THE HALSEY MINOR COLLECTION - The Hook

THE HAL SEY MINOR COLLECTION
13 MAY 2 010 NEW YORK

THE HAL SEY MINOR COLLECTION
13 MAY 2 010 7pm NEW YORK
Lots 1-22
Front Cover Richard Prince, Nurse in Hollywood #4, 2004, Lot 8 (detail)
Back Cover Marc Newson, Prototype “Lockheed Lounge,” 1988, Lot 4
Viewing
Saturday 1 May, 10am – 6pm
Sunday 2 May, 12pm – 6pm
Monday 3 May, 10am – 6pm
Tuesday 4 May, 10am – 6pm
Wednesday 5 May, 10am – 6pm
Thursday 6 May, 10am – 6pm
Friday 7 May, 10am – 6pm
Saturday 8 May, 10am – 6pm
Sunday 9 May, 12pm – 6pm
Monday 10 May, 10am – 6pm
Tuesday 11 May, 10am – 6pm
Wednesday 12 May, 10am – 6pm
Thursday 13 May, 10am – 12pm

Collecting is about learning and it is developing
connoisseurship. It is an intense ongoing process
of education, and it is my mission to collect
only the best.
Halsey Minor

The boldness of Halsey Minor’s collecting vision lies in its identification of
energy, of a constant flow of ideas emanating from the questions art asks of
its viewers and of their place in the wider world. ‘Collecting is about learning
and it is developing connoisseurship,’ Minor has stated. ‘It is an intense
ongoing process of education, and it is my mission to collect only the best.’
Why people collect art is as straightforward and as complex as why
people fall in love. There are infinite reasons. For Halsey Minor, collecting
Contemporary Art and Design is a hunger that cannot be satisfied, a thirst
that cannot be quenched. It is the addiction to this nectar, to put together
one of the most formidable collections of Marc Newson and Ed Ruscha, for
instance that drives him. It is this story, narrated via 22 voices both daring
and subtle, that is being told this evening. It is a story whose themes are
written by many of the Postwar and Contemporary period’s iconic artists:
Ed Ruscha, John Baldessari, Takashi Murakami and designer Marc Newson,
but especially Richard Prince, the artist whose body of work is represented
here by three pieces headed by one of the collection’s indubitable stars
– the arresting Nurse in Hollywood #4, 2004. The 96 total works owned by
Minor constitute a collection of singular importance and one which Phillips
de Pury & Company is privileged to present this evening, as well as in our
forthcoming auctions of Contemporary Art Part II and Design.
The collecting life of Halsey Minor, founder of CNET and CEO of Minor
Ventures, has wholeheartedly embraced and passed through a number
of chapters – to date, American Modernism, Pop Art, cutting-edge
Contemporary Art and 20th-century design – and all have presented
themselves as discernible, even disparate, themes. However, there is very
little discontinuity present in Minor’s eye: the individual works are all linked
by the passionate focus that the collector has brought to his activity. Art is
an intangible asset of immense importance for it is the stimulus of an intense
and intimate conversation between its viewer and its maker, not something
simply of monetary value. Minor once spoke about his passion – art – in these
terms: ‘Whatever I do, I have to feel I rounded out the story – the collection –
about the artist. If I lose a piece, I lose the collection.’
Many of the works here this evening depict a fascination with the properties
of the world. Not simply an approximation of the world’s overt appearance
– as seen, perhaps in Ruscha’s mountain range of Higher Standards/Lower
Prices, 2007 – but what isn’t. And so we have (Ruscha again) an iconic
painting, Angry Because It’s Plaster, Not Milk, 1965, depicting the trompe
l’oeil of a bird tricked into thinking that a glass on its side is still filled with
something other than the solid form of its plaster milk; Marc Newson’s 1988
prototype Lockheed Lounge, a riveted piece of design that references not
only the classical divan, but hints, in a sleight of artistic alchemy, at the
sheer fluidity of mercury. Like Charlotte Perriand’s Bibliothèque Asymetrique,
ca 1958, or George Nakashima’s free-form Minguren I table, 1964, the
lynchpin joining the entire Minor collection is a dialogue of what is and what
isn’t. It is a dialogue that – like the shelves of Perriand’s Bibliothèque – is
eternally dynamic.
And while this evening’s sale marks the end of one single-owner collection,
Halsey Minor’s vision nevertheless continues.
Louise Gray, April 2010

1 RICHARD PRINCE b. 1949
Untitled (Almost Original), 2006
Gouache and graphite on board and book cover in artist’s metal frame. 37 x 33 in.
(94 x 83.8 cm). Signed and dated “R. Prince 06” on board; Signed and dated “R. Prince
2006” on the reverse.
Estimate $6 0,0 0 0 - 8 0,0 0 0
provenance Gladstone Gallery, New York
It is hard not to be attracted to a work by Richard Prince but explaining why
can prove more difficult. Fundamentally, the immediate attraction is about
seeing something easily recognizable whether it’s an old ad for liquor or
furniture, cigarette pushing cowboys, or other people’s girlfriends they are
all images we can decipher, but few are ones that have any recognizable
emotion invested in them. They are fundamentally mundane.
Like Duchamp and Warhol before him Prince is often playing a game in
which the artist is able to take that which is not “art” and make it so simply
by changing the intention. Prince makes an ordinary ad into an artwork by
photographing it and re-contextualizing it, subverting its original intention for
his own purpose. He carries on a continual taunting dialogue with an empty,
consumer driven society by taking images from advertising, low brow special
interest magazines, or disposable romance novels and recasting them as his
own. Through this action we are made to confront the meaningless of our
own production; as though he is saying “we cannot even make things that are
our own, everything can be reproduced as another’s’ and become theirs” or
even at an extreme “authorship is dead.”
In works that can be considered Nurses or more broadly grouped as works
dealing with “nurses” that underlying sexiness is everywhere. The pretty
nurses are always partly obscured, by uniforms, hats, masks or blood, while
the titles are straight from book covers that are meant to get a housewife
to make a quick supermarket decision to buy Nurse in Love or in this case
Celebrity Suite Nurse (what could be more commercial? Celebrity—we all
want to be one or sleep with one, Suite—fancy private clinic, Nurse—she has
it all). Yet they are not overt enough to be embarrassing, again the sexiness
is obscured and who knows how racy the stories are inside. Certainly the
imagery implies that this nurse is doing more for her patients and doctors
than setting out cups of aspirin.
Richard Prince conscripts us over and over because he plays with language
and images that are so basic and straightforward that we cannot help but
get the message. He then plays with that message and it takes on another
meaning or multiple meanings and becomes other. We become part of his
discourse, we are engaged with deciphering a deeper meaning within the
simplicity, within the mundane, we cannot help it we are engaged.
Alongside this dialogue is the other important element to Prince’s work,
underlying teenage boy prurience. So much of his work is imbued with this
particular sexuality, one that seems adolescent in nature, not necessarily
connected with sex acts but with the wink-wink-nudge-nudge of looking at a
stolen dirty magazine, where the excitement is that the possibility exists or the
inference of the possibility. It is not hard core porn or detailed sex acts; it is a
“dirty” joke that alludes to sex or a cartoonish biker babe mooning at a rally.

2 MARK GROTJAHN b. 1968
Untitled (Black Butterfly over Lime), 2004
Oil on linen. 36 x 29 in. (91.4 x 73.7 cm). Signed and dated “M.Grotjahn 04” twice on
the overlap.
Estimate $3 0 0,0 0 0 - 4 0 0,0 0 0
provenance Blum & Poe, Los Angeles; Private Collection
It’s something of a cliché to say that paintings conceal as much as they reveal
but so much in Grotjahn’s work seems buried under the skin, and so little is
ever really given away, that one bestows unusual significance upon the painterly
glitches and hiccups that occur. Apparently evidencing trial and error, the smears
of ink and pencil that litter the surfaces of his drawings lend them a work-a-day
honesty that, ironically, seems quite underhand – as if the artist was calling our
bluff. Revealed beneath the thick surfaces of his paintings are flashes of other
colours and traces of earlier activity in stark contrast to the chromatic sobriety
and measured pace of the ‘finished’ article – loosely applied acid yellow beneath
green, purple beneath black, for example. Where a second colour peeks through
at a vanishing point, celestial connotations are brought to the fore.
M.Coomer, “The Butterfly Effect”, ArtReview, Issue 03, September, 2006, p.76

3 FLORIAN MAIER-AICHEN b. 1973
Untitled (Mount Wilson), 2002
C-print. 63 1/2 x 81 3/8 in. (161.3 x 206.7 cm). Signed, dated “Florian Maier-Aichen 2002” and
numbered of six on the reverse.
Estimate $10 0,0 0 0 -15 0,0 0 0
provenance Blum & Poe, Los Angeles; Private collection, London
literature J. Tumler, “Outside the Frame: Florian Maier-Aichen,” Aperture, New York,
Summer 2007, p. 46
To place Florian Maier-Aichen, rather, inside the photograph is to place him
just about anywhere, as we are no longer dealing with a strictly delimited field
of operation. The so-called digital turn in photographic technology foretells the
emergence of the borderless image, dematerialized and ergonomic. Its contents
always exceed the frame -consider the “classic” overview of night-time Los
Angeles that Maier-Aichen regularly revisits, as a stand-in of sorts, notably in [the
present lot] Untitled (Mount Wilson), 2002. To represent the endlessly receding
landmass crisscrossed by gently flickering streets and freeways is to represent
information; the city as gigantic circuit-board advancing on all sides. Ed Ruscha,
who visualized it in much the same way, in 1987 went so far as to inscribe the
words “Talk Radio” over a painting of the luminous grid, specifying the electrically
charged atmosphere as the true subject of his work. In comparison with
Ruscha’s Talk Radio, the Maier-Aichen work is “silent” -but that is the source of
its particular strength, as these or any other words would only obscure the deepstructural
connection that it wants to mine between this city as subject matter
and the present condition of the photograph as its material substrate.
J. Tumler, “Outside the Frame,” Aperture, New York, Summer 2007, p. 46
Ed Ruscha Talk Radio, 1987

4 MARC NEWSON b. 1963
Prototype “Lockheed Lounge,” 1988
Fiberglass-reinforced polyester resin core, blind-riveted sheet aluminum, paint.
34 1/2 x 65 3/4 x 24 1/2 in. (87.6 x 167 x 62.2 cm). Handmade by Marc Newson at Basecraft
for Pod, Australia. Unique prototype with white feet in addition to the edition of ten plus
four artist’s proofs. Underside impressed with “BASECRAFT.”
Estimate $1,0 0 0,0 0 0 -1,50 0,0 0 0
provenance Marc Newson, Australia; Private Collection, Australia; Sotheby’s, Important
20th Century Design, New York, June 14, 2006, Lot 162; Sebastian + Barquet, New York
selected literature Davina Jackson, “Open the Pod Door,” Blueprint, February 1990,
pp. 28-29; Mario Romanelli, “Marc Newson: Progetti tra il 1987 e il 1990,” Domus, March
1990, p. 67; Alexander von Vegesack, et al., eds., 100 Masterpieces from the Vitra Design
Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, pp. 172-173; Mel
Byars, 50 Chairs: Innovations in Design and Materials, Crans-Prés-Celigny, 1997, pp. 94-97;
Alice Rawsthorn, Marc Newson, London, 1999, pp. 18-21; Charlotte and Peter Fiell, eds.,
1000 Chairs, Cologne, 2000, p. 605; Sarah Nichols, Aluminum by Design, exh. cat., Carnegie
Museum of Art, Pittsburgh, 2000, front and back covers and p. 264; Conway Lloyd Morgan,
Marc Newson, London, 2002, pp. 154-155; Benjamin Loyauté, “Le Design Aluminium au XXe
Siècle,” Connaissance des Arts, October 2003, p. 98; Marc Newson Pop On Pop Off, exh. cat.,
Groninger Museum, 2004, pp. 1 and 12-13; Steven Skov Holt and Mara Holt Skov, Blobjects
and Beyond: The New Fluidity in Design, San Francisco, 2005, p. 38; Phaidon Design Classics,
Volume Three, London, 2006, no. 860; Deyan Sudjic, The Language of Things, London, 2008,
front cover and pp. 206-207; Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art
Furniture, Basel, 2009, p. 249; David Linley, Charles Cator and Helen Chislett, Star Pieces: The
Enduring Beauty of Spectacular Furniture, New York, 2009, front cover and p. 198
The prototype “Lockheed Lounge” will be included as “MN-1LLW-1988” in
the forthcoming catalogue raisonné of limited editions by Marc Newson being
prepared by Didier Krzentowski of Galerie kreo, Paris.
The present prototype “Lockheed Lounge” is the only example with white
exposed fiberglass-reinforced polyester resin feet. All other examples have
rubber-coated black feet.
All examples of the “Lockheed Lounge” were built at Basecraft, a small
Sydney workshop where Newson developed his “LC1” chaise longue in
1985-1986. That chair was first exhibited at Roslyn Oxley9 Gallery in Sydney,
June 1986, and is now in the permanent collection of the Art Gallery of South
Australia, Adelaide. Although a markedly different chair, Newson’s “LC1”
led to the present form, the “Lockheed Lounge,” of which fifteen exist: the
prototype (the present lot), four artist’s proofs, and a further edition of ten.
Newson began producing “Lockheed Lounges” in 1988.
In the order of their acquisition, examples of the “Lockheed Lounge” are in
the permanent collections of the National Gallery of Victoria, Melbourne;
Powerhouse Museum, Sydney; Vitra Design Museum, Weil am Rhein; and
Carnegie Museum of Art, Pittsburgh.
Phillips de Pury & Company would like to thank Marc Newson and Didier
Krzentowski for their assistance in cataloging this lot. With regard to date,
description, manufacture, material, and catalogue raisonné number, this entry
supersedes all previous publications of this particular “Lockheed Lounge.”

At Sydney College of the Arts, Newson studied sculpture, jewelry, and
furniture design. In 1984 he graduated with the outlines of a plan: technical
materials, futurism, fluidity—and with inexperience, the burden of every
graduate. The following year he conceived his “LC1” chaise longue (a
precursor to the “Lockheed Lounge”), which he exhibited at the Roslyn
Oxley9 Gallery in Sydney in June 1986. Unsatisfied with the scrolling backrest
of that first chair, he refined its lines and arrived at the present form. Newson
shaped “Lockheed Lounge” from foam, as one would a surfboard “blank,”
with a wire brush and a Stanley Surform plane. His intention had been to
cover its fiberglass core with a single sheet of aluminum: “I tried laminating
it, but the thing fell apart…Eventually, I came up with the idea of beating little
pieces of metal into shape with a wooden mallet, and attaching them with
rivets.” (Alice Rawsthorn, Marc Newson, London, 1999, p. 5)
In 1943 the Lockheed Corporation transformed air travel by christening its
L049 Constellation, a radical airliner capable of transatlantic runs at 300 mph.
Nearly a half century later, Newson transformed the design market with his
coyly named “LC1” chaise lounge, an immediate critical success (purchased
by the Art Gallery of South Australia). But like the Constellation—a propellerdriven
plane—Marc Newson had not yet achieved Mach 1 speeds. The handwrought
curves of his chair hint at fundamental human limitations while
simultaneously suggesting the perfection of industrial processes. “Lockheed
Lounge,” a paragon of youthful ambition, engendered all of Newson’s later
preoccupations with flow and speed.
A hallmark of Newson’s later work is “seamlessness,” to borrow from Louise
Neri. Smoothness triumphs: neither joint nor junction disrupts the contours
of his Alessi tray, for example, or his extruded marble tables shown at
Gagosian Gallery in 2007. “Lockheed Lounge,” furrowed with seams, beguiles
for the opposite reason: imperfection. Flat-head rivets literally and visually
suture together a patchwork of aluminum. Coarse seams betray Newson’s
limitations, but the chair’s fluid silhouette affirms its maker’s search for a
clear ideal. At its core—fiberglass-reinforced polyester resin—“Lockheed
Lounge” is seamless.

5 TAKASHI MURAKAMI b. 1963
Flower Ball (3-D) Kindergarten, 2007
Acrylic and platinum leaf on canvas mounted on board. Diameter: 39 1/2 in. (100.3 cm).
Signed and dated “Takashi 06” on the reverse.
Estimate $40 0,0 0 0 - 6 0 0,0 0 0
provenance Acquired directly from the artist; Gagosian Gallery, New York; John
Berggruen Gallery, San Francisco
© 2007 Takashi Murakami / Kai Kai KiKi Co., Ltd.
All Rights Reserved
Once every two days, I would buy flowers for my lesson and make compositions
for my students to work on. At the beginning, to be frank, I didn’t like flowers,
but as I continued teaching in the school, my feelings changed: their smell, their
shape-- it all made me feel almost physically sick, and at the same time I found
them very ‘cute’. Each one seemed to have its own feelings, its own personality.
My dominant feeling was one of unease, but I liked that sensation. And these
days, now that I draw flowers rather frequently, that sensation has come back
very vividly. I find them just as pretty, just as disturbing. At the same time there
is this strength in them; it is the same image of strength I find when drawing
the human face. So I thought that if the opportunity arose, I would pretty much
like to make a work in which I would represent them as if in a ‘crowd scene’, in
the manner of these scenes of moving crowds that you see in films. […] I really
wanted to convey this impression of unease, of the threatening aspect of an
approaching crowd…
Takashi Murakami in H. Kelmachter, Takashi Murakami Kaikai Kiki, Paris,
2002, p. 84-85
The Japanese art-world superstar Takashi Murakami is known for his
energetic fusion of 18th and 19th century Japanese artistic canons with
modern-day Japanese social movements such as the culture of “manga”.
“Manga”, characterized by the notion of”kawaii” or “cuteness”, is expressed
through various forms of digital media, most notably the cartoonish, hyperrealistic
animae films. The present lot was inspired by Murakami’s artistic
heritage as a student of the art of nihon-ga or “Japanese-style” painting. This
concept, which focuses on keeping alive Japanese artistic traditions such
as painting flowers, was initially developed as a reaction to the increasing
influence of Western culture in Japan during the 19th century. Murakami
often notes that he owes much of his artistic aesthetic to the rich and
turbulent history of his native country paired with the explosion of global
connectivity and access to information that has defined contemporary
society the past twenty years. By mining his personal and artistic heritage,
a dazzling array of Eastern and Western traditions, Murakami has combined
these to develop a unique aesthetic which has generated instantly
recognizable images and icons. Murakami perfectly exemplifies the artist
as a global brand, spanning a range of admirers from varying nationalities,
social classes and ethnicities the world over.
Takashi Murakami Kiki, 2000
© 2000 Takashi Murakami/Kaikai Kiki Co.,
Ltd. All Rights Reserved.

