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Auction 14 February 2pm GMT

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30 Berkeley Square, London (map)

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Viewing 3 – 14 February 2020

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Monday-Saturday 10am-6pm

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Monday 10 February 10am-8pm

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Sunday 12pm-6pm

\n","auctionDetailsSmall","London Auction 14 February 2020","extraInfo","

Tamila Kerimova
\nSpecialist, Head of Day Sale, Director, 20th Century & Contemporary Art

\n\n

44 20 7318 4065
\ntkerimova@phillips.com

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Just prior to Freeze private view. Left to Right: Ian Davenport, Damien Hirst, Angela Bulloch, Fiona Rae, Stephen Park, Anya Gallaccio, Sarah Lucas and Gary Hume, August 1988.
\n© Abigail Lane. All Rights Reserved, DACS/Artimage 2020.
\nImage: Abigail Lane.

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It is a story that has entered art world mythology. In July 1988, a group of sixteen young artists took part in a show held in an abandoned London Port Authority warehouse, organized by a Goldsmiths’ second-year student called Damien Hirst. The artists included Gary Hume, Mat Collishaw, Ian Davenport, Michael Landy, Sarah Lucas and of course, Hirst himself. The now infamous exhibition, titled Freeze, epitomized the essence of these new artists’ common creative verve; they wanted to tackle and re-structure the established art world through self-promotion, shock-tactics and pure entrepreneurial spirit. The Royal Academy of Art’s then Exhibitions Secretary Normal Rosenthal and the Tate’s new Director, Sir Nicholas Serota, attended along with advertising mogul and collector Charles Saatchi, signaling not only a watershed moment in British art but also Hirst’s dogged determination for widespread recognition. Birthing a new generation of artists, this group and others would soon experience a meteoric rise to fame under the collective name: "Young British Artists" or YBAs. A tale of perseverance, dedication, commitment and creativity, the genesis of the YBAs has come to represent the most treasured characteristics of British morale.

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Installation view of Bodies in Damien Hirst's Degree Show, Goldsmiths College, London, 1989.
\n© Damien Hirst and Science Ltd. All rights reserved, DACS 2020.
\nImage: courtesy of the artist’s studio.

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Goldsmiths College of Art undoubtedly provided the foundation for Freeze and the subsequent YBA movement, with the majority of the group attending their B.A. Fine Art course between 1987 and 1990 – in the exception of Julian Opie who graduated years before, in 1982, but was a driving force for the younger generation. From the conservatism of Margaret Thatcher’s government to the rebellion of The Sex Pistols and The Clash, London in the 1980s thrived in diversity. Goldsmiths’ innovative approach to art-making was no different, abandoning the traditional segregation of artistic training into painting, drawing and sculpture in favor of an openness to process and materials which resulted in a fresh and confident dominance of mixed-media work.

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Michael Craig-Martin in front of Full, estimate: £80,000-120,000. Circa February 2006.
\nImage: Eamonn McCabePopperfoto via Getty Images.

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These students were receiving advice and encouragement from their course leader and artist in his own right, Michael Craig-Martin. As a principal figure of British conceptual art, his personal approach to the play between rhetoric and object influenced many of his young students to pursue complex themes through diverse media and processes. However, the students were as much influenced and nurtured by their mentor as they were by each other. Gary Hume was painting his seductively shiny hospital doors in household gloss as Hirst was experimenting with the same medium on kitchen pans. Spurning the often inevitable competition that comes with beginning an artistic career, the YBAs supported one another in their pursuits. Craig-Martin has noted retrospectively that "With the YBAs, I saw a generosity I'd never witnessed before. When a collector came to a studio, the artist would say, 'Do you know so-and-so's work?' And if the collector said no, the artist would take them round to so and so's studio. It was a magical time." (Michael Craig-Martin, quoted in Stuart Jeffries, ‘Michael Craig-Martin: Up close and impersonal’, The Guardian, 4 May 2011, online).

