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Cecily Brown (b. 1969)

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
PROPERTY FROM AN IMPORTANT COLLECTION
CECILY BROWN (B. 1969)

Untitled

Details
CECILY BROWN (B. 1969) Untitled signed and dated 'Cecily Brown 2009' (on the reverse) oil on canvas 12 ½ x 17in. (31.8 x 43.2cm.) Painted in 2009
Provenance
Gagosian Gallery, New York.
Tina Kim Gallery, New York.
Kukje Gallery, Seoul.
Acquired from the above by the present owner in 2012.
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Alexandra Werner Co-Head of Sale, Specialist London

Lot Essay

‘Painting is closest to poetry of all the arts: not being able to explain something, why does one thing sound so great next to another? You can’t put your finger on it, that’s what my work’s about.’
–Cecily Brown

Sumptuous slabs of thick paint lavishly coat the surface of Cecily Brown’s Untitled. Executed in 2009, the painting is awash with colour: hues of blues, greens, yellows and lilacs blend and furl in a dreamy haze. In reflective admiration of artists such as Willem de Kooning and Joan Mitchell, Brown’s loose and brazen brushstrokes characteristically hint at some unknown, untraceable narrative that is just out of reach. ‘I think that painting is a kind of alchemy,’ she has said of her style; ‘the paint is transformed into image, and hopefully paint and image transform themselves into a third and new thing … I want to catch something in the act of becoming something else’ (C. Brown, quoted in Cecily Brown, exh. cat., Gagosian Gallery, New York 2008, p. 16). Indeed in this hallmark work, everything seems on the brink of change: the tactile imagery swells and grows, like blossoming nature caught in a wind storm, whilst flashes of fleshy skin tones are suggestive of a human presence. Suspended somewhere between the figurative and the abstract, Brown’s painting brims and bursts from the canvas as if in a state of perpetual metamorphosis.

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