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Gary Hume Auction Price Results

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Gary Hume

Lot 55: Gary Hume

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Description: (British, born 1962)"The Cleric", 2000, edition 145/300, signed lower right "Gary Hume 00", screen print, 37 x 27 in.; painted wood frame, not examined out of frame Provenance: Private Collection

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Gary Hume (English 1962 - )

Lot 68: Gary Hume (English 1962 - )

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Description: BACK OF A SNOWMAN Colour offset poster Signed lower right Image size: 18" x 23 1/2" / 45.7cm x 59.7cmOverall: 31 3/4" x 29 1/2" / 80.6cm x 75cm A one-man show hosted by In Creative Time at the Ritz-Carlton, New York, Battery Park

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Gary Hume (b. 1962) Monkey Man, 1996 poured ink on

Lot 129: Gary Hume (b. 1962) Monkey Man, 1996 poured ink on

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Description: Gary Hume (b. 1962) Monkey Man, 1996 poured ink on paper signed, titled and dated at lower right 50 x 45 3/4 in., 127 x 116.3 cm IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Gary Hume (b. 1962) - Monkey Man, 1996

Lot 144: Gary Hume (b. 1962) - Monkey Man, 1996

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Description: Gary Hume (b. 1962) - Monkey Man, 1996 poured ink on paper signed, titled and dated at lower right 50 x 45 3/4 in., 127 x 116.3 cm IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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EIGHT PRINTS GARY HUME, (BRITISH B. 1962),

Lot 220: EIGHT PRINTS GARY HUME, (BRITISH B. 1962), "HERE'S FLOWERS"

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Description: eight prints GARY HUME (british b. 1962) "HERE'S FLOWERS" 2006, pencil signed, seven numbered 17/68 and one numbered 16/68 (there were also an unrecorded number of artist's proofs); Paragon Press, London, publisher. The complete set of eight color linocuts with graphite on Velin Arches Blanc. image: 21 3/4 x 15 3/4 in. (55.3 x 40cm) sheet: 31 1/2 x 24 in. (80 x 61cm) (8). provenance: Matthew Marks Gallery, New York, New York. Lehman Brothers and Neuberger Berman Collections.

Condition Report: All in excellent, original condition. Paper is clean and bright and colors are fresh. Set floating within the frame with all edges visible. Labels verso from Matthew Marks Gallery. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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Gary Hume (b.1962) - American Tan

Lot 231: Gary Hume (b.1962) - American Tan

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Description: screenprint in colours, 2007, signed in pencil, numbered from the edition of 150, on wove paper, with full margins, 1000 x 780 mm (39 3/8 x 30 3/4 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Gary Hume (b.1962) Two Roses woodcut printed in

Lot 409: Gary Hume (b.1962) Two Roses woodcut printed in

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Description: Gary Hume (b.1962) Two Roses woodcut printed in colours, 2009, signed in pencil, numbered 18/45, on Japan paper, with full margins, 502 x 365 mm (19 3/4 x 14 3/8 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Untitled, 1995

Lot 2: Untitled, 1995

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Description: Untitled, 1995Screenprint in colors, on wove paper, with full margins, I. 25 3/8 x 20 1/8 in. (64.5 x 51.1 cm); S. 33 x 25 3/4 in. (83.8 x 65.4 cm)  signed, dated `95' and numbered 14/25 in pencil (there were also a few unrecorded artist's proofs), published by Institute of Contemporary Arts, London, pale time staining, otherwise in very good condition, framed.

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Gary Hume (b. 1962)

Lot 3: Gary Hume (b. 1962)

