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Rachel Whiteread Auction Price Results

Rachel Whiteread (1963)  Please Register/Login to access your Invaluable Alerts

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§ Rachel Whiteread (British, b.1963) - Herringbone Floor -  titled and dated 2001 bottom left and initialled

Lot 240: § Rachel Whiteread (British, b.1963) - Herringbone Floor - titled and dated 2001 bottom left and initialled "RW" bottom right 238/450

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Description: § Rachel Whiteread (British, b.1963) Herringbone Floor titled and dated 2001 lower left and initialled "RW" lower right and numbered 238/450 laser-cut relief in Finnish birch plywood h:36 w:30 cm Other Notes: Rachel Whiteread is perhaps best known for her 1993 Turner Prize winning life size concrete cast of an East End terraced house.

Condition Report: Framed and in a white mount. Condition appears to be good.

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Rachel Whiteread (b.1963) Mausoleum Under

Lot 261: Rachel Whiteread (b.1963) Mausoleum Under

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Description: Rachel Whiteread (b.1963) Mausoleum Under Construction screenprint in colours, 1992, signed, titled and numbered 16/ 65, as included in the London Portfolio, published by Charles Booth-Clibborn under his imprint the Paragon Press, on wove paper, the full sheet printed to the edges, sheet 560 x 790 mm (22 x 31 1/8 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions. IMPORTANT: This lot is subject to VAT and the buyer must pay VAT on both the hammer and the buyer's premium at a rate of 20%

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DDS. Rachel Whiteread (b.1963) LOndOn 2012,

Lot 390: DDS. Rachel Whiteread (b.1963) LOndOn 2012,

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Description: DDS. Rachel Whiteread (b.1963) LOndOn 2012, screenprint in colours, 2012, signed and dated in pencil, numbered from the edition of 250, printed by Coriander Studios, London, published by Counter Editions, London, on Somerset Satin wove paper, with full margins, 760 x 600mm (30 x 23 5/8in)

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DDS. Rachel Whiteread (b.1963) LOndOn 2012,

Lot 481: DDS. Rachel Whiteread (b.1963) LOndOn 2012,

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Description: DDS. Rachel Whiteread (b.1963) LOndOn 2012, screenprint in colours, 2012, signed and dated in pencil, numbered from the edition of 250, printed by Coriander Studios, London, published by Counter Editions, London, on Somerset Satin wove paper, with full margins, 760 x 600 mm (30 x 23 5/8in)

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Rachel Whiteread (b.1963) LOndOn 2012 screenprint

Lot 492: Rachel Whiteread (b.1963) LOndOn 2012 screenprint

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Description: Rachel Whiteread (b.1963) LOndOn 2012 screenprint in colours, 2012, signed and dated in pencil, numbered from the edition of 250, printed by Coriander Studios, London, published by Counter Editions, London, on Somerset Satin wove paper, with full margins, 760 x 600 mm (30 x 23 5/8in) 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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Rachel Whiteread (b.1963) - Herringbone Floor

Lot 507: Rachel Whiteread (b.1963) - Herringbone Floor

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Description: Rachel Whiteread (b.1963) - Herringbone Floor laser-cut relief in 0.8mm Finnish birch plywood, 2001, initialled, titled and dated in pencil, numbered 326/450, produced by Lasercraft, Huntingdon, Cambridgeshire, published by Counter Editions, London, the full sheet, overall size 505 x 440 mm (19 7/8 x 17 1/4 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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Rachel Whiteread (b. 1963)

Lot 2: Rachel Whiteread (b. 1963)

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Description: Untitled (Table)resin27 5/8 x 48 1/4 x 22 1/4 in. (70.2 x 122.3 x 56.5cm.)Executed in 1993

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 - Rachel Whiteread , Untitled Steel

Lot 2: - Rachel Whiteread , Untitled Steel

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Description: plaster and steel

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RACHEL WHITEREAD

Lot 5: RACHEL WHITEREAD

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Description:

