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Sarah Lucas Auction Price Results

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SARAH LUCAS - Self Portraits 1990-1998 (complete portfolio of 12 works)

Estimate: £5,000 - £7,000

Description: SARAH LUCAS - Self Portraits 1990-1998 (complete portfolio of 12 works)

Condition Report: Request to receive a Condition Report for this item or any items in this auction by contacting the seller.

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Sarah Lucas (b.1962) - Butt

Estimate: £2,000 - £3,000

Description: inkjet image on iced fruit cake, 2001, signed and dated in black ink under the lid of the original cardboard box, numbered 18/25, produced by Cakes Direct, Essex, published by Counter Editions, London, overall size 380 x 375 x 160 mm (15 x 14 3/4 x 6 1/4 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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Tracey Emin and Sarah Lucas (b.1963 & 1962) - from. Shop

Estimate: £400 - £600

Description: three pen and ink business cards, and two ribbon badges, 1992, all with lettering by Emin and Lucas, various sizes; with the catalogue Tracey Emin Urbane Legend, 1997, with title-page and text. 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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Lucas, Sarah 1962 London Get hold of this. 1994.

Estimate: €10,000 - €15,000

Description: Lucas, Sarah 1962 London Get hold of this. 1994. Plaster cast, 35,5 x 42 x 27cm. Presumably Ex. 1/4. Professionally restored. Provenance: Sadie Coles HQ, London Jay Jopling, London Besitz der Künstlerin Sammlung, Nordrhein-Westfalen Exhibition: Nationalgalerie im Hamburger Bahnhof, Museum für Gegenwart, Berlin 1998 (Ausstellungsaufkleber auf Transportkiste) Kunsthalle Wien, 2004/2005 Kunsthalle Zürich, 2005 (Ausstellungsaufkleber auf Transportkiste) Kunstverein Hamburg, 2005 (Ausstellungsaufkleber auf Transportkiste) Tate Liverpool, 2005/2006 (Ausstellungsaufkleber auf Transportkiste) Literature: Vgl. Museum Boymans-van Beuningen Rotterdam (Hrsg.): Ausst.-Kat. Sarah Lucas, Rotterdam 1996, S. 46, Abb. (hier Beton- und Kunststoffgüsse abgebildet) Kunsthalle Wien und Folie, Sabine/Matt, Gerald (Hrsg.): Ausst.-Kat. Skulptur. Prekärer Realismus zwischen Melancholie und Komik, Wien 2004, S. 98-101, Abb. Collings, Matthew: Modern Artists. Sarah Lucas, London 2002, S. 7, Abb. Dziewior,Yilmaz/Ruf, Beatrix: Ausst.-Kat. Sarah Lucas, mit einem Werkverzeichnis von Sadie Coles, Pauline Daly und Sarah Lucas, Zürich/Hamburg/Liverpool 2005/2006, S. 26/27, Abb. und Wvz. S. 128, Abb. German Text Lucas, Sarah 1962 London Get hold of this. 1994. Gips, 35,5 x 42 x 27cm. Wohl Ex. 1/4. Fachmännische Restaurierungen erkennbar Provenienz: Sadie Coles HQ, London Jay Jopling, London Besitz der Künstlerin Sammlung, Nordrhein-Westfalen Ausstellungen: Nationalgalerie im Hamburger Bahnhof, Museum für Gegenwart, Berlin 1998 (Ausstellungsaufkleber auf Transportkiste) Kunsthalle Wien, 2004/2005 Kunsthalle Zürich, 2005 (Ausstellungsaufkleber auf Transportkiste) Kunstverein Hamburg, 2005 (Ausstellungsaufkleber auf Transportkiste) Tate Liverpool, 2005/2006 (Ausstellungsaufkleber auf Transportkiste) Literatur: Vgl. Museum Boymans-van Beuningen Rotterdam (Hrsg.): Ausst.-Kat. Sarah Lucas, Rotterdam 1996, S. 46, Abb. (hier Beton- und Kunststoffgüsse abgebildet) Kunsthalle Wien und Folie, Sabine/Matt, Gerald (Hrsg.): Ausst.-Kat. Skulptur. Prekärer Realismus zwischen Melancholie und Komik, Wien 2004, S. 98-101, Abb. Collings, Matthew: Modern Artists. Sarah Lucas, London 2002, S. 7, Abb. Dziewior,Yilmaz/Ruf, Beatrix: Ausst.-Kat. Sarah Lucas, mit einem Werkverzeichnis von Sadie Coles, Pauline Daly und Sarah Lucas, Zürich/Hamburg/Liverpool 2005/2006, S. 26/27, Abb. und Wvz. S. 128, Abb. Körperteile, skulpturale Fragmente, sexuelle Konnotationen, gestische und semantische Anspielungen mit viel Humor unterlegt, eine gewisse Derbheit und exemplarische Sillosigkeit sind Kennzeichen der Marke Sarah Lucas. In ihren Arbeiten inszeniert sich Lucas oft selbst bzw. sie verdoppelt sich, um Selbstreferenzen herzustellen und um ein erweitertes Agitationsfeld zum Ausleben ihrer Künstlerpersönlichkeit zu schaffen. [...] Die Arbeit 'Get hold of this' aus weißem Gips und die vielen anderen Abgüsse davon in Beton oder buntem Plastik - übrigens in den Farben von Billardkugeln - stellen Abdrücke der beiden Unterarme der Künstlerin dar, die rechte Hand zu einer Faust geballt, vertikal aufgerichtet, der linke Arm horizontal über die Armbeuge des anderen gelegt. [.] Beton-, Wachs- oder Plastikarme ohne Torso, die etwas anderes bedeuten, als das, was sie darstellen. Es geht nicht um die Wiedergabe der Körperteile der Künstlerin, sondern um die Bedeutung der vulgären Alltagsgeste, die in eine skulpturale Sprache übersetzt wurde. Sie bezeichnet wie der Titel der Arbeit nichts anderes als eine Beleidigung in internationaler Zeichensprache [...]. (Angela Stief, In: Ausst.-Kat. Wien 2004, S. 98) .

