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Jenny Saville Auction Price Results

Jenny Saville (1970)  Please Register/Login to access your Invaluable Alerts

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Une collaboration entre une artiste et un photographe de mode

Lot 231: Une collaboration entre une artiste et un photographe de mode

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Description: Une collaboration entre une artiste et un photographe de mode :SAVILLE JENNY (1970) & LUCHFORD, GLEN (1968)*Closed Contact.Los Angeles : Gagosian Gallery, 2002.Reliure de l'éditeur. 38,5 x 28 cm.Édition originale limitée à 25 exemplaires numérotées et signées par Jenny Saville,dans une boîte en plexiglas.Cet exemplaire porte le n° 5/25.Livre d'artiste réalisée à l'occasion de l'exposition, « Closed Contact » à la GagosianGallery à Beverly Hills, Los Angeles en 2002 avec un texte de Katherine Dunn.

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DDS. Jenny Saville (b.1970) Mirror, pigment print,

Lot 363: DDS. Jenny Saville (b.1970) Mirror, pigment print,

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Description: DDS. Jenny Saville (b.1970) Mirror, pigment print, 2011-12, signed and dated in pencil, numbered 21/50 on label verso, published by Modern Art Oxford, on Somerset photo paper, with full margins, 335 x 550mm (13 1/4 x 21 5/8in)

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SAVILLE, JENNY (b. 1970) Closed Contact.

Lot 369: SAVILLE, JENNY (b. 1970) Closed Contact.

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Description: SAVILLE, JENNY (b. 1970) Closed Contact. Beverly Hills: Gagosian Gallery, 2002. First edition, copy 17 of 25 copies with print. Book and photograph in the lucite box of issue, the book in salmon boards. The included photograph is a Cibachrome, 15 1/2 x 11 1/8 inches (395 x 285 mm), signed verso by Jenny Saville. Fine copy. The book reproduces Saville's body art, and contains an essay by Katherine Dunn. See Roth The Open Book.

Condition Report: Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. 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.

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Jenny Saville (b.1970) Mirror pigment print, 2012,

Lot 464: Jenny Saville (b.1970) Mirror pigment print, 2012,

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Description: Jenny Saville (b.1970) Mirror pigment print, 2012, signed and dated in pencil, numbered from the edition of 50, published by Modern Art Oxford, on Somerset wove paper, with full margins, 340 x 550 mm (13 3/8 x 21 5/8 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Jenny Saville (b. 1970)

Lot 4: Jenny Saville (b. 1970)

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Description: Jenny Saville (b. 1970) Branded signed 'Jenny Saville' (on the reverse) oil and mixed media on canvas 82½ x 70½in. (209.5 x 179cm.) Painted in 1992

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Lot 8: Jenny Saville (b. 1970)

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Description: Jenny Saville (b. 1970) Interfacing oil on canvas 48 x 39 7/8in. (122 x 101cm.) Painted in 1992

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Lot 11: Jenny Saville (B. 1970)

