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Bruce Nauman Auction Price Results

Bruce Nauman (1941)  Please Register/Login to access your Invaluable Alerts

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BRUCE NAUMAN, (AMERICAN B. 1941),

Lot 1: BRUCE NAUMAN, (AMERICAN B. 1941), "DOE FAWN"

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Description: BRUCE NAUMAN (american b. 1941) "DOE FAWN" 1973, pencil signed, dated and numbered 29/50 (there were also artist's proofs), with full margins; Cirrus Editions, Los Angeles publisher. Color lithograph on BFK Rives. image: 30 1/4 x 43 1/4 in. (76.8 x 109.9cm) sheet: 32 x 45 in. (81.3 x 114.3cm) [Cordes 20]. provenance: Brooke Alexander, New York, New York. Lehman Brothers and Neuberger Berman Collections.

Condition Report: This work is apparently in very good, original condition. All edges are visible and it is floated in a blonde-wood frame. 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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BRUCE NAUMAN (AMERICAN, B. 1941) VIOLENT INCIDENT: MAN/WOMAN, SEGMENT, 30 MIN., 1986

Lot 86: BRUCE NAUMAN (AMERICAN, B. 1941) VIOLENT INCIDENT: MAN/WOMAN, SEGMENT, 30 MIN., 1986

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Description: BRUCE NAUMAN (AMERICAN, B. 1941) VIOLENT INCIDENT: MAN/WOMAN, SEGMENT, 30 MIN., 1986 VHS video with audio, signed and editioned 149/200

Condition Report: Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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BRUCE NAUMAN (b. 1941): SQUARE IN SQUARE, 1972

Lot 156: BRUCE NAUMAN (b. 1941): SQUARE IN SQUARE, 1972

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Description: BRUCE NAUMAN (b. 1941): SQUARE IN SQUARE, 1972 Print, marked A.P. and signed lower right. Provenance: Property from the collection of Jan Cowles. 29 x 20 1/2 in. (image), 30 x 27 in. (sheet), 38 1/2 x 29 3/4 in. (frame).

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BRUCE NAUMAN (b. 1941): UNTITLED, 1973

Lot 157: BRUCE NAUMAN (b. 1941): UNTITLED, 1973

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Description: BRUCE NAUMAN (b. 1941): UNTITLED, 1973 Aquatint, signed, dated and numbered A.P. lower right. Provenance: Property from the collection of Jan Cowles. 26 1/2 x 35 1/4 in. (sheet), 29 3/4 x 38 1/2 in. (frame).

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ƒ BRUCE NAUMAN (né en 1941) Studies for Holograms (a-e), 1970 Cinq sérigraphies dont quatre signées et numérotées 95/150 et une sign...

Lot 177: ƒ BRUCE NAUMAN (né en 1941) Studies for Holograms (a-e), 1970 Cinq sérigraphies dont quatre signées et numérotées 95/150 et une sign...

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Description: ƒ BRUCE NAUMAN (né en 1941) Studies for Holograms (a-e), 1970 Cinq sérigraphies dont quatre signées et numérotées 95/150 et une signée et numérotée 48/150, étiquettes du Guggenheim Museum, Barbara Gladstone Gallery et Vivian Horan Fine Art, New York 51,1 x 66 cm

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Bruce Nauman (b.1941) Caned Dance lithograph

Lot 225: Bruce Nauman (b.1941) Caned Dance lithograph

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Description: Bruce Nauman (b.1941) Caned Dance lithograph printed in colours, 1974, signed and dated in pencil, numbered 54/100, printed by Cirrus Editions, Los Angeles, with their blindstamp, co-published by Multiples, Inc. and Castelli Graphics, New York to benefit the Merce Cunningham Dance Company, on Arches paper, the full sheet printed to the edges, sheet 557 x 765 mm (22 x 30 1/8 in)

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Bruce NAUMAN (Né en 1941) ETUDES POUR

Lot 259: Bruce NAUMAN (Né en 1941) ETUDES POUR "HOLOGRAMMES A-E", 1970

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Description: Bruce NAUMAN (Né en 1941) ETUDES POUR "HOLOGRAMMES A-E", 1970 Série complète de 5 sérigraphies en noir et jaune-vert signée, chacune signée, datée et numérotéé en bas à droite "B Nauman, 70, n°101/150 Chaqune encadrée h: 66 w: 66 cm Provenance : Castelli Graphics Publication, New York Collection Particulière, New York Collection Particulière, Paris

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Bruce Nauman (b.1941) - Suck Cuts

Lot 267: Bruce Nauman (b.1941) - Suck Cuts

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Description: lithograph, 1973, signed and dated in pencil, numbered 27/34, published by Gemini G.E.L., Los Angeles, with their blindstamp, on wove paper, the full sheet, sheet 885 x 793 mm (34 7/8 x 31 1/4 in)

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Bruce Nauman (b.1941) - House Divided

Lot 268: Bruce Nauman (b.1941) - House Divided

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Description: etching with drypoint and roulette, 1983, signed and dated in pencil, numbered 8/23, published by Gemini G.E.L., Los Angeles, with their blindstamp and rubber stamp verso, on Fabriano wove paper, with full margins, 605 x 830 mm (23 3/4 x 32 5/8 in)

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Bruce NAUMAN (Né en 1941) TONE MIRROR, 1974

Lot 276: Bruce NAUMAN (Né en 1941) TONE MIRROR, 1974

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Description: Bruce NAUMAN (Né en 1941) TONE MIRROR, 1974 Lithographie en couleurs signée et numérotée 30/100 74,5 x 98,7 cm (à vue) - encadrée

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BRUCE NAUMAN Untitled (Four Head Casts).

Lot 284: BRUCE NAUMAN Untitled (Four Head Casts).

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Description: BRUCE NAUMAN Untitled (Four Head Casts). Photographic print, 1992. 481x481 mm; 19x19 inches, full margins. Signed and numbered AP XV in black ink, lower right.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

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BRUCE NAUMAN Pearl Masque.

Lot 292: BRUCE NAUMAN Pearl Masque.

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Description: BRUCE NAUMAN Pearl Masque. Lithograph on wover paper, 1981. 654x883 mm; 25 3/4x34 3/4 inches, full margins. Signed, dated and numbered 26/50 in pencil, lower right. Published by Gemini G.E.L., Los Angeles, with the blind stamp lower right. A very good impression. Cordes 42.