6 MARC NEWSON b. 1963
Prototype “Pod of Drawers,” 1987
Fiberglass-reinforced polyester resin core, blind-riveted sheet aluminum, paint.
50 3/4 x 27 1/2 x 18 1/2 in. (128.9 x 69.9 x 47 cm). Handmade by Marc Newson at Basecraft for
Pod, Australia. Unique prototype with white feet in addition to the edition of ten plus two
artist’s proofs.
Estimate $5 0 0,0 0 0 -70 0,0 0 0
provenance Marc Newson, Australia; Galerie kreo, Paris
literature Mario Romanelli, ”Marc Newson: Progetti tra il 1987 e il 1990,” Domus, March
1990, p. 67; Alice Rawsthorn, Marc Newson, London, 1999, p. 23; Hilary Jay, “Rising Design
Stars,” Art and Antiques, April 2001, p. 61; Stephen Crafti, Request.Response.Reaction. The
Designers of Australia & New Zealand, Victoria, 2002, p. 86; Conway Lloyd Morgan, Marc
Newson, London, 2003, p. 166; Béatrice Salmon, ed., Masterpieces of the Museum of Decorative
Arts, Paris, 2006, pp. 205-206; Julie Brener and Sarah Douglas, “Dealer’s Choice,” Art +
Auction, September 2008, p. 172
Thirteen “Pod of Drawers” exist: one example with white feet (the present
lot), two artist’s proofs, and a further edition of ten.
The prototype “Pod of Drawers” will be included as “MN - 1PODW - 1987” in
the forthcoming catalogue raisonné of limited editions by Marc Newson being
prepared by Didier Krzentowski of Galerie kreo, Paris.
Phillips de Pury & Company would like to thank Marc Newson and Didier
Krzentowski for their assistance in cataloging this lot.
Who can resist a good figure? Not Marc Newson. Since first riveting “Pod of
Drawers” in 1987, he has returned again and again to the hourglass shape as
inspiration for much of his work: “Lockheed Lounge,” “Embryos,” “Orgone
Lounges.” Airplanes, cars, and surfboards are metaphors for Newson, their
construction and materials a common point of departure, but the human
torso is as fertile a seed for his imagination. Newson is at heart organic,
in the vital not voguish sense. The seat and backrest of his “Felt Chair”
stretches and bends like a torso. His related “Wicker Lounge” recalls a nubile
in repose, or two. Both “Pod of Drawers” and “Lockheed Lounge” set the
stage for these later works. Even his everyday products—pepper grinders,
bath pillows, bottle openers, doorstops—are buxom. Objects resonate when
they relate to us. A Newson maxim might read: one must mimic the body to
hold the body.

7 ED RUSCHA b. 1937
Higher Standards/Lower Prices, 2007
Acrylic on canvas in two parts. 48 x 110 in. (121.9 x 279.4 cm) each. Signed, titled and dated
“Ed Ruscha ‘Higher Standards’ 2007” on the reverse of the left panel; signed, titled and
dated “Ed Ruscha ‘Lower Prices’ 2007” on the reverse of the right panel. This work will be
included in a forthcoming volume of Edward Ruscha: Catalogue Raisonné of the Paintings.
Estimate $1,50 0,0 0 0 -2,50 0,0 0 0
provenance Gagosian Gallery, London
exhibited London, Gagosian Gallery, Ed Ruscha: Paintings, February 5 – March 20, 2008
literature B. Fer, Ed Ruscha: Paintings, Ostfildern, 2008, n.p. (illustrated); B. Schwabsky,
“Ed Ruscha: Talks About His Most Recent Paintings,” Artforum, New York, 2008, p. 358
(illustrated)
I was searching for a title and I saw this slogan
on a grocery truck in LA. In the second of the two
paintings these buildings suddenly shoot up out
of nowhere like an instant industrial village of
Wal-Marts and Costcos—so that says to me lower
prices. But then you have your higher standards—
there’s some serious geology going on in those
mountains.
Ed Ruscha in O. Ward, “Ed Ruscha: Interview,” Time Out, London, 2007

Andy Warhol Paramount, 1985 © 2010 The Andy Warhol Foundation for the
Visual Arts, Inc./Artists Rights Society (ARS), New York
Ed Ruscha’s response when asked what inspired the title of the present work,
Higher Standards/Lower Prices, epitomizes his artistic career. Ruscha’s art
tends to have a timeless quality to it, somehow managing to stay incredibly
relevant without tying itself too much to one particular decade or movement.
He culls inspiration from day to day American culture – in this case, the
supersize stores and billboards that span the country. These symbols of
consumer culture are as deeply rooted in the American vernacular as the
mountains Ruscha paints. And what incredible mountains he paints. The
towering white peaks he gives us are beautiful studies in geology and
technique, deriving from a recognizable amalgam of famous mountains and
hinting towards a long history of art historical relevance on the subject.
Much in the same way that the words thematically vandalize nature in these
earlier mountain paintings, so do the buildings in the present work. The
strength of Higher Standards/Lower Prices begins with the juxtaposition of the
two panels next to each other. The diptychs is a comparative study. In both
panels, the snow capped peaks of his mountains sparkle in warm sunlight
under contrasting ashen sky. They remain wonderfully unadulterated in the
first panel however, in the second panel the tops of two unrealistically tall
buildings begin to obstruct the view of the mountains. The building rooftops
are oddly and jarringly out of place against this pristine background. The
way the rooftops appear to hover in the lower plane of the canvas creates a
dynamically active canvas, as if they could, at any moment, continue to rise.
Mountain imagery has always served as a visual shorthand for the sublime, from
the pantheist canvases of Caspar David Friedrich and the Catskills of the Hudson
River School to Ansel Adams’s photographs of the Rockies . Mountains, in their
everyday untouchability, still seem like residences for the gods. But Ruscha
resists knee-jerk spiritualism (and, one might argue, his own often mentioned
dormant Catholicism) by emblazoning slogans that render the scenes absurd.
M. Schwendener, “Ed Ruscha – Reviews”, ArtForum, New York , November,
2002
Ruscha is perhaps most widely known for his word paintings which he
began in the 1960s. His clever word associations pop off brightly colored
canvases daring the viewer to react. They range from one-off declarations
such as OOF, LISP, Noise to longer phrases that cause the viewer to take
a momentary puzzled pause. Ruscha would stumble upon these words,
considering them to be his own version of Duchampian readymades. When
the words began to invade his mountain paintings the result was boldly
striking and beautifully absurd. The mountains receded to the background
while statements such as THE and CO. threw themselves at the front of the
plane with big, look-at-me lettering making it impossible not to enjoy these
clever combinations.
This work is part of a series of seven works created by Ruscha in 2007. The
presumably gargantuan size of these fictitious buildings speaks to how
commercialism and consumerism are slowly encroaching on the natural
world. This work is about before and after and the passage of time.
The presence of these man-made structures is unnatural and harsh yet they
accurately reflect the effect that our consumer-driven culture has on the
dwindling unspoiled natural world. These megastores are empires in their
own right and have left an indelible imprint on our world. The unblemished
views of these pristine monuments are slowly being encroached upon by
sprawling suburban strip malls and colossal super stores. “The buildings
violate the beauty of these mountains,” says Ruscha. “It’s kind of a comment
on the rolling thunder of change. It’s only a matter of time before everything
decays and rapidly disintegrates.” He pauses, then chuckles. “But I’m not
a nihilist! I do have optimism towards the future” (A. Sooke, “Ed Ruscha:
Painting’s maverick man of letters,” Telegraph, February 9, 2008).
The present work makes a much subtler but much more powerful statement
than some of Ruscha’s more overtly bold pieces. Without specifically
knowing the roots of Ruscha’s inspiration, the viewer would be hard-pressed
to specifically identify the structures occupying the forefront of this canvas.
The abstraction with which he renders the buildings is classic Ruscha – he
doesn’t give us too much but just enough to trigger our imaginations and
associations. The subtlety of this rendering allows this painting to leave a far
more substantial imprint on the viewer and make a much stronger statement
on the condition of our world. If Ruscha had chosen to write the names of the
stores across the front of the works as he did with his Standard gas stations
or his Hollywood signs, the effect would have been entirely different.
Ruscha’s mountain ranges suggest some of the world’s most famous peaks
from Mt. Everest to the Matterhorn. They also suggest fictitious mountains,
such as the Paramount Pictures emblem, which are just as famous. The
Paramount emblem is said to have derived from a casual sketch done by the
W. W. Hodkinson, founder of the studio. This simple drawing was based
on his own personal vernacular from a childhood spent in Utah. In much
the same way, Ruscha’s mountains are amalgams of memories and derived
images of the real and the invented.
Georgia O’Keefe Datura Pedernal, 1940 © Georgia O’Keefe Museum/Artists Rights Society
(ARS), New York

Paul Cézanne, Mont-Sainte Victoire, 1888-1890
This very subject has inspired a far-ranging group of artists from Andy
Warhol’s pop representations of the Paramount logo to Georgia O’Keefe’s
evocative canvases of brilliantly pastel-hued mountain ranges. Like Warhol,
Ruscha has been classified as a pop artist but unlike Warhol, he does not
epitomize the movement. His art bears a surrealist influence with its appeal
to the subconscious interpretation of its symbolism. He dips his toes into
Dadaism, frequently addressing the influence that Marcel Duchamp had on
his art. Perhaps, more subconsciously, one can also see the influence of
Rene Magritte on his work, in particular on the word paintings.
Ed Ruscha is easily among the most ingenious artists of the 20th century.
Higher Standards/Lower Price is a stunning diptych which speaks to his
incredible far-reaching vision as an artist, touching on both the malaise and
beauty of our transience and permanent footstep on this world.
In a 2005 interview with Richard Prince, Ruscha and Prince banter back and
forth regarding art and their inspiration for it:
ER: I love to look “at” things that I would normally look through or beyond, but
I guess I can’t always be at attention. I want to be up to speed when an idea
kicks in, but often I’m half asleep or half awake.
RP: Is it newspapers, novels, comic books, fiction, biographies, or histories
for you?
ER: I read newspapers, nature, geology, and science books, some sci-fi, J.G.
Ballard, H.P. Lovecraft, Philip K. Dick, and John Fante. I just finished The
Adventures of Huckleberry Finn.
RP: You’ve influenced a lot of other artists. What do you think about the idea
of continuation?
ER: Continuation in the realm of art is a solid idea. Artists express things for
the moment to be added upon later by others, or maybe reexpressed or even
reused. Fodder for the future. We’re all frozen food for the future.
RP: I’ve never thought there was such a thing as pop art, but if I did I would
boil it down to two artists—you and Warhol. Warhol, East coast; Ruscha,
West coast.
RP: I like that you photograph gasoline stations and apartment buildings
and then paint them too. It’s kind of like you own them. Walker Evans said
something like, “I photograph what I collect.” Do you ever go beachcombing?
ER: I believe that cultural curators will forever be unearthing significant
unknown American artists, writers, musicians, architects, and composers.
These people will be in every state of the Union, not just New York, Chicago,
or L.A. Am I dreaming?
ER: I do collect images in my mind of many gas stations. They sit there,
sometimes transformed into mini-markets or massage parlors or just
abandoned completely. Some I haven’t seen in over 40 years--funny, I don’t
own the things I collect.
RP: I collect your books. I have almost all of them. I even have a great copy of
Dutch Details. Pools and parking lots are so much about where you live. Only
in Los Angeles. I really love the photos of the empty parking lots. Anybody
doing abstract art should take a long look. Do you ever wonder what else is
out there that you’ve seen but never really see? I guess what I’m trying to say
is, When does something like parking lots kick in?
RP: I read somewhere that you think the best paintings are not the most
realistic.
ER: All my life I’ve been thrown by the word “realistic”--I think I said I’m
essentially an abstract artist.
R. Prince, “Interview: Richard Prince with Ed Ruscha (2005),” American
Suburb X, (Online content) July 2005
Ed Ruscha, Standard Station, 1966

8 RICHARD PRINCE b. 1949
Nurse in Hollywood #4, 2004
Acrylic and inkjet on canvas. 69 x 42 in. (175.3 106.7 cm). Signed, titled and dated “2004 R.
Prince Nurse in Hollywood #4” on the overlap.
Estimate $5,0 0 0,0 0 0 -7,0 0 0,0 0 0
provenance Gladstone Gallery, New York; The Collection of Steven and Alexandra
Cohen, Connecticut
When a Hollywood producer ‘discovers’ nursing
student Kitty Walters he asks her t0 choose:
her dream of becoming a R.N. or every girl’s
DREAM OF BECOMING A STAR.
J. Converse, Nurse in Hollywood, New York, 1965
Book cover source material for artist.

Andy Warhol, Grace Kelly, 1984 © 2010 The Andy Warhol
Foundation for the Visual Arts, Inc./Artists Rights Society
(ARS), New York
“A nurse!” the red-haired dynamo with the crew cut shouted
ecstatically to no one in particular. “This doll’s a nurse!”
J. Converse, Nurse in Hollywood, New York, 1965, p. 18
The Nurse. She is historically typecast as an icon of goodness, a benevolent
caregiver and healer. However the 20th century has played with that role and
eroticized it, casting her as a different character: a lustful and naughty object
of sexual desire. It is this striking tension between the good and the wicked
that Richard Prince so astutely captures in his Nurse series and what makes
these works such intriguing and sought after paintings.
Richard Prince. The name alone conjures up a whirlwind of images, all
indelibly cemented in the culture of American kitsch and mass media. One
cannot hear his name without picturing his most recognizable icons: the
cowboy, the Marlboro Man and of course, his most coveted, the Nurse.
The visual iconography of Prince’s work over the last thirty years spans
the gamut of the American vernacular from the opulent to the seedy. His
early photographic representations of lavish luxury items remarked on
consumerism while those of almost-naked women splayed across their
boyfriends’ motorcycles addressed overt sexuality and gender roles. From his
early unadulterated snapshots of cigarette ads to his latest painterly homage
to de Kooning, his art re-appropriates and re-imagines what art means and
what it can be. Nurse in Hollywood # 4 is the apotheosis of this varied and
exceptional career, and is easily the finest piece from his Nurse series.
Prince began his artistic career at Time-Life magazine, clipping articles
of potential interest for the writers. What remained, most would have
considered useless scraps, but instead Prince saw ready-made art. The
simplicity of his genius lay in taking (or in his own words, stealing) these
un-authored images, re-photographing them and calling them art. The
comparison to the pioneering Marcel Duchamp is powerful and significant.
In the same way that Duchamp challenged the preconceptions of the artistic
process and of what could be labeled as art for his generation, so does Prince
for ours. Duchamp said of his first readymade, the famous Bicycle Wheel,
that he “created” it because he enjoyed looking at it. This is a fundamental
principle of Prince’s art and is evident in all of his work. Richard Prince
believes art should make people feel good and so he creates what he likes.
He first exhibited the Nurse series in 2003 at Barbara Gladstone Gallery in
New York. The show sold out of these highly coveted paintings even before
it officially opened. In his introductory essay for the catalogue, Matthew
Collings surmises on Prince’s attraction to this new subject:
Some of these nurse’s are blind! Maybe it’s because he’s noticed there’s
something going on generally in the series to do with veiled or masked or
restrained feeling, and so he occasionally experiments with emphasizing
blindness […] And I suppose he gets [the nurses] from book jacket illustrations
because he likes the sexy stream in modern ordinary talk, and in ordinary
entertainment—he wants to stay close to home. He says a Nurse sometimes
emerges fully formed, more or less without struggle. Other times it might be the
end of the day, the kids have had their dinner, he’s had some wine, he goes in the
studio, puts on Cream or the Velvet Underground, looks at what he did earlier,
feels good, gets painting again and then completely mucks it up.
Nurse in Hollywood #4, is not only the most important painting from this
series but is also one of Prince’s most glamorous, direct and stunning ones.
The viewer experiences sheer pleasure in looking at it. The work is based
on the 1965 Jane Converse novel whose spoiler reads: “When a Hollywood
producer ‘discovers’ nursing student Kitty Walters he asks her to choose:
her dream of becoming a R.N. or every girl’s dream of becoming a star.” In
Prince’s painting she does not have to choose: she embodies both the pure
and wholesome nurse ready to fill her professional role and the undone vamp
with come-hither eyes ready to fill her fantasized role.
Is she a muffled virgin or a brazen vixen? Both. Prince’s nurses are
anonymous amalgams of female typecasts from the sexy pinup girl to the
pure Florence Nightingale, from virgins to nymphomaniacs, from angels of
mercy to angels of death and from Hollywood to Washington. They emerge
from the canvas as both predator and prey, all players in the game of sexual
desire. The story of Converse’s nurse continues on the back cover of her
book, “Her ash-blond hair. Her big brown eyes. Her pert figure. These
were only frosting to her personality – personality that was pure whistle
bait. So what if Kitty Walters was a nursing student just three months short
of graduating? So what if her idea of heaven was the symbol R.N. pinned
on a starched white uniform? Phil Harlan wasn’t called “Boy Wonder” for
nothing. He was dynamic, magnetic, charming, a glib Svengali whose record
of convincing was 100 percent. Phil Harlan would have no trouble turning
a dedicated would-be nurse into a determined Hollywood starlet. At least
that’s what Phil Harlan thought…”
Andy Warhol, Self-Portrait, 1986 © 2010 The Andy Warhol Foundation for
the Visual Arts, Inc./Artists Rights Society (ARS), New York

