EX DE MEDICI

Addict #2

2011

watercolour on paper

119 x 114 cm

$ 27,500 (inc. gst)

Botanical Residues (after the Great Glasshouse)

2005

Duraclear photographs and paint on acrylic, three panels, 100 x 150 cm overall

AUD38,000

Bridge bath

2020

Oil, acrylic, and collage on canvas

121.9 x 121.9 cm

SOLD

ALICJA KWADE

Causal Emergence (November 2023)

2020

Galvanized gold on cardboard

81 x 81 x 4.7 cm framed

EUR30,000

PAUL MCCARTHY

Henry Moore Bound to Fail Maquette

2005

carbon fibre (brown)

96 x 63 x 45 cm

USD500,000

ATONG ATEM

Our Neighbour was a Witch

2022

Ilford Smooth Pearl print

100 x 150 cm

edition 2 of 3 + 2AP

or

60 x 90 cm

edition 2 of 10 + 2AP

Kajsa

2017

oil on polyester

40 x 35 cm

GBP11,000

ALEX PRAGER

Twilight

2021

Archival pigment print

121.9 x 105.4 cm (print)

124.46 x 107.95 x 5.08 cm (framed)

Edition of 6

USD35,000

CHANTAL JOFFE

Alba

2019

Oil on canvas

305 x 152 cm

GBP85,000

Installation view

Tarkine

2017

dye-sublimation print on aluminium, photograph on acrylic

100 x 120cm

edition of 3 + 1AP

AUD18,000

HAYV KAHRAMAN

Bend Drawing 9

2020

Watercolour on paper

19 x 15 cm

USD 11,000

GÜNTHER FÖRG

Untitled

2005

acrylic on canvas on wood

60 x 90 cm

EUR125,000

MAI-THU PERRET

Detestable, to dream with the eyes open

2020

glazed ceramic

74.9 x 74.9 x 10.2 cm

USD45,000

HAYV KAHRAMAN

Bend Drawing 5

2020

Watercolour on paper

16 x 18 cm

USD 11,000

JOYCE PENSATO

The Mask

2010

Enamel on linen

228.6 x 183.2 x 4.1 cm 

USD 240,000

GÜNTHER FÖRG

Aller Retour

2008

Pastel on handmade paper

72.1 x 93.5 cm

82.5 x 103.6 x 4 cm framed

EUR85,000

TUNJI ADENIYI-JONES

Untitled (Cascades Study)

2022

Oil on canvas

182.9 ×x132.1 cm

USD80,000

MATTHEW BARNEY

Bivouac: States one and four

2018

Two electroplated copper plates in copper frames

Framed Dimensions, each: 27.9 x 35.6 x 4.4 cm

Overall Dimensions: 27.9 x 86.4 x 4.4 cm

USD250,000

SANYA KANTAROVSKY

Blue Steel

2018

monotype

55.9 x 45.4 cm

58.5 x 48 cm framed

USD10,000

OTOBONG NKANGA

Tides and Glitches

2023

Woven textile on aluminium frame

Diptych: 150 x 50 x 3.5 cm

Installed: 150 x 100 x 3.5 cm

EUR70,000

TALA MADANI

Shit Mom (Zed)

2021

Oil on linen

40.6 x 38.1 x 2.5 cm

USD 35,000

LIZ LARNER

ii (calefaction)

2014–2015

ceramic, glaze, stones and minerals

50.2 x 87.6 x 15.9 cm

USD100,000

ATONG ATEM

I Have Two of Everything 1

2022

Ilford Smooth Pearl print

150 x 100 cm

edition 3 of 3 + 2AP

or

90 x 60 cm

edition 2 of 10 + 2AP

JONATHAN LYNDON CHASE

we leave the fan during winter

2022

watercolour and marker on sheet

76.2 x 101.6 x 2.5 cm

USD35,000

GLENN LIGON

WITH HOPE

2017

Neon mounted on a white powder coated aluminum box

24.1 x 66.0 x 12.7 cm

Edition of 10 + 2AP

USD175,000.00

A portion of the proceeds from the sale of this work will be donated to the Equal Justice Initiative (EJI).

Equal Justice Initiative, a non-profit organization started by lawyer and social justice activist Bryan Stevenson, is committed to ending mass incarceration and excessive punishment in the United States, to challenging racial and economic injustice, and to protecting basic human rights for the most vulnerable people in American society. Ligon was deeply inspired by Stevenson’s book "Just Mercy." When the two men met, Stevenson thoughtfully inscribed Ligon’s copy of "Just Mercy" with the words “With Hope”—an encouraging and forward-looking message that the artist borrowed to create this evocative neon sculpture.

ANISH KAPOOR

Shudder

2021

Oil on canvas

213 x 274 x 5 cm

GBP800,000

MERET OPPENHEIM

Porträt mit Tätowierung

1980

Gelatin silver print

29.5 x 21 cm

Edition of 50 + 5EA (EA 1)

CHF80,000

TATSUO MIYAJIMA

Time Waterfall-panel #10

2018

Computer graphics, LED display

336 x 64 x 32 cm

USD180,000

ANISH KAPOOR

Shudder

2021

Oil on canvas

213 x 274 x 5 cm

GBP800,000

ANNIE MORRIS

Stack 3, Cobalt Turquoise

2023

Foam core, pigment, concrete, steel, plaster, sand

197 cm approx.

On Reserve

NATE LOWMAN

Maria Tree

2021

Oil and alkyd on canvas on wood panel

137.2 x 82.9 cm

Signed and dated verso

USD220,000

GREGORY HODGE

Blue Light

2024

Acrylic on linen

200 x 160 cm

USD 19,800

HÉLIO OITICICA

Spatial Relief Amarelo 22

1959/2002

Acrylic on wood

127 x 181.6 x 11.4 cm

USD2,500,000

TAUBA AUERBACH

Foam

2023

acrylic on dibond

91.4 x 137.2 x 2.5 cm

USD136,000

CAMILLE HENROT

Dos and Don'ts - Self Flood

2022

Digital collage serigraph print with watercolour, ink, acrylic and oil on prepared canvas

80 x 60 x 4 cm

82.6 x 62.6 x 5.4 cm framed

USD100,000

ANISH KAPOOR

Untitled

2019

Acrylic

150 x 100 x 60 cm

GBP1,000,000

CLARE WOODS

The Concealment

2023

Oil on aluminium

150 x 100 cm

EUR 55,000

AILEEN SANDY

Colours of the Rocks

2022

acrylic on canvas

201 x 196 cm

AUD28,000

ANISH KAPOOR

Untitled

2019

Acrylic

150 x 100 x 60 cm

GBP1,000,000

GLENN LIGON

1619-2023 (X)

2023

Oil stick, ink and acrylic on canvas

223.5 × 88.3 cm

USD750,000

CLARE WOODS

Puff of Smoke

2023

Oil on aluminium

150 x 100 cm

EUR 55,000

Fiona Connor

#10

2019

Hand painted lettering on wall

unique

USD$6,600 (inc GST)

Fiona is a New Zealand artist of the same generation (and social group) and Simon Denny. She’s been in lots of good international group shows, but no good solo shows as yet. She’s living in LA and clearly trying to crack the US market. She’s just had a new commission at the Sculpture Centre that’s gained some good press. She’s on the radar of The Art Newspaper, Ocula, Artforum, E-flux, Hyperallergic etc.

I love this work. It was created for a little private exhibition in an apartment in Potts Point, and speaks to areas of the home that the light cannot reach. It is not a vinyl, but rather, engages a sign writer to hand paint each letter. It is beautiful and poetic. 

MARK BRADFORD

Untitled Pink (SFMOMA Benefit)

2016

Acrylic, paper, and string on canvas

152.4 x 121.9 cm

USD3,500,000

ALICJA KWADE

Ein Monat (April 2020)

2021

Nickel-plated brass on cardboard

88 x 77 cm framed

EUR28,000

CATHY JOSEFOWITZ

Untitled

c.1974

gouache on paper

23.9 x 32.2 cm

36.5 x 44.8 cm framed

USD40,000

NATE LOWMAN

San Andreas Fault

2021

Oil and alkyd on linen

200.7 x 134.6 cm

Signed and dated verso

USD200,000

NATE LOWMAN

Merapi/Cutouts

2021

Oil on canvas on wood panel, two parts

40 x 152.4 cm part one

121.9 x 103.5 cm part two

163.8 x 152.4 overall

USD180,000

OLIVER BEER

Resonance Painting (Cry Me A River)

2022

Pigment on canvas

200 x 150 cm

CATHY JOSEFOWITZ

Untitled

c.1974

gouache on paper

23.9 x 32.2 cm

36.8 x 44.8 cm framed

USD40,000

JONATHAN MEESE

"MEIN BLUT FÜR DEN MELONENKÖNIG "MABUSIS"! (ABRIDGED)"

2021

210 x 140 cm

USD50-75k

MARILYN MINTER

Circe

2023

Enamel on wood panel

81.3 x 61 cm

USD140,000

JOHN ARMLEDER

Elliptical Galaxy

2021

mixed media on canvas

149.9 x 110.2 x 3.8 cm

USD110,000

TERRY ADKINS

Marshall

2013

wood-handled fruit harvester, chrome, blown glass, and velvet cushion

114.3 x 30.5 x 30.5 cm

USD175,000

PROVENANCE

The Estate of Terry Adkins

ANN CRAVEN

Portrait of a Red Finch (After Picabia, Singing Kindly, Again) 2023

2023

Oil on linen

213.36 × 152.4 cm

USD165,000

GRETCHEN ALBRECHT

Seraf

1982

Acrylic on canvas

153 x 306cm

NZD125,000

SOPHIE VON HELLERMANN

Nature

2022

Acrylic on canvas

61 x 51 cm

GBP10,000

ALICJA KWADE

Principium

2022

Patinated bronze, Brenna stone

143 x 60 x 50 cm

EUR65,000

STERLING RUBY

WIDW.PEASEBLOSSOM

2020

Acrylic, oil, elastic and cardboard on canvas

213.4 x 121.9 x 5.1 cm

USD350,000

Ore of Cyprus Study

2021

acrylic paint and pigment on glass

29.4 x 20.5cm

AUD2,000

ALLORA & CALZADILLA

Aeolian Chart

2022

Watercolor on paper

135.9 x 214.9 x 5.1 cm framed

USD85,000

LIU WEI

Outcast 2021 No. 1

2021

Oil on canvas

177.8 x 215.9 x 4.44 cm

USD400,000

WALID RAAD/THE ATLAS GROUP

Festival of Gratitude: Omar

2003/printed 2021

inkjet print on Luster Paper Epsom Premium

39.4 x 57.2 cm image

42.5 x 60.3 x 3.8 cm framed

Edition 5 of 5 + 2AP

USD12,000 or complete set of 12 USD95,000

ANN CRAVEN

Woodpecker (and the Moon, Again, January 14, 2021), 2021

2021

Watercolor on Arches paper, 140lb

76.2 x 55.9 cm

81.3 x 61 cm framed

USD25,000

STERLING RUBY

BC (3791)