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Sarah Lucas, (United Kingdom; b. 1962), Untitled, Graphite on paper in five parts, 9

Estimate: $7,000 - $10,000

Description: Sarah Lucas (United Kingdom; b. 1962) Untitled Graphite on paper in five parts 1991. Signed and on an envelope accompanying the work. 9" x 7" (each)

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, 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. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Sarah Lucas (b. 1962)

Estimate: £22,000 - £28,000

Description: 1-123-123-12-12two Dr. Martens boots with razor blades6 1/4 in. (16cm.) highExecuted in 1992

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No Image Available

Estimate: $25,000 - $35,000

Description: wax and cigarette butt 21/2 x 33/4 x 21/2in. (6.4 x 9.5 x 6.4cm.) Executed in 1994. This work is from an edition of ten. PROVENANCE Barbara Gladstone Gallery, New York LITERATURE J. van Adrichem, "Where Does It All End?", Parkett, no. 45, 1995 p. 86 (illustrated) B. Riemschneider and U. Grosenick, Art at the Turn of the Millennium, Cologne 1999, p. 327 (illustrated) J. Barnbrook and J. Beard, Young British Art: the Saatchi Decade, London 1999, p. 209 (illustrated) EXHIBITION New York, Barbara Gladstone Gallery, Sarah Lucas-Supersensible, March-April 1995 Minneapolis, Walker Art Center; and Houston, Contemporary Arts Museum, "Brilliant!" New Art From London, October 1995-April 1996, p. 64 (illustrated; another example exhibited) Rotterdam, Museum Boijmans-van Beuningen, Sarah Lucas, February-March 1996, p. 13 and p. 47 (illustrated; another example exhibited) Frankfurt am Main, Portikus, Sarah Lucas, April-May 1996, p. 17 and cover (illustrated; another example exhibited) London, Royal Academy of Arts; Berlin, Hamburger Bahnhof; and Brooklyn Museum of Art, Sensation: Young British Artists from the Saatchi Collection, September 1997-January 2000, p. 117 (illustrated; another example exhibited) NOTES Fig. 1 Sarah Lucas, Fighting Fire with Fire, 1996. Care of the artist, Courtesy Sadie Coles, HQ, London.

