John Currin Auction Price Results

Lot 1: - John Currin , b. 1962 The Pink Tree oil on paper

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Description: signed on the reverse oil on paper

Lot 2: John Currin (b. 1962)

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Description: Currin, J. Untitled signed and dated 'John Currin 1990' on the overside oil on linen 34 x 30in. (86.4 x 76.2cm.) PROVENANCE Andrea Rosen Gallery, New York EXHIBITION New York, Andrea Rosen Gallery, John Currin-Robin Kahn, January-February 1991. NOTES John Currin is one of a new group of painters who has sought to resurrect figurative painting from its moribund state in contemporary art. Yet, rather than merely returning to the visual language of nineteenth-century portraiture, he has adopted its conventions while brandishing retrograde imagery grounded in clich. This marriage of thrift-store imagery with a classic and virtuosic painting technique creates an ironic confrontation in the work between meaning and representation that remains ambiguously unresolved. As Currin states, "I've always liked things that pretend they're sensationalistic entertainment yet have a hidden or deeper structure--something that's absolutely mediocre but perfect, like a soft-rock song that's perfectly memorable, that has this incredibly long life and persistence, that's so average but crystalline" (quoted in John Currin: Oeuvres/Works 1989-1995, Limoges, 1995, p. 45). John Currin's early "portraits" of adolescent girls were derived from high school yearbook pictures from the 1970s, blending cultural nostalgia with an almost palpable repressed sexuality. Their blank stares and generic features suggest a cultural stereotype of submissiveness and vulnerability which parodies their role as passive objects. While each portrait reveals the individual characterics of his female subjects along with an actual name, there is only slight variation between dress, hairstyle and pose suggesting a likeness and interchangeability between these typically white, middle class girls. The present portrait of a young African-American girl may have been inspired by an actual person, yet remains anonymously Untitled. Like her blond, Midwestern counterparts, she appears unique yet generic, oddly de-politicized and divorced from any exterior context.

Lot 2: John Currin (b. 1962)

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Description: Currin, J. Untitled signed and dated 'John Currin 1990' on the overside oil on linen 34 x 30in. (86.4 x 76.2cm.) PROVENANCE Andrea Rosen Gallery, New York EXHIBITION New York, Andrea Rosen Gallery, John Currin-Robin Kahn, January-February 1991. NOTES John Currin is one of a new group of painters who has sought to resurrect figurative painting from its moribund state in contemporary art. Yet, rather than merely returning to the visual language of nineteenth-century portraiture, he has adopted its conventions while brandishing retrograde imagery grounded in clich. This marriage of thrift-store imagery with a classic and virtuosic painting technique creates an ironic confrontation in the work between meaning and representation that remains ambiguously unresolved. As Currin states, "I've always liked things that pretend they're sensationalistic entertainment yet have a hidden or deeper structure--something that's absolutely mediocre but perfect, like a soft-rock song that's perfectly memorable, that has this incredibly long life and persistence, that's so average but crystalline" (quoted in John Currin: Oeuvres/Works 1989-1995, Limoges, 1995, p. 45). John Currin's early "portraits" of adolescent girls were derived from high school yearbook pictures from the 1970s, blending cultural nostalgia with an almost palpable repressed sexuality. Their blank stares and generic features suggest a cultural stereotype of submissiveness and vulnerability which parodies their role as passive objects. While each portrait reveals the individual characterics of his female subjects along with an actual name, there is only slight variation between dress, hairstyle and pose suggesting a likeness and interchangeability between these typically white, middle class girls. The present portrait of a young African-American girl may have been inspired by an actual person, yet remains anonymously Untitled. Like her blond, Midwestern counterparts, she appears unique yet generic, oddly de-politicized and divorced from any exterior context.

Lot 2: John Currin (b. 1962)

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Description: Currin, J. Untitled signed and dated 'John Currin 1990' on the overside oil on linen 34 x 30in. (86.4 x 76.2cm.) PROVENANCE Andrea Rosen Gallery, New York EXHIBITION New York, Andrea Rosen Gallery, John Currin-Robin Kahn, January-February 1991. NOTES John Currin is one of a new group of painters who has sought to resurrect figurative painting from its moribund state in contemporary art. Yet, rather than merely returning to the visual language of nineteenth-century portraiture, he has adopted its conventions while brandishing retrograde imagery grounded in clich. This marriage of thrift-store imagery with a classic and virtuosic painting technique creates an ironic confrontation in the work between meaning and representation that remains ambiguously unresolved. As Currin states, "I've always liked things that pretend they're sensationalistic entertainment yet have a hidden or deeper structure--something that's absolutely mediocre but perfect, like a soft-rock song that's perfectly memorable, that has this incredibly long life and persistence, that's so average but crystalline" (quoted in John Currin: Oeuvres/Works 1989-1995, Limoges, 1995, p. 45). John Currin's early "portraits" of adolescent girls were derived from high school yearbook pictures from the 1970s, blending cultural nostalgia with an almost palpable repressed sexuality. Their blank stares and generic features suggest a cultural stereotype of submissiveness and vulnerability which parodies their role as passive objects. While each portrait reveals the individual characterics of his female subjects along with an actual name, there is only slight variation between dress, hairstyle and pose suggesting a likeness and interchangeability between these typically white, middle class girls. The present portrait of a young African-American girl may have been inspired by an actual person, yet remains anonymously Untitled. Like her blond, Midwestern counterparts, she appears unique yet generic, oddly de-politicized and divorced from any exterior context.