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Gary Hume Magnolia Door One, 1988. Estimate: £20,000-30,000.

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The YBA magic was infectious and quickly after their bold arrival onto London’s art scene, their work was snapped up by dealers, gallerists, as well as both established and new collectors. Amongst these collectors stood out Robert Tibbles – a veteran YBA-admirer, whose aggregation of artworks forms a sourcebook of the movement’s best productions. "I did want the overarching story of my collection to make sense," Robert said. "And so, I had to continually ask myself: do these bits of the jigsaw produce something that has a theme or coherence?" Uniting seminal formulations of Damien Hirst’s best bodies of work, impressive large-scale compositions by Michael Craig-Martin, provocative word-paintings by Sarah Morris and a uniquely touching video piece by Sam Taylor-Johnson, Robert’s collection traces his emotional and psychological journey as a collector, but also the history of Britain’s most revered contemporary movements.

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With the new decade came an unprecedented recognition and fame for these young artists fresh out of art school. It was also during the 1990s that the YBAs became notorious for their punky ‘work hard, play hard’ ethos, taking over the pubs and clubs of London’s Soho and East End to host parties and private views whilst mixing with friends from the worlds of fashion, music and film. The group’s absorption into the establishment was firmly secured when the Royal Academy staged the notorious Sensation exhibition in 1997, traveling to New York and Berlin and introducing these artists to the wider public both in Britain and internationally. Innovative and provocative, these artists indeed caused a powerful sensation in the cultural landscape from which we are still feeling the after-shocks.

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Acquired from 1988 until roughly 2000, the works from Robert Tibbles’ collection allow a glimpse into the YBAs’ genesis and progression, conveying a visual time capsule that almost no other collection could boast. "I bought and put together all these works, in a very slow but very careful way, and they only got better with time," the collector said.

\n\n

\n","publishDate","2020-01-30T17:06:48.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/54046733/tca-young-british-artists-london-auction","displayOrder",5,"auctionEditorialID",738,"editorialID",1852,"flocklerID",54046733,"https://flockler.com/thumbs/sites/889/pag83-320fe99b-fa35-491f-bab4-642a8a6e20b1_s600x0.jpg","Inspired by the dynamic London art scene that surrounded him, Robert Tibbles worked directly with some of Britain's greatest living artists to build his exceptional collection. ","A Collector's Story: Robert Tibbles","

Robert Tibbles in his London home, with Michael Craig-Martin’s Full, 5 December 2019.
\n© Michael Craig-Martin, 2020. Image: Alex Braun/Phillips.

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Works by Sarah Morris and Damien Hirst on display in Mr. Tibbles' London home.
\nImage: Alex Braun/Phillips.

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Robert Tibbles is a collector in the truest sense. Having found his niche in the late 1980s, when London was bustling with a novel, brash artistic energy that readily met the increasing momentum of his own industry – finance – he became one of the first to promote and purchase the work of a then loud, yet marginal, artistic movement: the Young British Artists (YBAs). Deeply enamored with art from his first encounter with it in 1988, he quickly amassed a dozen works, and then more, constituting a collection of topical, charismatic, and intimate pieces spanning painting, sculpture, photography and video. The art collection he built over two decades remained with him to this day, predominantly in the comfort of his London home, and is now being entrusted to Phillips, London, across particularly crafted sales. "There are lots of different types of collectors," Robert confessed. "I’ve never been one to put works straight into storage." Instead, he placed a monumental Spot Painting by Damien Hirst above his fireplace, a brash dual portrait of Gilbert & George, along with two paintings by Sarah Morris spelling out "GIRLS" and "FUCK" in his dining room, and a poetic Julian Opie composition, portraying a road cut off by a large expanse of azure sky, just above his bed.

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Julian Opie Imagine you are driving. 4., 1997. Estimate: £20,000-30,000.