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Bruce Nauman (b.1941) Caned Dance, lithograph

Lot 338: Bruce Nauman (b.1941) Caned Dance, lithograph

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Description: Bruce Nauman (b.1941) Caned Dance, lithograph printed in colours, 1974, signed and dated in pencil, numbered 54/100, printed by Cirrus Editions, Los Angeles, with their blindstamp, co-published by Multiples, Inc. and Castelli Graphics, New York to benefit the Merce Cunningham Dance Company, on Arches paper, the full sheet printed to the edges, sheet 557 x 765mm (22 x 30 1/8in)

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Bruce Nauman (b.1941) Caned Dance lithograph

Lot 385: Bruce Nauman (b.1941) Caned Dance lithograph

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Description: Bruce Nauman (b.1941) Caned Dance lithograph printed in colours, 1974, signed and dated in pencil, numbered 54/100, printed by Cirrus Editions, Los Angeles, with their blindstamp, co-published by Multiples, Inc. and Castelli Graphics, New York to benefit the Merce Cunningham Dance Company, on Arches paper, the full sheet printed to the edges, sheet 557 x 765mm (22 x 30 1/8in)

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BRUCE NAUMAN, Cockeye Lips (from the series: Infrared Outtakes), 1968

Lot 390: BRUCE NAUMAN, Cockeye Lips (from the series: Infrared Outtakes), 1968

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Description: Inkjet print, printed 2006 by Jack Fulton. 48.4 x 71.4 cm. Signed, dated and editioned 26/60 in pencil, signed by the printer in pencil and with edition and printer's stamps on the verso. Edition Gemini G.E.L., Los Angeles. - Framed. Literature: Lutz Teutloff (ed.), The Contemporary Family of Man. 1968 - 2011. Selected works, n.p. [Bielefeld] 2011, n.pag. with ill.

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Nauman, Bruce 1941 Fort Wayne/Indiana House

Lot 794: Nauman, Bruce 1941 Fort Wayne/Indiana House

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Description: Nauman, Bruce 1941 Fort Wayne/Indiana House divided. 1985. Drypoint etching and vernis mou on FA FABRIANO (watermarked). 60,5 x 83cm (70,5 x 99,5cm). Number 8/23. Signed, dated (83) and numbered. Gemini G.E.L., Los Angeles (ed.). Framed. -Sheet slightly cockled in the upper marginal area. Mounted on verso in the upper margin. Cat. rais. Cordes/Taylor, Nr. 50. With the editor's copyright notice (blindstamped). Verso with the editor's stamp and the work number: BN83-3086. German Text Nauman, Bruce 1941 Fort Wayne/Indiana House divided. 1985. Kaltnadelradierung und vernis mou auf FA FABRIANO (Wasserzeichen). 60,5 x 83cm (70,5 x 99,5cm). Ex. 8/23. Signiert, datiert (83) und nummeriert. Gemini G.E.L., Los Angeles (Hrsg.). Rahmen. - Blatt im oberen Randbereich leicht gewellt. Verso in den oberen Randbereichen montiert. Wvz. Cordes/Taylor, Nr. 50. Mit dem Copyrightvermerk des Herausgebers (Trockenstempel. Verso Stempel des Herausgebers mit der Werk-Nr.: BN83-3086 .

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BRUCE NAUMAN (b. 1941)

Lot 4: BRUCE NAUMAN (b. 1941)

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Description: BRUCE NAUMAN (b. 1941)NoNoneon tubing with clear glasstubing suspension frame11 by 36 3/4 by 2 1/8 in. 27.9 by 93.3 by 5.4cm.Executed in 1983, this sculpture is unique.PROVENANCELeo Castelli Gallery, New YorkAcquired by the present owner from the above in 1986LITERATURENeal Benezra, et. al., Bruce Nauman: Catalogue RaisonnE, Minneapolis, 1995, cat. no. 316, illustratedBruce Nauman: NONO. Blue + White / adjacent / Neon alternateflashing No / 1 sec. No/repeat / Red + White and Blue + White, 1983Bruce Nauman expresses a profound empathy with the human condition in the modern and post-modern world, utilizing a kind of Wittgenstein linguistic game of text and meaning. "No" is an integral member of Nauman's lexicon of language, embodying the power of authority, and the contradictory essence of human existence. The neon NoNo is the first appearance of this word in Nauman's oeuvre. The blue and white letters, in insistent roman type, remain consistently lit. The red and white letters, in pliant italic type, blink on and off.The subsequent uses of "no" appear in various Nauman videos, most famously in Clown Torture and Clown Torture (I'm Sorry and No, No, No, No), both of 1987. In each a clown shouts "no" in various intonations, concurrent orsimultaneous to other loops of repetitive dialogue or actions, emphasizing the frustrations of man's existence.Property from an American Corporate Collection

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 Bruce Nauman , b. 1941 Julie Head/Julie Head 
 wax on wood base

Lot 4: Bruce Nauman , b. 1941 Julie Head/Julie Head wax on wood base

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Description: incised with signature and dated 1990 wax on wood base

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Lot 5: NAUMAN, Bruce (1941-, American)

Description: Large butt to butt, aluminium wire executed 1989 Sculpture (98x52x)52in.

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Bruce Nauman (b. 1941)

Lot 5: Bruce Nauman (b. 1941)

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Description: Bruce Nauman (b. 1941) Do It Right orange, green, red, blue, pink and yellow neon tubing with clear glass tubing suspension frame23½ x 42½ x 2¼ in. (59.7 x 108 x 5.7 cm.) Executed in 1982. This work is unique.

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Bruce Nauman, (American, b. 1941), Wisconsin Sesquicentennial Project (three works)

Lot 8: Bruce Nauman, (American, b. 1941), Wisconsin Sesquicentennial Project (three works)

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Description: Bruce Nauman (American, b. 1941) Wisconsin Sesquicentennial Project (three works) etchings edition 105/125, one signed and dated 01 (lower right) Largest 18 x 23 3/4 inches.

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Bruce Nauman: Use Me

Lot 8: Bruce Nauman: Use Me

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Description: Bruce Nauman: Use Me. Hardground etching on Somerset satin wove paper, 1988, Artist's Proof #4 of 10 aside from the edition of 35, Published by Brooke Alexander Editions, New York, Signed and dated with edition in pencil lower right sheet. Image: 8.875" x 11.875"; Sheet: 15.25" x 17.875"; Frame: 18.875" x 21". Literature: Cordes, Christopher. Bruce Nauman Prints 1970-89: A Catalogue Raisonné. New York: Castelli Graphics, 1989, #59.