Lot 2: John Currin (b. 1962)

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Description: Currin, J. Untitled signed and dated 'John Currin 1990' on the overside oil on linen 34 x 30in. (86.4 x 76.2cm.) PROVENANCE Andrea Rosen Gallery, New York EXHIBITION New York, Andrea Rosen Gallery, John Currin-Robin Kahn, January-February 1991. NOTES John Currin is one of a new group of painters who has sought to resurrect figurative painting from its moribund state in contemporary art. Yet, rather than merely returning to the visual language of nineteenth-century portraiture, he has adopted its conventions while brandishing retrograde imagery grounded in clich. This marriage of thrift-store imagery with a classic and virtuosic painting technique creates an ironic confrontation in the work between meaning and representation that remains ambiguously unresolved. As Currin states, "I've always liked things that pretend they're sensationalistic entertainment yet have a hidden or deeper structure--something that's absolutely mediocre but perfect, like a soft-rock song that's perfectly memorable, that has this incredibly long life and persistence, that's so average but crystalline" (quoted in John Currin: Oeuvres/Works 1989-1995, Limoges, 1995, p. 45). John Currin's early "portraits" of adolescent girls were derived from high school yearbook pictures from the 1970s, blending cultural nostalgia with an almost palpable repressed sexuality. Their blank stares and generic features suggest a cultural stereotype of submissiveness and vulnerability which parodies their role as passive objects. While each portrait reveals the individual characterics of his female subjects along with an actual name, there is only slight variation between dress, hairstyle and pose suggesting a likeness and interchangeability between these typically white, middle class girls. The present portrait of a young African-American girl may have been inspired by an actual person, yet remains anonymously Untitled. Like her blond, Midwestern counterparts, she appears unique yet generic, oddly de-politicized and divorced from any exterior context.

Lot 3: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' (on the overlap) oil on canvas 30 x 28 in. (76.2 x 71.1cm.) Painted in 1990. PROVENANCE Andrea Rosen Gallery, New York LITERATURE K. Seward, "John Currin The Weirdest of the Weird", Flash Art, November/December 1995, No. 185, pp. 78-80 (illustrated) EXHIBITION Middletown, Connecticut, Wesleyan University, Center for the Arts, The Good, the Bad & the Ugly: Knowledge and Violence in Recent American Art, September-October 1991 (illustrated on back cover of announcement).

Lot 3: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' (on the overlap) oil on canvas 30 x 28 in. (76.2 x 71.1cm.) Painted in 1990. PROVENANCE Andrea Rosen Gallery, New York LITERATURE K. Seward, "John Currin The Weirdest of the Weird", Flash Art, November/December 1995, No. 185, pp. 78-80 (illustrated) EXHIBITION Middletown, Connecticut, Wesleyan University, Center for the Arts, The Good, the Bad & the Ugly: Knowledge and Violence in Recent American Art, September-October 1991 (illustrated on back cover of announcement).

Lot 3: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' (on the overlap) oil on canvas 30 x 28 in. (76.2 x 71.1cm.) Painted in 1990. PROVENANCE Andrea Rosen Gallery, New York LITERATURE K. Seward, "John Currin The Weirdest of the Weird", Flash Art, November/December 1995, No. 185, pp. 78-80 (illustrated) EXHIBITION Middletown, Connecticut, Wesleyan University, Center for the Arts, The Good, the Bad & the Ugly: Knowledge and Violence in Recent American Art, September-October 1991 (illustrated on back cover of announcement).

Lot 3: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' (on the overlap) oil on canvas 30 x 28 in. (76.2 x 71.1cm.) Painted in 1990. PROVENANCE Andrea Rosen Gallery, New York LITERATURE K. Seward, "John Currin The Weirdest of the Weird", Flash Art, November/December 1995, No. 185, pp. 78-80 (illustrated) EXHIBITION Middletown, Connecticut, Wesleyan University, Center for the Arts, The Good, the Bad & the Ugly: Knowledge and Violence in Recent American Art, September-October 1991 (illustrated on back cover of announcement).

Lot 3: JOHN CURRIN

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Description: B. 1962 THE OLD DANCER ink on paper 11 7/8 by 8 7/8 in. 30.2 by 22.5 cm. EXECUTED IN 1993.

Lot 4: - John Currin , Nice 'N Easy Canvas, Oil

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Description: oil on canvas

Lot 5: l - JOHN CURRIN

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Description: oil on canvasExecuted in 1996.

Lot 7: l JOHN CURRIN (B. 1962)

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Description: oil on canvas Executed in 1995.

Lot 7: John Currin (b.1962)

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Description: Sister signed and dated 'John Currin '92' (on the reverse) oil on linen 36 x 32 in. (91.5 x 81.3 cm.) Painted in 1992.

Lot 8: John Currin (b. 1962)

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Description: The Colossussigned and dated 'John Currin 1994' (on the overlap)oil on canvas30 x 26in. (76.5 x 66cm.)Painted in 1994

Lot 10: John Currin (b. 1962)

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Description: Autumn Lovers signed and dated 'John Currin 1994' on the overlap oil on canvas 40 x 32in. (101.5 x 81cm.) PROVENANCE Andrea Rosen Gallery, New York Galerie Jennifer Flay, Paris LITERATURE V. Grosenick and B. Riemschneider, Art at the Turn of the Millenium, Cologne 1999, p. 110 (illustrated) EXHIBITION Paris, Galerie Jennifer Flay, John Currin, October-December 1994 Amsterdam, Stedelijk Museum, Wild Walls, September-October 1995.