Ed Ruscha Hollywood, 1982. Collection of Laurence Graff, Gstaad
Converse’s Hollywood Nurse must decide between following her passion
of becoming a nurse or falling into the temptations and peril of Hollywood
glamour. Of course she must also choose between lovers along the way.
Richard Prince’s nurse is a bit bolder than her namesake and the story
becomes all about the nurse, our main character, without the distraction of
her male suitor leering over her shoulder on the original cover. By obscuring
the man with heavy swaths of paint, Prince leaves the viewer alone with our
nurse. His brush transforms the original cover (which has been scanned,
printed and enlarged onto canvas) with layer upon layer of rich pigment until
all that remains are the nurse and the moniker. He uses lush strokes and
drips of paint ranging in color from hot bright hues of magenta and turquoise
reminiscent of the 1960s to, in this case, darkly mysterious deeper tones of
plums, navy blues and chocolate browns. The present work very much pays
homage to the canvases of Mark Rothko in both treatment and color. This
painterly, layered background creates a potent shadowed stage set from
which the now displaced nurse emerges.
Glowing above her, like the Hollywood sign, the title of this work beckons the
viewer in—with just one word, evoking a place of seduction and glamour
where anything is possible. This symbolism of Hollywood also makes a
heady statement to the power and seductiveness of fame and how far people
are willing to go to achieve it. This very subject has captured the imagination
of some of the most famous artists of the last thirty years including Andy
Warhol and Ed Ruscha. Like Ruscha, Prince has always been interested in
the correlation between image and text. He began incorporating words into
his photographs in the mid-1970s and then devoted entire canvases to his
Joke paintings. It is no surprise then that the title of the book plays such an
integral role in his nurse paintings. Without them, she would have no context
other than being a beautiful (or in some cases, sinister), floating figure. The
words build a framework around her and create a story and association that
continues to unfold every time the viewer looks at the canvas.
Nurse in Hollywood’s striking resemblance to Grace Kelly, a Hollywood icon
and beacon of elegance, femininity and beauty is unmistakable. Captured
by Warhol in one of his famous pieces, the likeness becomes even more
apparent. Grace Kelly is a woman beyond compare and so is this nurse.
Prince has given her the liberty of eye contact, something not garnered
upon his other nurses whose eyes are generally either averted or covered
by a diaphanous veil of white paint. Her brilliant blue eyes and penetrating,
direct gaze is confident and overt yet not aggressive, much like the actress
herself. The glimmer of seduction hinted at by her eyes is metered by the
fact that her eyes are her only means of expression. The mask protects her
anonymity but also defaces and silences her. The viewer longs to see what
expression she is hiding beneath it and this only heightens the innuendo
and drama of the canvas. The darker side of Hollywood, fame and beauty are
hinted at by the blood-like drips of burgundy and purple paint that trickle off
of her mask and down her shoulders evoking the much gorier side of nursing.
Her glowing presence on the canvas stands in high contrast to the shadowy
background. She emerges from this rich dark brown set in vibrant strokes
of icy lavender and juicy reds. She stops at the front of the picture plane,
addressing the viewer with a smoldering stare, her startling blue eyes and
white face possessing both an ephemeral beauty and a sinister ghostliness.
What is perhaps most striking about the Nurse in Hollywood #4 is that she
is cast to appear more like a doctor, further questioning the gender roles
made so poignant by this series. Scrubs have replaced her starched white
uniform and her nursing cap is replaced by a surgical cap which covers her
hair. All vestiges of femininity, lust and sex are seemingly covered in this
painting (except for her eyes) yet instead of dampening the seductive
appeal of the work, it heightens it. She is a glamorous Hollywood character,
a nurse in disguise.
Always the provocateur, Prince’s art is all about desire. It represents
covetousness, of a beautiful woman or of an alpha male, of a luxury watch
or a perfectly appointed living room, of sex or of words. The desire is never
left unadulterated however – there is always an element of subversion or of
something ever-so-slightly out of reach that brings such power to his work.
There is always a hint of irony and a sense of humor in Prince’s paintings. A
somewhat mysterious figure himself, we can never be quite sure of exactly
how ironic Prince is trying to be and this leaves the viewer even more
absorbed by his art.
The nurse is a beautiful representation of a fantasy based in reality—a
composite embodiment of our culture’s overactive imaginations and cravings.
It is an outdated perception yet still holds weight in today’s culture. Therein
lays Prince’s strength—his ability to timelessly capture these flash moments
in the American cultural vernacular and make them modern. Prince has
doctored his nurses so they seem both delicate and glamorous yet still
portray an element of delicious vice. And this is exactly what he is so known
for—he takes the seemingly banal and elevates it to cult status, creating
aesthetically stunning pieces that address the divergence between what is
real and what is created. Layered with this depth, Nurse in Hollywood #4 is a
seminal piece—Prince has created art for art’s sake and just as he intended,
this painting is a provocatively brilliant piece that you just love to look at.

RICHARD PRINCE by Karen Wright
In the summer of 2002 I conducted an email interview with Richard Prince.
I hadn’t met him at this time, but I was not surprised when our conversation
turned out to be filled with wild flights of fancy. Prince’s works, not just his
joke paintings, illustrate a dry humor. When I had asked him the obvious
question, ‘What paintings – as well as jokes – was he working on?’ his
emailed response was, ‘I’m painting nurses. I like their hats. Their aprons.
Their shoes. My mother was a nurse. My grandmother and two cousins were
nurses. I collect nurse books. Paperback books you can’t miss them. They’re
all over the airport. I like the words “nurse”, “nurses”, “nursing”.’
I admit in some way I took him at face value at the time, even though Richard
is famous for never telling the truth – at least in biographies. I was surprised
when, in the spring of 2003, I received a phone call from gallerist Sadie Coles
to tell me he had dedicated this series to Modern Painters (the magazine
I was editing at the time). The actual dedication is ‘and thanks to Modern
Painters, who last summer asked in an interview “What are you doing next?”
And I thought for a moment, “Well, I’m doing Nurse paintings”. And of course
to tell the truth I made it all up….’
Back in the main house signs of Richard’s collecting fervor are everywhere.
We sit in chairs in front of an Andy Warhol car crash painting that is
surrounded by part of his extensive book collection, many with luridly
colorful covers. I point at the Warhol and say he had an obvious influence on
you, didn’t he? Prince adroitly deflects the question. ‘[Willem] de Kooning
was the guy,’ he says. ‘When I was really young, the real influences on me
were land artist [Robert] Smithson, [Donald] Judd and [Carl] Andre who
influenced how I thought when I was introduced to their work when I was 19
or 20.” He shrugs. “Cézanne or Picasso, they’re all working for me as well,’ he
concludes.
Prince’s first act of thieving or ‘appropriation’ was photographic. In 1977
he took the then radical step of photographing an existing photograph and
calling it his own. The images, advertisements for watches, handbags and,
most dramatically, for cigarettes had their logos and strap lines removed and
were presented as original works of art. These works are now an iconic part
of the canon, one recently on a stand in Art Basel 2009 had the impressive
price tag of $2 million.
Several years later I am invited to the Prince studio. Prince lives in upstate
New York near the town of Rensselaerville where he moved to in 1996 after
leaving New York City. Finding the studio is not easy as I juggle complicated
written directions on ever-narrowing and unmarked roads. I get confirmation
that I am on the right road when a large aluminum building resembling
an airplane hanger looms up, flanked by imposing sculptures. I seek
reassurance from some affable-looking men wielding noisy power tools. They
point, ‘Down the road’, ‘the brown building is the studio’.
Eventually I come to the complex, which contains not only the brown studio,
which looks like an outsized toy wood cabin but also the modest white ranch
house where Richard lives with his wife and two children. The dead giveaway
that I am in the right place lolls on the step, a stone painted with the words,
‘Help! I’m a rock’.
Prince is summoned and takes me back up the road to the automobile shop,
instantly becoming absorbed into a discussion with his two assistants while
huddled around a shiny black hood sculpture leaving me alone to wander
around the large double height space. In one corner is a drum set, in another
a large totem-style sculpture, comprised entirely of empty beer tins. (The
latter I later see in the Chocolate Factory in Moscow at Larry Gagosian’s
opening). On the floor lies a large plastic bubble enclosing an improbably
fluorescent pink naked lady.
There are also several cars thickly clothed in cement, as well as a jaunty red
sports car. I overhear Prince saying to his team, ‘more distressed around the
edges’ before he rejoins me. Around the back of the space is a large gallery
which features the works which have made him an easily recognizable artist
– a joke work, a luminous photograph of a cowboy, a nurse and a car work
and also part of his personal collection, a Damien Hirst vitrine of cigarette
butts, a Christopher Wool black-and-white painting, a group of Fishli & Weiss
figurative sculptures and a David Hammond installation of dog food cans on
the floor. There is also a collection of iconic design, including a Jean Prouvé
sideboard that Richard has transformed into his own work by screwing a
double-sided frame onto the side of it.
‘I am using the furniture as a pedestal,’ Richard explains. He gestures
towards another piece. ‘I started showing the books on top of the desks and
now I am screwing them down onto the tops. The collector gets the entire
thing including the furniture.’ I ask him about collecting. ‘Collecting enriches
my life and feeds into the art. I never really trust artists who don’t collect. It
says something about their intellect, Clyfford Still was the only artist I know
who only collected his own works’. He continues, ‘It’s important to have other
artists around’. He says sternly, ‘If an artist doesn’t read, he’s stupid. If he
can’t write a paragraph it shows up in the work.’
I stand before a new collage work of Sid Vicious made entirely of images of
the punk singer printed on the check slips that Prince has been using in his
joke paintings for the last few years. He has been experimenting, he says.
‘When you apply paint to the checks, it is uncontrollable and messy and you
don’t know what will happen.’ It leads to the ‘uncontrollable incident’ that
Prince likes. I ask why he has used this technique for the subject, and he says
curtly, ‘Sid didn’t need a joke!’
Richard says his next big idea after the photograph was the joke. “My first
joke was in 1986,” he recounts. ‘I went to a psychiatrist. He said, “Tell me
everything.” I did and now he’s doing my act. It’s still funny! It was a handwritten
joke and it was just opened things up. It was a way of stepping off the
art train. It was ego, chutzpah, and confidence.” He smiles. ‘If I had seen it in
a gallery by another artist, I would have been jealous!’
Recently, Richard designed a successful series of handbags for Marc Jacobs
for Louis Vuitton. Some are displayed in the studio on the bookshelves
containing his book collection. I ask about them and he says somewhat
morosely, ‘I didn’t know anything about handbags, but now I do.’
He perks up. ‘Let me show you the ones I ripped off!’
I laugh, genuinely shocked. ‘You ripped off your own handbags?’
‘Yes, of course!’ he says, surprised by the question. ‘I have been
appropriating for 30 year.’ Richard’s originals are more raw and beautiful to
me than the Vuitton ones; I covet one but they are quickly returned out of
view.
There is a nurse painting on the back gallery of the studio. We pause in front
of it and Richard muses: ‘I had to buy it back from Christie’s auction house in
London for a lot of money. I never thought I would have to buy a painting back
for a fortune.’ He continues acknowledging their importance. ‘The nurse
replaced the cowboy. I started doing them by collecting the books. There are
so many different ways to paint them. The mask was the contribution, the
common feature. You can paint them bleeding through them!’
Richard has moved on from nurses, focusing for the moment on series of
the de Kooning works that first appeared in the Guggenheim retrospective
in 2007. There is one in progress on the wall behind me and Richard keeps
looking at it. ‘It’s not right yet,’ he says. The girls – ‘cut-out Prince girls’ – that
are hung on it are not the right proportion. ‘Her leg is too long,’ he says and
in a showmanship move, jumps up, and brandishing a large pair of scissors,
cuts off half of a leg. ‘They are works in progress,’ he says. ‘They will be
glued down and given de Kooning mouths and eyes.’ It reminds me of what
he has said to me before: ‘The subject matter is important, the medium is
just a skill.’
It is the mantra of the conceptual artist and suits Prince’s canon well.
As I leave to travel back to New York City, Richard is already totally engaged
with the painting on the wall. I wonder how much of the answers to the
questions have been honest this time. Prince is famous for never answering a
question in the way you expect. The only part of his biography that is thought
to be correct is that he was born in the Panama Canal Zone in 1949. His most
touching words of the afternoon resonate in my ears validating this history
as I retrace my way down the bumpy roads to increasingly wider smoother
roads. ‘I am almost 60’ and ‘I want to have a conversation with de Kooning,
someone I really respect.’

9 CHARLOTTE PERRIAND 1903-1999
Important “Bibliothèque Murale,” ca. 1958
Oak, bent aluminum. 52 1/4 x 126 x 12 1/2 in. (132.7 x 320 x 31.8 cm). Produced by Les Ateliers
Jean Prouvé for Galerie Steph Simon, France.
Estimate $10 0,0 0 0 -15 0,0 0 0
provenance Prouvé Family, Nancy, France; Galerie Jousse Entreprise, Paris; Steven
Volpe Design, San Francisco, California
literature Charlotte Perriand and Fernand Leger, Charlotte Perriand, Fernand Leger, une
connivence, Biot, 1999, pg. 59; Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris,
2005, pp. 420-425 for similar examples
Although never a couple, Charlotte Perriand and Jean Prouvé stood handin-hand
at midcentury, the pragmatic parents of postwar modernism in
France. Together they devised economic solutions to the problems of daily
life in everyday places: dormitories, locker rooms, apartments, offices. Their
unadorned furniture, built from wood, aluminum, and bent sheet steel, never
sacrificed clarity for decoration, “but its construction is so powerful that it
imposes itself in space like sculpture,” as fashion designer Azzedine Alaïa
observed of Prouvé’s work. (Laurence Bergerot, Patrick Seguin, Jean Prouvé,
Paris, 2007, vol. 1, p. 23)
Longtime friends, the two designers formalized their relationship in 1952 at
the behest of gallerist Steph Simon. That year and the next, they collaborated
on furniture—bookshelves, tables, beds—for the student bedrooms of the
Maison de la Tunisie and Maison du Mexique at Cité Universitaire, Paris. In
both residences, each room was dominated by a large bookcase whose wide
plank shelves were joined by staggered aluminum casiers, or ‘pigeonholes,’
fashioned from bent aluminum.
The present “Bibliothèque Murale,” a special commission produced by
Perriand for the Prouvé Family in Nancy, owes its design to those previous
examples and to an earlier bookcase, with wood blocks in place of aluminum
ones, designed by Perriand in 1940 and later produced for L’Équipment
de la Maison. “Are we going to have mass or void?” asked Perriand in her
autobiography Une Vie de Création (The Monacelli Press, New York, 2003).
With its energetic interplay of forms in space, “Bibliothèque Murale”
achieves both.

10 MARK GROTJAHN b. 1968
Untitled (White Butterfly MG01), 2001
Oil on canvas in two parts. Left panel: 72 x 22 in. (182.9 x 55.9 cm); right panel: 72 x 18 in.
(182.9 x 45.7 cm). Initialed and dated “MG 01” along lower edge.
Estimate $8 0 0,0 0 0 -1, 2 0 0,0 0 0
provenance Blum & Poe, Los Angeles
It takes but the gentlest beating of their wings for the Butterflies
to pull us into perspectival depths. A sharp cut down the middle
reminds us that even this painted or drawn illusion of space
unfolds on a plane, radiating from a center, line by line. Mark
Grotjahn’s metaphoric butterflies in his subtitles describe not
only a filigree, near-symmetrically constructed shape, but also
the movement of flight: fitfully fluttering at abruptly changing
altitudes, taking off in different directions, and coming to a sudden
halt. In Grotjahn’s drawing and paintings this unmistakable rhythm
continues across several works.
H. Rudolf Reust, ”Splitting Impacts the Eye,” Parkett 80, 2007, p. 144

Sol LeWitt, Wall Drawing #41, 1970 © The LeWitt Estate / Artists Rights Society (ARS), New York
Dating back to the one-point perspective paintings of the 1500’s, Grotjahn
takes this development in art from the Renaissance steps further into the
Now. In the present lot, Grotjahn fosters a minimalist style. Like the work of
Agnes Martin, this particular painting shows extreme peaceful, subtle colors
in a geometric composition of lines and grids which allows for an automatic
connection to the natural world. The present lot evokes rays of white light
and the title alone alludes wings of a butterfly which according to the chaotic
theory of the Butterfly Effect, the idea that a butterfly flapping its wings in
one part of the world may cause a hurricane or a tornado in another part of
the world.
Through the reference of nature as seen in White Butterfly the artist
connects to abstraction with echoes of the simplicity of an Agnes Martin
and the precision of a Sol LeWitt Wall Drawing. Grotjahn questions the
nature of art through his paintings and drawings. Grotjahn illustrates a
metamorphosis in his ongoing series of butterfly paintings by bridging
origins of Renaissance Art through specific movements in art history such as
Russian Constructivism to Minimalism to Abstraction to Conceptualism, and
alas the present moment. As the term “butterfly” used in ancient Greece
meaning soul or mind, Grotjahn digs into both in White Butterfly by revealing
an intimate yet nostalgic, classic example of his oeuvre of work.
In a palette of creams and whites Grotjahn paints purity in a complex,
monochrome layered form in what appears to be quick luminous “zip”
strokes. Through what seems to be seamless, easily facilitated brushstrokes,
the artist simultaneously merges with the same ease geometric abstraction
to conceptualism. Similar to a beautifully composed Sol LeWitt wall drawing,
Grotjahn’s paintings follow a rhythm which is constant, linear and traditional.
His perspective paintings create illusions of depth by including multiple
vanishing points and adding building blocks of abstraction through the
choice of a monotone palette. Grotjahn purposely engraves his initials into
the diptych playfully adding to the simple, yet complex, layers of paint to give
the illusion of what appears to be a two- dimensional perspective plane is in
fact three-dimensional.
These paintings are elegant, sumptuous and glamorous; they hold the wall boldly
with assuredness…. Voluptuous, but at ease, each painting did not relinquish
its overall sense of being a seamless whole, a thing, in other words, greater than
the sum of its parts, even as careful inspection began to parse each painting’s
complex structure and reveal smaller nuances and details.
These works awaken an awareness of the obdurate, incommensurate, and, finally,
inexplicable experience of abstract painting, a form forged a hundred years ago,
which, while given up for dead at many points along the way has remained.
Yet, as Robert Ryman once remarked in a talk at the Danheiser Foundation in
downtown Manhattan in the late 1980s: abstract painting is still a young form,
which is only beginning to be discovered and developed.
G. Garrels, “Within Blue,” Parkett 80, 2007, p. 127
Agnes Martin, Untitled #4, 1992 © Agnes Martin / Artists Rights Society (ARS), New York

11 GEORGE NAKASHIMA 1905-1990
Exceptional free-form “Minguren I” coffee table, 1964
Japanese burl, oak. 15 1/4 x 42 1/4 x 29 in. (38.7 x 107.3 x 73.7 cm). Together with a copy of the
original order card from the George Nakashima Studio.
Estimate $8 0,0 0 0 -12 0,0 0 0
provenance G. David Thompson, Seal Harbor, Maine; Delorenzo 1950, New York; Phillips
de Pury & Luxembourg, 20-21st Century Design Art, December 8, 2003, Lot 150; Geoffrey Diner
Gallery, Washington D.C.; Sebastian + Barquet, New York
literature George Nakashima, The Soul of a Tree, A Woodworker’s Reflections, Tokyo, 1981,
p. 173 for a similar example; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat.,
American Craft Museum, New York, 1989, p. 133 for a similar example; Mira Nakashima,
Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 200 for a
similar example; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from
High Craft to High Glam, New York, 2008, pp. 130-131 for a similar example
The present table is listed on a customer order card, dated May 23, 1964, on
file at the George Nakashima Studio in New Hope, Pennsylvania. The table
was among a series of works commissioned at that time by Mr. Thompson.
Although his address is listed as Pittsburgh, the card indicates the works
were shipped to him in Seal Harbor, Maine.
Phillips de Pury & Company would like to thank Mira Nakashima, Soomi Amagasu
and the George Nakashima Studio for their assistance in cataloging this lot.
Burls (burrs in Britain) protrude from trees like blisters, rough and irregular.
Rounded outgrowths, burls result from injuries to trunk or infections below
the bark. Wood fibers, traumatized, contort—the more intense the infection,
the more explosive and erratic the burl. In World Woods in Color, William
Lincoln writes: “Burrs have the appearance of tightly clustered dormant
buds, with darker pith forming tiny knot formations like a mass of small
eyes…” (Fresno, 1996, n.p.)
Despite their abnormalities (or rather because of them), burl woods have
been highly prized by cabinetmakers for centuries. Burls “…have a joy
and exuberance that greatly enhances the tree’s charm,” wrote Japanese-
American woodworker George Nakashima (The Soul of a Tree, Tokyo, 1981,
p. 94). Buckeye, walnut, oak—his rare burl table tops, reserved for private
commissions, are among Nakashima’s most elaborate and expressive
designs and are a demonstration of his virtuosic abilities. The misshapen
burl, like a knot, renders it difficult to cut and form with traditional
woodworking tools. “Sawing this ‘treasure’ calls for the precision of a
diamond cutter,” he wrote (Tokyo, 1981, p. 91).
Nakashima’s devotion to timber spanned five decades, an extended
meditation on man’s kinship with nature. Most of that time was spent at his
studio in the woods outside New Hope, Pennsylvania—“Penn’s woods,” as
he called it, in reference to the Duke of York’s land grant to William Penn in
1682. Acutely aware of the hidden history of trees, Nakashima believed them
to be witnesses to, and participants in, the long march of time—an ongoing
journey. Nakashima considered his own furniture to be a second life for the
trees he felled. “When trees mature, it is fair and moral that they are cut
for man’s use, as they would soon decay and return to earth. Trees have a
yearning to live again…” (Tokyo, 1981, p. 93).