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                                          Sarah Lucas (b. 1962)

Estimate: £2,000 - £3,000

Description: Sarah Lucas (b. 1962) Self Portraits 1990-1998:(i) Eating a Banana, 1990 (ii) Divine, 1991 (iii) Self Portrait with Mug of Tea, 1993 (iv) Self Portrait with Knickers, 1994 (v) Self Portrait with Fried Eggs, 1996 (vi) Human Toilet II, 1996 (vii) Fighting Fire with Fire, 1996 (viii) Self Portrait with Skull, 1997 (ix) Got a Salmon On #3, 1997 (x) Summer, 1998 (xi) Smoking, 1998 (xii) Human Toilet Revisited, 1998signed, numbered and dated '44 SARAH LUCAS 1999' (on the colophon page) iris print on somerset paper, in twelve parts each: 22 x 29 7/8in. (56 x 76cm.) Executed in 1999, this work is number forty four from an edition of one hundred and fifty plus fifteen artist's proofs

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Beautiness, 1999

Estimate: £12,000 - £18,000

Description: Beautiness, 1999Colour coupler print. 127.6 x 88.9 cm (50 1/4 x 35 in).  Credited, titled, dated and numbered 5/6 + 1AP, on a printed label affixed to the reverse of the frame.

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Sarah Lucas b. 1962 MONSTER HOOKER

Estimate: £12,000 - £18,000 ($20,041 - $30,061)

Description: photocopy, collage and paint on masonite 223.5 by 143.5cm. 88 by 56Iin. Executed in 1991. Provenance Barbara Gladstone Gallery, New York Acquired directly from the above by the present owner in 1993 Exhibited Rotterdam, Museum Boymans-Van Beuningen, Sarah Lucas, 1996, p. 21, illustrated Literature: Jan van Adrichem, ''Where Does It All End? Sarah Lucas Interviewed by Jan van Adrichem'' in Parkett, Issue 45, 1995, p. 89, illustrated (and titled Laid in Japan).

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SARAH LUCAS (b. 1962) SELF-PORTRAIT WITH S...

Estimate: $50,000 - $70,000

Description: SARAH LUCAS(b. 1962)SELF-PORTRAIT WITH SKULLc-print63 3/8 x 51 1/4 in. (161 x 130.2 cm)executed in 1997this work is from an edition of six plus one artist's proof

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No Image Available

Estimate: $8,250 - $11,550

Description: Seven Up photocopy on paper 86 x 123in. (218.5 x 312.5cm.) Executed 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 S. Kent & J. Blyth, "Shark Infested Waters - The Saatchi Collection of British Art in the 90s", London 1994, p. 193 (illustrated in colour). EXHIBITION London, City Racing, 'Sarah Lucas', 1992. London, The Saatchi Gallery, 'Young British Artists II', Feb.-July 1993. Cologne, Art Cologne, 'Young British Art from the Saatchi Collection', Nov. 1993, (illustrated in the catalogue p.43.) Rotterdam, Museum Boymans-van Beuningen, 'Sarah Lucas', Feb.-March 1996 (illustrated in the catalogue p. 17.) Lisbon, Centro de Arte Moderna, da Fundaao Gulbenkian, 'Treasure Island', Feb.-May 1997. NOTES "She's a code-breaker and a ball-buster, a sabateur and a spy. Elegantly in your face, Lucas is a smutty, salt-of-the-earth lout whose unequivocal work is raw and loud and startling. It is also efficient and concise. In her art, Lucas doesn't mince words and she doesn't waste them either. She quickly gets to the point and the point usually has to do with the ways women are viewed in society." ( J. Saltz, 'She Gives as Good as She Gets', Parkett, no.45, 1995, p.177.) "When I was a teenager I thought, what I'd really like to do in my life is just think and talk. And I tried to pursue that as long as I could. And then it got sort of boring eventually, because if you're not doing anything, you've got nothing to talk about really. Your life has to move on somehow. To me it's just managed to become integral in my life. It's partly like thinking out aloud, I mean, its partly a conversation I'm having with myself. But if I just had it in my head it would disappear. It's a way of doing something in your life and being productive, you know to move on. It's my description of the world, in the same way that my life is my description of the world. Anybody's is. That's what I think it is to me and hopefully for other people. Some sort of useful description." (Sarah Lucas in: I. Goetz, 'Art from the UK: The work is my description of the world'. Munich 1997, p.130.) SALESROOM NOTICE Please note the proper medium of this work is photocopy collage mounted on wood.

