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Contemporary Art Day AuctionLondon, Thu, 11 Feb 2010, 2:00 PM, L10021

LOT 101

ESTIMATE 25,000 - 35,000 GBP

CARLOS CRUZ DIEZ

b. 1923

PHYSICHROMIE NO. 202

signed, titled and dated Paris Dec. 1965 on the reverseoil and laminated plastic on board60 by 16 by 7.5cm.; 23 5/8 by 6 1/4 by 3in.

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Contemporary Art Day Auction, Thu, 11 Feb 2010, 2:00 PM, Lot 101

PROVENANCEPrivate Collection, GermanyAcquired directly from the above by the present owner

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LOT 102

ESTIMATE 25,000 - 35,000 GBP

VICTOR VASARELY

1908-1997

BELLE-ISLE "MEAUX"

signed and titled on the reverseoil on board23.5 by 86.8cm.; 9 1/2 by 34 1/8 in.Executed in 1954-55.

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PROVENANCEGalerie Denise Ren, ParisAcquired directly from the above by the present owner

EXHIBITEDOslo, Kunstnernes Hus, Victor Vasarely , 1971

CATALOGUE NOTE

The authenticity of this work has kindly been confirmed by Pierre Vasarely

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PROVENANCETokyo Gallery, TokyoPrivate Collection, JapanAcquired diectly from the above by the present owner circa 2002

EXHIBITEDTokyo, Machida City Museum of Graphic Arts, Multiple Show: From Duchamp to Lichtenstein ,2005, p. 52, no. 28, illustrated in colour

LITERATURECinzia Mascheroni (Ed.), Lucio Fontana: Beyond Space , Milan 2008, p. 63, illustration of anotherexample in colour

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LOT 104

LUCIO FONTANA

1899 - 1968

CONCETTO SPAZIALE

signedpencil and punched holes on paper43.5 by 31.7cm.; 17 1/8 by 12 1/2 in.Executed circa 1965.

ESTIMATE 8,000 - 12,000 GBP

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PROVENANCEPrivate Collection, Stockholm

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LOT 105

LUCIO FONTANA

1899 - 1968

UNTITLED

signedgouache and punched holes on paper67 by 50cm.; 26 5/8 by 19 3/4 in.Executed in 1960.

ESTIMATE 30,000 - 40,000 GBP

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PROVENANCEAcquired directly from the artist by the present owner in 1960

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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 asheet accompanying the workverre glomise65 by 50cm.; 25 5/8 by 19 3/4 in.

ESTIMATE 10,000 - 15,000 GBP

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PROVENANCELothar Wolleh, Berlin (a gift from the artist in 1969)Private Collection, Germany

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LOT 107

ESTIMATE 15,000 - 20,000 GBP

ALIGHIERO BOETTI

1940 - 1994

NOVE QUADRATI

each: signed with the artist's initials and inscribed H. C.watercolour and pencil on paper, in nine partseach 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.

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PROVENANCEPrivate Collection, ItalySale: Christie's, London, Post War & Contemporary Art, 25 June 2004, Lot 156Private Collection, Switzerland

CATALOGUE NOTEThis work is registered in the Archivio Alighiero Boetti, Rome under number 3503 and isaccompanied by a certificate of authenticity

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LOT 108

ESTIMATE 12,000 - 18,000 GBP

ALIGHIERO BOETTI

1940 - 1994

INASPETTATAMENTE

signed and dated 1987 ; signed and dated on the overlapembroidery on fabric mounted on panel33 by 35cm.; 13 by 13 3/4 in.

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PROVENANCESale : Sotheby's, London, Contemporary Art, 18 June 2007, Lot 599Acquired directly from the above by the present owner

CATALOGUE NOTEThis work is recorded in the Archivio Alighiero Boetti, Rome under number 4875 and isaccompanied by a certificate of authenticity

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LOT 109

ESTIMATE 100,000 - 150,000 GBP

ENRICO CASTELLANI

b.1930

SUPERFICIE BIANCA

signed, titled and dated 1980 on the overlapacrylic on shaped canvas100 by 100cm.; 39 3/8 by 39 3/8 in.

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PROVENANCEGalerie von Braunbehrens, MunichAcquired 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 thelogic of artistic language, one element is as valid as another, and the optimal approach aims atpresenting 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)

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LOT 110

ESTIMATE 12,000 - 15,000 GBP

GIANPIETRO CARLESSO

b. 1961

CURVATURA SETTEwhite alabaster43 by 75 by 75cm.; 16 7/8 by 29 1/2 by 29 1/2 in.Executed in 2009.

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PROVENANCEAcquired directly from the artist by the present owner

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LOT 111

ESTIMATE 20,000 - 30,000 GBP

CARLOS CRUZ-DIEZ

b.1923

PHYSICHROMIE NO. 122

signed, titled and dated Paris May 1964 on the reverseoil and laminated plastic on board30.5 by 61cm.; 12 by 24in.

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PROVENANCEGalleri Gurholt, OsloAcquired directly from the above by the present owner

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LOT 112

MIMMO ROTELLA

1918 - 2006

ARRUOLAMENTO MILITARE

signed; titled and dated 1961 on the reversedcollage on canvas89.5 by 89.5cm.; 35 1/4 by 35 1/4 in.

ESTIMATE 50,000 - 70,000 GBP

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PROVENANCECoen & Pieroni, PescaraPrivate Collection, Paris

CATALOGUE NOTEThis 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, Irealised several paintings in the figurative, expressionist, surrealist and even cubist styles but Iwas 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 Zenillumination, the discovery of the advertising consumerist poster as the channel for a new artisticmode of expression.

Armed with a penknife, the artist at night wandered the streets of Rome, ripping posters off thewalls from which to create his celebrated double dcollages in which the poster was first rippedfrom 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 usedby the Cubists to the Dadaist venture of unpredictably tearing the objet trouv, mastering as aresult a poetic recycling of urban, industrial and advertising reality.

Executed in 1961, Arruolamento Militare was created in conjunction with the historically acclaimedA 40au-dessus de Dada Paris exhibition curated by Pierre Restany- the art critic who haddefined 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 toReality." The present work therefore embodies the magical and unexpected significance of thearbitrarily decomposed and recomposed traces left on the city by consumerist posters, giving anaccount of the reality of their time. Rotella was convinced that art was only capable of fullycapturing the essence and moods of reality if it emerged through direct contact with reality or thespace for action. The search for Reality was paradoxically achieved within the torn space- aspace which was accidentally created through the loss or partial destruction of the objectembodying 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 SecondWorld War. The tattered yet distinct Italian Navy flag located in the upper right quadrant of thecomposition acts as a testimony for the changing role and capabilities of the Italian Navy in the1960's. Having tragically failed to make any significant impact during the Second World War, andas soon as Victor Emmanuel III surrendered in 1943, the country's remaining ships sailed to Maltato be redistributed to the Allies.

Significant not only as one of the artist's early masterpieces, but also as the defining moment inhis artistic maturity, the deeply intense dcollage in Arruolamento Militare can be seen to establishthe principal tenets that would inform Rotella's later work. Its politically charged atmospherecombined with its violent linearity and vivid colours led critic Alberto Fiz to acknowledge theradicalism of an oeuvre that has abolished 'painting's artificial space to get hold of reality througha passage that is first physical and then psychological'.(Alberto Fiz cited in: Mimmo Rotella,Mimmo Rotella- Early Works , Milan 2007, p. 14)

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LOT 113

GIUSEPPE CAPOGROSSI

1900 - 1972

COMPOSITION N25

signed, titled and dated 1951 on the reverseoil on canvas73 by 54cm.; 28 3/4 by 21 1/4 in.