Lot 10: John Currin (b. 1962)

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Description: Autumn Lovers signed and dated 'John Currin 1994' on the overlap oil on canvas 40 x 32in. (101.5 x 81cm.) PROVENANCE Andrea Rosen Gallery, New York Galerie Jennifer Flay, Paris LITERATURE V. Grosenick and B. Riemschneider, Art at the Turn of the Millenium, Cologne 1999, p. 110 (illustrated) EXHIBITION Paris, Galerie Jennifer Flay, John Currin, October-December 1994 Amsterdam, Stedelijk Museum, Wild Walls, September-October 1995.

Lot 10: John Currin (b. 1962)

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Description: Autumn Lovers signed and dated 'John Currin 1994' on the overlap oil on canvas 40 x 32in. (101.5 x 81cm.) PROVENANCE Andrea Rosen Gallery, New York Galerie Jennifer Flay, Paris LITERATURE V. Grosenick and B. Riemschneider, Art at the Turn of the Millenium, Cologne 1999, p. 110 (illustrated) EXHIBITION Paris, Galerie Jennifer Flay, John Currin, October-December 1994 Amsterdam, Stedelijk Museum, Wild Walls, September-October 1995.

Lot 10: John Currin (b. 1962)

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Description: Autumn Lovers signed and dated 'John Currin 1994' on the overlap oil on canvas 40 x 32in. (101.5 x 81cm.) PROVENANCE Andrea Rosen Gallery, New York Galerie Jennifer Flay, Paris LITERATURE V. Grosenick and B. Riemschneider, Art at the Turn of the Millenium, Cologne 1999, p. 110 (illustrated) EXHIBITION Paris, Galerie Jennifer Flay, John Currin, October-December 1994 Amsterdam, Stedelijk Museum, Wild Walls, September-October 1995.

Lot 10: CURRIN, John (1962-, American)

Description: Untitled, s.d.1996verso gouache Works on paper (11x13in).

Lot 10: CURRIN, John (1962-, American)

Description: Untitled, s.d.1996verso gouache Works on paper (11x13in).

Lot 10: CURRIN, John (1962-, American)

Description: Untitled, s.d.1996verso gouache Works on paper (11x13in).

Lot 10: CURRIN, John (1962-, American)

Description: Untitled, s.d.1996verso gouache Works on paper (11x13in).

Lot 11: JOHN CURRIN

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Description: JOHN CURRIN B.1962 SNEAKER signed and dated 1990 on the overlap oil on canvas 28 by 30 in. 71.1 by 99.1 cm.

Lot 12: John Currin (b. 1962)

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Description: John Currin (b. 1962) The Pillow oil on canvas 26 x 20in. (66 x 50.8cm.) Painted in 2006

Lot 16: John Currin (b. 1962)

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Description: John Currin (b. 1962) Refinisher signed and dated 'John Currin 2000' (on the reverse) gouache on paper 10 x 8½ in. (25.4 x 21.6 cm.) Painted in 2000.

Lot 17: John Currin (B. 1962)

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Description: Sister signed and dated 'John Currin, '92' (on the reverse) oil on linen 36 x 32in. (91.5 x 81.3cm.) This work is one of two nearly identical portraits of two twin sisters. The companion painting is now in the collection of the Mus‚e des Beaux Arts de Montreal, Canada. PROVENANCE Andrea Rosen Gallery, New York, where acquired by the present owner in 1992. EXHIBITION Cologne, Johnen + Sch”ttle, 'Double Identity', June-August 1992. NOTES John Currin's paintings are extremely rare and painstakingly done. Their na‹ve long process execution combines a somehow faithful depiction of the real with a paradoxical sense of surreal and their figurative approach bears the Surrealist haunting presence of the most peculiar achievements of pre-war American painting by Grant Wood or Edward Hopper. 'Sister' is one of a 1992 series of Currin's paintings of elder women following his depiction of high school and college teenagers. In this work, the monochromatic background and frozen pose of the sitter add to the surreal element; indeed focusing on these features the artist has explained: "I like things to be still, I'm interested in a still image", confirming that "there's a pleasure in freezing movement, a voyeuristic pleasure in being able to see one moment and look at it forever." (J. Currin, in: 'John Currin', Limoges 1995, p. 45.) In 'Sister', the character's middle age is emphasised by her hidden femininity and the charismatic bearing of an experimented mature woman. Sophisticated in appearance, Sister features Currin's 'tendency to push human beings to a point at which they lose their sex or identity.' (S. Morgan, 'A Can of Worms', in: 'frieze', issue 27, Mar.-Apr. 1996, p.50.) This painting has got a 'Twin-sister' that is its exact replica. This duality, both formal and conceptual adds to the schizophrenic nature of the work, pointing out the fact that the artist is 'less interested in painting's inability to tell the truth than in its ability to lie convincingly." (L. Hoptman, 'Currin-Peyton-Tuymans', New York 1997.).

Lot 17: John Currin (B. 1962)