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Each work from Robert Tibbles’ artful aggregation is tied to the other in a shared story of passion, foresightedness and wit. It is important to mention the spiritedness of Robert’s collection as each work carries tremendous individual charisma; a spark that reflects his own. The first major work he purchased was Damien Hirst’s Bodies, 1989, brought to his attention by the art dealer Karsten Schubert in the year of its creation. Acquiring the work for £600, he was the first collector, alongside Charles Saatchi, to buy a work by Damien Hirst. Indeed, while Hirst was still a student at the Goldsmiths College of Art, London, Robert was immediately taken by his work; he envisioned a likeness between his gesture and that of Duchamp years before him, similarly elevating an ordinary object to the realm of fine art. Hirst himself has fond memories of the banker. "I remember Robert very well, he was so excited by the art," he said. "It was in the days when I installed my own work in people’s houses, so I went round and met him and he made me tea." Further highlighting the integrity of Robert’s collection, the artist mused, "Robert is a proper collector and I’m really touched he kept and lived with my work for all those years."

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\n
Robert is a proper collector and I’m really touched he kept and lived with my work for all those years.
\n— Damien Hirst
\n

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Works by Damien Hirst and Simon Patterson on display in Mr. Tibbles' London home.
\nImage: Alex Braun/Phillips.

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Through the initial and seminal purchase of Bodies, Robert continued buying more works by the artist, and became increasingly close to Schubert, who subsequently introduced him to Hirst’s mentor – the Irish-born, U.S.A-educated artist Michael Craig-Martin. Robert’s particular relationship with Michael Craig-Martin, cultivated over the years, ushered new possibilities for his vision as a collector. He formed a friendship with him early on in his collecting years, and valued his advice as a friend and artist throughout his collecting journey. One of his most exciting purchases was the commissioned Narrative Painting from 1993-94; a composition that followed Craig-Martin’s solo show in Paris’ Centre Pompidou in 1993, where he had painted the walls of each room a different color, and placed one image on each wall. For Robert, Craig-Martin produced a canvas with a large expanse of pink to symbolize one wall, and an eighth of yellow to symbolize its tangent. "He then included a book because he always said, 'If you want to be a really serious Contemporary Art collector, Robert, you cannot have curtains or books.' And then he included the back of a canvas to show I am a collector."

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Themes that consume artists at the time of creation – including life, death, freedom, irreverence and identity politics – seem to consume Robert in turn, and run consistently throughout the collection he built. The Robert Tibbles Collection: Young British Artists & More thus forms a coherent, wholly fascinating narrative; one that tells Robert Tibbles’ singular story, and the visionary verve with which he approached art over the course of three decades.

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\n","2020-01-30T18:42:22.000000Z","https://www.phillips.com/article/54047295/tca-robert-tibbles-yba-collection-auction",4,739,1853,54047295,"https://flockler.com/thumbs/sites/889/mr-tibbles1798_v2-96178dfa-3530-4a63-a65b-c57ab01e6ce3_s600x0.jpg","Phillips is pleased to announce 'The Robert Tibbles Collection: Young British Artists & More', with seminal works by Damien Hirst, Michael Craig-Martin, Gilbert & George, Sarah Morris, Julian Opie and more to be offered in London in 2020.","The Robert Tibbles Collection: Young British Artists & More","

Damien Hirst Bodies, 1989. Estimate: £1,200,000-1,800,000.

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Phillips is proud to announce The Robert Tibbles Collection: Young British Artists & More, a multitude of YBA treasures to be sold across the London auctions of 20th Century & Contemporary Art in February 2020, as well as New Now, Photographs and Editions. The collection includes seminal works by Damien Hirst, Gilbert & George, Gary Hume, Michael Craig-Martin, Sarah Morris and Julian Opie, among others – often acquired directly from the artists or galleries the same year of their creation. The 30 works in this collection are expected to realize a total in the region of £4 million, with a festive preview of highlights set to transform the windows of 30 Berkeley Square from 20 December to 6 January.

