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Paul McCarthy Auction Price Results

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Paul McCarthy, ‘Santa with Butt Plug’, Chocolate, 2014

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Description: Chocolate figurine USA, 2014Paul McCarthy (b. 1945) – American performance and video artistFrom an unknown edition sizeWith original cellophane wrapping, plastic stand and box Dimensions: 10 x 5 x 5 in. (25.4 x 12.7 x 12.7 cm.)Good conditionThis chocolate multiple was produced in Paul McCarthy’s chocolate factory installed in the Monnaie de Paris (The Paris Mint). Viewers entered a forest of inflated Christmas trees designed as butt plugs before entering the chocolate-making operation run by blonde-wigged confectioners. The edible Chocolate Santa Claus’s were available for purchase at the exhibition, giving a brand new meaning to “Christmas spirit.” One French viewer was so outraged by his installation “Christmas Tree” (an oversized abstract butt plug) in the Place de Vendome, that he physically attacked the artist. Consequently the large sculpture, which many of the French considered an affront to French culture, had to be removed from the site. ConditionMild oxidation otherwise in overall very good condition. The original plastic stand is cracked in half. Paul McCarthy (American, b. 1945)Performance and video artist Paul McCarthy is widely regarded as one of the most subversive and provocative contemporary artists. After receiving mid MFA from the University of Southern California, McCarthy became known for his works of performance art which explored themes of childhood innocence and adult sexuality through the use of the body. In the mid-1980s, McCarthy moved away from performance art, though he continued to record many of his artistic activities on video. He also began making kinetic and large-scale sculptures. McCarthy’s works have been exhibited at the Venice Biennale, the Centro de Arte Reina Sofia in Madrid, Spain, the Centre Georges Pompidou in Paris, the Museum of Contemporary Art in Chicago, the Whitney Museum of American Art in New York, and the Tate Modern in London. The artist currently lives and works in Altadena, CA. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Paul McCarthy, 'Santa Octopussy', Sculpture, 2004

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Description: Urethane, brass and epoxy on a wooden crateUSA, 2004Paul McCarthy (b. 1945) - American performance and video artist'Santa Octopussy, Green, Balls, 6 Tentacles, 3 Heads'From a series of 12 unique variants created in 4 colors: red, green, white and blackDimensions: 16 ½ x 15 ½ x 10 ½ in. (41.9 x 39.4 x 26.7 cm.)Crate dimensions: 26 ½ x 27 x 24 ½ in. (67.3 x 68.6 x 62.2 cm.)Very good condition Designed as an abstracted sex toy with Santa Claus heads, Paul McCarthy's "Santa Octopussy" comes from a series of small, unique tabletop-sized phallic sculptures produced to sit atop a crate. Like his infamous butt plugs, this series of works began as a joke. ProvenanceLuhring Augustine, New York ConditionSlight surface dirt and cracks in epoxy consistant with its production. Otherwise in good condition. Paul McCarthy (American, b. 1945)Performance and video artist Paul McCarthy is widely regarded as one of the most subversive and provocative contemporary artists. After receiving mid MFA from the University of Southern California, McCarthy became known for his works of performance art which explored themes of childhood innocence and adult sexuality through the use of the body. In the mid-1980s, McCarthy moved away from performance art, though he continued to record many of his artistic activities on video. He also began making kinetic and large-scale sculptures. McCarthy's works have been exhibited at the Venice Biennale, the Centro de Arte Reina Sofia in Madrid, Spain, the Centre Georges Pompidou in Paris, the Museum of Contemporary Art in Chicago, the Whitney Museum of American Art in New York, and the Tate Modern in London. The artist currently lives and works in Altadena, CA. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Paul McCarthy, 'Australian Fucker', Ink on Paper, 2000

