EDWARD BURTYNSKY (B. 1955), Manufacturing #18, Cankun Factory, Zhangzhou, Fujian Province, China, 2005 | Christie's
EDWARD BURTYNSKY (B. 1955) Manufacturing #18, Cankun Factory, Zhangzhou, Fujian Province, China, 2005 EDWARD BURTYNSKY (B. 1955) Manufacturing #18, Cankun Factory, Zhangzhou, Fujian Province, China, 2005 digital chromogenic print, mounted on board signed in ink with typed credit, title, date and number '6/10' on affixed artist's label (mount, verso); credited, titled, dated and numbered on affixed
EDWARD BURTYNSKY (B. 1955), Manufacturing #17, Deda Chicken Processing Plant, Dehui City, Jilin Province, China, 2005 | Christie's
EDWARD BURTYNSKY (B. 1955) Manufacturing #17, Deda Chicken Processing Plant, Dehui City, Jilin Province, China, 2005 EDWARD BURTYNSKY (B. 1955) Manufacturing #17, Deda Chicken Processing Plant, Dehui City, Jilin Province, China, 2005 digital chromogenic print, mounted on board signed in ink with typed credit, title, date and number '1/10' on affixed artist's label and credited, titled, dated, numb
ADAM FUSS (B. 1961), Untitled, from 'My Ghost', 2001 | Christie's
ADAM FUSS (B. 1961) Untitled, from 'My Ghost', 2001 ADAM FUSS (B. 1961) Untitled, from 'My Ghost', 2001 unique gelatin silver print photogram, flush-mounted on board signed and dated in blue pencil with credit, title and date on affixed artist label and credited, titled, dated on affixed gallery label (flush mount, verso) image/sheet: 37 3/4 x 31 1/2 in. (95.8 x 79.9 cm.) sheet/flush mount: 38 x 3
ADAM FUSS (B. 1961), Untitled (Sunflower), 1993 | Christie's
ADAM FUSS (B. 1961) Untitled (Sunflower), 1993 unique Cibachrome photogram, mounted on acrylic signed (verso); numbered 'AF #N122' in ink (mount, verso); credited, titled and dated on affixed gallery label (frame backing board) image/sheet: 14 x 11 in. (35.7 x 28 cm.) mount: 14 1/4 x 11 1/4 in. (36.2 x 28.5 cm.)
Peter Doig (b. 1959), The Architect's Home in the Ravine | Christie's
On occasion, Christie's has a direct financial interest in lots consigned for sale which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. This is such a lot. This indicates both in cases where Christie's holds the financial interest on its own, and in cases where Christie's has financed all or a part of such interest throu
Erotic: Passion & Desire - L18325
Liebespaar nach rechts liegend (Lovers Lying Towards the Right)
(#3) Wolfgang Tillmans
Wolfsburg, Kunstmuseum Wolfsburg, Wolfgang Tillmans, for when I'm weak I'm strong, September - November 1996, n.p., illustrated in colour (edition no. unknown) London, Tate Britain, Wolfang Tillmans: if one thing matters, everything matters, June - September 2003, p. 63, illustrated in colour (edition no. unknown) Colour: The colours in the catalogue illustration are fairly accurate. Condition: Th
(#5) Wolfgang Tillmans
London, Tate Britain, Wolfgang Tillmans: if one thing matters, everything matters, June - September 2003, p. 41, illustrated in colour (edition no. unknown) Wolfgang Tillmans, Ed., Wolfgang Tillmans, Burg, Cologne 1998, n.p., illustrated in colour (edition no. unknown) Joanna Biggs, Wolfgang Tillmans: 'Pictures are replacing words as messages', The Guardian, 9 May 2014, illustrated in colour, onli
notfound | Sotheby's
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(#62) José Parlá
Description José Parlá Extremities of Rhythm signed, titled and dated Dec. 2011 on the reverse mixed media on canvas 90 by 120 cm. 35 1/2 by 47 1/4 in. Colour: The colours in the catalogue illustration are fairly accurate, although they fail to convey the textured nature of the paint apparent in the original. Condition: This work is in very good condition. Close inspection reveals some unobtrusive
(#163) Marc Desgrandchamps
Description Marc Desgrandchamps Untitled each: signed, dated 2006 and variously inscribed on the reverse oil on canvas, in two parts each: 200 by 140 cm. 78 3/4 by 55 1/8 in. Colour: The colours in the catalogue illustration are fairly accurate, although there are fewer yellow undertones in the original. Condition: This work is in very good condition. Extremely close inspection reveals some light
(#153) William Eggleston
Description William Eggleston Untitled (Rolls of Printed Fabric, Paris) signed; stamped by the Eggleston Artistic Trust and numbered 3/7 on the reverse pigment print image: 63.5 by 42 cm. 25 by 16 1/2 in. sheet: 71 by 56 cm. 28 by 22 in. Executed in 2006, this work is number 3 from an edition of 7, plus 3 artist's proofs. Colour: The colours in the catalogue illustration are fairly accurate. Condi
(#196) Will Benedict
Description Will Benedict Diashi, Fukushima, Korean War, Bride Head, Injury signed, dated 2013 and variously inscribed on the reverse collage and watercolour on paper on canvas 90.2 by 70.2 cm. 35 1/2 by 27 5/8 in. Colour: The colours in the catalogue illustration are fairly accurate. Condition: This work is in very good condition. There is tape along all four edges which appear to be original. "I
Leonardo’s ‘Salvator Mundi’ sets new auction record in New York
Leonardo’s Salvator Mundi makes auction historyThe rediscovered masterpiece by the Renaissance master sells for an historic $450,312,500, obliterating the previous world record for the most expensive work of art at auction. Post-War and Contemporary Art Evening Sale totals $785,942,250 Auction Results ClassicsVideo15 November 2017 On a historic night at Christie’s in New York, Salvator Mundi, a de
ANDY WARHOL , Paramount, from Ads (F. & S. II.352) | Christie's
ANDY WARHOL Paramount, from Ads (F. & S. II.352) screenprint in colors, 1985, on Lenox Museum Board, signed in pencil, numbered 15/190 (there were also 30 artist's proofs), published by Ronald Feldman Fine Arts, Inc., New York, with the artist's copyright inkstamp on the reverse, the full sheet, in very good condition, framed S. 38 x 38 in. (965 x 965 mm.) If you wish to view the condition report
Anselm Kiefer (b. 1945), Blutblume | Christie's
“For Kiefer, art is an opening-up between order and chaos, between human and natural, between individuality and history, between heaven and earth. Through its function as a link that holds together opposites, these poles belong to each other. For this reason, the intimate reality of the artist is the original force that nourishes the tree of life, through which the human is connected to the natura
Antony Gormley (b. 1950), Foreign Bodies | Christie's
Antony Gormley (b. 1950) Foreign Bodies Foreign Body I forged ball bearings 74 ¼ x 20 3/8 x 11 in. (189 x 52 x 28 cm.) Executed in 2000. Foreign Body II forged ball bearings 75 x 18 7/8 x 15 in. (190.4 x 48 x 38 cm.) Executed in 2000. “The body is a language before language. When made still in sculpture it can be a witness to life” (A. Gormley quoted in U. Kittelmann, ed., Total Strangers, exh. ca
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Boundless: Contemporary Art - HK0704
Sigmar Polke (1941-2010), Untitled | Christie's