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  • Provenance

    White Cube, London

  • Exhibited

    Berlin, Kunste-Werke Berlin e.V. – Institute for Contemporary Art, 3rd Floor, Dinos and Jake Chapman: Disasters of War, July 16 – November 12, 2000 (another example exhibited); Modern Art Oxford, Jake and Dinos Chapman: The Rape of Creativity, April 12 – June 8, 2003 (another example exhibited); Liverpool, Tate Liverpool, Jake and Dinos Chapman: Bad Art for Bad People, December 15, 2006 – March 4, 2007 (another example exhibited)

  • Literature

    J. Ramkalawon, “Jake and Dinos Chapman’s Disasters of War,” Print Quarterly, XVIII, 2001, pp. 64-77 (another example illustrated); S. Aquin, Francisco Goya and Jake and Dinos Chapman: The Disasters of War, Musée des Beaux-Arts de Montréal, Quebec, 2001; J. & D. Chapman, Disasters of War, Chapman Publishing, London, 2002 (another example illustrated); N. Brown, “Burger Fetish,” Modern Painters, Spring 2003, pp. 94-97 (another example illustrated); J. Jones, “What Have They Done to Goya?,” G2 The Guardian Monday, March 31, 2003, pp.1-3 (another example illustrated); M. Gayford, “They Only Do it to Annoy,” The Sunday Telegraph, November 2, 2003, p. 9 (another example illustrated); Jake and Dinos Chapman, Jake and Dinos Chapman: Insult to Injury, London, 2004 (another example illustrated); L. Buck, “Features,” The Art Newspaper, No. 161, September 2005, p. 32; M. Sawyer, “Brothers Grim,” Vogue, September 2005, pp. 308-311, p. 381 (another example illustrated); J. McGuiness, “Brother in Arms,” Pol Oxygen, Issue Ten, 2004, pp.78-87 (another example illustrated); G. Wood, “The Cocky Horror Show,” The Saturday Times, October 8, 2005, pp. 28-32; N. Hackworth, “We Want to Commit Violence to Ideas,” Evening Standard, October 11, 2005, p. 35; L. Jury, “The Chapman Brothers Return with an Echo of Past Images,” The Independent, October 19, 2005, p. 12; H. Eyres, “The Heart of Nothingness,” FT Magazine, November 5-6, 2005, pp. 34-35 (another example illustrated); S. Baker, Jake & Dinos Chapman: Like a Dog Returns to its Vomit, London, 2005, pp. 5-6; S. Kent, “The Brothers Grim Turn Back to Goya,” The Times, November 29, 2006, pp. 14-15; C. Turner, “Jake and Dinos Chapman,” Tate Etc., Issue #8, Autumn, 2006 (illustrated); S. O’Hagan; “Jake & Dinos Chapman,” The Observer, December 3, 2006, pp. 8-9; A. Sooke, “Jake and Dinos Chapman at Tate Liverpool,” The Daily Telegraph, December 9, 2006, p. 19; L. Jury, “Chapman Brothers Look Back at a Life of ‘Bad Art’,” The Independent, December 15, 2006, p. 7; R. Dorment, “The Masters of Modern Horror,” The Daily Telegraph, December 19, 2006, p. 27; A. Searle, “Gore Blimey,” The Guardian, December 19, 2006, pp. 24-25; “Two Chapmans,” The Independent, January 30, 2007, p. 11; D. Osbaldeston, “Jake & Dinos Chapman: Bad Art for Bad People,” Art Review, March 2007, p.136-137 (another example illustrated); T. Barson, C. Grunberg, C. Turner and C. Wallis, Jake and Dinos Chapman: Bad Art for Bad People, London, 2007 (another example illustrated)

  • Catalogue Essay

    The Chapmans’ Disasters of War III, it should be obvious, unlike Goya’s original work, is neither a meditation on, nor commentary about, much less a critique of, its apparent subject. Goya’s work results from an impassioned, desperate engagement with the specific events and effects of war, massively over-reaching and surpassing the conventional discourses of reportage or evidentiary image making... Goya is behind the Chapmans’ Disasters of War III at many levels: he is literally ‘beneath’ some images (reconstituted and over-painted) while elsewhere he is merely a trace or cipher, buried deep within the Chapmans' distinct, idiosyncratic arsenal of figures and fantasies... Disasters of War then, offers something unusual in the way it seems to reveal the Chapmans thinking out loud: working, doodling, joking and playing; responding (or failing to respond); rising to, (or falling over), the same challenges again and again. Both in its entirety and in its discreet parts (in unique sets and individual images within sets) it constitutes a relentlessly imaginative and inventive series of ruminations on and over both the images and their possible associations.
    Simon Baker, London, 2007

216

Disasters of War III

2000
Portfolio of 83 etchings with watercolour on paper.
Paper size: 9 5/8 x 13 9/16 in. (24.5 x 34.5 cm) each.
Signed “J and D Chapman” and numbered sequentially one through 83 on the reverse of each.

Estimate
£200,000 - 300,000 ≠ ♠ †

Sold for £192,000

Contemporary Art Evening Sale

Evening Sale
13 October 2007, 4pm
London