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Auction Description for Lempertz: Contemporary Art & Photography
Viewing Notes:
Cologne Friday 8 November, 10 am - 5,30 pm Saturday 9 November, 10 am - 4pm Sunday 10 November, 11am - 3pm Monday 11 - Wednesday 13 November, 10 am - 5,30 pm Thursday 14 November, 10 am - 1 pm Friday 15 November, 10 am - 5,30 pm Berlin (selection) Poststrasse 22 Thursday 31 October - Saturday 2 November, 11am - 5 pm Munich (selection) St.-Anna-Platz 3 Tuesday 5 - Wednesday 6 November, 10 am - 6 pm
Sale Notes:
www.lempertz.com

Contemporary Art & Photography

by Lempertz

Platinum House

272 lots with images

November 27, 2013

Live Auction

Neumarkt 3

Cologne, 50667 Germany

Phone: +49 221 92 572917

Fax: +49 221 92 57296

Email: info@lempertz.com

272 Lots
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RICHARD ARTSCHWAGER, Hair Blp, 1989

Lot 600: RICHARD ARTSCHWAGER, Hair Blp, 1989

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Description: Rubberised horsehair approx. 34.5 x 21 x 2.5 cm. Signed and dated on edition label affixed to the reverse. Edition 24/25. Edition Richard Artschwager, New York.

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DIETER APPELT, Image de la vie et de la mort, 1981

Lot 601: DIETER APPELT, Image de la vie et de la mort, 1981

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Description: Photo work: 4 gelatin silver prints, vertically mounted. Total size 180 x 15,8 cm (frame opening). Signed and dated in crayon lower right. In artist's frame 184 x 20 cm. Artist's label, thereon signed and inscribed '1 sec SW stumm aus gleichn. Film' as well as edition stamp, therein dated and editioned 6/10 in felt tip pen, on the reverse of the frame. Exhibitions: Minneapolis 1989 (Walker Art Center); Winnipeg, Canada 1989 (Winnipeg Art Center); Detroit 1989 (The Detroit Institute of Art); Atlanta 1989/90 (The High Museum of Art); Ithaca 1990 (Herbert F. Johnson Museum of Art); Richmond 1990 (Virginia Museum of Fine Arts) Literature: Vanishing presence. exhib.cat. Walker Art Center, Minneapolis et al., New York 1989, ill. p. 122

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HORST ANTES, Untitled, 1965

Lot 602: HORST ANTES, Untitled, 1965

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Description: Mixed media on brownish paper 41.5 x 30 cm, framed under glass. Signed and dated 'antes 65' lower right. - Minor foxing. Provenance: Galerie der Spiegel, Cologne; Private Collection, Germany

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HORST ANTES, Frühlings anfang, 1964

Lot 603: HORST ANTES, Frühlings anfang, 1964

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Description: Felt tip pen on flock coated paper 25.5 x 20.5 cm. Signed 'antes' lower right. The reverse titled 'Frühlings anfang' and with hardly visible dated dedication. - Mat opening slightly browned.

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JOSEPH BEUYS, Untitled, 1979

Lot 604: JOSEPH BEUYS, Untitled, 1979

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Description: Pencil and stamp on centrical folded paper 17 x 24.5 cm, on mat support. Signed 'Joseph Beuys' lower left. - Traces of age.

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JOSEPH BEUYS, Ziege, 1951

Lot 605: JOSEPH BEUYS, Ziege, 1951

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Description: Pencil on laid paper with irregularly torn right margin approx. 6.6 x 6.9 cm mounted on card support 10.4 x 10.2 cm. The reverse of card support signed, dated and titled 'Beuys Ziege 1951'. - Minor traces of age. Provenance: Private Collection, Germany Exhibition: Kleve 1991 (Städtisches Museum Haus Koekkoek), Joseph Beuys, exhib.cat.no.13, p.21 with col.ill.

