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Jeff Koons Auction Price Results
Jeff Koons (1955)
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Lot 1: Jeff Koons
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View additional info »Lot 1: JEFF KOONS Puppy, 1999
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Description: JEFF KOONS Puppy, 1999
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Lot 1: Jeff Koons (b. 1955)
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Description: Jeff Koons (b. 1955) Jim Beam--Model A Ford Pick-Up Truck stainless steel and bourbon 6¾ x 16½ x 6½ in. (17.1 x 41.9 x 16.5 cm.) Executed in 1986. This work is from an edition of three plus one artist's proof.
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Lot 1: Jeff Koons (American, b.1955). Cracked Egg, 2008.
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Description: Jeff Koons (American, b.1955). Cracked Egg, 2008. Anodised cast aluminium, 120 x 80 mm (43/4 x 3 in). This work by Jeff Koons was one of the original egg invites for the opening of the LACMA's BCAM museum on February 9, 2008 in LA. It is offered in its original presentation box with ribbon, invitation card and yellow announcement strip.
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Lot 1: Jeff Koons - 'Balloon Dog Red'
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Description: Bears the legend "Balloon Dog by Jeff Koons in its original box, limited edition, fine porcelain, plate number 482 /2300 '95, Museum of Contemporary Art, Los Angeles"on the original label attached to the plate verso
Condition Report: It is our opinion that most if not all the lots in this sale are in good condition. Specific condition reports and snapshots of the back (verso) and front (recto) of any lot will be sent in most cases within a few hours and at most within 24 hours of a request at www.barridoff.com. Please click on the appropriate link just under the Barridoff logo. You may also request a condition report by sending an email to us directly. fineart@barridoff.com
View additional info and full condition report »Lot 2: KOONS
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Description: Jeff Koons b. 1955 LITTLE GIRL mirror and glass overall: 63 by 64a by 3in. 160 by 163.8 by 7.6cm. Provenance Sonnabend Gallery, New York Acquired by the present owner from the above Exhibited cf. New York, Sonnabend Gallery; Chicago, Donald Young Gallery; Cologne, Max Hetzler Galerie, Banality, 1988 cf. Amsterdam, Stedelijk Museum; Aarhus, Kunstmuseum; Stuttgart, Staatsgalerie Stuttgart, Jeff Koons, 1992-93, p. 57, illustrated in color (Amsterdam), pl. 44, illustrated in color (Aarhus) cf. San Francisco, San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons, 1992-93, cat. no. 42, pl. 44, illustrated in color Literature cf. Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, pl. 14, p. 110, illustrated Anthony d'Offay, ed., The Jeff Koons Handbook, New York, 1992, p. 159 (listed) Executed in 1988, this work is number 3 from an edition of 3 plus one artist's proof.
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Description: Jeff Koons b. 1955 LITTLE GIRL mirror and glass overall: 63 by 64a by 3in. 160 by 163.8 by 7.6cm. Provenance Sonnabend Gallery, New York Acquired by the present owner from the above Exhibited cf. New York, Sonnabend Gallery; Chicago, Donald Young Gallery; Cologne, Max Hetzler Galerie, Banality, 1988 cf. Amsterdam, Stedelijk Museum; Aarhus, Kunstmuseum; Stuttgart, Staatsgalerie Stuttgart, Jeff Koons, 1992-93, p. 57, illustrated in color (Amsterdam), pl. 44, illustrated in color (Aarhus) cf. San Francisco, San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons, 1992-93, cat. no. 42, pl. 44, illustrated in color Literature cf. Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, pl. 14, p. 110, illustrated Anthony d'Offay, ed., The Jeff Koons Handbook, New York, 1992, p. 159 (listed) Executed in 1988, this work is number 3 from an edition of 3 plus one artist's proof.
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Description: Jeff Koons b. 1955 LITTLE GIRL mirror and glass overall: 63 by 64a by 3in. 160 by 163.8 by 7.6cm. Provenance Sonnabend Gallery, New York Acquired by the present owner from the above Exhibited cf. New York, Sonnabend Gallery; Chicago, Donald Young Gallery; Cologne, Max Hetzler Galerie, Banality, 1988 cf. Amsterdam, Stedelijk Museum; Aarhus, Kunstmuseum; Stuttgart, Staatsgalerie Stuttgart, Jeff Koons, 1992-93, p. 57, illustrated in color (Amsterdam), pl. 44, illustrated in color (Aarhus) cf. San Francisco, San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons, 1992-93, cat. no. 42, pl. 44, illustrated in color Literature cf. Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, pl. 14, p. 110, illustrated Anthony d'Offay, ed., The Jeff Koons Handbook, New York, 1992, p. 159 (listed) Executed in 1988, this work is number 3 from an edition of 3 plus one artist's proof.
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Description: Jeff Koons b. 1955 LITTLE GIRL mirror and glass overall: 63 by 64a by 3in. 160 by 163.8 by 7.6cm. Provenance Sonnabend Gallery, New York Acquired by the present owner from the above Exhibited cf. New York, Sonnabend Gallery; Chicago, Donald Young Gallery; Cologne, Max Hetzler Galerie, Banality, 1988 cf. Amsterdam, Stedelijk Museum; Aarhus, Kunstmuseum; Stuttgart, Staatsgalerie Stuttgart, Jeff Koons, 1992-93, p. 57, illustrated in color (Amsterdam), pl. 44, illustrated in color (Aarhus) cf. San Francisco, San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons, 1992-93, cat. no. 42, pl. 44, illustrated in color Literature cf. Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, pl. 14, p. 110, illustrated Anthony d'Offay, ed., The Jeff Koons Handbook, New York, 1992, p. 159 (listed) Executed in 1988, this work is number 3 from an edition of 3 plus one artist's proof.
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Lot 2: Jeff Koons
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Lot 2: Jeff Koons
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Lot 2: Jeff Koons
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Lot 2: Jeff Koons
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Lot 3: Jeff Koons (b.1955)
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Description: Fisherman Golferstainless steel12 x 5 x 8 in. (30 x 12.7 x 20.4 cm.)Executed in 1986. This work is number three from an edition of three with one artist's proof and is accompanied by a certificate of authenticity signed and dated by the artist.
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Lot 3: JEFF KOONS
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Description: B. 1955LITTLE GIRL63 x 64 1/2 x 3 1/8 in. 160 x 164 x 8 cm.signed, numbered 1/3 and dated ' 88 on the reversemirror and glassThis work is number 1 from an edition of 3 plus one artist's proof.PROVENANCESonnabend Gallery, New YorkPrivate Collection, GermanyEXHIBITEDNew York, Sonnabend Gallery; Chicago, Donald Young Gallery; Cologne, Galerie Max Hetzler, Banality, 1988 (another example)Amsterdam, Stedelijk Museum; Aarhus, Kunstmuseum; Stuttgart, Staatsgalerie, Jeff Koons, November 1992 - April 1993, p. 57, illustrated in color (Amsterdam) and pl. no. 44, illustrated in color (Aarhus)San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons, 1992, cat. no. 42, pl. no. 44, illustrated in colorLITERATUREAngelika Muthesius, ed., Jeff Koons, Cologne, 1992, pl. no. 14, p. 110, illustrated in colorThe Jeff Koons Handbook (with an introduction by Robert Rosenblum), New York, 1992, p. 159
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Lot 3: Jeff Koons 1955 - American mixed media sculpture Cracked Egg Invitation
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Description: Jeff Koons 1955 - American mixed media sculpture Cracked Egg Invitation 43 3/4 x 3 x 3 inches 111.1 x 7.6 x 7.6 centimeters Provenance:Private Collection, British Columbia This invitation was inspired by Jeff Koons's work Cracked Egg (Red), 1994 - 2006, in the collection of the Broad Art Foundation. This work is from an edition of an unknown size and was published by the Los Angeles Contemporary Museum of Art as a gala invitation. It is in its original black cardboard box with original cards.
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Lot 4: Jeff Koons (b. 1945)
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Description: Wolfman (Close-up) signed and dated 'Jeff Koons '91' (on the overlap) and titled 'WOLFMAN' (on the stretcher) silkscreen inks on canvas 90 x 60 in. (229.1 x 152.4 cm.) Executed in 1991. This work is number one from an edition of one with one artist's proof. Please note that the artist's proof has been destroyed. PROVENANCE Sonnabend, New York LITERATURE J. Koons and R. Rosenblum, The Jeff Koons Handbook, London 1992, p. 131 (illustrated in color). A. Muthesius, Jeff Koons, Cologne, 1992, p. 136 (illustrated in color). "Jeff Koons, ein Prophet der inneren Leere", Art, 1992, pp. 52-61 (illustrated in color). EXHIBITION San Francisco Museum of Modern Art; and Minneapolis, Walker Art Center, Jeff Koons, December 1992-October 1993, p. 49 (illustrated in color; another example exhibited). NOTES Wolfman, an iconic work from Jeff Koons' Made in Heaven series is a slightly larger than life sized depiction of the artist and his then wife, the Italian porn star Cicciolina, engaged in the climax of a sexual narrative. The physicality of the bodies is nearly sculptural. They appear to have been inserted, mid-act, into a ready-made pornography film set. The background is fantastically ordinary-- a barren tree in front of a full moon with a vaguely dark sky behind. The title, Wolfman, conjures up an uber-masculine force howling at the moon. Referencing Romanticism classics such as Borcher and Fragonard, Wolfman illustrates how traditional ideas of romance have been dependent on setting and context. Made in Heaven follows the series entitled Luxury and Degredation, and pornography seems to be the logical sequence to the Koonsian exploration of human desires, aspirations feelings of guilt and illusions. With its banal, easy to ignore setting and its focus in high pleasure, Wolfman in particular makes a participant of the viewer, as pornography nearly requires an outside viewer to be classified as such. Perhaps tamer and even more tender than others from the series, Koons' Wolfman reminds us that the boundaries between what is considered pornography versus the mere rendering of a sexual act are wholly subjective. The artist and Cicciolina are the archetype for all our fantasies.