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Description: Sister signed and dated 'John Currin, '92' (on the reverse) oil on linen 36 x 32in. (91.5 x 81.3cm.) This work is one of two nearly identical portraits of two twin sisters. The companion painting is now in the collection of the Mus‚e des Beaux Arts de Montreal, Canada. PROVENANCE Andrea Rosen Gallery, New York, where acquired by the present owner in 1992. EXHIBITION Cologne, Johnen + Sch”ttle, 'Double Identity', June-August 1992. NOTES John Currin's paintings are extremely rare and painstakingly done. Their na‹ve long process execution combines a somehow faithful depiction of the real with a paradoxical sense of surreal and their figurative approach bears the Surrealist haunting presence of the most peculiar achievements of pre-war American painting by Grant Wood or Edward Hopper. 'Sister' is one of a 1992 series of Currin's paintings of elder women following his depiction of high school and college teenagers. In this work, the monochromatic background and frozen pose of the sitter add to the surreal element; indeed focusing on these features the artist has explained: "I like things to be still, I'm interested in a still image", confirming that "there's a pleasure in freezing movement, a voyeuristic pleasure in being able to see one moment and look at it forever." (J. Currin, in: 'John Currin', Limoges 1995, p. 45.) In 'Sister', the character's middle age is emphasised by her hidden femininity and the charismatic bearing of an experimented mature woman. Sophisticated in appearance, Sister features Currin's 'tendency to push human beings to a point at which they lose their sex or identity.' (S. Morgan, 'A Can of Worms', in: 'frieze', issue 27, Mar.-Apr. 1996, p.50.) This painting has got a 'Twin-sister' that is its exact replica. This duality, both formal and conceptual adds to the schizophrenic nature of the work, pointing out the fact that the artist is 'less interested in painting's inability to tell the truth than in its ability to lie convincingly." (L. Hoptman, 'Currin-Peyton-Tuymans', New York 1997.).

Lot 17: John Currin (B. 1962)

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Description: Sister signed and dated 'John Currin, '92' (on the reverse) oil on linen 36 x 32in. (91.5 x 81.3cm.) This work is one of two nearly identical portraits of two twin sisters. The companion painting is now in the collection of the Mus‚e des Beaux Arts de Montreal, Canada. PROVENANCE Andrea Rosen Gallery, New York, where acquired by the present owner in 1992. EXHIBITION Cologne, Johnen + Sch”ttle, 'Double Identity', June-August 1992. NOTES John Currin's paintings are extremely rare and painstakingly done. Their na‹ve long process execution combines a somehow faithful depiction of the real with a paradoxical sense of surreal and their figurative approach bears the Surrealist haunting presence of the most peculiar achievements of pre-war American painting by Grant Wood or Edward Hopper. 'Sister' is one of a 1992 series of Currin's paintings of elder women following his depiction of high school and college teenagers. In this work, the monochromatic background and frozen pose of the sitter add to the surreal element; indeed focusing on these features the artist has explained: "I like things to be still, I'm interested in a still image", confirming that "there's a pleasure in freezing movement, a voyeuristic pleasure in being able to see one moment and look at it forever." (J. Currin, in: 'John Currin', Limoges 1995, p. 45.) In 'Sister', the character's middle age is emphasised by her hidden femininity and the charismatic bearing of an experimented mature woman. Sophisticated in appearance, Sister features Currin's 'tendency to push human beings to a point at which they lose their sex or identity.' (S. Morgan, 'A Can of Worms', in: 'frieze', issue 27, Mar.-Apr. 1996, p.50.) This painting has got a 'Twin-sister' that is its exact replica. This duality, both formal and conceptual adds to the schizophrenic nature of the work, pointing out the fact that the artist is 'less interested in painting's inability to tell the truth than in its ability to lie convincingly." (L. Hoptman, 'Currin-Peyton-Tuymans', New York 1997.).

Lot 17: John Currin (B. 1962)

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Description: Sister signed and dated 'John Currin, '92' (on the reverse) oil on linen 36 x 32in. (91.5 x 81.3cm.) This work is one of two nearly identical portraits of two twin sisters. The companion painting is now in the collection of the Mus‚e des Beaux Arts de Montreal, Canada. PROVENANCE Andrea Rosen Gallery, New York, where acquired by the present owner in 1992. EXHIBITION Cologne, Johnen + Sch”ttle, 'Double Identity', June-August 1992. NOTES John Currin's paintings are extremely rare and painstakingly done. Their na‹ve long process execution combines a somehow faithful depiction of the real with a paradoxical sense of surreal and their figurative approach bears the Surrealist haunting presence of the most peculiar achievements of pre-war American painting by Grant Wood or Edward Hopper. 'Sister' is one of a 1992 series of Currin's paintings of elder women following his depiction of high school and college teenagers. In this work, the monochromatic background and frozen pose of the sitter add to the surreal element; indeed focusing on these features the artist has explained: "I like things to be still, I'm interested in a still image", confirming that "there's a pleasure in freezing movement, a voyeuristic pleasure in being able to see one moment and look at it forever." (J. Currin, in: 'John Currin', Limoges 1995, p. 45.) In 'Sister', the character's middle age is emphasised by her hidden femininity and the charismatic bearing of an experimented mature woman. Sophisticated in appearance, Sister features Currin's 'tendency to push human beings to a point at which they lose their sex or identity.' (S. Morgan, 'A Can of Worms', in: 'frieze', issue 27, Mar.-Apr. 1996, p.50.) This painting has got a 'Twin-sister' that is its exact replica. This duality, both formal and conceptual adds to the schizophrenic nature of the work, pointing out the fact that the artist is 'less interested in painting's inability to tell the truth than in its ability to lie convincingly." (L. Hoptman, 'Currin-Peyton-Tuymans', New York 1997.).

Lot 22: JOHN CURRIN Rachel as "The Hag", 2003

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Description: JOHN CURRIN Rachel as "The Hag", 2003

Lot 24: Standing Nude, 1993

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Description: Standing Nude, 1993Oil on canvas. 48 x 36 in. (122 x 91 cm).  Signed and dated “Currin 93” on the overlap.

Lot 27: John Currin (b. 1962)

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Description: Buxom Girl on Hillsigned and dated 'John Currin 1995' (on the reverse)ink on paper8 1/8 x 5 3/4 in. (21 x 14.7 cm.)Drawn in 1995.