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JOSEPH BEUYS, Untitled (Glockenblume, Klee, Weberkarde), 1958

Lot 606: JOSEPH BEUYS, Untitled (Glockenblume, Klee, Weberkarde), 1958

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Description: Pen, pencil, envelopes with seeds and paper on card 65.5 x 50 cm, framed under glass. The reverse of both envelopes signed and dated 'Joseph Beuys 1958'. - Traces of studio. Provenance: Private Collection, Germany Exhibitions: Hovikodden 1985/1986 (Henie-Onstad Kunstsenter), Joseph Beuys, Tegninger, exhib.cat.no.25, n.pag. with ill. Lausanne 1983/1984 (Musée Cantonal des Beaux-Arts), Winterthur 1984 (Kunstmuseum Winterthur), Calais (Musée des Beaux-Arts), St.-Etienne (Musée d'Art et d'Industrie), Linz (Neue Galerie), Marseille 1985 (Musée Cantini), Oslo (Sonja Henies og Niels Onstads Stiftelser), Joseph Beuys, Zeichnungen, Dessins, exhib.cat.no.25, n.pag. with ill. (label verso)

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JOSEPH BEUYS, Untitled, 1966

Lot 607: JOSEPH BEUYS, Untitled, 1966

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Description: Pencil and stamp on paper 21 x 29.7 cm, on card support 65.8 x 50 cm, framed under glass. The reverse signed and dated 'Joseph Beuys 1966'. - Traces of studio. Provenance: Private Collection, Germany Exhibition: Rotterdam 1979/1980 (Museum Boymans-Van-Beuningen), Berlin 1980 (Nationalgalerie Berlin, Staatliche Museen Preussischer Kulturbesitz), Bielefeld (Kunsthalle), Bonn (Wissenschaftszentrum), Joseph Beuys, Zeichnungen, Tekeningen, Drawings, exhib.cat.no.91, n.pag. with ill.

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JOSEPH BEUYS, Farbe, Plastik, 1965

Lot 608: JOSEPH BEUYS, Farbe, Plastik, 1965

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Description: Pencil, fabric tape and silver aluminium on imprinted lined paper with center fold 20.7 x 29.5 cm, on card support 65.8 x 50 cm, framed under glass. The reverse monogrammed and dated 'J.B. 1965'. Verso with pencil drawing. - Traces of studio. Provenance: Heiner Bastian Collection, Berlin; Private Collection, Germany

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JOSEPH BEUYS, Koreanische Eiche, 1982

Lot 609: JOSEPH BEUYS, Koreanische Eiche, 1982

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Description: Korean oak leaf on card 26.8 x 23 cm (folded), on card support 65.5 x 50 cm, framed under glass. The inside of folded card signed, dated and titled 'Beuys 1982 Koreanische Eiche'. Provenance: Private Collection, Germany Exhibitions: Gibellina 1986 (Museo Civico d'Arte contemporanea), Joseph Beuys Madrid 1985 (Fundacion Caja de Pensiones), Joseph Beuys, Dibujos, Drawings Mönchengladbach 1986 (Städtisches Museum Abteiberg), Tampere (Sara Hildénin Taidemuseo), Joseph Beuys Pirustuksia, Zeichnungen, exhib.cat.no.80, n.pag. with ill.

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JOSEPH BEUYS, Das Kapital, 1977

Lot 610: JOSEPH BEUYS, Das Kapital, 1977

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Description: Pencil on card with irregular upper margin approx. 25.8 x 32.7 cm, on card support 65.5 x 50 cm, framed under glass. The reverse signed and dated 'Beuys 1977'. - Traces of studio. Provenance: Private Collection, Germany Exhibition: Düsseldorf 2010/2011 (Kunstsammlung Nordrhein-Westfalen), Joseph Beuys, Parallelprozesse, exhib.cat.no. 227, p.262 with col.ill. Mönchengladbach 1986 (Städtisches Museum Abteiberg), Tampere (Sara Hildénin Taidemuseo), Joseph Beuys, Pirustuksia, Zeichnungen, exhib.cat.no.66 Gibellina 1986 (Museo Civico d'Arte contemporanea), Joseph Beuys Madrid 1985 (Fundacion Caja de Pensiones), Joseph Beuys, Dibujos, Drawings

