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Paul McCarthy Auction Price Results

Paul McCarthy (1945)  Please Register/Login to access your Invaluable Alerts

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Paul McCarthy (born 1956), Xmas Party 1997

Lot 43: Paul McCarthy (born 1956), Xmas Party 1997

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

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

Lot 58: Paul McCARTHY (né en 1945) FEAR OF MANNEQUINS WING HEADS HOLLYWOOD BOULEVARD, dyptique, 1971 Deux tirages cibachromes sur papier

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

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

Lot 114: Paul McCarthy (b. 1945) Dog, 2000 polaroid signed,

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

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

Lot 313: Paul McCarthy (b.1945) - Secession. Sod & Sodie Sock

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

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Paul McCarthy (b.1945) - Untitled

Lot 313A: Paul McCarthy (b.1945) - Untitled

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

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

Lot 328: ƒ Paul McCarthy (né en 1945) Untitled (Tokyo Santa #14), 1999 Tirage sur papier Cibachrome monté et numéroté 3/6, étiquette de la ga...

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

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PAUL McCARTHY, Peter Paul Skin Sample, 2005

Lot 331: PAUL McCARTHY, Peter Paul Skin Sample, 2005

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

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Untitled (from the Propo Series)

Lot 442: Untitled (from the Propo Series)

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

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PAUL MCCARTHY

Lot 4: PAUL MCCARTHY

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

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                                        Paul McCarthy (b. 1945)

Lot 5: Paul McCarthy (b. 1945)

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

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Lot 6: A SELECTION OF NINE BOOKS ON RINGS KUNZ, GEORGE FREDERICK. RINGS FOR THE FINGER

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

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

Lot 10: Piccadilly Circus: Tea Party Pink Queen Feeding Green Queen, 2003

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

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PAUL MCCARTHY (NE EN 1945)

Lot 10: PAUL MCCARTHY (NE EN 1945)

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

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Green Dog from the Propo Series, 1990

Lot 11: Green Dog from the Propo Series, 1990

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

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

Lot 16: Untitled (from Propo-Series) (Peaches), 1991/2002

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

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

Lot 18: Paul Mccarthy (b.1945) red, green, black, 2005

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

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Lot 20: PAUL MCCARTHY b.1945 UNTITLED felt-tip pen on

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

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                                        Paul McCarthy (b. 1945)

Lot 23: Paul McCarthy (b. 1945)

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

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Brancusi Tree (gold), 2007

Lot 27: Brancusi Tree (gold), 2007

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

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

Lot 28: f - Paul McCarthy , b. 1945 Baby on a Snake cibachrome print mounted on aluminium

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

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Green Grey Michael Jackson 1, 2003

Lot 31: Green Grey Michael Jackson 1, 2003

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

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Bear and Rabbit on a Rock

Lot 32: Bear and Rabbit on a Rock

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

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Lot 40: PAUL MCCARTHY Red, Green, Black, 2005

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Description: PAUL MCCARTHY Red, Green, Black, 2005

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PAUL MCCARTHY

Lot 42: PAUL MCCARTHY

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

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PAUL  MCCARTHY

Lot 42: PAUL  MCCARTHY

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

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

Lot 44: PAUL  MCCARTHY

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

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Paul McCarthy (b. 1945)

Lot 48: Paul McCarthy (b. 1945)

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

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PAUL MCCARTHY

Lot 54: PAUL MCCARTHY

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

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PAUL MCCARTHY (NE EN 1945)

Lot 55: PAUL MCCARTHY (NE EN 1945)

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

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PAUL MCCARTHY

Lot 66: PAUL MCCARTHY

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

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Masks (Monkey)

Lot 68: Masks (Monkey)

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Description: PAUL MCCARTHY (b. 1945) Masks (Monkey) signed and numbered twice 'Paul McCarthy 2/3' (on sintra backing) Cibachrome print mounted on Sintra backing 72 x 48 in. (182.9 x 121.8 cm.) Executed in 1994. This work is number two from an edition of three.

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Masks (Monkey Masks Inside Out)

Lot 69: Masks (Monkey Masks Inside Out)

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Description: PAUL MCCARTHY (b. 1945) Masks (Monkey Masks Inside Out) signed and numbered twice 'Paul McCarthy 2/3' (on sintra backing) Cibachrome print mounted on Sintra backing 72 x 48 in. (182.9 x 121.8 cm.) Executed in 1994. This work is number two from an edition of three.

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Paul McCarthy (b. 1945)

Lot 69: Paul McCarthy (b. 1945)

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Description: Paul McCarthy (b. 1945) Michael Jackson Fucked Up (Big Head) bronze 120 x 94 x 51 1/8 in. (304.8 x 238.8 x 130.1 cm.) Executed in 2002. This work is one from an edition of three plus one artist's proof.