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A bond salesman for many years, Robert Tibbles’ collecting journey began at the genesis of a movement that transformed contemporary British art, and ushered a novel artistic language built on rebellion and audacity. A principal author of this movement was Damien Hirst, whose degree show in 1989 marked the beginnings of his ‘Medicine’ series. Named after the 12 tracks from the Sex Pistols’ UK debut album, the show featured the first four from a suite of 12 cabinets, created using empty medication packages. Robert Tibbles acquired Bodies – one of these four seminal works – in 1989 from Karsten Schubert, for the mere sum of £600, marking him as the first collector of Hirst’s work. The work captures the genius of Hirst’s artistic investigation, and its provenance tells a story of passion, trust and vision. In the three decades since it was purchased, Bodies has only been shown three times, at the Museo Archeologico Nazionale, Naples; L&M Arts, New York; and finally, in 2012 at Tate Modern, London.

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Robert Tibbles, said, “The collection has filled my head and my heart. I have been incredibly lucky to have been shown fantastic stuff whilst in a position to buy it, and to put this collection together. It is great the idea that these works will go on to new owners, and I hope they are able to enjoy them just as much as I have.”

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Cheyenne Westphal, Global Chairwoman, said, “Robert is one of the most visionary and forward-thinking collectors of his generation. He was the first person to buy Damien Hirst alongside Charles Saatchi, and collected on the grounds that you buy a work of art because you respond to it, and because you love it. Robert saw something that others did not, and the result is an unrivaled collection that captures a defining moment in the history of contemporary British art. Works of this caliber are a rarity in the market, and we are incredibly excited to present collectors and admirers with a unique opportunity to see these works in person.”

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Damien Hirst Antipyrylazo III, 1994. Estimate: £900,000-1,200,000.

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Cool Britannia: The Robert Tibbles Collection comprises a total of six works by Hirst. Antipyrylazo III, 1994, is an early example of his ‘Spot Paintings’, and has been hanging above the collector’s fireplace since he purchased the work from Jay Jopling the same year of its creation. Featuring a joyous amalgamation of 2,050 hand-painted spots, Antipyrylazo III sits within Hirst’s investigation into the medical realm. Hirst pairs the work’s obscure and esoteric title with an image that is clear and recognizable to all: candy-like spots multiplying with jubilant energy.

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\n
To create that structure, to do those colours, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of colour — Damien Hirst
\n

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Further works include a leading example of Hirst’s ‘Spin Paintings’, titled Beautiful tropical, jungle painting (with pink snot), 1997 (estimate: £270,000-350,000). With its luxurious splashes of color, the work conjures a wondrous explosion that departs from the artist’s usual intentness on order, repetition, and quasi-scientific formulaism. Two works that sit in eerie conversation with one another are Summer Breeze, 2002 (estimate: £250,000-350,000), and Aids/The Martyrdom of Saint Matthew/Hatred, 2003 (estimate: £80,000-120,000). Capturing Hirst’s preoccupation with life and death, Summer Breeze depicts a clear blue sky scattered with butterfly wings glued to the canvas, whereas Aids engulfs the viewer in darkness, with thousands of flies trapped behind glass.

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The collection includes two monumental paintings by Michael Craig-Martin, the mastermind behind this new generation of artists and Hirst’s former teacher at Goldsmith's College, London. Full, 2000, is likely to set a world record price for Craig-Martin when it is auctioned on 13 February 2020. By theme of appropriation, each object references seminal art-historical icons: Jasper Johns’ paintbrushes, Marcel Duchamp’s bottle rack, Man Ray’s metronome, and Craig-Martin’s very own symbols, including a glass of water and a ladder.

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Michael Craig-Martin Full, 2000. Estimate: £80,000-120,000.