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Lot 4: Jeff Koons (b. 1945)
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Description: Wolfman (Close-up) signed and dated 'Jeff Koons '91' (on the overlap) and titled 'WOLFMAN' (on the stretcher) silkscreen inks on canvas 90 x 60 in. (229.1 x 152.4 cm.) Executed in 1991. This work is number one from an edition of one with one artist's proof. Please note that the artist's proof has been destroyed. PROVENANCE Sonnabend, New York LITERATURE J. Koons and R. Rosenblum, The Jeff Koons Handbook, London 1992, p. 131 (illustrated in color). A. Muthesius, Jeff Koons, Cologne, 1992, p. 136 (illustrated in color). "Jeff Koons, ein Prophet der inneren Leere", Art, 1992, pp. 52-61 (illustrated in color). EXHIBITION San Francisco Museum of Modern Art; and Minneapolis, Walker Art Center, Jeff Koons, December 1992-October 1993, p. 49 (illustrated in color; another example exhibited). NOTES Wolfman, an iconic work from Jeff Koons' Made in Heaven series is a slightly larger than life sized depiction of the artist and his then wife, the Italian porn star Cicciolina, engaged in the climax of a sexual narrative. The physicality of the bodies is nearly sculptural. They appear to have been inserted, mid-act, into a ready-made pornography film set. The background is fantastically ordinary-- a barren tree in front of a full moon with a vaguely dark sky behind. The title, Wolfman, conjures up an uber-masculine force howling at the moon. Referencing Romanticism classics such as Borcher and Fragonard, Wolfman illustrates how traditional ideas of romance have been dependent on setting and context. Made in Heaven follows the series entitled Luxury and Degredation, and pornography seems to be the logical sequence to the Koonsian exploration of human desires, aspirations feelings of guilt and illusions. With its banal, easy to ignore setting and its focus in high pleasure, Wolfman in particular makes a participant of the viewer, as pornography nearly requires an outside viewer to be classified as such. Perhaps tamer and even more tender than others from the series, Koons' Wolfman reminds us that the boundaries between what is considered pornography versus the mere rendering of a sexual act are wholly subjective. The artist and Cicciolina are the archetype for all our fantasies.
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Lot 4: Jeff Koons (b. 1945)
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Description: Wolfman (Close-up) signed and dated 'Jeff Koons '91' (on the overlap) and titled 'WOLFMAN' (on the stretcher) silkscreen inks on canvas 90 x 60 in. (229.1 x 152.4 cm.) Executed in 1991. This work is number one from an edition of one with one artist's proof. Please note that the artist's proof has been destroyed. PROVENANCE Sonnabend, New York LITERATURE J. Koons and R. Rosenblum, The Jeff Koons Handbook, London 1992, p. 131 (illustrated in color). A. Muthesius, Jeff Koons, Cologne, 1992, p. 136 (illustrated in color). "Jeff Koons, ein Prophet der inneren Leere", Art, 1992, pp. 52-61 (illustrated in color). EXHIBITION San Francisco Museum of Modern Art; and Minneapolis, Walker Art Center, Jeff Koons, December 1992-October 1993, p. 49 (illustrated in color; another example exhibited). NOTES Wolfman, an iconic work from Jeff Koons' Made in Heaven series is a slightly larger than life sized depiction of the artist and his then wife, the Italian porn star Cicciolina, engaged in the climax of a sexual narrative. The physicality of the bodies is nearly sculptural. They appear to have been inserted, mid-act, into a ready-made pornography film set. The background is fantastically ordinary-- a barren tree in front of a full moon with a vaguely dark sky behind. The title, Wolfman, conjures up an uber-masculine force howling at the moon. Referencing Romanticism classics such as Borcher and Fragonard, Wolfman illustrates how traditional ideas of romance have been dependent on setting and context. Made in Heaven follows the series entitled Luxury and Degredation, and pornography seems to be the logical sequence to the Koonsian exploration of human desires, aspirations feelings of guilt and illusions. With its banal, easy to ignore setting and its focus in high pleasure, Wolfman in particular makes a participant of the viewer, as pornography nearly requires an outside viewer to be classified as such. Perhaps tamer and even more tender than others from the series, Koons' Wolfman reminds us that the boundaries between what is considered pornography versus the mere rendering of a sexual act are wholly subjective. The artist and Cicciolina are the archetype for all our fantasies.
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Lot 4: Jeff Koons (b. 1945)
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Description: Wolfman (Close-up) signed and dated 'Jeff Koons '91' (on the overlap) and titled 'WOLFMAN' (on the stretcher) silkscreen inks on canvas 90 x 60 in. (229.1 x 152.4 cm.) Executed in 1991. This work is number one from an edition of one with one artist's proof. Please note that the artist's proof has been destroyed. PROVENANCE Sonnabend, New York LITERATURE J. Koons and R. Rosenblum, The Jeff Koons Handbook, London 1992, p. 131 (illustrated in color). A. Muthesius, Jeff Koons, Cologne, 1992, p. 136 (illustrated in color). "Jeff Koons, ein Prophet der inneren Leere", Art, 1992, pp. 52-61 (illustrated in color). EXHIBITION San Francisco Museum of Modern Art; and Minneapolis, Walker Art Center, Jeff Koons, December 1992-October 1993, p. 49 (illustrated in color; another example exhibited). NOTES Wolfman, an iconic work from Jeff Koons' Made in Heaven series is a slightly larger than life sized depiction of the artist and his then wife, the Italian porn star Cicciolina, engaged in the climax of a sexual narrative. The physicality of the bodies is nearly sculptural. They appear to have been inserted, mid-act, into a ready-made pornography film set. The background is fantastically ordinary-- a barren tree in front of a full moon with a vaguely dark sky behind. The title, Wolfman, conjures up an uber-masculine force howling at the moon. Referencing Romanticism classics such as Borcher and Fragonard, Wolfman illustrates how traditional ideas of romance have been dependent on setting and context. Made in Heaven follows the series entitled Luxury and Degredation, and pornography seems to be the logical sequence to the Koonsian exploration of human desires, aspirations feelings of guilt and illusions. With its banal, easy to ignore setting and its focus in high pleasure, Wolfman in particular makes a participant of the viewer, as pornography nearly requires an outside viewer to be classified as such. Perhaps tamer and even more tender than others from the series, Koons' Wolfman reminds us that the boundaries between what is considered pornography versus the mere rendering of a sexual act are wholly subjective. The artist and Cicciolina are the archetype for all our fantasies.
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Lot 4: Jeff Koons (b. 1955)
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Description: Jeff Koons (b. 1955) Jim Beam-Log Car stainless steel and bourbon 7¾ x 14¼ x 6½in. (19.7 x 36.2 x 16.5cm.) Executed in 1986, this work is number two from an edition of three plus one artist proof
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Lot 4: Jeff Koons 1955 - American stainless steel, substrate and flowering plants Puppy
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Description: Jeff Koons 1955 - American stainless steel, substrate and flowering plants Puppy 7 1/4 x 7 1/2 x 3 1/2 inches 18.4 x 19 x 8.9 centimeters stamped "Jeff Koons, Puppy, 1992" and "hecho a mano" on the base Provenance:Private Collection, British Columbia This is a small version of Jeff Koon's 43 foot topiary sculpture of a West Highland terrier puppy entitled Flower Puppy, installed at the Guggenheim Museum in Bilbao, Spain. The sculpture was constructed from steel armatures, which held soil and an irrigation system to feed over the 70,000 flowering plants which formed its surface.
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Description: Jeff Koons b. 1955 NEW HOOVER DELUXE SHAMPOO POLISHERS two Hoover deluxe shampoo polishers, fluorescent lights and Plexiglas 56 by 22 by 14in. 142.2 by 55.9 by 35.6cm. Provenance Daniel Weinberg Gallery, Los Angeles Acquired by the present owner from the above Exhibited New York, The New Museum of Contemporary Art, The New, 1980 Los Angeles, Otis Parsons Exhibition Center, A brokerage of desire, 1986 Paris, MusEe National d'Art Moderne, Centre Georges Pompidou, Les courtiers du dEsir/carte blanche, 1987 San Francisco, San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons, 1992-93, pl. 6, illustrated in color Literature Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, no. 4, p. 42, illustrated in color Anthony d'Offay, ed., The Jeff Koons Handbook, New York, 1992, p. 151 (listed) # KOONSKOONS #I went around and bought up all the vacuum cleaners I could before they stopped making a certain model. I wasn't showing them with indifference. I was being very specific. I was showing them for their anthropomorphic quality, their sexual androgyny. They are breathing machines. (Jeff Koons, in an interview with Anthony Haden-Guest, Jeff Koons, Museum of Contemporary Art, Chicago, 1988, p. 17)Capturing objects - in this case two Hoover shampoo polishers - at the very height of their desirability, and capturing the essence of that desirability itself, is no mean feat. As Koons describes the process of "making"the objects collected in the landmark exhibtion of 1980, The New, he chooses his words carefully. He notes that he "bought up" the chosen models, giving a kind of possessive finality to his signature brand of consumerism; and he insists that he showed them without the "visual indifference" that Marcel Duchamp championed and claimed for his own work. Jeff Koons, whose name is always linked to that of the inventor of the readymade, measures a world of difference between himself and Duchamp. Whereas the latter argues for "complete anaesthesia", Koons invents himself in his objects, and invests them with effects that are anything but anaesthetizing. "Breathing machines" describes not only the practical function of vacuum cleaners; it describes the way that such objects come to life for their consumers. Voyeurs in the world of machines, domestic appliances, clothes, and so forth, we are given not only to wanting them as such, as objects, but to imbuing them with special anthropomorphic qualities. They breathe - or, at least, those encased in Koon's vitrines do, pulsing with a kind of unearthly energy. Haloed by a fluorescent light whose ordinary bluish tinge suddenly appears otherworldly and magical, the Hoovers simultaneously resemble specimen, deity, relic, and advertisement. In crossing so many cultural boundaries at once, Koons's works comment upon the artificiality of those imposed limits. The presentable surfaces of objects replace their intrinsic or inborn value. Polished like skeletons, gleaming like marble buddhas, framed by light like a precious jewel in its vitrine, Koon's shampoo polishers transport us beyond the "readymade" boundaries between categories. The look of the object is suddenly the aspect that gives it its meaning, its value, its rarity. And rarity, an attribute we hardly associate with machine-made goods, becomes the undefinable, transcendent element that attaches itself to the objects Koons selects and frames. # KOONSsotheby's scanJeff Koons, The New, Window Installation, 1980, The New Museum of Contemporary Art, New YorkKOONS # Executed in 1980, this work is unique and is accompanied by a certificate of authenticity signed by the artist.
