Upcoming Auctions and Events

Global notice COVID-19 Important notice
Cornelia Parker (b. 1956)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION 
Cornelia Parker (b. 1956)

A Side of England

Cornelia Parker (b. 1956)
A Side of England
chalk retrieved from a cliff fall at Beachy Head, South Coust, England, wire and mesh
65 x 65in. (165 x 165cm.)
installation dimensions variable
Executed in 1999
Frith Street Gallery, London.
Acquired from the above by the present owner.
N. Princenthal, ‘Cornelia Parker: The Dream Life of Objects’, in Art in America, Sept 2000 (illustrated, p. 114).
Boston, Institute of Contemporary Art, Cornelia Parker, 2000 (illustrated in colour, unpaged). This exhibition later travelled
to Chicago, Arts Club of Chicago; Philadelphia, Institute of Contemporary Art and San Diego, Museum of Contemporary Art.
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.

Lot Essay

‘One of the things that lured me into art was the attraction of another kind of space, a space of vision and creativity. It seemed a very enriching world to me, and that was the world I wanted to be in, rather than in the drudgery of peasant farming which is where I come from. As soon as I gravitated towards Sculpture I found my spiritual home.’ (C. Parker, quoted in, L. Tickner, ‘A Strange Alchemy: Cornelia Parker’, in Difference and Excess in Contemporary Art: The Visibility of Women’s Practice,
Maldon and Oxford 2004, n.p.).

More from Post-War and Contemporary Art

View All
View All