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During his collecting years, Robert Tibbles met Michael Craig-Martin through Karsten Schubert, and one of his most exciting purchases was when he commissioned Narrative Painting, 1993-94 (estimate: £30,000-40,000). The commission followed Craig-Martin’s show in Paris in 1993, where he had painted the walls of each room a different color, with one image on each wall. Craig-Martin asked Robert if he’d like the same concept for his London home, but as Robert was moving the artist produced a canvas with a large expanse of pink to symbolize one wall, and an eighth of yellow to symbolize part of another wall. Robert Tibbles said, “Michael then included a book because he always said if you want to be a really serious Contemporary Art collector, Robert, you cannot have curtains or books. And then he included the back of a canvas to show I am a collector, which was sweet.”

\n\n

City Fairies, 1991, is a vast double portrait characteristic of the work of Gilbert & George (estimate: £120,000-180,000). Between the two artists, at the core of the photographic construction, lies an image of Liverpool Street Station. This is particularly meaningful as Robert Tibbles worked there for over two decades at UBS. At the time of its creation, City Fairies was a very controversial work. Each artist is birthing the other through the mouth, haloed from beneath by their exposed buttocks, and flanked by aggrandized flees on both sides of the composition.

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20th Century & Contemporary Art Evening Sale
\nAuction: 13 February 2020
\n30 Berkeley Square, London

\n\n

20th Century & Contemporary Art Day Sale
\nAuction: 14 February 2020
\n30 Berkeley Square, London

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\n","2019-12-12T13:52:24.000000Z","https://www.phillips.com/article/52409578/robert-tibbles-collection-ybas-hirst-craig-martin-morris-opie",3,735,840,52409578,"https://flockler.com/thumbs/sites/889/uk010120-tca-evening-install-hr-5-28e2bc33-0a6a-4cce-a526-08-ec8e44c8-54c5-4bd2-857d-438a142d4dd8_s600x0.jpg","Tour our Evening & Day 20th Century & Contemporary Art Sales in this virtual reality walkthrough from 30 Berkeley Square. On view: KAWS, Tschabalala Self, Keith Haring, El Anatsui and more.","VR Walkthrough: 20th Century & Contemporary Art","

Travel through our galleries at 30 Berkeley Square in London and browse our 20th Century & Contemporary Art Evening and Day Sales.

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Featuring leading works from the most sought-after artists of the 20th and 21st centuries, our Evening Sale is comprised of an exceptional group of works from The Robert Tibbles Collection: Young British Artists & More. The collection highlights some of the best work from YBAs Damien Hirst, Michael Craig Martin, Sarah Morris, Gilbert & George, Julian Opie and more. Also on offer are works by Cecily Brown, Marlene Dumas, KAWS, Tschabalala Self, Keith Haring and Ed Ruscha.

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On view now, our Day Sale features masterworks from Genieve Figgis, Tomoo Gokita, Duane Hanson to Joe Bradley and Allen Jones, among others.

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Visit our 30 Berkeley Square galleries through 13 February to preview our London 20th Century & Contemporary Art Evening and Day Sales ahead of the 13-14 February auctions.

\n","2020-02-05T18:04:13.000000Z","https://www.phillips.com/article/54119922/vr-walkthrough-20th-century-and-contemporary-art-8",2,742,1859,54119922,"https://flockler.com/thumbs/sites/889/123_001-918315f6-0504-48c1-8a20-681bec819a88_s600x0.jpg","Emblematic of the artist's oeuvre in the 1980s, 'Surfer' uses California cool to examine the deeper anxiety embedded in American life. ","Duane Hanson: An Unflinching Eye ","

Duane Hanson Surfer, 1987. Estimate: £200,000-300,000.
\n20th Century & Contemporary Art Day Sale at Phillips London, 14 February.

