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Gillian Wearing Auction Price Results

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DDS. Gillian Wearing (b.1963) Lily Cole, C-Type

Lot 480: DDS. Gillian Wearing (b.1963) Lily Cole, C-Type

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Description: DDS. Gillian Wearing (b.1963) Lily Cole, C-Type print, 2009, signed, dated and numbered 94/175 verso, on Fuji Crystal Archive paper, published by Counter Editions, London, the full sheet printed to the edges, sheet 610 x 480 mm (24 18 7/8 in)

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Gillian Wearing (b.1963) - Melanie and Kelly

Lot 506: Gillian Wearing (b.1963) - Melanie and Kelly

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Description: Gillian Wearing (b.1963) - Melanie and Kelly screenprint in colours, 1997, signed and dated in pencil, inscribed A.P. XII/XXX, an artist's proof aside from the edition of 90, published by Habitat, London, on wove paper, the full sheet printed to the edges, sheet 1015 x 760 mm (40 x 30 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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GILLIAN WEARING (British, b. 1963)

Lot 1217: GILLIAN WEARING (British, b. 1963)

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Description: Screenprint in colors, "My Man," 2000 (framed); Signed, dated, and numbered; 39" x 29" (sheet)

Condition Report: Edition 37/300; produced by Coriander Studios, London. Sheet has slipped in frame.

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Lot 1: Gillian Wearing, b. 1963

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Description: signs that say what you want them to say and not signs that say what someone else wants you to say - i have been certified as mildly insane c-type colour photograph 121 by 80cm., 47I by 31Iin. Executed in 1992-1993, this work is from an edition of 10 plus 1 AP. Provenance Private Collection, Japan Literature Exhibition Catalogue, London, Interim Art, Signs that Say..., 1997, p. 8, illustration in colour of an example from the edition of smaller works Russell Ferguson, Donna de Salvo and John Slyce, Gillian Wearing, London 1999, p. 49, illustration of another example in colour.

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Gillian Wearing (b. 1963)

Lot 23: Gillian Wearing (b. 1963)

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Description: Untitled (Everything in Life...)Untitled (Save What You Can...)Untitled (I'm Desperate...)Untitled (I Have Been Certified...)from signs that say what you want them to say and not signs that say what someone else wants you to sayfour color coupler printseach: 48 x 36 in. (122 x 91.5 cm.)Executed in 1992-1993. These works are from an edition of ten plus one artist's proof.

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Lot 25: Gillian Wearing (B. 1963)

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Description: Dancing in Peckham video 25mn. colour, silent Executed in 1994, this work is from an edition of 10 and is accompanied by a black and white still-certificate of authenticity signed by the artist PROVENANCE Interim Art, London. Jay Gorney Modern Art Ltd., New York. LITERATURE R. ferguson, D. de Salvo and J. Slyce, 'Gillian Wearing', London 1999 (still illustrated in colour, p. 35). B. Riemschneider and U. Grosenick, 'Art at the Turn of the Millennium', K”ln 1999 (still illustrated in colour, p. 528). NOTES In her sardonic body of video and photographic works Gillian Wearing penetrates the soul of the passer-by and reveals the truth that lies behind the mask of anonymity. Wearing generally invites her friends or any street people to express their inner sentiments that, astonishingly, lay bare anarchist believes or profound social insecurity. In 'Dancing In Peckham', 1994, the roles are reversed: the artist herself self-humiliates by maniacally dancing on a music that plays in her headphones, in front of a Shopping-Mall audience, unaware of the what's happening. The idea came after she had been stunned by a 'fanatic' dancer performing totally out of synchronisation in the Royal Festival Hall: "I had to make a conscious decision to do that piece. It didn't come easily. It was actually because I had seen someone else dancing crazily - she was someone whom I instantly liked, or was interested in, or was interested in, someone who could do that without feeling totally self-conscious. It was about taking that kind of fantasy and being able to do something in a public space, where you do end up looking like a nutter, ultimately, because it's not acceptable." (G. Wearing, in: 'Gillian Wearing', London 1999, p. 26) In 'Dancing in Peckham', an extreme and palpable tension arises from the contrast between Wearing's frantic dance and the silence that she uses a burlesque device taken from silent movies. By cleverly controlling her apparent recklessness, the artist forces the viewers to share her embarrassment and then to reveal their own lack of confidence, and the dance continues despite the social gaze. In this bright reflection on identity and self-representation, Wearing discloses and exposes: "I'm always trying to find ways of discovering things about people, and in the process discovering more about myself" (In: B. Riemschneider and U. Grosenick (Ed.), 'Art at the Turn of the Millennium', Cologne 1999, p. 526).