12 ED RUSCHA b. 1937
Angry Because It’s Plaster, Not Milk, 1965
Oil on canvas. 55 x 48 in. (139.7 x 121.9 cm). Signed and dated “E Ruscha 1965” on the
reverse; titled and dated “Angry Because It Is Plaster, Not Milk’ 1965” on the stretcher.
Estimate $2,0 0 0,0 0 0 - 3,0 0 0,0 0 0
provenance Collection of the artist; Gagosian Gallery, London
exhibited Los Angeles, Ferus Gallery, 1965; San Francisco Museum of Modern Art, March
25 – May 30, 1982; New York, Whitney Museum of American Art, July 7 – September 5, 1982;
British Columbia, Vancouver Art Gallery, October 4 – November 28, 1982; The San Antonio
Museum of Art, December 27, 1982 – February 20, 1983; and Los Angeles County Museum
of Art, March 17 – May 15, 1983, The Works of Edward Ruscha; Santa Monica, James Corcoran
Gallery, Animal Farm, January 15-February 26, 1994; New York, C&M Arts, Birds, Fish and
Offspring, April 25- June 8, 2002; Paris, Centre Pompidou, Los Angeles 1955 – 1985: Birth of
an Art Capital, March 8 – July 17, 2006; London, Gagosian Gallery, Pop Art Is..., September
27-Ocotober 2, 2007
literature J. Krementz, “Happening: Photographed in Los Angeles,” Status/Diplomat,
New York, 1967, p. 66 (illustrated); San Francisco Museum of Art, ed., The Works of Edward
Ruscha, New York, 1982, p. 68 (illustrated); C. Rickey, “Ed Ruscha, Geographer,” Art in
America, New York, 1982, p. 84 (illustrated); S. Kalil, “The Works of Edward Ruscha,” Houston
Post, 1983, p. 23F; J. Fiskin, “Trompe l’Oeil for Our Time,” Art Issues, Los Angeles, 1995, p. 28
(illustrated); G. Gordon, “Wallwashers for Warhol,” Lighting Design and Application, December
2001, p. 29 (illustrated); “Goings on About Town,” The New Yorker, New York, May 13, 2002, p.
18; R. Smith, “Art Review: A Painter Who Reads, A Reader Who Paints,” The New York Times,
May 24, 2002, p. B33; C&M Arts, ed., Ed Ruscha: Birds, Fish and Offspring, New York, 2002,
pl. 3 (illustrated); T. McDonough, “Ed Ruscha at C & M Arts and Gagosian, “ Art in America,
September 2002; P. Poncy, Edward Ruscha : Catalogue Raisonné of the Paintings : Volume One,
1958-1970, New York, 2003, p. 179 (illustrated); C. Grenier, ed., Los Angeles 1955-1985: Birth
of an Art Capital, Paris, 2006, p. 149 (illustrated); Gagosian Gallery, ed., Pop Art Is..., London,
2007, pl 59 (illustrated)

Marcel Duchamp Hat Rack, 1917-1964 © Artists Rights Society (ARS),
New York / ADAGP, Paris / Succession Marcel Duchamp
René Magritte The Treachery of Images, 1928-1929 © 2010 C. Herscovici, London
/ Artists Rights Society (ARS), New York
A loosely painted bird, hovering in an indeterminate space, is crying over
unspilled milk in a painting which contains a representation of a sculptural
trompe l’oeil. If not for the title, we, two, might be fooled into thinking that the
glass contains milk, but not necessarily because it looks like milk. Even Ruscha,
who is a master of the most sophisticated trompe l’ouiel effects (which he has
chosen not to deploy here) could not have painted the difference between plaster
and milk. He has relied on us to make the same assumptions as the bird, and he
has relied on our ability to read and reveal to us the content of our assumptions.
Unlike the bird, we exit laughing. Ruscha has painted an updated version of the
story of a painting contest which took place in Greece during the fifth-century
B.C.E. The painter Zeuxis showed a still life of such realism that birds flew down
to eat the grapes from the painting. Ruscha has moved that scene to America
(note that he portrays a glass of milk instead of grapes) and painted it from the
point of view of one of the deceived birds. Unlike the Greeks, he does not believe
that the best paintings are the most realistic.
J. Fiskin, “Trompe l’Oeil for Our Time,” Art Issues, November/December 1995
The present lot Angry Because It’s Plaster, Not Milk, 1965 is an exemplary
work from Ed Ruscha’s group of paintings from the mid-1960s that take the
strict idea of literal representation into the realm of the absurd. This body of
work is characterized by what the artist termed “bouncing objects, floating
things,” such as the radically oversized red bird and glass hovering in front
of a simple background in the present work and have a strong affinity to
Surrealism, a recurring theme in the artist’s long career.
The artist’s fascination with Dada and Surrealism began in his school days:
I looked at a lot of pictures in books on Dada in the library. It wasn’t because I
was interested in developing scholarly appreciation –I was more attracted by the
titillation I got from the works I saw in the books. I was inspired by this sort of
lunatic group of people who made art that ran against prevailing ideas. Their
nonsense was synonymous with seriousness, and I’ve always been dead serious
about being nonsensical.
Ed Ruscha in R.D. Marshall, Ed Ruscha, London, 2003, p. 131
With its clear composition containing just two things : bird and glass,
Ed Ruscha’s work calls to mind Magritte’s The Treachery of Objects, 1928-
1929 both compositionally and conceptually. Both artists have such clear
renderings of their objects presented in a straightforward manner on their
canvases. However, there is something of a mystery behind their choice
of subjects. There is humor in their play between image and text with
Magritte’s insistence that it is not a pipe, but a depiction of a pipe, while
Ruscha puts us in the frustrated position of the bird by declaring in the title
that we are not looking at a glass of milk, but plaster.
Statements made by the two artists decades apart are strikingly sympathetic:
Magritte explained, “My painting is visible images that conceal nothing. They
evoke mystery and, indeed, when one sees one of my picturesone asks oneself
this simple question, ‘What does that mean?’ It does not mean anything because
mystery means nothing either, it is unknowable.” Ruscha expands on the same
theme: “I’ve always had a deep respect for things that are odd, for things which
cannot be explained. Explanations seem to me to sort of finish things off.”
R.D. Marshall, Ed Ruscha, London, 2003, p. 134
Unlike Magritte, Ruscha completely leaves the words out of his canvas, a
particularly pointed decision in Ruscha’s body of work. The bird and the
glass are so iconic and symbolic that they almost read like his text paintings.
In these paintings we are given images of birds, not real birds but generic birds,
like Audobon’s floating on a flat ground. In other words, rather than the word
“cardinal,” we are given the image cardinal, or more generally, we are being
presented with birds as words. The transformation in the bird paintings is based
upon a rhyme at the first level of generalization. Thus, even at this early date,
Ruscha is playfully exploiting in an imaginary was the relationship between words
and images and the instruments which create them. The transformation of words
–birds into words –is rendered imagistically.
A. Livet, The Works of Edward Ruscha, Hudson Hills, 1982
Dennis Hopper Ed Ruscha, 1964

13 JOHN BALDESSARI b. 1931
Two Cars, One Red, in Different Environments, 1990
Color photograph with acrylic and vinyl paint artist’s frames in two parts. 69 1/2 x 87 in.
(176.5 x 221 cm).
Estimate $3 0 0,0 0 0 - 4 0 0,0 0 0
provenance Sonnabend Gallery, New York
literature G. Belli, John Baldessari, Milan, 2000, p. 88 (illustrated)
What I leave out is more important. I want that absence, which creates a
kind of anxiety.
John Baldessari in Artforum, New York, March 2004
In an interview in 2004 Nicole Davis asked Baldessari for his reason to
become an artist. Baldessari responded that he ‘always had this idea that
doing art was just a masturbatory activity and didn’t really help anybody’.
However, while working as a young man with kids in an honor camp in
California the kids made him realize that “…art has some function in
society…” In fact he explained that his understanding of art had not changed
since then and that ‘it was enough to convince [him] that art did some
good somehow,’ concluding he just needed a reason ‘that wasn’t all about
myself.’ Until now Baldessari has remained faithful to this understanding.
His arrangements of photographic montages, appropriations of cinematic
images and painterly units describe mental, cultural and demographic
identities through his visual landscape. However they remain playful and
romantic and allow us to move within our own fantasies and associations.
I think it’s true that if we look side by side at a painting and a photograph, we tend
to right away see the painting as somebody’s version of the real world, and with
a photograph we tend to suspend disbelief and think it refers in a tangible way
to the real world. I think that’s one of the reasons why I use it, because I already
have people suspending their disbelief. I’m very much attracted to photographs
that realtors take of houses for sale, or that insurance adjusters take for accident
reports on cars; in other words, where there is no idea to make an artful
photograph, just collected information. That attracts me a lot—art as information.
I guess after you spend our lifetime thinking about what’s beautiful, you get
distrustful. You get into this rarefied atmosphere where you want no beauty and
no beauty is beautiful! After a while, you learn all the tricks of how to make things
beautiful and you get really suspicious. You look at art like a professional gambler
looks at a card table, for all the tricks.
John Baldessari in interview with Christian Boltanski, “What is Erased”, John
Baldessari From Life, Nîmes, 2005, pp. 72-75.

14 MARC NEWSON b. 1963
“Orgone Stretch Lounge,” 1993
Polished aluminum, enameled aluminum. 24 3/8 x 70 1/2 x 32 5/8 in. (61.9 x 179.1 x 82.9 cm).
Produced by POD Edition, UK. Artist’s proof number one of two for the edition of six.
Underside impressed with Pod logo and “MARC NEWSON/POD EDITION/AP 1.” This is
the only example produced with a black interior.
Estimate $40 0,0 0 0 - 6 0 0,0 0 0
provenance The Gallery Mourmans, The Netherlands; Private Collection
literature Phil Starling, “An Australian in Paris,” Blueprint, February 1994, front cover
and p. 29; Volker Albus and Volker Fischer, 13 Nach Memphis: Design Zwichen Askese und
Sinnlichkeit, Munich, 1995, p. 127; Alexander von Vegesack, et al., eds., 100 Masterpieces
from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein,
1996, p. 172; Alice Rawsthorn, “Marc Newson,” I.D. Magazine, January/February 1996, p. 70;
Alice Rawsthorn, Marc Newson, London, 1999, pp. 90-93; Museu do Design: Luxo, Pop, Cool,
De 1937 Até Hoje, exh. cat., Museu do Design, Lisbon, 1999, fig. 224; Conway Lloyd Morgan,
Marc Newson, London, 2002, pp. 144-145; Louise Neri, ed., Marc Newson, exh. cat., Gagosian
Gallery, New York, 2007, p. 64
The “Orgone Stretch Lounge” will be included as “MN - 8OSL-1993” in the
forthcoming catalogue raisonné of limited editions by Marc Newson being
prepared by Didier Krzentowski of Galerie kreo, Paris.
Phillips de Pury & Company would like to thank Marc Newson and Didier
Krzentowski for their assistance in cataloging this lot.

15 RICHARD PRINCE b. 1949
The Chatterbox Hotel, 1990
Acrylic and silkscreen ink on canvas. 56 x 48 1/4 in. (142.2 x 122.6 cm). Signed, titled and
dated “R. Prince ’The Chatterbox Hotel’ 1990” on the overlap.
Estimate $8 0 0,0 0 0 -1, 2 0 0,0 0 0
provenance Gagosian Gallery, New York
A lot of great art makes people angry at first.
Richard never made me angry. But he did shock, and
he did startle me and he did make me laugh, which
are my favorite three things about art.
John Waters in G.O’Brien, “All I’ve Heard,” Richard Prince, New York, 2007,
p. 321

Is a Joke a material? To a Comedian it is. There is the material and then there is
the timing and the delivery of the material, which makes it an act. He says “my
act” or “my material” but he also has a way of disappearing behind these things,
almost to the point where there is no more me, only material, like that joke about
the psychiatrist doing my act now. Every comedian, every artist, is constantly
scandalized about being robbed, and they’re right because material has a way of
getting away from us, like language. It’s what it does, and maybe it never really
belonged to us in the first place. For example, the neurotic on the couch who
repeats himself (his life) not the crowd of the analysts ear, who’s already heard it
all before. The Joke is about not being able to hang onto yourself, about not being
able to tell your own story, and also about transference.
Richard Prince, “Canaries in the Goldmine,” Astrup Fearnley Museum of
Modern Art, Oslo, 2006 p. 123
Throughout his career Richard Prince has explored, examined and
experimented with the concepts of appropriation. Beginning in the late
1980’s (1985-1987) he began to create what he referred to as Joke Paintings.
He created his first monochromatic Joke paintings between 1987 and 1989.
The monochromatic Joke paintings continued Prince’s foray into creating a
comedic dialogue with high art and culture.
In a Joke painting, Prince both spaces and times the material across the canvas,
sometimes making it repeat and stutter in that tough, blank space, until it begins
to do the painting’s act too. It’s working the room, the canvas. It’s hard to say if
the painting is ripping off the material or if it’s the other way around. And what
we are tempted to call the comic timing of the painting has to do with the way the
material takes over its surface, sometimes bombing and sometimes knocking it
dead. (Ibid)
From the 1920’s through the late 1960’s the Catskill Mountains in Sullivan,
Orange and Ulster Counties in upstate New York were the sites of many
summer resorts frequented by Families from New York City and the
surrounding region. It was in these—mostly now defunct—summer resorts
that a specific form of comedy strengthened and grew. The impact of the
comedians performing at these resorts during this time has resonated
throughout the decades pervading more than the contemporary comedic
landscape but extending and breaking through the boundaries of the realm
of fine art.
It was these “Borscht Belt” comedians such as Jack Benny, Milton Berle,
Henny Youngman, Phyllis Diller, Rodney Dangerfield, Sid Caesar and Don
Rickles (to name just a few) with their rapid-fire often self deprecating humor
that set the pace for future generations of comedians. Phrases such as
“Take my Wife Please”, “I get no respect”, “Now Cut that out!”, along others
helped define an era of Comedy that to this day remains unrivaled. Many
of the Jokes that Prince has looked to were told by or inspired by these
comedians.
When interviewed by Glenn O’Brien, Phyllis Diller remarked about
Comedians who tell “Jokes” as they were told in the heyday of the Borscht
Belt :
I tell Jokes. But they are one-liners. Like: set-up payoff. Set-up payoff. Something
that I invented—a manner of delivery—got me into the Guiness Book of World
Records. I learned to use the set-up payoff thing in a different way. You know
like: ‘She’s so fat that when she wears a white dress, we show movies on her.’” …
The Jokes don’t change—[the] people die… you just change the name
N. Spector, Richard Prince, New York, 2007, p. 273
The statement in itself has the ring of a Prince painting. The Joke in the
present lot Chatterbox Hotel, 1990, has countless incarnations however
the present incarnation that Prince has chosen has a certain resonance
that stays with the viewer long after they have stopped viewing the work.
Outside of the obvious level of humor associated with the joke itself. Prince
has succeeded in transcending the comedic aspect of the work creating
something entirely new and different.
…With his Monochrome Jokes Prince achieved the anti-masterpiece… If
anything Prince’s Monochrome Jokes represent a skillfully calculated inversion
of the artist’s essential value system. The seeming equivalency of the works is
part of a deliberate conceptual strategy , one that emulates, in the most Warholian
fashion, how mass culture operates.
Spector, p. 39

16 FLORIAN MAIER-AICHEN b. 1973
Above June Lake, 2005
C-print in artist’s frame. 86 x 72 1/4 in. (218.4 x 183.5 cm). This work is from an edition of six
plus two artist’s proofs.
Estimate $10 0,0 0 0 -15 0,0 0 0
provenance Blum & Poe, Los Angeles
exhibited New York, 303 Gallery, Florian Maier-Aichen, January 14 – February 25, 2006
(another example exhibited); Los Angeles, Blum & Poe, Florian Maier-Aichen, January
21 – February 25, 2006 (another example exhibited); London, Royal Academy of Arts, USA
Today, October 6 – November 4, 2006 (another example exhibited); St. Petersburg, The State
Hermitage Museum, USA Today, October 24, 2007 – January 13, 2008 (another example
exhibited)
literature P. Eleey, “Florian Maier-Aichen,” Frieze, Milan, May 2006; Royal Academy of
Arts, ed., USA Today, London, 2006, p. 234 (illustrated); The State Hermitage Museum, ed.,
USA Today, St Petersburg, 2007, p. 90 (illustrated); J. Tumler, “Outside the Frame: Florian
Maier-Aichen,” Aperture, New York, Summer 2007, p. 50
I have always been interested in the making of things. Most products and
materials conceal their process of manufacture. It’s the same with photography,
which turned from a discipline that was subject to the mastery of the few
(alchemists) into a readily available industrial mass product, too transparent and
too technical.
Florian Maier-Aichen in Gagosian Gallery Press Release
Based in both Germany and California, Florian Maier-Aichen reinvents
the tradition of landscape photography. Demonstrated in Above June Lake,
Maier–Aichen chooses to shoot the aerial view of the historical village and
resort town in the Eastern Mountains of Mono County, CA, which surrounds
itself by national forests, ski slopes and lakes. The famous looped valley was
formed by glacial actions which ran in two directions; one creating the rush
creek canyon and the other into the volcanic area of the Mono Craters. In this
work Maier–Aichen takes landscape as a subject matter further by using a
unique type of infrared film which saturates what would be normally seen
as greens in the landscape to a color of blood red appearing similar to the
organic insides of a human body. Maier-Aichen’s use of manipulation in this
landscape brings out the rawness of the natural landscape emphasizing the
spots of lakes, glaciers, rocks and snowy ski slopes. The viewer gains a new
understanding of the organic forms with thoughts of what this particular
landscape may have been 5 million years ago before the glacial actions took
to forming it to what it is today. Through conceptualism and creative process
of pictorial manipulation, Maier- Aichen combines the past and present into
his own rendition of this unique topographical landscape.