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Surfer, 1987, executed at the height of Duane Hanson’s practice, encapsulates the artist’s unflinching observation of and fascination with pedestrian lower-middle-class characters in American society. Capturing his figures in a moment of unguarded thought and reflection, they surprise, amuse and disturb viewers through their arrestingly real depiction. The artist stated "the subject matter that I like best deals with the familiar lower- and middle-class American types of today. To me, the resignation, emptiness, and loneliness of their existence captures the true reality of life for these people … I want to achieve a certain tough realism which speaks of the fascinating idiosyncrasies of our times" (Duane Hanson quoted in Christine Lindey, Superrealist Painting and Sculpture, New York, 1980, p. 130.).

\n\n

The work takes as its subject a boy, dressed in his sunset-colored swimming trunks as he holds his fiery board in one hand, the other nonchalantly on his hip. He gazes out into the distance, avoiding the eye of the viewer, searching for the perfect wave. Created during a time of worldwide obsession with sportswear, body image and exercise trends, Surfer, 1987, vividly highlights the artist’s captivation with consumer culture while also holding personal significance as the sculpture was modeled after Hanson's son.

\n\n

\n\n

Duane Hanson (left) with Surfer at Broward Community College, Fort Lauderdale, in 1987.
\n© Estate of Duane Hanson/VAGA at ARS, NY and DACS, London 2020.
\nImage: Broward College Archives & Special Collections, Davie, FL.

\n\n

Hanson created his perfectly realized figures using auto-filler or polyvinyl, increasingly moving to bronze in his later works. Hand painting each piece, the figures are completed in painstaking detail with wigs, eyes, fingernails and even human hair in some works. Carefully choosing often friends or family as his models, Hanson dresses his figures with notably telling props, creating identifiable personalities. Hanson would often unify elements from different models, finishing his sculptures with delicate embellishments. His works endorse and make the most of ordinary moments, elevating the subject, crediting it as gallery and viewer worthy, conversing with the gallery space, demanding immediate interaction with the viewer. "I am not duplicating life. I’m making a statement about human values." (Duane Hanson, quoted in Thomas Buchsteiner and Otto Letze, eds., Duane Hanson: More than Reality, Stuttgart, 2001, p. 77).

\n\n

\n
In the turmoil of everyday life, we too seldom become aware of one another. In the quiet moments in which you observe my work, maybe you will recognise the universality of all people.
\n— Duane Hanson
\n

\n\n

Hanson’s first life-size, realistic sculptures executed in the late 1960s were reflective of a climate of unrest and social fragmentation raging around him, aggressively confronting issues including suicide, abortion, racial unrest and homelessness, shifting in the 1970s to social commentary on the banalities of daily life. Hanson meticulously observes in unflinching precise detail, resulting in a representation that embodies "something I deeply wanted to say about life around us today" (Duane Hanson, quoted in Martin Bush, Sculptures by Duane Hanson, Wichita, 1985, p. 31.) His experimentations with hyper-realism were born amongst the growing world of Pop Art in America, encouraged by the likes of Jasper Johns and George Segal’s crude plaster casts of living models in domestic scenes conversion of high-art from Abstract Expressionism to a reflection of the everyday.

\n\n

\n\n

Significantly influenced by those around him, Hanson subsequently also guided the development of figurative art himself. Jeff Koons' Pink Panther, 1988, made one year after the present example, shares the same kitsch quality of small-town Americana, the same plastic surface quality and sheen. Yet Koons creates an idealized figure in stark contrast to Hanson’s real and self-conscious portrayal of youth. Hanson was part of the same generation of American artists such as Robert Gober whose domestic considerations can be understood in Hanson’s importance of the everyday, and John deAndrea’s who implemented the same modeling technique to produce his own nude figures. In Britain, Hanson had a profoundly evident influence on the YBA artists such as Jake & Dinos Chapman.