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SARAH LUCAS (b. 1962) SELF-PORTRAIT WITH SKULL c-print 63.375 x 51. 25in. (161 x 130.2 cm) executed in 1997 this work is from an edition of six plus one artist's proof PROVENANCE Barbara Gladstone Gallery, NEW YORK Private Collection, NEW YORK

Estimate: $50,000 - $70,000

Description: SARAH LUCAS (b. 1962) SELF-PORTRAIT WITH SKULL c-print 63.375 x 51. 25in. (161 x 130.2 cm) executed in 1997 this work is from an edition of six plus one artist's proof PROVENANCE Barbara Gladstone Gallery, NEW YORK Private Collection, NEW YORK EXHIBITED TOKYO, Tomio Koyama Gallery, SARAH LUCAS: SELF-PORTRAITS 1990-98, June 9-July 1, 2000 BARCELONA, Centre Cultural Tecla Sala, SARAH LUCAS: SELF-PORTRAITS AND MORE SEX, October 9, 2000-January 7, 2001 (another example exhibited) LONDON, Tate Modern, 2002 (another example exhibited; illustrated) Staatliche Kunsthalle Baden-Baden, DIE WOHLTAT DER KUNST: POST FEMINISTiSCH POSITIONEN DER NEUNZIGER JAHR DER SAMMLUNG GOETZ, September 14-November 10, 2002 (another example exhibited) LITERATURE M. Collings, SARAH LUCAS, LONDON, 2002, p. 61 (illustrated) V. Combalia, ed., SARAH LUCAS: SELF-PORTRAITS AND MORE SEX, BARCELONA, 2000, p. 46, no. 23 (illustrated) R. Schumacher and M. Winzen, eds., DIE WOHLTAT DER KUNST: POST FEMINITSCHE POSITIONEN DER NEUNZIGER JAHR DER SAMMLUNG GOETZ, COLOGNE, 2002, p. 109 (illustrated)

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Sarah Lucas (b.1962)

Description: Divine signed, titled and dated 1990/91 (lower right)iris print on paper55 x 68.6 cm. (21 5/8 x 27 in.)(sight size)framed

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SARAH LUCAS (b. 1962) BUNNY GETS SNOOKERED #10 tan tights, red stockings, chair, steel clamp, kapok and wire installation dimensions 46.5 x 24.5 x 20in. (118.1 x 62.2 x 50.8cm) executed in 1997 this work is accompanied by a certificate of

Estimate: $120,000 - $150,000

Description: SARAH LUCAS (b. 1962) BUNNY GETS SNOOKERED #10 tan tights, red stockings, chair, steel clamp, kapok and wire installation dimensions 46.5 x 24.5 x 20in. (118.1 x 62.2 x 50.8cm) executed in 1997 this work is accompanied by a certificate of authenticity signed by the artist E120000-150000 PROVENANCE Contemporary Fine Arts, Berlin EXHIBITED Hamburg, Kunstverein, Fast Forward - Body Check, September 11- November 1, 1998 LITERATURE I. Goetz, ART FROM THE UK: ANGELA BULLOCH, WILLIE DOHERTY, TRACEY EMIN, DOUGLAS GORDON, MONA HATOUM, ABIGAIL LANE, SARAH LUCAS, SAM TAYLOR-WOOD, RACHEL WHITEREAD, MUNICH, 1997, p. 133 (illustration of BUNNY GETS SNOOKERED exhibition at Sadie Coles HQ, LONDON, May 12-June 20, 1997) One of the most challenging artists to emerge from London in the late 1980s, Sarah Lucas has consistently created poetic, ironic and humorous artwork, an excellent example of which is BUNNY GETS SNOOKERED #10. Her work is overflowing with provocative allusions to male and female genitalia and sexual connotation. However, the initial simplistic visual impact of this present lot only briefly masks the layers of meaning that resonate with Lucas' work. In BUNNY GETS SNOOKERED #10, the sculpture may present a pair of legs encased in the most cliched of provocative gear: a pair of red thigh-high stockings; however, the risque nature of the title runs counter to what is presented before the viewer, as there is no evidence of Playboy perkiness in this faceless sculpture. This anthropomorphic chair is a blend of sensitivity and aggression, as the work evokes a savage humor in the passivity of the "figure" through its refusal to hold a pose, as well as strikes at the empty absurdity of sexual stereotypes. In her ability to allow a pair of tights and chair to speak volumes, Sarah Lucas is tapping into a time-honored sculptural tradition of giving new and powerful meaning to the most everyday objects, while simultaneously seeming to hardly change them at all. Sarah Lucas explains that "my images are not finely finished. I don't have the patience for that. I make things like I am myself. Artworks are actually descriptions, or at least mine art. Descriptions of an idea" A. Paalman, SELF-PORTRAITS: CALDIC COLLECTION, ROTTERDAM, 1998, p. 144

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Sarah Lucas , b. 1962 O Nob wood and wire

Estimate: $30,000 - $40,000

Description: wood and wire

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Sarah Lucas

Estimate: $600,000 - $800,000

Description: four bunnies (kapok, wire, tights, stockings, clamps, four chairs) and a baize card table,dimensions variable,Executed in 1998, this sculpture is unique.