2012

Paint, bleach, glue and fabric collaged on wood

320 x 243.8 x 5.1 cm

USD250,000

ANN CRAVEN

Snowy Owls (after Audubon, January 2, 2021), 2021

2021

Watercolor on Arches paper, 140lb

76.2 x 55.9 cm

81.3 x 61 cm framed

USD25,000

CHRISTIAN MARCLAY

Untitled (from the series Taped Tape)

1994

collage of magnetic tape and adhesive tape on paper

63.5 x 74.9 cm

67.9 x 82.6 cm framed

USD45,000

STERLING RUBY

SP31

2008

Spray paint on canvas

254 x 365.8 cm

USD870,000

CHRISTIAN MARCLAY

Untitled (from the series Taped Tape)

1994

collage of magnetic tape and adhesive tape on paper

66 x 101.6 cm

73 x 108.6 cm framed

USD45,000

TALA MADANI

Perfect Copy I

2021

Oil on linen

99.7 x 80 x 2.5 cm

USD65,000

Ore of Cyprus

2021

Installation view

MARGUERITE HUMEAU

Orisons (Sandhill Cranes)

2022

Pigment and charcoal on paper; wax, resin and wood frame

100 x 140 cm

107.5 x 147.5 x 5 cm framed

GBP32,000

TALA MADANI

Smeared Interior II

2021

Oil on linen

30.5 x 45.7 x 2.5 cm

USD35,000

VICTOR MAN

As yet untitled

2022

Oil on canvas on wood

70 x 60 cm

EUR250,000

Landspace Shaping Of Memory

2019

Wax pastel, wash with oil pigment, acrylic, watercolour, pencil, ink, balsa wood, twine, archival PVA and gilding on paper; two elements on paper mounted on aluminium

176 x 176 cm image

180 x 180 cm framed

Unique work

AUD77,000

SOLD

MATH BASS

[Title to be determined]

2024

Oil on linen

127 x 132 cm

USD 45,000

TALA MADANI

Shit Mom (Zed)

2021

Oil on linen

40.6 x 38.1 x 2.5 cm

USD35,000

Ore of Cyprus

2021

Installation view

WANGECHI MUTU

Subterranea Holy Cow

2022

Ink, emulsion paint and watercolor paper on photographic print

184.8 x 121.6 cm

201.3 x 140.3 x 6.4 cm framed

SOLD

TODD MCMILLAN

Lull (X)

2019

watercolour and gouache on cotton watercolour paper on plywood, epoxy

133 x 98 cm

AUD20,000

citizens with birds

2020/21

synthetic polymer on canvas

40 x 51 cm

AUD2,750

AMY SILLMAN

Green Shift

2022

oil on canvas

182.9 x 165.1 x 3.8 cm

SOLD

URS FISCHER

Sunny Side Up

2012

Epoxy resin, fiberglass, expanded polystyrene foam, pigment, water based oil paint

7.6 x 91.4 x 73.7 cm

USD125,000

SOPHIE VON HELLERMANN

Rebirth

2022

Acrylic on canvas

140 x 160 cm

GBP28,000

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

ANNE COLLIER

Crying (Negative)

2017

C-Print

221.9 x 128.75 x 4.45 cm

Edition of 5

USD45,000

SARAH MORRIS

Calendar [Spiderweb]

2022

Household gloss paint on canvas

207 x 152 cm

USD185,000

TODD MCMILLAN

Lull (VIII)

2019

watercolour and gouache on cotton watercolour paper on plywood, epoxy

133 x 98 cm

AUD20,000

CLARE WOODS

Murk

2022

Oil on aluminium

100 x 100 cm

GBP30,000

FELIX GONZALEZ-TORRES

Untitled (Lover's Letter)

1991

C-print jigsaw puzzle in plastic bag

Edition 1 of 3 + 1AP

19.1 x 24.1 cm

USD200-300k

WILL COOKE

You and me

2022

primer, acrylic on aluminium, powdercoated aluminium frame, clear coat lacquer

91.6 x 81.6cm

AUD6,200

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

OSCAR MURILLO

untitled (catalyst)

2018-2019

Oil and graphite on canvas

210 x 165 cm

USD300,000

Compared years ago to the great Basquiat and set to be the next big thing, Oscar is another big hit in the art fair circuit. His works are indeed enigmatic and totally captivating - and the market seems to agree. His works are highly sought after.

Lot 1

CAROL JERREMS (1949 – 1980)

Mozart Street

1975

silver gelatin photograph

13.5 x 20 cm image

edition 1 of 9

signed, dated, numbered and inscribed with title below image: MOZART STREET. / 1 / 9 / JERREMS, 1975.

ESTIMATE AUD20,000 – 30,000

PROVENANCE

Gift from the artist, Melbourne, 1975

Catriona [Katrina] Brown, Mexico

EXHIBITED

A Decade of Australian Photography 1972–1982: Philip Morris Arts Grant at the Australian National Gallery, Australian National Gallery, Canberra, 8 October 1983 – 29 January 1984 (another example)

Living in the 70s: Photographs by Carol Jerrems, Plimsoll Gallery, University of Tasmania, Hobart, 20 July – 12 August 1990; and touring nationally (another example)

Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang, Heide Museum of Modern Art, Melbourne, 31 July – 31 October 2010 (another example)

Carol Jerrems: Photographic Artist 1968 – 1978, National Gallery of Australia, Canberra, 25 August 2012 – 28 January 2013; and touring nationally (another example)

LITERATURE

King, N. (ed.), Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang, Heide Museum of Modern Art, Melbourne and Schwartz City, Melbourne, 2010, p. 131 (illus., another example)

RELATED WORKS

Another example of this work is held in collection of the National Gallery of Australia, Canberra

RACHEL HOWARD

Love Fool

2019

Oil and acrylic on canvas

213.4 x 213.4 cm

GBP85,000

In her work, Rachel Howard plays with the tensions between control and chaos, order and entropy, making and unmaking, beauty and destruction. Dominated by alizarin crimson, Love Fool oscillates between a crisp, clear pattern of leaves and twine that collapses in areas of the canvas into smeared, gestural forms of mark making. The repetitive motif appears to swell and rise above the painting’s surface; the texture and intensity of the red pigment drawing the eye in and across the composition. The softer opaque areas feel similar to light plumes of smoke. The glow of fluorescent yellow paint at the top and bottom edges of the canvas lends the work a forensic quality.

ARNULF RAINER

Ohne Titel

1956

Oil on canvas

100.5 x 75.5 x 3.1 cm

EUR450,000

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

MARKUS AMM

Untitled

2021

oil on gesso board

35 x 30 x 2.5 cm

USD25,000

Installation view

DOUG AITKEN

DEMO CRACY

2020

Archival pigment print on Ilford Galerie Gold Fibre Silk paper

99.1 x 76.2 cm

Edition of 6

USD 35,000

Entangled Garden for Plant Memory 1

2020

dye sublimation archival print onto polished mirror

120 x 80 cm

edition of 3 + 1AP

AUD16,000

citizens

2020/21

synthetic polymer on canvas

35 x 46 cm

AUD2,500

AI WEIWEI

Bicycle Basket With Flowers

2015

Porcelain, Huali wood and glass

35 x 28 x 33 cm

EUR220,000

ED RUSCHA

Japan is America

2019

Acrylic on museum board

61 x 86.4 cm

JOAN MITCHELL

Untitled

ca.1962

Oil on canvas

74.9 x 91.4 cm

USD2,800,000

collage of imaginary pots

2021

collage, synthetic polymer paint

76 x 56 cm

AUD2,200

Lot 31

ARTHUR BOYD (1920 – 1999)

Nebuchadnezzar in the Long Grass

c.1968

oil on canvas

108.5 x 113 cm

signed lower right: Arthur Boyd

bears inscription verso: 13

ESTIMATE AUD55,000 – 75,000

PROVENANCE

Private collection,

Sotheby’s, Melbourne, 24 July 1988, lot 368 (as ‘Nebuchadnezzar Swimming Across a River’)

Savill Galleries, Sydney

Private collection, Sydney, acquired from the above in 1998

‘I’d like to feel that through my work there is a possibility of making a contribution to a social progression or enlightenment. It would be nice if the creative effort or impulse was connected with a conscious contribution to society, a sort of duty of service.’1

According to the Old Testament, Nebuchadnezzar, king of ancient Babylon (602-562BCE), was a successful ruler who fell from grace for placing his own self-aggrandisement before God. As punishment for his pride and arrogance, he thus lost his sanity and was banished into the wilderness for seven years where he underwent various trials and tribulations: ‘...his heart was made like the beasts, and his dwelling was with the wild asses: they fed him with grass like oxen, and his body was wet with the dew of heaven; til he knew that the most high God ruled in the kingdom of men, and that he appointeth over it whomsoever he will’.2 Although the Book of Daniel has provided inspiration to the visual arts for centuries from the medieval façade reliefs of Notre Dame La Grande, Poitiers to the Romantic prints of visionary William Blake, no painter has arguably ever devoted him or herself more fully to imagining the degenerative experiences of Nebuchadnezzar in the wilderness than Australian modernist, Arthur Boyd.

