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lead part

lead part

plastic laminated wood shelf, latex masks, digital clocks and plastic garden hose reel
31 x 103 x 14in. (78.7 x 261.6 x 35.6cm.)
Executed in 1986, this work is number two from an edition of two
Jay Gorney Modern Art, New York.
Charles Saatchi Collection, London.
Anon. sale, Sotheby’s New York, 19 May 1999, lot 201.
Galerie Achim Kubinski, Stuttgart.
Acquired from the above by the present owner in 1993.
D. Cameron (ed.), N.Y. Art Now: The Saatchi Collection, London 1987, p. 240 (illustrated in colour, p. 187).
M. Lingner, ‘Haim Steinbach’, in Kunst Unterricht, June 1991 (another from the edition illustrated in colour, p. 14).
T. Smith, ‘Time Signatures, or Haim Steinbach’s Still Life’, in Binocular. Focusing, Material and Histories, Sydney 1993 (another from the edition illustrated, p. 138).
M. Gauthier, ‘Le rapport expositionel (a propos des objets sur étagères de Haim Steinbach’, in Art Presence, no. 18, April-May-June 1996 (another from the edition illustrated in colour, p. 22).
Chicago, Renaissance Society, University of Chicago, New Sculpture: Robert Gober, Jeff Koons, Haim Steinbach, 1986 (another from the edition exhibited and illustrated).
Naples, Castel Dell’Ovo, Rooted Rhetoric Una Tradizione nell’Arte Americana, 1986 (another from the edition exhibited and illustrated in colour, p. 86).
New York, Diane Brown Gallery, Time After Time, 1986 (another from the edition exhibited).
Barcelona, Centre Cultural De La Fundació Caixa de Pensions, L’Art I El Seu Doble, Panorama de l’Art a Nova York, 1986-1987, p. 149, no. 123 (another from the edition exhibited and illustrated in colour, p. 121).
Munich, Munich Kunstverein, New York in View, 1988 (illustrated).
Turin, Castello di Rivoli, Museo d’Arte Contemporanea, Haim Steinbach, 1995 (another from the edition exhibited and illustrated in colour, p. 103).
Vienna, mumok, museum moderner kunst stiftung ludwig wien, Haim Steinbach, 1997-1998, no. 47 (another from the edition exhibited and illustrated, p. 44). This exhibition later travelled to Southampton, John Hansard Gallery, University of Southampton.

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Rachel Boddington
Rachel Boddington

Lot Essay

“Objects – ordinary things – are Steinbach’s offerings. The offsprung object, newborn, shining and glowing in the light of a rhetoric of elegance and hope, initially receives the unadulterated, exaggerated attention of the many in whose psychological and financial interests it is affectionately named. And, despite the accretion upon accretion of language and image events which attempt to suffocate and extinguish its viscerality and materiality in the name of a spectral and spectacular civilization, somehow the object obdurately objects to any premature death as an image and lives on as a phenomenal material experience. It endures, sometimes exuberantly. Steinbach’s objects, juxtaposed and highlighted, remind us of this perpetuity and this hope.” (B. FERGUSON, Haim Steinbach: North East South West, 2000)

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