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RACHEL WHITEREAD

Lot 8: RACHEL WHITEREAD

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Description: B. 1963WHITE BOXmeasurements30 by 24 by 31cm.alternate measurements11 3/4 by 9 1/2 by 12 1/4 in.hand painted bronzeExecuted in 2006, this work is number 3 from an edition of 3 plus 1 artist's proof.PROVENANCEDonated by the artist NOTEAs she did for Embankment, Whiteread has used an old box to create this piece, more specifically a twelve-bottle box of wine, laid on its side as if to allow for proper maturing. The details of the cardboard box are protruding at odd angles. In fact, Whiteread has cast the inside of the empty box, capturing the memory of its previous content and turning the normally invisible, non existent space into a piece of sculpture. By doing so, she has transformed a private experience into a universal message, engaging the viewer on a similar journey of imagination. The artist has acknowledged the source of this poignant work to lie in a cardboard box of her mother's belongings she found after her death. This process has been Rachel Whiteread's trademark since the early days of her career. A sculpture graduate from the Slade School of Fine Art (1985-7), she has found inspiration in and around ordinary objects, from wardrobes to beds or baths and even entire rooms. She was awarded the Turner Prize in 1993 after casting in concrete the interior of a terraced house in the East End of London before it was demolished. In 2000, she won the commission for the Holocaust memorial on the Judenplatz in Vienna, for which she cast the interior of a library. In the case of Embankment, she created a monumental installation out of 14,000 casts of the inside of several boxes, using as a starting point the old cardboard box full of childhood memories. The boxes were cast in white, hollow polyethylene by a company manufacturing bollards and were all recycled at the end of the exhibition.Surprisingly here, White Box is cast in bronze, the material of traditional sculpture that Rachel Whiteread has used rarely, favouring instead ordinary, transitory materials such as plaster, concrete and resins. Using bronze gives unusual permanence to this work, although by hand-painting the bronze cast in white, the artist disguises her material. As a result, White Box represents a heavy, precious memento of Embankment, the perfect counterpart to the light, ephemeral pieces that made up the installation. Reversing the title of the work as she so willingly reverses the process of sculpture, one could even think of White Box as a sort of 'black box' to Embankment, a fictitious record of the life of the exhibition to be preserved for future generations. Whiteread has exhibited worldwide, including solo shows at the Tate Gallery, Liverpool, the Serpentine Gallery, London and the Kunsthaus Bregenz. Her remarkable work, House, the cast of an entire Victorian house, was commissioned by Artangel in 1993 and demolished in the same year. Rachel Whiteread is a Trustee of the Whitechapel Gallery. CP

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Lot 8: WHITEREAD, Rachel (1953-, British)

Description: Untitled, rubber high density foam executed 1991 unique Sculpture (54x47x)47in.

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RACHEL WHITEREAD

Lot 10: RACHEL WHITEREAD

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Description: B. 1963UNTITLED (READ)installed: 21 5/8 x 39 3/8 x 10 1/4 in. 55 x 100 x 26 cm.plaster, polystyrene and steelExecuted in 2002.PROVENANCEAcquired from the artist

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Rachel Whiteread , b. 1963 Cabinet VIII metal and plaster (1 metal cabinet and 55 plaster units)

Lot 10: Rachel Whiteread , b. 1963 Cabinet VIII metal and plaster (1 metal cabinet and 55 plaster units)

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Description: metal and plaster (1 metal cabinet and 55 plaster units)

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RACHEL WHITEREAD

Lot 12: RACHEL WHITEREAD

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Description: PROPERTY OF OAK BROOK BANKB. 1963UNTITLED (THREE TABLES)overall: 28 1/2 x 126 x 24 in. 73 x 320 x 61 cm.plaster in seven partsExecuted in 1996.PROVENANCEKarsten Schubert Ltd., LondonPrivate Collection, LondonChristie's, New York, November 16, 1999, lot 54Acquired by the present owner from the aboveEXHIBITEDVenice, La Biennale de Venezia: XLVII Eposizione Internazionale d'Arte, June - November 1997, p. 59, illustrated

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Lot 22: Rachel Whiteread Junk Food 2007, plasticised

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Description: Rachel Whiteread Junk Food 2007, plasticised plaster and pigment (four units) 6 1/4 × 11 × 3/4 in. (16 × 28 × 2 cm.)