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No Image Available

Estimate: £20,000 - £30,000

Description: Sarah Lucas Stars at a Glance 2007, concrete shoes, bra, footballs, cigarettes - series of three 10 5/8 × 13 × 10 5/8 in. (27 × 33 × 27 cm.)

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Sarah Lucas (b. 1962)

Estimate: $4,000 - $6,000

Description: Hunk of the Yearfour attached gelatin silver prints31 3/4 x 24 in. (80.7 x 60.9 cm.)Executed in 1990-1992. This work is from an edition of six plus one artist's proof.

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No Image Available

Estimate: £100 - £150

Description: Lucas (Sarah) [God is Dead], one of 1000 copies signed by the photographer, original cloth, 2005 § Shrigley (David) The Book of Shrigley, signed by the author on title, original cloth-backed laminated wrappers, still fastened with cellophane wrapper, 2005 § Erwhitt (Elliott) Museum Watching, signed by Erwhitt on title, original boards, dust-jacket, 1999 § Rheims (Bettina) Morceaux choisis, original wrappers, red tin box, glacine wrapper (opened), Gottingen, 2002, illustrations, 4to & 8vo (4)

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No Image Available

Estimate: $8,940 - $11,920

Description: Where Does It All End wax and cigarette 21/2 x 33/4 x 21/2in. (6.4 x 9.5 x 6.4cm.) Executed in 1994, this work is from an edition of 10 PROVENANCE Barbara Gladstone Gallery, New York. Private collection, New York. LITERATURE J. van Adrichem, 'Where Does It All End?', in: 'Parkett', no. 45, 1995, (another from the edition illustrated in colour, p. 86). 'BRILLIANT! New Art from London', Minneapolis 1996 (another from the edition illustrated in colour p. 64). 'Sarah Lucas', Rotterdam 1996 (another from the edition illustrated p. 13, 47). 'Sarah Lucas', Frankfurt 1996 (another from the edition illustrated). 'Minky Manky', London 1997 (another from the edition illustrated). 'Sensation: Young British Artists from the Saatchi collection, London 1997 (another from the edition illustrated in colour, p. 117). B. Riemschneider and U. Grosenick (eds.), 'Art at the Turn of the Millennium', Cologne 1999 (another from the edition illustrated in colour, p. 327). J. Barnbrook and J. Beard, 'Young British Art: the Saatchi decade, London 1999 (another from the edition illustrated in colour, p. 209). EXHIBITION New York, Barbara Gladstone Gallery, 'Sarah Lucas - Supersensible', Mar.-Apr. 1995. NOTES 'Where does it all end?' is an example of Lucas's self-portraiture where she presents herself as alternatively crude, laid-back and defiant. The work is a play on the visual and linguistic expressions of anger and aggression. The colour of the wax has a certain degree of naturalism, but it also represents hostility. It appears like a face without skin. The expression is not necessarily one of anger, but a threatening grimace that is naked and raw. The exasperated title is not a hopeful one and evokes an expression of resigned despair: "I don't make things which are really preciously made. I don't have the patience to be whittling away at something forever. I make things how I am, in the way I'd naturally do something." (S. Lucas, in C. Freedman, 'Bollocks', in: 'Parkett', no.45, 1995, p.109.) However, there is dexterity and control in her work. Lucas has pared down, edited out the unnecessary, to create an independent concise form. Lucas's interest in the material condition of the artwork, her use of casts and the reference to her own physique and person suggest an affinity with the work of Jasper Johns ('Target with Plaster Casts', 1955), Bruce Nauman ('From Hand to Mouth', 1967) and Robert Gober ('Untitled Leg', 1989-90).