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Description: Ink on paperUSA, 2000Paul McCarthy (b. 1945) - American performance and video artistSigned and dated lower left 'Paul McCarthy 2000' and titled upper center 'Australian Fucker'Framed and mattedSheet dimensions: 16 ½ x 10 ¾ in. (41.9 x 27.3 cm.)Frame dimensions: 22 x 16 in. (55.9 x 40.6 cm.)Very good condition Provenance Luhring Augustine, New York Known for his subversive humor, Paul McCarthy often explores themes of sexuality in his work. "Australian Fucker" exemplifies McCarthy's tongue-in-cheek humor through drawings of animals indigenous to Australia. Drawn on the back of a menu and scribbled with notes, this work reads as both a page from a sketchbook and a fully-fleshed idea. ConditionSlight rippling at sheet edges. Otherwise appears in overall good condition, not examined out of frame. Paul McCarthy (American, b. 1945)Performance and video artist Paul McCarthy is widely regarded as one of the most subversive and provocative contemporary artists. After receiving mid MFA from the University of Southern California, McCarthy became known for his works of performance art which explored themes of childhood innocence and adult sexuality through the use of the body. In the mid-1980s, McCarthy moved away from performance art, though he continued to record many of his artistic activities on video. He also began making kinetic and large-scale sculptures. McCarthy's works have been exhibited at the Venice Biennale, the Centro de Arte Reina Sofia in Madrid, Spain, the Centre Georges Pompidou in Paris, the Museum of Contemporary Art in Chicago, the Whitney Museum of American Art in New York, and the Tate Modern in London. The artist currently lives and works in Altadena, CA. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Paul McCarthy (born 1956), Xmas Party 1997

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Description: pastel, signed and dated 'McCARTHY 97' lower right, 73 x 53cm, Provenance: Kenthurst Galleries, NSW; Private Collection, VIC

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Paul McCarthy (Né en 1945)

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Description: Paul McCarthy (Né en 1945) Brancusi Tree ou Butt Plug (silver), 2007 Self inflatable mylar fabric and integrated fan Signed, numbered 61/75 and dated From an edition of 75 + 20 AP Haut. 180 cm - Height : 70 7/8 in. Paul McCarthy (Né en 1945) Brancusi Tree ou Butt Plug (silver), 2007 Tissu mylar auto gonflable et ventilateur intégré Signé, numéroté 61/75 et daté D'une édition à 75 exemplaires + 20 AP Haut. 180 cm

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Paul McCarthy, Serigraph on Chewing Gum, Transgum, USA, 2000

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Description: Seriegrafie auf KaugummiUSA, 2000Paul McCarthy (geb. 1945) – US-amerikanischer KünstlerRückseitig signiert „Paul Mc Carthy“Auflage: 30Maße: 20 x 25 cmIn Plexiglashülle gerahmtSehr guter ZustandObject is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU.Estimate by Auctionata Expert: 800 Euro Auf diesem Werk von Paul McCarthy ist auf einem rot gefärbten Kaugummi ein Weihnachtsmann, links neben seinem gesenkten Kopf steht das Wort „TRANSGUM“. Das Werk wurde im Rahmen des zeitgenössischen Kunstjournals TRANS>ARTS.CULTURES.Media gestaltet. (asi) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Paul McCARTHY (né en 1945) FEAR OF MANNEQUINS WING HEADS HOLLYWOOD BOULEVARD, dyptique, 1971 Deux tirages cibachromes sur papier

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Description: Paul McCARTHY (né en 1945) FEAR OF MANNEQUINS WING HEADS HOLLYWOOD BOULEVARD, dyptique, 1971 Deux tirages cibachromes sur papier numéroté "1/3" Edition de 3 + 2 EA Un certificat de l'artiste sera remis à l'acquéreur 130 x 190 cm (chaque) (51,18 x 74,80 in) Provenance : Atelier de l'artiste Galerie Georges-Philippe & Nathalie Vallois, Paris Collection Michèle et Thierry Colin, Reims Expositions : Paul McCarthy, rétrospective, Los Angeles, MOCA, novembre 2000 à janvier 2001 Cadavres exquis, Paris, Galerie Georges-Philippe & Nathalie Vallois, avril à juin 2002 De leur temps 1, Tourcoing, Musée des Beaux-Arts, Collections privées françaises, ADIAF, octobre à décembre 2004 Paul McCarthy head shop/shop head, Works 1966-2006, Stockholm, Moderna Museet, juin à septembre 2006 Paul McCarthy, Head shop/shop head, works 1966- 2006, Gent, S.M.A.K, octobre 2007 à février 2008 VaXiNation, Athènes, Galerie Xippas (avec la participation de la galerie Georges-Philippe et Nathalie Vallois), avril à juillet 2010 Bibliographie : Paul McCarthy, Éditions New Museum NY et Hatje Cantz, 2000 reproduit p.29 De leur temps, Éditions Musée des Beaux-Arts de Tourcoing, 2004, reproduit au catalogue Paul McCarthy head shop/shop head, Works 1966-2006, Éditions Moderna Museet, Stockholm, 2006 reproduit p.105 Paul McCarthy, Head shop/shop head, works 1966-2006, Éditions S.M.A.K, Gent, 2007, reproduit p.105 Commentaire : On connait surtout de Paul McCarthy ses performances saisissantes qui mettent en scène le corps dans toute son abjection : sang, sperme, déjections, viande crue, mayonnaise, nourriture pour chien, viscères dégoulinants, se mêlent en un joyeux magma libidinal destiné à montrer le corps dans sa crudité organique. Théâtre de la régression, l'art de McCarthy est d'abord une protestation brutale contre la société des médias, les valeurs de la famille, la culture aseptisée de l'Amérique moderne. Dans Fear of mannequins – Wing Heads Hollywood Boulevard (1971), les mannequins exposés en vitrine rejouent des poses hollywoodiennes stéréotypées dans la célèbre avenue de Los Angeles. Objets équivoques, ils incarnent le processus de contamination par lequel le corps vivant devient une représentation. Paul McCarthy utilisera les poupées et les mannequins tout au long de sa carrière d'artiste pour dénoncer la prééminence du corps social sur le corps vivant dans une société dominée par l'imagerie médiatique.