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Lot 23: Rachel Whiteread (B. 1963)

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Description: Untitled (Square Sink) plaster 42 x 40 x 34in. (107 x 101 x 86.5cm.) Executed in 1990 Other work by the artist is included in 'Sensation: Young British Artists from the Saatchi Collection', currently on view at the Nationalgalerie, Hamburger Bahnhof, Berlin. LITERATURE S. Kent & J. Blyth, 'Shark Infested Waters - The Saatchi Collection of British Art in the 90s', London 1994, p. 249 (illustrated in colour). P. Chater, 'Rachel Whiteread Plaster Sculptures', London 1993 (illustrated p. 31). I. Blazwick and S. Morgan, 'Rachel Whiteread', Amsterdam 1992 (illustrated pp. 19-20). EXHIBITION Pforzheim, Kunstverein, 'Kunst Europa', June-July 1991. London, The Saatchi Gallery, 'Young British Artists I', March-Oct. 1992. Madrid, Palacio de Velzquez, Retiro Park, 'Confrontaciones Arte ltimo Britnico y Espnol', Dec. 1991-Feb. 1992. Cambridge, Kettle's Yard, 'Artists Impressions', Nov.-Dec. 1994 (illustrated in the catalogue in colour). This exhibition travelled to Nottingham, Castle Museum, Jan.-March 1995. Liverpool, Tate Gallery, 'Rachel Whiteread', Sept. 1996-Jan. 1997 (illustrated in colour in the catalogue pp. 34 & 60). Madrid, Placio de Velzquez, Museo Nacional Centro de Arte Reina Sofia, 'Rachel Whiteread', Feb.-April 1997 (illustrated in colour in the catalogue p. 53). Venice, The British Pavillion, XLVII, 'Venice Biennale', June-Nov. 1997. London, The Royal Academy of Arts, 'Sensation: Young British Artists from the Saatchi Collection', Sept.-Nov. 1997 (illustrated in colour in the catalogue p.186). NOTES Rachel Whiteread's sculptures solidify space. Her negative casts of everyday objects have a strongly material presence, as Fiona Bradley says "they hold and occupy space, speaking to the viewer and to each other of the domestic landmarks of human experience." (Fiona Bradley, 'Rachel Whiteread Shedding Life', London, 1996, p.34.) 'Untitled (Square Sink)' 1990, is the cast from the underside of a wash basin. "The bowl is raised on a stack of plaster blocks, as though the image were entombed in a minimalist sculpture; the pedestal becomes the meeting point between abstraction and figuration. The negative of the missing fixture is a dessicated echo of the original. Filled with plaster, the holes for the taps become projections, like stunted horns of bleached bones, as useless as a blocked outlet. Washing is as much a ritual as a practical activity, a means toward spiritual as well as physical cleansing. 'Say with your mind that the garment of the soul is the body, and keep it pure, since it is sinless', reads a Gnostic maxim. The elevated height of Whiteread's bowl transforms it into a ritual vessel, a font whose waters welcome the newborn into the community. Those who have not been ritually blessed are outsiders, so are the unwashed. 'Untitled (Square Sink)' is a monument to the centrality of washing in our society." (Sarah Kent & J. Blyth, 'Shark Infested Waters, The Saatchi Collection of British Art in the 90's, London, 1994, p.104.).

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Lot 31: Rachel Whiteread (B. 1963)

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Description: Demolished signed 'R. Whiteread' and numbered 'A', 'B' or 'C' (on the reverse) corresponding to the particular estate as listed on the title page; numbered '3/35' (on the colophon) twelve duotone screenprints on Sommerset Satin paper each: 19 x 29in. (48.3 x 73.2cm.) Executed in 1996, this portfolio is no. 3 from an edition of 35 + 10AP. It is encased in a black buckram covered wooden box, and is accompanied by a title page and a colophon. PROVENANCE Paragon Press, London. LITERATURE 'Art from the UK. Sammlung Goetz', Munich 1998 (another from the edition illustrated in colour, pp.160-163). 'Emotion. Young British and American Art from the Goetz Collection', Hamburg 1998 (another from the edition illustrated in colour, p.85). NOTES In many ways, 'Demolished' can be seen as a reaction to the demolition of her own monumental work, 'House' from 1993: "I like the notion of the work being the mould of an explosion,, or maybe an 'implosion', like casting a black hole - Pompeii was the mould of an explosion." (R. Whiteread, in: 'Art from the UK', Muncih 1998, p.159.) In both works, 'House' and 'Demolished', Whiteread takes as her theme the demolition of housing property for the lower middle-class in poorer areas of London. Just as 'House' was a ghost of the building that once stood in its place, 'Demolished' depicts the process by which an object is removed from a particular space, while at the same time being forever present in the memories of individuals. These works, along with her 'Holocaust Memorial' in Vienna, demonstrates Whiteread's socio-political involvement and clearly place her within a category far more complex than mere neo-minimalism.

