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  • Provenance

    Barbara Gladstone Gallery, New York

  • Exhibited

    Rotterdam, Museum Boymans van Beuningen, Sarah Lucas, February 4 - March 31, 1996 (another example exhibited); Barcelona, Centre Cultural Tecla Sala, Sarah Lucas: Self-Portraits and More Sex, October 9, 2000 - January 7, 2001 (another example exhibited); Los Angeles, The Museum of Contemporary Art, Public Offerings, April 1 - July 29, 2001 (another example exhibited); Zurich, Kunsthalle, April 2 – June 15, 2005; Hamburg, Kunstverein, July 16 – October 9, 2005 and Liverpool, Tate, October 28, 2005 – January 15, 2006, Sarah Lucas (another example exhibited)

  • Literature

    S. Lucas, E. de Groot, K. Schampers, eds., Sarah Lucas : 4.2.-31.3.1996, Museum Boymans-van Beuningen Rotterdam, Rotterdam, 1996, p. 20 (another example illustrated); E. Janus, ed., Veronica's Revenge: Contemporary Perspectives in Photography, Zurich/Berlin/New York, 1998, p. 223 (another example illustrated); L. Barber, "Drag Queen", The Observer, January 30, 2000, pp. 10 & 11 (another example illustrated); Sarah Lucas : autoretrats i més sexe = autorretratos y más sexo = self-portraits and more sex , Barcelona, 2000, p. 37, no.14 (another example illustrated); H. Singerman, ed., Public Offerings, Los Angeles, 2001, p. 179 (another example illustrated); M. Collings, Sarah Lucas, London, 2002, pp. 20 & 75 (another example illustrated); Y. Dziewior, B. Ruf, eds., Sarah Lucas - Ausstellungen Werkverzeichnis 1989 – 2005, Ostfildern-Ruit, 2005, p. 114 (another example illustrated); G. Muir, C. Wallis, In-A-Gadda-Da-Vida, London, 2004, p.94 (another example illustrated)

  • Catalogue Essay

    The self-portraits of Sarah Lucas reflect an understanding of the Modern comparable with that of Baudelaire and Benjamin - in so far as the clothing, haircut, and poses in the portraits are a vehement expression of their times; and yet at the same time the pictures reflect archetypal human situations....Lucas' portraits are works, which, despite their immediate relevance to the present, do not fully come into their own - they postulate a claim to be valid far beyond that. Contrasting with the reception of these basic features of human existence, whose general validity is less bound to the moment, the perception of the style, the manner in which Lucas works with her coding of clothes - often portraying herself in poses characteristic of men - will be seen by later generations through the filter of their own historio-graphic matrix. What seems to us today, with only a short time between us and the taking of the portraits, to be a mark of authenticity, will later - when the observer and the art no longer belong to the same era - be subject to the rather more distanced judgement of a historical and sociological view.

    Y. Dziewior, ed., Sarah Lucas, Zurich, 2005, p. 109

226

Eating a Banana

1992
Gelatin silver print.
33 x 36 1/2 in. (83.8 x 92.7 cm).
This work is from an edition of six.

Estimate
£25,000 - 35,000 ‡ ♠

Sold for £45,600

Contemporary Art Evening Sale

Evening Sale
13 October 2007, 4pm
London