 58 1/8 in.

PROVENANCE
I-20 Gallery, New York
LOT 299

CANDIDA HÖFER
b. 1944
KUNSTHALLE KARLSRUHE V

colour photograph
121.3 by 121.3cm.; 47 3/4 by 47 3/4 in.
ESTIMATE 10,000 - 12,000 GBP

PROVENANCE
LOT 300
HIROSHI SUGIMOTO
b. 1948
POLAR BEAR
signed, titled dated 1976 and numbered 12/25 on the backing sheet
image: 42 by 54cm.; 16 1/2 by 21 1/4 in. sheet: 48.6 by 60.3cm.; 19 1/8 by 23 5/8 in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Acquired directly from the artist by the present owner.
LOT 301

CANDIDA HÖFER
b. 1944
CASA DE LA LABRADOR ARANJUEZ II

chromogenic print
120.7 by 120cm.; 47 1/2 by 47 1/4 in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
LOT 302
B. 1973
UNTITLED (CAPSIZED)
cibachrome print
122 by 152cm.; 48 by 59 3/4 in.
ESTIMATE 25,000 - 35,000 GBP

PROVENANCE
Gallery Min Min, Tokyo
LOT 303
YUE MINJUN
b. 1962
UNTITLED
signed and dated 2005; dated 2005 on the reverse

oil on canvas
170 by 140cm.; 66 7/8 by 55 1/8 in.
ESTIMATE 150,000 - 250,000 GBP

PROVENANCE
CATALOGUE NOTE
"Up against a society that had been taught to frown upon those who deviated from the norm, the
image of a laughing face was to me an assurance that things would get better: that a future life
could be as rewarding and meaningful as the Buddha promised. But against the reality of the
times, which was so entirely chaotic and strange, it was hard to hold onto that faith. I decided that
my laughing faces would serve as a reminder of a better tomorrow within my circle just as the
Maitreya Buddha in the temples do, and would resonate with those individuals who had learned to
laugh because they understood that almost any other response was futile"
(The artist cited in: Exhibition Catalogue, Shenzhen, He Xiangning Art Museum, Reproduction
Icons: Yue Minjun Works, 2004-2006, 2006, pp. 16-18)
LOT 304
ZHENG DELONG
b. 1976
UNTITLED 05-47

oil on canvas
120 by 80cm.; 47 1/4 by 31 1/2 in.

PROVENANCE
Soobin Art International, Singapore
LOT 305
LI SHAN
b. 1942
UNTITLED

xerox collage and acrylic on canvas
60 by 49.5cm.; 23 3/4 by 19 1/2 in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
LOT 306
SEA HYUN LEE

b. 1967
BETWEEN RED 51

oil on linen
200 by 200cm.; 78 3/4 by 78 3/4 in.
Executed in 2008.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
I-Myu Projects, London
EXHIBITED
London, Union Gallery, Between Red, 2009
London, Asia House, Trasnreal - My Hometown: Korean Contemporary Art, 2009
LOT 307
SHI XINNING
b. 1969
UNTITLED (MAO)

oil on canvas
179.7 by 179.7cm.; 70 3/4 by 70 3/4 in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Private Collection, Miami
LOT 308
WANG GUANGYI
b. 1957
GREAT CRITICISM SERIES: DELL
titled; signed and dated 2005 on the reverse

oil on canvas
60 by 70cm.; 23 5/8 by 27 1/2 in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
LOT 309
WANG GUANGYI
b. 1957
SWATCH (GREAT CRITICISM SERIES)
signed and dated 2003 on the overlap

oil on canvas
40 by 50cm.; 15 3/4 by 19 5/8 in.
ESTIMATE 10,000 - 15,000 GBP

PROVENANCE
Private Collection, Berlin
LOT 310
FENG ZHENGJIE
b. 1968
SPICE GIRL NO. 09
signed, titled and dated 2002-01

oil on canvas
60 by 60cm.; 23 5/8 by 23 5/8 in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Stiftelsen 3,14, Bergen
EXHIBITED
Bergen, Stiftelsen 3,14; Oslo, Vika Torget Galleri, Feng Zhengjie: Chinese Pop Art, 2002
LOT 311
FENG ZHENGJIE
b. 1968
SPICE GIRL NO. 07
signed, titled and dated 2002-01

oil on canvas
60 by 60cm.; 23 5/8 by 23 5/8 in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Stiftelsen 3,14, Bergen
EXHIBITED
Stiftelsen 3,14; Oslo, Vika Torget Galleri, Feng Zhengjie: Chinese Pop Art, 2002
LOT 312
BOSCO SODI
(b. 1970)
ROSA
signed and dated Berlin 09 on the reverse

mixed media on canvas
186 by 186cm.; 73 1/4 by 73 1/4 in.