ESTIMATE 60,000 - 80,000 GBP

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PROVENANCEZimmergalerie Franck, FrankfurtPrivate Collection, Europe

LITERATUREGiulio Carlo Argan, Ed., Capogrossi , Rome 1967, p. 146, no. 82Exhibition Catalogue, Haarlem, Frans Hals Museum, Moderne italiaanse kunst in nederlands partikulier en museaal bezit , 1971, no. 28, illustrated

CATALOGUE NOTEThis work is accompanied by a certificate of authenticity issued by the Fondazione Capogrossi,Rome

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LOT 114

ALIGHIERO BOETTI

1940 - 1994

ATTIRARE L'ATTENZIONE

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

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PROVENANCEPrivate Collection, Europe (acquired directly from the artist in 1985)

CATALOGUE NOTEThis work is recorded in the Archivio Alighiero Boetti, Rome under number 6383 and isaccompanied by a certificate of authenticity

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LOT 115

JEAN DUBUFFET1901 - 1985

CAFETIRE, TASSE ET SUCRIER III

signed, signed with the artist's initials, dated65 and dedicated David Sylvester; signed, titled and dated22 sept. 65 on the reversevinyl paint on canvas60 by 73cm.; 23 5/8 by 28 3/4 in.

ESTIMATE 220,000 - 320,000 GBP

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PROVENANCEDavid Sylvester, LondonGoldman-Kraft Gallery, Chicago

EXHIBITEDBasel, 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 thananything I had done before. This was a plunge into fantasy, into a phantom parallel universe. Myrenewed interest in outsider art was no doubt not unconnected with this sudden newdevelopment."(The Artist cited in: Exhibition Catalogue, Salzburg, Museum de Moderne; Bilbao, Guggenheim,Jean Dubuffet: Trace of an Adventure , 2003-2004, p. 174)

Dubuffet'sL'Hourloupe series manifested itself in the summer of 1962 after the artist begandoodling with red and blue ball-point pen whilst on the telephone. It was a strictly two dimensionalexploration, without any sense of depth or space, and was soon to incorporate everyday objectsand 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 immediatelypre-empted by the highly vivaciousParis Circus series. Dubuffet would later realise thisexploration through three-dimensional sculpture and through the means of performance.

The Hourloup series saw Dubuffet manipulating the pictorial plane into a more mental and visceralspace, thus achieving a total unique rendering of subject using a limited palette unlike any of hiscontemporaries. Here, inCafetire, Tasse et Sucrier III , the coffee pot, cup and sugar bowl arealmost masked by the elaborate yet simple network of forged misshapen elements; only thesubtle black outlines against a slight black background allow the objects to show themselves. Theviewer is immersed in this play on shapes and colour, which displays the artist's desire to create anew way of seeing.

The notorious art critic David Sylvester held an internationally acclaimed reputation as one of theleading commentators on 20th Century art, amongst other artistic genres. He was impressed bythe 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, hisfeeling that the styles we accept are all played out, his disgust at an art that feeds on art ..., andout of a desire to create an art that might rise above it all, above all the fancy nonsense, in spite ofeverything.'' (David Sylvester cited on the Tate Modern website www.tate.org.uk)

In clearly dedicatingCafetire, Tasse et Sucrier III to David Sylvester in the lower left of thecomposition, this painting is an historical commentary on the mutual friendship and respectshared by the two great thinkers, and their acknowledgement of each other's ideas. With its boldexecution and immediacy, Dubuffet does not apologise for his utterly original direction.

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LOT 116

NIKI DE SAINT-PHALLE

1930 - 2002

NANA AU SERPENT

signed, numbered 0/0 and inscribed original on the undersidepainted resin73 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

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PROVENANCEGimpel Fils, LondonAcquired directly from the above by the present owner in 1985

LITERATURECarla Schulz-Hoffman, et al., Niki de Saint Phalle , Bonn 1987, p. 119, no. 36, illustration ofanother example in colour

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LOT 117

ESTIMATE 50,000 - 70,000 GBP

PROPERTY OF A PRIVATE AMERICAN COLLECTIONBARRY FLANAGAN

1941 - 2009

NIJINSKI FIVE

stamped with the artist's monogram and foundry mark and numbered 2/8 bronze with black patina77.2 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.

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PROVENANCEPaul Kasmin Gallery, New YorkAcquired directly from the above by the present owner in 2006

LITERATUREExhibition Catalogue, Palma de Mallorca, Centro de Cultura Sa Nostra, Art Report 2005: Diario de Mallorca, 2005-2006, illustration of another example in colourExhibition Catalogue, Montreal, Galerie de Bellefeuille, Gdb International, 2006, illustration of

another example in colourExhibition Catalogue, Stockholm, Wetterling Gallery, Barry Flanagan, 2007, p. 37, illustration ofanother example in colour

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LOT 118

ESTIMATE 100,000 - 150,000 GBP

YVES KLEIN

1928 - 1962

UNTITLED (SE 288)

signed with the artist's initials and dated 58 on the reverseIKB pigment and synthetic resin on natural sponge31 by 31 by 14cm.; 12 1/4 by 12 1/4 by 5 5/8 in.Executed in 1958.

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PROVENANCEAlexander Iolas, New YorkAcquired directly from the above by the present owner in the early 1980s

CATALOGUE NOTEPlease note that this work has been requested for the Yves Klein Retrospective which will takeplace 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 thebeholders of my monochromes, who, after having seen them, after having travelled through theblue of my paintings, come back totally impregnated in sensibility, like sponges."(Yves Klein cited on www.yveskleinarchives.org)

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LOT 119

ESTIMATE 25,000 - 35,000 GBP

CORNEILLEb.1922

PREMIRE VERDURE

signed and dated 59 ; signed, titled and dated59 on the reverseoil on canvas65 by 92cm.; 25 5/8 by 36 1/8 in.

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PROVENANCEGalleri Haaken, OsloAcquired directly from the above by the previous owner in the 1960sThence by descent

EXHIBITEDAmsterdam, Stedelijk Museum,Corneille , 1966

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LOT 120

ESTIMATE 40,000 - 60,000 GBP

MARIA HELENA VIEIRA DA SILVA

1908 - 1992

L'ESCALIER (THE STAIRWAY)

signed and dated 1962 tempera on paper66 by 51cm.; 26 by 20in.

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PROVENANCEKnoedler Gallery, New YorkPrivate Collection, U.S.A.

EXHIBITEDNew York & Washington, M. Knoedler & Co. & Phillips Collection, Vieira da Silva , 1963, no. 21,illustrated

LITERATUREVirginie Duval & Diane Daval Bran, Vieira da Silva: Catalogue Raisonn , Geneva 1994, p. 373,no. 1849, illustrated

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LOT 121

ESTIMATE 20,000 - 30,000 GBP

WOLS

1913 - 1951

UNTITLED

signedwatercolour, ink and gouache on paper11.6 by 21cm.; 4 5/8 by 8 1/4 in.Executed in 1943-44.

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PROVENANCESale: Christie's, London, Contemporary Art , 22 February 1990, Lot 343Acquired directly from the above by the present owner

CATALOGUE NOTEThe authenticity of this work has kindly been confirmed by Dr. Ewald Rathke

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LOT 122

WOLS1913 - 1951

L'HOMME TERRIFI, LES REINS DANS LES GENOUX

signedwatercolour and indian ink on hand-made paper23.6 by 31.5cm.; 9 1/4 by 12 3/8 in.Executed circa 1940.