\n\n

Throughout his impressive oeuvre and wonderfully captured in Surfer, 1987, Hanson holds up a mirror to society, making us appreciate and elevate the notion of the everyday, as beautifully summarised by the critic Thomas Buchsteiner: "For Duane Hanson, art was life, and life was realistic." (Thomas Buchsteiner, ‘Art is Life and Life is Realistic’ in Thomas Buchsteiner and Otto Letze, eds., Duane Hanson: More than Reality, Stuttgart, 2001, p. 77).

\n\n

\n","2020-02-04T18:50:00.000000Z","https://www.phillips.com/article/54142206/tca-duane-hanson-sculpture-london-auction",741,1856,54142206,"https://flockler.com/thumbs/sites/889/124_002-ed11de0f-dc6b-44bb-b856-dbcf722a15cf_s600x0.jpg","Executed at the inception of Sturtevant's conceptual practice, two exceptional examples of 'Warhol Flowers' are much more than mere copies. ","Double Trouble","

Sturtevant Warhol Flowers, 1969. Estimate: £125,000-180,000.
\n20th Century & Contemporary Art Day Sale at Phillips London, 14 February.

\n\n

When Andy Warhol was once questioned about the artistic method behind his Flowers, it has been said that he responded, "I don't know. Ask Elaine" (Sturtevant, in Bill Arning, "Sturtevant," Journal of Contemporary Art, no. 2, Fall/Winter 1989, p. 44). Indeed, shortly after Warhol took the art world by storm with his dazzling silkscreen paintings of hibiscus flowers, (Elaine) Sturtevant conceived her own radical response to the Pop master’s new body of work: using a 22 x 22-inch silkscreen that Warhol had lent her, Sturtevant created her seminal body of work Warhol Flowers, of which other examples reside in such institutions as The Art Institute of Chicago. Executed in 1965 and 1969, respectively, the two present examples are situated at the dawn of Sturtevant’s radical conceptual practice that would see her use some of the most iconic artworks of her generation as a source and catalyst to explore notions of originality, authorship and authenticity.

\n\n

Sturtevant’s Warhol Flowers are the result of a masterful loop of repetition, one in which the artist pushed Warhol’s very own artistic investigations into new conceptual pastures. Warhol had, indeed, taken as his source for a photograph by Patricia Caulfied that was published in the June 1964 Modern Photography, cropping the rectangular image of seven flowers to a square containing only four blossoms. As Peter Eleey noted, "In Sturtevant’s hands, Warhol’s image draws greater attention to the limits, edges, and qualities of his authorship, already stressed by the appropriated and delegated aspects of his screenprint paintings’ manufacture…while pointing back further to the woman whose image had passed from her own camera, through Kodak’s advertising agency, to a magazine, and then to a high-contrast crop at Warhol’s Factory, before moving to his screen maker, and finally on to Sturtevant" (Peter Eleey, Sturtevant, Double Trouble, exh. cat., Museum of Modern Art, 2014, p. 49).

\n\n

\n
The brutal truth of the work is that it is not a copy. The push and shove of the work is the leap from image to concept. The dynamics of the work is that it throws out representation.
\n— Sturtevant
\n

\n\n

\n\n

Sturtevant Warhol Flowers, 1965. Estimate: £125,000-180,000.

\n\n

While engaging in strategies of appropriation, Sturtevant notably goes beyond merely questioning the discourse of original and copy. It is telling that rather than revisiting the masterpieces of the distant past, Sturtevant turned to the "masterpieces" in the making around her. Her first-ever solo exhibition, at the Bianchini Gallery in New York in 1965, presented a tongue-in-cheek installation that effectively put the art world’s latest fashions on display. Merely a year after the debut of Warhol’s Flowers at Leo Castelli Gallery, Sturtevant lined the gallery walls with her own Warhol look-a-likes – here juxtaposed with a white sculpture resembling a work by George Segal shown pulling a garment rack laden with paintings evocative of works by the likes of Jasper Johns, Arman, Claes Oldenburg and Frank Stella. In doing so, Sturtevant effectively exposed the political, economic and cultural circumstances that underpin art’s creation, circulation, consumption and canonization. For Sturtevant, the 1960s represented "the big bang of pop art. But pop only dealt with the surface, I started asking questions about what lay beneath the surface. What is the understructure of art? What is the silent power of art?" (Sturtevant, quoted in conversation with Peter Halley, Index Magazine, 2005, online).