17 MARC NEWSON b. 1963
“Event Horizon Table,” 1992
Polished aluminum, enameled aluminum. 31 1/2 x 70 5/8 x 38 in. (80 x 179.4 x 96.5 cm).
Produced by POD Edition, UK. Artist’s proof number two of three for the edition of ten.
Edge of top impressed with “MARC NEWSON EDITION EVENT HORIZON 1992” and Pod
logo. This is the only example produced with a blue interior.
Estimate $250,0 0 0 - 3 5 0,0 0 0
provenance Galerie kreo, Paris
literature Domus, September 1992, pp. 67-69; Yvònne G.J.M. Joris, ed., Ron Arad, Gijs
Bakker, Jasper Morrison, Marc Newson, Bruno Ninaber van Eyben, Benno Premsela: Design
for Cor Unum Ceramics, exh. cat., Museum het Kruithuis, 1993, p. 41; Phil Starling, “An
Australian in Paris,” Blueprint, February 1994, front cover and p. 31; Jean Bond Rafferty,
”Making Waves,” Harper’s Bazaar, April 1994, p. 140; Volker Albus and Volker Fischer, 13 Nach
Memphis: Design Zwichen Askese und Sinnlichkeit, Munich, 1995, p. 127; Alice Rawsthorn,
“Marc Newson,” The International Design Magazine, January/February 1996, p. 70; Akiko
Bush, “George Nelson Design Awards 1999,” Interiors, May 1999, p. 95; Alice Rawsthorn,
Marc Newson, London, 1999, pp. 64-69 and 213; Claire Fayolle, “Marc Newson: Á Fond La
Forme,” Beaux Arts Magazine, June 2000, p. 55; Anne Watson, “Marc Newson: Design Works,”
Powerline, Spring 2001, p. 5; Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 150, 157
and 170-171; Louise Neri, ed., Marc Newson, exh. cat., Gagosian Gallery, New York, 2007, p. 64
The “Event Horizon” table will be included as “MN - 13EHTR-1992” in the
forthcoming catalogue raisonné of limited editions by Marc Newson being
prepared by Didier Krzentowski of Galerie kreo, Paris.
Phillips de Pury & Company would like to thank Marc Newson and Didier
Krzentowski for their assistance in cataloging this lot.

An event horizon is the verge of a black hole, a point of no return from which
light, matter, and radiation cannot escape. But approach is also impossible,
for the horizon recedes, always out of reach. Two of Marc Newson’s early
tables, “Black Hole” (1988) and “Event Horizon” (1992), directly address the
designer’s abiding interest in outer space, and inner space too. The partially
hollow legs of each table, like funnels, are conceptual renderings of black
holes. “Both my sculptural work and the production furniture have always had
as much to do with what is not there as what is there—the voids, the interior
spaces, the things that you don’t see.” Newson manifests the conundrums
of the universe through earthly materials, carbon fiber and aluminum in the
case of those early tables. He renders the remote vagaries of the cosmos as
accessible local objects and platforms for daily life.
In the catalog accompanying Newson’s 2007 solo show at Gagosian Gallery,
curator Louise Neri wrote: “Across his protean output, Newson has been
preoccupied with how to achieve a maximum sense of volume with the least
amount of material (or mass) possible, thereby creating space as a grand
illusion of that volume.” Compact and dense, a black hole’s extreme mass
creates a gravitational pull from which even light can’t escape—a heavy
notion. Newson molded his table from aluminum, an everyday material whose
lightness adds unexpected contradiction. “Event Horizon” is distinct and
viewable, not vast and unknowable like the wooly idea it represents. Newson
doesn’t conjecture, he builds.

18 TAKASHI MURAKAMI b. 1963
PO + KU Surrealism Mr. DOB –Yellow, Green, Blue, Purple, Pink, 1998
Acrylic on canvas mounted on board in five parts. 25 1/2 x 19 5/8 in. (64.8 x 49.8 cm) each.
Signed and dated “Takashi ‘98” on the reverse of each panel.
Estimate $70 0,0 0 0 -1,0 0 0,0 0 0
provenance Tomio Koyama Gallery, Tokyo; MB Financial Bank, Chicago; Marianne
Boesky Gallery, New York; Private Collection, Miami
exhibited Warsaw, Centre for Contemporary Art, Ujazdowski Castle, GENDAI Japanese
Contemporary Art, Between the Body and Space, October – December 2000; Tokyo, Museum
of Contemporary Art, Summon monsters? Open the door? heal? or die?, August - November
2001; Budapest, Ludwig Museum and Moscow Museum of Modern Art, Kokoro no Arika,
Location of the Spirit: Contemporary Japanese Art, December 2003 – March 2004; Los
Angeles, The Museum of Contemporary Art at The Geffen Contemporary, October 29, 2007
– February 11, 2008; Brooklyn Museum of Art, April 4 – July 13, 2008; Frankfurt, Museum für
Moderne Kunst, September – December 2008; and Bilbao, Guggenheim Museum, February –
May 2009, ©Murakami
literature P. Schimmel, © Murakami, New York, 2007, pp. 212-213, 302 (illustrated)
©1998 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved
Since the beginning, DOB has been a unique alibi for Murakami and his talent for
branding. The dada-like phrase “dobozite dobozite oshamanbe,” from silly gags
found in early 1970s Japanese manga combined with the famous gag by comedian
Toru Yuri, was conceived as a signboard and then condensed into the three-letter
DOB to form a trademark pop character. With a large round O-shape face and
ears bearing the Letters D or B, DOB straddles two sources of inspiration – the
Sega mascot Sonic the Hedgehog and Doraemon, the intelligent and endearing
Japanese cat-like robot from the future – yet its identity remains as evasive as the
nonsensical phrase from which it was conceived. While DOB’s origins as a product
of language rather than commodity imagery has been a site of investigation more
recently, what is also at stake is how DOB symbolically operates as an agent
of consumption in Murakami’s lexicon: [1] an anonymous and malleable icon
produced as a marketable brand, and [2] and abstract and fleeting morphing
like-form representative of our endless desire to consume.
M. Yoshitake, “The Meaning of the Nonsense of Excess,” ©Murakami,
Los Angeles and New York, 2007, p.123-124
As Amada Cruz notes in her essay, DOB in the Land of Otaku, “DOB does
not promote any product, except perhaps Murakami. DOB is a disengaged
signifier, an ever changing symbol of all the other artificially constructed
characters that sell merchandise.”(A. Cruz, “DOB in the Land of Otaku,”
Takashi Murakami: The Meaning of the Nonsense of the Meaning, New York,
1999, p.17)
Broken into five chromatic canvases the present lot resembles the stylistic,
dramatic and often fragmented paneling found in manga comic books. Each
canvas features a series of fragmented and distorted Mr. DOB’s transformed
from his usual cute, saccharine smiley and wholly innocent self into an
unsettling, crazy multi-eyed character full of razor sharp teeth. This surrealist
transformation highlights Mr. DOB’s, and ultimately Murakami’s often
confounding, and sometimes ironic, antagonist/protagonist relationship
with commercialized characters and consumer consumption. Mr. DOB’s
monstrous transformation becomes a direct correlation to one’s own impulse
towards excessive consumption and the resultant frenzy thereof when left
unchecked and unrestrained.
Akin to the Cheshire cat in Lewis Carroll’s Alice in Wonderland Mr. DOB is
an intrinsically vexing character of youthful innocence confronted with
malignant, cunning mischievousness. “It is this ‘cuteness’ as a panacea –
or is it a placebo? – that Murakami plays with in his characters inspired by
Japanese animation, comic, books and toy models, sometimes in a friendly
way, sometimes in a smirking bully. With DOB…he feeds then subverts our
expectations for their established identities through unconventional pairings,
contortions of their form, or sinister mood shifts, reminding us that, in reality
as well as fantasy, cute, sentimental playfulness can easily be turned into
something quite different.”(D. Friis-Hansen, “About “Japan” Itself,” Takashi
Murakami: The Meaning of the Nonsense of the Meaning, New York, 1999, p. 35)

19 JOHN BALDESSARI b. 1931
Pink Pig, 2305 Highland Ave., National City, Calif., 1996
Acrylic and ink-jet on canvas. 58 3/4 x 44 5/8 in. (149.2 x 113.3 cm).
Estimate $40 0,0 0 0 - 6 0 0,0 0 0
provenance Galerie Philomene Magers, Munich; Private collection, London; Private
collection, New York
exhibited San Diego, Museum of Contemporary Art, John Baldessari: National City,
March 10 – June 30, 1996; New York, Sonnabend Gallery, John Baldessari: National City Part
Two—1996, 1997; Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Palazzo
delle Albere, John Baldessari, December 15, 2000 – March 11, 2001
literature H. M. Davies and A. Hales, eds., John Baldessari: National City, New York,
1996, p. 72 (illustrated); G. Belli, M. Cranston, D. Diederichsen, and T. Weski, John Baldessari,
Milan, 2000, no. 24, p. 104 (illustrated)
From 1966-1969 John Baldessari created the series of photo-text works
which catapulted him into the international art rostrum. These works
portrayed images of National City, California whilst driving, an oblique
reference to America’s time-honored favorite pastime—taken from askew
and often blurred by the movement of the car, the photographs become
opaque renderings of American culture and commerce. Baldessari used
photo emulsion to transfer the images onto canvas and the text then was
painted on by professional sign painters he hired. In the entire process, the
artist obliterated his own hand, creating along the way a unique conceptual
approach that combines photography, art, and the Southern California
culture he witnessed.
Thirty years after this series originated, the Museum of Contemporary Art
in San Diego invited the artist to revisit these seminal works. Baldessari
accepted and Pink Pig, 2305 Highland Ave., National City, Calif., 1996 derives
from his reinvestigation. In all, eleven more works were created including
the present lot in a fashion updated to reflect contemporary standards and
changes in perception. According to the artist, color was necessary as our
society would not accept the black and white images as critical reflections,
thus ink-jet prints replaced the earlier method.
For Baldessari, this series is more than just homage to the Southern
California landscape and his approach to Conceptual art. Born in National
City in 1931, the photo-texts reference the locales he knew and loved, but
above that Baldessari, in his well-documented Cremation Project on July 24,
1970, destroyed all work prior to beginning the 1966 National City pieces. For
him, all work began with this series, and Pink Pig, 2305 Highland Ave., National
City, Calif. represents his highest achievements to this end.

20 WALTON FORD b. 1960
Loss of the Lisbon Rhinoceros, 2008
Watercolor, gouache, ink and pencil on paper in three parts. Left panel: 95 3/8 x 39 3/4 in.
(242.3 x 101 cm); center panel: 95 3/8 x 60 in. (242.3 x 152.4 cm); right panel: 95 3/8 x 40 in.
(242.3 x 101.6 cm). Initialed “W.F.” lower right.
Estimate $550,0 0 0 -75 0,0 0 0
provenance Paul Kasmin Gallery, New York
exhibited New York, Paul Kasmin Gallery, Walton Ford, May 8 – July 3, 2008
literature D. Cohen, “Back to Basics,” The New York Sun, May 22, 2008; D. Colman,
“Jokers from the Family Album,” The New York Times, New York, June 8, 2008; J. Panero,
”Gallery Chronicle,” The New Criterion, London, June 2008, p. 53; A. Kurian, “Interview
with Walton Ford,” Whitehot Magazine, July 2008 (illustrated);W. Ford, “Loss of the Lisbon
Rhinoceros,” Harper’s Magazine, New York, August 2008, p. 57 (illustrated); H. Werner Holzwarth,
“Walton Ford,” Art Now Vol. 3, Cologne, 2008, p. 171 (illustrated); C. Tomkins, “Man and Beast:
Interview with American painter Walton Ford,” The New Yorker, New York, January 26, 2009; B.
Taschen, ed., Walton Ford: Pancha Tantra, Cologne, 2009, pp.294-295 (illustrated)

times of the Romans. Such an exotic and rare gift would certainly have
curried the favor of the Pope, however the gift would unfortunately never
reach its destination. The ship with the rhinoceros was caught in a storm and
sank off the coast of Genoa. The rhinoceros, by accounts of survivors, was
chained to the deck of the ship and drowned when the vessel sank.
Accounts of the exotic creature in the Portuguese Royal Court and its story
made their way to Nuremburg where Albrecht Dürer used the descriptions
of the beast to create his famous woodcut of the rhinoceros in 1515.
Dürer’s rendering was anatomically incorrect with plates or “armor” more
indicative of a crustacean than a mammal. Dürer’s Rhinoceros, although
completely incorrect in its depiction, would go on to become the accepted
representation of the animal until the mid 1700’s.
Albrecht Durer Rhinoceros, 1515
Carving out a truly unique niche within the Contemporary Art World, Walton
Ford has forged a path of the entrepreneur artist that is markedly different
from that of other Contemporary Artists such as Jeff Koons and Damien
Hirst. All three men are creating works that are informed by the world around
them however Walton Ford has found his inspiration not in what one can
considered to be popular culture but an inspiration drawn from natural world
around us and how we perceive it.
…what I’m doing is a sort of cultural history of the way animals live in the
human imagination.
Walton Ford in C. Tomkins “Man as Beast,” The New Yorker, New York,
January 26, 2009
What Ford has done with his Loss of the Lisbon Rhino is combine the story
of the ill-fated voyage of the rhino with Dürer’s account, creating a visual
reference that had not yet been explored in history. He describes the
experience with this painting as:
It’s quite beautifully imagined—there are particulars that are real to a rhino,
but it also looks kind of like a crustacean or a crab, which is really apt since this
thing drowned. So the moment of transformation, where this animal goes from
an actual animal to being transformed into an icon that for 300 years people drew
and believed to be a rhino, is the moment I painted. So here he’s dying, but he’ll
be reborn from the ocean as this armored crustacean, and really live for another
thousand years as this transmogrified creature.
Walton Ford in A. Kurian Whitehot Magazine, July 2008.
It is with his own visual investigation and interpretation of the Natural world
and our “cultural history of our relationship with animals” that Ford
continues to challenge what we – the viewer- have come to accept as
Contemporary Art.
Rendered nearly life-sized with meticulous realism in watercolor and
outshining the early 19th Century naturalists that Ford has drawn inspiration
from, Loss of the Lisbon Rhino, 2008, perfectly embodies this statement. The
painting captures a moment in time that had not been visually recorded to
date. It becomes as Ford states “… a comment on the way we impose our
culture on the natural world, but without it being dogmatic in message.”
(Walton Ford in A Kurian Whitehot Magazine, July 2008.)
In 1515 King Manuel I of Portugal had made the decision to send an Indian
Rhinoceros to Rome to win the favor of the Medici Pope, Leo X. The
Rhinoceros had originally been a diplomatic gift from a sultan to King
Manuel I. A the time a Rhinoceros had not been seen in Europe since the
Giovanni Giacomo Penni, The form, nature and customs of the
rhinoceros taken to Portugal by the captain of the King’s fleet, 1515

21 DIEGO GIACOMETTI 1902-1985
“Hommage à Böcklin” console, ca. 1978
Patinated bronze, glass, gilt bronze.
35 1/2 x 47 7/8 x 13 1/4 in. (90.2 x 121.6 x 33.7 cm).
Estimate $15 0,0 0 0 -2 0 0,0 0 0
provenance Acquired directly from the artist; Christie’s, Art Impressionniste et Moderne,
Paris, May 23, 2007, Lot 128; L’Arc en Seine, Paris
literature Michel Butor, Diego Giacometti, Paris, 1985, p. 33 for similar decorative tree
motifs; Daniel Marchesseau, Diego Giacometti, Paris, 1986, p. 92
Is that the sun setting below trees or the moon rising through them?
Regardless, it’s a crepuscular scene: the transition to dusk. Four cypresses
catch the eye, but an owl enlivens at left, subverting their certainty—and
ours. Although fixed in bronze, the bronze furniture of Swiss sculptor Diego
Giacometti is never fixed; it moves from the memory of his hand, always
evident along his trembling silhouettes and in the molded ornaments
animating them: birds in flight; mice nibbling cheese; horses stretching
necks; budding leaves.
“The mournful cypress rises round / Tapering from the burial-ground,” wrote
the Roman poet Lucan two thousand years ago (Frances Osgood ed., The
Poetry of Flowers, New York, 1848, p. 161). Around 1978, as he approached
his own twilight, Giacometti cast “Hommage à Böcklin” in tribute to Swiss
symbolist painter Arnold Böcklin (1827-1901), whose dreamlike landscapes
and voluptuous allegories seethe with mystery and dread. In Böcklin’s
famous “Island of the Dead (Die Toteninsel),” painted in five versions
between 1880 and 1886, a shrouded widow in a boat bears her husband’s
coffin across a dark strait; his tomb yawns on a distant outcrop sheltered
by cypresses.
As Frances Osgood reminds us, “The cypress is the universal emblem of
mourning…” (New York, 1848, p. 161). Cypress and owl herald the night—
but it’s not yet dark. The carcass of Giacometti’s table, like an austere rock
formation, holds in its precincts irrepressible life: a bower of trees, the heart
of the sun, and everywhere the warbling hand of the artist.
Arnold Böcklin, Island of the Dead, 1883. Oil on wood. 31 1/2 x 59 in (80 x 150 cm). Courtesy Erich Lessing/Art Resource, NY.