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Description: 3 enamel paint on aluminium panel 120 1/8 x 95in. (305 x 241.3cm.) Executed in 2000. PROVENANCE Jay Jopling, London. NOTES "I love modernism only I have no faith in it", Gary Hume has said - a remark that reveals the artist's close awareness of tradition and of his sense of historical responsibility as a painter in the contemporary era. Such awareness has led to much of Hume's art deliberately responding to and re-exploring the traditions of modernism. Hume makes paintings that are often specifically about the problems and the act of painting today. 3 is a visually striking work executed in 2000 that merges many of these issues into a unique composite and reflective image of painting as a material surface and support for fluid and illusionary imagery. The title of the painting refers to the three outlined images of a woman's face that, like transparencies, have been overlapped by Hume to create an ambiguous central image - one that is simultaneously both representational and abstract. Everything in Hume's painting self-consciously displays what it is, while at the same time revealing or describing something else. Every element - even the illusionism of painting and its pretence of creating an image of reality - is carefully revealed in Hume's work, hence his use of flat bands of pure colour and his characteristic use of enamel paint on aluminium. This unique painterly technique displays the inherent plastic quality of paint - deliberately emphasising the untutored fluidity of the material. Hume's use of the non-absorbant and totally smooth surface of aluminium as a support allows him to reveal this innate material quality of paint - the quality it has when it is still in the tin - on a flat two-dimensional plane. In this way the plastic, glossy, semi-reflective surface of Hume's paintings becomes all-important, revealing the nature of the material with as little interaction from the artist as possible. "The surface is all you get of me", he has famously said, by way of explaining that it is only in the application of the paint that any presence of the artist physically enters the work. In doing so, Hume makes paintings that highlight the artifice and artificiality of the medium. Similarly, the imagery Hume selects is also deliberately light, artificial and shallow. Using largely Pop imagery, Hume reduces his subject matter to topographical outlines that seem to melt into the surface of the work, to become a vacant abstract patterning that once again leads the viewer to question what a painting actually is.

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Snowman, 1996

Lot 3: Snowman, 1996

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Description: Snowman, 1996Screenprint in colors, on pink felt, with full margins, I. 8 1/4 x 5 in. (21 x 12.7 cm); S. 11 3/4 x 11 7/8 in. (29.8 x 30.2 cm)  signed, titled, dated `96' and numbered 23/55 in white pen (there were also 20 artist's proofs in Roman numerals), published by Parkett Editions, Zurich and New York, in excellent condition, framed.

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Gary Hume , b. 1962 Rubber Up gloss paint on aluminium

Lot 8: Gary Hume , b. 1962 Rubber Up gloss paint on aluminium

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Description: signed, titled and dated 07 on the reverse gloss paint on aluminium

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Lot 8: Gary Hume (b.1962)

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Description: London Plane Leaves each signed lower right hume indian ink and pencil on paper each: 7 7/8 x 4 7/8in. (20 x 12.4cm.) Executed in 1999, each is one of a thousand unique drawings. (5) EXHIBITION London, Whitechapel Art Gallery, London Plane Leaves, 27 November 1999-23 January 2000.

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Lot 9: Gary Hume (b.1962)

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Description: London Plane Leaves signed lower right hume indian ink and pencil on paper 7 7/8 x 4 7/8in. (20 x 12.4cm.) Executed in 1999, this is one of a thousand unique drawings. EXHIBITION London, Whitechapel Art Gallery, London Plane Leaves, 27 November 1999-23 January 2000.

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GARY HUME

Lot 9: GARY HUME

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Description: B. 1962UNTITLEDmeasurements256 by 168cm.alternate measurements100 7/8 by 66 1/8 in.gloss paint on aluminiumExecuted in 2006.PROVENANCEDonated by the artistNOTEGary Hume came to prominence in the early 1990s as part of the now famous Young British Artists who revolutionised and came to dominate British art. Hume is regarded as the quiet one among his peers which include Damien Hirst, Tracey Emin and Sarah Lucas. His practice appears more reflective both on and beyond the surfaces of his paintings. Hume has developed an inventive painterly language that moves between abstraction and figuration, combined with a unique and unmistakable technique of executing his works with common household paints. After an early series of door paintings, Hume's subject matter now mainly concentrates on flowers, animals and people. Hume often uses photographs to trace images which he then projects on a prepared aluminium sheet where they are traced out creating a mesmerising array of arresting, often overlaid lines that make up images. Although the glossy surface of his work makes them almost impenetrable, his textured brushwork is evidence of their handmade quality. In an interview Hume stated: 'I found that gloss paint suited me entirely, and it's qualities still intrigue me. It's viscous and fluid and feels like a pool. It's highly reflective, which means there are layers of looking. You look at the picture and you look the surface, then you look at the reflection in the surface behind you , then you look at yourself.' (The artist cited in: 'Little Promises', Interview with Dominic Murphy, The Guardian, Sep. 7th, 2002)Untitled is from a recent series of drip paintings. In his museum show at the Kunsthaus Bregenz in 2004, Hume showed a series of works on paper from 2000, where a similar dripping technique had been employed. While these works were on a small scale, the present work demands immediate attention through its sheer size. On a monumental aluminium sheet, four delicate lines flow downwards from more substantial dots of colour. Some are almost straight, others seem to wither, in some the hesitation of the artist is manifested in the collection of a small pool of colour, an instant halt, not long enough to create a distinct form, just a short hesitation that is then continued in a line. They could be four willowy, windswept flowers, their stems far too fragile and elongated to carry the flower buds, but maybe they are just four lines, playing with the flow of colour that is reminiscent of Morris Louis's work. Untitled carries an ephemeral elegance, weightlessness and fragile beauty, there is something pleasurably regressive about the picture.The exploitation of languid lines is a recurring theme in Hume's work but in Untitled, it is taken to a different level. Part of the poetic quality of the present work lies in the fact that the work was executed by dripping the paint onto the coloured aluminium board, a gesture reminiscent of Jackson Pollock's action painting but used by Hume to create a more dreamy and poetic effect. The writer Jonathan Jones states in his essay on Hume's solo exhibition at the Irish Museum of Modern Art in 2003 that 'at his best, Hume seems to have arrived at his images, which do not really feel like images, automatically, in a trance, to have glimpsed, in the sleek paint something he dimly remembers'.(Jonathan Jones, Gary Hume, Irish Museum of Modern Art, 2003, p. 17).The present work combines the human touch with the element of complete chance, in tune with an artist who loves to disappear in his paintings. BvS