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Description: Jeff Koons b. 1955 NEW HOOVER DELUXE SHAMPOO POLISHERS two Hoover deluxe shampoo polishers, fluorescent lights and Plexiglas 56 by 22 by 14in. 142.2 by 55.9 by 35.6cm. Provenance Daniel Weinberg Gallery, Los Angeles Acquired by the present owner from the above Exhibited New York, The New Museum of Contemporary Art, The New, 1980 Los Angeles, Otis Parsons Exhibition Center, A brokerage of desire, 1986 Paris, MusEe National d'Art Moderne, Centre Georges Pompidou, Les courtiers du dEsir/carte blanche, 1987 San Francisco, San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons, 1992-93, pl. 6, illustrated in color Literature Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, no. 4, p. 42, illustrated in color Anthony d'Offay, ed., The Jeff Koons Handbook, New York, 1992, p. 151 (listed) # KOONSKOONS #I went around and bought up all the vacuum cleaners I could before they stopped making a certain model. I wasn't showing them with indifference. I was being very specific. I was showing them for their anthropomorphic quality, their sexual androgyny. They are breathing machines. (Jeff Koons, in an interview with Anthony Haden-Guest, Jeff Koons, Museum of Contemporary Art, Chicago, 1988, p. 17)Capturing objects - in this case two Hoover shampoo polishers - at the very height of their desirability, and capturing the essence of that desirability itself, is no mean feat. As Koons describes the process of "making"the objects collected in the landmark exhibtion of 1980, The New, he chooses his words carefully. He notes that he "bought up" the chosen models, giving a kind of possessive finality to his signature brand of consumerism; and he insists that he showed them without the "visual indifference" that Marcel Duchamp championed and claimed for his own work. Jeff Koons, whose name is always linked to that of the inventor of the readymade, measures a world of difference between himself and Duchamp. Whereas the latter argues for "complete anaesthesia", Koons invents himself in his objects, and invests them with effects that are anything but anaesthetizing. "Breathing machines" describes not only the practical function of vacuum cleaners; it describes the way that such objects come to life for their consumers. Voyeurs in the world of machines, domestic appliances, clothes, and so forth, we are given not only to wanting them as such, as objects, but to imbuing them with special anthropomorphic qualities. They breathe - or, at least, those encased in Koon's vitrines do, pulsing with a kind of unearthly energy. Haloed by a fluorescent light whose ordinary bluish tinge suddenly appears otherworldly and magical, the Hoovers simultaneously resemble specimen, deity, relic, and advertisement. In crossing so many cultural boundaries at once, Koons's works comment upon the artificiality of those imposed limits. The presentable surfaces of objects replace their intrinsic or inborn value. Polished like skeletons, gleaming like marble buddhas, framed by light like a precious jewel in its vitrine, Koon's shampoo polishers transport us beyond the "readymade" boundaries between categories. The look of the object is suddenly the aspect that gives it its meaning, its value, its rarity. And rarity, an attribute we hardly associate with machine-made goods, becomes the undefinable, transcendent element that attaches itself to the objects Koons selects and frames. # KOONSsotheby's scanJeff Koons, The New, Window Installation, 1980, The New Museum of Contemporary Art, New YorkKOONS # Executed in 1980, this work is unique and is accompanied by a certificate of authenticity signed by the artist.
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Description: Jeff Koons b. 1955 NEW HOOVER DELUXE SHAMPOO POLISHERS two Hoover deluxe shampoo polishers, fluorescent lights and Plexiglas 56 by 22 by 14in. 142.2 by 55.9 by 35.6cm. Provenance Daniel Weinberg Gallery, Los Angeles Acquired by the present owner from the above Exhibited New York, The New Museum of Contemporary Art, The New, 1980 Los Angeles, Otis Parsons Exhibition Center, A brokerage of desire, 1986 Paris, MusEe National d'Art Moderne, Centre Georges Pompidou, Les courtiers du dEsir/carte blanche, 1987 San Francisco, San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons, 1992-93, pl. 6, illustrated in color Literature Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, no. 4, p. 42, illustrated in color Anthony d'Offay, ed., The Jeff Koons Handbook, New York, 1992, p. 151 (listed) # KOONSKOONS #I went around and bought up all the vacuum cleaners I could before they stopped making a certain model. I wasn't showing them with indifference. I was being very specific. I was showing them for their anthropomorphic quality, their sexual androgyny. They are breathing machines. (Jeff Koons, in an interview with Anthony Haden-Guest, Jeff Koons, Museum of Contemporary Art, Chicago, 1988, p. 17)Capturing objects - in this case two Hoover shampoo polishers - at the very height of their desirability, and capturing the essence of that desirability itself, is no mean feat. As Koons describes the process of "making"the objects collected in the landmark exhibtion of 1980, The New, he chooses his words carefully. He notes that he "bought up" the chosen models, giving a kind of possessive finality to his signature brand of consumerism; and he insists that he showed them without the "visual indifference" that Marcel Duchamp championed and claimed for his own work. Jeff Koons, whose name is always linked to that of the inventor of the readymade, measures a world of difference between himself and Duchamp. Whereas the latter argues for "complete anaesthesia", Koons invents himself in his objects, and invests them with effects that are anything but anaesthetizing. "Breathing machines" describes not only the practical function of vacuum cleaners; it describes the way that such objects come to life for their consumers. Voyeurs in the world of machines, domestic appliances, clothes, and so forth, we are given not only to wanting them as such, as objects, but to imbuing them with special anthropomorphic qualities. They breathe - or, at least, those encased in Koon's vitrines do, pulsing with a kind of unearthly energy. Haloed by a fluorescent light whose ordinary bluish tinge suddenly appears otherworldly and magical, the Hoovers simultaneously resemble specimen, deity, relic, and advertisement. In crossing so many cultural boundaries at once, Koons's works comment upon the artificiality of those imposed limits. The presentable surfaces of objects replace their intrinsic or inborn value. Polished like skeletons, gleaming like marble buddhas, framed by light like a precious jewel in its vitrine, Koon's shampoo polishers transport us beyond the "readymade" boundaries between categories. The look of the object is suddenly the aspect that gives it its meaning, its value, its rarity. And rarity, an attribute we hardly associate with machine-made goods, becomes the undefinable, transcendent element that attaches itself to the objects Koons selects and frames. # KOONSsotheby's scanJeff Koons, The New, Window Installation, 1980, The New Museum of Contemporary Art, New YorkKOONS # Executed in 1980, this work is unique and is accompanied by a certificate of authenticity signed by the artist.
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Description: Jeff Koons b. 1955 NEW HOOVER DELUXE SHAMPOO POLISHERS two Hoover deluxe shampoo polishers, fluorescent lights and Plexiglas 56 by 22 by 14in. 142.2 by 55.9 by 35.6cm. Provenance Daniel Weinberg Gallery, Los Angeles Acquired by the present owner from the above Exhibited New York, The New Museum of Contemporary Art, The New, 1980 Los Angeles, Otis Parsons Exhibition Center, A brokerage of desire, 1986 Paris, MusEe National d'Art Moderne, Centre Georges Pompidou, Les courtiers du dEsir/carte blanche, 1987 San Francisco, San Francisco Museum of Modern Art; Minneapolis, Walker Art Center, Jeff Koons, 1992-93, pl. 6, illustrated in color Literature Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, no. 4, p. 42, illustrated in color Anthony d'Offay, ed., The Jeff Koons Handbook, New York, 1992, p. 151 (listed) # KOONSKOONS #I went around and bought up all the vacuum cleaners I could before they stopped making a certain model. I wasn't showing them with indifference. I was being very specific. I was showing them for their anthropomorphic quality, their sexual androgyny. They are breathing machines. (Jeff Koons, in an interview with Anthony Haden-Guest, Jeff Koons, Museum of Contemporary Art, Chicago, 1988, p. 17)Capturing objects - in this case two Hoover shampoo polishers - at the very height of their desirability, and capturing the essence of that desirability itself, is no mean feat. As Koons describes the process of "making"the objects collected in the landmark exhibtion of 1980, The New, he chooses his words carefully. He notes that he "bought up" the chosen models, giving a kind of possessive finality to his signature brand of consumerism; and he insists that he showed them without the "visual indifference" that Marcel Duchamp championed and claimed for his own work. Jeff Koons, whose name is always linked to that of the inventor of the readymade, measures a world of difference between himself and Duchamp. Whereas the latter argues for "complete anaesthesia", Koons invents himself in his objects, and invests them with effects that are anything but anaesthetizing. "Breathing machines" describes not only the practical function of vacuum cleaners; it describes the way that such objects come to life for their consumers. Voyeurs in the world of machines, domestic appliances, clothes, and so forth, we are given not only to wanting them as such, as objects, but to imbuing them with special anthropomorphic qualities. They breathe - or, at least, those encased in Koon's vitrines do, pulsing with a kind of unearthly energy. Haloed by a fluorescent light whose ordinary bluish tinge suddenly appears otherworldly and magical, the Hoovers simultaneously resemble specimen, deity, relic, and advertisement. In crossing so many cultural boundaries at once, Koons's works comment upon the artificiality of those imposed limits. The presentable surfaces of objects replace their intrinsic or inborn value. Polished like skeletons, gleaming like marble buddhas, framed by light like a precious jewel in its vitrine, Koon's shampoo polishers transport us beyond the "readymade" boundaries between categories. The look of the object is suddenly the aspect that gives it its meaning, its value, its rarity. And rarity, an attribute we hardly associate with machine-made goods, becomes the undefinable, transcendent element that attaches itself to the objects Koons selects and frames. # KOONSsotheby's scanJeff Koons, The New, Window Installation, 1980, The New Museum of Contemporary Art, New YorkKOONS # Executed in 1980, this work is unique and is accompanied by a certificate of authenticity signed by the artist.