Lot 27: John Currin , b. 1962 Rachel Laughing pastel on paper

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Description: signed and dated 2005 on the reverse pastel on paper

Lot 27: JOHN CURRIN

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Description: JOHN CURRIN B.1962 SHAKESPEARE ACTRESS signed and dated 1991 on the overlap oil on canvas 48 by 44 in. 121.9 by 111.8 cm.

Lot 28: JOHN CURRIN

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Description: JOHN CURRIN B.1962 SNEAKER signed and dated 1990 on the overlap oil on canvas 28 by 30 in. 71.1 by 99.1 cm.

Lot 30: John Currin (B. 1962)

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Description: The Magnificent Bosom signed and dated 'John Currin '97' (on the reverse) oil on canvas 36.1/8 x 28.1/8in. (91.7 x 71.2cm.) PROVENANCE Sadie Coles HQ, London. NOTES 'The subject of a painting is always the author, the artist. You can only make an illusion that it's about something other than that. I think that's what the function of representation is: to give a painting the illusion of a subject. In the end, that's why I started seeing no reason for me to paint abstractly. Some people would say, 'Abstraction is as much a representation as anything else.' But I wanted it to be more simple-minded. Why can't I just be forthright about saying that I'm the author, that I'm the one who determined it?' (J. Currin, in: 'John Currin. Works: 1989-1995', Limousin 1995).

Lot 30: John Currin (B. 1962)

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Description: The Magnificent Bosom signed and dated 'John Currin '97' (on the reverse) oil on canvas 36.1/8 x 28.1/8in. (91.7 x 71.2cm.) PROVENANCE Sadie Coles HQ, London. NOTES 'The subject of a painting is always the author, the artist. You can only make an illusion that it's about something other than that. I think that's what the function of representation is: to give a painting the illusion of a subject. In the end, that's why I started seeing no reason for me to paint abstractly. Some people would say, 'Abstraction is as much a representation as anything else.' But I wanted it to be more simple-minded. Why can't I just be forthright about saying that I'm the author, that I'm the one who determined it?' (J. Currin, in: 'John Currin. Works: 1989-1995', Limousin 1995).

Lot 30: John Currin (B. 1962)

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Description: The Magnificent Bosom signed and dated 'John Currin '97' (on the reverse) oil on canvas 36.1/8 x 28.1/8in. (91.7 x 71.2cm.) PROVENANCE Sadie Coles HQ, London. NOTES 'The subject of a painting is always the author, the artist. You can only make an illusion that it's about something other than that. I think that's what the function of representation is: to give a painting the illusion of a subject. In the end, that's why I started seeing no reason for me to paint abstractly. Some people would say, 'Abstraction is as much a representation as anything else.' But I wanted it to be more simple-minded. Why can't I just be forthright about saying that I'm the author, that I'm the one who determined it?' (J. Currin, in: 'John Currin. Works: 1989-1995', Limousin 1995).

Lot 30: John Currin (B. 1962)

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Description: The Magnificent Bosom signed and dated 'John Currin '97' (on the reverse) oil on canvas 36.1/8 x 28.1/8in. (91.7 x 71.2cm.) PROVENANCE Sadie Coles HQ, London. NOTES 'The subject of a painting is always the author, the artist. You can only make an illusion that it's about something other than that. I think that's what the function of representation is: to give a painting the illusion of a subject. In the end, that's why I started seeing no reason for me to paint abstractly. Some people would say, 'Abstraction is as much a representation as anything else.' But I wanted it to be more simple-minded. Why can't I just be forthright about saying that I'm the author, that I'm the one who determined it?' (J. Currin, in: 'John Currin. Works: 1989-1995', Limousin 1995).

Lot 31: John Currin (b. 1962)

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Description: Homemade Pastasigned and dated 'John Currin 1999' (on the overlap)oil on canvas50 x 42 in. (127 x 106.7 cm.)Painted in 1999.

Lot 31: John Currin (b. 1962)

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Description: John Currin (b. 1962) Maid of Honor signed and dated 'John Currin 1995' (on the overlap) oil on canvas 36 x 28 in. (91.4 x 71.1 cm.) Painted in 1995.

Lot 32: John Currin (b. 1962)

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Description: Red Faced Woman signed 'John Currin' (on paper label affixed to the reverse) oil on canvas 50 x 38 in. (127 x 96.5 cm.) Painted in 1992. PROVENANCE Andrea Rosen Gallery, New York EXHIBITION Chicago, Robin Lockett Gallery, Dead Cat Bounce, May-June 1992. Antwerp, ADO Gallery, Critical Distance: John Currin, August-September 1993. NOTES One of the most important figurative painters to emerge in the 1990's, John Currin's paintings fuse various sources, from women's photographs from 1960s magazines to 16th century German painting, Italian Mannerism and 18th century painters such as Boucher, Fragonard Valesquez, and 19th Century Courbet. Currin often chooses to isolate his subject against a void to amplify the presence of the figure. "He describes the blank backgrounds of his earlier paintings as precisely as a sort of stubborn silence: 'I think about the monochrome backrounds being like the pissed-off husband. They're like Brice Marden paintings, a constipated sort of masculinity that says, 'I won't say anything. There's nothing wrong'" (F. Paul & K. Seward, John Currin: Oevres/Works: 1989-1995, Limousin 1995). Utilizing these diverse sources of inspiration, the artist is able to challenge classic notions of beauty and the meaning of contemporary, representational painting. Currin's paintings are persuasive and exasperating simultaneously. This unusual fusion creates complex narratives not easily interpreted; like his painting style, many layers are visible. Red Faced Woman, 1992, depicts a woman who defiantly holds up her arm. In counterpoint to the pose and contrary to the convention of Post-waar American all-over field painting, Currin keeps the focus on the center of the painting--her face. Yet the force of the woman's pose pulls the viewer's attention away from her face. The participant is drawn to the strength the woman projects. Reminiscent of the iconic image painted by Eugene Delacroix in 1830, Liberty Leading the People, both women portrayed project a similar force and singular determination. "Currin has fallen for academic painting. He's found a fetish for technique, for style. And in a way, it's hard to imagine a less fashionable enthusiasm. High and low culture have been shacked up together for so long now that it is hard to think of what kind of junk you'd have to like for it to be shocking. But mannerism has been sneered at for ages; deciding to give yourself over to the pleasures of brushing around, peachy pink flesh and creating artificial poses is one of the few truly perverse gestures left." (M. van de Walle, "Against Nature", Parkett, No. 65, Zurich 2002, p.33). Currin is not simply re-writing history, instead his heroine is completely naked, unabashedly focused, giving the impression of one battling her own internal demons and prevailing. Conceived from the synthesis of all these factors, Red Faced Woman emerges as not as a figure frozen in art history but a woman from the artist's clearly contemporary imagination.