\n\n

While works such as the present ones at first glance appear as "perfect copies," they are best understood as studies that expose broader systems of value within the art world. "By faking faking," Peter Eley has argued, "she showed that she was not a copyist, plagiarist, parodist, forger, or imitator, but was rather a kind of actionist, who adopted style as her medium in order to investigate aspects of art’s making, circulation, consumption, and canonization" (Peter Eleey, Sturtevant: Double Trouble, exh. cat., The Museum of Modern Art, New York, 2014, p. 50).

\n\n

Since her passing in 2014, Sturtevant has received the critical attention she was denied for much of the late 20th century. After receiving the Golden Lion Lifetime Achievement award at the 2011 Venice Biennale, her work was celebrated in her first comprehensive survey in the United States since 1973 beginning at The Museum of Modern Art, New York in 2014.

\n\n

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Installation view of Bodies in Damien Hirst's Degree Show, Goldsmiths College, London, 1989.\n© Damien Hirst and Science Ltd. All rights reserved, DACS 2020.\nImage: courtesy of the artist’s studio.

Michael Craig-Martin in front of Full, estimate: £80,000-120,000. Circa February 2006.\nImage: Eamonn McCabePopperfoto via Getty Images.

Gary Hume Magnolia Door One, 1988. Estimate: £20,000-30,000.

Works by Sarah Morris and Damien Hirst on display in Mr. Tibbles' London home.\nImage: Alex Braun/Phillips.

Julian Opie Imagine you are driving. 4., 1997. Estimate: £20,000-30,000.

Works by Damien Hirst and Simon Patterson on display in Mr. Tibbles' London home.\nImage: Alex Braun/Phillips.

Damien Hirst Antipyrylazo III, 1994. Estimate: £900,000-1,200,000.

Michael Craig-Martin Full, 2000. Estimate: £80,000-120,000.

Duane Hanson (left) with Surfer at Broward Community College, Fort Lauderdale, in 1987.\n© Estate of Duane Hanson/VAGA at ARS, NY and DACS, London 2020.\nImage: Broward College Archives & Special Collections, Davie, FL.

Jeff Koons Pink Panther, 1988. Porcelain, Museum of Modern Art, New York.\n© Jeff Koons, 2020. Image Scala, Florence.

Sturtevant Warhol Flowers, 1965. Estimate: £125,000-180,000.

Installation view of Bodies in Damien Hirst's Degree Show, Goldsmiths College, London, 1989.
\n© Damien Hirst and Science Ltd. All rights reserved, DACS 2020.
\nImage: courtesy of the artist’s studio.

Michael Craig-Martin in front of Full, estimate: £80,000-120,000. Circa February 2006.
\nImage: Eamonn McCabePopperfoto via Getty Images.

Works by Sarah Morris and Damien Hirst on display in Mr. Tibbles' London home.
\nImage: Alex Braun/Phillips.

Works by Damien Hirst and Simon Patterson on display in Mr. Tibbles' London home.
\nImage: Alex Braun/Phillips.

Duane Hanson (left) with Surfer at Broward Community College, Fort Lauderdale, in 1987.
\n© Estate of Duane Hanson/VAGA at ARS, NY and DACS, London 2020.
\nImage: Broward College Archives & Special Collections, Davie, FL.

Jeff Koons Pink Panther, 1988. Porcelain, Museum of Modern Art, New York.
\n© Jeff Koons, 2020. Image Scala, Florence.

245

Stanley Casselman

IR 41‐7

Full-Cataloguing

Stanley Casselman