Executed in 1960 — the same year as Jean Dubuffet’s major retrospective at the Musée des Arts Décoratifs in Paris — Sol (Earth), from the Collection of the Late Samuel and Patricia Carr, exemplifies the artist’s fascination with natural textures. Soil became the focus of Dubuffet’s works in the late 1950s, as he challenged the traditional hierarchy of subject matter in art by depicting the most prosaic of all things: earth.
Frank Stella (b. 1936), Sidi Ifni, 1973. Image & sheet: 22 x 30 in (558 x 762 mm). Estimate: $2,000-3,000. This lot is offered in Contemporary Edition, 12-21 September 2017, Online
Sidi Ifni typifies the systematic artistic approach to which Frank Stella was dedicated until at least the late 1970s. His two-dimensional printed works, often in bright colours, are technically complex while remaining true to Minimalist tropes.
Best known for his Compressions — sculptures made from car bodies crushed into tight packages — César also used found materials to create a menagerie of animal and human figures. The artist will be the subject of a much-anticipated retrospective at the Centre Pompidou in Paris this December.
With its ribbon of bright azure blue, Untitled (1988) is a resplendent example of Günther Förg’s lead paintings, which are housed in some of the world’s most prestigious modern art galleries, including the Museum of Modern Art in New York, the Stedelijk in Amsterdam, and Tate Modern in London.
David Hockney (b. 1937), The Haunted Castle, from Six Fairy Tales from the Brothers Grimm, 1969. Plate: 13¾ x 8¼ in (345 x 210 mm), sheet: 24¼ x 17¼ in (618 x 450 mm). Estimate: $1,500-2,500. This lot is offered in Contemporary Edition, 12-21 September 2017, Online
David Hockney’s diverse production — from portraits and photo collages to etchings and iPad-generated still lifes — continues to appeal to audiences around the world. This year a major David Hockney retrospective has toured from Tate Modern in London to the Centre Pompidou in Paris, and will appear at the Metropolitan Museum of Art in New York from November 27 to February 25, 2018.
Spread across six photographs, a magnified droplet of urine creates a beautifully ornate gilt surface against a neutral background in the East London duo’s Holy Piss. The work’s tongue-in-cheek title suggests a glorification of something repugnant — and its transformation into something sacred.
Ai Weiwei (b. 1957), Dust to Dust, 2009. Overall: 10 x 7½ x 7½ in (250 x 190 x 190 mm). Estimate: $8,000-12,000. This lot is offered in Contemporary Edition, 12-21 September 2017, Online
Currently the subject of an exhibition at the Hirshhorn Museum in Washington, DC, the work of Chinese contemporary artist and activist Ai Weiwei is always provocative. Here a standard readymade jar full of Neolithic (5000 BC–3000 BC) ground pottery, Dust to Dust, becomes a time capsule and a comment on the power of history.
German artist Thomas Schütte’s work focuses on the space between history and banality; realism and resignation; public and private. Untitled (1982) — an image of asparagus spears crossed in the manner of heraldic crests — rejects the post-war politics of commemoration and memory. Works on paper have a particular significance for Schütte. ‘I prefer the sketch because you can just roll up a month’s work and pack it under your arm,’ he has said. ‘Not everything has to be cast in lead.’
Along with Georg Baselitz, A.R. Penck was a major exponent of the new figuration in 1970s Germany. His vibrant 1990 work, Untitled, bursts with energy and optimism.
Roy Lichtenstein (1923-1997), Two Paintings: Beach Ball, from Paintings. Image: 37 x 36 in (940 x 914 mm), sheet: 40 x 39 in (1016 x 991 mm). Estimate: $20,000-30,000. This lot is offered in Contemporary Edition, 12-21 September 2017, Online
Roy Lichtenstein’s iconic screenprints appropriated elements of popular advertising and comic books. Both lively and humorous, Two Paintings: Beach Ball, from Paintings, is a perfect example of his signature style.
The subject of several retrospectives in recent years, including exhibitions in 2016 at the National Portrait Gallery, London, and the Portland Art Museum, William Eggleston brought colour photography into the realm of fine art at a time when it had primarily been reserved for advertising and journalism. His photographs document the mundanity of the suburban landscape in vivid colour. This work is from the Shalom Shpilman Collection and is being sold to benefit the Shpilman Institute for Photography.
In 1988, Tony Cragg represented Britain in the XLIII Venice Biennale. Landscape, produced that year, reflects Cragg’s ability to foster true engagement between spectator and sculpture. Fashioned from boards of found driftwood, this work carries the same surreal quality as Cragg’s dreamlike Rational Beings sculptures.
Bridget Riley (b. 1931), About Lilac, 2007. Image: 12¾ x 25½ in (324 x 648 mm), sheet: 19 x 31 in (490 x 800 mm). Estimate: $3,000-5,000. This lot is offered in Contemporary Edition, 12-21 September 2017, Online
Bridget Riley came to prominence in the 1960s, alongside the Op Art movement to which she is indelibly tied. Her signature use of simple abstract geometric forms is beautifully illustrated in her 2007 work, About Lilac.
An essential part of Tom Wesselmann’s oeuvre, drawing was paramount to the emergence of his distinctive style. This bold, small-scale piece, executed in 1976, is taken from one of the most iconic series in American Pop Art, and reflects Wesselmann’s shift toward still lifes in the latter half of his career.
Ed Ruscha (b. 1937), Landmark Decay, 2006. Image: 3½ x 9 in (89 x 229 mm), sheet: 9 x 13 in (229 x 330 mm). Estimate: $3,000-5,000. This lot is offered in Contemporary Edition, 12-21 September 2017, Online
California-based Ed Ruscha is best known for his stylised images of American logos and landscapes. Landmark Decay reflects a mix of influences, from Pop Art to contemporary, while preserving his signature focus: the American landscape.