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Bruce Nauman (b. 1941)

Lot 10: Bruce Nauman (b. 1941)

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Description: Hanging Heads # 1 (Blue Andrew, Mouth Open/Red Julie with cap)wax and wireAndrew: 11 3/8 x 9 7/8 x 6 3/4 in. (29 x 25 x 17cm.)Julie: 10 1/4 x 7 1/8 x 5 1/2 in. (26 x 18 x 14cm.)Executed in 1989

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Bruce Nauman (b. 1941)

Lot 10: Bruce Nauman (b. 1941)

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Description: Bruce Nauman (b. 1941) Untitled (Wax Cat) wax 27 x 15 x 15in. (68 x 39.4 x 39.4cm.) Executed in 1989, this work is unique

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Lot 12: Bruce Nauman (b. 1941)

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Description: Concrete Tape Recorder Piece tape recorder with tape loop of a scream wrapped in a plastic bag and cast into the center of a concrete block 11.7/8 x 23.5/8 x 23.5/8in. (30 x 60 x 60cm.) Executed in 1968 PROVENANCE Galerie Heiner Friedrich, Cologne and Munich. EXHIBITION Kusthalle Bern; Krefeld, Museum Haus Lange; and London, Institute of Contemporary Art, When Attitude Becomes Form: Works-Concepts-Processes-Situations-Information, March-October 1969, no. 70. Munich, Stdtische Galerie im Lenbachhaus, Bilder Objekte Filme Konzepte, April-May 1973, no. 176. Los Angeles County Museum of Art; New York, Whitney Museum of American Art; Bern, Kunsthalle; Dsseldorf, Stadtische Kunsthalle; Eindhoven, Stedelijk van Abbe Museum; Milan, Palazzo Real; Houston, Contemporary Arts Museum; San Francisco, Museum of Modern Art, Bruce Nauman: Works from 1965 to 1972, March 1973-July 1974, no. 50 (illustrated). Basel, Kunsthalle; Paris, Muse d'art moderne de la ville de Paris; London, Whitechapel Art Gallery, Bruce Nauman, July 1986-March 1987, no. 108 (illustrated). Brussels, Palais des Beaux-Arts; Bonn, Kunstmuseum, White Wide Space, behind the Museum 1966-1976, October 1994-June 1995, p.177, no. 26 (illustrated). New York, Christie's, Painting Object Film Concept: Works from the Herbig Collection, February-March 1998, p. 165, no. 57 (illustrated).

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Lot 13: Bruce Nauman (b. 1941)

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Description: Drawing for Concrete Tape Recorder Piece signed 'Bruce Nauman' lower right black ink on paper 12 x 17in. (30.5 x 43.2cm.) Drawn in 1968 PROVENANCE Konrad Fischer, Dsseldorf. EXHIBITION Munich, Stdtische Galerie im Lenbachhaus, Bilder Objekte Filme Konzepte, April-May 1973, no. 179. Los Angeles County Museum of Art; New York, Whitney Museum of American Art; Bern, Kunsthalle; Dsseldorf, Stdtische Kunsthalle; Eindhoven, Stedelijk van Abbe Museum; Milan, Palazzo Real; Houston, Contemporary Arts Museum; and San Fransisco, Museum of Modern Art, Bruce Nauman: Works from 1965 to 1972, March-July 1974, p. 90, no. 50 (illustrated). Basel, Museum fr Gegenwartskunst; Tbingen, Kunsthalle; Bonn, Stdtisches Kunstmuseum; Rotterdam, Museum Boymans-van Beuningen; Munich, Kunstraum; Karlsruhe, Badischer Kunstverein; Hamburg Kunsthalle; New York, New Museum of Contemporary Art; Houston, Contemporary Arts Museum; Los Angeles, Museum of Contemporary Art; Berkeley, University Art Museum, Bruce Nauman Drawings 1965-1986, May 1986-July 1988, no. 92 (illustrated). Brussels, Palais des Beaux-Arts; Bonn, Kunstmuseum, White Wide Space, Museum 1966-1976, October 1994-June 1995. New York, Christie's, Painting Object Film Concept: Works from the Herbig Collection, February-March 1998, p. 164, no. 58 (illustrated).

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Lot 13: BRUCE NAUMAN

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Description: UNTITLED (CROSS BEAMS) signed, dated 85 and numbered 8/25 on one beam; stamp signed with initials and numbered 8/25on the second beam cast iron each: 5 by 85 1/2 by 4 1/2 in. 12.7 by 217.2 by 11.4 cm. overall: 9 7/8 by 85 1/2 by 85 1/2 in. 25.1 by 217.2 by 217.2 cm. Executed in 1987, this sculpture is one in an edition of 25. Published by Gemini, G.E.L., Los Angeles. Fabricated at Globe Iron Foundry, Los Angeles in collaboration with Stanley Grinstein and William Padien. Literature: cf. Christopher Cordes, ed., Bruce Nauman Prints 1970- 89, New York, 1989, p. 128, illustrated.

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Raw-War

Lot 17: Raw-War

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Description: Raw-War

Condition Report: Signature in pencil with date and edition lower right

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Lot 18: BRUCE NAUMAN

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Description: AH HA signed in pencil, dated 75 and numbered 42/44 silkscreen, on Arches paper, the full sheet, in good condition apart from a stray pen mark in the left sheet edge sheet: 29 1/8 by 41 in. 74 by 104.2 cm. Publisher: Gemini G.E.L. (and with their blindstamp) Reference: Castelli, Lorence-Monk & Young 32; Gemini 606.

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Untitled (Green)

Lot 18: Untitled (Green)

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Description: Untitled (Green)

Condition Report: Signed and dated in pencil lower right; edition lower right; "370-B1471" in pencil verso

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Lot 21: BRUCE NAUMAN

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Description: STUDY FOR HOLOGRAMS each signed, dated 70 and numbered 125/150, 75/150, 74/150, 90/150 and 81/150 respectively the complete suite of 5 silkscreens printed in colors, on Kromekote paper, the full sheets, printed to the edges on two sides, in good condition except all but plate 4 with one or two tiny tears and associated creases in the upper and lower margins, plate 4 with two small diagonal creases in the upper right margin corner, all with a few minor handling creases and surface imperfections (5) each sheet: 26 by 26 in. 66 by 66 cm. Publisher: Castelli Graphics, New York Reference: Castelli, Lorence-Monk & Young 1-5.

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BRUCE NAUMAN  B. 1941

Lot 21: BRUCE NAUMAN B. 1941

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Description: fiberglass and polyester resin Executed in 1965.

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Lot 22: BRUCE NAUMAN

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Description: UNTITLED signed in felt tip pen, from an edition of unknown size (some signed) offset lithograph printed in pink and green, on Kromekote paper, with full margins, a pale water stain in the lower part of the sheet and the right margin (partially affecting the signature), otherwise in good condition sheet: 24 by 20 1/8 in. 61 by 51 cm. Executed in 1969 Publisher: Leo Castelli Gallery, in conjunction with their exhibition, Bruce Nauman: Holograms, Videotapes, and Other Works (May 24 - June 24, 1969) Reference: C., L.-M. & Y. app. p. 130.

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Lot 24: Bruce Nauman (b. 1941)

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Description: Normal Desires neon tubing with clear glass tubing suspension frame 11 x 24 in. (27.9 x 61 cm.) Executed in 1983; this work is unique. PROVENANCE Donald Young Gallery, Chicago. Acquired from the above by the present owner, 1992. LITERATURE N. Benezra, K. Halbreich, P. Schimmel and R. Storr, Bruce Nauman Catalogue Raisonn‚, Minneapolis, 1994, p. 289, no. 317 (illustrated). EXHIBITION London, Anthony d'Offay Gallery, Bruce Nauman: Neon, March-May 1992. NOTES Fig. 1 Edward Hopper, Nighthawks, 1942, The Art Institute of Chicago.

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Lot 25: NAUMAN

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Description: Property of a Private European Collector Bruce Nauman b. 1941 LIGHT TRAP FOR HENRY MOORE, NO. 1 black and white photograph 64 by 40in. 162.6 by 101.6cm. Executed in 1967, this work is unique. Provenance Leo Castelli Gallery, New York Galleria Sperone, Rome Acquired by the present owner from the above Exhibited New York, Leo Castelli Gallery, Bruce Nauman, 1968, cat. no. 37, illustrated Oberlin, Oberlin College, Allen Memorial Art Museum, Three Young Americans: Krueger, Nauman, Saret, 1968, illustrated Los Angeles, Los Angeles County Museum of Art; New York, Whitney Museum of American Art; Bern, Kunsthalle Bern; Düsseldorf, Städtische Kunsthalle; Eindhoven, Stedelijk van Abbemuseum; Milan, Palazzo Reale; Houston, Contemporary Arts Museum; San Francisco, San Francisco Museum of Art, Bruce Nauman: Work from 1965 to 1972, 1972-1974, cat. no. 26, p. 75, illustrated Literature Germano Celant, "Bruce Nauman," Casabella 345, no. 34, 1970, p. 39, illustrated Barbara Catoir, " 1/4ber den Subjetivismus bei Bruce Nauman," Das Kunstwerk 26, no. 6, 1973, p. 7, illustrated Peter Plagens, "Roughly Ordered Thoughts on the Occasion of the Bruce Nauman Retrospective in Los Angeles," Artforum 11, no. 7, March 1973, p. 58, illustrated Bruce Nauman 1972-1981, Rijksmuseum Kröller-Müller, Otterlo, 1981, p. 38, illustrated Bruce Nauman, Baltimore Museum of Art, Baltimore, 1982, fig. 2, p. 42, illustrated Coosje van Bruggen, Bruce Nauman, New York, 1988, p. 148, illustrated Bruce Nauman, Castelli Graphics, New York and Donald Young Gallery, Chicago, 1989, p. 20, illustrated Susan Brundage, ed., Bruce Nauman: 25 Years at Leo Castelli, New York, 1994, p. 3, illustration in catalogue for 1968 Nauman exhibition at Castelli Neal Benezra, et. al., Bruce Nauman: Catalogue RaisonnE, Minneapolis, 1995, cat. no. 85, p. 213, illustrated Bruce Nauman burst on the art scene in the sixties with works of unbridled energy, unmatched variety, and bristling with intelligence. While Minimalist artists of the time seemingly sought absolute control of the art process, Nauman set out to lose control - letting the viewer determine the art and its context. In Light Trap for Henry Moore, No. 1, Nauman uses photography to comment upon the idea of the artist as a mystical being. This is one of two photographs that were the culmination of a series of drawings and sculptures done in 1966 and 1967 on the subject of the sculptor, Henry Moore. Moore's work had fallen somewhat out of favor with a younger generation of British sculptors working in the sixties. Instead of turning away from an artistic predecessor, as so many artists of the time did, Nauman embraced and, quite literally, encapsulated the power of Moore's myth. "Moore had been the dominant presence in British art for years; he was pretty powerful," Nauman said. "I figured the younger artists would need him someday, so I came up with the idea for a storage capsule." (Nauman in Coosje van Bruggen, Bruce Nauman, New York, 1988, p. 110) Nauman's "idea" was playfully developed through preliminary drawings into a form which is part seated mummy and part plaster cast, even sharing a common sensibility with Moore's own work. In the final photograph, "Nauman set up a camera for a time exposure, and in a dark room recorded a drawing he made in the air with a flashlight, in the same way Gjon Mili recorded Picasso at work in 1949. Nauman's photographs show intangible spiralling lines, which might have been spirit writing in a ghostly seance." (Ibid., p. 111) Light Trap for Henry Moore, No. 1 shows Nauman at the height of his unique powers as a questioner of art, artists and artistic sources. "Nauman reversed a valence of previous minimalism, replacing stark certainty with a process of endlessly ramifying questions about the sources and uses of art. Like the hero-scientist who tests a new serum on himself, Nauman used self-reference to explore notions of what an artist is and does. What kept this innately disintegrative project integral was - beneath the anxious, fencing humor - a conscientious bet that, whatever its contradictions, art somehow truly matters." (Peter Schjeldahl, "Minimalism," The Hydrogen Jukebox: Selected Writings of Peter Schjeldahl, 1978-90, Berkeley, 1991, p. 222) # NAUMANNAUMAN #Gjon Mili, Picasso Drawing with the Pencil of Light, Vallauris, August 1949, MusEe Picasso, Paris# NAUMANBruce Nauman, Seated Storage Capsule (for H.M.), 1966NAUMAN.

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Lot 26: Bruce Nauman (b. 1941)

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Description: Sealed Room--no access and Drawing for Sealed Room--no access drawing: signed and dated 'B Nauman '70' lower right--titled 'Sealed Room--no access' upper center room: wallboard and four industrial fans drawing: graphite on paper room: dimensions variable each wall approximately: 120 x 192-240in. (304.8 x 487.7-609.6cm.) drawing: 11 x 17in. (28 x 43.2cm.) The purchaser will have the right to construct the room as specified in the artist's drawing. PROVENANCE Galerie Konrad Fischer, Dsseldorf EXHIBITION Munich, Stdtische Galerie im Lenbachhaus, Bilder Objekte Filme Konzepte, April-May 1973, no. 178 ( Sealed Room--no access ) and no. 180 (drawing for Sealed Room--no access ). New York, Christie's, Painting Object Film Concept: Works from the Herbig Collection, February-March 1998, p. 166, no. 59 (illustrated). NOTES Bruce Nauman has made a number of sculptures whose physical form consists of a room. The effect of the work on the spectator is created through activating a sense other than, or in addition to, the visual. The Floating Room: Lit from Inside, for example, is raised off the floor and lit from the inside by flourescent tubes. The room floats with light spilling from its bottom edge; it disrupts the sense of its stability and creates from the solid object an immaterial space. It has a counterpart in which the room is darkened within a brightly-lit room. In Yellow Room (Triangular), 1973, both the color and the shape of the space are disconcerting, and deliberately difficult to stay within--"I can't stay very long myself" Nauman wrote. The physical space creates uncomfortable sensations. In 1970 Jost Herbig invited Bruce Nauman to participate in Bilder Objekte Filme Konzepte, an exhibition of his collection, at the Lenbachhaus in Munich. Nauman's response to his invitation was to send two projects to be realised in the exhibition, Microphone Tree Piece, a work to be installed inside and outside the museum (now in the Grinstein Family Collection, Los Angeles) and a room project. Two drawings of the rooms exist in the Herbig Collection, Sealed Room--no access (lot 25) and Drawing for circulating corridor (fig. 1). They have common elements--they are similarly sized and use four industrial fans, one installed in each corner of the room. One drawing, (fig. 1) shows a smaller room within the larger space and with the fans installed in the corridor between them. This was purchased by Count Panza di Buomo and is now in the Panza Collection of the Solomon R. Guggenheim Museum where it is called Four Fans Room (Enclosed). Jost Herbig puchased the right to construct the present work from Nauman's dealer Konrad Fischer in addition to the drawings and Dorothe Fischer has recently confirmed this. It is not clear which room was built for the Munich exhibition. Correspondence between Herbig and Nauman concerns the size of the room and an invoice for the purchase of four industrial fans from Italy for the project. The room with corridors has been constructed by the Guggenheim Museum and is illustrated in fig. 2. The existence of two room projects has been confirmed by the artist. The artist has also confirmed that the catalogue raisonn will be modified to reflect the existence of two projects. (They are currently conflated in the description of 177, p. 244) In this work, the sound of the fans which are invisible to the viewer, constitutes the alteration of the spectator's perceptions. The viewer is conscious of the noise emanating from the room and its rise and fall as the work is circumnavigated. The work's physical presence, the simple room, is disturbed by the sound that comes from the work. Four fans Room (Enclosed), 1970 Solomon R. Guggenheim Museum, New York, Panza Collection, 1991 Floating Room lit from Inside, 1972 Collection Hallen fr nene Kunst, Schalthausen, Switzerland Drawing for Circulating Corridor, 1970, which forms the basis for the construction of the Four fans Room (Enclosed), shown in Fig. 1. SALESROOM NOTICE This lot is being sold subject to a reserve.

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Lot 27: Bruce Nauman (b. 1941)

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Description: Trust Me Only Big Studio neon tubing with clear glass tubing suspension frames 42 x 42 x 8in. (106.7 x 106.7 x 20.3cm.) Executed in 1984. This work is unique. PROVENANCE Sperone Westwater, New York LITERATURE N. Benezra, K. Halbreich, P. Schimmel and R. Storr, Bruce Nauman Catalogue Raisonn‚, Minneapolis 1994, p. 292, no. 328 (illustrated) EXHIBITION New York, Sperone Westwater, Seven Virtues and Seven Vices: White Anger, Red Danger, Yellow Peril, Black Death, October-November 1984 New York, Sperone Westwater, Group Show, February-March 1985 Venice, LA Louver, Group Show, 1986 NOTES According to Nauman, the source for this cruciform, wall-mounted neon sign composed of the phrases TRUST ME ONLY (running horizontally) and BIG STUDIO 1984 (running vertically) was an idea for an unrealized edition of pocket knives, to be marked with this logo and commemorating the year 1984 (a reference to the novel of the same name by George Orwell). Nauman, who has made knives since his Boy Scout days, planned to write these phrases on the blade.

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BRUCE NAUMAN

Lot 27: BRUCE NAUMAN

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Description: VIOLINS VIOLENCE SILENCE

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Lot 28: NAUMAN

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Description: Property of a Private European Collector Bruce Nauman b. 1941 RUN FROM FEAR/FUN FROM REAR yellow and pink neon tubing with glass tubing suspension frames upper: 8 by 46 by 2ain. 20.3 by 116.8 by 5.7cm. lower: 7a by 44a by 2ain. 18.4 by 113 by 5.7cm. Executed in 1972, this work is number 6 from an edition of 6. Provenance Galleria Sperone, Turin Acquired by the present owner from the above Exhibited cf. Indianapolis, Indianapolis Museum of Art; Cincinnati, Contemporary Arts Center and Taft Museum, Painting and Sculpture Today 1974, 1974, p. 47, illustrated cf. New York, Whitney Museum of American Art, Downtown at Federal Reserve Plaza, Words: A Look of the Use of Language in Art 1967-1977, 1977 cf. Baltimore, Baltimore Museum of Art, Bruce Nauman: Neons, 1982-83, cat. no. 16, p. 73, illustrated cf. New York, Leo Castelli Gallery; New York, Sperone Westwater Fischer, Bruce Nauman: Violins, Violence, Silence, 1982, illustrated cf. London, Whitechapel Art Gallery; Basel, Kunsthalle Basel; Paris, MusEe d'Art Moderne de la Ville de Paris, 1986-87, p. 16, illustrated cf. Bordeaux, CAPC/MusEe d'Art Contemporain; Madrid, Museo Nacional Centro de Arte Reina Sofiá; Berlin, Hamburger Bahnhof; Rome, Galleria Nazionale d'Arte Moderna; Trento, Museo d'Arte Moderna e Contemporanea; Geneva, MusEe Rath; Tokyo, Sezon Museum of Art; Miyagi, Miyagi Museum of Art; Fukuyama, Fukuyama Museum of Art; Kyoto, National Museum of Modern Art, Collection Sonnabend, 1987-91, illustrated cf. Hanover, Sprengel Museum, NEONstücke, 1990, cat. no. 20, p. 43, illustrated cf. St. Louis, Steinberg Hall, Washington University Gallery of Art, Bruce Nauman: Light Works, 1993 cf. Madrid, Museo Nacional Centro de Arte Reina Sofiá; Minneapolis, Walker Art Center; Los Angeles, Museum of Contemporary Art; Washington D.C., Hirshhorn Museum and Sculpture Garden; New York, The Museum of Modern Art; Bruce Nauman, 1994-95, cat. no. 38, pl. 38, p. 144, illustrated in color cf. Wolfsburg, Kunstmuseum; Paris, MusEe National d'Art Moderne, Centre Georges Pompidou; London, Hayward Gallery; Helsinki, The Museum of Contemporary Art Kiasma, Bruce Nauman, 1997-99, p. 45, illustrated in color Literature Jeff Perrone, "Words: When Art Takes a Rest,"Artforum 15, no. 10, Summer 1977, p. 34, illustrated Kasper König et. al., Quartetto: Joseph Beuys, Enzo Cucchi, Luciano Fabro, Bruce Nauman, L'Academia Foundation, Venice, 1984, p. 93, illustrated Russell Bowman, "Words and Images: A Persistent Paradox," Art Journal, Vol. 45, no. 4, Winter 1985, p. 339, illustrated Coosje van Bruggen, Bruce Nauman, New York, 1988, p. 101, illustrated Neal Benezra, et. al., Bruce Nauman: Catalogue RaisonnE, Minneapolis, 1995, cat. no. 222, p. 258, illustrated in color Language is often the medium of choice for Nauman, and the tense opposition it drives is usually that of belief and skepticism. One needs only think of a related Nauman work, the spiral of neon writing that said "The true artist helps the world by revealing mystical truths" to put together Nauman's interest in the nature of the artist, usually himself, as expressed through language and held and suspended between facetious skepticism and romantic faith. Run from Fear/Fun from Rear (1972) is a paradigmatic piece from Nauman's series of neon works dealing with language. Words for Nauman are not simple carriers of precise meaning, but rather are emblematic of the potential for both communication and confusion, profundity and absurdity. Along with works such as Raw War (1970), Eat Death (1972) and Perfect Door, Perfect Odor, Perfect Rodo (1973), this piece brings to mind the linguistic games of the Dada artists. Marcel Duchamp's Fresh Widow (1920), a play on the words "french window," and Apolinere Enameled (1916), in which a paint advertisement is made to refer to a poet, are precedents for Nauman's neon works, where the glowing tubes of commercial signage are twisted and subverted to jolting effect. The inspiration for Run from Fear/Fun from Rear arose when the artist sighted "the phrase Run from Fear...spray-painted on a bridge across an arroyo in Pasadena." Nauman kept a photograph of the graffiti in his studio and later playfully incorporated the phrase into this work. "The bridge [Coronado Street Bridge] is known as Suicide Bridge, and is in a number of movies and Dashiell Hammett - but I didn't know that till later."(Bruce Nauman in Bruce Nauman, Catalogue RaisonnE, Minneapolis, 1995, p. 258) Following a chance sighting of a seemingly innocuous phrase comes a work of powerful presence, poetic ambiguity and startling provocativeness. Run from Fear/Fun from Rear emanates in Day-glo pinks and yellows, at once brilliantly concise and ominously foreboding. Formulated in strongly contrasting pairs, the two opposing statements are placed one beneath the other. The seductive neon hues are in seemingly direct contrast with the meaning they signify. While the phrase on the top is clear and straight forward, the second part is more challenging. One possible interpretation would be directly connected with the first part - in taking pleasure watching someone running away, running from fear. Fun from Rear also contains a sexual connotation. If the phrases are filtered down to their essentials, contrasting pairs like fear and sexuality or potent and impotent would remain. "Nauman's use of language recalls aspects of Dada and Surrealism, but rather than juxtaposing images, he juxtaposes words within themselves as anagrams and palindromes to jolt the viewer into an awareness of language and its power for both nonsense and statement."(Russell Bowman, "Words and Images: A Persistent Paradox," Art Journal, vol. 45, no. 4, Winter 1985, p. 338).

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Lot 29: Bruce Nauman  b. 1941

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Description: HANGED MAN neon tubing mounted on metal monolith 86 5/8 by 55 by 10 3/4 in. 220 by 139.7 by 27.3 cm. Executed in 1985, this work is number 3 from an edition of three. Provenance Galerie Konrad Fischer, Dusseldorf Exhibited London, Whitechapel Art Gallery; Basel, Kunsthalle; Paris, ARC, Musee d'art Moderne de la Ville de Paris, Bruce Nauman, 1986, p. 28, illustrated in color Antwerp, Galerie Micheline Szwajcer, Group Exhibition, 1987 Sweden, Boras Kunstmuseum, What is Political Anyway?, 1992-1993, another example Madrid, Museo Nacional Centro de Arte Reina Sofia; Minneapolis, Walker Art Center, Los Angeles, Museum of Contemporary Art; Washington, D.C. Hirshhorn Museum and Sculpture Garden; New York, Museum of Modern Art, Bruce Nauman, 1994-1995, pp. 162-163, illustration in color of another examples (as part of Chambres d'Amis [Krefeld Piece]) Kunstmuseum Wolfsburg; Paris, Musee National d'Art Moderne, Centre Georges Pompidou; London, Hayward Gallery; Helsinki, Taiteen Museo/Museum of Contemporary Art, Bruce Nauman: Image Text 1966-1996, 1997-1999, illustration in color of another example (as part of Chambres d'Amis [Krefeld Piece]) Literature Dreissig Jahre durch die Kunst: Museum Haus Lange, 1955-1985, Krefeld, Museum Haus Lange and Museum Haus Esters (exhibition catalogue), 1985, pp. 42-42, edition 1/3 illustrated (as part of Chambres d'Amis [Krefeld Piece]) Jean-Paul Fargier, "Bruce Nauman a l'A.R.C: No Man," Les Cahiers du Cinema no. 389, November 1986, p. 10 Rein Wolfs, "Bruce Nauman: Director of Violent Incidents," Parkett, no. 10, September 1986, pp. 42-49 Coosje van Bruggen, Bruce Nauman, New York, 1988, pp. 280-281, illustrated in color Joan Simon, "Breaking the Silence: An Interview with Bruce Nauman," Art in America 76, September 1988, pp.140-149, p. 203 Rosetta Brooks, ed., Altered States, Kent Fine Arts, New York, 1988, illustrated on the cover Ludmilla Vachtova, "Bruce Nauman: der Korper als Kunstuck," Kunstforum International 119, Spring 1992, pp. 138-142 Neal Benezra, et. al., Bruce Nauman: Catalogue Raisonne, Minneapolis, 1995, cat. no. 338, p. 296, illustrated in color.

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BRUCE NAUMAN Life Mask , 1981 Lithograph, on

Lot 29: BRUCE NAUMAN Life Mask , 1981 Lithograph, on

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Description: BRUCE NAUMAN Life Mask , 1981 Lithograph, on Arches paper, with full margins, I. 25 3/4 x 34 5/8 in. (65.4 x 87.9 cm).; S. 28 x 38 in. (71.1 x 96.5 cm). signed, dated '81 and numbered 7/50 in pencil (there were 13 artist's proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), a very pale small stain in the top right margin, otherwise in very good condition, framed

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Lot 30: NAUMAN

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Description: Bruce Nauman, Study for Poem Piece, 1968, Rijksmuseum, Kröller-Müller, OtterloProperty of a Private European Collector Bruce Nauman b. 1941 SECOND POEM PIECE steel 60 by 60 byain. 152.4 by 152.4 by 1.3cm. Executed in 1969, this work is number 2 from an edition of 3 plus one artist's proof. Provenance Leo Castelli Gallery, New York Galleria Sperone, Milan Acquired by the present owner from the above Exhibited cf. Los Angeles, Los Angeles County Museum of Art; New York, Whitney Museum of Art; Bern, Kunsthalle Bern; Düsseldorf, Städtische Kunsthalle; Eindhoven, Stedelijk van Abbemuseum; Milan, Palazzo Reale; Houston, Contemporary Arts Museum; San Francisco, San Francisco Museum of Art, Bruce Nauman: Work from 1965 to 1972, 1972-74, cat. no. 55, p. 96, illustrated cf. London, Whitechapel Art Gallery; Basel, Kunsthalle Basel; Paris, MusEe d'Art Moderne de la Ville de Paris, Bruce Nauman, 1986-87, illustrated Literature Marcia Tucker, "PheNAUMANology," Artforum 9, no. 4, December 1970, pp. 43-44, illustrated Coosje van Bruggen, Bruce Nauman, New York, 1988, p. 165, illustrated Neal Benezra, et. al., Bruce Nauman: Catalogue RaisonnE, Minneapolis, 1995, cat. no. 156, p. 236, illustrated The vagaries of language are the subject of Nauman's two Poem Pieces of 1968 and 1969. In these works, Nauman starts with a single phrase, shown in full at the top of the work, and in succeeding lines deconstructs the phrase by leaving out different words. Thus the phrase "you may not want to be here" in First Poem Piece becomes "you may be here," "you may hear," or "you want." Like First Poem Piece, Second Poem Piece consists of words engraved in a grid on a 500 pound steel slab. The contingent, fleeting meanings of juxtaposed words are thus put into opposition with the severe physical reality of the dense material. Second Poem Piece ups the linguistic ante, however, with its deconstruction of a slightly different phrase: "you may not want to screw here." Nauman's work is thus meant to make issues of materiality, meaning and context collide.

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Lot 32: Bruce Nauman (B. 1941)

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Description: Poster Layout for 'Pratfalls and Sleights of Hands' signed, titled and dated 'poster layout for Pratfalls + Sleights of and BN 93' (lower centre) pencil and colour photo-collage on cardboard 20 x 18in.(52 x 45.6cm.) PROVENANCE Donald Young Gallery, Seattle. NOTES The poster layout for Falls, Pratfalls and Sleight of Hand was designed by Bruce Nauman for a series of gallery exhibitions in Europe and the United States in 1994. This work consists of six video stills from five large projection screens that were used in this travelling show. In these, basic actions such as a man walking and slipping on a banana skin, vanishing tricks played with a small ball and card tricks, are repeated again and again all in slow motion. This works brings together many of Nauman's concerns as a cinematographer. The artist constantly repeats the videos and creates an ambivalence with regards to the chronological order of the videos by removing any possible linear classification: each part could be before or after the other, depending on its position. In doing this so Nauman disengages the temporalisation of film from the vectors of forward movement.

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Lot 32: Bruce Nauman (B. 1941)

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Description: Poster Layout for 'Pratfalls and Sleights of Hands' signed, titled and dated 'poster layout for Pratfalls + Sleights of and BN 93' (lower centre) pencil and colour photo-collage on cardboard 20 ½ x 18in.(52 x 45.6cm.) Provenance: Donald Young Gallery, Seattle. Footnotes:The poster layout for Falls, Pratfalls and Sleight of Hand was designed by Bruce Nauman for a series of gallery exhibitions in Europe and the United States in 1994. This work consists of six video stills from five large projection screens that were used in this travelling show. In these, basic actions such as a man walking and slipping on a banana skin, vanishing tricks played with a small ball and card tricks, are repeated again and again all in slow motion. This works brings together many of Nauman's concerns as a cinematographer. The artist constantly repeats the videos and creates an ambivalence with regards to the chronological order of the videos by removing any possible linear classification: each part could be before or after the other, depending on its position. In doing this so Nauman disengages the temporalisation of film from the vectors of forward movement.

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Bruce Nauman (b. 1941)

Lot 33: Bruce Nauman (b. 1941)

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Description: Bruce Nauman (b. 1941) Partial Truth incised with signature, number and date '8/25 1997 Bruce Nauman' (on the underside)black absolute granite 18 x 24 x 2 in. (45.7 x 61 x 5 cm.) Executed in 1997. This work is number eight from an edition of twenty-five.

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Bruce Nauman (b. 1941)

Lot 34: Bruce Nauman (b. 1941)

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Description: Untitled (Hand Circle) stamped 'B.N. 1996' (on the underside) cast phosphorous bronze, silver solder, copper, phosphorous bronze wire, and sandblasted steel 5 x 29 x 271/2 in. (12.6 x 73.7 x 69.8 cm.) Executed in 1996. This work is from an edition of nine plus one artist's proof and one foundry proof. PROVENANCE Sperone Westwater, New York EXHIBITION Oslo, Galleri Riis, Bruce Nauman Selected Works; 1970-1996, November-December 1998. (another example exhibited). San Francisco, California College of Arts and Crafts, Spaced Out: Late 1990s Works from the Vicki and Kent Logan Collection, April-June 1999, pl.6 (illustrated in color; another example exhibited).

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BRUCE NAUMAN (b. 1941)

Lot 35: BRUCE NAUMAN (b. 1941)

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Description: BRUCE NAUMAN (b. 1941)Fox Wheelbronzeoverall: 15 by 72 by 74in. 38.1 by 182.9 by 188cm.PROVENANCELeo Castelli Gallery, New YorkAcquired by the present owner from the above in 1990LITERATURENeal Benezra, et. al., Bruce Nauman: Catalogue RaisonnE, Minneapolis, 1995, cat. no. 445, p. 342, illustratedIn 1998, following the brilliantly cruel Clown Torture videos and neons such as Poke in the Eye, Nauman began to cast animal parts and dismembered human heads. Brutishly assembled into complex installations, these works refer to the dark side of human nature.Despite their lacking a clear narrative, sex, pain and death are evident in these works, which includes the morbidly beautiful Fox Wheel. The foxes are held captive both by the wheel and by each other, as each fox, bound to the next by oral penetration, bites the leg of its neighbour.This mordant humor is a constant in Nauman's work, exemplified further by the darkly droll neon, Human Sexual Experience. As in Fox Wheel, the theme of this work is penetration, made clear by the extended finger that pokes into a hole created by the fingers of the other hand. Through this obscene gesture, Nauman posits the impossibility of pleasurable love, just as he suggests a cycle of unavoidable pain in Fox Wheel.This neon relates to Fox Wheel directly through another sculpture, Untitled (Hand Circle), 1996. Rendered in bronze like Fox Wheel, the dismembered hands are locked into a circle of both real and implied penetration, much like the bronze open-mouthed foxes trapped in their wheel so reminiscent of Eadweard Muybridge's motion studies ofanimals. The entrapment of the circle is a powerful and consistent metaphor of Nauman's oeuvre, both in sculptures and in the continuous and repetitive dialogue and actions of his videos. Nauman implies that humans, although ostensibly less vulnerable, are capable of little more choice in their fate than even the wiliest of animals.

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Bruce Nauman (b. 1941)

Lot 35: Bruce Nauman (b. 1941)

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Description: RUN FROM FEAR FUN FROM REAR yellow and pink neon tubing with glass tubing suspension frames upper element: 8 x 46 x 21/4 in. (20.3 x 116.8 x 5.7 cm.) lower element: 71/4 x 441/2 x 21/4 in. (18.4 x 113 x 5.7 cm.) Executed in 1972. This work is number two from an edition of six. PROVENANCE Gallerie Sonnabend, Paris Collection Boulois, Paris David Zwirner Gallery, New York LITERATURE J. Perrone, "Words: When Art Takes A Rest," Artforum, no. 10, Summer 1997, p. 34 (illustrated in color). K. K”nig, Quartetto: Joseph Beuys, Enzo Cucchi, Luciano Fabro, Bruce Nauman, L'Academia Foundation, Venice 1984, p. 93 (illustrated). R. Bowman, "Words and Images: A Persistent Paradox," Art Journal, Vol. 45, no. 4, Winter 1985, p. 339 (illustrated in color). C. van Bruggen, Bruce Nauman, New York 1988, p. 101 (illustrated in color). N. Benezra, K. Halbreich, P. Schimmel and R. Storr, Bruce Nauman: Catalogue Raisonn‚, Minneapolis 1995, p. 258, no. 222 (illustrated in color). EXHIBITION Indianapolis Museum of Contemporary Art; and Cincinnati, Contemporary Arts Center and Taft Museum, Painting and Sculpture Today 1974, May-October 1974, p. 47 (illustrated; another example exhibited). New York, Whitney Museum of American Art, Downtown at Federal Reserve Plaza, Words: A Look of the Use of Language in Art 1967-1977, March-April 1977 (another example exhibited). Baltimore Museum of Art, Bruce Nauman: Neons, December 1982-February 1983, p. 73, no.13 (illustrated; another example exhibited). New York, Leo Castelli Gallery; and New York, Sperone Westwater Fischer, Bruce Nauman: Violins, Violence, Silence, January 1982 (illustrated; another example exhibited). Kunsthalle Basel; and Mus‚e d'Art Moderne de la Ville de Paris; and London, Whitechapel Art Gallery, Bruce Nauman, July 1986-March 1987, p. 16 (illustrated) and p. 41 (illustrated in color; another example exhibited). Madrid, Centro de Arte Reina Sofia; capc Mus‚e d'Art Contemporain, Bordeaux; Art Cologne; Berlin, Hamburger Bahnhof; Rome, Galleria Nazionale d'Arte Moderna; Trento, Museo d'Arte Moderna e Contemporanea; Geneva, Mus‚e Rath; Tokyo, Sezon Museum of Art; Miyagi Museum of Art; Fukuyama Museum of Art; and Kyoto, National Museum of Modern Art, Collection Sonnabend, October 1987-February 1991 (illustrated; another example exhibited). Art Institute of Chicago, Affinities and Intuitions: the Gerald S. Elliott collection of contemporary art, May-June 1990, p. 81 (illustrated in color; another example exhibited). Hanover, Sprengel Museum, NEONst쳌cke, September-November 1990, p. 43, no. 20 (illustrated; another example exhibited). St. Louis, Steinberg Hall, Washington University Gallery of Art, Bruce Nauman: Light Works, January-March 1993. Madrid, Museo Nacional Centro de Arte Reina Sofia, Minneapolis, Walker Art Center; Los Angeles, Museum of Contemporary Art; Washington D.C., Hirshhorn Museum and Sculpture Garden; and New York, The Museum of Modern Art, Bruce Nauman, November 1993-May 1995, p. 144, no. 38, pl. 38 (illustrated in color; another example exhibited). London, Tate Gallery, Stuttgart, Kunsthalle Tubingen, Hamburger Kunsthalle; and Wien, Bank AustriaKunstforum, Stiftung Froehlich, May 1996- August 1997, no. 170 (illustrated; another example exhibited). Wolfsburg, Kunstmuseum; Paris, Mus‚e National d'Art Moderne, Centre Georges Pompidou; London, Hayward Gallery; and Helsinki, The Museum of Contemporary Art Kiasma, Bruce Nauman: Image/Text 1966-1996, May 1997-January 1999, p.45 (illustrated in color; another example exhibited).

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Bruce Nauman , b. 1941 Walk with Contrapposto 60 minute DVD in plywood case

Lot 35: Bruce Nauman , b. 1941 Walk with Contrapposto 60 minute DVD in plywood case

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Description: 60 minute DVD in plywood case

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Bruce Nauman (b. 1941)

Lot 36: Bruce Nauman (b. 1941)

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Description: Masturbating Man signed 'B Nauman 85' (lower right) graphite, gouache, colored crayons and watercolor on paper 523/4 x 42 in. (133.9 x 106.7 cm.) Executed in 1985. PROVENANCE Sperone Westwater, New York Galerie Konrad Fischer, D쳌sseldorf Anthony d'Offay, London Lawrence Markey, Inc., New York Hauser & Wirth, Switzerland Private Collection, Switzerland Zwirner & Wirth, New York LITERATURE C. Van Bruggen, D. Koepplin, and F. Meyer, Bruce Nauman: Zeichnung 1965-1986, Basel 1986, no. 480 (illustrated). EXHIBITION Basel, Museum f쳌r Gegenwartskunst; T쳌bingen, Kunsthalle; Bonn, St„dtisches Kunstmuseum; Rotterdam, Museum Boymans-van Beuningen; Kunstraum M쳌nchen; Karlsruhe, Badischer Kunstverein; Hamburg, Hamburger Kunsthalle; New York, The Museum of Contemporary Art; Houston, Contemporary Arts Museum, Los Angeles, The Museum of Contemporary Art; and Berkeley, University Art Museum, Bruce Nauman Drawings 1985-1986, May 1986-July 1988, no. 480 (illustrated in black and white). New York, Zwirner & Wirth, Bruce Nauman: Selected Works, February-March 2001.

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