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JOSEPH BEUYS, Planting a coco-nut, 1980

Lot 611: JOSEPH BEUYS, Planting a coco-nut, 1980

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Description: 2 works: woodcut and watercolour on laid paper and woodcut on laid paper each 45.8 x 61.8 cm both on card support 104.5 x 72.5 cm, framed under glass. The reverse of bottom sheet signed, titled and inscribed '"22. Dez. 1980 Seychelles Planting a Coco-nut'". - Traces of studio. Provenance: Heiner Bastian Collection, Berlin; Private Collection, Germany Exhibition: Hovikodden 1985/1986 (Henie-Onstad Kunstsenter), Joseph Beuys, Tegninger Lausanne 1983/1984 (Musée Cantonal des Beaux-Arts), Winterthur 1984 (Kunstmuseum Winterthur), Calais (Musée des Beaux-Arts), St.-Etienne (Musée d'Art et d'Industrie), Linz (Neue Galerie), Marseille 1985 (Musée Cantini), Oslo (Sonja Henies og Niels Onstads Stiftelser), Joseph Beuys, Zeichnungen, Dessins, exhib.cat.no.71 (label verso) "Planting a Coconut" was created by Beuys as part of a happening on the Seychelles on 24 December 1980: Joseph Beuys planted two trees - one fast-growing coconut tree and a slow-growing Coco de Mer, the mythical national symbol of the archipelago. For Beuys this plant symbolised human relationships and also the relationship between man and nature. At the same time, it became a very personal symbol of the artist himself - as explained by Lucrezia de Domizio Durini in her "Diary of the Seychelles": The Coco de Mer normally takes several years to germinate, and just a few days after Beuys' death in 1986 a tender shoot appeared. (See Lucrezia de Domizio Durini, Diary of the Seychelles, in: Zürcher Kunstgesellschaft (ed.), Beuys Voice, exhibition catalogue, Kunsthaus Zürich 2011, p. 681). Lucrezia de Domizio Durini further explains that the coconut campaign crystallises a central idea in the artist's oeuvre: "These differences in space and time and also in growth and development reflect an idea that pervades Beuys's entire project and the totality of the thought behind it, a project of cultural differences and of collaborative solidarity between people from different backgrounds, from different ethnic groups and with different jobs. Both are one, and the one is contained within the other. This tropical island project is very clearly an important part of Beuys's personal plan. Together with the entire series of his works created on the Seychelles, it forms the backbone of his campaign 'Difesa della Natura'. [...] Beuys's woodcuts 'Tropical Night' and 'Planting a Coconut' are items which he carved with his favourite pocket knife, using oil and the soot of a burned coconut. [...] They are documents of a life, which he lived in all sincerity. This sincerity restores the idea of man and nature as elements of reversible creativity, making it credible again." (ibid.)

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JOSEPH BEUYS, Objekt zum Schmieren und Drehen, 1972

Lot 612: JOSEPH BEUYS, Objekt zum Schmieren und Drehen, 1972

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Description: Tin can with oil paint (Braunkreuz), grease and screwdriver tin can diameter 5.5 cm, screwdriver length 13 cm. Signed and numbered '52/100' on separate certificate. Edition Museumsverein Mönchengladbach. Schellmann 53

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JOSEPH BEUYS, Untitled (aus Straßenbahnhaltestelle), 1976

Lot 613: JOSEPH BEUYS, Untitled (aus Straßenbahnhaltestelle), 1976

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Description: Plaster sculpture approx. 23 x 21 x 8.5 cm. The side signed and dated '8.4.76 Joseph Beuys' (scratched in wet plaster). Provenance: Galerie Friedrichs, Kranenburg; Private Collection, Austria The plaster sculpture is part of the installation "Straßenbahnhaltestelle", that was created by Beuys for the German Pavilion of the Venice Biennale in 1976 (cf. more detailed Heiner Stachelhaus, Joseph Beuys, Munich 2002, p.195/196).