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PAUL MCCARTHY (USA/1945) Autoportrait en Pinocchio, 1994

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Description: PAUL MCCARTHY (USA/1945) Autoportrait en Pinocchio, 1994 Tirage argentique 52,2 x 44,9 cm

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Paul McCarthy, Peter Paul Skin Sample with Portfolio, 2005

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Description: 2 x 15 digital laser prints in colors on Kodak Professional Endura paper (in duplicate: framed and loose in box)USA, 2005Paul McCarthy (b. 1945) – US-American performance artist and one of the most influential contemporary artistsEach stamped ‘KOPIE’ on the reverseFrom an edition of 36 copiesPublished by Parkett, Zurich and New York, no. 73Printed by Stutz Image Center, Bremgarten, SwitzerlandLiterature: Exhib. cat. Circle of Life. Vita Activa. Das Bild des Menschen in der Fotografie der Gegenwart. Eine Auswahl von Dr. Andreas Beitin, ZKM, aus der Teutloff Photo + Video Collection, ed. by Lutz Teutloff, Oldenburg 2014, ill. p. 154Dimensions: each 17 x 25,5 cmMatted behind glass in black clip-on frame: 85.5 x 108.5 cmOriginal cardboard box: 26.6 x 18.4 cmVery good conditionProvenance: Collection Teutloff, GermanyThe unvarnished representation of the body and the sexual identity is a major theme in Paul McCarthy’s oeuvreCondition:The photographs are in a very good condition. The frame shows only the lightest traces of usage. The dimensions of the photographs are 17 x 25.5 cm each, the frame measures 85.5 x 108.5 cm, and the cardboard box is 26.6 x 18.4 cm in size.Paul McCarthy (b. 1945)Beginning in 1969, Paul McCarthy visited the University of Utah (The U) and then the San Francisco Art Institute (SFAI), where he studied painting. In 1972, he began studying film, video and art at the UCLA. He began his career with performances that revolved around the theme of gravity. In the 1970s, his work was sexually provocative. Brutality and self-destruction were frequently recurring themes. The performances from the 1980s and 1990s are characterized by irony and self-distance. For some of his actions, McCarthy built sceneries that he registered in video and photographs. He collaborated with his son Damon in some of these works. From 1982 to 2002, McCarthy taught performance, video, installation and performance art at the University of California in Los Angeles. Today, McCarthy is on great demand in the art market. He currently lives and works in Altadena, California. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Paul McCarthy, Heinz Tomato Ketchup from the Propo series

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Description: Paul McCarthyHeinz Tomato Ketchup from the Propo series2002c-print mounted on aluminum71.5 h x 47.75 w in (182 x 121 cm)This work is number 2 from the edition of 3. The PROPO series is a collection of color photographs of props used in McCarthy's performances between 1973-1983.Provenance: Luhring Augustine, New York | Skarstedt Fine Art, New York | Private CollectionLiterature: Propo, McCarthy and Nielsen, unpaginated Paul McCarthy, Rugoff, pg. 55

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Paul McCarthy (b. 1945) Dog, 2000 polaroid signed,

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Description: Paul McCarthy (b. 1945) Dog, 2000 polaroid signed, titled, dated 3/6/00, and numbered 59-100 on the reverse 3 1/2 x 4 1/4 in., 8.9 x 10.8 cm The work is a unique polaroid from the series of 100 unique variants.