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GILLIAN WEARING

Lot 28: GILLIAN WEARING

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Description: B. 1963TRAUMAmeasurements102 by 76cm.alternate measurements40 1/8 by 29 7/8 in.R-type colour printExecuted in 2001, this work is from an editon of 5 plus 1 artist's proof.PROVENANCEDonated by the artist, courtesy of Maureen PaleyNOTEWorking primarily in film, video and photography, Wearing explores social behaviour to lay bare the complexities of human relationships and the gap between public personae and private lives.Trauma is a portrait adopted from a film of the same name that the artist made in 2000. Almost 30 minutes in length, the film depicts 8 different subjects. Each of them is masked for the entire running of the piece, thus concealing their identity. Throughout this time, each individual shares their deepest secrets, episodes of abuse and torment they endured during their childhood years. What is most striking and extraordinary about these tales is not only the emotional damage suffered by each narrator, but also the deadpan way in which each story is delivered. The photograph depicts a portrait of one of the 8 individuals whose mask is the face of a flaxen haired boy. The shiny, unlined face is emblematic of a state of lost innocence and also of the facade that we must present to the world in spite of psychological trauma. The mask can also be liberating. Anonymity offers protection and a kind of licence to speak. As well as being a device in crime documentaries, where the faces of victims or perpetrators are obscured to protect their identities, the mask has played an important role in cinema, theatre and carnival.The formal composition of this portrait -- front on and posed against a deep cobalt blue background -- also echoes the art historical conventions of Renaissance portraiture, as embodied in the paintings of Holbein. All those who participated in this series of portraits, including the man behind the mask in this image, were volunteers who responded to an advert Wearing placed in a local newspaper. The advertisement asked for individuals who had been able to overcome severe traumatic experiences in childhood and most importantly would be willing to partake in a film where they could speak openly about these tragic events. Wearing liberates her subjects and initiates a platform where they are allowed to say what they wish, uncontrolled and unforced -- factors that often evade the everyday but drive deep seated needs. Born in 1963 in Birmingham the artist lives and works in London. She uses British subjects and focuses on the idiosyncracies of British culture. At the same time her work addresses the wider human condition, winning her international prominence and critical acclaim. Since 1991 the artist has been exhibiting globally and in 1997 she was awarded the Turner Prize. Wearing's critical focus on social forms of behaviour and elements that constitute the basis of human existence serves as a form of political and cultural commentary. Her work oscillates between mainstream society and those on its margins, between normality and what is repressed. Through the simplest of means she discloses the profundity that underlies the most casual of acts. AC/IB

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Gillian Wearing (B. 1963)

Lot 46: Gillian Wearing (B. 1963)