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JOSEPH BEUYS, Vorwärts, 1977

Lot 614: JOSEPH BEUYS, Vorwärts, 1977

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Description: Wrapping paper, parcel sticker with screenprint and stamp approx. 37.2 x 50.5 cm, framed under glass. Signed and numbered 'XIII' from the edition of 30. Edition Staeck, Heidelberg. Schellmann 215 Provenance: Heiner Bastian Collection, Berlin; Private Collection, Germany

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JOSEPH BEUYS, Vor der Geburt, 1949

Lot 615: JOSEPH BEUYS, Vor der Geburt, 1949

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Description: 2 works: colourless embossing and blackened embossing on paper each 48.5 x 25.8 cm, each framed under glass. Each signed and dated 'Joseph Beuys 1949'. - One sheet with minor foxing. Provenance: Heiner Bastian Collection, Berlin; Private Collection, Germany

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JOSEPH BEUYS, Untitled,

Lot 616: JOSEPH BEUYS, Untitled,

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Description: Felt hat approx. 12 x 32 x 29 cm, a card for the funeral service attached on the side with paper clip, the card signed 'Joseph Beuys'. - Traces of age. Provenance: Private Collection, Austria

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JEAN-CHARLES BLAIS, Unitled, 1985

Lot 617: JEAN-CHARLES BLAIS, Unitled, 1985

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Description: Mixed media on thin brown paper with irregularly cut margins approx. 57 x 77.5 cm, framed under glass. Signed and dated 'Blais 9 85' lower right. - The reverse partly mounted on card support. Provenance: Galerie Barbara Farber, Amsterdam

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JEAN-CHARLES BLAIS, Untitled, 1985

Lot 618: JEAN-CHARLES BLAIS, Untitled, 1985

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Description: Mixed media on thin brown paper with irregularly cut margins approx. 65.5 x 69 cm, framed under glass. Signed and dated 'Blais 85' lower right and dated '31 8 85' lower left. - The reverse partly mounted on card support. Provenance: Galerie Barbara Farber, Amsterdam

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JEAN-CHARLES BLAIS, Untitled, 1992

Lot 619: JEAN-CHARLES BLAIS, Untitled, 1992

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Description: Mixed media on décollage approx. 92 x 76 cm, framed under glass. The reverse signed and dated 'J Charles Blais 92'. - Traces of studio and the reverse mounted firmly on card support. Provenance: Galerie Barbara Farber, Amsterdam

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GEORG BASELITZ, Gelbe Nase, 1992

Lot 620: GEORG BASELITZ, Gelbe Nase, 1992

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Description: Oil on canvas 90 x 53 cm, framed with wooden slats. The reverse signed, dated and titled '''gelbe Nase" 18.IV.92 24.IV.92 G.Baselitz' with directional information and dedication. - Minor traces of age. The present work is registered in the Archiv Georg Baselitz, Munich, under the number GB/M 1992.04.24. "It is obvious to everyone that there are very diverse paintings today - diverse in form. And if paintings differ in form, then there are also differences in what is formed. As in previous times, this leads to the formation of groups or followers who argue whose form is the right one, who creates the right paintings or the wrong ones or whether paintings can be created at all nowadays. There is progression in art, and progressive production also entails the immediate validity of a work of art. One person is right, and the other has missed the mark. This, in short, is roughly the tenor that provides the critical accompaniment of artistic material. If I want to work out in detail what is behind this concept of progress, then this is only because I don't believe in it and because I don't fit into this mould. I've always followed a thought that ended differently." (Georg Baselitz, Purzelbäume sind auch Bewegungen, und noch dazu macht es Spass, October 1992, reprinted in: Georg Baselitz, exhib.cat., Neue Nationalgalerie Berlin et al, Ostfildern-Ruit 1996, p.207)