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GARY HUME (b. 1962) SONG signed, titled an...

Lot 9: GARY HUME (b. 1962) SONG signed, titled an...

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Description: GARY HUME(b. 1962)SONGsigned, titled and dated "Gary Hume Song 1998" on the reverseenamel on aluminum82 x 461/8 in. (208.4 x 116.8 cm)executed in 1998

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m - GARY HUME

Lot 12: m - GARY HUME

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Description: B. 1962MY LEFT HAND180 by 125cm.; 70 7/8 by 49 1/4 in.gloss paint on panelExecuted in 1994.PROVENANCEWhite Cube, LondonPrivate Collection

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Lot 19: Gary Hume MUM Charcoal on paper 27 1/2 × 39 in.

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Description: Gary Hume MUM Charcoal on paper 27 1/2 × 39 in. (70 × 100 cm.)

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Lot 23: Gary Hume (B. 1962)

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Description: My Guernica gloss household paint on canvas laid down on four particule boards (i) 94 x 61in. (238.75 x 154.75cm.) (ii) 821/4 x 551/4in. (208.5 x 140cm.) (iii) 86 x 72in. (218.5 x 182.75cm.) (iv) 87 x 67in. (221 x 170.25cm.) overall: 94 x 225in. (239 x 648cm.) Painted in 1992 PROVENANCE Richard Salmon Gallery, London. The Saatchi Gallery, London. EXHIBITION London, The Saatchi Gallery, 'Fiona Rae - Gary Hume', Jan.-April 1997 (illustrated in the catalogue in colour). NOTES 'My Guernica' heralded Gary Hume's departure from painting monochromatic 'Door Paintings' in institutionalised and quintessentially non-art colours. The sequence of earlier works, painted in unemphatic colours, seems to suggest that by self-imposing such strict limitations in colour and imagery, little by little, these limitations began to reveal a range of possibilities and unexplored areas. Of these possibilities, colour stands out above all other. The rudimentary geometry of the image provided an opportunity to combine entirely disconnected colours together in the same work. From this point on, the artist's exploitation of the colour chart remained consistent even when he began to paint from images of figures and flowers. The absence of any correspondence between colour and image can be traced back to Andy Warhol and his screen-print techniques and Gerhard Richter's colour chart paintings.

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Lot 26: Gary Hume (B. 1962)

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Description: Ugly Self-Portraits four c-prints each: 20 x 18in. (52.1 x 41.9cm.) Executed in 1993, this work is no. 2 from an edition of 2 PROVENANCE Karsten Schubert, London.

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Lot 26: Gary Hume (B. 1962)

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Description: Ugly Self-Portraits four c-prints each: 20 ½ x 18 ¼ in. (52.1 x 41.9cm.) Executed in 1993, this work is no. 2 from an edition of 2 Provenance: Karsten Schubert, London.