22 ED RUSCHA b. 1937
Long, Stormy, 1995
Acrylic on canvas. 20 x 159 in. (50.8 x 403.9 cm). Signed and dated “Ed Ruscha 1995” on the
reverse. This work will be included in Edward Ruscha: Catalogue Raisonné of the Paintings,
Volume 5: 1993-1997, edited by Robert Dean and Lisa Turvey (forthcoming, 2010)
Estimate $8 0 0,0 0 0 -1, 2 0 0,0 0 0
provenance Leo Castelli, New York; Gagosian Gallery, New York; Private collection,
Brookline, Massachusetts; Gagosian Gallery, New York
EXHIBITED New York, Leo Castelli Gallery, Anamorphic Paintings, 1995; Denver Art Museum,
Ed Ruscha: The End, 1995; Milwaukee Art Museum, Ed Ruscha: Spaghetti Westerns, 1997;
Cambridge, Carpenter Center for the Visual Arts, Harvard University, Landmark Pictures: Ed
Ruscha/Andreas Gursky, 2000
LITERATURE L. Wei, “Ed Ruscha at Castelli,” Art in America, 1995, p. 120; Milwaukee Art
Museum, ed., Ed Ruscha: Spaghetti Westerns, Milwaukee, 1997, p. 5 (illustrated)
Ed Ruscha delineates the norm in the present lot, a tantalizing 1995 painting
entitled Long, Stormy. Upon first view, the text underlying the title is hidden
from first appearance. What presents itself first and foremost instead is
Ruscha’s dignified landscape, creating a surreal and tantalizing hybrid of
signage and the American west. Ruscha subterfuges the final score of an old
Hollywood movie, the words “The End” within his version of the American
landscape: “The horizontality is even more extreme in Ruscha’s 1995 ‘Long,
Stormy,’ an image of the words ‘The End’ stretched to the breaking point
and set against a sullen gray ground, like the finale of a Hollywood film
completely distorted,” (C. Temin, “At Harvard, it’s about space carpenter
center returns to its purpose- with a twist”, The Boston Globe, July 12, 2000).
Within Long, Stormy, Ruscha references the apogee of old-school Hollywood
and therefore American film, all within his alluring and text referential
manner made famous through his long career of painting words, phrases,
and nuances. The English language becomes for him the very material he
chooses to use in the form of paint, brush and canvas. Long, Stormy captures
Ruscha at his finest: altering the reality with finesse and clever panache.
Notorious, 1946, Alfred Hitchcock

INDEX
Baldessari, J. 13, 19
Ford, W. 20
Giacometti, D. 21
Grotjahn, M. 2, 10
Maier-Aichen, F. 3, 16
Murakami, T. 5, 18
Nakashima, G. 11
Newson, M. 4, 6, 14, 17
Perriand, C. 9
Prince, R. 1, 8, 15
Ruscha, E. 7, 12, 22

PART II CONTEMPORARY ART
THE HAL SEY MINOR COLLECTION
13 MAY 2 010 10 am NEW YORK

201 202
201 MARK GROTJAHN b. 1968
Untitled, 2004
Colored pencil and graphite on paper mounted to panel.
30 x 22 in. (76.2 x 55.9 cm).
Estimate $60,000-80,000
202 FLORIAN MAIER-AICHEN b. 1973
The Best General View, 2007
C-print in the artist’s frame. 84 x 70 1/2 in. (213.4 x 179.1 cm). Signed, dated “Florian Maier-
Aichen 2007” and numbered of six on a label adhered to the reverse. This work is from an
edition of six plus two artist’s proofs.
Estimate $80,000-120,000
203
203 ED RUSCHA b. 1937
Pools, 1968/1997
Color coupler prints in nine parts. Each 16 x 16 in. (40.6 x 40.6 cm) image size. Each signed,
dated “Ed Ruscha 1968 - 1997” and numbered of 10 on the reverse. This work is an artist’s
proof from an edition of 30 plus 10 artist’s proofs.
Estimate $80,000-120,000
Please note: Refer to the Contemporary Art Part II catalogue for complete catalogue
entry information. This is a supplement index to the formal catalogue.

204
205
204 TODD EBERLE b. 1963
“The Red Rooster” Brewster, New York, August, 2006, 2006
Digital c-print. 49 x 59 1/2 in. (124.5 x 151.1 cm). This work is from an edition of three.
Estimate $8,000-12,000
205 TODD EBERLE b. 1963
American Flag Millerton, New York, August 2006, 2006
Digital c-print. 59 5/8 x 48 3/4 in. (151.4 x 123.8 cm). This work is from an edition of three.
Estimate $8,000-12,000
206
206 DAVID HOCKNEY b. 1937
Gregory in the Pool 1 (Paper Pool 4), 1978
Hand-colored pressed paper pulp. 32 1/4 x 50 1/4 in. (81.9 x 127.6 cm). Initialed and dated
“D.H. 78.” lower right; signed “David Hockney” and numbered and lettered “4-N” on the reverse.
Estimate $250,000-350,000

207
207 ED RUSCHA b. 1937
Three O’Clock, 1975
Gunpowder and pastel on paper. 22 3/4 x 28 3/4 in. (57.8 x 73 cm). Signed and dated “Edward
Ruscha 1975” lower right and again on the reverse. This work will be included in the
forthcoming volume of Edward Ruscha Catalogue Raisonné of the Works on Paper.
Estimate $150,000-250,000
209
208
208 DAVID SMITH 1906 - 1965
Untitled, 1962
Spray enamel on paper. 15 1/2 x 20 1/2 in. (39.4 x 52.1 cm). Stamped with the artist’s estate
seal and numbered 73.62.181 on the reverse.
Estimate $50,000-70,000
209 DAVID SMITH 1906 - 1965
Untitled, 1962
Spray enamel on paper. 15 1/2 x 20 1/2 in. (39.4 x 52.1 cm). Stamped with the artist’s
estate seal and numbered 73.62.181 on the reverse.
Estimate $50,000-70,000

210
210 Yoshitomo Nara b. 1959
Untitled, 2004
Acrylic and pastel on paper. 53 1/4 x 47 in. (135.3 x 119.4 cm).
Estimate $150,000-250,000
211
(c) 2004 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.
211 TAKASHI MURAKAMI b. 1963
Jellyfish Eyes—MAX & Shimon in the Strange Forest, 2004
Acrylic on canvas mounted on board. 59 x 59 in. (150 x 150 cm). Signed and dated
“Takashi 04” on the reverse.
Estimate $400,000-600,000

212
213
212 GAJIN FUJITA b. 1972
Tail Whip, 2007
Spray-paint, acrylic, felt-tip pen, gold and silver leaf and Mean Streak on six panels.
48 x 96 in. (121.9 x 243.8 cm) overall. Signed, titled and dated “Gajin Fujita Tail Whip
2007” on the reverse.
Estimate $30,000-40,000
213 GAJIN FUJITA b. 1972
Gold State Warriors, 2002
Spray paint, acrylic, and gold and white gold leaf on 12 wood panels. 60 x 192 in. (152.4 x 487.7 cm)
overall. Signed, titled and dated “Gajin Fujita Gold State Warriors 2002” on the reverse.
Estimate $50,000-70,000
214
214 RYAN MCGINNESS b. 1971
Sexes (Factum II), 2006
Acrylic on wooden panel. 48 x 48 in. (121.9 x 121.9 cm). Signed, titled and dated
“’Sexes Factum II’ Ryan McGinness 2006” on the reverse.
Estimate $20,000-30,000

215
215 MIKE KELLEY b. 1954
Garbage Drawing #37, 1988
Ink and acrylic on paper. 24 x 32 in. (61 x 81.3 cm). Titled “37” on the reverse.
Estimate $20,000-30,000
216
216 DIRK SKREBER b. 1961
Untitled, 2000
Oil on canvas. 110 1/4 x 165 3/8 in. (280 x 420.1 cm).
Estimate $200,000-300,000

217
218
217 FLORIAN MAIER-AICHEN b. 1973
Untitled, 2007
C-print. 43 1/4 x 31 in. (109.9 x 78.7 cm) image size. Signed, dated “Florian Maier-Aichen
2007” and numbered of six on the reverse. This work is from an edition of six.
Estimate $30,000-40,000
218 FLORIAN MAIER-AICHEN b. 1973
Rügenlandschaft (Complaints landscape), 2007
C-print. 31 x 64 1/2 in. (78.7 x 163.8 cm). Signed, dated “Florian Maier-Aichen 2007” and
numbered of six on the reverse. This work is from an edition of six.
Estimate $40,000-60,000
219
219 WALTON FORD b. 1960
La Fontaine, 2006
Watercolor, gouache, graphite, and ink on paper. 60 x 120 in. (152.4 x 304.8 cm). Titled
“La Fontaine” upper left; initialed “W.F.” lower right.
Estimate $250,000-350,000

220
220 LEON KOSSOFF b. 1926
The Judgment of Solomon #1, 1999
Hand colored etching and drypoint. 22 1/4 x 30 in. (56.5 x 76.2 cm) paper size. Initialed and
dated “LK 99” on the reverse. This work is from an edition of 20.
Estimate $20,000-30,000
221 DAVID SMITH 1906 - 1965
Untitled, 1962
Spray enamel on paper. 18 x 22 5/8 in. (45.7 x 57.5 cm). Stamped with the artist’s estate seal
and numbered 73.62.204 on the reverse.
Estimate $60,000-80,000
221
222
222 DIRK SKREBER b. 1961
Untitled (Compound), 1999
Oil and weather stripping tape on canvas. 63 1/4 x 157 1/2 in. (160.7 x 400.1 cm).
Estimate $120,000-180,000

223
223 ED RUSCHA b. 1937
Busted Glass #8, 2007
Acrylic on museum board paper. 12 1/4 x 9 1/4 in. (31.1 x 23.5 cm). Signed and dated “Ed
Ruscha 2007” lower right. This work is registered under the artist’s studio number D.2007.82.
Estimate $30,000-50,000
224
224 ED RUSCHA b. 1937
Busted Glass #10, 2007
Acrylic on museum board paper. 12 1/8 x 9 1/4 in. (30.8 x 23.5 cm). Signed and dated “Ed
Ruscha 2007” lower right. This work is registered under the artist’s studio number D.2007.84.
Estimate $30,000-50,000
225
225 DENNIS HOPPER b. 1936
Ed Ruscha, 1964
Gelatin silver print. 15 3/4 x 24 in. (40 x 61 cm). Signed, dated “D. Hopper 1964” and
numbered on the reverse. This work is an artist’s proof from an edition of 15.
Estimate $7,000-9,000

226
226 DENNIS HOPPER b. 1936
Double Standards, 1961
Gelatin silver print. 30 x 44 1/2 in. (76.2 x 113 cm) paper size. Signed, dated “D. Hopper 1961”
and numbered of five on the reverse. This work is from an edition of five.
Estimate $20,000-30,000
227 ED RUSCHA b. 1937
10 Works: Gasoline Stations from Twenty Six Gasoline Stations, 1962/1989
10 gelatin silver prints laid down on board. Each 19 1/2 x 23 in. (49.5 x 58.4 cm) paper size.
Each stamped with individual location and numbered of 25 on the reverse. This work is from
an edition of 25.
Estimate $80,000-120,000
227

228
229
230
228 DENNIS HOPPER b. 1963
Bruce Conner’s Physical Services, 1964
Gelatin silver print. 16 x 24 in. (40.6 x 61 cm). Signed, dated “Dennis Hopper 1964” and
numbered of 15 on the reverse. This work is from an edition of 15.
Estimate $7,000-9,000
229 DENNIS HOPPER b. 1963
Andy Warhol and Members of the Factory, 1964
Gelatin silver print. 16 x 24 in. (40.6 x 61 cm). Signed, dated “Dennis Hopper 1964” and
numbered of 15 on the reverse. This work is from an edition of 15.
Estimate $7,000-9,000
230 DENNIS HOPPER b. 1936
Dennis Hopper, 1962
Gelatin silver print. 15 3/4 x 24 in. (40 x 61 cm). Signed, dated “Dennis Hopper 1962” and
numbered of 15 on the reverse. This work is from an edition of 15.
Estimate $7,000-9,000

231
231 DENNIS HOPPER b. 1936
John Wayne and Dean Martin, 1962
Gelatin silver print. 16 x 24 in. (40.6 x 61 cm). Signed, dated “D. Hopper 1962” and numbered
of 15 on the reverse. This work is from an edition of 15.
Estimate $7,000-9,000
232 Michael Eastman b. 1947
Horse #115, 2000
Inkjet print on paper. 24 1/4 x 44 in. (61.6 x 111.8 cm). Signed, titled “Michael Eastman Horse
#115” and numbered of 25 along lower edge; blindstamped “ME 00” in margin. This work is
from an edition of 25.
Estimate $5,000-7,000
232
233
233 WALTON FORD b. 1960
Dying Words, 2005
Six copper plates, hardground etching, aquatint, spit-bite aquatint, drypoint, scraping and
burnishing on paper. 14 x 18 in. (35.6 x 45.7 cm) image size. Signed and dated “Walton Ford
05” lower right; titled “Dying Words” upper left. This work is from an edition of 75.
Estimate $4,000-6,000

THE HAL SE Y MINOR COLLECTION
DESIGN
9 JUNE 2 010 NEW YORK

RONAN AND ERWAN BOUROULLEC b. 1971, b. 1976
Prototype “Icefield” low table, 2007
Gel-coated resin, painted plywood.
7 x 111 x 40 1/2 in. (17.8 x 281.9 x 102.9 cm).
Estimate $20,000-30,000
MARTIN SZEKELY b. 1956
Prototype “SiC” mirror, 2006
Silicon carbide, brushed steel.
19 3/4 x 10 1/4 x 3/4 in. (50.2 x 26 x 1.9 cm).
Estimate $12,000-18,000
JASPER MORRISON b. 1959
“Carrara Tables, Variation N° 16 + 1,” 2005
Carrara marble-covered aluminum honeycomb, brushed metal (4).
Largest table: 11 x 65 3/4 x 15 1/4 in. (27.9 x 167 x 38.7 cm).
Estimate $30,000-40,000
Please note: Refer to the forthcoming 9 June 2010 Design catalogue for complete
catalogue entry information. This index is a supplement to the formal catalogue.

MARC NEWSON b. 1963
“Pod of Drawers,” 1987
Fiberglass-reinforced polyester resin core, blind-riveted sheet aluminum, rubber coating.
50 3/8 x 27 1/2 x 17 1/4 in. (128 x 69.9 x 43.8 cm).
Estimate $300,000-500,000
MARC NEWSON b. 1963
Prototype “Voronoi” shelf, 2006
Bardiglio marble.
70 1/4 x 108 3/4 x 14 3/4 in. (178.4 x 276.2 x 37.5 cm).
Estimate $100,000-150,000
MARC NEWSON b. 1963
“Dark Star” table, 1986
Welded aluminum tread sheet, glass, tubular aluminum, rubber-covered wood.
30 in. (76.2 cm) high, 39 1/4 in. (99.7 cm) diameter.
Estimate $50,000-70,000

©Morgane Le Gall Courtesy of Galerie Kreo
MARC NEWSON b. 1963
Conference table and eight “Komed” chairs, 1990s
Table: coated fiberglass, painted tubular steel; each chair: vinyl, painted tubular steel (9).
Table: 33 x 152 1/2 x 45 1/4 in. (83.8 x 387.4 x 114.9 cm); each chair: 34 1/4 in. (87 cm) high.
Estimate $60,000-80,000
JASPER MORRISON b. 1959
“Museum Pieces, Cabinet A,” 2006
Resin, oak, Securit glass.
73 1/8 x 36 5/8 x 15 3/4 in. (185.7 x 93 x 40 cm).
Estimate $40,000-60,000
MARC NEWSON b. 1963
Rare and early “Insect” adjustable armchair, ca. 1986
Vinyl, painted tubular metal, plastic, steel.
30 in. (76.2 cm) high.
Estimate $30,000-50,000
MARC NEWSON b. 1963
“Gello” table, ca. 1994
Colored plastic, Perspex.
19 in. (48.3 cm) high; 23 1/2 in. (59.7 cm) diameter.
Estimate $2,000-3,000

MARC NEWSON b. 1963
“Embryo” chair, ca. 1999
Neoprene, brushed tubular aluminum.
31 1/2 in. (80 cm) high.
Estimate $3,000-5,000
MARC NEWSON b. 1963
“Super Guppy” floor lamp, ca. 1987
Tubular aluminum, aluminum, molded glass.
72 in. (182.9 cm) high.
Estimate $10,000-15,000
MARC NEWSON b. 1963
“Event Horizon Table,” 1992
Enameled aluminum, polished aluminum.
31 1/2 x 70 5/8 x 38 in. (80 x 179.4 x 96.5 cm).
Estimate $250,000-350,000

CHARLOTTE PERRIAND 1903-1999
“Bibliothèque Asymetrique,” ca. 1958
Ash-veneered wood, painted bent aluminum.
48 x 126 x 13 in. (121.9 x 320 x 33 cm).
Estimate $50,000-70,000
MARC NEWSON b. 1963
“Black Hole” table, ca. 2006
Carbon fiber.
28 1/4 x 97 7/8 x 40 in. (71.8 x 248.6 x 101.6 cm).
Estimate $80,000-120,000