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Rachel Whiteread (b. 1963)

Lot 36: Rachel Whiteread (b. 1963)

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Description: Water Tower Projectsigned, titled, dated and numbered '5/35 Water Tower Project 1998 R. Whiteread' (lower edge)wax on printed image25 x 20 in. (63.5 x 50.8 cm.)Executed in 1998. This work is number five from an edition of thirty-five plus twenty artist's proofs and three printer's proofs.

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                                        Rachel Whiteread (b. 1963)

Lot 38: Rachel Whiteread (b. 1963)

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Description: Rachel Whiteread (b. 1963) Demolished (a pair) two screenprints, on Somerset Tub-sized Satin paper, 1996, each signed in pencil on the verso, from the edition of 35, published by The Paragon Press, London, the full sheetseach S. 19¼ x 29¼ in. (489 x 743 mm.) (2)

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RACHEL WHITEREAD

Lot 39: RACHEL WHITEREAD

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Description: colored resin in 16 partsExecuted in 1995.

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Rachel Whiteread (b. 1963)

Lot 40: Rachel Whiteread (b. 1963)

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Description: Untitled (Bed)cast rubber in two partseach: 12 1/4 x 48 1/2 x 37 3/4 in. (31 x 123 x 96cm.)Executed in 1992

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Lot 41: Rachel Whiteread (B. 1963)

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Description: Mattress ink and watercolour on graph paper 11.5/8 x 16.1/8in. (29.5 x 41cm.) Executed in 1994 PROVENANCE Karsten Schubert, London.

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RACHEL  WHITEREAD

Lot 53: RACHEL WHITEREAD

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Description: B.1963 UNTITLED  (PINK) plaster,  polystyrene  and  steel,  in  two  parts each:  26  by  80  by  26cm.;  10  1/4    by  31  5/8    by  10  1/4  in. Executed  in  2002.

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f - RACHEL WHITEREAD

Lot 54: f - RACHEL WHITEREAD

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Description: B. 1963UNTITLED (BOOKSHELVES)measurementseach: 30.5 by 80 by 22.2cm.; 12 by 31 1/2 by 8 3/4 in.alternate measurementsoverall: 162 by 80 by 22.2cm.; 63 3/4 by 31 1/2 by 8 3/4 in.dental plaster, polystyrene and steelExecuted in 2000.NOTERachel Whiteread's work identifies the space between memory and experience. Since the late 1980s, Whiteread has used resin, rubber and, as in Untitled, dental plaster to cast overlooked domestic spaces. Like earlier works by Bruce Nauman and Joseph Beuys, rather than replicating the object itself, Whiteread specializes in the sculptural reversal that makes a solid object speak less of its own material presence than of objects that are no longer present. Moulding not the object itself but the area in or around it, her ordered, slab-like transformations of familiar forms and spaces recall Minimalist sculpture, but in place of Minimalism's impersonal soul, she creates works infused with the traces of human existence that appeal to our sense of collective memory and history.Fundamentally, Whiteread's work is a description of absence: a concept rife with innuendo in today's fragmented society. Untitled is one of a series of works related to the 'Holocaust Memorial' in Vienna, designed by Whiteread and inaugurated in 2000. There, the artist inverted a room-sized library-once common to Viennese homes-by casting the space between pages of books and surrounding shelves. The absent volumes nevertheless leave the imprint of their unique dimensions and coloured page ends, suggesting both the personal stories of the approximately 66,000 Austrian Jews (traditionally identified as "People of the Book") who perished during the Holocaust and the general devastation of World War II.

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f,m - RACHEL WHITEREAD

Lot 55: f,m - RACHEL WHITEREAD

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Description: B. 1963UNTITLED (SIX SPACES)cast resinExecuted in 1994.PROVENANCEKarsten Schubert, LondonAcquired directly from the above by the present ownerNOTE"My works are very much connected to the body and with the human touch. Whether it's my touch, or someone else's, or a whole family's touch, they're about a piece of furniture which has been used." (cited in C. Mullins, Rachel Whiteread, Tate Gallery, London 2004, n/p)For over fifteen years, Whiteread had investigated the inner life of the rooms and objects making up the fabric of our landscape -- what we cannot see and yet exists. From the monumental public spaces like House (1993) and Holocaust Memorial (2000) to the more intimate domestic objects of the everyday, her work explores the dynamics of the overlooked relationships between the human body and the spaces which surround and contain it. Casting her sculptures from underneath and within the unseen and banal, she dramatizes the objects of our environment by turning our conventional relationships to them upside down and inside out. Graduating from the Slade School of Art in the late 80s, at a time when it seemed like every avenue in sculptural expression had been exhausted through Minimalism and Conceptualism, her work found fresh beauty and relevance within three dimensional form. Looking to the rich artistic vocabulary of her predecessors - Donald Judd, Carl Andre, Dan Flavin, Bruce Nauman and many more - her work reshapes our awareness of positive and negative, public and private, personal and societal. Unlike the generic repetitions borne out of Minimalism, each of Whiteread's individually cast unique spaces contains an intensely emotional and personal narrative. Untitled (six spaces) occupies a place of huge significance within Whiteread's mature work. As well as being the most colourful sculpture that she had made to date, it was also one of the first works she made using resin and shows her growing interest in the individual, transformative properties of materials. Created by casting the spaces beneath six wooden seats of the kind found in church halls and schools, each unique space is of different proportions and a different hue: slate, lime, rose, indigo, tea and antique gold. Of similar height but as individual as human physiognomy, these six spaces provided the inspiration for one of her most iconic mature works Untitled (One Hundred Spaces). Importantly also, the surface detail achieved in these resin casts saw Whiteread reaching new heights in her working process. Each minute scratch and intimate detail of the chairs is here faithfully recorded upon the translucent surface of the resin, acting as a record of the object's past, its sense of history and unconscious. In this way, her use of resin has an obvious parallel to the tree resin that enveloped prehistoric insects in its sticky ooze, capturing yet preserving them for posterity. It is in part this commemorative quality which gives Whiteread's mummified resin spaces their quasi-religious aura; something she has consciously developed in her subsequent public memorials. Awarded the Turner Prize in 1993 and a medal at the Venice Biennale in 1997, Whiteread has continually challenged and extended the boundaries of her chosen medium. Her creation of 'negative' spaces draws parallels with some of Bruce Nauman's early works like A Cast of the Space under my Chair (1965-8), which she had seen in a Whitechapel show of Nauman's work in 1986. Although built around a similar exploration of the body to the world, unlike Nauman's, her work capitalises upon the possibilities of the casting process to evoke the simultaneous presence of the cast object as well as the space within it. She isolates the boundary where interior and exterior come together, cultivating the surface tensions and fossilised nuances of the objects to manifest alien spaces of curious familiarity. Tinged with memory and nostalgia, the ethereal solidity of the six resin casts evokes feelings of human fragility. Their inner glow endows each sculpture with a life of its own -- one which evolves constantly with the different flashes of changing light refracting from their core. Whiteread here has transformed the most mundane and utilitarian object of the everyday, the seat, into an object of mystery and poetic beauty. In doing so, she forces a reassessment of conventional aesthetic as well as material values.

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 - Rachel Whiteread , b. 1963 Pressed plaster, steel and laminated wood (one table, twelve plaster units)

Lot 55: - Rachel Whiteread , b. 1963 Pressed plaster, steel and laminated wood (one table, twelve plaster units)

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Description: plaster, steel and laminated wood (one table, twelve plaster units)

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 - Rachel Whiteread , b. 1963 Untitled (Black Books) black pigmented plastic and steel

Lot 57: - Rachel Whiteread , b. 1963 Untitled (Black Books) black pigmented plastic and steel

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Description: inscribed with the artist's initials RW and numbered 1/10 on the reverse black pigmented plastic and steel

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Rachel Whiteread (b.1963)

Lot 58: Rachel Whiteread (b.1963)

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Description: Untitled (Floor) plaster 9 1/2 x 110 1/4 x 245 1/4 in. (24 x 280.5 x 622.5 cm.) Executed in 1992. This work is unique.

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Rachel Whiteread (British, b. 1963) Switch, 1994;

Lot 58: Rachel Whiteread (British, b. 1963) Switch, 1994;

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Description: Rachel Whiteread (British, b. 1963) Switch, 1994; Plaster; Stamped ''RW'' and numbered 43/60; 3 1/2'' x 3 1/2'' x 1 1/8''; Publisher: Parkett, New York (stamp on brass plate on verso); Provenance: Private Collection, New York

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RACHEL WHITEREAD (b. 1963)

Lot 61: RACHEL WHITEREAD (b. 1963)

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Description: RACHEL WHITEREAD (b. 1963)Untitled (Mattress)plaster12 by 74 by 54in. 30.5 by 188 by 137.2cm.Executed in 1991.EXHIBITED:Madrid, Palacio de Vel 1/2zquez, Museo Nacional Centro de Arte Reina Sofia, Rachel Whiteread, February-April 1997, p. 54, illustrated

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Lot 66: WHITEREAD, Rachel (1953-, British)

Description: Untitled, plaster three parts executed 1992 Sculpture (36x9x)9in.

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Rachel Whiteread (b. 1963)

Lot 72: Rachel Whiteread (b. 1963)

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Description: Untitled (Black Bed)fiberglass and rubber12 x 74 x 54 in. (30.5 x 188 x 137.2 cm.)Executed in 1991.

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 - Rachel Whiteread , b. 1963 Untitled (Colours) plaster, polystyrene and steel

Lot 72: - Rachel Whiteread , b. 1963 Untitled (Colours) plaster, polystyrene and steel

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Description: plaster, polystyrene and steel

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Lot 72: "Untitled: daybed,", 2001

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Description: "Untitled: daybed,", 2001Fabric, foam, beech.   16 x 76 x 33 1/4 in. (40.6 x 193 x 84.5 cm.)   Manufactured by SCP, UK.

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Lot 73: WHITEREAD, Rachel (1953-, British)

Description: Untitled, i.d.May 1977 plaster steel executed 1997 Sculpture (41x12x)12in.

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Untitled (On, Off)

Lot 81: Untitled (On, Off)

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Description: Rachel Whiteread (b. 1963) Untitled (On, Off) each stamped with initials, numbered and dated 'R W 2001 23/24 (A-D)' (on the underside)four elements--cast aluminium each: 1 x 2½ x 2½ in. (2.5 x 6.4 x 6.4 cm.) Executed in 2001. This work is number twenty-three from an edition of twenty-four. (4)

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Rachel Whiteread , Untitled: a fabric and foam Daybed, Edition of 50

Lot 84: Rachel Whiteread , Untitled: a fabric and foam Daybed, Edition of 50

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Description: 2001 the top with four circular apertures and a sectioned raised surface underside with fire safety label from 23rd July 2001

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Lot 85: RACHEL WHITEREAD b.1963 DEMOLISHED The set of 12

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Description: RACHEL WHITEREAD b.1963 DEMOLISHED The set of 12 screenprints, 1996, each signed in pencil on the verso, presumably from the edition of 35, published by The Paragon Press, London, on Somerset Tub-sized Satin paper, the full sheets, apparently in good condition, lacking the title-page, justification and original portfolio case (two prints examined out of frames) Each sheet: 490 by 740mm; 19¼ by 29¼in

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Lot 97: RACHEL WHITEREAD (B. 1963)