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Gary Hume (B. 1962) Untitled (Portrait of Zoe)

Lot 27: Gary Hume (B. 1962) Untitled (Portrait of Zoe)

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Description: enamel on aluminium 411/8 x 283/4in. (104.5 x 73cm.) Painted in 1999. PROVENANCE White Cube, London. NOTES "Often, Hume's portraits are reduced to an instantaneous look or glance - he freezes that sudden apprehension of a pair of eyes, hair, that blob on a stalk for a head on a neck. Hume's portraits are often about such fleeting moments of recognition, yet the more one looks the more complex these paintings become. They are portraits painted in the subject's absence, representing not so much the person as the space that their body would occupy, the trace of a portrait, a barely fleshed-out shadow." (A. Searle, in: 'Gary Hume. British Pavilion. XLVIII Venice Biennale', London 1999, p.18.).

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Gary Hume (British, b.1962) Two Roses woodcut

Lot 29: Gary Hume (British, b.1962) Two Roses woodcut

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Description: Gary Hume (British, b.1962) Two Roses woodcut printed in colours, 2009, signed in pencil, numbered 18/45, on Japan paper, with full margins, 502 x 365 mm (19 3/4 x 14 3/8 in)

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GARY HUME

Lot 29: GARY HUME

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Description: Red Tree Signed, titled and dated 'Red Tree Gary Hume 00' on the reverse.

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GARY HUME

Lot 29: GARY HUME

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Description: Red Tree Signed, titled and dated 'Red Tree Gary Hume 00' on the reverse.

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Gary Hume (B. 1962)

Lot 32: Gary Hume (B. 1962)

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Description: Like Father Like Son household paint and mixed media on aluminium 783/4 x 633/4in. (200 x 162cm.) Painted in 1998. PROVENANCE Acquired directly from the artist by the present owner. LITERATURE 'Eye Was a Child. Save the Children', London 1998 (illustrated in colour, p. 9). NOTES 'Like Father Like Son' is a collaborative work painted by Gary Hume and his son Joseph for an exhibition entitled 'Eye was a Child'. Seductive as a result of the naive aspect of the childlike painting, the sweet, candy-like colours and the glossy texture of the household paint, this work invariably recalls childhood memories. The image is warmly reminiscent of kindergarten paintings of children's hands as a first investigation into personal identity. The colourful and playful painting is thus, in many ways, a self-portrait of the artist and his son, while at the same time reflecting on the aura that surrounds the creative genius, expressed and symbolised throughout art history by the hand of the artist. The motif of the hands reoccurs in Hume's enormous painting 'my Aunt and I Agree' (1995), where also here the hands overlay each other. In all of his works, Gary Hume fluctuates between figuration and abstraction. Items from everyday life and popular culture - from hospital doors and shamrocks to handprints and silhouette portraits - are merely excuses for the artist's desire to revel in the beauty of gloss enamel paint.

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GARY HUME

Lot 33: GARY HUME

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Description: Garden Painting #2 Signed, titled and dated 'Garden Painting 2 Gary Hume 96' on the reverse.

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GARY HUME

Lot 33: GARY HUME

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Description: B.1962 CERITH signed, titled and dated 1997 on the reverse enamel on aluminium 198 by 150cm. 78 by 59in.

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Lot 39: GARY HUME b.1962 NUDE AFTER PICASSO charcoal and

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Description: GARY HUME b.1962 NUDE AFTER PICASSO charcoal and chalk on canvas 24 by 18 in. 61 by 45.7 cm. Executed in 2004.

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Lot 40: Gary Hume (British b.1962), Fuzzy Snowman, signed on the reverse, fuzzy felt on card, 275x19cm.

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Description: Gary Hume (British b.1962), Fuzzy Snowman, signed on the reverse, fuzzy felt on card, 275x19cm.

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Into the Dangerous World..., 2006

Lot 40: Into the Dangerous World..., 2006

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Description: Into the Dangerous World..., 2006Marble and lead. 96 3/4 x 95 1/2 in. (245.7 x 242.6 cm). 

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Gary Hume

Lot 40: Gary Hume

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Description: The Sister Troop each sheet signed and dated '09' in pencil and numbered 50/60 in pencil on the reverse, also numbered 50/60 in pencil on the colophon (there were also 8 artist's proofs; the colophon incorrectly calls for 6), published by The Paragon Press, London, all sheets generally in excellent condition, all framed, accompanied with the original colophon and grey buckram-covered Solander box with the outline of Untitled 4 screenprinted in light blue on the cover.