MARC NEWSON b. 1963
Prototype “Micarta” desk, 2006
Linen phenolic composite.
29 3/8 x 101 x 37 5/8 in. (74.6 x 256.5 x 95.6 cm).
Estimate $150,000-200,000
ISAMU NOGUCHI 1904-1988
“Pierced Table,” 1982
Hot-dipped galvanized steel.
21 7/8 x 36 3/4 x 36 1/4 in. (55.6 x 93.3 x 92.1 cm).
Estimate $50,000-70,000
JASPER MORRISON b. 1959
“Handlebar” table, 1983
Beech, bicycle handlebars, glass.
25 3/8 in. (64.5 cm) high, 23 in. (58.4 cm) diameter
Estimate $12,000-18,000

PAUL DUPRÉ-LAFON 1900-1971
Writing cabinet, ca. 1940
Leather-covered wood, macassar ebony-veneered wood, wood, gilt bronze.
30 1/2 x 43 x 20 1/4 in. (77.5 x 109.2 x 51.4 cm).
Estimate $100,000-150,000
PAUL DUPRÉ-LAFON 1900-1971
Pair of side tables, ca. 1935
Wrought iron, leather, macassar ebony (2).
Each: 21 x 20 3/4 x 20 3/4 in. (53.3 x 52.7 x 52.7 cm).
Estimate $30,000-40,000

PAUL DUPRÉ-LAFON 1900-1971
Large four-seater sofa, ca. 1929
Leather, fabric, nickel-plated metal-covered wood.
29 1/2 x 119 1/2 x 42 1/4 in. (74.9 x 303.5 x 107.3 cm).
Estimate $70,000-90,000
PAUL DUPRÉ-LAFON 1900-1971
Low table, ca. 1940
Patinated iron, cork, limed oak. 14 1/4 x 47 1/2 x 41 1/2 in. (36.2 x 120.7 x 105.4 cm).
Estimate $150,000-200,000

JEAN ROYÈRE 1902-1981
Mirror, ca. 1955
Gilt iron, mirrored glass.
37 1/2 x 25 1/2 x 5 1/4 in. (95.3 x 64.8 x 13.3 cm).
Estimate $10,000-15,000
DIEGO GIACOMETTI 1902-1985
“Coupelle à L’Oiseau,” ca. 1978
Patinated bronze.
3 3/4 x 6 3/4 x 5 in. (9.5 x 17.1 x 12.7 cm).
Estimate $12,000-18,000
PAUL DUPRÉ-LAFON 1900-1971
Pair of armchairs, ca. 1929
Fabric, nickel-plated metal-covered wood (2).
Each: 22 in. (55.9 cm) high
Estimate $35,000-45,000

JEAN ROYÈRE 1902-1981
Low side table, ca. 1950
Gilt iron, glass.
11 1/2 x 24 x 12 in. (29.2 x 61 x 30.5 cm).
Estimate $15,000-20,000
PAUL DUPRÉ-LAFON 1900-1971
Valet, ca. 1935
Painted mahogany, leather-covered wood, bronze.
54 1/4 x 22 x 17 1/2 in. (137.8 x 55.9 x 44.5 cm).
Estimate $10,000-15,000

DESIGN
INCLUDING THE HALSEY MINOR COLLECTION
AUCTION 9 JUNE 2010 NEW YORK
Viewing 1 – 9 JUNE
Phillips de Pury & Company 450 West 15 Street New York 10011
Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039
www.phillipsdepury.com
JEAN ROYÈRE Rare and important “Salon Sculpture” sofa and pair of chairs, ca. 1955 Estimate $180,000-200,000

GUIDE FOR PROSPECTIVE BUYERS
BUYING AT AUCTION
The following pages are designed to offer you information on how to buy at auction at Phillips
de Pury & Company. Our staff will be happy to assist you.
CONDITIONS OF SALE
The Conditions of Sale and Authorship Warranty which appear later in this catalogue
govern the auction. Bidders are strongly encouraged to read them as they outline the legal
relationship among Phillips, the seller and the buyer and describe the terms upon which
property is bought at auction. Please be advised that Phillips de Pury & Company generally
acts as agent for the seller.
BUYER’S PREMIUM
Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium,
on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of
the total purchase price at the following rates: 25% of the hammer price up to and including
$50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000
and 12% of the portion of the hammer price above $1,000,000.
1 PRIOR TO AUCTION
Catalogue Subscriptions
If you would like to purchase a catalogue for this auction or any other Phillips de Pury
& Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.
Pre-Sale Estimates
Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high
and low estimate range should, in our opinion, offer a chance of success. However, many lots
achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears,
please contact the specialist department for further information. It is advisable to contact us
closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do
not include the buyer’s premium or any applicable taxes.
Pre-Sale Estimates in Pounds Sterling and Euros
Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues
may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time
of catalogue production and not at the date of auction, you should treat estimates in pounds
sterling or euros as a guide only.
Catalogue Entries
Phillips may print in the catalogue entry the history of ownership of a work of art, as well as
the exhibition history of the property and references to the work in art publications. While we
are careful in the cataloguing process, provenance, exhibition and literature references may
not be exhaustive and in some cases we may intentionally refrain from disclosing the identity
of previous owners. Please note that all dimensions of the property set forth in the catalogue
entry are approximate.
Condition of Lots
Our catalogues include references to condition only in the descriptions of multiple works (e.g.,
prints). Such references, though, do not amount to a full description of condition. The absence
of reference to the condition of a lot in the catalogue entry does not imply that the lot is free
from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company
may provide condition reports. In preparing such reports, our specialists assess the condition
in a manner appropriate to the estimated value of the property and the nature of the auction
in which it is included. While condition reports are prepared honestly and carefully, our staff
are not professional restorers or trained conservators. We therefore encourage all prospective
buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in
the case of any lot of significant value, that you retain your own restorer or professional
advisor to report to you on the property’s condition prior to bidding. Any prospective buyer
of photographs or prints should always request a condition report because all such property
is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed,
Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot
unframed, we will be pleased to refer the purchaser to a professional framer.
Pre-Auction Viewing
Pre-auction viewings are open to the public and free of charge. Our specialists are available
to give advice and condition reports at viewings or by appointment.
Electrical and Mechanical Lots
All lots with electrical and/or mechanical features are sold on the basis of their decorative
value only and should not be assumed to be operative. It is essential that, prior to any intended
use, the electrical system is verified and approved by a qualified electrician.
Symbol Key
The following key explains the symbols you may see inside this catalogue.
O Guaranteed Property
The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may
be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party.
Phillips de Pury & Company and third parties providing or participating in a guarantee may
benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not
successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to
net the financial remuneration against the final purchase price if such party is the successful
bidder.
∆ Property in Which Phillips de Pury & Company Has an Ownership Interest
Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part
or has an economic interest in the lot equivalent to an ownership interest.
No Reserve
•
Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve
•
is the confidential value established between Phillips de Pury & Company and the seller and
below which a lot may not be sold. The reserve for each lot is generally set at a percentage of
the low estimate and will not exceed the low pre-sale estimate.
2 BIDDING IN THE SALE
Bidding at Auction
Bids may be executed during the auction in person by paddle or by telephone or prior to the
sale in writing by absentee bid.
Bidding in Person
To bid in person, you will need to register for and collect a paddle before the auction begins.
Proof of identity in the form of government issued identification will be required, as will an
original signature. We may also require that you furnish us with a bank reference. New clients
are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us
to process your information. All lots sold will be invoiced to the name and address to which the
paddle has been registered and invoices cannot be transferred to other names and addresses.
Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury &
Company staff member immediately. At the end of the auction, please return your paddle to the
registration desk.
Bidding by Telephone
If you cannot attend the auction, you may bid live on the telephone with one of our multilingual
staff members. This service must be arranged at least 24 hours in advance of the sale
and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may
be recorded. By bidding on the telephone, you consent to the recording of your conversation.
We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable
taxes, which we can execute on your behalf in the event we are unable to reach you by
telephone.
Absentee Bids
If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury
& Company will be happy to execute written bids on your behalf. A bidding form can be found
at the back of this catalogue. This service is free and confidential. Bids must be placed in the
currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible
price taking into account the reserve and other bidders. Always indicate a maximum bid,
excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted.
Any absentee bid must be received at least 24 hours in advance of the sale. In the event of
identical bids, the earliest bid received will take precedence.
Employee Bidding
Employees of Phillips de Pury & Company and our affiliated companies, including the
auctioneer, may bid at the auction by placing absentee bids so long as they do not know the
reserve when submitting their absentee bids and otherwise comply with our employee bidding
procedures.
Bidding Increments
Bidding generally opens below the low estimate and advances in increments of up to 10%,
subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments
set below may be lowered to the next bidding increment.
$50 to $1,000 by $50s
$1,000 to $2,000 by $100s
$2,000 to $3,000 by $200s
$3,000 to $5,000 by $200s, 500, 800
(i.e. $4,200, 4,500, 4,800)
$5,000 to $10,000 by $500s
$10,000 to $20,000 by $1,000s
$20,000 to $30,000 by $2,000s
$30,000 to $50,000 by $2,000s, 5,000, 8,000
$50,000 to $100,000 by $5,000s
$100,000 to $200,000 by $10,000s
above $200,000
auctioneer’s discretion
The auctioneer may vary the increments during the course of the auction at his or her own
discretion.
3 THE AUCTION
Conditions of Sale
As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty.
All prospective bidders should read them carefully. They may be amended by saleroom
addendum or auctioneer’s announcement.
Interested Parties Announcement
In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot,
such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party

providing or participating in a guarantee on the lot, Phillips de Pury & Company will make
an announcement in the saleroom that interested parties may bid on the lot.
Consecutive and Responsive Bidding
The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The
auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing
consecutive bids or bids in response to other bidders.
4 AFTER THE AUCTION
Payment
Buyers are required to pay for purchases immediately following the auction unless other
arrangements are agreed with Phillips de Pury & Company in writing in advance of the
sale. Payments must be made in US dollars either by cash, check drawn on a US bank or
wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy
not to make or accept single or multiple payments in cash or cash equivalents in excess of
US$10,000.
Credit Cards
As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and
Mastercard to pay for invoices of $10,000 or less.
Collection
It is our policy to request proof of identity on collection of a lot. A lot will be released to the
buyer or the buyer’s authorized representative when Phillips de Pury & Company has received
full and cleared payment and we are not owed any other amount by the buyer. Promptly after
the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long
Island City, Queens, New York. All purchased lots should be collected at this location during
our regular weekday business hours. As a courtesy to clients, we will upon request transfer
purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York,
New York for collection within 30 days following the date of the auction. For each purchased lot
not collected from us at either our warehouse or our auction galleries by such date, Phillips
de Pury & Company will levy an administrative fee of $35, a storage fee of $5 per day and a pro
rated Insurance charge of 0.1% of the purchase price per month.
Loss or Damage
Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to
lots for a maximum of five days following the auction.
Transport and Shipping
As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand
carry only. We will, at the buyer’s expense, either provide packing, handling and shipping
services or coordinate with shipping agents instructed by the buyer in order to facilitate such
services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of
the Conditions of Sale for more information.
Export and Import Licenses
Before bidding for any property, prospective bidders are advised to make independent inquiries
as to whether a license is required to export the property from the United States or to import
it into another country. It is the buyer’s sole responsibility to comply with all import and export
laws and to obtain any necessary licenses or permits. The denial of any required license or
permit or any delay in obtaining such documentation will not justify the cancellation of the sale
or any delay in making full payment for the lot.
Endangered Species
Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,
whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may
require a license or certificate prior to exportation and additional licenses or certificates upon
importation to any foreign country. Please note that the ability to obtain an export license
or certificate does not ensure the ability to obtain an import license or certificate in another
country, and vice versa. We suggest that prospective bidders check with their own government
regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility
to obtain any necessary export or import licenses or certificates as well as any other required
documentation. The denial of any required license or certificate or any delay in obtaining such
documentation will not justify the cancellation of the sale or any delay in making full payment
for the lot.

CONDITIONS OF SALE
The Conditions of Sale and Authorship Warranty set forth below govern the relationship
between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers,
on the other hand. All prospective buyers should read these Conditions of Sale and Authorship
Warranty carefully before bidding.
1 INTRODUCTION
Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale
and Authorship Warranty; (b) additional notices and terms printed in other places in this
catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue
or other written material posted by Phillips de Pury & Company in the saleroom, in each case
as amended by any addendum or announcement by the auctioneer prior to the auction.
By bidding at the auction, whether in person, through an agent, by written bid, by telephone
bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so
changed or supplemented, and Authorship Warranty.
These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain
all the terms on which Phillips de Pury & Company and the seller contract with the buyer.
2 PHILLIPS de PURY & COMPANY AS AGENT
Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this
catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in
which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or
financial interest in a lot as a secured creditor or otherwise.
(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which
is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone
bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury
& Company reserves the right to require written confirmation of a successful bid from a
telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer.
Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the
recording of the conversation.
(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder
accepts personal liability to pay the purchase price, as described more fully in Paragraph 6
(a) below, plus all other applicable charges unless it has been explicitly agreed in writing with
Phillips de Pury & Company before the commencement of the auction that the bidder is acting
as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and
that we will only look to the principal for such payment.
(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury
& Company to prospective buyers. While we undertake to exercise reasonable care in
undertaking such activity, we cannot accept liability for failure to execute such bids except
where such failure is caused by our willful misconduct.
(f) Employees of Phillips de Pury & Company and our affiliated companies, including the
auctioneer, may bid at the auction by placing absentee bids so long as they do not know the
reserve when submitting their absentee bids and otherwise comply with our employee bidding
procedures.
3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY
Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless
such description is changed or supplemented, as provided in Paragraph 1 above) and in the
condition that they are in at the time of the sale on the following basis.
5 CONDUCT OF THE AUCTION
(a) Unless otherwise indicated by the symbol each lot is offered subject to a reserve, which
•
is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.
The reserve will not exceed the low pre-sale estimate at the time of the auction.
(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent
on information provided to us by the seller, and Phillips de Pury & Company is not able to
and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge
this fact and accept responsibility for carrying out inspections and investigations to satisfy
themselves as to the lots in which they may be interested. Notwithstanding the foregoing,
we shall exercise such reasonable care when making express statements in catalogue
descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale
and in light of (i) the information provided to us by the seller, (ii) scholarship and technical
knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the
time any such express statement is made.
(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by
prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on
the basis that bidders (and independent experts on their behalf, to the extent appropriate given
the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior
to bidding and have satisfied themselves as to both the condition of the lot and the accuracy
of its description.
(c) Prospective buyers acknowledge that many lots are of an age and type which means that
they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may
prepare and provide condition reports to assist prospective buyers when they are inspecting
lots. Catalogue descriptions and condition reports may make reference to particular
imperfections of a lot, but bidders should note that lots may have other faults not expressly
referred to in the catalogue or condition report. All dimensions are approximate. Illustrations
are for identification purposes only and cannot be used as precise indications of size or to
convey full information as to the actual condition of lots.
(d) Information provided to prospective buyers in respect of any lot, including any pre-sale
estimate, whether written or oral, and information in any catalogue, condition or other report,
commentary or valuation, is not a representation of fact but rather a statement of opinion held
by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of
the selling price or value of the lot and may be revised from time to time by Phillips de Pury
& Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our
affiliated companies shall be liable for any difference between the pre-sale estimates for any
lot and the actual price achieved at auction or upon resale.
4 BIDDING AT AUCTION
(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or
participation in the sale. All bidders must register for a paddle prior to bidding, supplying such
information and references as required by Phillips de Pury & Company.
(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury
& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s
behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of
which is printed in this catalogue or otherwise available from Phillips de Pury & Company.
Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum
amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or
use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does
not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest
possible price taking into account the reserve and other bidders. Any absentee bid must be
received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid
received will take precedence.
(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a
lot for sale (including after the fall of the hammer) if he or she believes there may be error or
dispute and take such other action as he or she deems reasonably appropriate.
(c) The auctioneer will commence and advance the bidding at levels and in increments he or
she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place
one or more bids on behalf of the seller up to the reserve without indicating he or she is doing
so, either by placing consecutive bids or bids in response to other bidders.
(d) The sale will be conducted in US dollars and payment is due in US dollars. For the
benefit of international clients, pre-sale estimates in the auction catalogue may be shown in
pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly,
estimates in pounds sterling or euros should be treated only as a guide.
(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the
auctioneer will be the buyer and the striking of the hammer marks the acceptance of the
highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and
responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.
(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,”
“returned to owner” or “bought-in.”
(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale
and Authorship Warranty as if sold in the auction.
6 PURCHASE PRICE AND PAYMENT
(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium
and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer
price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to
and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.
(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law.
All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive
of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from
US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client
Accounting Department about tax matters.
(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately
following the auction regardless of any intention to obtain an export or import license or other
permit for such lot. Payments must be made by the invoiced party in US dollars either by cash,
check drawn on a US bank or wire transfer, as follows:
(i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid
in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so
in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular
weekday business hours.
(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer
provides to us acceptable government issued identification. Checks and banker’s drafts
should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,
please send the check or banker’s draft to the attention of the Client Accounting Department
at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is
written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank
transfer details:
Citibank
322 West 23rd Street, New York, NY 10011
SWIFT Code: CITIUS33
ABA Routing: 021 000 089
For the account of Phillips de Pury & Company LLC
Account no.: 58347736
Please reference the relevant sale and lot number.
(d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the
Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to
release a lot to the buyer until title in the lot has passed and appropriate identification has
been provided, and any earlier release does not affect the passing of title or the buyer’s
unconditional obligation to pay the Purchase Price.
7 COLLECTION OF PROPERTY
(a) Phillips de Pury & Company will not release a lot to the buyer until we have received
payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding
amounts due to Phillips de Pury & Company or any of our affiliated companies, including
any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such
other terms as we in our sole discretion shall require, including completing any anti-money
laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the
foregoing conditions, and no later than five days after the conclusion of the auction, he or she
should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for
collection of purchased property.
(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th
Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this
location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury
& Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand
carry back to our premises at 450 West 15th Street, New York, New York for collection within
30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the
responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five
days after the auction. Until risk passes, Phillips de Pury & Company will compensate the
buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid,
subject to our usual exclusions for loss or damage to property.
(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased
lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling,
insurance and shipping services or coordinate with shipping agents instructed by the buyer in
order to facilitate such services for property bought at Phillips de Pury & Company. Any such
instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and
responsibility, and we will not be liable for acts or omissions of third party packers or shippers.
Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924
6477 at least 24 hours in advance of collection in order to schedule pickup.
(d) Phillips de Pury & Company will require presentation of government issued identification
prior to release of a lot to the buyer or the buyer’s authorized representative.
8 FAILURE TO COLLECT PURCHASES
(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the
auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro
rated insurance charges of .1% of the Purchase Price per month on each uncollected lot.
(b) If a purchased lot is paid for but not collected within six months of the auction, the buyer
authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction
or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable
discretion. The proceeds of such sale will be applied to pay for storage charges and any other
outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our
affiliated companies and the remainder will be forfeited unless collected by the buyer within
two years of the original auction.
9 REMEDIES FOR NON-PAYMENT
(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement
fails to make payment of the Purchase Price for a lot in cleared funds within five days of the
auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the
following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at
the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii)
cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated
damages; (iii) reject future bids from the buyer or render such bids subject to payment of a
deposit; (iv) charge interest at 12% per annum from the date payment became due until the
date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer,
exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury
& Company and instruct our affiliated companies to exercise a lien over any of the buyer’s
property which is in their possession and, in each case, no earlier than 30 days from the date
of such notice, arrange the sale of such property and apply the proceeds to the amount owed
to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale
proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot
by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s
reasonable discretion, it being understood that in the event such resale is for less than the
original hammer price and buyer’s premium for that lot, the buyer will remain liable for the
shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to
recover the hammer price and buyer’s premium for that lot, together with interest and the costs
of such proceedings; or (viii) release the name and address of the buyer to the seller to enable
the seller to commence legal proceedings to recover the amounts due and legal costs.
(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips
de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and
the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in
any other property or money of the buyer in, or coming into, our possession or the possession
of one of our affiliated companies. We may apply such money or deal with such property as
the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the
event that we exercise a lien over property in our possession because the buyer is in default
to one of our affiliated companies, we will so notify the buyer. Our security interest in any
individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.
(c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer
also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our
possession by actual or constructive delivery to our affiliated company as security for the
payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the
buyer’s property has been delivered to an affiliated company by way of pledge.
10 Rescission by Phillips de Pury & Company
Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale
without notice to the buyer if we reasonably believe that there is a material breach of the
seller’s representations and warranties or the Authorship Warranty or an adverse claim is
made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the
sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then
refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the
refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury
& Company and the seller with respect to such rescinded sale..
11 Export, Import and Endangered Species Licenses and Permits
Before bidding for any property, prospective buyers are advised to make their own inquiries
as to whether a license is required to export a lot from the United States or to import it into
another country. Prospective buyers are advised that some countries prohibit the import
of property made of or incorporating plant or animal material, such as coral, crocodile,
ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.
Accordingly, prior to bidding, prospective buyers considering export of purchased lots should
familiarize themselves with relevant export and import regulations of the countries concerned.
It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary
export, import and endangered species licenses or permits. Failure to obtain a license or
permit or delay in so doing will not justify the cancellation of the sale or any delay in making
full payment for the lot.
12 Client Information
In connection with the management and operation of our business and the marketing and
supply of auction related services, or as required by law, we may ask clients to provide
personal information about themselves or obtain information about clients from third parties
(e.g., credit information). If clients provide us with information that is defined by law as
“sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use
it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use
or process sensitive information for any other purpose without the client’s express consent. If
you would like further information on our policies on personal data or wish to make corrections
to your information, please contact us at +1 212 940 1228. If you would prefer not to receive
details of future events please call the above number.
13 Limitation of Liability
(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our
affiliated companies and the seller to the buyer in connection with the sale of a lot shall be
limited to the Purchase Price actually paid by the buyer for the lot.
(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any
of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally
or in writing, in information provided to prospective buyers by Phillips de Pury & Company or
any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts
or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our
affiliated companies in connection with the conduct of the auction or for any other matter
relating to the sale of any lot.
(c) All warranties other than the Authorship Warranty, express or implied, including any
warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de
Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.
(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our
affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond
the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss
or damage is characterized as direct, indirect, special, incidental or consequential, or for the
payment of interest on the Purchase Price to the fullest extent permitted by law.
(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of
Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any
fraud or fraudulent misrepresentation made by any of us or in respect of death or personal
injury caused by our negligent acts or omissions.