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Description: Prop oil on canvas 84 x 72in. (213.5 x 183cm.) Executed in 1993 Other work by this artist is included in 'Sensation: Young British Artists from the Saatchi Collection', currently on view at the Nationalgalerie, Hamburger Bahnhof, Berlin. LITERATURE S. Kent & J. Blyth, 'Shark Infested Waters - The Saatchi Collection of British Art in the 90s', London 1994, p. 223 (illustrated in colour). P. Kane, 'A full body of work', The Observer, 23 Jan.1994 (illustrated). D. Sylvester, 'Areas of Flesh', The Sunday Review, The Independent, 30 Jan.1994, p.18 (illustrated). 'De overweldigende schilderijen van Jenny Saville', Avenue Magazine, Jan.94 (illustrated). 'Young British Artists 3 - Saatchi Gallery', Politiken, 4 June 1994 (illustrated). Vogue, Dec.1994 (illustrated). K. Dowling, 'Obesity in the 90s', Physiotherapy Frontline, Nov.1995 (illustrated). EXHIBITION London, The Saatchi Gallery, 'Young British Artists III', Feb.-July 1994. Prague, Municipal Gallery, 'Close Echoes', Feb.-Aug. 1998. NOTES "There is a thing about beauty. Beauty is always associated with the male fantasy of what the female body is. I don't think there is anything wrong with beauty. It's just what women think is beautiful can be different. And there can be beauty in individualism. If there is a wart or a scar, this can be beautiful, in a sense, when you paint it. It's part of your identity. Individual things are seeping out, leaking out. What comes out of these paintings is a fascination with the body. I think you have to sit back and think about the actual structure of the body underneath. Where the heat is... I like thick paint. I think you've got the solidity of the body of the paint itself. But there are areas of flesh that aren't thick. So using thick paint's not appropiate." (Jenny Saville in D. Sylvester, 'Areas of Flesh', The Independent, Sunday 30 Jan. 1994, p. 18.) In dealing with the full range of reponses to women, and denying each in turn, the viewer receives an unambiguous message. Not that 'big is beautiful', rather that 'big is difficult'. We are neither revolted because the flesh is too appealing with it's layers of bruised blues and generous pinks; neither can we sympathise since her stance is too threatening. For the same reason we hestiate to ridicule; and we dare not pity.

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Jenny Saville (b. 1970)

Lot 12: Jenny Saville (b. 1970)

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Description: Jenny Saville (b. 1970) Juncture signed and dated 'Saville '94' (on the reverse) oil on canvas 120 x 66in. (304.8 x 167.6cm.) Painted in 1994

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 - Jenny Saville , b. 1970 Rosetta 2 oil on paper mounted on board

Lot 16: - Jenny Saville , b. 1970 Rosetta 2 oil on paper mounted on board

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Description: oil on paper mounted on board

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Lot 24: Jenny Saville (B. 1970)

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Description: Untitled c-print in Plexiglas frame 72 x 72 x 6 ae in. (183.5 x 183.5 x 17.2cm.) Executed in 1995, this work was conceived as an edition of 10, of which only one has been executed Provenance: Galerie M, Stockholm, where acquired by the present owner.

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Lot 24: Jenny Saville (B. 1970)

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Description: Untitled c-print in Plexiglas frame 72 x 72 x 6in. (183.5 x 183.5 x 17.2cm.) Executed in 1995, this work was conceived as an edition of 10, of which only one has been executed PROVENANCE Galerie M, Stockholm, where acquired by the present owner. SALESROOM NOTICE Please note this work is one of an edition of 6.

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Jenny Saville (b. 1970)

Lot 27: Jenny Saville (b. 1970)

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Description: Kneadsigned and dated 'J. Saville 1995-96' (on the reverse)oil on canvas54 1/8 x 62in. (137.5 x 157.5cm.)Painted in 1995-96

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Jenny Saville (b. 1970)

Lot 34: Jenny Saville (b. 1970)

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Description: Jenny Saville (b. 1970) Torso 2 signed and dated 'Saville 2004/5' (on the reverse) oil on canvas 141¾ x 115¾in. (360 x 294cm.) Painted in 2004-2005

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Figure 11.23

Lot 40: Figure 11.23

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Description: Jenny Saville (b. 1970) Figure 11.23 signed and dated 'Saville 97' (on the reverse) oil on canvas 60 x 60in. (152.5 x 152.5cm.) Painted in 1997

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Jenny Saville (b. 1970)

Lot 40: Jenny Saville (b. 1970)