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Lot 42: Gary Hume (British b.1962), London Plane Leaves, signed, indian ink on paper, 20xl2cm." 8x 5in. E400-600;

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Description: Gary Hume (British b.1962), London Plane Leaves, signed, indian ink on paper, 20xl2cm." 8x 5in. E400-600;

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Gary Hume (B. 1962)

Lot 42: Gary Hume (B. 1962)

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Description: Love Loves Unlovable gloss paint on panel 85 x 144in. (216 x 366cm.) Painted in 1994. PROVENANCE Matthew Marks Gallery, New York. EXHIBITION New York, Matthew Marks Gallery, 'Gary Hume', 1994. Bern, Kunsthalle, 'Gary Hume', May-June 1995. Amsterdam, Stedelijk Museum, 'Wild Walls', Sept.-Oct. 1995. Maastricht, Bonnefantenmuseum, 'Gary Hume', Sept.-Nov. 1996. NOTES As one of his first figurative paintings after his earlier series of abstract door paintings, 'Love Loves Unlovable' marks a shifting point in Hume's career. This work belongs to a series of works that Hume began in 1991, during a trip to Rome where he was inspired by the marbles athletes surrounding Mussolini's Olympic Stadium. Featuring two black silhouettes facing each other from two opposite sides of a vertically divided background of floral wrapping paper, the painting strikes us with its monumental presence. Behind its apparent simplicity, 'Love Loves Unlovable' features Hume's characteristic ambiguity between triviality and emotion. Seductive as a result of the na‹ve aspect of its flower pattern, sweet candy-like colours and the glossy texture of the household paint, this work invariably recalls childhood memories. Although conveying a feeling of depth and mystery through the use of black, Hume's glossy and bright reflecting surface draws the viewer's gaze back to the surface, refusing any deeper access to the painting. "The surface is all you get of me," Hume once argued. (A. Searle: in 'Shut that Door', in: 'Freeze', Summer 1993, p.48.) "One half of the painting mirrors the other, as though this Narcissus [is] locked in contemplation of his own beauty. [...] Loving yourself - said Hume - is to love the most undesirable person around, because you know your fears and doubts more than anyone else's. I saw it as a passivist painting loving the unlovable other." (In: S. Kent, 'Fiona Rae/Gary Hume', London 1997, p.12.).

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                                          Gary Hume (b. 1962)

Lot 43: Gary Hume (b. 1962)

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Description: Gary Hume (b. 1962) Untitled (Two Doors) graphite and coloured pencil on paper 22 x 29¾in. (56 x 76cm.) Executed in 1991

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                                          Gary Hume (b. 1962)

Lot 44: Gary Hume (b. 1962)

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Description: Gary Hume (b. 1962) Untitled (Four Doors) graphite and coloured pencil on paper 22 x 29¾in. (56 x 76cm.) Executed in 1991

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Lot 44: SOLD WITHOUT RESERVE GARY HUME b.1962 YELLOW

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Description: SOLD WITHOUT RESERVE GARY HUME b.1962 YELLOW WINDOW signed, titled and dated 02 on the reverse gloss paint on aluminum 53 1/4 by 38 5/8 in. 135.2 by 98.1 cm.

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                                          Gary Hume (b. 1962)

Lot 45: Gary Hume (b. 1962)

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Description: Gary Hume (b. 1962) Untitled (Four Doors) graphite and coloured pencil on paper 22 x 29¾in. (56 x 76cm.) Executed in 1991

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Gary Hume (B. 1962)

Lot 47: Gary Hume (B. 1962)

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Description: Four Subtle Doors gloss paint on canvas total: 94 1/8 x 233 7/8in. (239 x 594cm.) Painted in 1989/90. PROVENANCE Gebauer & Thumm, Berlin. LITERATURE 'Gary Hume', Berne and London 1995 (illustrated in colour, pp. 18-19). 'Gary Hume. British Pavilion. XLVIII Venice Biennale', London 1999 (illustrated in colour, pp. 24, 69). 'Gary Hume. Whitechapel Art Gallery', London 1999 (illustrated in colour, pp. 24, 69).

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GARY HUME

Lot 48: GARY HUME

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Description: Spring Angels Signed, titled, dated and lettered sequentially ‘Angel A (A-G, C#) Gary Hume .00’ This work is number 6 from an edition of 45 sets published in 2000.

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Contemporary Art: GARY HUME Portraits (Portfolio

Lot 48: Contemporary Art: GARY HUME Portraits (Portfolio

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Description: Contemporary Art: GARY HUME Portraits (Portfolio of Ten Works), 1998

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GARY HUME (b. 1962) BEAUTIFUL (KATE MOSS) ...

Lot 51: GARY HUME (b. 1962) BEAUTIFUL (KATE MOSS) ...