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Lot 5: Jeff Koons (b. 1945)
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Description: Cherubs insized with signature, number and date '3/3 91 Jeff Koons J FUX' (on the underside of her left wing) polychromed wood overall: 48 x 431/2 x 19 in. (121.9 x 110.5 x 48.3 cm.) Executed in 1991. This work is number three from an edition of three plus one artist's proof. PROVENANCE Anthony d'Offay Gallery, London LITERATURE J. Koons and R. Rosenblum, The Jeff Koons Handbook, London 1992, pp. 128-129 (illustrated) A. Muthesius, Jeff Koons, Cologne 1992, p. 159 (illustrated) EXHIBITION Lausanne, Galerie Lehmann, Made In Heaven, May-June 1991 (another example exhibited) Amsterdam, Stedelijk Museum; Aarhus, Kunstmuseum; and Stuttgart, Staatsgalerie, Jeff Koons, January 1992-April 1993, p.64 (illustrated; another example exhibited) San Francisco Museum of Modern Art; and Minneapolis, Walker Art Center, Jeff Koons, December 1992-February 1993, pl. 60 (illustrated; another example exhibited) NOTES Few contemporary artists have elicited as much outrage over their work, as Jeff Koons, and yet his ingeniously mischievous exploitation of consumer culture can also be considered the quintessential art of our time. Equal parts visual allure and intellectual conundrum, Koons' work is undeniably provocative, forcing us to confront the simulated realities of our world. With his strategies of simultaneous attraction and repulsion, irritation and delight, celebration and critique, his art is the embodiment of the inevitable contradictions of contemporary life. Throughout his career, Koons has mixed the banal with "high" art subject matter, thus begging the questions: Whereas "high" art has always defined itself in opposition to the "low", what happens when the high becomes low? And similarly, what happens when the low aspires to be high? This, of course, hearkens back to Duchamp and his readymades. Famous works like Fountain initiated art's exploration of such issues, and Koons' work definitely marks a critical point in Duchamp's subsequent legacy. But Cherubs is not a readymade. Instead, this work is an amalgam of gift shop aesthetics. The result is an exaggeration of an already exaggerated devotional object, a further kitch-ification of kitsch. What is the effect of this? Whereas Koons has used found objects in the past, here he creates something anew. And yet, in this near-grotesquery of cuteness, we recognize the real-life objects that serve as their source. Any judgement we make on these overstatements would therefore have to be applied to the real commodities on which they are based. These questions circulate around the Cherubs, challenging the categories by which we classify things--both in art and in life. However, the reference is not just to modern-day kitsch, rather Cherubs has a very definite art historical context as well. Its most immediate reference might be the well-known putti at the bottom Raphael's The Sistine Madonna, 1512-13. Probably the most famous detail of a work in the history of art, this cuddly pair has been over-reproduced to the point that a work of high art has become kitch, adorning countless posters, t-shirts, and Valentines. With their rosy cheeks, pastel curlicues, and floral forms, Cherubs also incorporates the Rococo and Baroque styles from which these two angels derive. Ultimately, as with many of Koons' works, the implications apply not only to general notions of commodification, but to issues of class. Koons himself explains: "If somebody walks into a church and they're hungry and they do not feel secure with their own economic position in the world, they're not in a position to have a spiritual experience. So the church uses the Baroque and the Rococo, you just go in there and you feel like you're participating in social mobility. This is how the Baroque and the Rococo were used; so that the public felt their needs were being met. I've always tried to do the same thing with my work" (quoted in Jeff Koons, exh. cat., San Francisco Museum of Modern Art, 1992, n.p.). One of Koons' basic points is to capture the style of traditionally "low" culture, merge it with "high" art, and thus disrupt both labels. The most important precedents for this kind of loving send-up are the early-sixties Pop masterpieces of Andy Warhol and Roy Lichtenstein, such as Lichtenstein's The Kiss, 1962. But rather than imitating comic books, Koons here aims his caustic imagination at religion. The work therefore deals both with mass imagery at large and with the objects upon which we cast our faith. As Koons states, "I've always tried to use materialism to seduce the viewer and to try to meet the needs of the viewer, just like every church uses materialism. Every industry uses it, but the church is the great master and a great manipulator of materialism." Cherubs is part of the artist's Made in Heaven series, a body of images that depict he and his wife Cicciolina in large-scale sex scenes. Cherubs is in effect an alternate version of this group of work as it depicts a heavenly young boy and a girl sharing spiritual love which is expressed in a more innocent and childlike way. Of course, the aggressively confrontational Made in Heaven series appears to be the utter opposite of a work of such sweet sentimentality like Cherubs . And yet, maybe Koons is locating the seemingly opposite desires that these works embody--sex and faith--in a similar place. "To me," Koons claims in reference to works like Made in Heaven, "Cicciolina is the Eternal Virgin. She's been able to remove guilt and shame from her life, and because of this she is a great liberator. I'm trying to go through moral crisis myself to the highest degree that I can, to remove moral crisis from the visual vocabulary of the viewer, so that when somebody sees my work, the only thing that they see is the Sacred Heart of Jesus." Our first reaction, of course, is to not take him seriously. He is just being ironic. And yet, we wonder what would it be like to look at and enjoy objects like Cherubs without the overlay of kitsch. And this is exactly what Koons is getting at: "I [am] telling the Bourgeois to embrace the things that it likes, the things it responds to. For example, when you were a young child and you went to your grandmother's place and she had this little knickknack, that's inside you, that's a part of you. Embrace that, don't try to erase it because you're in some social standing now and you're ambitious and you're trying to become a new upper class.".
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Lot 5: Jeff Koons (b. 1945)
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Description: Cherubs insized with signature, number and date '3/3 91 Jeff Koons J FUX' (on the underside of her left wing) polychromed wood overall: 48 x 431/2 x 19 in. (121.9 x 110.5 x 48.3 cm.) Executed in 1991. This work is number three from an edition of three plus one artist's proof. PROVENANCE Anthony d'Offay Gallery, London LITERATURE J. Koons and R. Rosenblum, The Jeff Koons Handbook, London 1992, pp. 128-129 (illustrated) A. Muthesius, Jeff Koons, Cologne 1992, p. 159 (illustrated) EXHIBITION Lausanne, Galerie Lehmann, Made In Heaven, May-June 1991 (another example exhibited) Amsterdam, Stedelijk Museum; Aarhus, Kunstmuseum; and Stuttgart, Staatsgalerie, Jeff Koons, January 1992-April 1993, p.64 (illustrated; another example exhibited) San Francisco Museum of Modern Art; and Minneapolis, Walker Art Center, Jeff Koons, December 1992-February 1993, pl. 60 (illustrated; another example exhibited) NOTES Few contemporary artists have elicited as much outrage over their work, as Jeff Koons, and yet his ingeniously mischievous exploitation of consumer culture can also be considered the quintessential art of our time. Equal parts visual allure and intellectual conundrum, Koons' work is undeniably provocative, forcing us to confront the simulated realities of our world. With his strategies of simultaneous attraction and repulsion, irritation and delight, celebration and critique, his art is the embodiment of the inevitable contradictions of contemporary life. Throughout his career, Koons has mixed the banal with "high" art subject matter, thus begging the questions: Whereas "high" art has always defined itself in opposition to the "low", what happens when the high becomes low? And similarly, what happens when the low aspires to be high? This, of course, hearkens back to Duchamp and his readymades. Famous works like Fountain initiated art's exploration of such issues, and Koons' work definitely marks a critical point in Duchamp's subsequent legacy. But Cherubs is not a readymade. Instead, this work is an amalgam of gift shop aesthetics. The result is an exaggeration of an already exaggerated devotional object, a further kitch-ification of kitsch. What is the effect of this? Whereas Koons has used found objects in the past, here he creates something anew. And yet, in this near-grotesquery of cuteness, we recognize the real-life objects that serve as their source. Any judgement we make on these overstatements would therefore have to be applied to the real commodities on which they are based. These questions circulate around the Cherubs, challenging the categories by which we classify things--both in art and in life. However, the reference is not just to modern-day kitsch, rather Cherubs has a very definite art historical context as well. Its most immediate reference might be the well-known putti at the bottom Raphael's The Sistine Madonna, 1512-13. Probably the most famous detail of a work in the history of art, this cuddly pair has been over-reproduced to the point that a work of high art has become kitch, adorning countless posters, t-shirts, and Valentines. With their rosy cheeks, pastel curlicues, and floral forms, Cherubs also incorporates the Rococo and Baroque styles from which these two angels derive. Ultimately, as with many of Koons' works, the implications apply not only to general notions of commodification, but to issues of class. Koons himself explains: "If somebody walks into a church and they're hungry and they do not feel secure with their own economic position in the world, they're not in a position to have a spiritual experience. So the church uses the Baroque and the Rococo, you just go in there and you feel like you're participating in social mobility. This is how the Baroque and the Rococo were used; so that the public felt their needs were being met. I've always tried to do the same thing with my work" (quoted in Jeff Koons, exh. cat., San Francisco Museum of Modern Art, 1992, n.p.). One of Koons' basic points is to capture the style of traditionally "low" culture, merge it with "high" art, and thus disrupt both labels. The most important precedents for this kind of loving send-up are the early-sixties Pop masterpieces of Andy Warhol and Roy Lichtenstein, such as Lichtenstein's The Kiss, 1962. But rather than imitating comic books, Koons here aims his caustic imagination at religion. The work therefore deals both with mass imagery at large and with the objects upon which we cast our faith. As Koons states, "I've always tried to use materialism to seduce the viewer and to try to meet the needs of the viewer, just like every church uses materialism. Every industry uses it, but the church is the great master and a great manipulator of materialism." Cherubs is part of the artist's Made in Heaven series, a body of images that depict he and his wife Cicciolina in large-scale sex scenes. Cherubs is in effect an alternate version of this group of work as it depicts a heavenly young boy and a girl sharing spiritual love which is expressed in a more innocent and childlike way. Of course, the aggressively confrontational Made in Heaven series appears to be the utter opposite of a work of such sweet sentimentality like Cherubs . And yet, maybe Koons is locating the seemingly opposite desires that these works embody--sex and faith--in a similar place. "To me," Koons claims in reference to works like Made in Heaven, "Cicciolina is the Eternal Virgin. She's been able to remove guilt and shame from her life, and because of this she is a great liberator. I'm trying to go through moral crisis myself to the highest degree that I can, to remove moral crisis from the visual vocabulary of the viewer, so that when somebody sees my work, the only thing that they see is the Sacred Heart of Jesus." Our first reaction, of course, is to not take him seriously. He is just being ironic. And yet, we wonder what would it be like to look at and enjoy objects like Cherubs without the overlay of kitsch. And this is exactly what Koons is getting at: "I [am] telling the Bourgeois to embrace the things that it likes, the things it responds to. For example, when you were a young child and you went to your grandmother's place and she had this little knickknack, that's inside you, that's a part of you. Embrace that, don't try to erase it because you're in some social standing now and you're ambitious and you're trying to become a new upper class.".
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Lot 5: Jeff Koons (b. 1945)
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Description: Cherubs insized with signature, number and date '3/3 91 Jeff Koons J FUX' (on the underside of her left wing) polychromed wood overall: 48 x 431/2 x 19 in. (121.9 x 110.5 x 48.3 cm.) Executed in 1991. This work is number three from an edition of three plus one artist's proof. PROVENANCE Anthony d'Offay Gallery, London LITERATURE J. Koons and R. Rosenblum, The Jeff Koons Handbook, London 1992, pp. 128-129 (illustrated) A. Muthesius, Jeff Koons, Cologne 1992, p. 159 (illustrated) EXHIBITION Lausanne, Galerie Lehmann, Made In Heaven, May-June 1991 (another example exhibited) Amsterdam, Stedelijk Museum; Aarhus, Kunstmuseum; and Stuttgart, Staatsgalerie, Jeff Koons, January 1992-April 1993, p.64 (illustrated; another example exhibited) San Francisco Museum of Modern Art; and Minneapolis, Walker Art Center, Jeff Koons, December 1992-February 1993, pl. 60 (illustrated; another example exhibited) NOTES Few contemporary artists have elicited as much outrage over their work, as Jeff Koons, and yet his ingeniously mischievous exploitation of consumer culture can also be considered the quintessential art of our time. Equal parts visual allure and intellectual conundrum, Koons' work is undeniably provocative, forcing us to confront the simulated realities of our world. With his strategies of simultaneous attraction and repulsion, irritation and delight, celebration and critique, his art is the embodiment of the inevitable contradictions of contemporary life. Throughout his career, Koons has mixed the banal with "high" art subject matter, thus begging the questions: Whereas "high" art has always defined itself in opposition to the "low", what happens when the high becomes low? And similarly, what happens when the low aspires to be high? This, of course, hearkens back to Duchamp and his readymades. Famous works like Fountain initiated art's exploration of such issues, and Koons' work definitely marks a critical point in Duchamp's subsequent legacy. But Cherubs is not a readymade. Instead, this work is an amalgam of gift shop aesthetics. The result is an exaggeration of an already exaggerated devotional object, a further kitch-ification of kitsch. What is the effect of this? Whereas Koons has used found objects in the past, here he creates something anew. And yet, in this near-grotesquery of cuteness, we recognize the real-life objects that serve as their source. Any judgement we make on these overstatements would therefore have to be applied to the real commodities on which they are based. These questions circulate around the Cherubs, challenging the categories by which we classify things--both in art and in life. However, the reference is not just to modern-day kitsch, rather Cherubs has a very definite art historical context as well. Its most immediate reference might be the well-known putti at the bottom Raphael's The Sistine Madonna, 1512-13. Probably the most famous detail of a work in the history of art, this cuddly pair has been over-reproduced to the point that a work of high art has become kitch, adorning countless posters, t-shirts, and Valentines. With their rosy cheeks, pastel curlicues, and floral forms, Cherubs also incorporates the Rococo and Baroque styles from which these two angels derive. Ultimately, as with many of Koons' works, the implications apply not only to general notions of commodification, but to issues of class. Koons himself explains: "If somebody walks into a church and they're hungry and they do not feel secure with their own economic position in the world, they're not in a position to have a spiritual experience. So the church uses the Baroque and the Rococo, you just go in there and you feel like you're participating in social mobility. This is how the Baroque and the Rococo were used; so that the public felt their needs were being met. I've always tried to do the same thing with my work" (quoted in Jeff Koons, exh. cat., San Francisco Museum of Modern Art, 1992, n.p.). One of Koons' basic points is to capture the style of traditionally "low" culture, merge it with "high" art, and thus disrupt both labels. The most important precedents for this kind of loving send-up are the early-sixties Pop masterpieces of Andy Warhol and Roy Lichtenstein, such as Lichtenstein's The Kiss, 1962. But rather than imitating comic books, Koons here aims his caustic imagination at religion. The work therefore deals both with mass imagery at large and with the objects upon which we cast our faith. As Koons states, "I've always tried to use materialism to seduce the viewer and to try to meet the needs of the viewer, just like every church uses materialism. Every industry uses it, but the church is the great master and a great manipulator of materialism." Cherubs is part of the artist's Made in Heaven series, a body of images that depict he and his wife Cicciolina in large-scale sex scenes. Cherubs is in effect an alternate version of this group of work as it depicts a heavenly young boy and a girl sharing spiritual love which is expressed in a more innocent and childlike way. Of course, the aggressively confrontational Made in Heaven series appears to be the utter opposite of a work of such sweet sentimentality like Cherubs . And yet, maybe Koons is locating the seemingly opposite desires that these works embody--sex and faith--in a similar place. "To me," Koons claims in reference to works like Made in Heaven, "Cicciolina is the Eternal Virgin. She's been able to remove guilt and shame from her life, and because of this she is a great liberator. I'm trying to go through moral crisis myself to the highest degree that I can, to remove moral crisis from the visual vocabulary of the viewer, so that when somebody sees my work, the only thing that they see is the Sacred Heart of Jesus." Our first reaction, of course, is to not take him seriously. He is just being ironic. And yet, we wonder what would it be like to look at and enjoy objects like Cherubs without the overlay of kitsch. And this is exactly what Koons is getting at: "I [am] telling the Bourgeois to embrace the things that it likes, the things it responds to. For example, when you were a young child and you went to your grandmother's place and she had this little knickknack, that's inside you, that's a part of you. Embrace that, don't try to erase it because you're in some social standing now and you're ambitious and you're trying to become a new upper class.".
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Lot 5: Jeff Koons (b. 1945)
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Description: Cherubs insized with signature, number and date '3/3 91 Jeff Koons J FUX' (on the underside of her left wing) polychromed wood overall: 48 x 431/2 x 19 in. (121.9 x 110.5 x 48.3 cm.) Executed in 1991. This work is number three from an edition of three plus one artist's proof. PROVENANCE Anthony d'Offay Gallery, London LITERATURE J. Koons and R. Rosenblum, The Jeff Koons Handbook, London 1992, pp. 128-129 (illustrated) A. Muthesius, Jeff Koons, Cologne 1992, p. 159 (illustrated) EXHIBITION Lausanne, Galerie Lehmann, Made In Heaven, May-June 1991 (another example exhibited) Amsterdam, Stedelijk Museum; Aarhus, Kunstmuseum; and Stuttgart, Staatsgalerie, Jeff Koons, January 1992-April 1993, p.64 (illustrated; another example exhibited) San Francisco Museum of Modern Art; and Minneapolis, Walker Art Center, Jeff Koons, December 1992-February 1993, pl. 60 (illustrated; another example exhibited) NOTES Few contemporary artists have elicited as much outrage over their work, as Jeff Koons, and yet his ingeniously mischievous exploitation of consumer culture can also be considered the quintessential art of our time. Equal parts visual allure and intellectual conundrum, Koons' work is undeniably provocative, forcing us to confront the simulated realities of our world. With his strategies of simultaneous attraction and repulsion, irritation and delight, celebration and critique, his art is the embodiment of the inevitable contradictions of contemporary life. Throughout his career, Koons has mixed the banal with "high" art subject matter, thus begging the questions: Whereas "high" art has always defined itself in opposition to the "low", what happens when the high becomes low? And similarly, what happens when the low aspires to be high? This, of course, hearkens back to Duchamp and his readymades. Famous works like Fountain initiated art's exploration of such issues, and Koons' work definitely marks a critical point in Duchamp's subsequent legacy. But Cherubs is not a readymade. Instead, this work is an amalgam of gift shop aesthetics. The result is an exaggeration of an already exaggerated devotional object, a further kitch-ification of kitsch. What is the effect of this? Whereas Koons has used found objects in the past, here he creates something anew. And yet, in this near-grotesquery of cuteness, we recognize the real-life objects that serve as their source. Any judgement we make on these overstatements would therefore have to be applied to the real commodities on which they are based. These questions circulate around the Cherubs, challenging the categories by which we classify things--both in art and in life. However, the reference is not just to modern-day kitsch, rather Cherubs has a very definite art historical context as well. Its most immediate reference might be the well-known putti at the bottom Raphael's The Sistine Madonna, 1512-13. Probably the most famous detail of a work in the history of art, this cuddly pair has been over-reproduced to the point that a work of high art has become kitch, adorning countless posters, t-shirts, and Valentines. With their rosy cheeks, pastel curlicues, and floral forms, Cherubs also incorporates the Rococo and Baroque styles from which these two angels derive. Ultimately, as with many of Koons' works, the implications apply not only to general notions of commodification, but to issues of class. Koons himself explains: "If somebody walks into a church and they're hungry and they do not feel secure with their own economic position in the world, they're not in a position to have a spiritual experience. So the church uses the Baroque and the Rococo, you just go in there and you feel like you're participating in social mobility. This is how the Baroque and the Rococo were used; so that the public felt their needs were being met. I've always tried to do the same thing with my work" (quoted in Jeff Koons, exh. cat., San Francisco Museum of Modern Art, 1992, n.p.). One of Koons' basic points is to capture the style of traditionally "low" culture, merge it with "high" art, and thus disrupt both labels. The most important precedents for this kind of loving send-up are the early-sixties Pop masterpieces of Andy Warhol and Roy Lichtenstein, such as Lichtenstein's The Kiss, 1962. But rather than imitating comic books, Koons here aims his caustic imagination at religion. The work therefore deals both with mass imagery at large and with the objects upon which we cast our faith. As Koons states, "I've always tried to use materialism to seduce the viewer and to try to meet the needs of the viewer, just like every church uses materialism. Every industry uses it, but the church is the great master and a great manipulator of materialism." Cherubs is part of the artist's Made in Heaven series, a body of images that depict he and his wife Cicciolina in large-scale sex scenes. Cherubs is in effect an alternate version of this group of work as it depicts a heavenly young boy and a girl sharing spiritual love which is expressed in a more innocent and childlike way. Of course, the aggressively confrontational Made in Heaven series appears to be the utter opposite of a work of such sweet sentimentality like Cherubs . And yet, maybe Koons is locating the seemingly opposite desires that these works embody--sex and faith--in a similar place. "To me," Koons claims in reference to works like Made in Heaven, "Cicciolina is the Eternal Virgin. She's been able to remove guilt and shame from her life, and because of this she is a great liberator. I'm trying to go through moral crisis myself to the highest degree that I can, to remove moral crisis from the visual vocabulary of the viewer, so that when somebody sees my work, the only thing that they see is the Sacred Heart of Jesus." Our first reaction, of course, is to not take him seriously. He is just being ironic. And yet, we wonder what would it be like to look at and enjoy objects like Cherubs without the overlay of kitsch. And this is exactly what Koons is getting at: "I [am] telling the Bourgeois to embrace the things that it likes, the things it responds to. For example, when you were a young child and you went to your grandmother's place and she had this little knickknack, that's inside you, that's a part of you. Embrace that, don't try to erase it because you're in some social standing now and you're ambitious and you're trying to become a new upper class.".
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Lot 5: Jeff Koons
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Description:
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Lot 5: Jeff Koons
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Description:
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Lot 5: Jeff Koons
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Lot 5: Jeff Koons
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Lot 5: Jeff Koons , 1955 Jim Beam - Caboose stainless steel and bourbon
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Description: stainless steel and bourbon
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Lot 5: Jeff Koons , b. 1955 Naked porcelain
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Description: signed, dated 1988 and numbered 1/3 on the underside porcelain
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Lot 5: - Jeff Koons , Wishing Well Other
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Description: gilded wood and mirror
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Lot 5: Jeff Koons (b. 1955)
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Description: Jeff Koons (b. 1955) Monkeys (Ladder) signed with the artist's initials 'JK' (on the overlap) oil on canvas 108¼ x 84in. (274.9 x 213.4cm.) Painted in 2003
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Lot 5: Jeff Koons (b. 1955)
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Description: Jeff Koons (b. 1955) Michael Jackson and Bubbles lithograph in colours, 1995, on wove paper, signed and dated in pencil, numbered 41/50700 x 1000 mm.
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Lot 6: Jeff Koons (b.1945)
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Description: Ponies signed and dated 'Jeff Koons '91' (on the overlap) oil inks silkscreened on canvas 90 x 60 in. (229.1 x 152.4 cm.) Executed in 1991. This work is unique plus one artist's proof.
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Lot 6: Jeff Koons , New Hoover Deluxe Shampoo Polisher
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Description: shampoo polisher, Plexiglas, fluorescent lights
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Lot 6: JEFF KOONS
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Description: ELEPHANT (PURPLE) signé et daté au dos
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Lot 6: Jeff Koons (b. 1955)
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Description: Jeff Koons (b. 1955) Teddy Bear Orange mirror and colored glass 87 x 56 x 3 in. (220.1 x 142.2 x 7.6 cm.) Executed in 1988-1998. This work is one of four unique versions (Blue, Green, Orange and Pink).
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Lot 6: Jeff Koons
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Description: Jeff Koons Bourgeois buste lithograph, 1995, on wove paper, signed and dated in pencil, numbered 41/501000 x 700 mm.
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Lot 6: JEFF KOONS
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Description: B.1955 I ASSUME YOU DRINK MARTELL oil inks on canvas 45 7/8 x 59 5/8 in. 116.5 x 151.6 cm. Executed in 1986, this work is the artist's proof from an edition of two plus one artist's proof.
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Lot 7: JEFF KOONS
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Description: mirror and glassExecuted in 1988, this work is number 1 from an edition of 3 plus one artist's proof.
View additional info »Lot 7: Jeff Koons (b. 1955)
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Description: Amore signed with initials, dated and numbered 'J K 88 AP' on the underside porcelain 32 x 20 x 20in. (81.3 x 50.8 x 50.8cm.) This work is the artist's proof from an edition of three with one artist's proof. PROVENANCE Sonnabend Gallery, New York LITERATURE A. Muthesius, Jeff Koons, Cologne 1992, p. 167, no. 11 (illustrated, pp. 25 and 109). J. Koons, The Jeff Koons Handbook, New York 1992, p. 159. EXHIBITION New York, Sonnabend Gallery, Jeff Koons--"Banality", November-December 1988. NOTES Jeff Koons' "Banality" series from 1988 "is pervaded with hints of the rococo. This eighteenth-century style exalted curlicues and the bizarre, exaggeration and charm, seductiveness and grace, all characteristics that are reiterated in Koons' contemporary kitsch" (D. Salvoni, "Jeff Koons's Poetics of Class," Jeff Koons, San Francisco, 1992, p. 20). Koons's appropriation of kitsch can be, for some, a shocking rupture in aesthetic form, a cynical transformation of high art into ersatz signs whose meaning is dependent upon an ironic context and the viewer's seduction. In Koons' oeuvre, dime-store toys and dolls, the likes of carnival prizes, are commissioned as grand-scale reproductions in the finest porcelain or Murano glass. The resulting artwork teases the fine line between the perceived banal tastes of the bourgeoisie and the prejudices of the intellectual elite, encouraging a dialogue between the two. At the same time, the viewer is confronted with the relationship between, and the commodification of, both the fine art object and the mass-marketed tchotchke. Amore, a work from the "Banality" series, appears to be a construction of innocent, cliched "love," presented in the guise of a porcelain reproduction of a plush yellow teddy bear with a baby doll's smooth face. Wearing an "I You" pin, a lacy bib with the word "amore" emblazened in red and surrounded by adorable trinkets, the bear-baby sits on a gilded pedestal with arms outstretched to the viewer, craving love. Amore is a trophy of cuteness, a souvenir of commercialized sentiment while at the same time synonomous with the artist, who craves critical acclaim, and the aesthete who craves and accumulates objets d'art . Amore is both self-effacing and self-righteous; simultaneously unapologetic kitsch and a critical piece of Post-Modern art. As with many of Koons' works, Amore is at once visually comforting and challenging, the wit of his syrupy-sweet animal balancing the "narcissism...of the perfect commercial vehicle" (B. Wallis, "We Don't Need Another Hero: Aspects of the Critical Reception of the Work of Jeff Koons," ibid, p. 30).
View additional info »Lot 7: Jeff Koons (b. 1955)
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Description: Amore signed with initials, dated and numbered 'J K 88 AP' on the underside porcelain 32 x 20 x 20in. (81.3 x 50.8 x 50.8cm.) This work is the artist's proof from an edition of three with one artist's proof. PROVENANCE Sonnabend Gallery, New York LITERATURE A. Muthesius, Jeff Koons, Cologne 1992, p. 167, no. 11 (illustrated, pp. 25 and 109). J. Koons, The Jeff Koons Handbook, New York 1992, p. 159. EXHIBITION New York, Sonnabend Gallery, Jeff Koons--"Banality", November-December 1988. NOTES Jeff Koons' "Banality" series from 1988 "is pervaded with hints of the rococo. This eighteenth-century style exalted curlicues and the bizarre, exaggeration and charm, seductiveness and grace, all characteristics that are reiterated in Koons' contemporary kitsch" (D. Salvoni, "Jeff Koons's Poetics of Class," Jeff Koons, San Francisco, 1992, p. 20). Koons's appropriation of kitsch can be, for some, a shocking rupture in aesthetic form, a cynical transformation of high art into ersatz signs whose meaning is dependent upon an ironic context and the viewer's seduction. In Koons' oeuvre, dime-store toys and dolls, the likes of carnival prizes, are commissioned as grand-scale reproductions in the finest porcelain or Murano glass. The resulting artwork teases the fine line between the perceived banal tastes of the bourgeoisie and the prejudices of the intellectual elite, encouraging a dialogue between the two. At the same time, the viewer is confronted with the relationship between, and the commodification of, both the fine art object and the mass-marketed tchotchke. Amore, a work from the "Banality" series, appears to be a construction of innocent, cliched "love," presented in the guise of a porcelain reproduction of a plush yellow teddy bear with a baby doll's smooth face. Wearing an "I You" pin, a lacy bib with the word "amore" emblazened in red and surrounded by adorable trinkets, the bear-baby sits on a gilded pedestal with arms outstretched to the viewer, craving love. Amore is a trophy of cuteness, a souvenir of commercialized sentiment while at the same time synonomous with the artist, who craves critical acclaim, and the aesthete who craves and accumulates objets d'art . Amore is both self-effacing and self-righteous; simultaneously unapologetic kitsch and a critical piece of Post-Modern art. As with many of Koons' works, Amore is at once visually comforting and challenging, the wit of his syrupy-sweet animal balancing the "narcissism...of the perfect commercial vehicle" (B. Wallis, "We Don't Need Another Hero: Aspects of the Critical Reception of the Work of Jeff Koons," ibid, p. 30).
View additional info »Lot 7: Jeff Koons (b. 1955)
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Description: Amore signed with initials, dated and numbered 'J K 88 AP' on the underside porcelain 32 x 20 x 20in. (81.3 x 50.8 x 50.8cm.) This work is the artist's proof from an edition of three with one artist's proof. PROVENANCE Sonnabend Gallery, New York LITERATURE A. Muthesius, Jeff Koons, Cologne 1992, p. 167, no. 11 (illustrated, pp. 25 and 109). J. Koons, The Jeff Koons Handbook, New York 1992, p. 159. EXHIBITION New York, Sonnabend Gallery, Jeff Koons--"Banality", November-December 1988. NOTES Jeff Koons' "Banality" series from 1988 "is pervaded with hints of the rococo. This eighteenth-century style exalted curlicues and the bizarre, exaggeration and charm, seductiveness and grace, all characteristics that are reiterated in Koons' contemporary kitsch" (D. Salvoni, "Jeff Koons's Poetics of Class," Jeff Koons, San Francisco, 1992, p. 20). Koons's appropriation of kitsch can be, for some, a shocking rupture in aesthetic form, a cynical transformation of high art into ersatz signs whose meaning is dependent upon an ironic context and the viewer's seduction. In Koons' oeuvre, dime-store toys and dolls, the likes of carnival prizes, are commissioned as grand-scale reproductions in the finest porcelain or Murano glass. The resulting artwork teases the fine line between the perceived banal tastes of the bourgeoisie and the prejudices of the intellectual elite, encouraging a dialogue between the two. At the same time, the viewer is confronted with the relationship between, and the commodification of, both the fine art object and the mass-marketed tchotchke. Amore, a work from the "Banality" series, appears to be a construction of innocent, cliched "love," presented in the guise of a porcelain reproduction of a plush yellow teddy bear with a baby doll's smooth face. Wearing an "I You" pin, a lacy bib with the word "amore" emblazened in red and surrounded by adorable trinkets, the bear-baby sits on a gilded pedestal with arms outstretched to the viewer, craving love. Amore is a trophy of cuteness, a souvenir of commercialized sentiment while at the same time synonomous with the artist, who craves critical acclaim, and the aesthete who craves and accumulates objets d'art . Amore is both self-effacing and self-righteous; simultaneously unapologetic kitsch and a critical piece of Post-Modern art. As with many of Koons' works, Amore is at once visually comforting and challenging, the wit of his syrupy-sweet animal balancing the "narcissism...of the perfect commercial vehicle" (B. Wallis, "We Don't Need Another Hero: Aspects of the Critical Reception of the Work of Jeff Koons," ibid, p. 30).
View additional info »Lot 7: Jeff Koons (b. 1955)
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Description: Amore signed with initials, dated and numbered 'J K 88 AP' on the underside porcelain 32 x 20 x 20in. (81.3 x 50.8 x 50.8cm.) This work is the artist's proof from an edition of three with one artist's proof. PROVENANCE Sonnabend Gallery, New York LITERATURE A. Muthesius, Jeff Koons, Cologne 1992, p. 167, no. 11 (illustrated, pp. 25 and 109). J. Koons, The Jeff Koons Handbook, New York 1992, p. 159. EXHIBITION New York, Sonnabend Gallery, Jeff Koons--"Banality", November-December 1988. NOTES Jeff Koons' "Banality" series from 1988 "is pervaded with hints of the rococo. This eighteenth-century style exalted curlicues and the bizarre, exaggeration and charm, seductiveness and grace, all characteristics that are reiterated in Koons' contemporary kitsch" (D. Salvoni, "Jeff Koons's Poetics of Class," Jeff Koons, San Francisco, 1992, p. 20). Koons's appropriation of kitsch can be, for some, a shocking rupture in aesthetic form, a cynical transformation of high art into ersatz signs whose meaning is dependent upon an ironic context and the viewer's seduction. In Koons' oeuvre, dime-store toys and dolls, the likes of carnival prizes, are commissioned as grand-scale reproductions in the finest porcelain or Murano glass. The resulting artwork teases the fine line between the perceived banal tastes of the bourgeoisie and the prejudices of the intellectual elite, encouraging a dialogue between the two. At the same time, the viewer is confronted with the relationship between, and the commodification of, both the fine art object and the mass-marketed tchotchke. Amore, a work from the "Banality" series, appears to be a construction of innocent, cliched "love," presented in the guise of a porcelain reproduction of a plush yellow teddy bear with a baby doll's smooth face. Wearing an "I You" pin, a lacy bib with the word "amore" emblazened in red and surrounded by adorable trinkets, the bear-baby sits on a gilded pedestal with arms outstretched to the viewer, craving love. Amore is a trophy of cuteness, a souvenir of commercialized sentiment while at the same time synonomous with the artist, who craves critical acclaim, and the aesthete who craves and accumulates objets d'art . Amore is both self-effacing and self-righteous; simultaneously unapologetic kitsch and a critical piece of Post-Modern art. As with many of Koons' works, Amore is at once visually comforting and challenging, the wit of his syrupy-sweet animal balancing the "narcissism...of the perfect commercial vehicle" (B. Wallis, "We Don't Need Another Hero: Aspects of the Critical Reception of the Work of Jeff Koons," ibid, p. 30).
View additional info »Lot 7: KOONS
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Description: Property of a Private Swiss Collector Jeff Koons b. 1955 YORKSHIRE TERRIERS incised with signature, dated 91 and numbered 2/3 on the underside polychromed wood 17a by 20a by 17in. 44.5 by 52.1 by 43.2cm. Executed in 1991, this work is number 2 from an edition of 3 plus one artist's proof. Provenance Sonnabend Gallery, New York Acquired by the present owner from the above Exhibited cf. New York, Sonnabend Gallery; Cologne, Max Hetzler Galerie, Made in Heaven, 1991 cf. London, South Bank Centre, Hayward Gallery, Double Take: Collective Memory and Current Art, 1992, p. 178, illustrated in color Literature Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, cat. no. 31, p. 148, illustrated in color (installation view at Max Hetzler Galerie, Cologne, 1991); pp. 148-49, illustrated in color and illustrated in color on the back cover Martin Gayford, "What's Yours is Mine," Sunday Telegraph, London, July 26, 1992, p. 1, illustrated Joe Joseph, "Penetrating Art Dekko," The Times Review, London, October 17, 1992, pp. 1-2, illustrated Anthony d'Offay, ed., The Jeff Koons Handbook, London and New York, 1992, pp. 124-25, illustrated in color.
View additional info »Lot 7: KOONS
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Description: Property of a Private Swiss Collector Jeff Koons b. 1955 YORKSHIRE TERRIERS incised with signature, dated 91 and numbered 2/3 on the underside polychromed wood 17a by 20a by 17in. 44.5 by 52.1 by 43.2cm. Executed in 1991, this work is number 2 from an edition of 3 plus one artist's proof. Provenance Sonnabend Gallery, New York Acquired by the present owner from the above Exhibited cf. New York, Sonnabend Gallery; Cologne, Max Hetzler Galerie, Made in Heaven, 1991 cf. London, South Bank Centre, Hayward Gallery, Double Take: Collective Memory and Current Art, 1992, p. 178, illustrated in color Literature Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, cat. no. 31, p. 148, illustrated in color (installation view at Max Hetzler Galerie, Cologne, 1991); pp. 148-49, illustrated in color and illustrated in color on the back cover Martin Gayford, "What's Yours is Mine," Sunday Telegraph, London, July 26, 1992, p. 1, illustrated Joe Joseph, "Penetrating Art Dekko," The Times Review, London, October 17, 1992, pp. 1-2, illustrated Anthony d'Offay, ed., The Jeff Koons Handbook, London and New York, 1992, pp. 124-25, illustrated in color.
View additional info »Lot 7: KOONS
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Description: Property of a Private Swiss Collector Jeff Koons b. 1955 YORKSHIRE TERRIERS incised with signature, dated 91 and numbered 2/3 on the underside polychromed wood 17a by 20a by 17in. 44.5 by 52.1 by 43.2cm. Executed in 1991, this work is number 2 from an edition of 3 plus one artist's proof. Provenance Sonnabend Gallery, New York Acquired by the present owner from the above Exhibited cf. New York, Sonnabend Gallery; Cologne, Max Hetzler Galerie, Made in Heaven, 1991 cf. London, South Bank Centre, Hayward Gallery, Double Take: Collective Memory and Current Art, 1992, p. 178, illustrated in color Literature Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, cat. no. 31, p. 148, illustrated in color (installation view at Max Hetzler Galerie, Cologne, 1991); pp. 148-49, illustrated in color and illustrated in color on the back cover Martin Gayford, "What's Yours is Mine," Sunday Telegraph, London, July 26, 1992, p. 1, illustrated Joe Joseph, "Penetrating Art Dekko," The Times Review, London, October 17, 1992, pp. 1-2, illustrated Anthony d'Offay, ed., The Jeff Koons Handbook, London and New York, 1992, pp. 124-25, illustrated in color.
View additional info »Lot 7: KOONS
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Description: Property of a Private Swiss Collector Jeff Koons b. 1955 YORKSHIRE TERRIERS incised with signature, dated 91 and numbered 2/3 on the underside polychromed wood 17a by 20a by 17in. 44.5 by 52.1 by 43.2cm. Executed in 1991, this work is number 2 from an edition of 3 plus one artist's proof. Provenance Sonnabend Gallery, New York Acquired by the present owner from the above Exhibited cf. New York, Sonnabend Gallery; Cologne, Max Hetzler Galerie, Made in Heaven, 1991 cf. London, South Bank Centre, Hayward Gallery, Double Take: Collective Memory and Current Art, 1992, p. 178, illustrated in color Literature Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, cat. no. 31, p. 148, illustrated in color (installation view at Max Hetzler Galerie, Cologne, 1991); pp. 148-49, illustrated in color and illustrated in color on the back cover Martin Gayford, "What's Yours is Mine," Sunday Telegraph, London, July 26, 1992, p. 1, illustrated Joe Joseph, "Penetrating Art Dekko," The Times Review, London, October 17, 1992, pp. 1-2, illustrated Anthony d'Offay, ed., The Jeff Koons Handbook, London and New York, 1992, pp. 124-25, illustrated in color.
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Lot 7: Ice Bucket, 1986
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Description: Ice Bucket, 1986Stainless steel. 9 1/4 x 7 x 12 in. (23.5 x 17.8 x 30.5 cm). This work if form an edition of three plus one artist’s proof.
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Lot 7: CADY NOLAND
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Description: CADY NOLAND B.1956 GIBBET aluminum, wood and fabric in two parts stocks: 60 1/4 x 56 1/4 x 8 in. 153 x 142.9 x 20.3 cm. stool: 21 x 21 x 11 1/2 in. 53.3 x 53.3 x 29.2 cm. Executed in 1993-1994.
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Lot 7: JEFF KOONS
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Description: Ice Bucket This work if form an edition of three plus one artist’s proof.
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Lot 8: Jeff Koons
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Description: Jeff KoonsProperty from a Private European Collectionb. 1955INFLATABLE FLOWER AND BUNNY(TALL WHITE, PINK BUNNY)plastic, plexiglass, mirror and inflatable viny flower and bunnyoverall: 81 by 61 by 30.5cm.31 7/8 by 24 by 12in.Executed in 1978, this work is accompanied by a certificate of authenticity, signed by the artist.ProvenanceJeffrey Wasserman, New YorkGalerie Ronny Van de Veld, AntwerpExhibitedChicago, Museum of ContemporaryArt, Jeff Koons, 1988San Francisco, San FranciscoMuseum of Modern Art; Minneapolis,Walker Art Center, Jeff Koons, 1992-93, no. 2, illustrated in colourLiteratureAngelika Mathesius, Jeff Koons,Cologne 1992, p. 88, illustrated incolourBrandon Taylor, The Art of Today, New York 1997, p. 91, illustrated in colour
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Lot 8: Jeff Koons (B. 1955)
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Description: Self-Portraitnumbered '2' (on the top of the base)white marble in two parts37 1/2 x 20 1/2 x 14 1/2 in. (95.3 x 52.1 x 37.4 cm.)Executed in 1991. This work is number two from an edition of three with one artist's proof.
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Lot 8: Jeff Koons (b. 1955)
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Description: Jeff Koons (b. 1955) Large Vase of Flowers signed, dated and numbered 'J. Koons 1991 1/3' (on the base) polychromed wood 52 x 43 x 43 in. (132 x 109.2 x 109.2 cm.) Executed in 1991. This work is number one from an edition of three plus one artist's proof.
View additional info »Lot 8A: KOONS, JEFF (1955)
Description: Stacked, 1988 Wood 55x60x25 inches (139.6x152.4x64.7) signed.
View additional info »Lot 8A: KOONS, JEFF (1955)
Description: Stacked, 1988 Wood 55x60x25 inches (139.6x152.4x64.7) signed.
View additional info »Lot 8A: KOONS, JEFF (1955)
Description: Stacked, 1988 Wood 55x60x25 inches (139.6x152.4x64.7) signed.
View additional info »Lot 8A: KOONS, JEFF (1955)
Description: Stacked, 1988 Wood 55x60x25 inches (139.6x152.4x64.7) signed.
View additional info »Lot 9: Jeff Koons b. 1955
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Description: STRING OF PUPPIES polychromed wood overall: 42 by 62 by 37 in. 106.7 by 157.5 by 94 cm. Executed in 1988, this work is number 3 from an edition of three, plus one artist's proof. Provenance Sonnabend Gallery, Inc., New York Acquired by the present owner from the above in 1988 Exhibited New York, Sonnabend Gallery and Chicago, Donald Young Gallery, Jeff Koons: Banality Show, 1988 Los Angeles, Museum of Contemporary Art, A Forest of Signs: Art in the Crisis of Representation, 1989, p. 39, illustrated in color (edition 3/3) Athens, Deste Foundation for Contemporary Art, Artificial Nature, 1990, pp. 44-45, illustration in color of another example San Francisco Museum of Modern Art, New Work: a New Generation, 1990 (another example) Berlin, Martin-Gropius-Bau, Metropolis, 1991, cat. no. 90 San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Amsterdam, Stedelijk Museum; Denamrk, Aarhus Kunstmuseum; Staatsgalerie Stuttgart, Jeff Koons: Retrospective, 1992-1993 (another example) Sydney, Museum of Contemporary Art, From Christo and Jean Claude to Jeff Koons: John Kaldor Art Projects and Collection, 1995 (another example) Literature "Big Fun: Four Reactions to the New Jeff Koons" in Artscribe International, March/April 1989, p. 47, illustrated Sidney Tillim, "Ideology and Difference" in Arts Magazine, March 1989, p. 50, illustrated Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, p. 25 and p. 112, illustrated in color (Sonnabend Gallery exhibition, 1988) Jeff Koons, The Jeff Koons Handbook, London, 1992, p. 160.
View additional info »Lot 9: Jeff Koons b. 1955
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Description: STRING OF PUPPIES polychromed wood overall: 42 by 62 by 37 in. 106.7 by 157.5 by 94 cm. Executed in 1988, this work is number 3 from an edition of three, plus one artist's proof. Provenance Sonnabend Gallery, Inc., New York Acquired by the present owner from the above in 1988 Exhibited New York, Sonnabend Gallery and Chicago, Donald Young Gallery, Jeff Koons: Banality Show, 1988 Los Angeles, Museum of Contemporary Art, A Forest of Signs: Art in the Crisis of Representation, 1989, p. 39, illustrated in color (edition 3/3) Athens, Deste Foundation for Contemporary Art, Artificial Nature, 1990, pp. 44-45, illustration in color of another example San Francisco Museum of Modern Art, New Work: a New Generation, 1990 (another example) Berlin, Martin-Gropius-Bau, Metropolis, 1991, cat. no. 90 San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Amsterdam, Stedelijk Museum; Denamrk, Aarhus Kunstmuseum; Staatsgalerie Stuttgart, Jeff Koons: Retrospective, 1992-1993 (another example) Sydney, Museum of Contemporary Art, From Christo and Jean Claude to Jeff Koons: John Kaldor Art Projects and Collection, 1995 (another example) Literature "Big Fun: Four Reactions to the New Jeff Koons" in Artscribe International, March/April 1989, p. 47, illustrated Sidney Tillim, "Ideology and Difference" in Arts Magazine, March 1989, p. 50, illustrated Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, p. 25 and p. 112, illustrated in color (Sonnabend Gallery exhibition, 1988) Jeff Koons, The Jeff Koons Handbook, London, 1992, p. 160.
View additional info »Lot 9: Jeff Koons b. 1955
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Description: STRING OF PUPPIES polychromed wood overall: 42 by 62 by 37 in. 106.7 by 157.5 by 94 cm. Executed in 1988, this work is number 3 from an edition of three, plus one artist's proof. Provenance Sonnabend Gallery, Inc., New York Acquired by the present owner from the above in 1988 Exhibited New York, Sonnabend Gallery and Chicago, Donald Young Gallery, Jeff Koons: Banality Show, 1988 Los Angeles, Museum of Contemporary Art, A Forest of Signs: Art in the Crisis of Representation, 1989, p. 39, illustrated in color (edition 3/3) Athens, Deste Foundation for Contemporary Art, Artificial Nature, 1990, pp. 44-45, illustration in color of another example San Francisco Museum of Modern Art, New Work: a New Generation, 1990 (another example) Berlin, Martin-Gropius-Bau, Metropolis, 1991, cat. no. 90 San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Amsterdam, Stedelijk Museum; Denamrk, Aarhus Kunstmuseum; Staatsgalerie Stuttgart, Jeff Koons: Retrospective, 1992-1993 (another example) Sydney, Museum of Contemporary Art, From Christo and Jean Claude to Jeff Koons: John Kaldor Art Projects and Collection, 1995 (another example) Literature "Big Fun: Four Reactions to the New Jeff Koons" in Artscribe International, March/April 1989, p. 47, illustrated Sidney Tillim, "Ideology and Difference" in Arts Magazine, March 1989, p. 50, illustrated Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, p. 25 and p. 112, illustrated in color (Sonnabend Gallery exhibition, 1988) Jeff Koons, The Jeff Koons Handbook, London, 1992, p. 160.
View additional info »Lot 9: Jeff Koons b. 1955
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Description: STRING OF PUPPIES polychromed wood overall: 42 by 62 by 37 in. 106.7 by 157.5 by 94 cm. Executed in 1988, this work is number 3 from an edition of three, plus one artist's proof. Provenance Sonnabend Gallery, Inc., New York Acquired by the present owner from the above in 1988 Exhibited New York, Sonnabend Gallery and Chicago, Donald Young Gallery, Jeff Koons: Banality Show, 1988 Los Angeles, Museum of Contemporary Art, A Forest of Signs: Art in the Crisis of Representation, 1989, p. 39, illustrated in color (edition 3/3) Athens, Deste Foundation for Contemporary Art, Artificial Nature, 1990, pp. 44-45, illustration in color of another example San Francisco Museum of Modern Art, New Work: a New Generation, 1990 (another example) Berlin, Martin-Gropius-Bau, Metropolis, 1991, cat. no. 90 San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Amsterdam, Stedelijk Museum; Denamrk, Aarhus Kunstmuseum; Staatsgalerie Stuttgart, Jeff Koons: Retrospective, 1992-1993 (another example) Sydney, Museum of Contemporary Art, From Christo and Jean Claude to Jeff Koons: John Kaldor Art Projects and Collection, 1995 (another example) Literature "Big Fun: Four Reactions to the New Jeff Koons" in Artscribe International, March/April 1989, p. 47, illustrated Sidney Tillim, "Ideology and Difference" in Arts Magazine, March 1989, p. 50, illustrated Angelika Muthesius, ed., Jeff Koons, Cologne, 1992, p. 25 and p. 112, illustrated in color (Sonnabend Gallery exhibition, 1988) Jeff Koons, The Jeff Koons Handbook, London, 1992, p. 160.
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Lot 9: JEFF KOONS (NE EN 1955)
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Description: JEFF KOONS (NE EN 1955) GOAT (BLUE) miroir poli coloré monté sur acier inoxydable 217.6 x 149.2 x 3.8 cm. (85 2/3 x 58¾ x 1 in.) Réalisé en 1999.
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