Imbuing his king with Lear-like characteristics, Boyd embarked upon this impressive Nebuchadnezzar series in 1966 to illustrate a text on the theme by the scholar Thomas S.R. Boase (who subsequently published 34 of the works in his dedicated tome in 1974).3 Characterised by its frenzied energy, vivid colour and profound symbolic permutations, the series still remains one of the artist’s most sustained, encompassing more than a hundred works and featuring some of the most sumptuously executed paintings of his career. Elaborating upon the appeal of the theme for the artist, Boase suggests: ‘Here is a subject that leads immediately into Boyd's preoccupation in many other works with the fusion between man and natural forces, the involvement of man and beast... Other echoes link with Boyd's own symbolism, the sinister dark birds, the gentle mourning dog. Behind the figures there are traces of the Australian landscape of his early inspiration. But if these works are enriched with such references, the myth is newly and freshly created, a second Daniel come to judgment our own contemporary obscure and secret impulses’.4

Given the artist’s renowned social conscience, indeed it is perhaps not coincidental that his Nebuchadnezzar series was produced at the height of the Vietnam War when audiences internationally were assailed with images in the mass media of cruel dictatorial regimes: villages incinerated, men and women tortured, children screaming from the pain of napalm. As one author notes, ‘self-immolations in protest actually took place on Hampstead Heath near Boyd's house... and once more, a biblical subject by him was seen to be an allegory of the descent of humanity in a conflicted world’.5 Accompanied by the signature Boydian motif of the black ram, in Nebuchadnezzar in the Long Grass, c.1968, the king ablaze in golden flames has become barely distinguishable from the dry Australian bushland - thus inextricably fused with the natural world in a manner strongly reminiscent of the artist’s interpretations of the Narcissus myth a decade later. As with the finest of Boyd’s Nebuchadnezzar images, the work offers an empathetic and emotive response to a harsh tale of moral instruction, giving compelling form to ‘…good and evil; things elemental and mysterious, things intensely human and vulnerable’.6

1. Arthur Boyd, cited at https://www.bundanon.com.au/collection/exhibitions-page/active-witness/

2. Boase, T.S., Nebuchadnezzar, Thames and Hudson, London, 1972, p. 20

3. Pearce, B., Arthur Boyd Retrospective, Art Gallery of New South Wales, Sydney, 1993, p. 26

4. Boase, op.cit., p.42

5. Pearce, op.cit.

6. Oliver, C., ‘A Welcome to Arthur Boyd’ in Retrospective Exhibition of Paintings, Drawings and Other Works by Arthur Boyd, ex.cat., Richard Demarco Gallery, Edinburgh, Scotland, 1969, n.p.

CATHERINE OPIE

Untitled #4, Richmond, Virginia (monument/monumental)

2020

pigment print

Edition of 5

167.6 x 111.8 cm

USD55,000

AI WEIWEI

Bicycle Basket With Flowers

2015

Detail

KARA WALKER

Yesterdayness in America Today

2020

Graphite and watercolour on paper, diptych

221.9 x 365.8 cm overall

USD350,000

PETER FISCHLI

Untitled

2021

cardboard, coated, color

70 x 28 x 28 cm

EUR 26,000

SANDRA CINTO

Untitled (from the series By Chance and Necessity)

2015

permanent pen and acrylic on canvas

198.1 x 149.9 cm

USD70,000

A beautiful convergence of Japanese watercolour techniques and intricately detailed landscapes that seem to hover between myth and reality..

MIRIAM CAHN

L.I.S. (bl.-arb.) gefährlich, m. 09.05.

1989

chalk on paper

8 elements, 53 x 450 cm (overall)

1. 47 x 59 cm

2. 48 x 44 cm

3. 36 x 66 cm

4. 46 x 66 cm

5. 51 x 36 cm

6. 51 x 44 cm

7. 48 x 35 cm

8. 52 x 52 cm

CHF40,000

These are seminal works for Miriam - the same richly expressive charcoal drawings that were presented at Documenta 7 and Venice Biennale in the 80s that precede her leap into painting. I feel she is a mixture of Maria Lansing and Louise Bourgeois. These works come as a set but of course would need some delicate framing to truly do them justice. 

ED RUSCHA

Corn

1967

Gunpowder on paper

36.2 × 57.5 cm

USD800,000

PAMELA ROSENKRANZ

I Wish I Could Cry Blood (Your Products)

2021

Acrylic paint, inkjet print, Plexiglas

37 x 152 cm

USD18,000

GEORG BASELITZ

Manifattore

2019

Oil and gold varnish on canvas

165 x 89 cm

168 x 92 x 3.8 cm framed

EUR650,000

Christian Marclay

Actions: Spurt Splat Thwump Splsh (No.1)

2014

Screen print and acrylic on canvas

196.4 x 271.4 cm

USD 375,000

MCARTHUR BINION

Modern:Ancient:Brown

2020

ink, oil paint stick, and paper on board

182.9 x 121.9 x 5.1 cm

USD160,000

PAMELA ROSENKRANZ

Healer Skins (Moon Water Lodge)

2021

Ekdysian robot snake skin, kirigami cut PVC, LED light

6 x 88 x 6 cm

Installation dimensions variable

USD25,000

CHRISTOPHER WOOL

Untitled (S20)

1987

Alkyd and flashe on aluminium

121.9 x 91.4 cm

Signed and dated (on the reverse)

USD175,000

PROVENANCE

Luhring Augustine & Hodes, Los Angeles

Private Collection, USA

Luhring Augustine, New York

Private Collection

Simon Lee Gallery, London

Private Collection, France

PARK SEO-BO

Ecriture No. 17-70

1970

Pencil and oil on canvas

80 x 100 cm

USD590,000

BARBARA KRUGER

Untitled (How can I be a better person?)

2011

Archival pigment print

81.3 × 127 cm 

84 × 129.8 cm

Edition 9 of 10

USD80,000

The notion of questions and questioning, posed in direct address to the viewer, has played a central role in Barbara Kruger‘s work. Her 2011 series of text-based editions, which each feature a fundamental philosophical or ethical question, are thus emblematic of the artist’s practice not only visually but also conceptually. Across the series’ ten motifs, these range from self-help type concepts—“How can I be a better person?“ and “Do I have to give up me to be loved by you?”—to more esoteric questions, including „Is there life without pain?,“ „Is blind idealism reactionary?“ and „Are there animals in heaven?” Each phrase is rendered in stark white text, outlined in black, atop a vibrant array of colored and patterned backgrounds, which add yet another layer of information for viewers to consider. As ever, the aim is not to find explicit answers, but rather to encourage reflection upon one‘s own reactions to the artist‘s bold inquiries, which she poses to herself as well. Regardless of one’s politics, religion or worldview, Kruger’s questions urge us to push beyond our comfort zones to think clearly, critically and empathetically.

JUAN DAVILA

Untitled

2022

Oil on canvas

314 x 540 cm

AUD250,000

LOUISE BOURGEOIS

Cumuls (Double sided)

1972

Recto: watercolour on paper

Verso: pencil on paper

66 x 101 cm

USD250,000

PAMELA ROSENKRANZ

Healer Skins (Moon Water Lodge)

2021

Installation view

DANIEL RICHTER

Einzelgespricht

2021

Oil on canvas

232.8 x 172.7 x 6.1 cm

EUR200,000

LOT 96

DOROTHY NAPANGARDI ROBINSON

Mina Mina

2003

synthetic polymer paint on linen

122 x 122 cm

bears inscription verso: artist’s name, and Gallery Gondwana cat. 8029DN

ESTIMATE AUD4,000 – 6,000

PROVENANCE

Gallery Gondwana, Alice Springs, Northern Territory (stamped verso)

Vivien Anderson Gallery, Melbourne

The Peter and Renate Nahum Collection of Aboriginal Art, London, acquired from the above in 2003

EXHIBITED

Dorothy Napangardi - Mina Mina - My Country, Vivien Anderson Gallery in association with Gallery Gondwana, Melbourne, 4 – 20 December 2003, cat. 6

JOHN CHAMBERLAIN

Rap Psalm II

1999

Painted chromium and painted steel

257.8 x 124.5 x 81.3 cm

USD2,950,000

PROVENANCE

PaceWildenstein, New York; Private Collection, Dallas; David Zwirner, New York; Private Collection, USA; White Cube, London; Private Collection, São Paulo

EXHIBITION HISTORY

Geometries On and Off the Grid: Art from 1950 to the Present, The Warehouse, Dallas, 2 February – 30 November 2015

The First Exhibition, The Warehouse, Dallas, 21 October 2012 – 17 January 2013

John Chamberlain: Recent Sculpture, PaceWildenstein, New York, 12 May – 10 June 2000

LITERATURE

Susan Davidson, John Chamberlain. Choice, Guggenheim Museum Publications, New York 2012

Carole Goodman and John Chamberlain, John Chamberlain: Recent Sculpture, PaceWildenstein, New York, 2000, illus. pp.1, 3

John Chamberlain: Recent Sculpture, PaceWildenstein, New York, 2000

Allan Schwartzman, Geometries On and Off the Grid: Art from 1950 to the Present, PaceWildenstein, Dallas, 2015, illus., pp.V, 170

Sandra Cinto

From Landscape of a Lifetime

2019

Permanent pen and acrylic on canvas

200 x 100 x 4.5 cm

USD60,000

PABLO PICASSO

Tête

1943

Pen and ink on paper

65.5 x 51 cm unframed

92 x 76 x 3 cm framed

USD575,000

GILBERT & GEORGE

E II R Bear

2009

mixed media

123 x 88 cm

GBP16,750

GARY HUME

Swans I

2021

Gloss paint on aluminium

214 x 151 cm

USD185,000

SOPHIE VON HELLERMANN

Surfing with Poseidon

2022

Acrylic on canvas

190 x 160 cm

MAI-THU PERRET

From the leaves of the sandalwood tree a fragrant wind rises

2020

Glazed ceramic

50 x 40 x 6 cm

EUR20,000

LOUISE BOURGEOIS

Cumuls (Double sided)

1972

Reverse

ROBERT LONGO

Study for Ophelia #16

2005

Ink and charcoal on vellum

27.3 x 33.5 cm

USD65,000

JACK PIERSON

HERE AND NOW

2020

Aluminum, gold leaf, steel and tin

208.3 x 172.7 x 7.6 cm

USD200,000

RESERVED

THOMAS DEMAND

Canopy

2020

C-print/Diasec

180 × 144 cm

Edition of 6

EUR95,000

Thomas Demand’s work has long focused on detailed reenactments of specific and familiar places, public and private sites often loaded with sociopolitical meanings. Demand’s large-format photograph Canopy (2020) speaks of a moment in our current pandemic: A solitary balcony has its canopy fully extended, its inhabitants shielding not only from the harshness of the sun’s rays, but also the trouble in nature that has unfolded around them. The ordered seriality of the balconies is in contrast to the disorder beyond, as the world fails to contain a virulent disease. The work is a continuation of the artist’s practice in which he creates cardboard models before photographing and then destroying them; highly detailed, these life-sized models nonetheless retain subtle but deliberate flaws and anachronisms that challenge any complacent assumptions about photography’s claims to verisimilitude and authenticity.