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Description: Untitled (Mattress) plaster 12 x 74 x 54in. (31 x 192 x 140cm.) Executed in 1991 EXHIBITION Madrid, Palacio de Vel zquez, Museo Nacional Centro de Arte Reina Sof¡a, 'Rachel Whiteread', February-April 1997 (illustrated p.54 ). NOTES Rachel Whiteread's inside-out casts of everyday objects form a quiet and powerful body of work that fixes in form the echoes and residue of past human existence and experience. From her major works like 'Ghost' and 'House' to her casts of smaller vessels such as bathtubs, sinks and mattresses, her work is primarily concerned with the castings with which the human body is surrounded during its lifetime. Of these, none are more poignant or haunting than the beds and the mattresses, for they are the plinths on which our most important and profound experience take place. They are the sites of our conception, our birth, our dreaming and our death, of our most isolated and fragile moments as well as our most generous and intimate ones. Found on skips or discarded on wasteground, these forgotten documents of life are used by Whiteread to speak of the actualities of living while at the same time conveying the ugliness of decay and the inevitability of death. This untitled work from 1991 is cast in plaster. For Whiteread, plaster is not merely a traditional sculptural medium but more importantly another type of casting that is often used to house the fragile body. From the plaster-casts that are made to aid the recovery of broken limbs to its use for death masks, plaster has traditionally been used to fix and record in concrete form the more mutable transience of flesh. The imprints that are left on its surface, Whitread shows us, speak volumes about the nature of our own fragility and impermanence.

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Rachel Whiteread (b. 1963)

Lot 97: Rachel Whiteread (b. 1963)

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Description: Rachel Whiteread (b. 1963) Water Tower Project signed, titled, numbered and dated '13/35 Water Tower Project 1998 R. Whiteread' (lower edge)graphite and acrylic resin on screenprint 24¾ x 19¾ in. (62.8 x 50.1 cm.) Executed in 1998. This work is number thirteen from an edition of thirty-five plus three printer's proofs.

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Rachel Whiteread Untitled (Daybed)

Lot 99: Rachel Whiteread Untitled (Daybed)

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Description: Rachel Whiteread Untitled (Daybed) Retains tag dated August 25, 2000 Date: 2000 Edition: From the edition of 10 pus 2 artist proofs Manufacturer: SCP, UK

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Lot 100: Rachel Whiteread (b.1963) doorknob, 2001

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Description: Rachel Whiteread (b.1963) doorknob, 2001 technogel, covered with black polyurethane film, signed and numbered 232 from the edition of 300 on the justification label, 2½ x 2½ x 5½ in., 5.7 x 6.3 x 14 cm. Published by Deutsche Guggenheim, Berlin, on the occasion of the artist's one-person exhibition 'Transient Spaces', 27 October 2001 - 13 January 2002. German Artists

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Lot 101: WHITEREAD, Rachel (1953-, British)

Description: Untitled, torso, dental plaster one of twelve executed 1992 Sculpture (9x4x)4in.

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Rachel Whiteread (B. 1963)

Lot 101: Rachel Whiteread (B. 1963)

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Description: Daybed labelled 'Please Touch. Manufactured by Projects/Ltd. Rachel Whiteread. Daybed. Ed. no. 3/10' beech frame, foam and wool upholstery 171/4 x 311/2 x 74 7/8in. (44 x 80 x 190cm.) Executed in 1999, this work is number three from an edition of ten. PROVENANCE SCP Showroom, London. EXHIBITION London, SCP Showroom, Jan. 2000.

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RACHEL WHITEREAD

Lot 108: RACHEL WHITEREAD

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Description: signed with the initials, titled and dated 92 on the reverseink, acrylic and correction fluid on graph paper

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Lot 110: Rachel Whiteread

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Description: b. 1963 untitled signed and dated 94 on a label on the reverse pencil and correction fluid on card 15 by 10cm., 5P by 4in. Provenance Acquired directly from the artist by the present owner.

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Rachel Whiteread (British, b.1963) Herringbone

Lot 111: Rachel Whiteread (British, b.1963) Herringbone

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Description: Rachel Whiteread (British, b.1963) Herringbone Floor, laser-cut Finnish birch plywood relief, 2001, signed, titled and dated in pencil, numbered 153/450, mounted as issued, published by Counter Editions, London, 35.5cm x 30.5cm (14in x 12in)

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Lot 117: Rachel Whiteread (b. 1963)

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Description: Rachel Whiteread (b. 1963) Untitled gouache and graphite on paper collage, printed paper collage and graphite on paper6 x 4¼ in. (15.2 x 10.8 cm.) Executed in 2005.

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Rachel Whiteread , Untitled (Torso) plaster

Lot 121: Rachel Whiteread , Untitled (Torso) plaster

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Description: plaster

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Rachel Whiteread , Untitled bronze

Lot 122: Rachel Whiteread , Untitled bronze

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Description: inscribed with the artist's initials and numbered 7/14 bronze

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