ESTIMATE 25,000 - 30,000 GBP

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PROVENANCEGrty Wols, GermanyGalerie Natalie Seroussi, ParisAcquired directly from the above by the present owner

EXHIBITEDRennes, Muse ( & travelling),Wols - Dessins, Aquarelles, Peintures 1932-1951 , 1974-1976, no.36

Hamburg, Kunsthaus; Esslingen, Villa Merkel; Dresden, Staatliche Kunstsammlungen,Kupferstichkabinett,Wols. Aquarelle, Zeichnungen, Notizbltter aus dem Besitz von Marc Johannes , 2000-2001, p. 19, no. 2, illustrated

LITERATUREShigeo Chiba,L'Oeuvre des Wols , PhD Thesis, Paris 1974, p. 142Claire van Damme,Kunst als Catharsis en Psychogenese. Het exstreem subjectivistisch kunstscheppen van de Duitse surrealistische en informele kunstenaar Wols 1913-1951 , Gent1985, p. 110, no. 87, illustratedPhilipp Gutbrod,Wols: Die Arbeiten auf Papier (Werkverzeichnis) , PhD Thesis, Heidelberg 2003,no. A173, illustrated

CATALOGUE NOTEThe authenticity of this work has kindly been confirmed by Dr. Ewald Rathke

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LOT 123


ALEXANDER CALDER

1898 - 1976

UNTITLED

signed and dated 63 ink on paper74.9 by 104.7cm.; 29 1/2 by 41 1/4 in.

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PROVENANCEThe Estate of the ArtistAmerican Friends of Tel Aviv Museum of ArtAcquired directly from the above by the present owners in 2007

EXHIBITEDNew York, PaceWildenstein, Calder Gouaches: 1942-1976 , 2006, p. 20, no. 17, illustrated incolour

CATALOGUE NOTEThis work is registered in the archives of the Calder Foundation, New York , under applicationnumber A04356

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LOT 124


ALEXANDER CALDER

1898 - 1976

UNTITLED

signed and dated 70 ink on paper74.9 by 108cm.; 29 1/2 by 42 1/2 in.

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PROVENANCEThe Estate of the ArtistAmerican Friends of Tel Aviv Museum of ArtAcquired directly from the above by the present owners in 2007

LITERATUREExhibition Catalogue, New York, PaceWildenstein, Calder Gouaches: 1942-1976, 2006, p. 43,illustrated in colour

CATALOGUE NOTEThis work is registered in the archives of the Calder Foundation, New York , under applicationnumber A04196

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LOT 125

SAM FRANCIS

1923 - 1994

UNTITLED (SF77-169)acrylic on paper39.5 by 30cm.; 15 5/8 by 11 3/4 in.Executed in 1977.


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PROVENANCEPrivate Collection, Europe

CATALOGUE NOTEThis work is registered in the Sam Francis Foundation Archives under the number SF77-169 andwil be included in the forthcoming catalogue raisonn of unique paintings and works on paperedited by Debra Burchett-Lee and published by the University of California Press

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LOT 126

SAM FRANCIS

1923 - 1994

UNTITLEDacrylic and ink on paper56.4 by 38.3cm.; 22 1/4 by 15 1/8 in.Executed in 1959.


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PROVENANCEPrivate Collection, Europe

CATALOGUE NOTEThis work is registered in the Sam Francis Foundation Archives under the number SF59-525 andwil be included in the forthcoming catalogue raisonn of unique paintings and works on paperedited by Debra Burchett-Lee and published by the University of California Press

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LOT 127

ESTIMATE 25,000 - 35,000 GBP

KAREL APPEL

1921-2006

DEUX TTES

signedoil and pencil on paper laid down on canvas90 by 120cm.; 35 3/8 by 47 1/4 in.Executed in 1988.

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PROVENANCESale: Christie's, Paris,Art d'Aprs-Guerre et Contemporain , 12 December 2007, Lot 199Acquired directly from the above by the present owner

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LOT 128

KAREL APPEL

1921-2006

UNTITLED

signed and dated 56 oil on canvas46.4 by 27.5cm.; 18 1/4 by 10 3/4 in.

ESTIMATE 25,000 - 35,000 GBP

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PROVENANCEGalerie Anne Abels, ColognePrivate CollectionSale: Christie's, London, Post War & Contemporary Art , 26 March 1992, Lot 1Galera Gavar, MadridPrivate Collection, Madrid

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LOT 129

ESTIMATE 10,000 - 15,000 GBP

JEAN DUBUFFET

1901 - 1985

PAYSAGE URBAIN II

signed with the artist's initials and dated 74 coloured crayon and felt tip pen on paper32.5 by 25cm.; 12 3/4 by 9 7/8 in.

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PROVENANCEThe Estate of the ArtistSale: Sotheby's, London, Contemporary Art , 18 June 2007, Lot 569Acquired directly from the above by the present owner

EXHIBITEDBerlin, Akademie der Knste; 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

LITERATUREMax Loreau, Catalogue des Travaux de Jean Dubuffet, fasc. XXIX: Crayonnages, Rcits,Conjectures , Paris 1979, p. 26, no. 47, illustrated

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LOT 130

SERGE POLIAKOFF

1906 - 1969

COMPOSITION ABSTRAITE

signedoil on canvas72.9 by 52.9cm.; 28 3/8 by 20 5/8 in.Executed in 1957.

ESTIMATE 90,000 - 120,000 GBP

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PROVENANCEGalerie di Meo, ParisSale: Sotheby's, London, Contemporary Art, 2 July 1987, Lot 668Peer Lorentzen Collection, DenmarkGorm Rasmussen Fine Art, Denmark

CATALOGUE NOTEThe authenticity of this work has kindly been confirmed by Alexis Poliakoff

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LOT 131

ESTIMATE 25,000 - 35,000 GBP

ARMAN

1928 - 2005

ACCUMULATED MONOCHROMES

signed on the overlap; titled and dated 1987-1989 on the reverseacrylic and paint tubes on canvas81 by 65cm.; 31 7/8 by 25 5/8 in.

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PROVENANCEAH Grafik, Stockholm

LITERATUREDonald 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

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LOT 132

ANDR LANSKOY1902 - 1976

LE SENS DIRECT ET OPPOS

signed; titled and dated57 on the reverseoil on canvas73 by 100cm.; 28 3/4 by 39 3/8 in.

ESTIMATE 25,000 - 35,000 GBP

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PROVENANCEGalerie Louis Carr & Cie, ParisGalerie Frans Jacobs, AmsterdamPrivate Collection, London

CATALOGUE NOTEThe authenticity of this work has kindly been confirmed by Andr Schoeller, Paris

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LOT 133

ESTIMATE 15,000 - 20,000 GBP

DAVID HOCKNEY

b.1937

COLOURED CURTAIN STUDY

signed with the artist's initials, titled and dated Oct. 63 pencil and coloured crayon on paper43 by 31.1cm.; 17 by 12 1/4 in.

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PROVENANCEPaul Kasmin, LondonRonald B. Alley, LondonPrivate Collection, London

EXHIBITEDLondon, The Whitechapel Art Gallery, ( & travelling), David Hockney: Paintings, prints and drawings 1960-1970 , 1970, no. D9

LITERATUREDavid Hockney, David Hockney, London 1976, p. 80, illustrated

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LOT 134

ESTIMATE 40,000 - 60,000 GBP

PAULA REGO

b. 1935

THE GRANDMOTHER

signed and inscribed Unique Proof pastel and watercolour over lithographic template75 by 56.4cm.; 29 1/2 by 22 1/4 in.Executed in 2001-2005, this work is unique.