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PAUL MCCARTHY - Jack P., 2002

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Description: PAUL MCCARTHY - Jack P., 2002

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PAUL MCCARTHY - Fancy Tomato Ketchup (from PROPO series), 1991 (2009)

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Description: PAUL MCCARTHY - Fancy Tomato Ketchup (from PROPO series), 1991 (2009)

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PAUL MCCARTHY - Pink Clown (from PROPO series), 1991 (2008)

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Description: PAUL MCCARTHY - Pink Clown (from PROPO series), 1991 (2008)

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Paul McCarthy (b.1945) - Trans  Gum

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Description: monoscreenprint on chewing gum, 2001 , signed, dated and dedicated in black ink verso, overall 253 x 203 mm (10 x 8 in)

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Paul McCarthy (b.1945) - Secession. Sod & Sodie Sock

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Description: Paul McCarthy (b.1945) - Secession. Sod & Sodie Sock the book, 1998, with a signed and dedicated felt-tip drawing by McCarthy on the title-page, with text, and reproductions, bound as issued in the original printed paper cover, overall size 300 x 210mm (11 3/4 x 8 1/4in)

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Paul McCarthy (b.1945) - Untitled

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Description: Paul McCarthy (b.1945) - Untitled graphite on paper, 1998, signed in pencil, on lined wove paper, sheet 265 x 200mm (10 1/2 x 7 7/8in) Provenance: A gift from the artist to the present owner

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MCCARTHY, PAUL 1945 Salt Lake City/USA Brancusi

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Description: MCCARTHY, PAUL 1945 Salt Lake City/USA Brancusi Tree. 2007. Mixed media (Mylar, ventilator). 190 x 95 x 95 cm. Signed, numbered and dated in the lower margin: Paul McCarthy, 29/75, 2007. Number 29/75. Provenance: Gallery Hauser & Wirth, Zurich (adhesive label). The object rises when switched on via a cable. It is in good working order. The object is in its original bag.

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ƒ Paul McCarthy (né en 1945) Untitled (Tokyo Santa #14), 1999 Tirage sur papier Cibachrome monté et numéroté 3/6, étiquette de la ga...

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Description: ƒ Paul McCarthy (né en 1945) Untitled (Tokyo Santa #14), 1999 Tirage sur papier Cibachrome monté et numéroté 3/6, étiquette de la galerie Blum + Poe, Los Angeles au verso 177,8 x 121,9 cm

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PAUL McCARTHY, Peter Paul Skin Sample, 2005

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Description: 15 digital laser prints on Kodak-Professional Endura paper. Each 16.8 x 25.4 cm (both portrait and landscape formats). The prints separately in original box. With certi cate, thereon signed and editioned 19/36 (+ 12 A.P.) in felt tip pen and with typed details about the work. Parkett Edition #73, Zürich. Exhibitions: Cologne 2011/2012 (Wallraf-Richartz-Museum/Fondation Corboud); Dresden 2012/2013(Deutsches Hygienemuseum) Literature: Siegfried Zielinski, „Minne mich gewaltig!" BildKörper & Religion in der Sammlung Lutz Teutloff. Exposé für eine imaginäre Ausstellung, Potsdam 2009, ill. p. 11; Andreas Blühm (ed.), Auf Leben und Tod. Der Mensch in Malerei und Fotografie - die Sammlung Teutloff zu Gast im Wallraf, exhib.cat. Wallraf-Richartz-Museum - Fondation Corboud, Munich 2010, ill. p. 111

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Paul McCarthy (b. 1945) - Dog, 2000

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Description: polaroid, signed, titled, dated 3/6/00, and numbered 59-100 on the reverse, one of 100 unique polaroid photographs, 3 1/2 x 4 1/4 in., 8.9 x 10.8 cm

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Untitled (from the Propo Series)

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Description: McCarthy, Paul, Cibachrome print mounted on aluminium, framed, Untitled (from the Propo Series), This work is from an edition of 3Cibachrome print mounted on aluminium, framed, McCarthy, Paul c. 1992

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Paul McCarthy, (American, 20th century), Snowy Bridge, 1986, together with a painting (a pair), oil on board, largest 31

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Description: Paul McCarthy (American, 20th century) Snowy Bridge, 1986, together with a painting (a pair) oil on board signed and dated lower right largest 31" x 40.5"

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PAUL MCCARTHY  Mickey Mouse.

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Description: Digitaler Pigmentdruck auf Karton. (2010). Ca. 55,5 : 45 cm (Blattgröße ca. 61 : 51 cm). Eines von 50 nummerierten Exemplaren. Verso signiert.