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SARAH LUCAS | Adam The Knob and Bollocks

Estimate: £1,500 - £2,500

Description: aluminium beer cans, in cardboard box

Condition Report: Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is slightly lighter in the original. Condition: This work is in very good and original condition. All surface irregularities appear to be inherent to the artist's choice of found materials."In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

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Sarah Lucas (b. 1962)

Estimate: £70,000 - £90,000

Description: Bigger, cheaper (and you can do it at home)cardboard box, fibreglass, chair, mechanical arm and vinyl flooring88 5/8 x 84 5/8 x 78 3/4 in. (225 x 215 x 200cm.)Executed in 1999

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No Image Available

Estimate: $8,250 - $11,550

Description: Great Dates photocopy, collage, paint and photography on masonite. 88 x 56in. (223.5 x 143.5cm.) Executed in 1992 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 S. Kent & J. Blyth, 'Shark Infested Waters - The Saatchi Collection of British Art in the 90s', London 1994, p. 194 (illustrated in colour). J. van Adrichem 'Where Does It All End?' In: Parkett, no. 45, 1995, p.91 (illustrated in colour). EXHIBITION London, The Saatchi Gallery, 'Young British Artists II', Feb.-July 1993. Cologne, Art Cologne 'Young British Art from the Saatchi Collection', Nov. 1993. Rotterdam, Boymans-Van Beuningen Museum, 'Sarah Lucas', Feb.-March 1996 (illustrated in the catalogue, p.21). Lisbon, Centro de Arte Moderna da Fundaao Galbenkian, 'Treasure Island', Feb.-May 1997. NOTES "The artist herself appears in 'Great Dates' (1992), photographed wearing a leather jacket and with cropped hair that makes her look like a street-wise boy. She is eating a banana, but the gesture is transformed into an assertion of female sexuality, on its own terms. 'With only minor adjustments, a provocative image can become confrontational converted from an offer of sexual service into a castration image.' Pages from 'The Sunday Sport' newspaper, collaged onto board, form the backdrop to this act of reclamation. Gleaned from the newstand, these pages of naked flesh show how the idea of woman-as-a-sexual-toy is confirmed each day for thousands of men. 'I don't take pornography as my subject; I take the acceptable stuff available at 25p - common currency, rather than the deviant or marginal,' Lucas explains." (S. Kent, 'Young British Artists II', London 1993).

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No Image Available

Estimate: $16,300 - $24,450

Description: Human Toilet C-print 96 x 74in. (244 x 188.5cm.) Executed in 1997, this work is from an edition of 1 + 1 AP PROVENANCE Sadie Coles HQ, London. LITERATURE 'Sensation. Young British Artists from the Saatchi Collection', London 1997 (another print illustrated, p. 114) NOTES "'The materials that I use must be weathered, you have to be able to see that they have a past. My images are not finely finished; I don't have the patience for that. I make things like I am myself. Artworks are actually descriptions, or at least mine are. Descriptions of an idea.' In her work she is reacting very immediately and visually to her environment and aspects of daily life. She commonly uses existing objects for these visual expresssions. There is also a lot of humour in her work. By taking the everyday so far out of its context, it becomes almost absurd and tasteless. Sarah uses bananas and melons, toilet pots and slot machines in order to express her ideas about men and women." (A. Paalman, in: 'Self Portraits. Caldic Collection', Rotterdam 1998. p.144.).

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Sarah Lucas (B. 1962)

Estimate: $43,500 - $58,000

Description: Fighting Fire with Fire 6 Pack 6 black and white photographs with ink and acrylic each: 60 x 42in. (152.4 x 106.6cm.) overall: 120 x 134in. (304.8 x 340.4cm.) Executed in 1997. PROVENANCE Barbara Gladstone Gallery, New York.

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No Image Available

Estimate: $22,820 - $29,340

Description: Boots signed, dated and numbered 'Sarah Lucas, 1996, 1/3' (on the bottom of the left boot) painted concrete each: 6.1/8 x 4 x 10in. (15.5 x 11.5 x 26.7cm.) PROVENANCE Sadie Coles HQ, London. LITERATURE 'World of Interiors', Oct. 1998 (illustrated, p.284).

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f - SARAH LUCAS

Estimate: £14,000 - £18,000

Description: titledphotocopy on paperExecuted in 1991.

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Sarah Lucas (British, 1962)

Estimate: £3,000 - £5,000

Description: Beer Can Penis - Bierdosen Pimmel signed and dated 'Sarah/Lucas/1999' (on the underside of one can) aluminium beer cans 20.3 cm. (8 in.) long unique

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Sarah Lucas

Estimate: £5,000 - £7,000

Description: Self Portraits 1990 – 1998 signed, dated '1999' and numbered 28/150 in pencil on the colophon (there were also 15 artist's proofs), published by Sadie Coles HQ, London, in very good condition, lacking the original box.