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Description: 10-16 video back projection (circa 15 min.) dimensions variable Executed in 1997. PROVENANCE Interim Art, London. LITERATURE B. Riemschneider and U. Grosenick (eds.), 'Art at the Turn of the Millennium', Cologne 1999 (two stills from the video illustrated in colour, nos. 05-06, p. 527). V. Button, 'The Turner Prize', London 1999 (one still from the video illustrated in colour, p. 135). EXHIBITION London, Tate Gallery, 'The Turner Prize', October-January 1997. NOTES "In '10-16', the voices of seven children, progressing in age from ten to sixteen, are lip-synched by a variety of adults. The piece touches on issues of puberty and childhood sexuality, documenting the passage from supposed innocence into ravaged adulthood, with increasingly evident wear and damage. Naive dreams for the future that we know will soon be abandoned are articulated. Only the ten year-old seems really positive, and he prizes his solitude. By the age of eleven, we already hear the need to appear tough in relation to others. This girl has long lists of friends, but wants to kill them. By fourteen the child can already assert that he feels "like a man in a boy's body", an irony emphasized by the fact that what we see and hear on the screen is a boy in a man's body. Wearing uses a chronological structure reminiscent of Michael Apted's great 'Seven Up' documentary and its sequels, to demonstrate even more brutally than those films the degree to which childhood experience is dragged into adulthood. Many artists have depicted childhood and adolescence. Few have pursued its traumas into adulthood with the intensity of this work. '10-16' rejects development in favour of an endless cycle of fears and insecurity." (R. Ferguson, 'Gilian Wearing', London 1999, pp. 63-65).

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Lot 47: Gillian Wearing (B. 1963)

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Description: Signs that say what you want them to say and not signs that say what someone else wants you to say - 'I'm desperate' C-type colour print 48 x 31in. (120 x 80cm.) Executed in 1992/93, this work is no.1 from an edition of 10 + 1 AP PROVENANCE Maureen Paley Interim Art, London. LITERATURE 'Dimensions Variable. New Works for the British Council Collection', London 1997 (another from the edition illustrated in colour, p. 105). NOTES 'Signs that say what you want them to say and not signs that say what someone else wants you to say', a large series of colour portraits of people of various ages, professions and social and ethnic groups, was begun by the artist in 1992. In each, the person depicted holds a card on which they have spontaneously recorded their own feelings or thoughts. From existential to humorous, from insightful to abusive, these statements document the 'Zeitgeist' of London at the end of the 20th century.

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Lot 48: Gillian Wearing (B. 1963)

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Description: Stephen, Danny, Daniel, Ryan black and white photograph and iris print, diptych each: 35 x 48.7/8in. (90 x 124cm.) This work is from an edition of 5 PROVENANCE Maureen Paley Interim Art, London. LITERATURE 'World of Interiors', Oct. 1998 (another from the edition illustrated, p. 284).

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GILLIAN WEARING, R.A.

Lot 50: GILLIAN WEARING, R.A.

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Description: GILLIAN WEARING, R.A. B.1963 SELF PORTRAIT AT THREE YEARS OLD digital c-type print 147 by 120cm.; 58 by 47¼in. Executed in 2004, the present work is number 3 from an edition of 6, plus 2 artist's proofs.

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I love the big willie - Signs that say what you want them to say and not signs that say what someone else wants you to say, 1992/3

Lot 64: I love the big willie - Signs that say what you want them to say and not signs that say what someone else wants you to say, 1992/3

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Description: I love the big willie - Signs that say what you want them to say and not signs that say what someone else wants you to say, 1992/3Colour coupler print. 41.9 x 29.8 cm (16 ½ x 11 3/4 in).   Credited, titled, dated and annotated ‘Unique‘ on a printed label affixed to the reverse of the flush-mount.

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GILLIAN WEARING

Lot 71: GILLIAN WEARING

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Description: Sleeping Mask Signed, dated and numbered 'No. 41' in black ink on the underside (the edition was 60 and 20 artist's proofs in Roman numerals), published by Parkett Editions, Zurich and New York, contained in original custom plastic packaging and original Styrofoam lined cardboard box.

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GILLIAN WEARING

Lot 86: GILLIAN WEARING

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Description: Family Monument Project This work is from an edition of 5 and is accompanied by a certificate of authenticity signed by the artist.

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Gillian Wearing (British, b.1963)

Lot 96: Gillian Wearing (British, b.1963)

Description: Untitled, signed verso, screenprint 1997, from Screen, a portfolio of eleven screenprints by 12 artists, published by Paragon Press in an edition of 75, 60 x 89cm (23 5/8 x 35in)

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Gillian Wearing (b.1963) melanie and kelly, 1997

Lot 98: Gillian Wearing (b.1963) melanie and kelly, 1997

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Description: Gillian Wearing (b.1963) melanie and kelly, 1997 silkscreen printed in colours, signed and dated at lower right, an artist's proof numbered xii/xxx in pencil, on wove paper, the full sheet printed to the edges, published by Habitat, 39¾ x 29½ in., 101 x 75 cm.

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PROPERTY

Lot 115: PROPERTY

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Description: OF A european collector GILLIAN WEARING (b. 1963) HOMAGE TO THE WOMAN WITH THE BANDAGED FACE I SAW YESTERDAY DOWN WALWORTH ROAD video projection in black and white duration: seven minutes executed in 1995 the video is from an edition of three and is accompanied by a Certificate of Authenticity signed by the artist PROVENANCE Interim Art, LONDON EXHIBITED LONDON, Serpentine Gallery, GILLIAN WEARING, September 14-October 29, 2000 (another example exhibited) LONDON, Tate Modern, CENTURY CITY: ART AND CULTURE IN THE MODERN METROPOLIS, February 1-April 29, 2001(another example exhibited) PARIS, MusTe d'art moderne de la ville de Paris, SOUS INFLUENCE, March 10-May 6, 2001(another example exhibited) LITERATURE R. Ferguson, D. de Salvo and J. Slyce, GILLIAN WEARING, LONDON, 1999, pp. 28-29, 43, 110-113 (video still illustrations) I. Blazwick, ed., CENTURY CITY: ART AND CULTURE IN THE MODERN METROPOLIS, LONDON, 2001, p. 85 (video still illustration).

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Lot 115: Gillian Wearing

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Description: b. 1963 STEVEN, DANNY, DANIEL, RYAN black and white photograph, IRIS print, in two parts each: 33a by 46ain. 85.1 by 117.5cm. Executed in 1994/6, this work is number 5 from an edition of 5 plus one artist's proof. Provenance Jay Gorney Modern Art, New York Acquired by the present owner from the above.

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Gillian WEARING (née en 1963)   Kelly and Melanie, 1997

Lot 120: Gillian WEARING (née en 1963) Kelly and Melanie, 1997

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Description: Gillian WEARING (née en 1963) Kelly and Melanie, 1997 Photographie en noir et blanc, tirage 1/5 d'une édition à 5 exemplaires + 1 AP 90 x 124 cm Provenance : Galerie Anne de Villepoix, Paris Collection particulière, Paris

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Self Portrait as my Uncle Bryan Gregory, 2003

Lot 129: Self Portrait as my Uncle Bryan Gregory, 2003

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Description: Gillian Wearing (b. 1963) Self Portrait as my Uncle Bryan Gregory, 2003 chromogenic print numbered 5 from an edition of 6 + 2 AP's on a gallery label affixed (on the frame backing)45 x 28¾in. (114.3 x 73cm.)

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GILLIAN WEARING (B. 1963)

Lot 132: GILLIAN WEARING (B. 1963)

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Description: GILLIAN WEARING (B. 1963) Trauma (Production Still) signed and dated 'Gillian Wearing 2001' (on a paper label affixed to the backing board)r-type print 50 x 40 in. (127 x 101.6 cm.) Executed in 2001. This work is number one from an edition of five plus one artist's proof.

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Gillian Wearing

Lot 141: Gillian Wearing

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Description: Gillian Wearingb. 1963steven, danny, daniel, ryanblack and white photograph, IRIS print, in two parts (2)each image: 85 by 117 cm.,33 1/2 by 46 1/4 in.each frame: 95 by 127.5 cm.,37 1/2 by 50 1/8 in.Executed in 1994-96, this work is number 5 from an edition of five plus one artist's proof.ProvenanceJay Gorney Modern Art, New YorkLiteratureDonna De Salvo, Russell Ferguson, John Slyce et al., Gillian Wearing, London 1999, pp. 56-57, illustrated

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Lot 141: Gillian Wearing

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Description:

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Gillian Wearing (British, b.1963)

Lot 162: Gillian Wearing (British, b.1963)

Description: Untitledsigned verso, Screenprint, 1997, from Screen, a portfolio of 11 screenprints by 12 artists, published by the Paragon Press in an edition of 75,23 5/8 x 35 in. (60 x 89cm.)

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Gillian Wearing (B.1963)

Lot 169: Gillian Wearing (B.1963)

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Description: Western Security r-type photographic print 475/8 x 361/4in. (121 x 92cm.) Executed in 1996, this work is number one from an edition of three. PROVENANCE Interim Art, London.

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Gillian Wearing (b. 1963)

Lot 176: Gillian Wearing (b. 1963)

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Description: Oliasigned and numbered 'G Wearing/87/100' (on the reverse)c-print24 x 20in. (60 x 50cm.)Executed in 2003, this work is number eighty seven from an edition of one hundred

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Gillian Wearing (b. 1963)

Lot 191: Gillian Wearing (b. 1963)

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Description: Theresa and Seamustwo c-prints20 1/8 x 20 1/8in. (51 x 51cm.) eachExecuted in 1998, this work is number five from an edition of five plus one artists' proof

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GILLIAN  WEARING

Lot 194: GILLIAN  WEARING

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Description: B.1963 ZIYONA acrylic  on  masonite,  ink  on  paper,  and  c-print,  in  artist's  frame Overall:  46  by  22  3/8    in.      116.8  by  56.8  cm. Executed  in  2008.

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Gillian Wearing (b. 1963)

Lot 198: Gillian Wearing (b. 1963)

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Description: from Signs that say what you want them to say and not signs that say what someone else wants you to saytwo Cibachromes mounted to aluminium, one unframedeach: 15 3/4 x 11 7/8in. (40 x 30cm.)Each executed in 1994 (2)

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Homage to the Woman with the Bandaged Face Who I Saw Yesterday Down the Street

Lot 207: Homage to the Woman with the Bandaged Face Who I Saw Yesterday Down the Street

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Description: GILLIAN WEARING (B. 1963) Homage to the Woman with the Bandaged Face Who I Saw Yesterday Down the StreetCibachrome print 49½ x 38 in. (125.7 x 96.5 cm.) Executed in 1996. This work is number one from an edition of six.

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Gillian Wearing (British, 1963)

Lot 231: Gillian Wearing (British, 1963)

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Description: Olia C-print in colours, 2003, on Fuji-Colour paper, signed and numbered from the edition of 100 in black pen; together with 'To Diane Love Gillian (Homage to Diane Arbus)', black and white photograph, on fibre paper, from the edition of 110, each printed by Goldenshot, London and published by Counter-Editions, 525 x 435mm (20 5/8 x 17 1/8in)(and smaller)(2)

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Gillian Wearing (B. 1963)

Lot 244: Gillian Wearing (B. 1963)

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Description: Oliac-type colour print, 2003, on photographic paper, signed in blue ink on a label attached to the reverse of the frame, numbered 96/100, published by Counter Editions Ltd., London, with full margins, in very good condition, framedP. 520 x 420mm., S. 600 x 498mm.

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Gillian Wearing (b. 1963)

Lot 244: Gillian Wearing (b. 1963)

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Description: I'm desperate (from the series 'Signs that say what you want them to say not Signs that say what someone else wants you to say') chromagenic print 47 x 311/2in. (119.5 x 80cm.) Executed in 1992-1993, this work is number eight from an edition of ten PROVENANCE Maureen Paley/Interim Art, London. Barbara Gladstone Gallery, New York. LITERATURE M. Paley (ed.), Gillian Wearing. Signs that say what you want them to say and not Signs that say what someone else wants you to say. 1992-1993, London 1997 (another from the smaller format edition illustrated in colour, p. 71 and front cover). L. Buck, Moving Targets: A User's Guide to British Art Now, London 1997 (another from the smaller format edition illustrated, p. 94). R. Ferguson, D. De Salvo & J. Slyce (eds.), Gillian Wearing, London 1999 (another from the smaller format edition illustrated in colour, p. 131) B. Riemschneider and U. Grosenick (eds.), Art at the Turn of the Millennium, Cologne 1999 (another from the smaller format edition illustrated in colour, p. 526).

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GILLIAN WEARING, R.A.

Lot 264: GILLIAN WEARING, R.A.

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Description: GILLIAN WEARING, R.A. B.1963 A SIGN THAT SAYS WHAT YOU WANT IT TO SAY AND NOT A SIGN THAT SAYS WHAT SOMEONE ELSE WANTS YOU TO SAY c-type print on aluminium 42 by 30cm.; 16 1/2 by 11 7/8 in.

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GILLIAN WEARING (B. 1963)

Lot 276: GILLIAN WEARING (B. 1963)

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Description: GILLIAN WEARING (B. 1963) Self-Portrait as My Father Brian Wearing gelatin silver print 66 x 51 in. (167.6 x 129.5 cm.) Executed in 2003. This work is number three from an edition of six plus two artist proofs.

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Gillian Wearing (B. 1963)

Lot 299: Gillian Wearing (B. 1963)

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Description: Gillian Wearing (B. 1963) Olia c-type colour print, 2003, on photographic paper, with accompanying label signed in blue ink, numbered 95/100, published by Counter Editions Ltd., London, with full margins, in very good condition, framed P. 520 x 420mm., S. 600 x 498mm.

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Gillian Wearing

Lot 305: Gillian Wearing

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Description: Olia signed and numbered 59/100 in ink on a label affixed to the reverse of the frame, published by Counter Editions, London, in very good condition, framed.

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Gillian Wearing (b.1963) Olia c-type printed in

Lot 330: Gillian Wearing (b.1963) Olia c-type printed in

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Description: Gillian Wearing (b.1963) Olia c-type printed in colours, 2003, signed in black pen, numbered 13/100, printed by Goldenshot, London, published by Counter-Editions, on Fuji-Colour paper, with full margins,525 x 435 mm (205/8 x 17 1/8 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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Lot 334: GILLIAN WEARING Olia, 2003

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Description: GILLIAN WEARING Olia, 2003

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Contemporary Art: GILLIAN WEARING Steven, Danny,

Lot 360: Contemporary Art: GILLIAN WEARING Steven, Danny,

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Description: Contemporary Art: GILLIAN WEARING Steven, Danny, Daniel, Ryan,, 1996

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Sleeping Mask, 2004

Lot 370: Sleeping Mask, 2004

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Description: Sleeping Mask, 2004Wax multiple painted in colors, reinforced by polymer resin, 8 1/4 x 5 1/4 in. (21 x 13.3 cm)  signed, dated `04' and numbered `No. 41' in black ink on the underside (the edition was 60 and 20 artist's proofs in Roman numerals), published by Parkett Editions, Zurich and New York, in very good condition, contained in original custom plastic packaging and original syrofoam lined cardboard box.

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GILLIAN WEARING

Lot 378: GILLIAN WEARING

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Description: B. 1963ME AT THREE YEARS OLDmeasurements41 1/2 by 35 1/2 in. (framed)alternate measurements106 by 90 cm.signed on label on the reverseblack and white bromide print, in artist's frameExecuted in 2005, this work is number 4 from an edition of 6 plus 2 artist's proofs.PROVENANCEGladstone Gallery, New York

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[ PRINTS ]

Lot 394: [ PRINTS ]

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Description: Gillian Wearing (B. 1963) melanie and kelly silkscreen printed in colours, 1997, signed and dated in pencil, numbered 69/90, on wove paper, the full sheet printed to the edges, in good condition, sheet 1010 x 750mm.

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GILLIAN WEARING, B. 1963 SIGNS THAT SAY WHAT YOU WANT THEM TO SAY AND NOT SIGNS THAT SAY WHAT

Lot 403: GILLIAN WEARING, B. 1963 SIGNS THAT SAY WHAT YOU WANT THEM TO SAY AND NOT SIGNS THAT SAY WHAT

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Description: GILLIAN WEARING, B. 1963 SIGNS THAT SAY WHAT YOU WANT THEM TO SAY AND NOT SIGNS THAT SAY WHAT SOMEONE ELSE WANTS YOU TO SAY EVERYTHING IS CONNECTED...signed on a gallery label attached to the reverser-type colour printExecuted in 1992-3, this work is number 3 from an edition of 10 plus 1 artist's proof.PROVENANCEMaureen Paley Interim Art, LondonAcquired from the above by the present owner

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GILLIAN WEARING, B. 1963 SELF-PORTRAIT AS MY MOTHER JEAN GREGORY

Lot 405: GILLIAN WEARING, B. 1963 SELF-PORTRAIT AS MY MOTHER JEAN GREGORY

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Description: signed on a gallery label attached to the backboardblack and white printExecuted in 2003, this work is number 1 from an edition of 6 plus 2 artist's proofs.PROVENANCEMaureen Paley Interim Art, LondonAcquired from the above by the present owner

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Lot 410: Gillian Wearing (b.1963) my man silkscreen printed

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Description: Gillian Wearing (b.1963) my man silkscreen printed in colours, 2000, signed in pencil, numbered 17/300, on wove paper, the full sheet printed to the edges, in good, fresh condition, sheet 1000 x 730mm.

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GILLIAN WEARING, B. 1963 TRAUMA #4 (PRODUCTION STILL)

Lot 413: GILLIAN WEARING, B. 1963 TRAUMA #4 (PRODUCTION STILL)

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Description: signed and dated 2005 on a gallery label attached to the backboardr-type printExecuted in 2001, this work is number 1 from an edition of 5 plus 1 artist's proof.PROVENANCEMaureen Paley Interim Art, LondonAcquired from the above by the present owner

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GILLIAN WEARING, B. 1963

Lot 433: GILLIAN WEARING, B. 1963

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Description: signed and numbered 86/100 on the reversecibachrome printThis work is number 86 from an ediiton of 100.

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Lot 542: Gillian Wearing (b. 1963)

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Description: Dancing in Peckham (production still) color coupler print 531/2 x 351/2 in. (136 x 90.2 cm.) Executed in 1994. This work is number seven from an edition of ten. PROVENANCE Interim Art, London LITERATURE E. Janus, Veronica's Revenge-Contemporary Perspectives on Photography, Zurich, 1998, p. 142 (illustrated) R. Ferguson, D. De Salvo and J. Slyce, Gillian Wearing, London 1999, p. 35 (illustrated) B. Riemschnieder and U. Grosenick, Art at the Turn of the Millennium, Cologne, 1999, p. 528 (illustrated) R. Timms, A. Bradley and V. Hayward, Young British Art: The Saatchi Decade, London, 1999, p. 442.

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Gillian Wearing (b. 1963)

Lot 738: Gillian Wearing (b. 1963)

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Description: Signs that say what you want them to say and not Signs that say what someone else wants you to say: Come back Mary C-print mounted on aluminium 16 x 12in. (40.5 x 30.5cm.) Executed in 1992-93, this work is the artist proof from an edition of one plus one artist proof. PROVENANCE Jay Gorney Modern Art, New York. Maureen Paley Interim Art, London. LITERATURE M. Paley (ed.), Gillian Wearing. Signs that say what you want them to say and not Signs that say what someone else wants you to say, London 1997 (another from the edition illustrated).

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