Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]
Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]
Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]
Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]
Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]
Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]
Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]
Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]
Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]
557

The History of Now: The Collection of David Teiger Sold to Benefit Teiger Foundation for the Support of Contemporary Art

Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]

Estimate: 35,000 - 45,000 USD

The History of Now: The Collection of David Teiger Sold to Benefit Teiger Foundation for the Support of Contemporary Art

Lot 557 MICHEL MAJERUS | I. UNTITLED (1048) | II. UNTITLED (10640 | III. UNTITLED (1067) | IV. UNTITLED (1073) [4 WORKS]

Estimate: 35,000 - 45,000 USD

Lot Sold:81,250USD

Lot Details

Description

The History of Now: The Collection of David Teiger Sold to Benefit Teiger Foundation for the Support of Contemporary Art

MICHEL MAJERUS

1967 - 2002

I. UNTITLED (1048)

II. UNTITLED (1064)

III. UNTITLED (1067)

IV. UNTITLED (1073)

[4 WORKS]


each signed and dated 02 on the reverse

acrylic on cotton

Each: 23¾ by 23¾ in. (60.3 by 60.3 cm.)

Condition Report

i. This work is in excellent condition overall. Under ultraviolet light, there is no evidence of restoration. Unframed.


ii. This work is in very good condition overall. There are some faint rubbing marks along the left edge and 1 inch above the left lower edge, visible upon close inspection. Under ultraviolet light, there is no evidence of restoration. Unframed.


iii. This work is in excellent condition overall. Under ultraviolet light, there is no evidence of restoration. Unframed.


iv. This work is in excellent condition overall. Under ultraviolet light, there is no evidence of restoration. Unframed.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

Cataloguing

Provenance

Neugerriemschneider Gallery, Berlin

Acquired from the above by David Teiger in July 2002

Catalogue Note

“Ironically, his destiny was to sample and appropriate the entire history of art before himself becoming a legitimate historical reference. But, alive, he was undoubtedly more like a Super Mario moving through history like the levels of a video game, flattening content on the screen of his work, even ‘collaborating’ with deceased artists.”


(Daniel Birnbaum, Exh. Cat., New York, Matthew Marks Gallery, Michel Majerus, 2014.)

Contemporary Art Online | New York
Online bidding closed02 Oct 2019 | 07:38 PM GMT