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Description: Figure 11.23 signed and dated 'Saville '97' (on the reverse) oil on canvas 60 x 60 in. (152.5 x 152.5 cm.) Painted in 1997. PROVENANCE Daniel Templon, Paris LITERATURE B. Martin, Jenny Saville Territories, New York 1999, (illustrated) NOTES "I like images of extreme humanness, " states Saville about the inspirations for her luscious, fleshy, generous paintings. From Rubens to De Kooning, Soutine to Bacon-- Saville's work expounds on the grand tradition of figurative painting, yet feels thoroughly contemporary in gesture and subject matter. Tackling the weighty issue of female representation in painting and challenging conventional notions of female beauty in her work, Saville has advanced the discourse of painting and signaled its relevance unlike any other painter of her generation. In Figure 11.23, Saville faces portraiture head on. A broad, open face of a young woman is rendered with violent and fleshy reds, tender pinks, while dull putty and beige swaths give depth and softness to the skin. Light blue around the third eye make her look simultaneously pensive and stunned. The redness of her face seem to exaggerate the condition of blushing to the point of bleeding. The tradition of women as the subject of portraits is one of self-conscious sitters awaiting the male gaze. Figure 11.23, whoever she maybe, is rendered in immediate, intimate terms and is spared the conventions of femininity, beauty and coyness. "J. Saville, Territories, Gagosian Gallery 1999, p. 31.

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JENNY  SAVILLE

Lot 49: JENNY SAVILLE

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Description: B.1970 PASSAGE signed  and  dated  2003/4  on  the  reverse oil  on  canvas 336.5  by  290cm. 132  1/4    by  114  1/4  in.

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Lot 50: Jenny Saville (b.1970)

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Description: Untitled oil on canvas 23 x 23in. (59.7 x 59.7cm.) PROVENANCE Purchased from the artist's degree show at the Glasgow School of Art in 1992 by the present owner.

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JENNY SAVILLE

Lot 56: JENNY SAVILLE

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Description: signed, titled and dated 1992 on the reverseoil on canvas

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Jenny Saville (B. 1970)

Lot 60: Jenny Saville (B. 1970)

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Description: Branded oil on canvas 84 x 72in. (213.5 x 183cm.) Painted in 1992. PROVENANCE Acquired directly from the artist by the present owner. LITERATURE 'Jenny Saville. Territories', New York 1999 (illustrated in colour, p. 37). EXHIBITION Lisbon, Expo '98. Belem Cultural Centre, 'A Walk Through the Century', Sept. - April 1998. Hartford, University of Hartford, Joseloff Gallery, 'Jenny Saville', Nov. 1998 - Jan. 1999. London, National Portrait Gallery, 'Painting the Century', Oct. 2000. NOTES The young British artist Jenny Saville is often regarded as the only worthy successor of the gentleman painter Lucien Freud. And while at first glance a certain artistic similarity may indeed be discerned, there is a broad conceptual gap separating the two artists. Taking on Lucien Freud's politic of the gaze, Jenny Saville has turned working from the live model to its own end. Jenny Saville is part of a movement of British artists whose work is conceptually driven with an awareness of discourse and identity politics, a feminist artist in the tradition of Cindy Sherman, Barbara Kruger and Kiki Smith. Her massive paintings of massive bodies make a statement that the body has larger social echoes. Her sensual portraits of grossly overweight women transform fat and flesh into something enigmatically beautiful and sumptuous. In 'Plan 1993' the accentuated excess of an obese naked woman explodes into our space, seductive in the voluptuous indulgence of flesh, and yet negated by contours marked with liposuction traces. Empathy and distance are combined in the oversized image, conveying a perspectival extravagance with great attention to anatomical detail. Through delicate brushstrokes and confident handling of the paint as a material, she creates sensuous, tactile surfaces that beg to be touched. There is terrific fullness and potent emotion in Saville's interest in the maneuverability and anticipated alteration of flesh. In the artist's own words: "For me it's about the flesh, and trying to make paint behave in a way that flesh behaves. Using its material quality...to communicate the way a female body behaves. It is not just about the sight of the body. (J. Saville in conversation with M. Gayford, in: 'Jenny Saville Territories', Gagosian Gallery, New York 1999, p. 30). What distinguishes Saville from other paint-obsessed representers of the naked human body, is the power of her brilliant and relentless embodiment of our worst anxieties about our own corporality and gender. (Linda Nochlin "Floating in Gender Nirvana" in 'Art and America', Vol. 88, No. 3, March 2000). Conceptually driven, and based in the world of photography, the artist's work celebrates flesh and form and is thus, in many ways an early twenty-first century answer to the corpulent nudes that populate the work of the Flemish master Peter Paul Rubens.