AUTHORSHIP WARRANTY
14 Copyright
The copyright in all images, illustrations and written materials produced by or for Phillips de
Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain
at all times the property of Phillips de Pury & Company and such images and materials may
not be used by the buyer or any other party without our prior written consent. Phillips de Pury
& Company and the seller make no representations or warranties that the buyer of a lot will
acquire any copyright or other reproduction rights in it.
15 General
(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above,
and Authorship Warranty set out the entire agreement between the parties with respect to the
transactions contemplated herein and supersede all prior and contemporaneous written, oral
or implied understandings, representations and agreements.
(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department
in charge of the sale, quoting the reference number specified at the beginning of the sale
catalogue. Notices to clients shall be addressed to the last address notified by them in writing
to Phillips de Pury & Company.
(c) These Conditions of Sale are not assignable by any buyer without our prior written consent
but are binding on the buyer’s successors, assigns and representatives.
(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable
for any reason, the remaining provisions shall remain in full force and effect. No failure by any
party to exercise, nor any delay in exercising, any right or remedy under these Conditions of
Sale shall act as a waiver or release thereof in whole or in part.
Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a
period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions
and limitations set forth below.
(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of
record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not
extend to (i) subsequent owners of the property, including purchasers or recipients by way of
gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created
prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made
less than 50 years ago with an intent to deceive) and has a value at the date of the claim under
this warranty which is materially less than the Purchase Price paid; (iii) property where the
description in the catalogue states that there is a conflict of opinion on the authorship of the
property; (iv) property where our attribution of authorship was on the date of sale consistent
with the generally accepted opinions of specialists, scholars or other experts; or (v) property
whose description or dating is proved inaccurate by means of scientific methods or tests not
generally accepted for use at the time of the publication of the catalogue or which were at such
time deemed unreasonably expensive or impractical to use.
(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves
the right, as a condition to rescinding any sale under this warranty, to require the buyer to
provide to us at the buyer’s expense the written opinions of two recognized experts approved in
advance by Phillips de Pury & Company. We shall not be bound by any expert report produced
by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury
& Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the
buyer the reasonable costs charged by the experts commissioned by the buyer and approved in
advance by us.
16 Law and Jurisdiction
(a) The rights and obligations of the parties with respect to these Conditions of Sale and
Authorship Warranty, the conduct of the auction and any matters related to any of the
foregoing shall be governed by and interpreted in accordance with laws of the State of New
York, excluding its conflicts of law rules.
(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction
of the (i) state courts of the State of New York located in New York City and (ii) the federal
courts for the Southern and Eastern Districts of New York to settle all disputes arising in
connection with all aspects of all matters or transactions to which these Conditions of Sale
and Authorship Warranty relate or apply.
(c) All bidders and sellers irrevocably consent to service of process or any other documents in
connection with proceedings in any court by facsimile transmission, personal service, delivery
by mail or in any other manner permitted by New York law or the law of the place of service, at
the last address of the bidder or seller known to Phillips de Pury & Company.
(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim
for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury
& Company in writing within three months of receiving any information which causes the
buyer to question the authorship of the lot, specifying the auction in which the property was
included, the lot number in the auction catalogue and the reasons why the authorship of the
lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the
same condition as at the time of its auction and is able to transfer good and marketable title in
the lot free from any third party claim arising after the date of the auction.
(d) The buyer understands and agrees that the exclusive remedy for any breach of the
Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price
paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips
de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other
remedy available as a matter of law. This means that none of Phillips de Pury & Company, any
of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy
expressly provided in this Authorship Warranty, whether such loss or damage is characterized
as direct, indirect, special, incidental or consequential, or for the payment of interest on the
original Purchase Price.

phillips de pury & company
Chairman
Simon de Pury
Chief Executive Officer
Bernd Runge
Senior Directors
Michael McGinnis
Dr. Michaela de Pury
Directors
Aileen Agopian
Sean Cleary
Finn Dombernowsky
Patty Hambrecht
Alexander Payne
Rodman Primack
Olivier Vrankenne
Advisory Board
Maria Bell
Janna Bullock
Lisa Eisner
Lapo Elkann
Ben Elliot
Lady Elena Foster
H.I.H. Francesca von Habsburg
Marc Jacobs
Ernest Mourmans
Aby Rosen
Christiane zu Salm
Juergen Teller
Princess Gloria von Thurn und Taxis
Jean Michel Wilmotte
Anita Zabludowicz
International Specialists
Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42
Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44
Buenos Aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060
Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000
London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611
Los Angeles Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771
Milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671
Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22
Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805
Singapore Chin-Chin Yap, Specialist, Contemporary Art +1 347 784 6916
Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32
General Counsel
Patricia G. Hambrecht
Managing Directors
Finn Dombernowsky, London/Europe
Sean Cleary, New York (Interim)
WORLDWIDE OFFICES
NEW YORK
450 West 15 Street, New York, NY 10011, USA
tel +1 212 940 1200 fax +1 212 924 5403
PARIS
15 rue de la Paix, 75002 Paris, France
tel +33 1 42 78 67 77 fax +33 1 42 78 23 07
GENEVA
23 quai des Bergues, 1201 Geneva, Switzerland
tel +41 22 906 80 00 fax +41 22 906 80 01
LONDON
Howick Place, London SW1P 1BB, United Kingdom
tel +44 20 7318 4010 fax +44 20 7318 4011
BERLIN
Auguststrasse 19, 10117 Berlin, Germany
tel +49 30 8800 1842 fax +49 30 8800 1843

SPECIALISTs AND DEPARTMENTS
CONTEMPORARY ART
Michael McGinnis, Senior Director +1 212 940 1254
and Worldwide Head, Contemporary Art
New York
Aileen Agopian, New York Director +1 212 940 1255
Roxana Bruno +1 212 940 1229
Sarah Mudge, Head of Part II +1 212 940 1259
Rodman Primack +1 212 940 1256
Jean-Michel Placent +1 212 940 1263
Timothy Malyk +1 212 940 1258
Jeremy Goldsmith +1 212 940 1253
Sara Davidson +1 212 940 1262
Maria Bueno +1 212 940 1261
Alexandra Leive +1 212 940 1252
Peter Flores +1 212 940 1223
(Uli) Zhiheng Huang +1 212 940 1288
Sarah Stein-Sapir +1 212 940 1303
(Administrative Assistant to Michael McGinnis)
LONdON
Peter Sumner, Head of Sales, London +44 20 7318 4063
Henry Allsopp +44 20 7318 4060
Laetitia Catoir +44 20 7318 4064
Judith Hess +44 20 7318 4075
Leonie Moschner +44 20 7318 4074
Ivgenia Naiman +44 20 7318 4071
Sarah Buchwald +44 20 7318 4085
Catherine Higgs +44 20 7318 4089
George O’Dell +44 20 7318 4093
Raphael Lepine +44 20 7318 4078
Tanya Tikhnenko +44 20 7318 4065
Phillippa Willison +44 20 7318 4070
PARIS
Edouard de Moussac + 33 1 42 78 67 77
MODERN AND CONTEMPORARY EDITIONS
New York
Cary Leibowitz, Worldwide Co-Director +1 212 940 1222
Kelly Troester, Worldwide Co-Director +1 212 940 1221
Jannah Greenblatt +1 212 940 1332
Joy Deibert +1 212 940 1333
PHOTOGRAPHS
New York
Vanessa Kramer, New York Director +1 212 940 1243
Shlomi Rabi +1 212 940 1246
Caroline Shea +1 212 940 1247
Carol Ehlers, Consultant +1 212 940 1245
Sarah Krueger +1 212 940 1245
LONDON
Lou Proud +44 20 7318 4018
Sebastien Montabonel +44 20 7318 4025
Alexandra Bibby +44 20 7318 4087
Rita Almeida Freitas +44 20 7318 4087
Helen Hayman +44 20 7318 4092
Emma Lewis +44 20 7318 4092
JEWELRY
Nazgol Jahan, Worldwide Director +1 212 940 1283
New York
Carmela Manoli +1 212 940 1302
Emily Bangert +1 212 940 1365
Heather Zises +1 212 940 1290
GENEVA
Carolin Bulgari +41 22 906 80 00
Veronica Lota +41 22 906 80 00
DESIGN
Alexander Payne, Worldwide Director +44 20 7318 4052
LONDON
Lane McLean +44 20 7318 4032
New York
Alex Heminway, New York Director +1 212 940 1269
Tara DeWitt +1 212 940 1265
Meaghan Roddy +1 212 940 1266
Marcus Tremonto +1 212 940 1268
Alexandra Gilbert +1 212 940 1268
LONDON
Domenico Raimondo +44 20 7318 4016
Ellen Stelter +44 20 7318 4021
Ben Williams +44 20 7318 4027
Marcus McDonald +44 20 7318 4014
Marine Hartogs +44 20 7318 4021
PARIS
Johanna Frydman +33 1 42 78 67 77
THEME SALES
New York
Corey Barr, New York Manager +1 212 940 1234
Steve Agin, Consultant +1 908 475 1796
Anne Huntington +1 212 940 1210
Stephanie Max +1 212 940 1301
LONDON
Tobias Sirtl, London Manager +44 20 7318 4095
Henry Highley +44 20 7318 4061
Arianna Jacobs +44 20 7318 4054
Siobhan O’Connor +44 20 7318 4040
Private sales
New York
Andrea Hill +1 212 940 1238
editorial
Karen Wright, Senior Editor
Iggy Cortez, Assistant to the Editor
art and production
Fiona Hayes, Art Director
NEW YORK
Andrea Koronkiewicz, Studio Manager
Kelly Sohngen, Graphic Designer
Orlann Capazorio, US Production Manager
Marketing
NEW YORK
Trish Walsh, Marketing Manager
London
Mark Hudson, Senior Designer
Andrew Lindesay, Sub-Editor
Tom Radcliffe, UK Production Manager

SALE INFORMATION
Contemporary art
senior director and Worldwide head
Michael McGinnis +1 212 940 1254
new york Director
Aileen Agopian +1 212 940 1255
Specialists
Roxana Bruno +1 212 940 1229
Sarah Mudge Head of Part II +1 212 940 1259
Rodman Primack +1 212 940 1256
Jean-Michel Placent +1 212 940 1263
Timothy Malyk +1 212 940 1258
Jeremy Goldsmith +1 212 940 1253
Dr. Michaela de Pury Berlin +49 17 289 73611
Olivier Vrankenne Brussels & Paris +32 486 43 43 44
Peter Sumner Head of Day Sales London +44 20 7318 4063
Henry Allsopp London +44 20 7318 4060
Laetitia Catoir London +44 20 7318 4064
Judith Hess London +44 20 7318 4705
Leonie Moschner London +44 7815 050 461
Ivgenia Naiman London +44 20 7318 4071
Brooke de Ocampo London +44 777 551 7060
Fiona Biberstein Zurich +41 43 344 86 32
Katie Kennedy Perez Geneva +41 22 906 8000
Svetlana Marich Moscow +7 495 225 88 22
Maya McLaughlin Los Angeles +1 323 791 1771
Chin-Chin Yap Hong Kong/Singapore +1 212 940 1250
Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804
Cataloguer Part I
Sara Davidson +1 212 940 1262
Cataloguer Part II
Alexandra Leive +1 212 940 1252
Auction
The Halsey Minor Collection, Thursday 13 May 2010 at 7pm
and Friday 14 May 2010 at 10am
Viewing
Saturday 1 May, 10am – 6pm
Sunday 2 May, 12pm – 6pm
Monday 3 May, 10am – 6pm
Tuesday 4 May, 10am – 6pm
Wednesday 5 May, 10am – 6pm
Thursday 6 May, 10am – 6pm
Friday 7 May, 10am – 6pm
Saturday 8 May, 10am – 6pm
Sunday 9 May, 12pm – 6pm
Monday 10 May, 10am – 6pm
Tuesday 11 May, 10am – 6pm
Wednesday 12 May, 10am – 6pm
Thursday 13 May, 10am – 12pm
Viewing & Auction Location
450 West 15 Street New York NY 10011
Sale Designation
In sending written bids or making enquiries please refer to this
sale as NY010410 or The Halsey Minor Collection.
Photography
Morten Smidt, Kent Pell, Clint Blowers
select design essays
Alex Heminway
Catalogues
Leslie Pitts +1 212 940 1240
$60/£30 at the Gallery
catalogues@phillipsdepury.com
Administrator Part I
Peter Flores +1 212 940 1223
Administrator Part II
(Uli) Zhiheng Huang +1 212 940 1288
Administrative assistant to michael mcginnis
Sarah Stein-Sapir +1 212 940 1303
Property Managers
Jeffrey Rausch +1 212 940 1367
Barrett Langlinais +1 212 940 1362
Absentee and Telephone Bids
Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax
Maureen Morrison, Bid Clerk +1 212 940 1228
bids@phillipsdepury.com
client accounting
Sylvia Leitao +1 212 940 1231
Buyers Accounts
Nicole Rodriguez +1 212 940 1235
Seller Accounts
Barbara Doupal +1 212 940 1232
Nadia Somwaru +1 212 940 1280
DESIGN
Client Services
+1 212 940 1200
Worldwide Director
Alexander Payne London +44 20 7318 4052
international CONSULTANT
Marcus Tremonto +1 212 940 1268
Shipping
Beth Petriello +1 212 940 1373
Jennifer Brennan +1 212 940 1372
new york Director
Alex Heminway +1 212 940 1269
Specialists
Tara DeWitt +1 212 940 1265
Meaghan Roddy +1 212 940 1266
Ben Williams London +44 20 7318 4027
Domenico Raimondo London +44 20 7318 4026
Ellen Stelter London +44 20 7318 4021
Johanna Frydman Paris +33 1 42 78 67 77
cataloguer
Marcus McDonald London +44 20 7318 4014
Administrators
Alexandra Gilbert +1 212 940 1268
Marine Hartogs London +44 20 7318 4021
Property Managers
Ferran Martin +1 212 940 1364
Oliver Gottschalk London +44 20 7318 4038
Front Cover Richard Prince, Nurse in Hollywood #4, 2004, Lot 8 (detail)
Back Cover Marc Newson, Prototype “Lockheed Lounge,” 1988, Lot 4

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