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PAUL MCCARTHY

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Description: B. 1945RED PLUGheight: 335cm.; 131 7/8 in.resin on fibreglassExecuted circa 1995.PROVENANCEGalerie Krinzinger, ViennaAcquired directly from the above by the present owner in 1996 at Art ChicagoEXHIBITEDNOTEAs was witnessed by his recent 'La-La Land' retrospective at the Whitechapel Gallery, since the 1960s Paul McCarthy has continually re-pitched the tone and volume of his singular creative voice to challenge the conventions governing traditional artistic practice. From his conceptually inspired body-art performances of the 70s to the most recent motorized sculptures and ever more lavish video and sculpture installations, McCarthy undertakes a critical examination of Western Pop culture. Highlighting its traumas and celebrating its taboos to expose the institutions that shape us, McCarthy's work tackles the foundations of the social structures presented to us through the media of popular culture.Informed by an exploration of the often complex and subconscious relationships between form, medium and process, Red Plug is one of McCarthy's most important sculptures of the 1990s and embodies the artist's humorous fascination with the underbelly of popular culture. Taking themes physical abstraction and exaggeration to new, monumental levels, the enlarged feet and head combine with the smooth materiality of the blood-red resin to augment the work's compelling psychological and physical presence. Much like his early work in which McCarthy had used his own body as a locus for social criticism through acts of self-mutilation, defecation and humiliation, here McCarthy takes the enormous, androgynous body of a children's toy through which to voice a range of social fears, obsessions and conflicts. Recalling the excessive and gratuitous atmosphere of his video performances in which McCarthy ingests mountains of processed hamburger meat, hot dogs and condiments -- the packaged goods synonymous with modern American culture - there is a similar mood here of humorous / grotesque exaggeration.Red Plug belongs to McCarthy' series of iconic 'appropriation' sculptures. Transforming familiar forms from Popular culture through often violent and humorous acts of manipulation, like Michael Jackson Gold (fig. 1) which took Jeff Koons' famous 'Michael Jackson and Bubbles' sculpture as its basis, or Blockhead (2003) which towered over the London skyline whilst on exhibition at the Tate Modern, Red Plug transforms the unthreatening objects of childhood into the menacing and unexpected. As in his most renowned sculptures from the early 1990s like Spaghetti Man (fig. 2) and Tomato Head (fig. 3), McCarthy here constructs an atmosphere through which to challenge the viewer's cultural and moral boundaries. As the artist explained, "I operate in a kind of theatre. I use objects to represent things, to represent thoughts and feelings." (Paul McCarthy in conversation with Kristine Stiles, Ralph Rugoff, (Ed.), Paul McCarthy, London 1998, p.14) Taking us beyond the comfort zones of familiarity and expectation, McCarthy pursues the constructive devaluation of cultural hierarchies through "the construct of reality as absurdity". McCarthy here borrows the association and metaphor connected to this familiar, toy-like object and wreaks havoc with our idealized visions of childhood. "Bristling with the dark and mischievous humour of fairy tales, these works seem to have stepped out of another order of reality, an impression reinforced by their professional fabrication. Unmarked by any touch of the hand, their impersonal gloss signifies the immaculate conception of the virtual, yet they are disconcertingly concrete. Towering over our heads, they shock us back to the confusions of childhood and a crisis often associated with effigies: it seems impossible to see them as mere lifeless objects." (Ralph Rugoff, (Ed.), Paul McCarthy, London 1998, p. 78) Red Plug's disproportionately enormous, eyeless head looms over the viewer and physically transports us to the role of infant. Calculatingly created to nurture an uncomfortable proximity, it is us the viewer who begin to feel examined and not the object we perceive. Questioning preconceived notions of gender and sexuality, Red Plug's androgynous form stirs up the contradictory realities of contemporary society. McCarthy's broad artistic ambitions here unite the real world of Pop culture with the closed confines of the art world and its movements. As a conveyor of often unwelcome truths and notorious breaker of taboos, McCarthy's influence upon the outwardly amoral stance and blasphemous elements of shows like 'Sensation' and 'Apocalypse' cannot be overstressed. In today's cultural panorama, McCarthy is unquestionably one of the most influential living artists and it is impossible to examine the work of artists like Jake and Dinos Chapman without the acknowledgement of McCarthy's influence and example. Mixing cliché and convention to break down our social stereotypes and expectations, McCarthy's contaminated aesthetic is addressed to a contaminated audience through the language of infancy. In his inherently humorous, topsy-turvy world of images drawn from both the media generated ideals of behavior and the murky depths of his own psyche, there is no reasoned hierarchy of taste to guide us safely between the kitsch and the authentic. As such, McCarthy's work forces us to question pre-conceived notions of taste and control in a media driven world of collective experience.