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                                        Jenny Saville, R.A. (b. 1970)

Lot 67: Jenny Saville, R.A. (b. 1970)

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Description: Jenny Saville, R.A. (b. 1970) Self Portrait signed 'Saville' (lower left) oil on board 9¾ x 9¼ in. (24.7 x 23.5 cm.) Painted circa 1992.

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Jenny Saville (b. 1970)

Lot 70: Jenny Saville (b. 1970)

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Description: Jenny Saville (b. 1970) Mother and Child (After the Leonardo Cartoon) signed and dated ' Saville '09' (lower right) charcoal on watercolor paper 59 x 47in. (149.8 x 109.4cm.) Executed in 2009

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l - JENNY SAVILLE

Lot 76: l - JENNY SAVILLE

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Description: B. 1970STILL108 x 144 1/8 in. 274.3 x 366.1 cm.signed and dated 2003 on the reverseoil on canvasPROVENANCEGagosian Gallery, New YorkPrivate CollectionEXHIBITEDNew York, Gagosian Gallery, Jenny Saville: Migrants, April - May 2003, illustrated in colorNOTESeeing someone asleep is the ultimate intimacy. In Still, Jenny Saville presents herself in a state of total vulnerability: devoid of make-up, uncoiffed and stripped of all vanity. Her mouth hangs slightly open, suggesting belabored breathing, while her features seem swollen and puffy. Her closed eyes make her unable to notice or question our scrutiny, passive to our gaze. Some critics have seen in the work intimations of mortality, mistaking its openness and vulnerability for weakness, but the allusive title implies a sense of continuance, endurance and perseverance despite her immobility, while her unflinching honesty is an act of unusual and life affirming boldness. She paints herself --to quote Oliver Cromwell's request to his portraitist Lely -- "warts and all". A powerful statement, Still is totally and candidly devoid of the tactical self-fashioning that has characterized portraiture since the Renaissance. As always, the pliable flesh fills Saville's canvas, as her women luxuriate in their ample forms. Our viewpoint is always so close, so intimate, that the statuesque bodies expand to fill every corner of our field of vision, like gazing out at the earth from a low orbit, while the rich and contoured surfaces of her subjects have all the detail and complexity of a landscape. The weathered skin becomes a map of their existence; their bruises, scars, wrinkles and worry lines are like a chart of their passage through life, each one suffered and each one healed, but indelible. No evanescent models, whose slender forms are slowly refining themselves out of existence, these fecund females assert their presence with monumental grandeur and gravitas. It's not hard to understand the feminist interpretations that her work often elicits, but as a New York Times art critic pointed out "what is more interesting is the fraught relationship between the macho formal dimensions and the content of brutalized femininity" (Ken Johnson, ``Jenny Saville -- Migrants, Art in Review'', The New York Times, April 25, 2003). Still's grand scale and bold brushstrokes, deftly capturing the dappled surface of the skin, appropriates what is perceived as a masculine gesturality to the service of a proud affirmation of the feminine. As Saville explained during an interview in 2005, "the art I like concentrates on the body....artists who get to the flesh. Visceral artists -- Bacon, Freud. And de Kooning, of course", while deploring that her chosen field is so "male-laden...so historically weighted" (Suzie Mackenzie, ``Under the Skin``, Arts Special Reports, The Guardian, October 22, 2005).It was the combination of her technical prowess and this unflinching realism that led Charles Saatchi, the champion of young British art, to seek out her work while she was still in art school. Sensing a great discovery, Saatchi sponsored her production for a whole year -- "I just closed my door and worked for 18 months" Saville recalled, "what he did for me was amazing" (Ibid). Saville was one of the greatest discoveries by a man famous for his acumen in spotting rare talent, and is now recognized as one of the greatest British artists working today. Still was a highlight of her 2003 Migrants exhibition at the Gagosian Gallery, her first exhibition since 1999 due to the painstaking and time-consuming nature of her painting process. In the words of Richard Dorment, Saville is like "a bel canto soprano, stunning her enraptured audience with her technique" (``Virtuoso Mountains of Quivering Flesh'', The Daily Telegraph, February 9th 1994).

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Jenny Saville, b. 1970

Lot 105: Jenny Saville, b. 1970

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Description: closed contact # 14 signed and numbered 1/6 on the reverse colour photograph 185cm by 185cm., 77P by 77Pin. Executed in 1995-96. Provenance: Acquired directly from the artist by the present owner Literature: Chris Townsend, Vile Bodies, Munich 1998, no. 49h, illustrated in colour twice, once on the back cover.

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Self-Portrait

Lot 106: Self-Portrait

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Description: Jenny Saville (b. 1970) Self-Portrait oil on canvas 35¼ x 35 3/8in. (89.5 x 90cm.) Painted circa 1991

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Closed Contact #10

Lot 111: Closed Contact #10

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Description: Jenny Saville (b. 1970) Closed Contact #10 signed, titled and numbered 'Glen Luchford Saville Closed Contact *10 5/6' (on the reverse)color coupler print face-mounted on Plexiglas 96 x 72 x 6 in. (243.8 x 182.9 x 15.2 cm.) Executed in 1995-1996. This work is number five from an edition six.

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Jenny Saville (B. 1970)

Lot 113: Jenny Saville (B. 1970)

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Description: Jenny Saville (B. 1970) Separates lithograph in colours, 2001, on wove paper, signed in pencil, numbered 98/100, published by Eyestorm, London, the full sheet, apparently in very good condition, unexamined out of the frameL., S. 685 x 940 mm.

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JENNY SAVILLE (B. 1970) SELF PORTRAIT, 1992 71cm x 51cm (28in x 20in)

Lot 172: JENNY SAVILLE (B. 1970) SELF PORTRAIT, 1992 71cm x 51cm (28in x 20in)

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Description: SOLD FOR £30,000JENNY SAVILLE (B. 1970)SELF PORTRAIT, 1992Pencil on paper71cm x 51cm (28in x 20in)Estimate £20,000-30,000

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No Image Available

Lot 203: Jenny Saville (b. 1970)

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Description: Jenny Saville (b. 1970) Umbilical signed and dated 'Saville 2011' (lower right) charcoal on paper 51¾ x 77 7/8in. (131.5 x 198cm.) Executed in 2011

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Jenny Saville (b. 1970)

Lot 220: Jenny Saville (b. 1970)

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Description: Closed Contact Dsigned, partially titled and dated 'D 25/25 Glen Lurchford Saville (on the reverse)Cibachrome mounted to Plexiglas16 x 11 1/2 in. (41 x 29.5cm.)Executed in 2002, this work is number twenty-five from an edition of twenty-five and was made in collaboration with the photographer Glen Lurchford

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JENNY SAVILLE & GLENN LUCHFORD

Lot 232: JENNY SAVILLE & GLENN LUCHFORD

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Description: B. 1970 & B. 1968CLOSED CONTACT #8measurements72 by 71 1/2 by 6 7/8 in.alternate measurements182.9 by 181.6 by 17.1 cm.signed, titled and numbered 1/6 on the reverse on plexiglass framing elementc-print mounted in plexiglassCondition Note: Not taken out of frame. In good condition.We are pleased to provide you with a general report of the condition of the property described in our catalogue. 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 DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE.PROVENANCEGagosian Gallery, Los AngelesEXHIBITEDLos Angeles, Gagosian Gallery, Closed Contact Jenny Saville and Glenn Luchford, January 12- February 9, 2002

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m - Jenny Saville , Closed contact A

Lot 234: m - Jenny Saville , Closed contact A

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Description: firmato sul retro; es. 2/25 fotografia

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Jenny Saville (British, 1970) 'Separates', 2001

Lot 246: Jenny Saville (British, 1970) 'Separates', 2001

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Description: 'Separates', 2001signed and numbered '90/100' in pencil, lithograph, unframed 68 x 95cm (26 3/4 x 37 3/8in).

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 - Jenny Saville , b. 1970 Close Contact B and Close Contact D c-print e plexiglas

Lot 247: - Jenny Saville , b. 1970 Close Contact B and Close Contact D c-print e plexiglas

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Description: firmati, iscritti e numerati AP 3 sul retro c-print e plexiglas

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Closed Contact B

Lot 272: Closed Contact B

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Description: Jenny Saville (b. 1970) Closed Contact B signed and numbered 'B 4/25 Saville Glen' (on reverse) Cibachrome 16 1/8 x 11 5/8in. (41 x 29.5cm.) Executed in 2002, this work is number four from an edition of twenty- five made in collaboration with photographer Glen Lurchford

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 - Jenny Saville , b.1970 Closed Contact #10 cibachrome print in plexiglas frame

Lot 293: - Jenny Saville , b.1970 Closed Contact #10 cibachrome print in plexiglas frame

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Description: signed, titled, dated and numbered 2/6 on the reverse cibachrome print in plexiglas frame

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Self Portrait

Lot 307: Self Portrait

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Description: Jenny Saville (b. 1970) Self Portrait oil, oil pastel and paper collage on paper 49 5/8 x 37 7/8in. (126.1 x 96.3cm.) Executed in 1992

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m - Jenny Saville , Flesh Study

Lot 316: m - Jenny Saville , Flesh Study

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Description: signed on the reverse oil on canvas laid down on board

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No Image Available

Lot 325: Jenny Saville (b. 1970)

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Description: Interfacing oil on canvas 48 x 40 in. (122 x 102 cm.) Painted in 1992. PROVENANCE Frost & Reed, London LITERATURE M. Gayford, Jenny Saville: Territories, New York 1999, pl. 40 (illustrated) EXHIBITION Prague, City Gallery; and Kunsthalle Krems, Close Echoes, February-August 1998.

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Jenny Saville (b. 1970)

Lot 336: Jenny Saville (b. 1970)

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Description: Cindy oil on canvas 21 x 17 in. (55 x 45 cm.) Painted in 1993. PROVENANCE Paton Gallery, London LITERATURE M. Gayford, Territories, New York 1999, p. 41 (illustrated) NOTES Jenny Saville's studio is strewn with graphic photographs from medical text books. The material ranges from cadavers to surgical operations. Most of the material that she draws on would be more at home in a forensic studio. Her fascination however has been precipitated by what women do to their bodies to maximize on their outward appearance. Through her painting Jenny Saville challenges traditionally accepted perceptions of obesity and female beauty. Among the painters that she most admires is de Kooning, who once commented that flesh was the reason why oil painting was invented. "It's great to believe that. It almost presumes that you have the power to convert your medium into flesh. I don't know that a painter can ever really be that good." (M. Gayford, "A Conversation with Jenny Saville", Territories, New York 1999).

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Jenny Saville and Glen Luchford (b.1970 and b.1968)

Lot 339: Jenny Saville and Glen Luchford (b.1970 and b.1968)

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Description: Closed Contact #14 signed, titled, and numbered 'Luchford Saville Closed Contact #14 5/6' (on the Plexiglas support) color coupler print mounted on Plexiglas 72 x 72 x 6 in. (182.9 x 182.9 x 15.2 cm.) Executed in 1995-1996. This work is number five from an edition of six.

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Jenny Saville (b.1970)

Lot 351: Jenny Saville (b.1970)

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Description: Brandedsigned 'J. Saville' (on the reverse)oil on canvas24 x 20 in. (61 x 50.8 cm.)Painted in 1991-1992.

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JENNY  SAVILLE

Lot 354: JENNY  SAVILLE

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Description: B.1970 CLOSED  CONTACT  #5 signed,  titled,  numbered  1/6  +  3  APs  &  2  Ex  Prints,  variously  inscribed  and  dated  1995-1997  on  the  reverse  of  the  artist's  frame cibachrome  print  in  artist's  frame framed:  182  by  182cm.;  71  5/8    by  71  5/8  in.

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Jenny Saville (b. 1970)

Lot 360: Jenny Saville (b. 1970)

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Description: Jenny Saville (b. 1970) Time signed and dated 'Saville 2010' (lower left) charcoal on paper 66 7/8 x 52¾in. (170 x 134cm.) Executed in 2010

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Jenny Saville (b. 1970)

Lot 407: Jenny Saville (b. 1970)

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Description: Jenny Saville (b. 1970) Closed Contact (B and D) B: signed, partially titled and numbered 'B Glen Lurchford Saville A.P. 3' (on the reverse)D: signed, partially titled and numbered 'D Glen Lurchford Saville A.P. 3' (on the reverse)two Cibachromes mounted to Plexiglas each: 16 x 11½in. (41 x 29.5cm.) Executed in 2002, B and D are artist proof number three from an edition of twenty-five made in collaboration with the photographer Glen Lurchford (2)

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No Image Available

Lot 422: Jenny Saville

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Description: b.1970 UNTITLED colour photograph 183.5 by 183.5 cm 72 by 72 in Executed in 1995, this work was conceived as an edition of 10 of which only one has been executed. Provenance Galerie M, Stockholm Acquired directly from the above by the present owner.

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m - JENNY SAVILLE

Lot 435: m - JENNY SAVILLE

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Description: B. 1970CLOSED CONTACT #5183 by 183cm.; 72 by 72in.cibachrome printExecuted in 1995-1996, this work is number 1 from an edition of 6 plus 3 artist's proofs.PROVENANCEGagosian Gallery, New YorkAcquired directly from the above by the present owner in 2001LITERATUREDanilo Eccher, Jenny Saville, Milan 2005, p. 38, illustration of another example in colour

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No Image Available

Lot 436: Jenny Saville Cambridge 1970-lebt in London CLOSED

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Description: Jenny Saville Cambridge 1970-lebt in London CLOSED CONTACT C 2002. C-Print, auf Karton aufgezogen. 15 1/2 x 11 1/8 in..

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 - Jenny Saville & Glen Luchford , b. 1970 & b. 1968 Closed Contact # 11 cibachrome print mounted in plexiglass

Lot 446: - Jenny Saville & Glen Luchford , b. 1970 & b. 1968 Closed Contact # 11 cibachrome print mounted in plexiglass

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Description: signed, titled and numbered 4/5 on the reverse cibachrome print mounted in plexiglass

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fm - Jenny Saville & Glenn Luchford , Closed Contact #8

Lot 450: fm - Jenny Saville & Glenn Luchford , Closed Contact #8

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Description: signed, titled and numbered 1/6 on the reverse cibachrome print mounted in plexiglass

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JENNY SAVILLE & GLEN LUCHFORD

Lot 473: JENNY SAVILLE & GLEN LUCHFORD

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Description: B. 1970 & B. 1968CLOSED CONTACT A & Ceach box: 16 1/8 by 11 5/8 in. 41 by 29.5 cm.each signed by both artists and numbered on the reverse of the color coupler printcolor coupler print and exhibition catalogue in Plexiglas box, in 2 partsExecuted in 2002, these works are from an edition of 25.PROVENANCEGagosian Gallery, Los AngelesAcquired by the present owner from the above

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