Lot 32: John Currin (b. 1962)

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Description: Red Faced Woman signed 'John Currin' (on paper label affixed to the reverse) oil on canvas 50 x 38 in. (127 x 96.5 cm.) Painted in 1992. PROVENANCE Andrea Rosen Gallery, New York EXHIBITION Chicago, Robin Lockett Gallery, Dead Cat Bounce, May-June 1992. Antwerp, ADO Gallery, Critical Distance: John Currin, August-September 1993. NOTES One of the most important figurative painters to emerge in the 1990's, John Currin's paintings fuse various sources, from women's photographs from 1960s magazines to 16th century German painting, Italian Mannerism and 18th century painters such as Boucher, Fragonard Valesquez, and 19th Century Courbet. Currin often chooses to isolate his subject against a void to amplify the presence of the figure. "He describes the blank backgrounds of his earlier paintings as precisely as a sort of stubborn silence: 'I think about the monochrome backrounds being like the pissed-off husband. They're like Brice Marden paintings, a constipated sort of masculinity that says, 'I won't say anything. There's nothing wrong'" (F. Paul & K. Seward, John Currin: Oevres/Works: 1989-1995, Limousin 1995). Utilizing these diverse sources of inspiration, the artist is able to challenge classic notions of beauty and the meaning of contemporary, representational painting. Currin's paintings are persuasive and exasperating simultaneously. This unusual fusion creates complex narratives not easily interpreted; like his painting style, many layers are visible. Red Faced Woman, 1992, depicts a woman who defiantly holds up her arm. In counterpoint to the pose and contrary to the convention of Post-waar American all-over field painting, Currin keeps the focus on the center of the painting--her face. Yet the force of the woman's pose pulls the viewer's attention away from her face. The participant is drawn to the strength the woman projects. Reminiscent of the iconic image painted by Eugene Delacroix in 1830, Liberty Leading the People, both women portrayed project a similar force and singular determination. "Currin has fallen for academic painting. He's found a fetish for technique, for style. And in a way, it's hard to imagine a less fashionable enthusiasm. High and low culture have been shacked up together for so long now that it is hard to think of what kind of junk you'd have to like for it to be shocking. But mannerism has been sneered at for ages; deciding to give yourself over to the pleasures of brushing around, peachy pink flesh and creating artificial poses is one of the few truly perverse gestures left." (M. van de Walle, "Against Nature", Parkett, No. 65, Zurich 2002, p.33). Currin is not simply re-writing history, instead his heroine is completely naked, unabashedly focused, giving the impression of one battling her own internal demons and prevailing. Conceived from the synthesis of all these factors, Red Faced Woman emerges as not as a figure frozen in art history but a woman from the artist's clearly contemporary imagination.

Lot 32: John Currin (b. 1962)

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Description: Red Faced Woman signed 'John Currin' (on paper label affixed to the reverse) oil on canvas 50 x 38 in. (127 x 96.5 cm.) Painted in 1992. PROVENANCE Andrea Rosen Gallery, New York EXHIBITION Chicago, Robin Lockett Gallery, Dead Cat Bounce, May-June 1992. Antwerp, ADO Gallery, Critical Distance: John Currin, August-September 1993. NOTES One of the most important figurative painters to emerge in the 1990's, John Currin's paintings fuse various sources, from women's photographs from 1960s magazines to 16th century German painting, Italian Mannerism and 18th century painters such as Boucher, Fragonard Valesquez, and 19th Century Courbet. Currin often chooses to isolate his subject against a void to amplify the presence of the figure. "He describes the blank backgrounds of his earlier paintings as precisely as a sort of stubborn silence: 'I think about the monochrome backrounds being like the pissed-off husband. They're like Brice Marden paintings, a constipated sort of masculinity that says, 'I won't say anything. There's nothing wrong'" (F. Paul & K. Seward, John Currin: Oevres/Works: 1989-1995, Limousin 1995). Utilizing these diverse sources of inspiration, the artist is able to challenge classic notions of beauty and the meaning of contemporary, representational painting. Currin's paintings are persuasive and exasperating simultaneously. This unusual fusion creates complex narratives not easily interpreted; like his painting style, many layers are visible. Red Faced Woman, 1992, depicts a woman who defiantly holds up her arm. In counterpoint to the pose and contrary to the convention of Post-waar American all-over field painting, Currin keeps the focus on the center of the painting--her face. Yet the force of the woman's pose pulls the viewer's attention away from her face. The participant is drawn to the strength the woman projects. Reminiscent of the iconic image painted by Eugene Delacroix in 1830, Liberty Leading the People, both women portrayed project a similar force and singular determination. "Currin has fallen for academic painting. He's found a fetish for technique, for style. And in a way, it's hard to imagine a less fashionable enthusiasm. High and low culture have been shacked up together for so long now that it is hard to think of what kind of junk you'd have to like for it to be shocking. But mannerism has been sneered at for ages; deciding to give yourself over to the pleasures of brushing around, peachy pink flesh and creating artificial poses is one of the few truly perverse gestures left." (M. van de Walle, "Against Nature", Parkett, No. 65, Zurich 2002, p.33). Currin is not simply re-writing history, instead his heroine is completely naked, unabashedly focused, giving the impression of one battling her own internal demons and prevailing. Conceived from the synthesis of all these factors, Red Faced Woman emerges as not as a figure frozen in art history but a woman from the artist's clearly contemporary imagination.