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Sarah Lucas (b.1962)

Estimate: $1,692 - $2,256

Description: Mobile four cut-out photographs, string and metal 26 x 10in. (66 x 25.4cm.).

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Sarah Lucas (b. 1962)

Estimate: £50,000 - £70,000

Description: New Religionblue neon coffin15 1/8 x 21 1/4 x 71 1/2 in. (38.4 x 54 x 181.6cm.)Executed in 1999

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SARAH LUCAS

Estimate: £10,000 - £15,000

Description: SARAH LUCAS B.1962 1978 black and white photograph 123 by 153cm.; 48½ by 60in. Conceived in 2000, the present work is number 3 from an edition of 6, plus 1 artist's proof.

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Sarah Lucas (b. 1962)

Estimate: $8,000 - $12,000

Description: Hunk of the Yearfour attached gelatin silver prints31 3/4 x 24 in. (80.7 x 60.9 cm.)Executed in 1990-1992. This work is from an edition of six plus one artist's proof.

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Sarah Lucas (b. 1962)

Estimate: $8,000 - $12,000

Description: Seven Upfour attached gelatin silver prints23 x 32 in. (58.4 x 81.3 cm.)Executed in 1990-1992. This work is from an edition of six plus one artist's proof.

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SARAH LUCAS | Nude #1

Estimate: £120,000 - £180,000

Description: table, clothing, coconuts and brush

Condition Report: Colour: The colour in the catalogue illustration is fairly accurate, although the table top is warmer in the original. Condition: This work is in very good and original condition. There are various surface irregularities, accretions, scratches and scuffs to the table top and legs, which are in keeping with the artist's choice to use found materials."In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

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Penis (Eggs)

Estimate: $50,000 - $70,000

Description: SARAH LUCAS (b. 1962) Penis (Eggs) wire and eggs 9½ x 5½ x 2 5/8 in. (24 x 14 x 6 cm.) Executed in 1993.

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SARAH LUCAS | NUD 16

Estimate: £120,000 - £150,000

Description: tights, fluff and wire

Condition Report: Colour: The colour in the catalogue illustration is fairly accurate although the overall tonality is lighter in the original with less red undertones. Condition: This work is in very good and original condition. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

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Penis (Eggs)

Estimate: £10,000 - £15,000

Description: Sarah Lucas (B. 1962) Penis (Eggs) wire and eggs 9½ x 5½ x 2 5/8 in. (24 x 14 x 6 cm.) Executed in 1993

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Sarah Lucas (British, born 1962) Beer Can Penis, 1999 length 14cm (5 1/2in)

Estimate: £4,000 - £6,000

Description: Beer Can Penis, 1999 impressed 'S.L. '99 10/20', bronze length 14cm (5 1/2in)

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Sarah Lucas

Estimate: £1,000 - £1,500

Description: Beer Can Penis Signed and dated 'SARAH LUCAS 1999' on the base.

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Sarah Lucas (B. 1962)   The Fag Show

Estimate: £1,000 - £2,000

Description: Sarah Lucas (B. 1962) The Fag Show c-print 19 ½ x 19 ½ in. (49.5 x 49.5 cm.)

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Sarah Lucas

Estimate: £6,000 - £8,000

Description: Sex Baby This work is from an edition of 10 plus artist's proofs.

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Sarah Lucas (b. 1962)

Estimate: $40,000 - $60,000

Description: Sarah Lucas (b. 1962) Bucket of Tea 1 color laser photocopies on paper, mirrored styrene, chrome tubing and wiredimensions variable Executed in 1994.

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Sarah Lucas

Estimate: £20,000 - £30,000

Description: Got a Salmon on in the Street #2 This work is from an edition of three plus one artist's proof.

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Sarah Lucas (B. 1962)

