Sculpture From the Collection of David Teiger

Launch Slideshow

T he collection of David Teiger includes works by the most important artists working in the 20th and 21st Centuries. Alongside paintings by artists such as Alex Katz, Sigmar Polke and Peter Doig the collection is distinguished by a series of exceptional sculptures, installations and three-dimensional works. Click through to see highlights from across the upcoming London Contemporary auction series.

Sculpture From the Collection of David Teiger

  • Maurizio Cattelan, La Nona Ora, 2003. Estimate £120,000–180,000.
    Maurizio Cattelan continuously aims to provoke his viewers with a mocking attitude towards political leaders, religious authorities and even contemporary art and its canons. Certainly one of Cattelan’s most seminal works, La Nona Ora sparked controversy almost instantly, with interpretations about its meaning ranging from existential questions to overt critique. The artist has responded to these interpretations ambiguously, stating: “I always thought art is not about explanations. It’s about opening possibilities”
  • Tim Noble and Sue Webster, Happy. Estimate £25,000–35,000.
    Artist duo Tim Noble and Sue Webster use light, shadows and word play in their work to explore issues of sex, death and mortality. Perhaps their most famous works are a series of self-portraits made using piled-up garbage and spotlights to cast the shape of their figures on a wall. The delicate and grotesque often sit side-by-side in the work of Noble and Webster, or are combined in to one tableau. As well as shadow works, lightbulb and neon play a significant role in their practice. Happy is one such work; isolating a word and adopting a fairground aesthetic to reference familiar imagery from childhood.
  • Grayson Perry, Rumpleforeskin, 2005. Estimate £80,000–120,000.
    Grayson Perry’s work brings together the worlds of craft and contemporary art. “I like the idea that there are different forces tugging on you when you’re looking at a pot like this: am I meant to be seeing it as a sublime piece of work, is it a joke, is there a historical reference, or is it some sort of intellectual exercise? Humour for me is a very creative force. It’s instinctive, like sex, I think. Something either turns you on or it doesn’t; something either makes you laugh or it doesn’t. It’s about supplying two electrodes and hoping that a spark will be triggered between them.”
  • Maurizio Cattelan, Mini-Me, 1999. Estimate £300,000–400,000.
    In Mini-Me, Cattelan represents himself in action figurine scale. The title of the work is borrowed from the 1997 film Austin Powers: International Man of Mystery, in which the villain ‘Dr. Evil’ has a miniature sidekick who dresses, acts, and looks identical. Thus, from the first moment of interpretation, Cattelan introduces a trademark sense of the absurd. In its puppet-like appearance, Mini-Me can also be read as one of the earliest references to the story of Pinocchio in Cattelan’s career.
  • Glenn Brown, Petrushka, 2000-02. Estimate £200,000–300,000.
    Brown’s three-dimensional paintings call to mind the early sculpture of Picasso or even Jackson Pollock’s attempt to give the material loops and swirls of his paintings volume and form. “I hope to celebrate some of painting’s more clownish attributes, rather than myopically mourn its problems.” Petrushka is the Russian folklore version of the Italian commedia dell’arte, Pulnicella, while in Britain, the equivalent Mr. Punch is the murderous protagonist in the slap-stick Punch and Judy puppet shows that are widely associated with bawdy sea-side entertainment.
  • Ken Price, Go-No-Go, 2006. Estimate £100,000–150,000.
    Ken Price was a central figure of the 1960s West Coast avant-garde. The extensive time Ken Price spent around the Californian surf scene helped him pioneer the unique technique he used to colour sculptures like Go-No-Go.
    Just as surfboards were made by laminated layers of coloured fibreglass, sanded into shape so that their edges betrayed seams of different hues, so too Price coloured his curved sculptures with hard thin layers of acrylic paint, that when sanded down produced the amazing effect of speckled polychromy that is so unique to his work.
  • Jake and Dinos Chapman, Eight Pounder (Inverse Alchemy), 2000. Estimate £3,000–4,000.
    Whilst their subject matter is often dark and sinister, the Chapman brothers use humour and satire to comment on consumer culture, through the subversion of globally recognised images. In The Chapman Family Collection (2002) they adopted the techniques of tribal carvings to reconfigure Ronald McDonald as a totemic wooden statue, implying he is a figure to be worshipped and revered, and Eight Pounder (Inverse Alchemy) continues on this theme.
  • Tom Sachs, Chanel Guillotine, 1999. Estimate £10,000–15,000.
    Continuing with the theme of famous brand names adopted and appropriated by artists, Tom Sachs Chanel Guillotine presents us with an extremely powerful scene. Sachs asks his viewer to consider death as a commodity, dying for fashion (or art, for that matter) and the juxtaposition of conflict, violence, commerce and glamour. Although shocking to see, these subjects can be experienced daily through television, advertising and the 24-hour news culture integral to 21st century life.
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