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Description: GARY HUME(b. 1962)BEAUTIFUL (KATE MOSS)gloss paint on aluminumD: 46 1/8 in. (117.2 cm)executed in 2002

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Contemporary Art:   GARY HUME Untitled, 1997

Lot 51: Contemporary Art: GARY HUME Untitled, 1997

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Description: Contemporary Art: GARY HUME Untitled, 1997

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Lot 51: Gary Hume (B. 1962)

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Description: Stop oil on panel 86 x 211in. (218.4 x 536cm.) Painted in 1991 Other work by this artist is included in 'Sensation: Young British Artists from the Saatchi Collection', currently on view at the Nationalgalerie, Hamburger Bahnhof, Berlin. LITERATURE 'Dimensions Variable New Works for the British Council Collection', London 1997 (illustrated in colour p.88). EXHIBITION London, The Saatchi Gallery, 'Fiona Rae - Gary Hume', Jan.-April 1997 (illustrated in colour in the catalogue). NOTES "Stop" belongs to an extensive series of paintings that form the central theme of the artist's early career. Taking their dimensions from various hospital doors, they appear more authoritarian than his other brightly coloured canvases, but in fact, still deal directly with the paint surface. "These congealed surfaces are hard to negotiate, either physically or mentally. Not only do they refuse to perform the traditional function of paintings- to open a window onto an imaginary world- but they slam shut in your face. The surfaces are like a protective shield. They prevent access; the door to the interior remains emphatically closed. The gloss is so shiny that it acts as a mirror rather than a window, reflecting back the environment and returning your gaze to itself." (S. Kent, 'Fiona Rae - Gary Hume', The Saatchi Gallery, unpaged).

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Gary Hume (b. 1962)

Lot 51: Gary Hume (b. 1962)

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Description: In the Parksigned, titled and dated 'In the Park 1997 Gary Hume' (on the reverse)oil based enamel on aluminum panel78 x 59 1/8in. (198 x 150cm.)Executed in 1997

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Gary Hume (b. 1962)

Lot 53: Gary Hume (b. 1962)

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Description: Peacockenamel on aluminium87 x 66 7/8in. (221 x 169.9cm.)Executed in 1996

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Gary Hume (B. 1962)

Lot 57: Gary Hume (B. 1962)

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Description: Peacock enamel on aluminium 87 x 66 7/8in. (221 x 170cm.) Executed in 1996. PROVENANCE Matthew Marks Gallery, New York. LITERATURE 'Gary Hume', Maastricht 1996 (illustrated in colour, pp.30-31). EXHIBITION Maastricht, Bonnefantenmuseum, 'Gary Hume. Recent Paintings', 15 September-24 November 1996 London, Tate Gallery, 'The Turner Prize', October 1996 -January 1997. New York, Matthew Marks Gallery, 'Gary Hume', 1997. NOTES "Flat and glossy: this is one of the paradoxical attractions of commercial paints: the double quality of the dead and the dynamic, the bland and the brillant. A shiny surface gives depth to flatness at the same time as it emphasizes that flatness. But it is a kind of depth which is entirely the opposite of the atmospheric depth of traditional easel painting. It reflects not an imaginary inner world but an actual external space: the contingencies of the viewer's space. But it is vivid, nonetheless. It is sharp and hard and live, in a vulgar kind of way and its vulgar sharpness is a part of its attraction." (D. Batchelor, in: 'Gary Hume', London 1999, p. 26).

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GARY HUME

Lot 59: GARY HUME

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Description: GARY HUME B.1962 WATER PAINTING (LILAC) enamel on aluminium 300 by 244cm. 118 1/8 by 96in. Executed in 1999.

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GARY HUME (B. 1962)

Lot 62: GARY HUME (B. 1962)

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Description: GARY HUME (B. 1962) Magnolia Door Eleven signed, titled and dated 'Gary Hume Magnolia Door Eleven 89' (on the reverse)household gloss on canvas 64 x 99½in. (162.5 x 252.8cm.) Painted in 1989

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GARY HUME (B. 1962)

Lot 63: GARY HUME (B. 1962)

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Description: GARY HUME (B. 1962) Untitled household gloss on panel 24¾ x 19½in. (63 x 49.6cm.) Painted in 1991

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Lot 67: HUME, Gary (1962-, British)

Description: Four subtle doors, s.i.d.1991stretcher gloss paint canvas four parts Oil Painting (?x?in).

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