Warhol, Condo, Hirst and More Lead Contemporary Curated

Warhol, Condo, Hirst and More Lead Contemporary Curated

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  Jasper Johns, Untitled, 1983. Estimate $1,500,000–2,000,000.

  Johns’s monotype process consisted of painting with wet pigments onto the hard surface of a Mylar plate, laying a sheet of paper on top of the plate, and then running the matrix through a printing press to transfer the image to the sheet.
  
  

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  George Condo, Rainy Day Butler, 2012. Estimate $800,000–1,200,000.

  Through his prolific output of abstract compositions and uniquely distorted portraits, Condo has established himself as one of the preeminent figurative painters of the contemporary era.
  
  

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  Wayne Thiebaud, Three Donuts, 1994. Estimate $700,000–1,000,000.

  Paint colours are left separate on Thiebaud’s brush, leaving striations that help to showcase his dynamic range of gestural ability, and the artist’s signature is incised into the painting, underscoring this sense of dimensionality and textural variation.
  

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  Andy Warhol, Meryl Streep, 1984. Estimate $600,000–800,000.

  Unlike the multiple versions of celebrity portraits produced by Warhol during the 1960s in his Silver Factory, there are only five existing 1970s portraits of the young Meryl Streep, two of which are in the Andy Warhol Museum in Pittsburgh.
  
  

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  Jonas Wood, Australian Open Two, 2012. Estimate $500,000–700,000.

  “My forms are not rendered spatially. My paintings of tennis courts were about an interest in abstraction, and how the court becomes a geometric puzzle,” Jonas Wood has explained. “There also is text, because of the advertising. My work is under-painted with big flat shapes of color; that is how they start. They are generated from an abundance of flat planes built up on top of each other.”
   
  
  

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  Mel Ramos, Lola Cola, 1966. Estimate $400,000–600,000.

  Like his fellow American Pop artists who found motifs for their work within mass-media imagery, Mel Ramos carved out a prolific legacy by parodying idealized nude women that engulfed American society in the early 1960s issues of Playboy, comic books, celebrity culture and advertising against the backdrop of widely recognizable commercial products.
  
  

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  Julian Schnabel, Nicknames of Maitre d's, 1984. Estimate $400,000–600,000.

  By far the largest work in the artist’s velvet painting series shown at New York’s Pace Gallery in 1984, Nicknames of Maitre d’s brings together a technical prowess with a deeply complex allusive and layered web of references and subject matter.
  
  

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  Damien Hirst, Beautiful, Runny Egg on a Summers Day Nose Bleed Painting, 2006. Estimate $400,000–600,000.

  The spin paintings played an important role in Hirst’s early performance works of the 1990s, and in 1994 he began making spin paintings as standalone artworks. Since that time, each spin painting has been produced in the same way: a circular canvas is placed on top of rotating machinery, and paint is applied at a distance with varying degrees of force, producing wildly varied results.
  
  

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  Alexander Calder, Untitled, circa 1963. Estimate $350,000–450,000.

  Attenuated, poised, and constructed of three red horizontal and vertical wires, Calder’s sculpture exhibits a graceful simplicity and repetition, contrasted by angular plates of metal that suggest formal associations with nature and dance.
  
  

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  Ellsworth Kelly, Study for Curve II, 1973. Estimate $350,000–450,000.

  The momentum of Kelly’s gesture is captured where each line meets, forever recorded in the sweeps made by the graphite as they lifted off of the page.
  
  

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• • 

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    Category: Past Auction

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