Lot 32: John Currin (b. 1962)

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Description: Red Faced Woman signed 'John Currin' (on paper label affixed to the reverse) oil on canvas 50 x 38 in. (127 x 96.5 cm.) Painted in 1992. PROVENANCE Andrea Rosen Gallery, New York EXHIBITION Chicago, Robin Lockett Gallery, Dead Cat Bounce, May-June 1992. Antwerp, ADO Gallery, Critical Distance: John Currin, August-September 1993. NOTES One of the most important figurative painters to emerge in the 1990's, John Currin's paintings fuse various sources, from women's photographs from 1960s magazines to 16th century German painting, Italian Mannerism and 18th century painters such as Boucher, Fragonard Valesquez, and 19th Century Courbet. Currin often chooses to isolate his subject against a void to amplify the presence of the figure. "He describes the blank backgrounds of his earlier paintings as precisely as a sort of stubborn silence: 'I think about the monochrome backrounds being like the pissed-off husband. They're like Brice Marden paintings, a constipated sort of masculinity that says, 'I won't say anything. There's nothing wrong'" (F. Paul & K. Seward, John Currin: Oevres/Works: 1989-1995, Limousin 1995). Utilizing these diverse sources of inspiration, the artist is able to challenge classic notions of beauty and the meaning of contemporary, representational painting. Currin's paintings are persuasive and exasperating simultaneously. This unusual fusion creates complex narratives not easily interpreted; like his painting style, many layers are visible. Red Faced Woman, 1992, depicts a woman who defiantly holds up her arm. In counterpoint to the pose and contrary to the convention of Post-waar American all-over field painting, Currin keeps the focus on the center of the painting--her face. Yet the force of the woman's pose pulls the viewer's attention away from her face. The participant is drawn to the strength the woman projects. Reminiscent of the iconic image painted by Eugene Delacroix in 1830, Liberty Leading the People, both women portrayed project a similar force and singular determination. "Currin has fallen for academic painting. He's found a fetish for technique, for style. And in a way, it's hard to imagine a less fashionable enthusiasm. High and low culture have been shacked up together for so long now that it is hard to think of what kind of junk you'd have to like for it to be shocking. But mannerism has been sneered at for ages; deciding to give yourself over to the pleasures of brushing around, peachy pink flesh and creating artificial poses is one of the few truly perverse gestures left." (M. van de Walle, "Against Nature", Parkett, No. 65, Zurich 2002, p.33). Currin is not simply re-writing history, instead his heroine is completely naked, unabashedly focused, giving the impression of one battling her own internal demons and prevailing. Conceived from the synthesis of all these factors, Red Faced Woman emerges as not as a figure frozen in art history but a woman from the artist's clearly contemporary imagination.

Lot 39: JOHN CURRIN

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Description: OLD COUPLE signed and dated 93 on the overlap

Lot 41: JOHN CURRIN (B. 1962)

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Description: Rachel as "The Hag"giclée print, 2003, on vellum, signed in pencil, numbered 137/200 (there were also 3 artist's proofs), published by Serpentine Gallery, London, the full sheet, an extremely minor printing inconsistency at the upper right corner, otherwise in excellent condition, framedS. 16 7/8 x 11 3/4 in. (429 x 299 mm.)

Lot 41: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' on the overlap oil on canvas 30 x 28 in. (76.2 x 71.1cm.) PROVENANCE Andrea Rosen Gallery, New York EXHIBITION Limoges, Fondu R‚gianal d'Art Contemporain Limousin; and London, Institute of Contemporary Art, John Currin: Works 1989-1995, July-September 1995, p. 19 (illustrated).

Lot 41: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' on the overlap oil on canvas 30 x 28 in. (76.2 x 71.1cm.) PROVENANCE Andrea Rosen Gallery, New York EXHIBITION Limoges, Fondu R‚gianal d'Art Contemporain Limousin; and London, Institute of Contemporary Art, John Currin: Works 1989-1995, July-September 1995, p. 19 (illustrated).

Lot 41: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' on the overlap oil on canvas 30 x 28 in. (76.2 x 71.1cm.) PROVENANCE Andrea Rosen Gallery, New York EXHIBITION Limoges, Fondu R‚gianal d'Art Contemporain Limousin; and London, Institute of Contemporary Art, John Currin: Works 1989-1995, July-September 1995, p. 19 (illustrated).

Lot 41: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' on the overlap oil on canvas 30 x 28 in. (76.2 x 71.1cm.) PROVENANCE Andrea Rosen Gallery, New York EXHIBITION Limoges, Fondu R‚gianal d'Art Contemporain Limousin; and London, Institute of Contemporary Art, John Currin: Works 1989-1995, July-September 1995, p. 19 (illustrated).