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                                        Paul McCarthy (b. 1945)

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Description: Paul McCarthy (b. 1945) Tomato Head (Green) fiberglass, urethane, rubber, metal, plastic, fabric and painted metal baseheight: 86 in. (218.4 cm.);installation dimensions variableExecuted in 1994. This work is one of three unique variants (Green shirt, Black shirt, Burgundy shirt).The two other variants of Tomato Head are in the Collection of Dimitris Daskalopolous, Athens (Burgundy) and the Ydessa Hendeles Art Foundation, Toronto (Black). (62)

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Description: Philadelphia: J.B. Lippincott Company, 1917. 381pp. The modern authoritative work on rings of every kind, written with the same attention to detail as other Kunz works. This is one of the more scarce of his books. A fine copy of the first edition. A similar copy was offered at Christie's New York, April 28, 1987 Magnificent Jewels and sold for $3,800. EVANS, JOAN. ENGLISH POSIES AND POSIE RINGS London: Oxford University Press, 1931. 114pp. McCARTHY, JAMES REMINGTON. RINGS THROUGH THE AGES New York: Harper & Brothers, 1945. 202pp. OMAN, CHARLES. BRITISH RINGS 800-1914 London: B.T. Batsford Ltd., 1974. 146pp. BATTKE, HEINZ. GESCHICHTE DES RINGES Baden Baden: Woldemar Klein, 1953. 111pp. Lengthy catalogue of a collection of 160 rings which are now mostly in the Schmuchmuseum, Pforzheim. TAYLOR, GERALD AND SCARISBRICK, DIANA. FINGER RINGS FROM ANCIENT EGYPT TO THE PRESENT DAY Oxford: The Ashmolean Museum, 1978. 100pp. WARD, ANNE; CHERRY, JOHN; GERE, CHARLOTTE; CARTLIDGE, BARBARA. RINGS THROUGH THE AGES New York: Rizzoli, 1981. 214pp. BATTKE, HEINZ AND REGNER, OTTO FRIEDRICH. RINGE AUS VIER JAHRTAUSENDEN Frankfurt: Insel-Verlag, 1963. 49pp. CATALOGUE: TAYLOR & SCARISBRICK. THE RALPH HARARI COLLECTION OF FINGER RINGS Oxford: Alden Press, 1976. 22pp. This catalogue was published on the occasion of an exhibition at S.J. Phillips Ltd. on June 9-18, 1976. (9).

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PAUL MCCARTHY (NE EN 1945)

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Description: PAUL MCCARTHY (NE EN 1945) UNTITLED (FROM PROPO SERIES-BULLET) tirage cibachrome 183 x 122 cm. (72 x 48 in.) Réalisé en 1972/2007, cette oeuvre porte le numéro 1 d'une édition de 3 plus 1 épreuve d'artiste.Un certificat d'authenticité sera remis à l'acquéreur.

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Piccadilly Circus: Tea Party Pink Queen Feeding Green Queen, 2003

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Description: Piccadilly Circus: Tea Party Pink Queen Feeding Green Queen, 2003Colour coupler print. 177.8 x 116.8 cm (70 x 46 in).  Credited, titled, dated  and annotated AP from an edition of 3 + 1 artist's proof on a printed label affixed to the reverse of the flush-mount.

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Green Dog from the Propo Series, 1990

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Description: Green Dog from the Propo Series, 1990Dye-destruction print. 181 x 120.7 cm (71 1/4 x 47 1/2 in).  Signed in ink on the reverse of the aluminium flush-mount. Titled, dated and numbered three from an edition of 3 on a printed label affixed to the reverse of the frame.

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Untitled (from Propo-Series) (Peaches), 1991/2002

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Description: Untitled (from Propo-Series) (Peaches), 1991/2002Cibachrome print mounted on aluminium.  124.5 x 185.5 cm. (49 x 73 in).  This work is from an edition of three.

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Paul Mccarthy (b.1945) red, green, black, 2005

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Description: Paul Mccarthy (b.1945) red, green, black, 2005 silkscreen printed in colours, signed and dated in pencil, numbered 83/134, on stiff wove paper, the full sheet, in good, fresh condition, sheet 36 x 28 in., 91.5 x 71 cm.

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Description: PAUL MCCARTHY b.1945 UNTITLED felt-tip pen on paper 39 3/4 by 28 1/4 in. 102 by 72.5 cm. Executed in 1995.

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                                        Paul McCarthy (b. 1945)

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Description: Paul McCarthy (b. 1945) Mountaineer Hummel (Puck Penisssss) signed and dated (on the reverse) Inkjet print, oil stick, and glue on paper 82 x 42 in. (208.3 x 106.7 cm.) Executed in 2009.

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Brancusi Tree (gold), 2007

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Description: Brancusi Tree (gold), 2007Mylar-faced nylon rip-stop fabric and thread with plastic base and legs, integrated fan and electrical fittings.   80 x 40 x 40 in. (203.2 x 101.6 x 101.6 cm).  Signed and dated "Paul McCarthy 2007" and numbered of 75 near the base.  This work is from an edition of 75 plus 20 artist's proofs. 

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f - Paul McCarthy , b. 1945 Baby on a Snake cibachrome print mounted on aluminium

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Description: signed, dated 1992 and numbered 1/3 on the reverse cibachrome print mounted on aluminium

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Green Grey Michael Jackson 1, 2003

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Description: Green Grey Michael Jackson 1, 2003C-print in multiple parts face-mounted to Plexiglas on wood and Styrofoam support. 102 1/2 x 52 1/2 x 4 3/4 in. (260.4 x 133.4 x 12 cm).  Signed and dated “Paul McCarthy 2003” on the reverse.This work is unique and accompanied by a certificate of authenticity signed by the artist.

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Description: PAUL MCCARTHY Untitled (Nose), 1994 Wax crayon on paper. 19.625 x 25 5 in. (49.8 x 6... Signed "Paul McCarthy" on the reverse.

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Bear and Rabbit on a Rock

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Description: PAUL MCCARTHY (b. 1945) Bear and Rabbit on a Rock mascot heads, acrylic fur, metal armature, foam rubber, formica pedestal 106 3/8 x 74¾ x 51 1/8 in. (270 x 190 x 130 cm.) Executed in 1992.

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Description: PAUL MCCARTHY Red, Green, Black, 2005

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PAUL MCCARTHY

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Description: B. 1945BASEMENT BUNKER: LOOKING DOWN AT THE QUEEN AND THE GREEN HAT WITH CHOCOLATEmeasurements183 by 122cm.alternate measurements72 by 48in.cibachrome print on aluminiumExecuted in 2003, this work is number 3 from an edition of 3 plus 1 artist's proof.PROVENANCEDonated by the artist, courtesy of Hauser & WirthNOTEOne of the most influential artists of his generation, Paul McCarthy has created powerful works in performance, sculpture, photography, film, drawing, collage and installation. These reveal the darker side of American and European myths, transforming popular icons from Pinocchio to Santa Claus into disturbing and carnivalesque scenarios.McCarthy's provocative early performances in the late 1960s and 70s used his own body as raw material, initially playing with the language of recent contemporary art. In Face Painting -- Floor, White Line, 1972, he created a minimalist intervention and, quite literally, an action painting by dragging himself across the floor to paint a line with his face. In Whipping a Wall with Paint, 1974, he parodied Richard Serra's Splashing, 1968 -- in which the artist splashed molten lead along the bottom of a wall -- by replacing Serra's precise and contained gesture with a wilder and more anarchic 'wall whipping', undertaken with a torn canvas dipped in a bucket of paint and flung around the gallery's walls. The economy of means of these early works soon gave way to a more elaborate use of costume and props such as rubber masks, wigs, ketchup bottles and mayonnaise jars, knives, toys, kitchen utensils and mutilated dolls. These works substituted the Viennese Actionists' sacrificial use of blood with ketchup or chocolate syrup, and the Abstract Expressionists' paintbrush with phallic false limbs. In Sailor's Meat, 1975, for instance, McCarthy cavorted in a blond wig, eye shadow and underpants, writhing and covering himself in sausage meat and an assortment of foods and coloured liquids that resembled body fluids, organs, and excrement. Like many of his performances, he inhabited here an ambiguous sexual identity that critiques male (hetero)sexuality and power. In 1983 McCarthy stopped performing live and assembled all props used in the previous decade into six trunks, turning them into a sculpture called The Trunks, 1984. He has since created a number of sculptures that resemble overgrown toys, parodies of innocent playthings such as Bear and Rabbit, 1991, Spaghetti Man, 1993, Tomato Heads, 1994 and Apple Heads on Swiss Cheese, 1997-- 99. He has also continued to create performances for the camera, inhabiting characters that include deranged chefs, businessmen, cowboys, film stars and politicians. The elements of each performance -- from the stage sets to its masks and props -- are then transformed by McCarthy into sculptures, mechanised figures, video installations and environments that are violently, sexually and politically charged. These have reached a complexity that is almost operatic in proportion, pushing the body further into the realm of the abject as a metaphor for contemporary socio-political malaise.Caribbean Pirates, presented at the Whitechapel in the autumn of 2005, is one McCarthy's most ambitious projects to date. Developed from a conversation between the artist and his son, Damon McCarthy, the installation took the "Pirates of the Caribbean" Disneyland theme park ride as its inspiration, to explore themes of invasion and occupation of foreign lands. A life-sized frigate, a houseboat and a huge kinetic machine bore the gory remains of a month-long film shoot featuring 30 buccaneers and wenches engaged in increasingly brutal antics. Wall-size projections of the performances surrounded the labyrinthine and phantasmagoric installation, creating an intense and disorienting vision of violent excess. As Adrian Searle wrote in his review of the exhibition, "It has a great deal to do with America - with the amorality of the movie industry, with consumerism, with hypocrisy, double standards and repression. McCarthy intends his pirates, their vessels and their journeys as a trope for America's empire-building, and her current adventures abroad. The pirates might even be heroes, colourful individualists, no matter what trail of butchery they leave behind them. And all that Hershey's Chocolate Sauce, which so often has been a substitute for excrement and blood, also looks a lot like oil. It's a sticky business." (Adrian Searle, 'Shiver me timbers', The Guardian, Tuesday October 25th, 2005) This image is one produced in relation to McCarthy's extraordinary installation Picadilly Circus, which opened Hauser & Wirth's London gallery in 2003. Sprawling throughout the former bank which houses the gallery -- from the dungeon-like basement, with its fortified safes, to old counters with their tills intact and the wood panelled rooms on the upper floors -- the installation presented a powerful indictment of policical, social and economic interests. Among the characters that populated this nether world were figures bearing the masks of George W. Bush, the Queen Mother and Osama Bin Laden, as well as others that referenced earlier works such as Bossy Burger, 1991, Santa Chocolate Shop, 1997 or Saloon Theater, 1995-99. AT

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PAUL  MCCARTHY

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Description: B.1945 BRANCUSI  TREE  (GOLD) signed,  dated  2007  and  numbered  1/75 self-inflatable  mylar  fabric  and  integrated  fan  on  plastic  base 78  3/4    by  37  by  37  in. 200  by  94  by  94  cm.

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PAUL  MCCARTHY

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Description: B.1945 SOUP  BOWL signed  and  dated  1990  on  the  reverse felt  tip  pen  on  paper 19  by  24  in. 48.2  by  61  cm.

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Paul & Damon McCarthy , b.1945 Orange Dance, Sitting, Pouring lightjet c-print
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Paul McCarthy (b. 1945)

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Description: Paul McCarthy (b. 1945) Alpine Man kinetic sculpture, wood barrel, latex, glass eyes and clothing 68 7/8 x 52¼ x 39 3/8in. (175 x 130 x 100cm.) Executed in 1992

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PAUL MCCARTHY | Santa Long Neck

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Description: painted bronze

Condition Report: Please note the condition report for this lot will be available upon installation in our exhibition, opening May 8th.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.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

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PAUL MCCARTHY

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Description: PAUL MCCARTHY B.1945 CHOCOLATE SILICONE BLOCKHEAD silicone 46 1/2 x 25 x 32 3/4 in. 118 x 63.5 x 83.3 cm. Executed in 1999-2000, this work is number one from an edition of six.

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PAUL MCCARTHY (NE EN 1945)

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Description: PAUL MCCARTHY (NE EN 1945) BRANCUSI TREE (GOLD) signé, daté et numéroté 'Paul McCarthy 10/75 2007' (en bas sur le tissu)Tissu gonflable en mylar et ventilateur intégré 190 x 95 cm. (74¾ x 37 3/8 in.) Réalisée en 2007, cette oeuvre porte le numéro dix d'une édition de soixante-quinze exemplaires.

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Description: Paul McCarthy Untitled, 2006 Lithograph Numbered 31/40 Signed, numbered and dated on recto Image: 30.5 x 22 inches; Framed: 37.25 x 28.75 inches

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PAUL MCCARTHY

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Description: PAUL MCCARTHY B.1945 PICCADILLY CIRCUS: QUEEN ON THE QUEEN'S HEAD ON TABLE c-print mounted on aluminium 72 by 48 in. 183 by 122 cm. Executed in 2003, this work is number 3 from the edition of 3 plus 1 artist's proof.

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