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Paul McCarthy (b. 1945)

Lot 74: Paul McCarthy (b. 1945)

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Description: Santa Octopussywax and plastic on a wooden crate plinthplinth: 26 1/4 x 27 1/8 x 24 5/8in. (66.5 x 69 x 62.5cm.);sculpture: 14 1/2 x 16 x 13 1/4 in. (37 x 40 x 33.5cm.)Executed in 2004, this work is from a series of twelve created in four colours; red, green, white and black

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Paul McCarthy (b. 1945)

Lot 92: Paul McCarthy (b. 1945)

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Description: Chocolate Silicone Blockheadcast silicone35 3/4 x 43 1/4 x 27 1/4 (91 x 110 x 69 cm.)Executed in 1999-2000. This work is from an edition of six.

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Paul McCarthy (b. 1945)

Lot 99: Paul McCarthy (b. 1945)

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Description: Paul McCarthy (b. 1945) Steven silicone and wood crate 57 x 32 x 25½ in. (144.8 x 81.3 x 64.8 cm.) Executed in 2007. This work is number one from an edition of six plus two artist's proofs.

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PAUL MCCARTHY

Lot 103: PAUL MCCARTHY

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Description: signed, titled and dated 1996 on a label affixed to the backing boardacrylic and oilstick with tape adhesive on paper

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PAUL MCCARTHY

Lot 104: PAUL MCCARTHY

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Description: signed, titled and dated 1996 on a label affixed to the backing boardacrylic and oilstick with tape adhesive on paper

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Masks (Small) from the Propo series, 1994

Lot 109: Masks (Small) from the Propo series, 1994

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Description: Masks (Small) from the Propo series, 1994Portfolio of seven c-prints.   20 x 15 7/8 in. (50.8 x 40.3 cm) each.  Each signed and dated "Paul McCarthy 1994" and numbered of nine on the reverse.  This work is from an edition of nine plus four artist's proofs. 

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PROPERTY OF A PRIVATE COLLECTOR PAUL McCAR...

Lot 121: PROPERTY OF A PRIVATE COLLECTOR PAUL McCAR...

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Description: PROPERTY OF A PRIVATE COLLECTORPAUL McCARTHY(b. 1945)UNTITLED (A)signed and dated "Paul McCarthy 1996" on the underside of the wooden basepolyurethane and wood381/4 x 12 x 173/4 in. (97.2 x 30.5 x 45 cm)executed in 1996this work is unique and accompanied by a certificate of authenticity signed by the artist

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PAUL MCCARTHY

Lot 134: PAUL MCCARTHY

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Description: Stainless Steel Butt Plug This work is number 2 from an edition of 5 plus 2 artist’s proofs.

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PAUL  MCCARTHY

Lot 135: PAUL  MCCARTHY

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Description: B.1945 BRANCUSI  TREE  (SILVER) signed,  dated  2007  and  numbered  42/75  on  the  lower  edge self-inflatable  mylar  fabric  with  integrated  fan  on  plastic  base Height:  80  1/4    in.        203.8  cm. Diameter:  40  in.      101.6  cm. Executed  in  2007,  this  work  is  number  42  from  an  edition  of  75  plus  20  artist’s  proofs.

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McCarthy Paul: Billy Club, 2005 Object. PVC, foam

Lot 141: McCarthy Paul: Billy Club, 2005 Object. PVC, foam

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Description: McCarthy Paul: Billy Club, 2005 Object. PVC, foam material, gaffers Tape (unique specimen)

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Paul McCarthy

Lot 141: Paul McCarthy

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Description: Untitled 2 from Playboy Comics Signed 'Paul McCarthy' on the front. This work is from an edition of 3 plus 1 artist's proof.

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                                        George Condo (b. 1957), Paul McCarthy (b. 1945), Jake & Dinos Chapman (b. 1966 & b. 1962)

Lot 142: George Condo (b. 1957), Paul McCarthy (b. 1945), Jake & Dinos Chapman (b. 1966 & b. 1962)

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Description: George Condo (b. 1957), Paul McCarthy (b. 1945), Jake & Dinos Chapman (b. 1966 & b. 1962)George Washington signed and dated 'Condo 06 Paul McCarthy 06 Dinos Chapman Jake Chapman' (on the reverse)oil on canvas 66 1/8 x 46½ in. (167.9 x 118.1 cm.) Painted in 2006.

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Xmas Pudding, 1999

Lot 146: Xmas Pudding, 1999

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Description: Xmas Pudding, 1999Glass vessel filled with red rubber multiple, 5 x 5 1/2 x 5 1/2 in. (12.7 x 14 x 14 cm)  signed, dated, titled, inscribed and numbered 10/10 in black paint, published by the artist, an area of adhesive remains, the painted title rubbing off in places, otherwise in good condition.

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PAUL McCARTHY

Lot 146: PAUL McCARTHY

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Description: Xmas Pudding signed, dated, titled, inscribed and numbered 10/10 in black paint, published by the artist, an area of adhesive remains, the painted title rubbing off in places, otherwise in good condition.

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PAUL MCCARTHY

Lot 147: PAUL MCCARTHY

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Description: Untitled (from Propo-Series) (Peaches) This work is from an edition of three.

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Paul McCarthy , b. 1945 Untitled marker pen on paper

Lot 148: Paul McCarthy , b. 1945 Untitled marker pen on paper

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Description: marker pen on paper

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