Lot 42: John Currin (b. 1962)

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Description: John Currin (b. 1962) Entertaining Mr. Acker Bilk signed and dated 'John Currin 95' (on the overlap) oil on canvas 48¼ x 38 1/8 in. (122.6 x 96.8 cm.) Painted in 1995.

Lot 47: JOHN CURRIN The Beggar's Alm, 2002

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Description: JOHN CURRIN The Beggar's Alm, 2002

Lot 50: John Currin (b. 1962)

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Description: John Currin (b. 1962) Gezellig signed and dated 'John Currin 2006' (on the overlap) oil on canvas 36 x 28¼ in. (91.4 x 71.8 cm.) Painted in 2006.

Lot 60: John Currin (b.1962)

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Description: Girl in Bedoil on canvas30 1/4 x 34 in. (76.8 x 86.4 cm.)Painted in 1993.

Lot 61: JOHN CURRIN

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Description: Milestones portfolio signed and numbered 10/45 in pencil on the colophon (there were also 5 artist's proofs and 2 printer's proofs), published by Gagosian Gallery and Sadie Coles HQ, London, all generally in very good condition, all framed.

Lot 64: JOHN CURRIN

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Description: The Beggar's Alm Signed, dated and numbered 58/70 in pencil (there were also 25 artist's proofs in Roman numerals), published by Parkett Editions, Zurich and New York, framed.

Lot 68: John Currin (b. 1962)

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Description: John Currin (b. 1962) Girl on a Hill signed and dated 'John Currin 1995' (on the overlap) oil on canvas 30 x 36¼ in. (76.2 x 92.1 cm.) Painted in 1995.

Lot 69: John Currin , Nude

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Description: signed on the label on the reverse oil on canvas

Lot 71: John Currin

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Description: b. 1962 MOHAMMED ALI signed, titled and dated 91 on the reverse pen and ink wash on paper 11 by 8 1/2 in. 27.9 by 21.6 cm. Provenance Museum of Contemporary Art, Benefit Auction, Los Angeles, 1991 Acquired by the present owner from the above.

Lot 71: John Currin

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Description: b. 1962 MOHAMMED ALI signed, titled and dated 91 on the reverse pen and ink wash on paper 11 by 8 1/2 in. 27.9 by 21.6 cm. Provenance Museum of Contemporary Art, Benefit Auction, Los Angeles, 1991 Acquired by the present owner from the above.

Lot 71: John Currin

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Description: b. 1962 MOHAMMED ALI signed, titled and dated 91 on the reverse pen and ink wash on paper 11 by 8 1/2 in. 27.9 by 21.6 cm. Provenance Museum of Contemporary Art, Benefit Auction, Los Angeles, 1991 Acquired by the present owner from the above.

Lot 71: John Currin

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Description: b. 1962 MOHAMMED ALI signed, titled and dated 91 on the reverse pen and ink wash on paper 11 by 8 1/2 in. 27.9 by 21.6 cm. Provenance Museum of Contemporary Art, Benefit Auction, Los Angeles, 1991 Acquired by the present owner from the above.

Lot 76: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' (on the overlap) oil on canvas 30 x 28 in. (76.2 x 71.1 cm.) Painted in 1990. PROVENANCE Andrea Rosen Gallery, New York LITERATURE K. Seward, "John Currin The Weirdest of the Wierd", Flash Art, November-December 1995, No. 185, pp. 78-80 (illustrated in color). EXHIBITION Middletown, Wesleyan University, Center for the Arts, The Good, the Bad & the Ugly: Knowledge and Violence in Recent American Art, September-October 1991 (illustrated on the back cover of the annoucement).

Lot 76: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' (on the overlap) oil on canvas 30 x 28 in. (76.2 x 71.1 cm.) Painted in 1990. PROVENANCE Andrea Rosen Gallery, New York LITERATURE K. Seward, "John Currin The Weirdest of the Wierd", Flash Art, November-December 1995, No. 185, pp. 78-80 (illustrated in color). EXHIBITION Middletown, Wesleyan University, Center for the Arts, The Good, the Bad & the Ugly: Knowledge and Violence in Recent American Art, September-October 1991 (illustrated on the back cover of the annoucement).

Lot 76: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' (on the overlap) oil on canvas 30 x 28 in. (76.2 x 71.1 cm.) Painted in 1990. PROVENANCE Andrea Rosen Gallery, New York LITERATURE K. Seward, "John Currin The Weirdest of the Wierd", Flash Art, November-December 1995, No. 185, pp. 78-80 (illustrated in color). EXHIBITION Middletown, Wesleyan University, Center for the Arts, The Good, the Bad & the Ugly: Knowledge and Violence in Recent American Art, September-October 1991 (illustrated on the back cover of the annoucement).

Lot 76: John Currin (b. 1962)

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Description: Untitled signed and dated 'John Currin 1990' (on the overlap) oil on canvas 30 x 28 in. (76.2 x 71.1 cm.) Painted in 1990. PROVENANCE Andrea Rosen Gallery, New York LITERATURE K. Seward, "John Currin The Weirdest of the Wierd", Flash Art, November-December 1995, No. 185, pp. 78-80 (illustrated in color). EXHIBITION Middletown, Wesleyan University, Center for the Arts, The Good, the Bad & the Ugly: Knowledge and Violence in Recent American Art, September-October 1991 (illustrated on the back cover of the annoucement).

Lot 83: John Currin

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Description:

Lot 83: John Currin

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Lot 83: John Currin

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Lot 83: John Currin

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Description: