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Chris Ofili Auction Price Results

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CHRIS OFILI (born 1968, British) - Afro Lunar Lovers 2003 lithograph and hand-applied embossed gold foil, edition: 325/ 350

Lot 151: CHRIS OFILI (born 1968, British) - Afro Lunar Lovers 2003 lithograph and hand-applied embossed gold foil, edition: 325/ 350

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Description: CHRIS OFILI (born 1968, British) Afro Lunar Lovers 2003 lithograph and hand-applied embossed gold foil, edition: 325/ 350 49.0 x 31.5 cm numbered, signed and dated within image Provenance: Victoria Miro Gallery, London, 2003. Private collection, Melbourne

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CHRIS OFILI (1968 -   ) Afro Harlem Museo.

Lot 155: CHRIS OFILI (1968 - ) Afro Harlem Museo.

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Description: CHRIS OFILI (1968 - ) Afro Harlem Museo. Color lithograph, 2005. 324x508 mm; 12 3/4x20 inches, full margins. Printer's proof, aside from the edition of 60. Signed, titled, dated, inscribed "PP" and numbered 3/4 in pencil, lower margin. A very good, vibrant impression.

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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Chris Ofili (b.1968) - After the Dance

Lot 263: Chris Ofili (b.1968) - After the Dance

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Description: Chris Ofili (b.1968) - After the Dance screenprint in colours, 2006, signed, titled and dated in pencil, inscribed B.C.I, 5/20, aside from the edition of 50, printed and published by Brodsky Center, New Jersey, USA, on wove paper, with full margins, 405 x 304 mm (16 x 12 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Chris OFILI (né en 1968) TETE D'HOMME DE PROFIL, 1999 Aquarelle sur papier

Lot 352: Chris OFILI (né en 1968) TETE D'HOMME DE PROFIL, 1999 Aquarelle sur papier

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Description: Chris OFILI (né en 1968) TETE D'HOMME DE PROFIL, 1999 Aquarelle sur papier signé et daté au dos "Chris Ofili, 1999" h: 24 w: 16 cm Provenance : Art Market, Tokyo Collection L.L.

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Chris OFILI (né en 1968) TETE D'HOMME DE PROFIL, 1999 Aquarelle sur papier

Lot 398: Chris OFILI (né en 1968) TETE D'HOMME DE PROFIL, 1999 Aquarelle sur papier

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Description: Chris OFILI (né en 1968) TETE D'HOMME DE PROFIL, 1999 Aquarelle sur papier signé et daté au dos "Chris Ofili, 1999" h: 24 w: 16 cm Provenance : Art Market, Tokyo Collection L.L.

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CHRIS OFILI, B. 1968

Lot 2: CHRIS OFILI, B. 1968

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Description: signed and dated 2001 on the reversewatercolour and pencil on paper

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f,m,s - CHRIS OFILI

Lot 3: f,m,s - CHRIS OFILI

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Description: B. 1968STRANGE EYESmeasurements194.9 by 121.9 by 26cm.alternate measurements76 3/4 by 48 by 10 1/4 in.signed, titled and dated 2001 twice on the strecheroil paint, polyester resin, elephant dung, map pins and glitter on canvasPROVENANCEContemporary Fine Arts, BerlinAcquired directly from the above by the previous owner in 2001NOTEChris Ofili's extraordinary Strange Eyes explodes from the canvas in all of its glorious regal splendour. Buzzing with material and compositional invention, this is one of a small group of paintings which Ofili has made using the cultural and historical portrayal of black womanhood as the backdrop to a joyful cacophony of layers of oil paint, glitter, resin, map pins and, most notoriously, elephant dung. Other works in this series include arguably two of his most important paintings, The Holy Virgin Mary (Fig. 2) and Blossom (Fig. 3). Similarly to these portraits, here the woman is raised to a pseudo Madonna figure, compositionally reminiscent of icons of the Italian Old Master tradition, Ofili's reinvented black Madonna is bejewelled not with a crucifix but with a dung ball around her neck, a talisman of black experience. Studiously constructed, the surface of this painting ripples and glimmers with pools of resin and dots of paint, painstakingly applied over a period of months. The intricacy and delicacy of his technique is palpable in these tiny dots and serpentine lines that ebb and flow across the starkly symmetrical composition. It is virtually a mirror image which pulses with pattern and harmony, and by extension the search for perfection. The bulbous Afro hairstyle and indeterminate 'ethnic' dress raise simple but important questions about clichéd and hackneyed stereotypes that have been applied continually since the very origins of the colonial age. Following on from one of his main influences and heroes, Jean-Michel Basquiat, Ofili deliberately allies himself with the most facile view of black culture, choosing the most obvious signifiers of black nationhood to demonstrate the very absurdity of making work about identity. Suggestive rather than dogmatic in its delivery, Ofili's work centrally situates Black culture while avoiding making a direct statement of uncompromising intent. In Strange Eyes, notions of ethnicity are delivered through a form of pictorial invention that eschews political sloganism. The multiple eyes which give the work its title - three on each side - are reminiscent of the third, all-seeing eye, a symbol found in many different eras, cults and cultures from Ancient Egypt to the American Dollar Bill. Recalling the 1999 painting, Third Eye Vision, in the Walker Art Center, here the multiple eyes call to mind the far-reaching, spiritually inflected iconography of the African Diaspora, Buddhist and Hindu Asia. The most immediately apparent - although arguably the most complex - cultural referents are the elephant dung balls which raise the canvas off the floor. Ofili began using dung after his trip to Zimbabwe. Highlighting the exoticism of the African continent and his ancestry, the dung works as a potent, uniquely African, unifying element, providing a material link to a world of cultural implications that hint at the cycles of life and nature. Like all of Ofili's work, Strange Eyes epitomizes Ofili's layered absorption of cultural and historical influences, fearlessly takes on questions of the sacred juxtaposed with the profane, the humorous with the sublime, and the bold with the mysterious. The female's psychedelic back-drop and mesmerizing multi-layered gaze come together to form a stunning re-mix of the artist's inspiration that carries a beat of its own. She is a diva who should be seen, but also heard. As with many of Ofili's portraits, Strange Eyes has a unique sound-track of her own, "I'm trying to make paintings that make you hear them, rather than see them. So actually, you're looking at music. So it will teach your eyes to hear, and your ears to see." (Interview with the artist and Paul Miller, 'Deep Shit' in: Parkett, no. 58, 2000, pp. 171-176 ).

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CHRIS OFILI

Lot 3: CHRIS OFILI

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Description: CHRIS OFILI B.1968 UNTITLED (TWO WORKS) each signed and dated 2000 on the reverse watercolor and pencil on paper each: 9 5/8 by 6 1/4 in. 24.5 by 15.9 cm.

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Untitled

Lot 3: Untitled

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Description: Chris Ofili (b. 1968) Untitled each: signed twice and dated 'CHRIS OFILI '99' (on the reverse) two sheets--watercolor and graphite on paper each: 9½ x 6 in. (24.1 x 15.2 cm.)Executed in 1999.

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                                        Chris Ofili (b. 1968)

Lot 4: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) Blue Smoke (Pipe Dreams) signed, titled and dated '"Blue Smoke (Pipe dreams)" Chris Ofili 2011' (on the reverse)oil on canvas 110¼ x 77¼ in. (280 x 196 cm.) Painted in 2011.

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CHRIS  OFILI

Lot 4: CHRIS  OFILI

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Description: B.1968 UNTITLED  [TWENTY-TWO  WORKS] each  signed  and  dated  '98  or  '99  respectively  on  the  reverse watercolor  and  graphite  on  paper Dimensions  Variable Smallest:  9  1/4    by  6  in.      23.5  by  15.2  cm.      Largest:  9  1/2    by  6  1/2    in.      24.1  by  16.5  cm.

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Head of an Afronaught

Lot 5: Head of an Afronaught

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Description: Chris Ofili (b. 1968) Head of an Afronaught signed, titled and dated twice '"Head of an Afronaught" 1999-2000 CHRIS OFILI' (on the overlap and on the stretcher) phosphorescent acrylic, oil, glitter, polyester, resin, map pins and elephant dung on canvas with two elephant dung supports 75 x 48½in. (190.5 x 122.5cm.) Executed in 1999-2000

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l - CHRIS OFILI

Lot 6: l - CHRIS OFILI

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Description: B. 1968STRANGE EYES76 3/4 x 48 x 10 1/4 in. 194.9 x 121.9 x 26 cm.signed, titled and dated 2001 twice on the stretcheroil paint, polyester resin, elephant dung, map pins and glitter on canvasPROVENANCEContemporary Fine Arts, Berlin Acquired by the present owner from the above in 2001NOTEWinning the Turner Prize in 1998 established Chris Ofili's position within the contemporary art world as an individual of undeniable talent and innovation. Ofili's original manipulation and use of media, coupled with his multi-layered and open-ended references to contemporary urban culture and awareness of the history of art continues to astound his audiences and elicit a broad range of responses from the controversial to the delighted.Strange Eyes, 2001 offers the viewer an exuberant and glorious rendering of an African woman whose individual beauty resonates beyond the humorous caricature that lies within most of Ofili's large-scale painted portraits. Beauty, humor, confusion: these are all aspects of Ofili's work that he wants us to experience. As the artist has stated, "~there are so many layers of meaning~So many contradictions~It's about beauty. It's about caricature. And it's about just being confused. But at the same time, it's about not being uncomfortable with that (confused) state of mind." (interview with the artist and Paul D. Miller, "Deep Shit", Parkett, no. 58, 2000, pp. 171-176 ). Like the artist, his paintings welcome questions and offer multiple answers. Ofili has explained that the origins of his work are complex and varied and are intended to be interpreted by the individual as a compilation of a variety of influences. The artist likens his work, in this sense, to Hip-Hop, a musical art-form born of complex and varied influences that draws not only from its more traditional and ethnic roots but also from its contemporary urban surroundings, "an approach to making things and looking at things with no hierarchy." (Ibid.). Ofili offers several explanations and sources of inspiration for his use of elephant dung in his work. Ofili began using dung after a trip to Zimbabwe in 1992. This trip has often been referred to as a turning point in Ofili's career, sensitizing him not only to the visual traditions of Africa which he now uses in his paintings, but also to the material relationship between animals and the earth. That said, Ofili has also explained, "Somehow it makes the paintings feel more relaxed, instead of being pinned upon the wall like it's being crucified~(The painting can) stand in it's own shit and watch the other paintings being crucified on the wall." (Ibid.) Instead of one story canceling another, Ofili's inspirations co-exist and communicate both within each painting, and with each individual viewer, to form complex and unique works that refuse to be categorized.Ofili's technique is another aspect of his work that can be assigned a number of influences. His vibrant palette and meticulously dotted surfaces can be assigned such ethnic roots as those found in Nigerian, Australian Aboriginal, even Haitian artistic tradition, and while the artist doesn't reject these sources he also speaks about the psychedelic impact of such Op artists as Bridget Riley and finally the rhythmic beat in music, "because when dots are made, there is this constant tapping noise~That comes out of just being in the studio and listening to music." (Ibid.)Strange Eyes epitomizes Ofili's layered absorption of cultural and historical influences. The female's psychedelic back-drop, unassigned "ethnic" clothing, and mesmerizing multi-layered gaze come together to form a stunning re-mix of the artist's inspiration that carries a beat of its own. She is a diva who should be seen, but also heard. As with many of Ofili's portraits, Strange Eyes has a unique sound-track of her own, "I'm trying to make paintings that make you hear them, rather than see them. So actually, you're looking at music. So it will teach your eyes to hear, and your ears to see." (Ibid.)

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CHRIS OFILI

Lot 8: CHRIS OFILI

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Description: CHRIS OFILI B.1968 THE NAKED SPIRIT OF CAPTAIN SHIT AND THE LEGEND OF THE BLACK STARS signed, titled and dated 2000/2001 on the stretcher and the overlap acrylic, oil, paper collage, glitter, polyester resin, map pins and elephant dung on canvas 256.5 by 182.8cm. 101 by 72in.

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Chris Ofili (b. 1968)

Lot 10: Chris Ofili (b. 1968)

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Description: Untitledeach: signed and dated 'Chris Ofili 2000' (on the reverse)2 sheets--watercolor and graphite on papereach: 9 1/2 x 6 1/8 in. (24.1 x 15.6 cm.)Painted in 2000.

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CHRIS OFILI, B. 1968

Lot 15: CHRIS OFILI, B. 1968

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Description: signed and dated 2001 on the reversewatercolour and pencil on paper

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CHRIS OFILI, B. 1968

Lot 16: CHRIS OFILI, B. 1968

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Description: signed and dated 2001 on the reversewatercolour and pencil on paper

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Chris Ofili (b. 1968)

Lot 17: Chris Ofili (b. 1968)

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Description: Untitledsigned and dated 'CHRIS OFILI 2003' (on the reverse)graphite and watercolor on paper12 1/2 x 8 in. (31.7 x 20.3 cm.)Painted in 2003.

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CHRIS OFILI Regal

Lot 20: CHRIS OFILI Regal

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Description: CHRIS OFILI Regal

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                                        Chris Ofili (b. 1968)

Lot 21: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) Innervisions... Too High signed, titled and dated '"Innervisions-too high" CHRIS OFILI 1998' (on the reverse)acrylic, oil, polyester resin, glitter, collage, map pins and elephant dung on canvas99¼ x 71in. (252 x 181.5cm.) Executed in 1998

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 Chris Ofili , b. 1968 Untitled; 2 Works watercolor and pencil on paper

Lot 22: Chris Ofili , b. 1968 Untitled; 2 Works watercolor and pencil on paper

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Description: watercolor and pencil on paper

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CHRIS OFILI, B. 1968

Lot 23: CHRIS OFILI, B. 1968

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Description: signed and dated 1997 on the reversewatercolour and pencil on paper

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CHRIS OFILI, B. 1968

Lot 24: CHRIS OFILI, B. 1968

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Description: signed and dated 1998 on the reversewatercolour and pencil on paper

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CHRIS OFILI

Lot 24: CHRIS OFILI

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Description: The Saga Continues...The Journey from Hell Signed and dated 'Chris Ofili 1997' on the central stretcher bar. Further initialled on the stretcher.

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Lot 27: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) Afro Red Web signed twice, titled and dated twice 'AFRO RED WEB 2002-2003 CHRIS OFILI 2002-2003' (on the stretcher)oil, polyester resin, glitter, map pins and elephant dung on linen 96 1/8 x 72 1/8in. (244 x 183cm.) Executed in 2002-03

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Lot 31: Chris Ofili (B. 1968)

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Description: Untitled signed and dated 'CO, '98' (on the overlap), signed and dated again 'CO,'98' (on the stretcher) acrylic, oil, resin, map pins and elephant dung on canvas 75 x 47 x 4.5/8in. (190.5 x 120 x 12cm.) PROVENANCE Victoria Miro, London NOTES In this painting, Chris Ofili's infinitely delicate yet ironical representation of an feminine African archetype, the overwhelming appeal of the subject is conveyed through several layers of riotous, celebratory colour. This process, achieved through the application of raised resin dots forming both the figure and the background, add a texture unique to Ofili, which, along with his use of elephant dung, has become his signature style. "The dot making process," Ofili explains, "started in 1992 when I visited Zimbabwe and saw these Matopos cave paintings, one wall, 6 feet high and 20 feet long covered in yellow, red and blue dots, made with a sharpened twig and pigments. It's an abstract wall, early abstraction, nothing concrete, translating a state of mind into something visual through a repetitive dot making process." (In: K. Eshun, 'Plug Into Ofili', in: 'Chris Ofili', London 1998, unpaged.) The dung, "ready-made from the elephant's arse" (ibid.), is used here both to support the piece and as a giant and conspicuous jewel around the woman's neck, inlaid with beads conjuring images of African tribal jewellery.

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Lot 33: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) Trump signed, titled and dated twice '"Trump" 1997-8 Chris Ofili 1997-8' (on the stretcher); signed and dated 'Chris Ofili 1997-8' (on the overlap)acrylic, oil, polyester resin, glitter, paper collage, map pins and elephant dung on canvas95¾ x 71¾ (243 x 182cm.) Executed in 1997-98

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Lot 35: CHRIS OFILI Untitled,

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Description: CHRIS OFILI Untitled,

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Lot 35: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) Untitled Diptych each: signed twice and dated 'CHRIS OFILI 1999' (on the overlap); signed twice, titled and dated '"Untitled diptych" CHRIS OFILI 1999' (on the stretcher)acrylic, oil, polyester resin, paper collage, glitter, map pins and elephant dung on canvaseach: 75 7/8 x 48¼in. (192.7 x 122.4cm.) Executed in 1999

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Chris Ofili (b. 1968)

Lot 36: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) Afro Muses: Harem 6 nine works--watercolor and graphite on paper each: 9½ x 6¼ in. (24.1 x 15.8 cm.) Painted in 1995-2005. (9)

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CHRIS OFILI

Lot 38: CHRIS OFILI

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Description: Lazarus 3 Titled ‘LAZARUS 3’ on the reverse.

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                                        Chris Ofili (b. 1968)

Lot 39: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) Untitled Diptych signed twice and dated 'CHRIS OFILI 1999' (on the overlap of each element); signed again twice, titled and dated again '"untitled diptych" CHRIS OFILI 1999' (on the stretcher of each element)diptych--acrylic, oil, phosphorescent paint, printed paper, paper collage, glitter, polyester resin, map pins and elephant dung on canvaseach: 71 1/8 x 48 in. (180.7 x 121.9 cm.) Executed in 1999.

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39CHRIS  OFILI

Lot 39: 39CHRIS  OFILI

Description: B.1968 HALF  MOON incised  with  artist's  signature  and  numbered  1/7  bronze  with  blue  pigment 16  by  11  by  9  in.      40.6  by  27.9  by  22.9  cm. Executed  in  2005,  this  work  is  number  1  from  an  edition  of  7.

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Chris Ofili (B. 1968)

Lot 40: Chris Ofili (B. 1968)

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Description: Flower Heads oil paint, acrylic paint, paper collage, glitter, polyester resin, map pins and elephant dung on linen 96 x 72in. (243.8 x 182.9cm.) Executed in 1996. PROVENANCE Victoria Miro Gallery, London. EXHIBITION Southampton, Southampton City Art Gallery, 'Chris Ofili', April 1998 - Jan. 1999 (illustrated in the catalogue in colour, pl. 16). This exhibition travelled to London, Serpentine Gallery. NOTES He has been dubbed the 'Rembrandt of Dung' and caused more controversy than any painter since Marcel Duchamp exhibited his infamous 'Nude Descending a Staircase' in 1913 at the Armory Show in New York. Postcolonial nostalgia, back-to-Africa yearnings and notions of exotic otherness mixed with 'gangsta rap' and East-London slang provide the backbone for the paintings of Chris Ofili. Born in Manchester of Nigerian parents, Ofili took a scholarship trip to Zimbabwe in 1992, where he discovered his African roots and opened a personal cultural conflict: What does it mean to be black in a predominantly white community? Rather than trying to answer this with a strong political statement in the tedious conceptual style of the 1970's, Ofili developed a funky and humourous post-modern picture style with a wide range of cultural and popular references. The works, which are built up from multiple layers of paint, resin and collage, incorporate stereotypical ethnical labels with Biblical imagery and pornographic magazines. They shimmer, sparkle and shine in a retro '70's colour scheme and sometimes even glow in the dark. Protruding from the densely patterned surface are his trademark boulders of resin-coated elephant dung, which also support his canvases like the ball-and-claw feet on old furniture. 'Flower Heads' (1996) is a piece of real Africa, fused to a Western surface, the ultimate in ugliness in collision with conventional beauty, and complicating visions of both. Ofili's unique contribution to painting and his ability to challenge the viewer have awarded him the 1998 Turner Prize at Tate Britain and made him the most publicised black artist since Jean-Michel Basquiat.

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Chris Ofili (b. 1968)

Lot 40: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) The Chosen Ones dated 'April 6th 1996' (lower right); indistinctly signed, titled and dated '"The Chosen Ones" 1996' (on the backboard)graphite on paper 22 1/8 x 29 7/8in. (56.1 x 75.7cm.) Executed in 1996

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40CHRIS  OFILI

Lot 40: 40CHRIS  OFILI

Description: B.1968 SILVER  MOON incised  with  the  artist's  signature  and  numbered  3/7  bronze 15  1/2    by  10  by  7  in.      39.4  by  25.4  by  17.8  cm. Executed  in  2005,  this  work  is  number  3  from  an  edition  of  7.

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Chris Ofili (b. 1968)

Lot 41: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) Orgena signed twice and dated 'CHRIS OFILI 1998' (on the overlap); signed twice, titled and dated '"Orgena" CHRIS OFILI 1998' (on the stretcher)acrylic, oil, polyester resin, glitter, map pins and elephant dung on linen71¾ x 47¾in. (182.4 x 121.4cm.) Executed in 1998

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CHRIS OFILI

Lot 43: CHRIS OFILI

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Description:

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Chris Ofili (b. 1968)

Lot 46: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) Untitled signed and dated 'Chris Ofili 2003' (on the reverse) charcoal, gold leaf and gouache on paper 12 x 9¼in. (30.5 x 23.5cm.) Painted in 2003

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Lot 48: OFILI, Chris (1968-, British)

Description: Untitled, s. W/C painted 1996 Works on paper (8x10in).

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CHRIS OFILI

Lot 48: CHRIS OFILI

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Description: UNITED KINGDOM/TRINIDAD Afro Lunar Lovers II Signed, dated and numbered 114/250 in gold ink, unframed.

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Chris Ofili (b.1968)

Lot 49: Chris Ofili (b.1968)

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Description: Untitled four pencil and watercolours on paper each: 91/2 x 6 1/8in. (24.1 x 15.5cm.) (4) SALESROOM NOTICE Please note the estimate for this work is 4,800 - 6,400.

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CHRIS OFILI

Lot 50: CHRIS OFILI

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Description: THROUGH THE GRAPEVINE signed, titled and dated 1998 on the overlap; signed, titled and dated 1998 on the stretcher

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Chris Ofili (b. 1968)

Lot 50: Chris Ofili (b. 1968)

Description: Chris Ofili (b. 1968) Untitled CO 058 signed and dated 'CHRIS OFILI 99' (on the reverse) watercolor on paper 9½ x 6 in. (24.1 x 15.2 cm.) Painted in 1999.

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Chris Ofili (B. 1968)

Lot 51: Chris Ofili (B. 1968)

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Description: Blind Popcorn oil paint, paper collage, glitter, polyester resin, map pins, elephant dung on linen. 72 x 48in. (182.9 x 121.9cm.) Executed in 1996. PROVENANCE Victoria Miro, London. EXHIBITION Southampton, Southampton City Art Gallery, 'Chris Ofili', April 1998 - Jan. 1999 (illustrated in the catalogue in colour, pl. 13). This exhibition travelled to London, Serpentine Gallery.

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Chris Ofili (b. 1968)

Lot 51: Chris Ofili (b. 1968)

Description: Chris Ofili (b. 1968) Untitled, CO 286 signed and dated 'Chris Ofili 2003' (on the reverse) watercolor and color pencil on paper 12 3/8 x 8 in. (31.4 x 20.3 cm.) Painted in 2003.

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Lot 52: Chris Ofili (b. 1968)

Description: Chris Ofili (b. 1968) 2000s

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Lot 58: Chris Ofili (b. 1968)

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Description: Popcorn signed, titled and dated '"Popcorn" 1995 Chris Ofili' (on the stretcher) oil, acrylic, offset lithography on paper, polyester resin, map pins, and elephant dung on linen 77 x 48 x 53/4in. (195.6 x 121.9 x 14.6cm.) Executed in 1995. PROVENANCE Victoria Miro Gallery, New York EXHIBITION Minneapolis, Walker Art Center; and Houston, Contemporary Arts Museum, "Brilliant!" New Art From London, October 1995-April 1996 Southampton City Art Gallery, London, Serpentine Gallery; and The Whitworth Art Gallery, University of Manchester, Chris Ofili, April 1998-January 1999, pl. 8 (illustrated) NOTES This work has been requested for the upcoming exhibition entitled Public Offerings to be held at the Los Angeles Museum of Contemporary Art from April 1 through July 21, 2001. Chris Ofili's painting entitled Popcorn was included in Brilliant!, the aptly named exhibition of New British art at the Walker Art Center Minneapolis, in 1995. This exhibition was the first to introduce to the United States most of the names that one associates with the Young British Artist (YBA) generation artists such as Hirst, Lucas, Hatoum, Whiteread and of course Ofili. While not as conceptual as some of his contemporaries, Ofili nonetheless challenged viewers on both sides of the Atlantic. His paintings are slowly and carefully layered with paint, resin, elephant dung and cut-out images of faces and body parts from the pages of magazines devoted to African-American popular culture. He composes these highly varied mediums into his own unique brand of retro-pop primitivism. The resulting works loosely resemble the aboriginal paintings that could be seen in the Australian art gallery on London's Cork street in the early nineties. While Ofili delights the eyes with meticulously executed and brightly colored works, he invites the viewer, by including the printed pages in his work, to consider the background of the creator and of one's own creator.

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CHRIS OFILI (b.1968)

Lot 60: CHRIS OFILI (b.1968)

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Description: CHRIS OFILI (b.1968)Mouini Thioil paint, polyester resin, map pins, and elephant dung on linen72 by 48in. 182.9 by 121.9cm.Painted in 1995-96.PROVENANCEVictoria Miro Gallery, LondonEXHIBITEDSouthampton, England, Southampton City Art Gallery; London, Serpentine Gallery; Manchester, The Whitworth Art Gallery, Chris Ofili, April 1998-January 1999, pl. 11, illustrated in colorReclining coolly on two elephant dung feet, Mouini Thi synthesizes a range of cultural and painterly styles in a majestic visual bombardment which erupts from the picture plane. Not since Jean-Michel Basquiat, one of Ofili's most important influences, has a painter projected such a stream of consciousness procession of images onto the canvas to such awesome effect. Slipping freely between the absorption of West African spiralled textiles, with the dot-patterned surfaces of ancient Matopos cave paintings, and the popular science fiction depictions of Chaos and the Void, this audacious kaleidoscope of color conveys an entirely unique surface. Built up of intricate layers involving drawing, dripping and dotting of both resin and paint, Ofili meticulously crafts the gossamer, almost ethereal picture plane. Onto this bed of sublime decoration, the introduction of six elegantly decorated balls of dung simultaneously subverts the concept of pictorial comfort whilst perfectly complimenting the compositional framework. As Godfrey Worsdale has stated, "...the allure of decorative beauty was not however impeded, rather, in its new found context the dung balls function as an object of desire. Saturated in glistening resin and presented like a crown on an elaborate cushion, these abject balls of matter become irresistible jewels" (Ibid, p. 2)

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Chris Ofili (b. 1968)

Lot 63: Chris Ofili (b. 1968)

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Description: Chris Ofili (b. 1968) Dead Monkey--sex, money and drugs signed, titled, and dated '"Dead Monkey--sex, money and drugs" 2000 Chris Ofili' (on the overlap and on the stretcher)oil, polyester resin, glitter, map pins and elephant dung on canvas 76½ x 120¼ in. (194.3 x 305.4 cm.) Painted in 2000.

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