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STEPHAN BALKENHOL, Skelett, 1999/2000

Lot 621: STEPHAN BALKENHOL, Skelett, 1999/2000

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Description: Bronze with black green patina height 57.5 cm, on metal plinth. Back left of plinth with stamped monogram 'StB' (ligated), foundry stamp "SCHMÄKE DÜSSELDORF" and numbered '17/20'. Edition Kunstverein, Hamburg.

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OLIVER BOBERG, ,

Lot 622: OLIVER BOBERG, ,

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Description: 6 chromogenic prints on Kodak-Professional-Endura paper. From 28,7 x 28,4 cm (50 x 40 cm) to 37,3 x 24,9 cm (50 x 39,9 cm). Each signed in ballpoint pen on the verso. All images at lempertz.com

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BORIS BECKER, Hochbunker (Aboveground bunker), 1986 - 89

Lot 623: BORIS BECKER, Hochbunker (Aboveground bunker), 1986 - 89

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Description: Portfolio containing 10 ferrotyped gelatin silver prints on Agfa paper, printed 1989. Each 40 x 30 cm. Each signed, dated, titled, inscribed 'Portfolio 1989' and editioned 7/10 in pencil on the verso. Each matted and with typed title label on the mount. In original portfolio box. Verlag der Buchhandlung Walther König, Cologne. Subjects: Wilhelmshaven, 1987, Flutstraße/Baugrodenstraße Hamm, 1987, Widumstraße Köln, 1989, Neusser Landstraße Wilhelmshaven, 1987, Norderneystraße Wilhelmshaven, 1987, Rheinstraße Lübeck, 1986, Rehderbrücke Heilbronn, 1988, Theresienstraße/Theresienwiese München, 1988, Riesenfeldstraße Trier, 1987, Augustinerhof München, 1988, Lohnrößlerweg

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VICTOR BONATO, Geteilte Konvexstörung, 1981/1986

Lot 624: VICTOR BONATO, Geteilte Konvexstörung, 1981/1986

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Description: Glass-mirror-deformation: Divided mirror, mounted on panel on Plexiglas Diameter 69 cm. The reverse of panel signed and dated 'VBonato 86/81'. Dated, titled and numbered 'Geteilte Konvexstörung VIII/81 1/35' on artist's label with dimensions and technical information, silver coated 'Febr.86'. - Minor traces of age.

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VICTOR BONATO, Geteilte Konvexstörung, 1981/1985

Lot 625: VICTOR BONATO, Geteilte Konvexstörung, 1981/1985

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Description: Glass-mirror-deformation: Divided mirror, mounted on panel on Plexiglas 69 x 99 cm. The reverse of panel signed and dated 'VBonato 81/85'. Dated, titled and numbered 'Geteilte Konvexstörung -1981 VIII 2/25' on artist's label with dimensions and technical information. - Minor traces of age.

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VICTOR BONATO, Welle konvex-konkav, 1976/1977

Lot 626: VICTOR BONATO, Welle konvex-konkav, 1976/1977

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Description: 2 works: Glass-mirror-deformation: each convexo-concavely shaped mirror each 94 x 83 cm on panel. The reverse of each panel signed and dated 'VBonato 76' and '77' respectively. One work with artist's label, there signed, dated, titled and inscribed 'VBonato Welle II - Konkav Unikat' with dimensions and technical information, silver coated 'Nov. 1976'. - Traces of age.

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HARTMUT BOEHM, Quadratrelief 69, 1970

Lot 627: HARTMUT BOEHM, Quadratrelief 69, 1970

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Description: White Plexiglas components in Plexiglas box 110 x 110 x 6 cm. The reverse of plexiglas box with label signed 'Böhm' and typewritten information on the work. Exhibition: Essen 1972 (Folkwang Museum), Szene Rhein Ruhr, exhib.cat.,with ill. This work is part of the project "Visuell veränderliche Struktur", that was started by Hartmut Böhm in 1966.