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PROVENANCEMarlborough Fine Art, LondonAcquired directly from the above by the present owner

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LOT 135

ESTIMATE 90,000 - 120,000 GBP

FRANK AUERBACH

b. 1931

RECLINING HEAD OF J.Y.M.oil on board29.8 by 30.6cm.; 11 3/4 by 12in.Executed in 1984.

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PROVENANCEMarlborough Fine Art, LondonAcquavella Galleries, New YorkCrane Kalman Gallery, LondonSale: Christie's London, Post War & Contemporary Art , 22 June 2006, Lot 41Acquired directly from the above by the present owner

LITERATURE

William Feaver, Frank Auerbach , New York 2009, p. 295, no. 508, illustrated in colour

CATALOGUE NOTEExecuted in 1984, Reclining Head of J.Y.M. exhibits Auerbach's explosive painterly technique atits most effective. Across the picture plane, layers of glistening oil paint are built up and scrapedback in an eruption of vigorous brushstrokes and powerful blows. The reclining head emergesagainst a deep aubergine ground, its contours defined by jewel-like hues of emerald, amber androse; each colour punctuated by expressive daubs of black. Celebrated for portraits displaying atangible sense of both subject and surface, Auerbach himself declared, 'I don't know how they cantalk about thickness, really... Is blue better than red, thick better than thin? - no. But the sense ofcorporeal reality, that's what matters. English twentieth-century painting tends to be thin, linearand 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, andcontinued 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. Throughbrilliant colour and a faultless exhibition of compelling painterly gesture, this portrait carries aremarkable psychological and emotional charge, and confirms Catherine Lampert's observationthat J.Y.M. "was a force of nature" (Exhibition Catalogue, London, Royal Academy of Arts, Frank Auerbach , 2001, p. 26).

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LOT 136

ESTIMATE 20,000 - 30,000 GBP

PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTIONMARCEL BROODTHAERS

1924 - 1976

ALLEGRO MODERATO

titled; stamped by the Broodthaers Estate and signed by Maria Gilissen Broodthaers on the reverseplastic sign83.1 by 120.1cm.; 32 3/4 by 47 1/4 in.Executed in 1969, this work is number 2 from an edition of 7.

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PROVENANCEGalerie Isy Brachot, BrusselsRhona Hoffman, ChicagoAcquired directly from the above by the present owner 1989

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LOT 137

ESTIMATE 20,000 - 30,000 GBP

PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTIONMARCEL 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 reverseplastic sign123.2 by 86.4cm.; 48 1/2 by 34in.

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PROVENANCEIsy Brachot Gallery, BrusselsRhona Hoffman Gallery, ChicagoAcquired directly from the above by the present owner in 1989

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LOT 138

ESTIMATE 10,000 - 15,000 GBP

PABLO ATCHUGARRY

b.1954

UNTITLED

signedmarble48.3 by 17.5 by 15.5cm.; 19 by 6 7/8 by 6 1/8 in.Executed in 2005.

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PROVENANCEPrivate Collection, TreviglioAcquired directly from the above by the present owner

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LOT 139

ESTIMATE 12,000 - 18,000 GBP

SERGIO CAMARGO

1930-1990

UNTITLEDmarbleheight: 10.8cm.; 4 1/2 in.Executed circa 1970.

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PROVENANCEGalerie Gromholt, OsloAcquired directly from the above by the present owner

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LOT 140

MANOLO MILLARES

1926 - 1972

UNTITLED

signedgouache and ink on paper68 by 98cm.; 26 3/4 by 38 5/8 in.Executed circa 1965.

ESTIMATE 15,000 - 20,000 GBP

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PROVENANCEPrivate Collection, Stockholm

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LOT 141

MANOLO MILLARES

1926 - 1972

ROJO, NEGRO

signed; signed and dated 1961 on the reverseink, gouache and newspaper collage on paper69.5 by 49cm.; 27 3/8 by 19 1/4 in.

ESTIMATE 20,000 - 30,000 GBP

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PROVENANCEArthur Tooth & Sons Ltd., LondonAcquired directly from the above by the present owner in the early 1960s

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LOT 142

ANTONIO SAURA

b.1930

UNTITLED

signed and dated 61ink and wash on paper64 by 48.9cm.; 25 1/4 by 19 1/4 in.

ESTIMATE 10,000 - 15,000 GBP

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PROVENANCEArthur Tooth & Sons Ltd., LondonAcquired directly from the above by the present owner

CATALOGUE NOTEThis work is registered in the Antonio Saura Archives, Geneva , and is accompanied by acertificate of authenticity

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LOT 143

ESTIMATE 150,000 - 200,000 GBP

MANOLO VALDSb. 1942

MATISSE COMO PRETEXTO

signed, dated 99 and inscribed N.Y. on the reverseoil, tissue, canvas collage and mixed media on burlap190 by 138cm.; 74 3/4 by 54 1/4 in.

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PROVENANCEGalera Cayn, MadridPrivate Collection, U.S.A.Private Collection, Spain

CATALOGUE NOTE"Painting is a specific activity. Just as literature comes from literature, my painting comes frompainting. My work is always inspired by pieces I like, or rather I live through those pieces."

(Manolo Valds cited in Exhibition Catalogue, Valencia, Palau Gallery, Manolo Valds, 1983)

Manolo Valds' portraiture actively engages with the history of art and addresses in it issuesranging from representation and appropriation to heritage, style and tradition. His distinctivemethod combines painting with sculpture and employs diverse materials and fabrics from whichhe recreates often familiar icons and motifs from art history in an immensely personal and richlytextured manner of figuration.

Taking portraiture as his aesthetic code, Valds examines the power of art and the uniqueexpressive capacity afforded to it. Texture, materials, colour and the stylisation of faces form theessential components of his language which he communicates with immediacy and vigour. In thepresent work, Matisse Con Pretexto, Valds takes his inspiration from one of Henri Matisse'sbest-known portraits of his daughter Marguerite. Magnifying it to a monumental scale, Valdsaccentuates the selected fragment's underlying code and tonal structure, revitalizing its form in away 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 idiomsof the past with the formal and thematic concerns of the present. In so doing Valds embracesand celebrates the inheritance of his subject matter and asserts his place alongside the masterswithin the lineage of inevitable comparison in art history.

"I am just a narrator who comments on the history of painting in various ways, using newmaterials: it is like a game that consists of changing the code and the key to the artwork.... Manyof my colours, materials and textures are the product of relived experiences of other masters. Mypainting involves much reflection." (Manolo Valds cited in Exhibition Catalogue, Madrid, MuseoNacional Centro de Arte Reina Sofa, Valdes 1981-2006 , 2006, p. 21)

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LOT 144

ESTIMATE 40,000 - 60,000 GBP

PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTIONJUAN MUOZ1953-2001

MALMO BALCONY IIIwood and wrought iron61 by 90 by 33cm.; 24 by 35 1/2 by 13in.Executed in 1991.

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PROVENANCEGalerie Ghislaine Hussenot, ParisAcquired directly from the above by the present owner

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LOT 145

ESTIMATE 60,000 - 80,000 GBP

ANTONI TPIESb.1923

WOODEN GRILLE

signed on the reverseoil, pencil and glue on wood195.6 by 129.6cm.; 77 by 51in.Executed in 1975.