Estimate: $42,300 - $49,350

Description: Fat, Forty and Flab-ulous photocopy on paper 841/2 x 123in. (215 x 313cm.) Executed in 1990. PROVENANCE City Racing, London. NOTES "Borin' hubby bleats about my weight...now I want someone who loves feelin' folds of flesh in the sack" invites Ms. Flabulous. 'Fat, Forty and Flab-ulous', a blown-up page from the dubious London newspaper 'Sunday Sport', features an advert for a voluptuous prostitute, an article on lifting the lid on Madonna's hanky panky success, sex lines and wives for sale. Sarah Lucas began her career using the 'Sunday Sport' as source material, taking an interest in its splashes on outrageous sex scandals and sensationalist photographs of naked women. The assemblage of collages consisting of photocopies and cuttings from tabloid newspaper articles indicates something of the artist's class conciousness and her limited resources. This impersonal discipline in fashioning her work from existing, utilitarian objects accentuates the concrete quality of the media and serves in finding a common language of things that are familiar and understood. The interrelation of text, title and image serve together to point to a social/sexual content that at its best, suggest a terrible pathos, cloaked in a crass knockabout, very English humour. "It's a game for a laugh, not simply 'feminist' or 'political', it's about degradation, hilarity and deprivation, what Lucas depicts is lived by everyone. Her laughter embraces the macabre, the grotesque, the scatalogical and the reproductive." (Jerry Saltz: 'She Gives as Good as she Gets', in Parkett, No. 45, 1995). For Lucas, the body is not politically closed. In 'Fat, Forty and Flab-ulous', she conveys the exaggerated, the crude, the excessive, the material life of the body. A close-to-the-bone statement of "this is what it's really like" is portrayed in the obese Ms. Flabulous featured. The work is layered and intersected with obsession, desire, society and an insolent urban Britishness. The artist believes everything is connected to everything else, and in trying to cope with the vast amount of information and things already existing. Lucas has created new things and her work takes on a documentary function. However, what makes Lucas on e of the most sought after artists on the British art scene is her ability to combine everyday innocence with in your face gross-out metaphors for sex.

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No Image Available

Estimate: $7,425 - $10,725

Description: Get Hold of This plastic 113/4 x 141/2 x 12in. (30 x 37 x 30.7cm.) Executed in 1994-95 this is no.4 of an edition of 8 PROVENANCE Private Collection, New York. LITERATURE '"Brilliant" New Art from London', Minneapolis, 1995 (another example illustrated in colour). EXHIBITION Rotterdam, The Boymans-van-Beuningen Museum, 'Sarah Lucas', February-March 1996 (another from the edition illustrated p.46). SALESROOM NOTICE Please note the illustration for this piece is incorrect in the catalogue. The work is blue.

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Sarah Lucas (b.1962) self-portraits 1990-98

Estimate: £6,000 - £8,000

Description: Sarah Lucas (b.1962) self-portraits 1990-98 complete set of 12 iris prints, numbered 15 from the edition of 100, signed in pencil by the artist on the colophon, published by Sadie Coles HQ, London, 1999, in varying sizes (12) Provenance: Private Collection, London. Since the early 1990's, Sarah Lucas has challenged sexual stereotypes in a variety of provocative works. In this, her most famous series of photographs, she turns against the art-historical tradition of the female seductress or muse, and presents herself in a deliberately androgynous, and occasionally aggressive, series of poses. Adopting masculine gestures and stances, she photographs herself in unisex clothing like jeans and T-shirts, incorporating highly provocative props and motifs, themes that we see recurring throughout many of her works. These images also raise questions about the role and appearance of the modern artist. In contrast to the cliché of the artist as an anguished male, Lucas shows herself as an ordinary person in emphatically ordinary surroundings. Works include: Eating a Banana (1990), Divine (1991), Self Portrait with Mug of Tea (1993), Self Portrait with Knickers (1994), Self Portrait with Fried Eggs (1996), Human Toilet II (1996), Fighting Fire with Fire (1996), Self Portrait with Skull (1997), Got a Salmon On #3 (1997), Summer (1998), Smoking (1998), Human Toilet Revisited (1998).

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Sarah Lucas (B. 1962)

Estimate: $14,100 - $21,150

Description: The Law C-print 48 x 353/4in. (122 x 91cm.) Executed in 2000, this work is number two from an edition of six plus one artist proof and is accompanied by a certificate of authenticity signed and dated 'Sarah Lucas, 23 Oct. 2000'. PROVENANCE Private collection, Tokyo. NOTES "It's a bit like 'Escape from Alcatraz', you have to get a nail-file if you can get hold of one, saw the bars through. You have to use what you've got, and either it does the job or it doesn't. It is articulating your way out of something." (S. Lucas, in: B. Riemschneider and U. Grosenick (eds.), 'Art at the Turn of the Millennium', Cologne 1999, p. 326.).

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Sarah Lucas (b.1962)

Estimate: £500 - £700

Description: The Fag Showc-print51 x 51 cm. (20 x 20 in.)This work was conceived and executed in 2000 and is number 53 in an edition of 100

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