CY TWOMBLY

Untitled

1971

Gouache, graphite, crayon, and oil on paper

68.6 x 86.4 cm

91.8 x 109.2 x 5.1 cm framed

USD2,500,000

DONNA HUANCA

SYNECHOCOCCUS

2019

Oil, sand, synthetic hair on steel

201 x 102 x 99 cm

TANIA PÉREZ CÓRDOVA

Contour #5

2020

Bronze poured into sand

50 x 100 x 2 cm

USD12,000

AMY SILLMAN

Somewhat Blue

2021

Oil on canvas

182.9 x 152.4 x 3.2 cm

USD350,000

KATHERINE BERNHARDT

Pineapple

2019

Acrylic and spray paint on canvas

183 x 152cm

USD50,000

BERNARD PIFFARETTI

Untitled

2019

Acrylic on canvas

170 x 170 cm

EUR48,000

Since 1986 Piffaretti has committed his practice to the "duplication method", abstract paintings that appear to be two identical halves split through the vertical axis. Closer inspection reveals moments of differentiation: the inclination of the brushstrokes, the number of drips, the weight of the hue. "The duplication clouds the origin of the time of the work. All supremacy is abolished, and that is the subject of my painting".

LATIFA ECHAKHCH

Sun Set Down

2020

acrylic paint and concrete, vinyl and fibre on canvas mounted on aluminium, diptych

200 x 150 x 2.5cm each

200 x 300 x 2.5cm overall

EUR150,000

ZOË CROGGON

Magazine 2

2020

Collage of found images and glue on paper, perspex box frame

47.6 x 36.7 x 7 cm

AUD3,000

MARCUS COATES

Conference for the Birds

2019

Sound recording, papier mâché bird heads

32 minutes 34 seconds

EUR40,000

Conference for the Birds celebrates the lives of the birds Thomas Bewick depicted in his wood engravings. His book ‘A History of British Birds’ first published in 1797 was a comprehensive guide to both the appearance and behaviour of birds. In the birthplace of Bewick, in one of the two rooms his family inhabited along with his seven siblings, we are surrounded by seven large bird heads, 3 dimensional renderings of his prints. We hear these seven different bird species discussing their lives with each other. The birds, played by wildlife experts, discuss topics from migration to predation, with each species speaking about the challenges they face day to day. By exploring the lives of the birds that Bewick studied and depicted, this artwork attempts to reveal how we, when speaking from the position of another animal like a bird, rely on subjective experience to relate across to this alien perspective.

LATIFA ECHAKHCH

Wind Wall Icon Diptyque (03)

2020

Metallic pigment, red, black paint, concrete, fiber and vinyl on canvas

200 x 300 cm

two parts, 200 x 150 cm each

EUR150,000

Installation view

GIUSEPPE PENONE

Leaves of Grass

2013

Oil on canvas, terracotta, wire

200 x 300 cm

EUR950,000

KEITH HARING

Untitled (Three Dancing Figures), Version C

1989

Painted aluminium Sculpture

124.5 x 134.6 x 119.4 cm

Base 109.2 cm diameter

Edition of 5 + 1AP

USD650,000

MEL BOCHNER

Ha Ha Ha

2018

Signed on verso in Sharpie on stretcher Oil on velvet 190.5 x 227.3 cm in 3 parts

USD225,000

MOON & JEON

My future will reflect a new world -Liverpool

2019

Casted Glass

Edition 3 of 10

65.0 x 65.0 x 1 cm

USD10-25k

Cui Jie

Aeron Chair

2019

Acrylic and spray paint on canvas

180 x 250 cm

USD$50,000 (plus relevant tax)

Cui Jie produces highly intricate paintings that are extremely sought after at the moment. She is part of a new generation of young Chinese artists with intense international recognition, with a strong market not only in China (the biggest growing market internationally) but also globally.

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STERLING RUBY

SP06

2007

Spray paint on canvas

244.2 x 214 cm

USD600,000

RAYMOND PETTIBON

No Title (The Clear-cut brow)

2020

Acrylic, ink, and colored pencil on paper

151.4 x 274.3 cm

USD1,200,000

CARSTEN HÖLLER

Octopus

2014

Purple-coloured polyurethane, brown glass eyes

40 × 171 × 120 cm

Edition 5/5 + 2AP

EUR120,000

KATHERINE BERNHARDT

Sicilia

2020

Acrylic and spray paint on canvas

243.84 × 304.80 cm

USD90,000

KAREN KILIMNIK

The chinese pavilion in green park

2007

Water soluble oil colour on canvas

45.7 x 35.6 cm

USD90,000

TONY SCHWENSEN

Prototype for Artistically Designed Steel Slats (Proudly Made with All Immigrant Labour in the USA) #17

2019

tung oil and beeswax on poplar

90 x 19 x 19 cm

AUD5,500

RICHARD SERRA

Orchard Street #24

2018

Etching ink and silica on handmade paper

120 x 80 cm unframed

131.1 x 91.1 x 6.3 cm framed

USD350,000

PHILIPPE PARRENO

Clock

2020

Plexiglas, DMX controller, air pressure and temperature sensor, motor, belts

160 x 168 x 20 cm

USD500-750k

Clock is part of Philippe Parreno’s new body of work begun in 2019. It consists of a transparent Plexiglas clock with three hands animated by a complex mechanism of gears and belts controlled by a DMX recorder. Clock's mechanism moves like an automaton, following its own rhythm and producing a choreography conceived by Parreno.

Connected to a sensor that records the air pressure and temperature changes occurring in the room, Clock reacts to the climatic conditions happening in real time. When connected to the Internet, Clock can also give time: its three hands marking hours, minutes and seconds. The motor controlling the gears produces a sound similar to a dynamo.

SHAHRYAR NASHAT 

Untitled

2021

papier ma?che?, epoxy resin, and acrylic

installation dimensions variable, approximate installation dimensions: 91.4 x 182.9 x 152.4 cm

USD55,000

Installation view

JULES DE BALINCOURT

Merging Island, Divided Island

2017

Oil on panel

203.2 x 228.6 cm

USD140,000

RYAN GANDER

This natural sign (There was a sense we were being watched, but our attention remained distracted by the moon)

2021

10 oz indigo black Japanese denim, acrylic paint

180.5 x 130.5 x 4.5 cm

GBP35,000

ANTHONY JOHNSON

689/254/58 (Service)

2017

tennis racquet, crystal champagne flute, threading needle 69 x 28 x 8 cm

AUD5,500

RYAN GANDER

This natural sign (We felt them watching us, as we watched the moon)

2021

10 oz indigo black Japanese denim, acrylic paint

180.5 x 130.5 x 4.5 cm

GBP35,000

KATHERINE BERNHARDT

Xanax + Cigarettes

2019

Acrylic and spray paint on canvas

182.88 × 152.40 cm

USD50,000

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

Brook Andrew

Yellow

2019

Detail

teamLab

Universe of Fire Particles

2021

single-channel digital work

193 cm × 109.2 cm), [1] 86" monitor

Edition of 10 + 2AP

USD85,000

ANGEL OTERO

Untitled

2019

Oil paint and fabric collaged on canvas

182.9 x 121.9 x 6.4 cm

USD70,000

AMY SILLMAN

XL36

2020

Ink and acrylic on paper

151.1 x 105.4 cm

156.2 x 111.1 x 5.7 cm framed

USD110,000

KATHARINA GROSSE

Untitled

2020

acrylic on canvas

388 x 240 cm

EUR350,000

MONICA BONVICINI

Furious Knitting #1

2019

Silkscreen print on aluminium

75.0 x 100.5 (cm)

Edition of 5 + 2AP

USD10-25k

The silkscreen prints on aluminium panels "Furious Knitting" (2019) follow Bonvicini’s performance "A Choir of Five" that premiered at the Herkulessaal in Munich in 2017. In it, a group of female performers produced clacking sounds by snapping leather belts while trying to sync to each other, turning the belts into a new musical instrument in need of whole bodies and a collectivity in order to produce sound.

In these series of aluminium prints, female hands firmly hold a belt bent in half, as if ready to deliver a strike. Nevertheless, the violent move is frozen, a metaphor for the struggle against cultural symbols of masculinity, discipline and violence. The orange background is a reference to the Saffir–Simpson Hurricane Wind Scale (SSHWS) used to categorise hurricanes depending on the intensity of their sustained winds. In this case the specific gradation of orange suggests a category 4 hurricane; a prediction that a catastrophic damage will occur, with structure failure, irreparable damage and losses.

Untitled (Self Portrait: White Way) polyptych

1995

Acrylic on paper

4 panels; 341.5 x 250 cm overall

AUD75,000

LATOYA RUBY FRAZIER

Shea Standing Above the Flint River on the Flint River Trail near the University of Michigan–Flint Campus, Flint, Michigan

2016-2017

Gelatin silver print

50.8 x 61 cm

61 x 71.1 cm framed

Edition of 5 + 2AP

USD22,000

CUI JIE

China Merchants Tower

2018

acrylic and oil on canvas

150 x 100 cm

USD35,000

KEHINDE WILEY

Portrait of Savannah Essah

2020

Oil on linen

266 x 185.5 cm

USD325,000

‘Portrait of Savannah Essah’ is a new oval painting by American artist Kehinde Wiley. Wiley met Savannah Essah on the streets of Dalston, East London when he was casting for his exhibition, ‘The Yellow Wallpaper’ at William Morris Gallery in London. In the portrait Wiley portrays Savannah Essah adopting a confident pose with one hand resting on her chest and the other on one hip. Viewed from below, she gazes directly at the viewer from a lavishly patterned background. Here Wiley employs the heroic visual vocabulary of traditional portraiture to depict the subject as an emblem of strength within a society of complicated social networks. Wiley is renowned for his finely detailed portraits of contemporary men and women, as well as global figures such as former US President Barack Obama.

‘Portrait of Savannah Essah’ is currently included in 'Kehinde Wiley: The Yellow Wallpaper' at William Morris Gallery, London, the artist’s first solo show in a UK museum and the first to feature exclusively female portraits. The exhibition offers a visual response to American novelist Charlotte Perkins Gilman’s acclaimed feminist short story, 'The Yellow Wallpaper', 1892. Gilman’s text is a semi-autobiographical tale which sees her narrator confined to her bedroom after being diagnosed with hysteria and explores the disastrous consequences of denying women independence. Wiley explains, "'The Yellow Wallpaper' is a work of literary fiction that explores the contours of femininity and insanity. This exhibition seeks to use the language of the decorative to reconcile blackness, gender, and a beautiful and terrible past."

For over fifteen years Wiley has sourced William Morris’ iconic floral designs for his paintings. Building on his interest in the relationship between the human body and the decorative, Wiley’s model is depicted in a reimagined field bursting with colour and patterns inspired by the William Morris designs. Gilman’s 'The Yellow Wallpaper' also holds a strong, personal connection to William Morris. Morris’ daughter, May Morris, herself an accomplished designer, struck up a friendship with Gilman in July 1896 when they first met at an International Socialist Conference in London. That autumn, May Morris invited Gilman to give a lecture at her family home Kelmscott House, Hammersmith. A month later William Morris died and Gilman sent a moving letter of sympathy, which was a rousing call to arms: "Do you love to do - to DO and especially to make? With that, and the freedom to exercise it, life has no terrors."

HELEN FRANKENTHALER

Distant Barrier

1992

Acrylic on canvas

115.6 × 268 cm

USD2,200,000

JOSH SMITH

Untitled

2020

Oil on linen

152.4 x 121.9 cm

USD140,000

LARRY BELL

Untitled Triolith C SS

2020

Blush and Lapis laminated glass coated with Inconel and silicon monoxide Unique

30.5 x 30.5 x 30.5 cm

USD75,000

MARTHA JUNGWIRTH

Ohne Titel

1993

watercolour on paper

151 x 250 cm

166 x 264.7 cm framed

EUR75,000

SAMSON KAMBALU

Flag Factory 5

2021

24 prints on archival paper

166 x 386 cm overall

GBP25,000

GARTH WEISER

Marshmallow lyrics

2019

Oil and spray paint on canvas

185.4 x 152.4 cm

USD85,000

NIGEL COOKE

Healed

2021

oil and acrylic on linen

225 cm x 164 cm

USD250,000

MAMMA ANDERSSON

The First Magician

2020

Oil and acrylic on linen

105 x 80 cm

USD350,000

‘The First Magician’ is a new painting by Mamma Andersson featuring a lone female figure standing before an ominous, brooding sky. The wanderer wears a jacket featuring an indecipherable symbol sewn onto the back in thick, gold brocade. Her tall riding boots highlight the absence of any equestrian companion, emphasising the isolation of the figure in the landscape. Depicted in muted tones of forest green and earthy brown, interrupted with an expressive stroke of blood red, the painting juxtaposes loose washes with textured brushstrokes. Engaging with themes of femininity, fantasy and memory, the Swedish artist imbues the scene with an eerie, uncanny quality.

Inspired by filmic imagery, theatre sets, and period interiors, Andersson’s compositions are dreamlike and expressive. While stylistic references include turn-of-the-century Nordic figurative painting, folk art and local or contemporary vernacular, her evocative use of pictorial space and juxtapositions of thick paint and textured washes are uniquely her own. Andersson’s melancholic landscapes recall late nineteenth-century romanticism, whilst also embracing a contemporary interest in layered, psychological compositions. The desolate patch of Nordic countryside depicted in ‘The First Magician’ is an enduring subject in the artist’s practice. Yet, rather than pinpoint a particular spatial or temporal location, her works appear to combine past, present and future. Otherworldly in quality, Andersson leaves the scene in this painting entirely open to interpretation by denying the viewer any form of narrative or visual clue.

SUPERFLEX

If Value Then Copy

2021

Oil on canvas

70 x 185 cm

EUR25,000

Ella Kruglyanskaya

Untitled

2018

Flashe, oil pastel, and graphite on paper

22 1/2 x 14 1/4 inches (57.2 x 36.2 cm)

$8,500

LIZ DESCHENES

Green

1997-2021

Dye transfer print

50.8 x 40.6 cm

58.1 x 48.9 cm framed

Unique

USD24,000

JULIAN SCHNABEL

November

2017

Inkjet print and oil on polyester

223.5 x 172.7 cm

USD200,000

LIZ DESCHENES

Green/Cyan

1997-2021

Dye transfer print

50.8 x 40.6 cm

58.1 x 48.9 cm framed

Unique

USD24,000

LORNA SIMPSON

Midnight LA time

2021

Ink and screenprint on gessoed fiberglass

274.3 x 243.8 x 3.2 cm

USD495,000

ROBERT LONGO

Study of Swimmer (Butterfly)

2019

Ink and charcoal on vellum

43.3 x 83.8 cm

USD90,000

TETSUMI KUDO

Votre portrait (Your Portrait)

1970-79

Mixed media

50 x 46 x 25 cm

USD350,000

ANGEL OTERO

Drifting Far From Shore

2020

Oil paint and fabric collaged on canvas

182.9 x 213.4 cm

USD95,000

DAMIEN HIRST

Five Prayers for Forgiveness

2008

Butterflies and household gloss on canvas

Each panel 107 x 91 cm

USD1,250,000

OSCAR MURILLO

(untitled) surge

2019-2020

Oil and oil stick on canvas and linen

240 x 330 cm

Signed verso

SOLD

FRED TOMASELLI

Untitled

2020

Leaves, photo collage, acrylic and resin on wood panel

152.4 x 152.4 cm

USD575,000

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

Alex Katz

White Roses 7

2012

Oil on linen

320 x 243.8 cm

USD950,000

CLARE WOODS

Airdrop

2019

Oil on aluminium

200 x 100 cm

GBP40,000

SARAH MORRIS

October 2019

2019

Household gloss paint on canvas

90 x 90 x 4 cm

Unique

ROBERT RAUSCHENBERG

Rice Wine Dog, Tuak Hudok-Iban (ROCI Malaysia)

1990

Silkscreen ink, gold leaf and fabric on plywood

244.15 x 122.2 cm

Rauschenberg 90 in lower front

USD1,350,000

JON RAFMAN

You are Standing in an Open Field (Thanatopsis)

2020

Dye sublimation aluminum print and resin on dibond aluminum and wood

149.9 × 201.9 cm

USD35,000

JIA AILI

Mountain and Line

2020

Oil on canvas and tempered glass, and wood frame

82 x 70 cm (unframed)

USD350,000

FRANK BOWLING

Wadi √ Two

2011

Acrylic on canvas

188 x 180.5 cm

GBP445,000

CINDY SHERMAN

Untitled

2019

cotton, wool, acrylic, cotton mercurisé, and polyester cotton woven together

285.8 x 218.4 cm

Edition 1 of 10

USD150,000

This is an interesting development for Cindy, transitioning her portraiture from paper to woven tapestry. 

PHILIP GUSTON

Untitled

1971

Oil on paper mounted on panel

72.4 x 94 cm

SAM GILLIAM

Untitled

2019

Watercolour on washi

188 x 99.1 cm 

USD180,000

ANSELM KIEFER

Der Gordische Knoten

2019

Oil, emulsion, acrylic, shellac, wood and metal on canvas

280 x 380 cm

EUR1,200,000

GILBERT & GEORGE

BEARD HONOR

2016

Mixed media

226 x 380 cm

GBP130,000

NICOLAS PARTY

Cave

2020

Soft pastel on canvas

101.6 x 76.2 cm

Emily Kame Kngwarreye

Alalgura Country

1993

Synthetic polymer paint on canvas

121 x 90 cm painting

AUD$45,000

CA

LOUISE FISHMAN

Perilous Things

2003

Oil on canvas

228.6 x 152.4 cm

USD250,000

PAT STEIR

Untitled XX, 2019 (Taipei)

2019

Oil on canvas

91.4 x 91.4 cm

USD400,000

ROSEMARIE TROCKEL

Men

1985

Wool on canvas

110 x 50 cm

EUR380,000

Rosemarie Trockel is one of the most versatile and pioneering contemporary artists working today. Since the early 1980s, her collages, knitting pictures, sculptures, installations

and film works have investigated such diverse concerns as cultural codes and roles, gender and social identities, philosophy and theology, the natural sciences, and the importance of craft. Men (1985) is a unique work among Trockel’s celebrated Strickbilder (knitting pictures), as it is the only motif of its kind across the series, and it succinctly captures the complex ambivalence of medium and statement so characteristic of the artist’s wool works.

The running American-football player represents an activity and physique that is distinctly male, which on the one hand is emphasized by the work’s title, but on the other is compli- cated by the woolen material and knitting process, often coded female. Machine-generated rather than hand-knit, Trockel’s wool works shift the way traditionally craft-based, feminine materials are used, at once critiquing both gender roles and established artistic hierarchies that revere painting above all other arts and crafts. The repeating football player recalls a larger football team, and the motif also suggests art historical references such as American Pop Art of the 1950s and 1960s—perhaps to offer a feminist commentary on this male-dominated, “boy’s club” aspect of the art movement.

Latifa Echakhch

The green leaves stick to my soles. Several of its agglutinate enough to make steps heavier enough to slow me down

2019

Black India ink and sepia ink on canvas

200 x 150cm

EUR80,000

MILTON RESNICK

Diamond city

1963

Oil on paper mounted on canvas

110.5 x 255.9 cm

USD275,000

Jules de Balincourt

Cliff Dwellers

2016

Oil on panel

61 x 50.8 cm

USD$40,000 (ex tax)

ROY LICHTENSTEIN

Head (Study)

1986

Cut painted paper, cut printed paper, graphite pencil on board

96.5 x 66 cm

USD580,000

‘Visible brushstrokes in a painting convey a sense of grand gesture. But, in my hands, the brushstroke becomes a depiction of a grand gesture. So the contradiction between what I’m portraying and how I’m portraying it is in sharp contrast.’ - Roy Lichtenstein

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

DOUG AITKEN

electric eden (aerial pools with red)

2019

Chromogenic transparency on acrylic in aluminium lightbox with LEDs

172.1 x 316.2 x 18.1 cm

Edition 1 of 4 + 2 AP

USD250,000

ANICKA YI

You Are Identical With Yourself

2020

High density foam, resin, urethane paint, and color matched frame

121.9 x 182.9 x 12.7 cm

USD150,000

Remnant

1994

acrylic on cotton duck and sash cord

165 x 90 cm

AUD35,000

HUMA BHABHA

I was Invited

2020

cork, Styrofoam, acrylic, oil, chalk, clay,

wood, and Masonite

190.5 x 91.4 x 91.4 cm

USD185,000

Huma condenses the sweep of figurative art-making into objects and two-dimensional works of monumental power. She draws from many traditions and contemporary sources, including ancient religious statuary, science fiction and horror movies, and modernist painting and sculpture. But above all her work conjures the strangeness, violence, and paradoxical beauty of the current moment. Her sculptures have been a foundation part of her practice for many years, using recycled materials such as cork and Styrofoam to create hybridized humanoid beings. On the surface of her sculptures, Bhabha builds up layers of marks made in different mediums, using ink and paint to produce visual textures that approximate those of the natural world in states of decay and regeneration. Huma evokes archaic and contemporary sources alike, so that cycles of time, of life and its inevitable decay, are concretised as physical forms.

I was Invited is a continuation of her approach to making that imbues formal similarities to the archaic. The multi-faced head, made from cork and Styrofoam and fastened to a wooden pedestal for support, is brought to life by riddling it with dark incised lines that read like scars casted against a vivid hue of light sky blue. Resembling a mauled head, a few oval markings resemble singular eyes, and in some cases pairs of, their haunting gaze looking onward to one or several futures.

TOMÁS SARACENO

Solitary semi-social simultaneous mapping of FK5 3724 and GC 14232 by a solo Nephila senegalensis - six weeks, a duet of Cyrtophora citricola - two weeks

2019

Spidersilk and ink on archival paper

149 x 270 cm

153.4 x 274.4 x 6 (framed)

EU75,000

The process to make these works is part of its allure (maybe not if you're arachnophobic) - two spider species wove a web in a carbon frame for a few weeks each before the web is applied to paper and lightly misted with ink to create the monochrome, sculptural surface. 

Oliver Wagner

Removed Painting 8

2019

house paint dust on linen

137 x 152.5 cm

AUD12,000

Heimo Zobernig

Untitled

2018

Acrylic on canvas

200x200cm

EUR120,000

RODNEY GRAHAM

Untitled

2020

Oil and sand on canvas, walnut frame

185.4 x 155.9 x 5.2 cm each

185.4 x 318.3 x 5.2 cm overall

Signed, dated, verso: R. Graham 

USD235,000

Wave

2015

porcelain

18,1 × 34 × 47 cm

RODNEY GRAHAM

Untitled

2020

Oil and sand on canvas, walnut frame

216.7 x 253.7 x 6.2 cm

Signed, dated, verso: R. Graham 

USD225,000

LIZA LOU

Desire Lines

2019

woven glass beads and thread on canvas

142.9 x 284.5 x 5.1 cm

USD375,000

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

Doug Aitken

Inside me

2018

Aluminum, high density foam, resin, auto paint, acrylic mirror

143.5 x 161.3 x 104.1 cm

Variation of 4

USD$300,000

303

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

RODNEY GRAHAM

Untitled

2020

Oil and sand on canvas, walnut frame

200.3 x 155.1 x 5.2 cm

Signed, dated, verso: R. Graham 

USD170,000

ALEX DA CORTE

THE SUPÆŽRMAN

2018

INSTALLATION VIEW

Lot 72

Arthur Boyd

Wimmera Landscape with Windmill

n.d.

oil on composition board

signed 'Arthur Boyd' lower right

91.5 x 122 cm

Provenance

Private Collection Eva Breuer Art Dealer, Sydney (label verso) Private Collection, Perth Australian + International Art, Deutscher-Menzies, Sydney, 13 June 2007, lot 60, illustrated

Savill Galleries, Sydney, acquired from the above (label verso)

Private Collection, Melbourne, acquired from the above in 2007

Estimate: $80,000 – $100,000

Untitled (self portrait)

1993

Acrylic, pencil and collage on paper

2 panels; 240 x 70 cm overall

AUD45,000

Theaster Gates

Dance of Malaga

2019

Single-channel video, sound and five wooden stools

Aspect Ratio 16:9

Duration: 35 minutes 4 seconds

Screen: 394.11 × 700.13 cm

Edition of 3

ALEX DA CORTE

THE SUPÆŽRMAN

2018

INSTALLATION VIEW

Oliver Wagner

Removed Painting 10

2019

house paint dust on linen

137 x 152.5 cm

AUD12,000

Untitled (self portrait)

1993

Acrylic on paper

2 panels; 240 x 70 cm overall

AUD25,000

Wave

2015

Installation view

Body print (E)

1994

Acrylic on paper

120 x 80 cm

AUD25 000

Sarah Lucas

Hunk of the Year

1990-1992

inkjet print on paper

site size: 305.5 x 224 cm

frame size: 325 x 241 x 9 cm

unique

price to be confirmed 

TRACEY EMIN

The Shower

2019

Acrylic on canvas

183.4 x 122.2 cm

USD420,000

Untitled (White Way II) Study

1995

Acrylic on paper

120 x 80 cm (unframed)

132.5 x 91 cm (framed)

AUD25,000

Julie Mehretu

Myriads, Only By Dark (unfolded body map, mathematics of droves, indigine, origin)

2014

Multi-colored aquatint and spit bite on

Hahnemühle Museum Etching 450 gsm

Four panels, each: 206.4 x 114.9 cm

214.6 x 125.7 x 5.7 cm framed

Edition 9 of 30

USD475,000

Lot 73

Charles Blackman

Child with a Pram

1953

enamel paint and tempera on composition board

signed and dated 'B APRIL 53 / BLACKMAN' lower right

61 x 76 cm

Provenance

Charles Blackman, Sydney Joseph Brown Gallery, Melbourne (stock 6818), acquired in 1978, 'Girl with Pram/Portrait (verso)'

Private Collection, Melbourne, acquired from the above on 18 April 1979

Estimate: $80,000 – $120,000

Julie Mehretu

Myriads, Only By Dark (unfolded body map, mathematics of droves, indigine, origin)

2014

Detail

The face Gordon Bennett had before he was born

1997

Mixed media

size variable

AUD5,000

Julie Mehretu

Myriads, Only By Dark (unfolded body map, mathematics of droves, indigine, origin)

2014

Detail

Ruyi

2012

porcelain

10 × 41 × 16 cm

Emily Kame Kngwarreye

WILD FLOWERS

1995

Synthetic Polymer Paint on Belgian Linen

180.0 x 283.0 cm

AUD$130,000

CA

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

MARILYN MINTER

Ginger

2016

Enamel on metal

213.4 x 152.4 cm

USD325,000

These are great works - beautifully soft, tone and palette complement the fuzziness (which also obscures enough for those adverse to the risqué)

Ruyi

2012

Installation view

Bernard Frize

Brick

2009

Acrylic and resin on canvas

180 x 160 cm

Unique

€62,000 (USD$68,878) without tax

Free Speech Puzzle

2017

porcelain

0,8 × 51 × 41 cm

unique, from a total of 12 sets

Emily Kame Kngwarreye

n.d.

Acrylic on Canvas

111 X 168 cm

Framed

AUD$75,000

CA

Free Speech Puzzle

2017

Installation view

Daniel Boyd

untitled

2019

oil, charcoal and archival glue on digital print on paper mounted to linen

80.5 x 91.5 x 4 cm

AUD$12,000 (inc. GST)

Kathy Temin

Purple Garden

2015

Synthetic fur, steel, synthetic filling

194 x 60 x 60 cm

AUD26,000

Remains

2014

porcelain

13 parts, dimensions variable

unique, from a total of 8 sets

Ruby Onyinyechi Amanze

The Gap [and the beams of sun, special ordered on our behalf]

2017

Graphite, ink, photo transfer, metallic pigment,

acrylic on paper

427 x 183 cm

Unique

35,000.00

Brooklyn-based Nigerian artist Ruby Onyinyeche Amanze has been chosen as the featured artists for the Deutsche Bank VIP lounge - a great opportunity for such a young artist. I haven't recommended her work before but I think it's good. Think of her paintings as non linear narratives - disjointed objects and displaced bodies within alien landscapes or simply floating in space, acting to explore cultural hybridity and post-colonial non-nationalism.

GG

Remains

2014

Installation view

Emily Kame Kngwarreye

UNTITLED (ALALGURA I)

1992

synthetic polymer paint on belgian linen

150 x 120 cm

AUD$95,000

CA

Lee Bul

Untitled (Mekamelencolia - Velvet #10 DDRG35AC)

2018

human hair, mother of pearl, acrylic paint, dried flower on silk velvet

triptych, canvas overall: 130 x 285 x 3.2 cm

USD$250,000

Lee Bul is considered the leading Korean artist of her generation, and has achieved international recognition for her formally inventive, intellectually provocative oeuvre. It's characterised by an unwavering defiance of boundaries, that explore challenging media and experiment with form. She is influenced by utopian ideas and which she formally applies in her sculptural works to ponder contemporary society’s unending pursuit of perfection in all things...physically and socially.

Daniel Boyd

Untitled

2018

mirrored Perspex, acrylic, aluminium composite panel

150 x 360 cm***

AUD$50,000 (inc. GST)

**This can be custom fitted to any window

Ruby Onyinyechi Amanze

Swim caps for Flying [the ocean forgot its perimeter]

2018

Graphite, ink, photo transfers and colour pencils on

paper

Work: 101 x 140 cm

Unique

USD$ 16,500.00

GG

Lot 438

Jennifer Steinkamp

Formation C

2006

computer video installation

installation dimensions variable

Executed in 2006, this work is unique and is accompanied by a certificate of authenticity signed by the artist.

Estimate: USD$20,000 - 30,000

Daniel Boyd

untitled

2019

oil, charcoal and archival glue on digital print on paper mounted to linen

26 x 18.5 cm

AUD$5,000 (inc. GST)

Lot 473

Rita Ackermann

Fire by Days X

2011

signed, titled and dated "F-B-D X 2011 Rita Ackermann" on the left turnover edge

oil, pigment, wax, modeling paste, enamel, rabbit skin glue and spray paint on canvas

162.6 x 104.1 cm

Estimate: USD$20,000 - 30,000

Ella Kruglyanskaya

Untitled

2018

Flashe, oil pastel, graphite, and collage on paper

19 5/8 x 11 5/8 inches (49.8 x 29.5 cm)

$8,500

Sabine Moritz

Untitled

2019

Oil on canvas

200 x 200 cm

EUR 72,000 (plus relevant tax)

pc

Young artist who can paint and is now being championed by uber NY gallery Marion Goodman.

Carrie Mae Weems

Scenes & Take (Director's Cut)

2016

inkjet print on canvas

185.42 x 154.94 x 6.35 cm(framed)

Edition of 5

USD$72,000

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

Karen Kilimnik

the royal Swedish forest

2018

Water soluble oil color on canvas

35.6 x 45.7 cm

Signed, titled, dated verso

USD$130,000

Karen Kilimnik is a mid career/established American painter, whose work builds a tension between romantic tradition and consumer culture. Steeped in references to romantic painting, pop music, icons of film and fashion, signs of witchcraft, time-travel, murder, the ballet and childhood traditions, Karen's art rematerialises a quest for the romantic sublime.

303

Oscar Murillo

Untitled

2019

Etching, pen and graphite on paper

58 × 40 cm

USD$16,000

Oscar too is bringing a gorgeous series of small works to ABHK. Although small, they are each individual works - etchings with explosions of pen and graphite scrawled over the top. Murillo is a highly desirable artist and his large canvases fetch between USD350-500k. As small (but potent) works on paper, these are a fraction of the price and a much more affordable way of adding Murillo to your collection before making such a large financial commitment. 

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

Ann Veronica Janssens

Brass Disc

2010-2017

Brass

75 cm diameter x 2 cm

Edition 1 of 1 + 1 AP

UDS$55,000

Ann Veronica Janssens builds upon the legacy of Minimalism and the California Light and Space Movement, enabling viewers to perceive visible light as a material through intimate sculptural environments. In the mid-1990s she ventured into object-based work, creating a series of minimal geometric forms; squares, diamonds, and circles of various colours. Brass Disc is one example from this series. The subtle groove in the surface of this work plays a trick on the eye so that the light appears to emanate from the centre, creating a convex light cone that one perceives but cannot touch.

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

Cerith Wyn Evans

Locus Solus

2010

Kokeshi dolls and mirrored plinth

format variable

GBP 50,000 + VAT

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

Pier Paolo Calzolari

Untitled

1983

Lead, iron, oyster, tea light oil

35.6 x 60.3 x 8.9 cm

USD$275,000

Calzolari is an important historial figure who originally associated with “Arte Povera” and included in the seminal 1960’s exhibitions curated by Germano Celant.

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

Lu Pingyuan

“Look! I’m Picasso!” -1810-1

2018

Acrylic on canvas

112 x 141 cm

USD$12,000 (VAT not included)

Lu Pingyuan is a young emerging Chinese artist who is doing some interesting this. His Look! I’m Picasso! series is inspired by the first feature-length computer-animated film produced by Pixar in 1995, “Toy Story”. The film exerted a strong influence on the artist in his childhood as the plot featuring toys being alive in the absence of humans, appeared to him as rather terrifying. A scene in the film presents the toy Mr. Potato with his eyes, nose and mouth on the side claiming: “Look! I’m Picasso”. 

Alicja Kwade

Meta-Meter

2018

Measuring stick on paper

150 x 250 cm

154 x 254 cm framed

Unique

€45,000

303

Bonita Bub

Box Study for Industry III

2018

powdercoated mild steel, concrete

71.00 x 50.00 x 50.00 cm

TCG21532

AUD$5,000 (incl. GST)

Oscar Murillo

Untitled

2019

Etching, pen and graphite on paper

58 × 40 cm

USD$16,000

Anna Kristensen

Brick wall

2014

silkscreen, ink and acrylic on canvas

231.00 x 195.50 x 6.00 cm

AUD$14,000 (incl. GST)

I thought I'd sneak this one in - just over the 10k price point but it is a large work and good value for money! I love how she has taken the banality of a basic architectural material, and reproduced it into a shimmering metallic canvas - very striking! There are other young artists who I think have more promise in terms of their future careers, but she is still, nonetheless, a very respectable artist and this is a bold work.

Elizabeth Peyton

Jake and Heath (Jack and Ennis)

2012-2013

Color pencil and pastel on black paper

29.8 x 21 cm artwork

47 x 37.5 cm framed

USD$100,000

Imants Tillers

Nature Speaks: FX

2017

Sung into Being

acrylic, gouache on 16 canvas boards, no. 102573 - 102588

100 x 141 cm

AUD$27,500 (inc. GST)

Pamela Rosenkranz

Pattern Tension (Holimos)

2017

Acrylic paint, inkjet print, plexiglas

PR1282.17

110 x 155 cm

USD$35,000

Oscar Murillo

Untitled

2019

Etching, pen and graphite on paper

58 × 40 cm

USD$16,000

Sam Falls

Relocation

2018-2019

Pigment on canvas

179.1 x 123.8 cm framed

USD$50,000

Sam is an artist who is primarily concerned colour, digital imagery, and natural processes. You might remember his work in Mami Kataoka's Sydney Biennale last year at Carriageworks. His 'paintings' are what he is best known for, but he has recently started to explore the possibilities of ceramics (it helps that his wife is a ceramicist).

303

Ghada Amer

Rainbow Lulu

2018

Acrylic, embroidery and gel medium on canvas

150 x 178 cm

USD$250,000 (plus relevant tax)

David Griggs

Rorschach test fail

2017

acrylic on canvas

153 x 143 cm

12,000.00 AUD (inc. GST)

George Condo

Figure Composition 8

2008

signed and dated 'Condo 08' (upper left)

Wax crayon and acrylic on panel

127 x 116.8 cm 

USD$950,000 + taxes where applicable

Oscar Murillo

Untitled

2019

Etching, pen and graphite on paper

58 × 40 cm 

USD$16,000

Lot 138

Rosalie Gascoigne

Pavement III

1998

sawn wood on plywood

69.0 x 52.0cm

signed, dated and titled verso: 'Rosalie Gascoigne / 1998 / PAVEMENT'

Estimate: AU$ 50,000 - 70,000

£ 28,000 - 40,000

Oscar Murillo

Untitled

2019

Etching, pen and graphite on paper

58 × 40 cm

USD$16,000

Patricia Piccinini

Cloudless Field

2017

Automotive paint on ABS plastic

150 x 200 cm

AUD$22,000 (inc. GST)

She will take commissions on these, if you had a colour preference. 

Pamela Rosenkranz

Alien Blue Window (Xenesz, Via San Tomaso 53)

2017

Lighttex, blue LEDs, anodized frame, remote control, USB dongle

158 x 138 x 10 cm

USD$55,000

Chris Ofili

Poolside Magic 15

2013

Charcoal, watercolour and pastel on paper

39.5 x 26 cm

USD$75,000 (ex tax)

Over the past two decades, Ofili’s practice has become identified with vibrant and meticulously executed artworks that meld figuration, abstraction, and decoration. As one of the leading YBAs, his diverse oeuvre has taken imagery and inspiration from history-spanning sources such as the Bible, hip-hop music, Zimbabwean cave paintings, Blaxploitation films, and the works of William Blake. These smaller paintings from 2013 riff on themes of sexuality, mutability, magic, and the occult, making reference to the vibrant and sensuous landscape and culture of Trinidad, where Chris lives and works.

Wolfgang Tillmans

audio recording

2013

inkjet print mounted on aluminum, in artist’s frame

63.9 x 85.5 cm (framed: 69.5 x 91 x 3.3 cm)

3 + 1 AP (1/3)

USD$35,000

Chris Ofili

Poolside Magic 5

2012

Charcoal, watercolour and pastel on paper

39.7 x 26 cm

USD$75,000 (ex tax)

Patricia Piccinini

The pressure as they close

2012

Curious Affection

automotive paint on aluminium

100 x 200 cm

AUD$27,500 (inc. GST)

James Angus

Mountains Valleys Caves

2005

fiberglass and acrylic

90 x 146 x 90 cm

Edition of 3 + AP 1

ED 3

USD$44,000 (inc. GST)

Monika Sosnowska

Balustrade

2016

Painted steel

250 x 180 x 210 cm

98.4 x 70.9 x 82.7 in

EUR 60,000

Mikala Dwyer

The Letterbox Mary

2015

Perspex, steel, mary

170 x 22 x 30 cm

AUD11,000 (inc. GST)

Chris Ofili

Poolside Magic 19

2013

Pastel, charcoal and watercolour on paper

39.5 x 25.5 cm

USD$75,000 (ex tax)

Mikala Dwyer

Semi Caldron (witches 'n' britches, Melbourne)

2018

acrylic, wood, fabric, wire mesh

70 x 90 x 70 cm

AUD$11,000 (inc. GST)

Lot 23

John Brack

Study for Standing Nude

1970

conté on paper

signed and dated 'John Brack 70' lower right

68.5 x 49.5 cm

Estimate $30,000 - $40,000

Carrie Mae Weems

Louvre

2006

Digital c-print

185.42 x 154.94 x 6.35 cm
(framed)

Edition of 5

USD$72,000

Mirdidingkingathi Juwarnda Sally Gabori

Dibirdibi Country

2012

Synthetic polymer paint on linen

151 x 196 cm

AUD$40,000.00 including GST

Andro Wekua

Levan Portrait

2017

Oil and silkscreen ink on aluminum panel

100 x 70 cm

101.6 x 72.4 x 3.8cm (framed)

€90,000

Angela Tiatia

Narcissus

2019

pigment print on cotton rag

157 x 244 cm

Edition of 3 + 2 AP

AUD$9,900

Secundino Hernandez

Instant Disassembly

2018

Rabbit skin glue, calcium carbonate, chalk, titanium white acrylic, and dye on linen

244 x 240 x 4 cm

USD$130,000

Secundino is a brilliant artist who is on the rise, represented by Victoria Miro and I think is destined for great things! His more colourful work is more sought after, however this darker piece is broody and dramatic. 

Kaari Upson

10:25 A.M. (Color)

2015

Watercolor and watercolor pencil on paper mounted on aluminum panel

245.1 × 123 × 2,8 cm

246.1 × 123.8 × 5.7 cm (framed)

USD$75,000 + Vat if applicable

Another work by Kari, even more overtly sexual if that is at all possible.

Lot 7 

Brett Whiteley

The Pink Dove I

1983

gouache and collage on cardboard

76.0 x 51.0 cm

artist’s frame: 195.0 x 65.0 cm

stamped with monogram lower right: BW

signed on the stretcher bar verso: Brett Whiteley

ESTIMATE:

$80,000 – 120,000

Binion McArthur

Hand:Work

2019

oil paint stick and paper on board

182.9 x 121.9 x 5.1 cm

USD$125,000

Jacqueline Fraser

"Those giant shamrocks are super-glued for extra heavy duty luck, baby"

2008

mixed media

101.5 x 198 x 12 cm

AUD$30,000 (inc. GST)

Paulina Olowska

The Puppeteers

2017

oil and acrylic on canvas

220 x 180 cm

USD$90,000

Liu Xiaodong

Europa Europa

2016

Oil on canvas

220 × 300 cm

USD$550,000

Jacqueline Fraser

"If that faded Sharon Stone clone blinks her Lancome lashes slowly, she knows something good's going to

happen, precious"

2008

mixed media

102 x 76.5 x 18 cm

AUD$10,000 (inc. GST)

Rirkrit Tiravanija

untitled 2008 (fifty dollar the days of this society is numbered)

2008

$50 bill, oil paint, gray ink stamp, MDF frame

23.5 x 29.8 cm

Edition of 5 + 1 AP

USD$10,000

Rirkrit is an artist who is absolutely in tune with the current zeitgeist and this piece in particular is not for the faint of heart - hitting scarily close to home.

Theaster Gates

Shine Study 1

2013

Wood, roofing paper, tar and metal

153.7 x 184.9 cm

USD$250,000

Zeng Fanzhi

Untitled

2017

Oil on canvas

249.7 x 250 x 6.5 cm

255 x 255 x 8.6 cm (framed)

ARTIST NAME

Title of Work

Year

Materials

Size of Work

Price of Work

Glenn Ligon

Figure #97

2010-2016

Acrylic, oil stick, coal dust and silkscreen on canvas

152.4 x 121.9 x 3.8 cm

USD$450,000

Ella Kruglyanskaya

Striped

2018

Oil on linen

90 x 59 inches (228.6 x 149.9 cm)

$60,000

Reko Rennie

Crest

2014

enamel on aluminium

161 x 124 x 4 cm

AUD$27,500 inc GST

Bharti Kher

Algorithm for embodying control

2018

Bindis on painted board

Diameter 137.2 cm

EUR 100,000

I've recommended Bharti Kher since 2012. Married to Gupta, who is acclaimed as the Damian Hirst of India, Kher is regarded by most people as being the better artist. She is collected by impeccable institutions and continues to make beautifully socially engaged works with the Indian Bindi as her medium.

Louise Weaver

Mirage (The fear of unstructured time)

2009

nylon wool, hessian, cotton

210 x 300 cm

AUD$55,000

Harold Ancart

Untitled (the great night)

2018

Oil and pencil on canvas

457.2 x 1346.2 cm

Signed and dated verso

*On view at Pompidou Metz

USD$750,000

Ella Kruglyanskaya

Fish, Yellow, Bikini

2018

Oil on linen

59 x 74 inches (149.9 x 188 cm)

$50,000

Rudi Mantofani

DLROW #2

2018

acrylic on canvas

200 x 200cm

Milton Avery

Wader

1963

Oil on canvas

61 x 76.2 cm

USD$450,000 (ex tax)

A playful piece from 'the American Fauvist', who is considered a master of luminous landscapes, figures and still lifes. His gallery Victoria Miro featured him in a solo exhibition last year, his first in over a decade. They are pushing him as one of the under-regarded heroes of American modernism. As he died in 1965, there is a limited supply of work available. I've chosen this one as it feels more contemporary, more timeless than some of his other paintings. 

Rudi Mantofani

CAHAYA DUNIA #2 (Light of The World #2)

2017

acrylic and gold plating on canvas

170 x 250 cm

Adrián Villar Rojas

From the series 'Planetarium' 9

2015

Wire, tennis shoe, metal, plastic, bones, coral, glass, pigmented cement

105 x 34 x 54 cm

USD$100,000

A truly brilliant young artist, Argentinian Adriàn Villar Rojas made a particular impact on me with his awe inspiring installation at the 2015 Istanbul Biennale. He is the hottest young artists on the circuit right now - well worth acquiring.

Tim Silver

Untitled (When Lilacs Last in the Dooryard Bloom'd 02)

2016

Porcelain with enamel and acrylic

34 x 44 x 20 cm

Unique edition of 3

AUD 17,600 incl. GST

Louise Weaver

Mirage (The fear of unstructured time)

2009

Detail

Tracey Emin

She closed her eyes

2017

Acrylic on canvas

121.8 x 121.8 x 3.4 cm

GBP250,000

Ashley Bickerton

Codsallop & Doggeral

2019

oil and acrylic on canvas

190 x 179 x 8.5cm

Tony Albert

weight of the world

2018

vintage playing cards, coasters and matchboxes on board

154 x 183 (framed size)

94 x 88 cm (image size)

AUD$38,500 Including GST

Ashley Bickerton

PST2

2018

oil and acrylic on jute in artist designed wood frame inlaid with mother of pearl, bamboo & found objects

221 x 241.5 x 13 cm

Wolfgang Tillmans

peninsula

2011

inkjet print mounted on aluminum, in artist’s frame

90.4 x 72.5 cm (framed: 95.8 x 77.9 x 3.3 cm)

Edition of 3 + 1 AP

USD 35,000.- + VAT

Louise Weaver

Beetle elytra

2008

Nylon wool, jute, linen, foil, synthetic polymer gloss medium

55.2 x 46.4

AUD$9,900

Ella Kruglyanskaya

Yapping Men

2018

Oil on linen

66 x 64 inches (167.6 x 162.6 cm)

$50,000

Tony Albert

Fight for your rights

2017

vintage playing cards and acrylic on Eric Jolliffe comic book pages

30.5 x 44.3 cm

AUD$3,300 Including GST

Preview video

Ella Kruglyanskaya

Horse and Carriage on Green

2018

Oil on linen

66 x 64 inches

(167.6 x 162.6 cm)

$50,000

Louise Weaver

Like a needle in moss (Turquoise)

2008

Nylon wool, jute, linen

122.2 x 102.2 cm

AUD$22,000

Rachel Harrison

The Legend

2015

Wood, metal, raincoat, telephone, polyester resin with fiberglass mask, costume beard, telephone book, and acrylic

223.5 x 85.1 x 82.6 cm

USD$225,000

Ceal Floyer

Umbrella

2018

C-print on alu-dibond

86 x 119.5 cm

Edition of 6

CF 221

€18,000

Julian Schnabel

North America

2007

oil on map and fabric, mounted on linen

205.7 x 165.7 cm frame

USD$200,000

Richard Wright

No Title

2017

Ink, watercolour and enamel on paper

30 x 25 cm

GBP 35,000 + VAT

USD 45,000 + VAT

Anne Collier

Black and White Crying Eye (Negative)

2017

C-print

136.84 x 92.1 x 3.97 cm framed

Edition of 5

USD 22,000 + VAT

Mark Leckey

NOBODADDY'S WET MAP

2018

Archival pigment

160.7 cm x 160.7 cm

framed 163.8 x 163.8 x 6.4 cm

Unique

USD$60,000

Daniel Silver

After Golden

2018

Portoro Marble

52 x 27.5 x 30 cm

£40,000 + VAT

Paul Yore

Art Is Theft

2016

Mixed media textile, beads, sequins, buttons

fringe and marker

100 x 110 cm (irreg)

AUD$8,900

Dinh Q. Lê

Fragile Springs

2012

portfolio of 10 silkscreen prints in a laser engraved aluminum box

14 x 17 inches each; edition of 21

USD$ 7,500

Louise Weaver

Object of the Sun

2009

hand crocheted lambswool over hand-turned Japanese birchwood, cedar wood, sequins, human hair, silk fabric, cotton thread, gold leaf, gesso, enamel paint, steel

71 x 32.5 x 12.5cm

AUD$22,000

Glenn Ligon

Debris Field #8

2018

Etching ink on canvas

289.6 x 223.5 cm

USD$500,000

Julian Schnabel

Strait of Georgia and Strait of Juan de Fuca

2007

oil on map mounted on linen

122 x 83.8 cm

136,8 x 99 cm frame

USD$65,000

Zhou Li

Lines

2017

Mixed media on canvas

200 x 300 cm

€40,000 ex VAT

Lee Ufan

Dialogue

2018

Oil on canvas

162 x 130 cm

Signed on bottom right edge of Recto

USD 300,000

Tony Cragg

Castor & Pollux

2016

Wood, appr. 250 kg

130 x 114 x 64 cm

€325,000

Sarah Lucas

Hunk of the Year

1990-1992

inkjet print on paper

site size: 305.5 x 224 cm

frame size: 325 x 241 x 9 cm 

price tbc

Doug Aitken

Eclipse (countdown)

2006-2007

Neon, wood, program and synchronizer

66 inches (167.6 cm) diameter

8 inches (20.3 cm) depth

Edition of 4

USD$125,000

Paul Yore

Art Is Fun

2016

Mixed media textile, beads, sequins and buttons

105 x 108 cm (irreg)

AUD$8,900

Starry Sky

2016

Archival inkjet print

69 x 120 cm

Edition of 6 + 2 AP

USD 7,500 excluding framing

Paul Yore

When Will It End

2016

wool needlepoint

47 x 28cm (irreg)

AUD$4,000

Katharina Grosse

o.T.

2017

acrylic on canvas, framed

290 x 193 cm

293 x 196 x 4.8 cm

unique

EUR 150,000

Paulina Olowska

The Premiere

2017

oil and acrylic on canvas

220 x 180 cm

USD$90,000

Kiki Kogelnik

Untitled (Still Life with Hand)

c. 1964

oil and acrylic on canvas

66.7 x 51 cm

USD 38,000

Rodney Graham

Cylindro - chromatic Abstraction Construction􀀃

2015

Acrylic gouache on wood

104.1 x 80 x 21.6 cm

USD$70,000

Amy Feldman

Bliss Amiss

2017

Acrylic on canvas

152.4 x 152.4 cm

USD$14,000

Annette Kelm

Helmholtz Sirene

2017

archival pigment print, framed

99.8 x 75 cm

102 x 77.2 x 4 cm

EUR 14,000

Trevor Paglen

Karnak (working title)

2018

three LE silver gelatine prints

80 x 40 inches (each)

203.2 x 101.6 cm

Daniel Boyd

Untitled (WTABP)

2017

oil, charcoal and archival glue on canvas

198.5 x 122 cm

AUD$30,000

Sanford Biggers

Just Us

2017

Vinyl banner

60 x 120 inches

152.4 x 304.8 cm

USD$45,000

Thomas Schütte

Eierkopf, halb

2014

Glazed ceramic

25 x 28 x 36 cm

NG3694

Thomas Struth

Notre-Dame, Paris

2000

Chromogenic print

186.37 x 229.55 x 6.35 cm

Edition of 10

USD$550,000