PROVENANCE
LOT 313
YAYOI KUSAMA
b. 1929
PUMPKIN

acrylic on canvas
52.5 by 45.5cm.; 20 3/4 by 18in.
ESTIMATE 15,000 - 20,000 GBP

PROVENANCE
Umi Gallery, Tokyo
LOT 314
YOSHITOMO NARA
b.1959
(I) UNTITLED (2000 LIGHT YEARS FROM HOME);

(II) UNTITLED (RAIN CLOUD)
(i) signed with the artist's initials, titled and dated 2002
(ii) signed with the artist's initials and dated 2002
each: coloured pencil on paper
(i) 30.3 by 22.3cm.; 11 7/8 by 8 7/8 in.
(ii) 30.2 by 22.6cm.; 11 7/8 by 8 7/8 in.
PROVENANCE
Marianne Boesky Gallery, New York
Sale: Christie's, New York, Post War and Contemporary Art, 18 February 2005, Lots 6 & 7
Private Collection
Sale: Sotheby's, New York, Contemporary Art, 24 September 2009, Lot 8
LOT 315
SUMEDH RAJENDRAN
b. 1972
UNTITLED
mixed media
160.5 by 82cm.; 63 by 32¼in.
Executed in 2007.

PROVENANCE
Sakshi Gallery, Mumbai

L10021 Catalogue

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L10021 Catalogue

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Contemporary Art Day Auction

London, Thu, 11 Feb 2010, 2:00 PM, L10021

CARLOS CRUZ DIEZ

PHYSICHROMIE NO. 202

signed, titled and dated Paris Dec. 1965 on the reverse

ESTIMATE 25,000 - 35,000 GBP

signed and titled on the reverse

ESTIMATE 25,000 - 35,000 GBP

each: signed and numbered 240/500 on the underside

ESTIMATE 25,000 - 35,000 GBP

ESTIMATE 8,000 - 12,000 GBP

ESTIMATE 30,000 - 40,000 GBP

ESTIMATE 10,000 - 15,000 GBP

each: signed with the artist's initials and inscribed H. C.

ESTIMATE 15,000 - 20,000 GBP

signed and dated 1987; signed and dated on the overlap

ESTIMATE 12,000 - 18,000 GBP

signed, titled and dated 1980 on the overlap

ESTIMATE 100,000 - 150,000 GBP

ESTIMATE 12,000 - 15,000 GBP

PHYSICHROMIE NO. 122

signed, titled and dated Paris May 1964 on the reverse

ESTIMATE 20,000 - 30,000 GBP

signed; titled and dated 1961 on the reverse

ESTIMATE 50,000 - 70,000 GBP

signed, titled and dated 1951 on the reverse

ESTIMATE 60,000 - 80,000 GBP

(i), (iii-iv) signed on the overlap

ESTIMATE 50,000 - 60,000 GBP

CAFETIÈRE, TASSE ET SUCRIER III

ESTIMATE 220,000 - 320,000 GBP

signed, numbered 0/0 and inscribed original on the underside

ESTIMATE 40,000 - 60,000 GBP

PROPERTY OF A PRIVATE AMERICAN COLLECTION

ESTIMATE 50,000 - 70,000 GBP

UNTITLED (SE 288)

signed with the artist's initials and dated 58 on the reverse

ESTIMATE 100,000 - 150,000 GBP

ESTIMATE 25,000 - 35,000 GBP

MARIA HELENA VIEIRA DA SILVA

L'ESCALIER (THE STAIRWAY)

signed and dated 1962

ESTIMATE 40,000 - 60,000 GBP

ESTIMATE 20,000 - 30,000 GBP

L'HOMME TERRIFIÉ, LES REINS DANS LES GENOUX

ESTIMATE 25,000 - 30,000 GBP

signed and dated 63

ESTIMATE 8,000 - 12,000 GBP

signed and dated 70

ESTIMATE 8,000 - 12,000 GBP

ESTIMATE 5,000 - 7,000 GBP

ESTIMATE 6,000 - 8,000 GBP

ESTIMATE 25,000 - 35,000 GBP

signed and dated 56

ESTIMATE 25,000 - 35,000 GBP

signed with the artist's initials and dated 74

ESTIMATE 10,000 - 15,000 GBP

ESTIMATE 90,000 - 120,000 GBP

signed on the overlap; titled and dated 1987-1989 on the reverse

ESTIMATE 25,000 - 35,000 GBP

LE SENS DIRECT ET OPPOSÉ

signed; titled and dated 57 on the reverse

ESTIMATE 25,000 - 35,000 GBP