"Grosse Geist No. 16," by Thomas Schütte, cast aluminum, 98 by 39 1/2
by 59 inches, 2000, one of three casts
Lot 32 is a fabulous cast
aluminum sculpture by Thomas Schütte (b. 1954) entitled "Gross Geist
No. 16." Between 1996 and 2005, Schütte created 17 versions of these
"Big Spirit" sculptures, each in an edition of three and each of the
three in a different medium: aluminum, polished bronze or steel and the
catalogue noted that "no two of these works are exactly alike."
The lot has an estimate of $1,000,000 to $1,500,000. It sold for $4,114,500, an auction record for the artist.
The catalogue provides the following commentary about these big,
sparkling Michelin-Man-like sculptures:
"Whether perturbed or transfixed by the Grosse Geister, it
is difficult not to love them."
Lot 10, "Miss
ko2," by Takashi
Murakami, oil paint, acrylic, synthetic resin, fiberglass and iron, 72
by 25 by 32 1/2 inches, executed in 1997, from an edition of 3 plus an
10 is an amusing scupture of a waitress by Takashi Murakami (b. 1962).
It measures 72 by 25 by 32 1/2 inches and was executed in
1997 from an edition of 3 plus an artist's proof. It is
entitled "Miss ko2."
It has been widely exhibited and published and
has an estimate of $4,000,000 to $6,000,000. It sold for $6,802,500 to Jose Mugrabi.
According to the
catalogue, the work "is the first large-scale
sculpture Murakami ever made of a character inspired by the fantasy
world of otaku,
the obsessive Japanese subculture of anime, manga and video
games....The celebration of otaku
is a major theme in Murakami's work....The lush detailing of the paint
intensifies both the hyper-sexuality and the emphatic artificiality of
the sculpture, a startling combination of qualities. The
shading of the fabric of her shirt makes the bulge of her breasts and
the fullness of the nipples all the more pronounced - they threaten to
push through her bodice....The work 'ko' in Japanse can mean child,
young woman or young geisha, and it is sometimes associated with a
restaurant server. Murakami certainly had an idea of this
kind in mind for he based the clothing in his sculpture on the
uniforrm of the waitresses at the Anna Miller restaurant chain in
Toklyo, a popular hangout in the otaku
The work, it
continued, "is an outstanding example of the Japanese
concept of 'moe,' a word that literally means 'blossoming or sprouting
like a flower from a bud,' but which now is generally used to mean an
extreme form of cuteness."
18, "Mechanical Pig," by Paul McCarthy, mechanical sculpture, silicone,
platinum/fiberglass, metal, electrical components, 40 by 58 by 62
inches, 2005, edition of 3 plus an artist's proof
18 is a
very realistic "mechanical" pig created in 2005 by Paul McCarthy (b.
1945). It measures 40 by 58 by 62 inches and is from an
edition of 3 plus an artist's proof. It has an estimate of
$2,500,000 to $3,500,000. The "pig," the catalogue notes,
"pulses with the appearance of inner vitality: the pig breathes
rhytmicallly and occasionally moves her feet, tongue and eyeballs as if
roused, but not woken, by a dream." It failed to sell.
"Schism's Kiss," by Steven Parrino, enamel on canvas, left panel 84 by
84 by 1 1/2 inches and right panel 84 by 84 by 9 1/2 inches, 2002
28 is a very
large work by Steven Parrino (1956-2005) entitled "Schism's Kiss."
An enamel on canvas, it consists of two 84-inch-square
panels, the left one 1 1/2 inches deep and the right one 9 1/2 inches.
It was created in 2002. It has an estimate of
$600,000 to $800,000. The left panel is monochrome and flat
and the right one is "contorted, disrupted, and draped,"
according to the catalogue. It failed to sell.
is one part Pollock's muscularity, one part Fontana's violation of the
picture plane, one part Warhol's challenge to the hierarchy of images
and one part Stella's true belief in abstraction and gesture.
If Johnny Cash 's raw style, genius and blue collar
characteristic had a parallel in the world of monochrome it would be
Steven Parrino," the catalogue declared.
33, "The Lower 48," by Matthew Day Jackson, 48 C-Prints, framed, each
13 1/2 by 20 inches, 2006, from an edition of 5 plus 2 artist's proofs
Lot 33 is a group of 48
C-Prints taken in 2006 by Matthew Day Jackson (b. 1974) of rocks that
look like people's faces. Entitled "The Lower 48," each print
is 13 1/2 bny 20 inches and this lot is from an edition of 5 plus 2
artist's proofs. It has an estimate of $100,000 to $150,000.
It sold for $410,500. In a 2010 exhibition catalogue, the artist remarked that "we
are constantly searching for a reflection of ourselves in everything we
see," adding that "we realize we are not present there, but
nevertheless we feel that we are part of these things."
15, "Men in Her Life," by Andy Warhol, silkscreen and pencil on primed
canvas 84 1/2 by 83 1/4 inches, 1962
15 is a
large 1962 silkscreen and pencil on primed canvas by Andy Warhol
(1928-1987). It is entitled "Men in Her Life" and it measures
84 1/2 by 83 1/4 inches. It has an "estimate on request."
sold for $63,362,500 and had been consigned by Jose Mugrabi. It
was the second highest auction price ever achieved for Warhol. The painting is based on a photograph of Elizabeth Taylor
walking with her third husband, Mike Todd, and her fourth
husband, Eddie Fisher, who is with his wife, Debbie Reynolds, and it
appeared in the April 13, 1962 edition of Life magazine. The
photograph had been taken June 5, 1957 at the English Derby at Epsom
notes that "the picture is among his earliest silkscreen paintings, and
it combines in one image many of the central themes of his oeuvre:
celebrity, wealth, scandal, sex, death, Hollywood, icons of American
paintng, moreover," it continued, "is one of only four works in the Men in Her Life
series: it is one of only two of these works on a large-scale,
multi-image format; and it is the largest of all the four pictures in
article suggested that it "may sell for around
$50 million,' adding that "Mr. Ségalot pried the Warhol out of the
private collection of the Mugrabi family, Manhattan dealers known for
their vast holdings of Warhols. “My father was adamantly opposed to
selling this painting, but Philippe was so convincing,” said Alberto
Mugrabi, referring to his father, Jose. “Philippe can do things nobody
else can. He’s crazy, but good crazy.”