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PROVENANCEMartha Jackson Gallery, New YorkDavid Anderson Gallery, Buffalo

EXHIBITEDBoston, Nielson Gallery, Works on Paper , 1976Saskatoon, Mendel Art Gallery, Antoni Tpies , 1978, no. 10, illustrated in colourNew York, Martha Jackson Gallery, Tpies, 1978, no. 15, illustrated

LITERATUREAnna August, Tpies: The Complete Works, Vol. 3: 1969-1975 , Barcelona 1992, p. 477, no.2983, illustrated in colour

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LOT 146

ESTIMATE 20,000 - 25,000 GBP

PROPERTY FROM AN IMPORTANT SWISS PRIVATE COLLECTIONLUIS FEITOb. 1929

NMERO 103

signed, titled and dated1958 on the reverseoil and sand on canvas116 by 150cm.; 45 by 59in.

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LOT 147

ANTONI CLAV1913-2005

LE ROI

signedembroidered tapestry200 by 155cm.; 78 3/4 by 61in.Executed in 1963-64.

ESTIMATE 80,000 - 120,000 GBP

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PROVENANCEAcquired directly from the artist by the family of the present ownerThence by descent

EXHIBITEDZaragoza, Sala Luzan, Clav, 1980-1981, no. 101

LITERATURE

Exhibition Catalogue, Barcelona, Sala Gaspar, Clav: Tapisseries/Assemblages, 1968, no. 3,illustrated in colour (detail on front cover)Pierre Seghers & Pierre Cabanne, Clav, Barcelona 1988, p. 242, no. 253, illustrated

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LOT 148

ESTIMATE 50,000 - 70,000 GBP

SALVATORE SCARPITTA

b. 1919

PAGODA AT THE GROVE

signed, titled and dated 1961 on the reversebandage and mixed media on canvas laid down on board60.5 by 61.5cm.; 23 7/8 by 24 1/4 in.

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PROVENANCEAcquired directly from the artist by the present owner circa 1970

EXHIBITEDNew York, Scott-Hanson Gallery, Sal Scarpitta, 1990

LITERATURELuigi Sansone, Salvatore Scarpitta: Catalogue Raisonn , Milan 2005, p. 187, no. 320, illustrated

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LOT 149

ESTIMATE 100,000 - 150,000 GBP

PROPERTY OF AN IMPORTANT AMERICAN COLLECTORJANNIS KOUNELLIS

b.1936

UNTITLEDlead and glass200 by 180 by 35cm.; 78 3/4 by 70 7/8 by 13 3/4 in.Executed in 1998.

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PROVENANCEAce Gallery, Los AngelesAcquired directly from the above by the present owner

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LOT 150

JOSEPH BEUYS1921 - 1986

MDCHEN MIT APFELpencil and watercolour on paper29.5 by 21cm.; 11 5/8 by 8 1/4 in.Executed in 1954.

ESTIMATE 18,000 - 25,000 GBP

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PROVENANCEGalerie Michael Werner, CologneAchenbach Art Consulting, DsseldorfAcquired directly from the above by the present owner in 2001

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LOT 151

JOSEPH BEUYS

1921 - 1986

UNTITLED

signed on the reversewatercolour and brown ink on paper24.2 by 17cm.; 9 1/2 by 6 3/4 in.Executed in 1955.

ESTIMATE 12,000 - 18,000 GBP

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PROVENANCEAchenbach Art Consulting, DsseldorfAcquired directly from above by the present owner in 2001

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LOT 152

JOSEPH BEUYS

1921 - 1986

PARTITURpencil and ink stamp on paper29.5 by 21cm.; 11 5/8 by 8 1/4 in.Executed in 1959.

ESTIMATE 10,000 - 15,000 GBP

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PROVENANCEAchenbach Art Consulting, DsseldorfAcquired directly from the above by the present owner in 2001

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EXHIBITEDKrefeld, Kaiser Wilhelm Museum,Joseph Beuys, 1976

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LOT 154

JOSEPH BEUYS

1921 - 1986

REBUSpencil and ink stamp on paper27 by 18cm.; 10 5/8 by 7 1/8 in.Executed in 1958.

ESTIMATE 10,000 - 15,000 GBP

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LOT 155

ESTIMATE 70,000 - 90,000 GBP

JOSEPH CORNELL

1903 - 1972

UNTITLED (BLUE SAND FOUNTAIN)

signed on the reversewooden box construction, glass, shell, botttleneck, sand and cork28.1 by 20 by 10cm.; 11 by 7 7/8 by 4in.Executed circa 1955-58.

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PROVENANCEC & M Arts, New YorkPrivate Collection, Switzerland

EXHIBITEDZrich, Galerie Hauser & Wirth, Joseph Cornell: Boxes, Collages, Films, 1996

LITERATURE

Kynaston McShine, et al., Joseph Cornell , New York 1990, no. 193, illustrated

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LOT 156

ALEXANDER CALDER

1898 - 1976

UNTITLED

signed with the artist's monogram on the basepainted sheet metal, brass and wire standing mobile25 by 39 by 13cm.; 9 3/4 by 15 3/8 by 5 1/8 in.Executed circa 1960.

ESTIMATE 120,000 - 180,000 GBP

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PROVENANCEGalerie Maeght, ParisGalleri Samlaren, Stockholm (acquired directly from the above in 1962)Acquired directly from the above by the present owner in 1963

CATALOGUE NOTEThis work is registered in the archives of the Calder Foundation, New York, under applicationnumber A08448

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LOT 157

ESTIMATE 15,000 - 20,000 GBP

CARL ANDRE

b. 1935

8 FE SUMMEDsteel, 36 unitseach: 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.

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PROVENANCEPaula Cooper Gallery, New YorkPrivate Collection, New York

CATALOGUE NOTEThis work will be included in the register of sculpture, as RS #2000-13 and is accompanied by acertificate of authenticity signed by the artist

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LOT 158

ESTIMATE 15,000 - 20,000 GBP

CARL ANDRE

b. 1935

12 FE DIAGONALrusted steel, 12 unitseach: 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.

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PROVENANCEPaula Cooper Gallery, New YorkPrivate Collection, New York

CATALOGUE NOTEThis work will be included in the register of sculpture, as RS #2000-14 and is accompanied by acertificate of authenticity signed by the artist

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LOT 159

ESTIMATE 150,000 - 200,000 GBP

DONALD JUDD

1928 - 1994

UNTITLED

signed, dated 88 and inscribed AG Menziken on the reverseanodized aluminium and coloured plexiglas25 by 100 by 25cm.; 9 7/8 by 39 3/8 by 9 7/8 in.

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LOT 160

ESTIMATE 60,000 - 80,000 GBP

ANISH KAPOOR

b.1954

FROM 1000 NAMESdry pigment on resinexcluding plinth: 41 by 38 by 36cm.; 16 1/8 by 15 by 14 1/8 in.Executed in 1983.

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PROVENANCEDJT Fine Art, New YorkAcquired directly from the above by the present owner

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LOT 161

JOHN MCCRACKEN

b.1934

VELOCITY

signed, titled and dated 1995 on the reversepolyester resin and fibreglass on plywood20 by 193 by 24.5cm.; 7 7/8 by 76 by 9 5/8 in.

ESTIMATE 70,000 - 90,000 GBP

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PROVENANCEGalerie Tanit, MunichAcquired directly from the above by the present owner in 2002

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LOT 162

ESTIMATE 60,000 - 80,000 GBP

MARK GROTJAHN

b. 1968

UNTITLED (BUTTERFLY WITH GREEN EYES CR SL LY CY AND CREAM 763)

signed, titled and dated 2008 on the reversecoloured pencil on paper181.5 by 121cm.; 71 1/2 by 47 5/8 in.

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PROVENANCEGagosian Gallery, New YorkAcquired directly from the above by the present owner

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LOT 163

NATE LOWMANb. 1979

PINK ESCALADEsilkscreen ink on canvasdiameter: 179cm.; 70 1/2 in.Executed in 2005.

ESTIMATE 15,000 - 20,000 GBP

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PROVENANCEPrivate Collection, London

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LOT 164

ESTIMATE 10,000 - 15,000 GBP

GREGOR HILDEBRANDT

b. 1974

A NIGHT LIKE THIS

signed on the reversecassette tapes on canvas130 by 97cm.; 51 1/8 by 38 1/4 in.Executed in 2007.

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128/429


PROVENANCEWentrup Gallery, BerlinAcquired directly from the above by the present owner

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LOT 165

ESTIMATE 15,000 - 20,000 GBP

YAYOI KUSAMA

b. 1929

METEMPSYCHOSIS

signed and dated 1988 on the reverseacrylic on canvas72 by 60cm.; 28 3/8 by 23 5/8 in.

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PROVENANCEPrivate Collection, JapanAcquired directly from the above by the present owner

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LOT 166

ESTIMATE 30,000 - 40,000 GBP

ANISH KAPOOR

b.1954

UNTITLEDgourds, acrylic and pigmentmeasurements variableExecuted in 1993-95.

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PROVENANCENishimura Gallery, TokyoAcquired directly from the above by the previous owner

EXHIBITEDTokyo, Nishimura Gallery, Gourd , 1993-1995, illustrated in colour

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LOT 167

ESTIMATE 200,000 - 300,000 GBP

SUBODH GUPTA

b.1964

UNTITLED (9 UNITS)brass and rope340.4 by 61 by 61cm.; 134 by 24 by 24in.Executed in 2006.

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

PROVENANCEJack Shaiman Gallery, New YorkAcquired directly from the above by the present owner

CATALOGUE NOTEWidely regarded as India's most influential Contemporary artist, Subodh Gupta's varied sculpturalpractice 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 economicchanges underway there and as well as further afield. In Untitled Gupta confronts the viewer witha monumental sculptural installation created from a tower of traditional Indian copper cookingvessels stacked one on top of the other. This visually arresting and dynamic manipulation of aneveryday, utilitarian object references numerous sculptural precedents, ranging from themetaphorical and Conceptual principles of Marcel Duchamp's readymade sculptures, toMinimalism's investigations into an object's purity of form and its materiality, to the dynamicvertical repetition of Constantin Brancusi's La colonne sans fin .

Always keenly aware of his chosen objects' physical presence and the aesthetic and symbolicattributes of their materials, the lowly copper cooking vessel in Gupta's world becomes ametaphor for the upwardly mobile aspirations of India's newly wealthy middle classes as much asa reminder of the daily poverty hanging over the country's rapidly expanding urban population. Hischoice of the traditional copper cooking vessels as opposed to their cheaper, more readilyavailable 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 andmass-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 moreprofoundly decorative function that in turn raises questions regarding notions of culturalinheritance and the concept of progress in the ever-changing global society. As Gupta says: "Allthese things were part of the way I grew up. They are used in the rituals and ceremonies thatwere party of my childhood. Indians either remember them from their youth, or they want toremember them."

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LOT 168

ESTIMATE 10,000 - 15,000 GBP

RICHARD LONG

b. 1945

(I) & (II) UNTITLEDRiver Avon mud on stone, in two partseach diameter: 31.8cm.; 12 1/2 in.Executed in 1988.

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PROVENANCEGalera Estiarte, MadridAcquired directly from the above by the present owner

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LOT 169

ESTIMATE 50,000 - 70,000 GBP

TONY CRAGG

b.1949

FIRST APPEARANCES, SECOND THOUGHTSbronze100 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.

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PROVENANCEGalerie Bernd Klser, MunichAcquired directly from the above by the present owner

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LOT 170

ESTIMATE 150,000 - 200,000 GBP

ANTONY GORMLEY

b. 1950

GUT IVmild steel blocks154 by 53 by 65cm.; 60 5/8 by 20 7/8 by 25 5/8 in.Executed in 2002.

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PROVENANCEXavier Hufkens, BrusselsAcquired directly from the above by the present owner

CATALOGUE NOTE"Making sculpture stems from a need to leave a trace of existence, but there is an even greaterneed to challenge existence itself with mute objects that look back at us and question ourmateriality with their own."

(Antony Gormley cited in: Michael Mack, (ed.), Antony Gormley, Gttingen 2007, p. 9)

Located at the seam between inner and outer spaces, Antony Gormley's sculptures explore theidea of the body as a site of experience. Using his own physical form as a language throughwhich to communicate individual as well as universal concerns, through the physical medium ofsculpture, Gormley investigates the fundamental forces underpinning the human experience in away that encourage the viewer to question their own sense of place and being within the world.

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LOT 171

ESTIMATE 300,000 - 400,000 GBP

GERHARD RICHTER

b.1932

GRAT 2

signed, titled, dated 1989 and numbered 689-2 on the reverseoil on canvas61.8 by 83cm.; 24 3/8 by 32 3/8 in.

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PROVENANCEGallery Ham / Jinno Collection, TokyoSale: Christie's, London, Post War & Contemporary Art , 23 June 2006, Lot 234Acquired directly from the above by the present owner

EXHIBITEDTokyo, National Museum of Modern Art, Gerhard Richter , 1989Paris, Muse d'Art Moderne de la Ville de Paris; Bonn, Kunst- und Ausstellungshalle der

Bundesrepublik Deutschland; Stockholm, Moderna Museet; Madrid, Museo Nacional Centro deArte Reina Sofi, Gerhard Richter , 1993

LITERATUREAngelika Thill, et al., Gerhard Richter, Catalogue Raisonn: 1962-1993, Vol. III , Osternfildern-Ruit1993, 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 apredetermined picture... I just want to get something more interesting out of it than those things Ican 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 Raisonn, Ostfildern-Ruit 2004, p. 36)

Executed in 1989, the powerful colour harmony and lyrical resonance of Grat 2 projects anatmosphere of density, chaos and romance. The interplay of hues and the complex coating ofmalleable 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 beingsimultaneously unveiled and hidden. In an elegantly reduced palette of black and ivory withhighlights of electric blue and crimson, the colours seem to glide across the surface, enshroudingthe background in a beautiful layer of tromp-l'oeil which lends the painting an intriguing sense ofdepth.

Richter's working practice for his Abstract Paintings has been described as remarkablymethodical: he begins by placing a number of white primed canvases around the walls of hisstudio, eventually working on several of them simultaneously and re-working them until they arecompletely harmonised. Tracts of colour are dragged across the canvas using a squeegee, sothat the various strains of malleable, semi-liquid pigment suspended in oil are fused together andsmudged first into the canvas, and then layered on top of each other as the paint strataaccumulate. The painting under goes multiple variations in which each new accretion bringscolour and textural juxtapositions until they are completed, as Richter himself declares, "there isno more that I can do to them, when they exceed me, or they have something that I can no longerkeep 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 theoutstanding painters of our era. Grat 2 lays testament to his relentless technical explorations inthe field of abstract art and to the painterly and intellectual elasticity unique in his work. With itssumptuous layers of colour and deliberate negation of symmetry and constructive unity, Grat 2 embodies the ultimate painterly experience.

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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 printimage: 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

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PROVENANCEIleana Sonnabend Gallery, New YorkAcquired directly from the above by the previous owner circa 1997

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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 gelatin silver printimage: 47.7 by 58cm.; 18 by 22 7/8 in.sheet: 52 by 54.5cm.; 20 by 21in.

ESTIMATE 12,000 - 15,000 GBP

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PROVENANCEIleana Sonnabend Gallery, New YorkAcquired directly from the above by the present owner in 1999

LITERATUREDr. Hans Belting, Theatres: Hiroshi Sugimoto , New York 2000, p. 193, illustration of anotherexample

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LOT 174

ESTIMATE 50,000 - 70,000 GBP

THOMAS STRUTH

b.1954

GALLERIA DELL 'ACCADEMIA II, VENEZIA

signed on a label affixed to the reversecibachrome print, in artist's frameimage: 176 by 140cm.; 69 1/4 by 55 1/8 in.overall: 227 by 185.5cm.; 89 3/8 by 73in.Executed in 1995, this work is number 8 from an edition of 10.

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PROVENANCEGalleria Monica de Cardenas, MilanPrivate Collection, ItalyPrivate Collection, New York

LITERATUREExhibition Catalogue, Nmes, Carr d'Art; Amsterdam, Stedelijk Museum; Paris, Centre Nationalde la Photographie, Thomas Struth: Still, 1998, p. 94, illustration of another example in colour

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LOT 175

ESTIMATE 60,000 - 80,000 GBP

PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTIONTHOMAS STRUTHb.1954

MUSE DU LOUVRE III

signed, titled, datedParis 1989, numbered4/10 and inscribedPrint: 1990 on the reversecibachrome print in artist's frame154.9 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.

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PROVENANCEGalerie Paul Andriesse, AmsterdamAcquired directly from the above by the present owner

LITERATUREExhibition Catalogue, Hamburg, Kunsthalle,Thomas Struth - Museum Photographs, 1993-1994,p. 33, no. 2, illustration of another example in colour

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LOT 176


PROPERTY FROM A PRIVATE EUROPEAN COLLECTIONCHRISTIAN BOLTANSKI

b.1944

TIROIREblack and white photograph, tin drawer with wire mesh lid, clothes and lightphotograph: 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.

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PROVENANCEMarian Goodman Gallery, New YorkAcquired directly from the above by the present owner in 1988

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LOT 177

ESTIMATE 25,000 - 35,000 GBP

PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTIONCHRISTIAN BOLTANSKI

b.1944

MONUMENTphotographs, lightbulbs and fixtures160 by 134.9cm.; 63 by 53 1/8 in.Executed in 1986.

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LOT 178

ESTIMATE 30,000 - 40,000 GBP

NAM JUNE PAIK

1932 - 2006

ARCTURUSaluminium, 6 Sony 8' Trinitrons, 1 Sony laser disk player, 1 original Paik laser disc, painted hubcap and mixed media86 by 48cm.; 33 7/8 by 18 7/8 in.Executed in 1990.

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PROVENANCECarl Solway, Los AngelesPrivate Collection, Switzerland

EXHIBITEDSt. Gallen, Hauser & Wirth Collection, The House of Fiction , 2002, p. 56, no. 127, illustrated incolour

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LOT 179

ESTIMATE 30,000 - 40,000 GBP

NAM JUNE PAIK

1932 - 2006

FIN DE SICLE MAN

signed, dated '92 and numbered 22/25 on rucksackvideo casette, video reel, laser disk, electronic elements, tape cassette cases, hand painted dish, VHS tape and mixed media80 by 61 by 28cm.; 31 1/2 by 24 by 11in.

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PROVENANCEHauser & Wirth, Zrich

EXHIBITEDZrich, Galerie Hauser & Wirth,Nam June Paik: Jardin Illumin, 1993, p. 11 & 45, illustrated incolour

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LOT 180


DOUGLAS GORDON

b. 1966

SCRATCH HITHERDVD installationdimensions variableExecuted in 2001, this work is number 1 from an edition of 3.

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PROVENANCEGagosian Gallery, LondonAcquired directly from the above by the present owner in 2003

LITERATUREKatrina M. Brown, Douglas Gordon, London 2004, p. 105, illustration of another example in colour

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LOT 181

ESTIMATE 20,000 - 30,000 GBP

IVN NAVARROb.1972

SKYLINEbulbs, mahogany wood and mirror82.9 by 83 by 13cm.; 32 5/8 by 32 5/8 by 5 1/8 in.Executed in 2006, this work is number 1 from an edition of 3.

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162/429


PROVENANCEGalerie Daniel Templon, ParisPrivate Collection, Switzerland

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LOT 182

ESTIMATE 20,000 - 30,000 GBP

PANAMARENKO

b.1940

ELLEBOOGwood, metal, fabric and shoes115 by 62cm.; 45 1/4 by 24 3/8 in.Executed in 1997, this work is unique.

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PROVENANCEGalleria Continua, San GimignanoAcquired directly from the above by the present owner in 1999

EXHIBITEDBrussels, Koninklijke Musea voor Schone Kunsten van Belgi, Panamarenko, de restrospectieve!,2005-2006

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LOT 183

ESTIMATE 20,000 - 30,000 GBP

WIM DELVOYE

b.1965

CEMENT TRUCK CHINAcarved wood34 by 44 by 65cm.; 13 3/8 by 17 3/8 by 25 5/8 in.Executed in 1990-1998.

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PROVENANCEGuy Pieters Gallery, Knokke-Le-ZouteAcquired directly from the above by the present owner in 2006

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LOT 184

ESTIMATE 60,000 - 80,000 GBP

WIM DELVOYE

b.1965

CATERPILLAR #4laser cut stainless steel79 by 74 by 155cm.; 31 1/8 by 28 1/8 by 61in.Executed in 2004.

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PROVENANCESperone Westwater, New YorkPrivate Collection, London

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LOT 185

ESTIMATE 25,000 - 35,000 GBP

TATSUO MIYAJIMA

b.1957

CF RAINDROP NO. 2LEDs, electric wire and mixed media226.3 by 11.5 by 11.5cm.; 89 1/8 by 4 1/2 by 4 1/2 in.Executed in 2007.

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PROVENANCEScai The Bath House, TokyoAcquired directly from the above by the present owner

CATALOGUE NOTEThis work is accompanied by a certificate of authenticity signed by the artist

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LOT 186

ESTIMATE 50,000 - 70,000 GBP

THOMAS RUFF

b. 1958

03H 44M/-45

signed with the artist's initials, titled, dated 1990 and numbered 2/2 on the backing boardchromogenic colour print mounted with diasec face258 by 186cm.; 101 5/8 by 73 1/4 in.Executed in 1990, this work is number 2 from an edition of 2 plus 2 artist's proofs.

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PROVENANCEGalerie Mai 36, ZrichAcquired directly from the above by the present owner in 1997

LITERATUREExhibition Catalogue, Baden-Baden, Staatliche Kunsthalle, Thomas Ruff: 1979 to the Present ,2001, p. 196, no. STE3.13, illustrated

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LOT 187

ESTIMATE 10,000 - 15,000 GBP

RONI HORN

b.1955

UNTITLED #1

right panel: signed on the reversecibachrome print, in two partseach: 56 by 56cm.; 22 by 22in.Executed in 1998, this work is artist's proof 2/5 aside from an edition of 15.

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LOT 188

ESTIMATE 35,000 - 45,000 GBP

RONI HORN

b.1955

KEY AND CUE N1158 (BEST WITCHCRAFT IS GEOMETRY)

stamped with the numbers 1158 on the undersidealuminium and black plastic148 by 5 by 5cm.; 58 1/4 by 2 by 2in.Executed in 1994, this work is number 2 from an edition of 3.

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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

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178/429


PROVENANCEGalera Soledad Lorenzo, MadridAcquired directly from the above by the present owner

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LOT 190

ESTIMATE 15,000 - 20,000 GBP

PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTIONROSEMARIE TROCKEL

b.1952

UNTITLEDtwo black and white photographs and pair of leather shoeseach 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.

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PROVENANCEDonald Young Gallery, ChicagoAcquired directly from the above by the present owner

EXHIBITEDMunich, Galerie Tanit, Rosemarie Trockel , 1987

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LOT 191

ESTIMATE 30,000 - 40,000 GBP

FRANCESCO VEZZOLI

b.1971

VERUSCHUKA IS EXPECTED TO BE HEREcolour laser print on canvas with metallic embroidery in artist's frameoverall: 37.2 by 29cm.; 14 5/8 by 11 3/8 in.Executed in 2001.

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PROVENANCEPrivate Collection, Geneva

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LOT 192

VIK MUNIZ

b.1961

BRIGITTE BARDOT (DIAMOND DIVAS)

signed and dated 2004 on a label affixed to the backing boardcibachrome print150 by 120cm.; 59 by 47 1/4 in.Executed in 2004, this work is number 1 from an edition of 10.

ESTIMATE 60,000 - 80,000 GBP

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184/429


PROVENANCEGalerie Xippas, ParisAcquired directly from the above by the present owner in 2004

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LOT 193

ESTIMATE 30,000 - 40,000 GBP

JOS-MARA CANOb. 1959

ALAN GREENSPAN

titled; signed on the backing boardencaustic and pigment on canvas mounted on wood210 by 150cm.; 82 5/8 by 59 1/8 in.Executed in 2007.

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PROVENANCEProjectB, MilanAcquired directly from the above by the present owner

EXHIBITEDComillas, Palacio de Sobrellano, Jos-Mara Cano: WS100 , 2006, p. 31, illustrated

LITERATURE

Exhibition Catalogue, Mlaga, Centro de Arte Contemporneo, Jos-Mara Cano: Materialismo- Matrico , 2007-2008, p. 257, illustratedExhibition Catalogue, Prague, Dox Centre for Contemporary Art, Jos-Mara Cano: Welcome to Capitalism! , 2008-2009, p. 68, illustrated in colour

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LOT 194

ESTIMATE 30,000 - 40,000 GBP

HIROSHI SUGIMOTO

b. 1948

SIR WINSTON CHURCHILL

signed on a label affixed to the reversegelatin silver print149 by 119cm.; 58 5/8 by 46 7/8 in.Executed in 1999, this work is number 5 from an edition of 5.

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PROVENANCEWhite Cube, LondonAcquired directly from the above by the present owner in 2001

LITERATUREExhibition Catalogue, New York, Solomon R. Guggenheim Museum, Sugimoto Portraits , 2000, p.135, illustration of another example

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LOT 195

ESTIMATE 120,000 - 180,000 GBP

PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTIONJOHN BALDESSARI

b.1931

ELBOW ROOM: YES/NO; STOP/GOhand coloured black and white photographs with black and white photographs, in 4 partsoverall: 196.9 by 276.2cm.; 77 1/2 by 108 3/4 in.Executed in 1986.

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LOT 196

MATTHEW BARNEY

b. 1967

HER MAGICIANgelatin silver print in acrylic frame69.2 by 59cm.; 27 1/4 by 23 1/4 in.Executed in 1997, this work is number 6 from an edition of 6.

ESTIMATE 40,000 - 60,000 GBP

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PROVENANCEGaleria Ramis Barquet, New YorkAcquired directly from the above by the present owner in 2003

LITERATUREExhibition Catalogue, Cologne, Museum Ludwig; Paris, Muse 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

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LOT 197

ESTIMATE 120,000 - 180,000 GBP

PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTIONJOHN BALDESSARI

b.1931

STAIRS UP (WITH VOID)vinyl on black and white photographs, in three partsoverall: 246.4 by 156.2cm.; 97 by 61 1/2 in.Executed in 1986.

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EXHIBITEDMadrid, Museo Nacional Centro de Arte Reina Sofi; Bordeaux, CAPC Muse d'ArtContemporain; Valencia, IVAM Centre Julio Gonzlez, John Baldessari: Not Even So , 1989Chicago, The Museum of Contemporary Art, Toward the Future: Contemporary Art in Context ,

1990

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LOT 198

ESTIMATE 12,000 - 18,000 GBP

FLORIAN MAIER-AICHEN

B. 1973

UNTITLED (MALIBU NORTH)

signed, dated 2004 and numbered 3/6 on a label affixed to the reversecibachrome printimage: 37.7 by 48cm.; 14 7/8 by 18 7/8 in.sheet: 58.5 by 68.5cm.; 23 by 27in.Executed in 2004, this work is number 3 from an edition of 6.

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PROVENANCEBlum & Poe, Los AngelesAcquired directly from the above by the present owner

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LOT 199

ESTIMATE 60,000 - 80,000 GBP

FLORIAN MAIER-AICHEN

B. 1973

UNTITLED (MULHOLLAND)

signed, dated 2004 and numbered 1/6 on a label affixed to the reversecibachrome print120.5 by 155.8cm.; 47 1/2 by 61 3/8 in.Executed in 2004, this work is number 1 from an edition of 6.

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PROVENANCEBlum & Poe, Los AngelesAcquired directly from the above by the present owner

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LOT 200

ESTIMATE 150,000 - 200,000 GBP

PETER DOIG

b.1959

OLIN MK4

signed, titled and dated 1995 on the reverseoil on canvas56 by 45.5 by cm.; 22 by 17 7/8 in.

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PROVENANCEContemporary Fine Arts, BerlinAcquired directly from the above by the present owner in 1996

CATALOGUE NOTEPeter Doig's early life in Canada and the vast deserted landscapes of that country had a profoundeffect on his artistic vision. Here, man's insignificance in nature became abundantly clear incomparison, 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 whichcombine powerfully in Doig's work. Highly influenced by the grand tradition of landscape paintingin the canon of art history, from Peter Breughel and Edvard Munch to the Impressionists and theCanadian Group of Seven painters in the early 20 th century, Doig mixes these inspirations with hispassion for film, photography and music to create contemporary paintings of Post-Modernexistence.

Based on a skiing holiday photograph in his extensive image archive, Olin MK4 takes as itssubject 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 wasprobably the first version he made. It possesses a filmic Edward Hopper-like tension whoseambiguous narrative is left tantalizingly out of the viewer's reach. As he has stated, "I think theway that the paintings come out is more a way of trying to depict an image that is not about areality, but one that is somehow in between the actuality of a scene and something that is in yourhead." (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 thepresent work by the featureless silhouetted figures and their other-worldly, nostalgic environmentwhose glowing forms and colours seem to breathe and coalesce into each other. Representativeand abstract at the same time, Olin MK IV occupies a twilight zone of reality in which photo-albummemory meets waking dream. The effect is one of eerie tranquillity - of a snowy idyll frozen underthe 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 luminousinfeasibility 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 photographicimages.

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LOT 201


CHRIS OFILI

b.1968

SALZAUwatercolour, ink and pencil on paper24 by 15.5cm.; 9 3/8 by 6 1/8 in.Executed in 1999.

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PROVENANCEPrivate Collection, GermanySale: Phillips, de Pury & Luxembourg, New York, Contemporary Art, 12 November 2002, Lot 235Acquired directly from the above by the present owner

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Contemporary Art Day Auction, Thu, 11

L10021 Catalogue

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