incised with the artist's signature, dated 05-09 and numbered 41/50 on the underside
platinum necklace and pendant in Plexiglas case
3⅛ by 1¾ by 1½ in. (7.9 by 4.4 by 3.8 cm.)
Executed in 2005-2009, this work is number 41 from an edition of 50, plus 5 artist's proofs.
This work is in very good and sound condition overall. All elements are present and stable. There are faint surface dust and faint finger prints due to handle, visible upon very close inspection. This work comes in a protective Plexiglas case.
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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Gagosian Gallery, New York
Private Collection, California
Thence by descent to the present owner
Olivier Gabet, Bijoux D'Artistes De Calder a Koons. La collection ideale de Diana Venet, Paris 2018, illustrated in color p. 105
E.P. Cutler and Julien Tomasello, Art + Fashion: Collaborations and Connections Between Icons, San Francisco 2015, pp. 112 - 114, illustrated in color
Louisa Guinness, A Decade of Artist's Jewellry, London 2013, pp. 76, 114
"Picasso to Koons: Artist as Jeweler," Artforum, September 2011
Julie Brener, "Art Talk: Those Lips, Those Eyes," ArtNews, December 2005, p. 40
New York, Museum of Art and Design, Picasso to Koons: Artist as Jeweler, September 20, 2011- January
London, Louisa Guinness Gallery, Jewelry Made by Contemporary Artists, 2012 (color ill.)
Jeff Koon’s Rabbit (1986) is not only the defining masterpiece of the artist’s celebrated career but it is also one of the most significant sculptures in the history of art. When Rabbit sold at Christie’s in 2019 for $91 million, it became the most expensive work of art by a living artist, thereby confirming its undisputable cultural significance. Since its creation, Rabbit, which has been endlessly exhibited and theorized, has become one of the essential symbols of contemporary art as well as a kind of totem of our age. There is something perfectly Koonsian about the translation of Rabbit into a necklace, since Koons has, throughout his career, interrogated the relationship between consumer culture and art often by celebrating the everyday objects we are wont to disregard by elevating them to the status of art. For example, in his seminal series, The New, Koons enshrined Hoover and Shelton vacuum cleaners in plexiglass boxes such that they took on a spiritual power, just like the inflatable rabbit does in the current work. However, whereas Koons transformed consumer products into art objects in The New, with Rabbit (Necklace), Koons returns the inflatable to its original status as a consumer good. But for Koons, this line between consumer goods and the realm of art is a faint, and perhaps nonexistent, one. By translating Rabbit into a necklace, Koons emphasizes Rabbit’s divine presence as well as its commodification. The gleaming, platinum rabbit, which suggests a religious pendant, thus becomes the god of our contemporary consumer culture.