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ALIGHIERO BOETTI, Cinque x cinque venticinque, 1989

Lot 628: ALIGHIERO BOETTI, Cinque x cinque venticinque, 1989

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Description: Embroidery on linen on panel 23 x 21.5 cm. The overlap signed 'alighiero e boetti'. - Minor traces of age. With accompanying certificate from the Archivio Alighiero Boetti, Rome, dated 29.11.2012 with the number 7137.

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GEORGE BRECHT, Not: Art. Not: Non-Art. Not: Both Art and non-art. Not: Neither art nor non-art,

Lot 629: GEORGE BRECHT, Not: Art. Not: Non-Art. Not: Both Art and non-art. Not: Neither art nor non-art,

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Description: Wooden element and glass marbles in object box 30 x 30 x 7 cm. Provenance: Private Ownership, Germany Exhibition: Cologne 2000 (Kunsthaus Lempertz), George Brecht. 40 Werke der letzten 15 Jahre, exhib.cat.no.19 with ill.

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GEORGE BRECHT, Alles klar?, 1994

Lot 630: GEORGE BRECHT, Alles klar?, 1994

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Description: Crystal and pearls in object box 22 x 22 x 7 cm. The reverse of box signed, dated and titled '25.6.94 Alles klar? 5.7.94 GBrecht'. Provenance: Private Ownership, Germany Exhibition: Cologne 2000 (Kunsthaus Lempertz), George Brecht. 40 Werke der letzten 15 Jahre, exhib.cat.no.40 with col.ill.

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PETER BRÜNING, Untitled, 1961

Lot 631: PETER BRÜNING, Untitled, 1961

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Description: Oil on canvas 151.5 x 124 cm, framed. - Canvas re-lined.Some craquelure. With verbal confirmation from Marie-Louise Otten, Ratingen, dated 22.10.2013. Provenance: Galerie Heimeshoff, Essen; Private Collection, Northern Rhine-Westfalia When Peter Brüning was asked by Manfred de la Motte why he limited himself in his use of colours, he replied: "A wide range of colours would flatten the space issue which is my primary concern. The result of my working process, which is reminiscent of organic formations, would conjure up rather too naturalist associations if I did not alienate the colours that are provided by nature and if I did not restrict myself in my choice of colours. I therefore use 'abstract' colours as signs of a nature-like process, as evidence of my activity. I am never interested in colour as such, for its own sake. Colour must distinguish between processes and mark them. It must illustrate the process that has been achieved. The traces of that process are more important to me than the activity itself." [...] When he was asked about the painting process itself, he replied: "I start with a primary layer that has a watercolour quality about it, with colours that are not yet specified. This layer provokes what will happen later with regard to both form and colour. By 'soiling' the white canvas, I define the options for configuration, for a subject and for the form. I then continue to paint before this primary layer is completely dry. So my first intervention is a pretext for continuation, for the final rhythm and for the definition of space. I follow suggestions to produce writing, gestures, postures and accents by directly following the given allusions of form or by doing the exact opposite and destroying them." (Dialog zwischen Peter Brüning und Manfred de la Motte, Galerie 22, Catalogue, Düsseldorf 1958, reprinted in: Dokumente zum deutschen Informel, Manfred de la Motte (ed.), Bonn 1976, p.94)

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BRAM BOGART, Fulmination, 1955

Lot 632: BRAM BOGART, Fulmination, 1955

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Description: Oil on burlap 58 x 108 cm, framed. Signed 'Bogart' lower right. The reverse signed, dated and titled 'BOGART '55 FULMINATION'. - Minor traces of age. Provenance: Acquired directly from the artist

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CÉSAR, Pouce, 1989

Lot 633: CÉSAR, Pouce, 1989

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Description: Synthetic resin height 43 cm. Signature stamp "César" at the bottom side. One from the edition of 300. Edition Baccarat (embossed stamp). - Minor traces of age. The present work is registered in the archives of Denise Durand-Ruel, Paris, under the number 3984.

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TONY CRAGG, Pokal mit Gesichtsprofilen,  2002

Lot 634: TONY CRAGG, Pokal mit Gesichtsprofilen, 2002

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Description: Wax over plaster height 49.5 on wooden base 6 x 12 x 12 cm, total height 55.5 cm. The sculpture with monogram stamp 'TC' and numbered '15/15'. Edition Site, Dusseldorf.

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CHUCK CLOSE, S.P. I,II,III (Self Portrait), 1997

Lot 635: CHUCK CLOSE, S.P. I,II,III (Self Portrait), 1997

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Description: 3 works: each original linocut on chamois-coloured laid card each 61 x 45.7 cm. Each signed, dated, titled and inscribed 'P.P.IV/V' and 'IV'. Printer's copies aside from the numbered edition of 70. Pace Editions, New York.

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CHRISTO, Wrapped Reichstag, 1978

Lot 635A: CHRISTO, Wrapped Reichstag, 1978

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Description: Work in 2 parts: Mixed media, collaged on sturdy card 28 x 71.1 cm and 55.9 x 71.1 cm, total dimension 83.9 x 71.1 cm, each framed under Plexiglas. The upper work signed and dated 'Christo 1978' lower right and along lower margin titled 'WRAPPED REICHSTAG (PROJECT FOR DER DEUTSCHE REICHSTAG - BERLIN)' with further locations. The reverse of both works with hanging instructions on card. Provenance: Private Collection, Rhineland

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PETER COFFIN, Untitled (from: Design for Colby Poster Company Nr. 13, 30, 31, 40, 69), 2008

Lot 636: PETER COFFIN, Untitled (from: Design for Colby Poster Company Nr. 13, 30, 31, 40, 69), 2008

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Description: 5 works: colour inkjet print on card each 56 x 35.5 cm, each framed. 3 works verso with edition label, that signed and numbered 'ed.#1'. Number 1 from the edition of 5. Edition Colby Poster, Los Angeles. Provenance: Michael Benevento Gallery, Los Angeles (label verso)

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EDUARDO CHILLIDA, Gili III, 1979

Lot 637: EDUARDO CHILLIDA, Gili III, 1979

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Description: Original woodcut on textured wove paper 57 x 78 cm. Signed and numbered '35/50'. Edition Propyläen-Verlag, Berlin. van der Koelen 79011

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WIM DELVOYE, Untitled (Concretemixer scalemodel # 1), 1992

Lot 638: WIM DELVOYE, Untitled (Concretemixer scalemodel # 1), 1992

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Description: Carved wood, painted approx. 30 x 28 x 20 cm. Signed and dated '1992 w delvoye' on the underside of wooden box. Provenance: Galerij Guy Pieters, Knokke-Heist; Private Collection, Belgium

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PETER DOIG, Drifter (from: 100 years ago), 2000/2001

Lot 639: PETER DOIG, Drifter (from: 100 years ago), 2000/2001

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Description: Original colour etching on Hahnemühle card 113.5 x 167.5 cm, framed under Plexiglas. Signed and numbered '23/46'. Print from the series: 100 years ago. Edition Paragon Press, London.

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PHILIP-LORCA DICORCIA, London, 1995

Lot 640: PHILIP-LORCA DICORCIA, London, 1995

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Description: Chromogenic print. 66.6 x 95.4 cm (76 x 101.5 cm). Flush-mounted to board, signed in pencil on the reverse of the mount. From an edition of 15. - Matted and framed. Provenance: Private collection, Belgium Literature: José Luis Brea (ed.), Philip-Lorca diCorcia. Streetwork 1993-1997, Salamanca 1998, ill. p. 35

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MARK DION, Pigeon Tarer, 2009

Lot 641: MARK DION, Pigeon Tarer, 2009

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Description: Articulated dove skeleton coated with tar, height approx. 14 cm, on wooden base 97 x 31.5 x 30 cm. Signed, dated and numbered '7/8' (plus 2 a.p.) on accompanying edition certificate. Bywater Bros. Editions, Canada.

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THOMAS DEMAND, Bullion, 2003

Lot 642: THOMAS DEMAND, Bullion, 2003

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Description: Chromogenic print. 27.9 x 27.9 cm (30 x 30 cm). Artist's label, thereon signed in felt tip pen and typed date, title and editioned 54/100 (+ 15 A.P.), on the verso. With LP 'Memorize' by Pan American. Edition EN/OF, Kleve.

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JIM DINE, The Heart of Bam, 1996

Lot 643: JIM DINE, The Heart of Bam, 1996

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Description: Original colour woodcut on chamois-coloured Rives wove paper 66 x 49.5 cm. Signed, dated and inscribed 'P/P'. Printer's proof aside from the numbered edition of 100. Pace Editions, New York. - Minor traces of age.

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KARL FRED DAHMEN, Untitled, 1972

Lot 644: KARL FRED DAHMEN, Untitled, 1972

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Description: Object box with various elements 53 x 46 x 11.5 cm. In object box signed 'Dahmen' lower right. The reverse of box signed, dated and inscribed 'K.F.Dahmen Objektkasten 1972' with directional arrow and information. Weber 010.72 - K 150 (different dimensions) Literature: K.F.Dahmen, Das maleriesche Werk 1950 -1972, Munich 1972, p.108 with ill.

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KARL FRED DAHMEN, Furchenbild-Blau I, 1978

Lot 645: KARL FRED DAHMEN, Furchenbild-Blau I, 1978

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Description: Mixed media on canvas 162 x 130 cm, framed. The reverse signed, dated and titled '"Furchenbild-blau I" 1978 Dahmen' with directional arrow and information. - Minor traces of age. Weber 001.78-B 0477 Provenance: Private Collection, Kitzbühl; Galerie Boisserée, Cologne; Private Collection, Germany Literature: Kunst des 20. Jahrhunderts. Hubert Berke, Albert Bitran, Francis Bott, Marc Chagall, Antoni Clavé, u.v.m. - Bestandskatalog, Thomas Weber und Galerie Boisserée (ed.), Cologne 2001, with col.ill.

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HANNE DARBOVEN, Untitled, 1989

Lot 646: HANNE DARBOVEN, Untitled, 1989

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Description: Work in 32 parts: 1 colour photograph and 31 sheets of paper with felt-tip pen each 29.7 x 21 cm, each framed under glass. The first sheet monogrammed and dated 'h.d. 1989'. All sheets inscribed and continuously dated 'Notiz: 1.7.89 - 31.7.89 tagesrechnung VII,1-VII,31.' Provenance: Galeria Helga de Alvear, Madrid (each with label and stamp verso); Private Collection, Germany

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AD DEKKERS, Houtgrafiek No XXIV, 1972

Lot 647: AD DEKKERS, Houtgrafiek No XXIV, 1972

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Description: Coated chipboard 80 x 80 x 2 cm. The reverse signed, dated and titled 'HOUTGRAFIEK No XXIV 19? [indecipherable] AD DEKKERS' and inscribed 'HOLLAND' with material information, dimensions and directional arrow and information. - Minor traces of age. Blotkamp 200

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ULRICH ERBEN, Untitled, 1975

Lot 648: ULRICH ERBEN, Untitled, 1975

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Description: Oil on canvas 130 x 145 cm, in Plexiglas box. The reverse of canvas signed and dated '1975 Erben'. - Minor traces of age. Provenance: Galerie D+C Mueller-Roth, Stuttgart (stamp verso); Private Collection, South Germany

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