Dinos Chapman Auction Price Results

Lot 1: Jake and Dinos Chapman (b. 1966 & b. 1962)

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Description: Jake and Dinos Chapman (b. 1966 & b. 1962) Two Faced Cunt fibreglass, resin, paint, wigs and trainers 40 5/8 x 22 x 12 5/8in. (103 x 56 x 32cm.) Executed in 1995

Lot 3: JAKE ET DINOS CHAPMAN (NES EN 1966 ET 1962)

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Description: JAKE ET DINOS CHAPMAN (NES EN 1966 ET 1962) I WANTED TO BE POPULAR II bronze peint 125 x 116 x 94 cm. (49¼ x 45 5/8 x 37 in.) Réalisé en 2008.

Lot 10: Jake & Dinos Chapman, b. 1966 and 1962

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Description: bring me the head of... hand-tit-nob-job (i) fibreglass, resin, paint and wig (ii) video (iii) colour film-still (i) 26.5 by 17.5 by 33cm., 10G by 6P by 13in. (ii) numbered 89/200 (iii) 35.5 by 47.6cm., 14 by 18Nin. (3) Executed in 1994, the sculpture is from an edition of 15 and the colour photograph, a still from the video, and titled hand-tit-nob-job, is unique. Provenance: Ridinghouse Editions, London Exhibited: London, ICA; Grazen, Kunstverein, Chapmanworld: Jake and Dinos Chapman, 1996, p. 26, illustration of another example of the sculpture New York, Gagosian Gallery, Unholy Libel: Six Feet Under, 1997, pl. XXVIII and XXIX, illustration of another example of the sculpture and stills from the video in colour.

Lot 10: Jake & Dinos Chapman, b. 1966 and 1962

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Description: bring me the head of... hand-tit-nob-job (i) fibreglass, resin, paint and wig (ii) video (iii) colour film-still (i) 26.5 by 17.5 by 33cm., 10G by 6P by 13in. (ii) numbered 89/200 (iii) 35.5 by 47.6cm., 14 by 18Nin. (3) Executed in 1994, the sculpture is from an edition of 15 and the colour photograph, a still from the video, and titled hand-tit-nob-job, is unique. Provenance: Ridinghouse Editions, London Exhibited: London, ICA; Grazen, Kunstverein, Chapmanworld: Jake and Dinos Chapman, 1996, p. 26, illustration of another example of the sculpture New York, Gagosian Gallery, Unholy Libel: Six Feet Under, 1997, pl. XXVIII and XXIX, illustration of another example of the sculpture and stills from the video in colour.

Lot 10: Jake & Dinos Chapman, b. 1966 and 1962

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Description: bring me the head of... hand-tit-nob-job (i) fibreglass, resin, paint and wig (ii) video (iii) colour film-still (i) 26.5 by 17.5 by 33cm., 10G by 6P by 13in. (ii) numbered 89/200 (iii) 35.5 by 47.6cm., 14 by 18Nin. (3) Executed in 1994, the sculpture is from an edition of 15 and the colour photograph, a still from the video, and titled hand-tit-nob-job, is unique. Provenance: Ridinghouse Editions, London Exhibited: London, ICA; Grazen, Kunstverein, Chapmanworld: Jake and Dinos Chapman, 1996, p. 26, illustration of another example of the sculpture New York, Gagosian Gallery, Unholy Libel: Six Feet Under, 1997, pl. XXVIII and XXIX, illustration of another example of the sculpture and stills from the video in colour.

Lot 10: Jake & Dinos Chapman, b. 1966 and 1962

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Description: bring me the head of... hand-tit-nob-job (i) fibreglass, resin, paint and wig (ii) video (iii) colour film-still (i) 26.5 by 17.5 by 33cm., 10G by 6P by 13in. (ii) numbered 89/200 (iii) 35.5 by 47.6cm., 14 by 18Nin. (3) Executed in 1994, the sculpture is from an edition of 15 and the colour photograph, a still from the video, and titled hand-tit-nob-job, is unique. Provenance: Ridinghouse Editions, London Exhibited: London, ICA; Grazen, Kunstverein, Chapmanworld: Jake and Dinos Chapman, 1996, p. 26, illustration of another example of the sculpture New York, Gagosian Gallery, Unholy Libel: Six Feet Under, 1997, pl. XXVIII and XXIX, illustration of another example of the sculpture and stills from the video in colour.

Lot 11: Jake & Dinos Chapman , b. 1966 & 1962 The Dogs Have Grown Up With The Turkeys oil on fibreglass, glass eyes on two panels in metal frame

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Description: signed and dated 2007 years after the death of our Lord Jesus Christ Amen on the reverse oil on fibreglass, glass eyes on two panels in metal frame

Lot 13: Jake & Dinos Chapman, b. 1966 and 1962 two figures fibreglass, resin, paint, wig and training shoes

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Description: 80 by 50 by 60cm., 31I by 19K by 23Kin. Executed in 1997. Provenance: Gagosian Gallery, New York.

Lot 13: Jake & Dinos Chapman, b. 1966 and 1962 two figures fibreglass, resin, paint, wig and training shoes

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Description: 80 by 50 by 60cm., 31I by 19K by 23Kin. Executed in 1997. Provenance: Gagosian Gallery, New York.

Lot 13: Jake & Dinos Chapman, b. 1966 and 1962 two figures fibreglass, resin, paint, wig and training shoes

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Description: 80 by 50 by 60cm., 31I by 19K by 23Kin. Executed in 1997. Provenance: Gagosian Gallery, New York.

Lot 13: Jake & Dinos Chapman, b. 1966 and 1962 two figures fibreglass, resin, paint, wig and training shoes

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Description: 80 by 50 by 60cm., 31I by 19K by 23Kin. Executed in 1997. Provenance: Gagosian Gallery, New York.

Lot 36: Dinos Chapman (b. 1962)

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Description: Untitledsigned and dated 1990 (verso)acrylic on canvas213.5 x 151.9 cm. (84 x 59 3/4 in.)

Lot 41: Jake & Dinos Chapman (B. 1962 & B. 1966)

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Description: Untitled (Excess Energy Expenditure) crayon and pencil on paper 66 1/8 x 53 1/8in. (168 x 135cm.) Executed in 1996. PROVENANCE Victoria Miro Gallery, London. EXHIBITION London, Institute of Contemporary Arts, 'Chapmanworld. Dinos and Jake Chapman', May - June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunstwerke, Institut f쳌r Zeitgen”ssische Kunst und Theorie.

Lot 41: Jake & Dinos Chapman (B. 1962 & B. 1966)

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Description: Untitled (Excess Energy Expenditure) crayon and pencil on paper 66 1/8 x 53 1/8in. (168 x 135cm.) Executed in 1996. PROVENANCE Victoria Miro Gallery, London. EXHIBITION London, Institute of Contemporary Arts, 'Chapmanworld. Dinos and Jake Chapman', May - June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunstwerke, Institut f쳌r Zeitgen”ssische Kunst und Theorie.

Lot 41: Jake & Dinos Chapman (B. 1962 & B. 1966)

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Description: Untitled (Excess Energy Expenditure) crayon and pencil on paper 66 1/8 x 53 1/8in. (168 x 135cm.) Executed in 1996. PROVENANCE Victoria Miro Gallery, London. EXHIBITION London, Institute of Contemporary Arts, 'Chapmanworld. Dinos and Jake Chapman', May - June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunstwerke, Institut f쳌r Zeitgen”ssische Kunst und Theorie.

Lot 41: Jake & Dinos Chapman (B. 1962 & B. 1966)

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Description: Untitled (Excess Energy Expenditure) crayon and pencil on paper 66 1/8 x 53 1/8in. (168 x 135cm.) Executed in 1996. PROVENANCE Victoria Miro Gallery, London. EXHIBITION London, Institute of Contemporary Arts, 'Chapmanworld. Dinos and Jake Chapman', May - June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunstwerke, Institut f쳌r Zeitgen”ssische Kunst und Theorie.

Lot 42: Jake & Dinos Chapman (B. 1962 & B. 1966)

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Description: Untitled (Two Faced Cunt) crayon and pencil on paper 661/4 x 531/4in. (168 x 135cm.) Executed in 1996. PROVENANCE Victoria Miro Gallery, London. EXHIBITION London, Institute of Contemporary Art, 'Chapmanworld. Dinos and Jake Chapman', May - June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunstwerke, Institut f쳌r Zeitgen”ssische Kunst und Theorie.

Lot 42: Jake & Dinos Chapman (B. 1962 & B. 1966)

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Description: Untitled (Two Faced Cunt) crayon and pencil on paper 661/4 x 531/4in. (168 x 135cm.) Executed in 1996. PROVENANCE Victoria Miro Gallery, London. EXHIBITION London, Institute of Contemporary Art, 'Chapmanworld. Dinos and Jake Chapman', May - June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunstwerke, Institut f쳌r Zeitgen”ssische Kunst und Theorie.

Lot 42: Jake & Dinos Chapman (B. 1962 & B. 1966)

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Description: Untitled (Two Faced Cunt) crayon and pencil on paper 661/4 x 531/4in. (168 x 135cm.) Executed in 1996. PROVENANCE Victoria Miro Gallery, London. EXHIBITION London, Institute of Contemporary Art, 'Chapmanworld. Dinos and Jake Chapman', May - June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunstwerke, Institut f쳌r Zeitgen”ssische Kunst und Theorie.

Lot 42: Jake & Dinos Chapman (B. 1962 & B. 1966)

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Description: Untitled (Two Faced Cunt) crayon and pencil on paper 661/4 x 531/4in. (168 x 135cm.) Executed in 1996. PROVENANCE Victoria Miro Gallery, London. EXHIBITION London, Institute of Contemporary Art, 'Chapmanworld. Dinos and Jake Chapman', May - June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunstwerke, Institut f쳌r Zeitgen”ssische Kunst und Theorie.

Lot 44: Jake and Dinos Chapman (b. 1966 and b. 1962)

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Description: Jake and Dinos Chapman (b. 1966 and b. 1962) Übermensch fibreglass, resin, paint, rhinestone, wig and glasses 144 x 72 x 72in. (366 x 183 x 183cm.) Executed in 1995

Lot 45: Jake and Dinos Chapman (b. 1966 and b. 1962)

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Description: Jake and Dinos Chapman (b. 1966 and b. 1962) Fuck Face fibreglass, resin, paint, fabric, wig and trainers 40½ x 22 x 9 7/8in. (103 x 56 x 25cm.) Executed in 1994

Lot 49: Jake and Dinos Chapman (b. 1966 & b. 1962)

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Description: The Whimperoil on found canvas95 5/8 x 59 7/8in. (243 x 152cm.)Painted in 2006

Lot 49: Jake & Dinos Chapman (B. 1962 & 1966)

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Description: Piggy Back fibreglass, resin, paint, wig, shoes on a metal base 59.5/8 x 18 x 22.3/8in. (152 x 47 x 57cm.) Executed in 1997 PROVENANCE Victoria Miro Gallery, London.

Lot 49: Jake & Dinos Chapman (B. 1962 & 1966)

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Description: Piggy Back fibreglass, resin, paint, wig, shoes on a metal base 59.5/8 x 18 x 22.3/8in. (152 x 47 x 57cm.) Executed in 1997 PROVENANCE Victoria Miro Gallery, London.

Lot 49: Jake & Dinos Chapman (B. 1962 & 1966)

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Description: Piggy Back fibreglass, resin, paint, wig, shoes on a metal base 59.5/8 x 18 x 22.3/8in. (152 x 47 x 57cm.) Executed in 1997 PROVENANCE Victoria Miro Gallery, London.

Lot 49: Jake & Dinos Chapman (B. 1962 & 1966)

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Description: Piggy Back fibreglass, resin, paint, wig, shoes on a metal base 59.5/8 x 18 x 22.3/8in. (152 x 47 x 57cm.) Executed in 1997 PROVENANCE Victoria Miro Gallery, London.

Lot 52: Jake & Dinos Chapman (B. 1966 & B. 1962)

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Description: Cyber-Iconic Man mixed media 62.5 x 75 x 58.3in. (150 x 180 x 140cm.) Executed in 1996. EXHIBITION London, Institute of Contemporary Arts, 'Chapmanworld. Dinos and Jake Chapman', May-June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunst-Werke, Institut f쳌r Zeitgen”ssische Kunst und Theorie. NOTES "Perhaps the most frenetically psychotic sculpture to date by Jake and Dinos Chapman is their 'Cyber-Iconic Man', 1996, depicting the victim of a Manchurian torture called 'The Hundred Pieces', which Bataille discusses in his book 'The Tears of Eros'. While the subject of this spectacular violence is slowly torn apart by one hundred cuts in his flesh, opium is administered to the condemned man in an attempt to prolong the process of disproportion, thereby forcing him to become a spectator at his own torture. As 'Cyber-Iconic Man' hangs from the ceiling by his feet, his hyper-realistically rendered wounds are paradoxically pulled towards the ceiling in scatological inversion of high and low, where heaven and earth trade places in a heretical bastardisation of apostolic hierarchy. Blood seeps from his wounds (down to us), only to be caught in a reservoir and pumped back into this pathetic subject by a dialysis machine, and then begins its trek to heaven once again in an absurd prolongation of this torture through a technological opiate. In this spiralling abyss of divine ecstasy, religious eroticism and sacrificial horror, the Chapmans offer us a ground zero of sacred iconicity, moving outside of the confines of reasoned representation into a baroque world of profane illumination where we ourselves are subjected to a terroristic aesthetic opiate. Above the aesthetic mutilation, frenzied genetics and apocalyptic terror that infect the sculptures of the Chapmans' oeuvre, a faint if uneasy laughter can be heard drowning out the amplified din of dripping blood and dialysis machines. After the shock value has worn off and the phatic force of the more readily scatological elements has at least momentarily receded into the background, the viewer is entrapped by this laughter, in order to be subjected to a psycho-terroristic agenda which pierces the very integument of our being, effectively emptying out the liquefied contents of our egos in a hysterical expenditure without return. It is this laughter that is the object of their superheavyweight no-holds-barred all-in mud-wrestling league and constitutes the Chapmans' prescribed remedy for the tired of seeing." (D. Fogle, in: 'Chapmanworld', London 1996, unpaged.).

Lot 52: Jake & Dinos Chapman (B. 1966 & B. 1962)

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Description: Cyber-Iconic Man mixed media 62.5 x 75 x 58.3in. (150 x 180 x 140cm.) Executed in 1996. EXHIBITION London, Institute of Contemporary Arts, 'Chapmanworld. Dinos and Jake Chapman', May-June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunst-Werke, Institut f쳌r Zeitgen”ssische Kunst und Theorie. NOTES "Perhaps the most frenetically psychotic sculpture to date by Jake and Dinos Chapman is their 'Cyber-Iconic Man', 1996, depicting the victim of a Manchurian torture called 'The Hundred Pieces', which Bataille discusses in his book 'The Tears of Eros'. While the subject of this spectacular violence is slowly torn apart by one hundred cuts in his flesh, opium is administered to the condemned man in an attempt to prolong the process of disproportion, thereby forcing him to become a spectator at his own torture. As 'Cyber-Iconic Man' hangs from the ceiling by his feet, his hyper-realistically rendered wounds are paradoxically pulled towards the ceiling in scatological inversion of high and low, where heaven and earth trade places in a heretical bastardisation of apostolic hierarchy. Blood seeps from his wounds (down to us), only to be caught in a reservoir and pumped back into this pathetic subject by a dialysis machine, and then begins its trek to heaven once again in an absurd prolongation of this torture through a technological opiate. In this spiralling abyss of divine ecstasy, religious eroticism and sacrificial horror, the Chapmans offer us a ground zero of sacred iconicity, moving outside of the confines of reasoned representation into a baroque world of profane illumination where we ourselves are subjected to a terroristic aesthetic opiate. Above the aesthetic mutilation, frenzied genetics and apocalyptic terror that infect the sculptures of the Chapmans' oeuvre, a faint if uneasy laughter can be heard drowning out the amplified din of dripping blood and dialysis machines. After the shock value has worn off and the phatic force of the more readily scatological elements has at least momentarily receded into the background, the viewer is entrapped by this laughter, in order to be subjected to a psycho-terroristic agenda which pierces the very integument of our being, effectively emptying out the liquefied contents of our egos in a hysterical expenditure without return. It is this laughter that is the object of their superheavyweight no-holds-barred all-in mud-wrestling league and constitutes the Chapmans' prescribed remedy for the tired of seeing." (D. Fogle, in: 'Chapmanworld', London 1996, unpaged.).

Lot 52: Jake & Dinos Chapman (B. 1966 & B. 1962)

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Description: Cyber-Iconic Man mixed media 62.5 x 75 x 58.3in. (150 x 180 x 140cm.) Executed in 1996. EXHIBITION London, Institute of Contemporary Arts, 'Chapmanworld. Dinos and Jake Chapman', May-June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunst-Werke, Institut f쳌r Zeitgen”ssische Kunst und Theorie. NOTES "Perhaps the most frenetically psychotic sculpture to date by Jake and Dinos Chapman is their 'Cyber-Iconic Man', 1996, depicting the victim of a Manchurian torture called 'The Hundred Pieces', which Bataille discusses in his book 'The Tears of Eros'. While the subject of this spectacular violence is slowly torn apart by one hundred cuts in his flesh, opium is administered to the condemned man in an attempt to prolong the process of disproportion, thereby forcing him to become a spectator at his own torture. As 'Cyber-Iconic Man' hangs from the ceiling by his feet, his hyper-realistically rendered wounds are paradoxically pulled towards the ceiling in scatological inversion of high and low, where heaven and earth trade places in a heretical bastardisation of apostolic hierarchy. Blood seeps from his wounds (down to us), only to be caught in a reservoir and pumped back into this pathetic subject by a dialysis machine, and then begins its trek to heaven once again in an absurd prolongation of this torture through a technological opiate. In this spiralling abyss of divine ecstasy, religious eroticism and sacrificial horror, the Chapmans offer us a ground zero of sacred iconicity, moving outside of the confines of reasoned representation into a baroque world of profane illumination where we ourselves are subjected to a terroristic aesthetic opiate. Above the aesthetic mutilation, frenzied genetics and apocalyptic terror that infect the sculptures of the Chapmans' oeuvre, a faint if uneasy laughter can be heard drowning out the amplified din of dripping blood and dialysis machines. After the shock value has worn off and the phatic force of the more readily scatological elements has at least momentarily receded into the background, the viewer is entrapped by this laughter, in order to be subjected to a psycho-terroristic agenda which pierces the very integument of our being, effectively emptying out the liquefied contents of our egos in a hysterical expenditure without return. It is this laughter that is the object of their superheavyweight no-holds-barred all-in mud-wrestling league and constitutes the Chapmans' prescribed remedy for the tired of seeing." (D. Fogle, in: 'Chapmanworld', London 1996, unpaged.).

Lot 52: Jake & Dinos Chapman (B. 1966 & B. 1962)

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Description: Cyber-Iconic Man mixed media 62.5 x 75 x 58.3in. (150 x 180 x 140cm.) Executed in 1996. EXHIBITION London, Institute of Contemporary Arts, 'Chapmanworld. Dinos and Jake Chapman', May-June 1996. This exhibition travelled to Graz, Grazer Kunstverein, and Berlin, Kunst-Werke, Institut f쳌r Zeitgen”ssische Kunst und Theorie. NOTES "Perhaps the most frenetically psychotic sculpture to date by Jake and Dinos Chapman is their 'Cyber-Iconic Man', 1996, depicting the victim of a Manchurian torture called 'The Hundred Pieces', which Bataille discusses in his book 'The Tears of Eros'. While the subject of this spectacular violence is slowly torn apart by one hundred cuts in his flesh, opium is administered to the condemned man in an attempt to prolong the process of disproportion, thereby forcing him to become a spectator at his own torture. As 'Cyber-Iconic Man' hangs from the ceiling by his feet, his hyper-realistically rendered wounds are paradoxically pulled towards the ceiling in scatological inversion of high and low, where heaven and earth trade places in a heretical bastardisation of apostolic hierarchy. Blood seeps from his wounds (down to us), only to be caught in a reservoir and pumped back into this pathetic subject by a dialysis machine, and then begins its trek to heaven once again in an absurd prolongation of this torture through a technological opiate. In this spiralling abyss of divine ecstasy, religious eroticism and sacrificial horror, the Chapmans offer us a ground zero of sacred iconicity, moving outside of the confines of reasoned representation into a baroque world of profane illumination where we ourselves are subjected to a terroristic aesthetic opiate. Above the aesthetic mutilation, frenzied genetics and apocalyptic terror that infect the sculptures of the Chapmans' oeuvre, a faint if uneasy laughter can be heard drowning out the amplified din of dripping blood and dialysis machines. After the shock value has worn off and the phatic force of the more readily scatological elements has at least momentarily receded into the background, the viewer is entrapped by this laughter, in order to be subjected to a psycho-terroristic agenda which pierces the very integument of our being, effectively emptying out the liquefied contents of our egos in a hysterical expenditure without return. It is this laughter that is the object of their superheavyweight no-holds-barred all-in mud-wrestling league and constitutes the Chapmans' prescribed remedy for the tired of seeing." (D. Fogle, in: 'Chapmanworld', London 1996, unpaged.).

Lot 61: Jake and Dinos Chapman (British, b.1962 & b.1966)

Description: The birth of ideassigned, numbered 69/200 and dated 2003 in pencil verso; etching 29.5 x 41.5cm (11 1/2 x 16 1/4in)(plate)

Lot 68: Jake & Dinos Chapman (b.1966 & 1962) nails, i

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Description: Jake & Dinos Chapman (b.1966 & 1962) nails, i guess, 1995 unique photographic print, a still from the video work Bring Me The Head Of ... (1995), published by Riding House Editions, 14 x 18¾ in., 35.6 x 47.6 cm.

Lot 75: Chapman Brothers Jake (British, b. 1966) Dinos

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Description: Chapman Brothers Jake (British, b. 1966) Dinos (British, b. 1962) Skateboard featuring the Double Deathshead, c.2000 Numbered 3/25 on side Unframed 1cm x 82cm (1/4 x 32 1/4in) Provenance: Revolver Surf

Condition Report: no visible damage

Lot 76: Dinos Chapman (b. 1962)

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Description: Untitledsigned and dated 1990 (verso)acrylic on canvas213.5 x 151.9 cm. (84 x 59 3/4 in.)

Lot 85: Jake and Dinos Chapman (British, b. 1962 and b. 1966)

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Description: Jake and Dinos Chapman (British, b. 1962 and b. 1966) Rat Head I (Exquisite Corpse Series) signed 'Jake and Dinos Chapman' (on the reverse) etching and watercolor on paper P. 8¾ x 7 in. (22.2 x 17.8 cm.) Executed in 2000. This work is from an edition of twenty.

Lot 86: Jake and Dinos Chapman (British, b. 1962 and b. 1966)

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Description: Jake and Dinos Chapman (British, b. 1962 and b. 1966) Jet Propelled Hands I (Exquisite Corpse Series) signed 'Jake and Dinos Chapman' (on the reverse) etching and watercolor on paper P. 8¾ x 7 in. (22.2 x 17.8 cm.) Executed in 2000. This work is from an edition of twenty.

Lot 99: JAKE & DINOS CHAPMAN (B. 1966) & (B. 1962)

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Description: Iconic Hallucination Box mixed media 583/4 x 70 x 543/4in. (150 x 180 x 140cm.) Executed in 1995 PROVENANCE Private Collection, New York. NOTES Jake and Dinos Chapman have been a collaborative team since the early 1990s. Over the last few years the central theme of their work has been the exploitation of the shop-window dummy. In a series of works they have employed the sanitary and kitsch qualites of these dummies to subvert and challenge contemporary notions of gender, taste and sexuality. 'Iconic Hallucination Box', like the dummies from their celebrated installation 'Tragic Anatomies', is a typical example. Installed in a Peep-show format, the viewer's gaze is greeted by the image of a shop-window dummy standing in a seductive pose whose body displays a number of vaginas and penises protruding from and invading the figure. Once the initial shock of this extraordinary image wears off one is forced through the physicality involved in viewing the work to re-examine a wide range of issues concerning voyeurism, art, gender and the male gaze.

Lot 99: JAKE & DINOS CHAPMAN (B. 1966) & (B. 1962)

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Description: Iconic Hallucination Box mixed media 583/4 x 70 x 543/4in. (150 x 180 x 140cm.) Executed in 1995 PROVENANCE Private Collection, New York. NOTES Jake and Dinos Chapman have been a collaborative team since the early 1990s. Over the last few years the central theme of their work has been the exploitation of the shop-window dummy. In a series of works they have employed the sanitary and kitsch qualites of these dummies to subvert and challenge contemporary notions of gender, taste and sexuality. 'Iconic Hallucination Box', like the dummies from their celebrated installation 'Tragic Anatomies', is a typical example. Installed in a Peep-show format, the viewer's gaze is greeted by the image of a shop-window dummy standing in a seductive pose whose body displays a number of vaginas and penises protruding from and invading the figure. Once the initial shock of this extraordinary image wears off one is forced through the physicality involved in viewing the work to re-examine a wide range of issues concerning voyeurism, art, gender and the male gaze.

Lot 99: JAKE & DINOS CHAPMAN (B. 1966) & (B. 1962)

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Description: Iconic Hallucination Box mixed media 583/4 x 70 x 543/4in. (150 x 180 x 140cm.) Executed in 1995 PROVENANCE Private Collection, New York. NOTES Jake and Dinos Chapman have been a collaborative team since the early 1990s. Over the last few years the central theme of their work has been the exploitation of the shop-window dummy. In a series of works they have employed the sanitary and kitsch qualites of these dummies to subvert and challenge contemporary notions of gender, taste and sexuality. 'Iconic Hallucination Box', like the dummies from their celebrated installation 'Tragic Anatomies', is a typical example. Installed in a Peep-show format, the viewer's gaze is greeted by the image of a shop-window dummy standing in a seductive pose whose body displays a number of vaginas and penises protruding from and invading the figure. Once the initial shock of this extraordinary image wears off one is forced through the physicality involved in viewing the work to re-examine a wide range of issues concerning voyeurism, art, gender and the male gaze.

Lot 99: JAKE & DINOS CHAPMAN (B. 1966) & (B. 1962)

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Description: Iconic Hallucination Box mixed media 583/4 x 70 x 543/4in. (150 x 180 x 140cm.) Executed in 1995 PROVENANCE Private Collection, New York. NOTES Jake and Dinos Chapman have been a collaborative team since the early 1990s. Over the last few years the central theme of their work has been the exploitation of the shop-window dummy. In a series of works they have employed the sanitary and kitsch qualites of these dummies to subvert and challenge contemporary notions of gender, taste and sexuality. 'Iconic Hallucination Box', like the dummies from their celebrated installation 'Tragic Anatomies', is a typical example. Installed in a Peep-show format, the viewer's gaze is greeted by the image of a shop-window dummy standing in a seductive pose whose body displays a number of vaginas and penises protruding from and invading the figure. Once the initial shock of this extraordinary image wears off one is forced through the physicality involved in viewing the work to re-examine a wide range of issues concerning voyeurism, art, gender and the male gaze.

Lot 105: Jake and Dinos Chapman (b.1962 & b.1966)

Description: Tinkerbellend accompanied by a certificate signed and numbered 43/60mixed media with oak base and glass dome20cm. (8 in.) highExecuted in 2002

Lot 106: JAKE & DINOS CHAPMAN

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Description: B. 1966 & 1962EXCESS ENERGY EXPENDITURE PAGE152.5 by 122cm.; 60 by 48in.pen, pencil and mixed media collage on paperExecuted in 1996.PROVENANCEJames Cohan Gallery, New YorkAcquired directly from the above by the present owner

Lot 109: JAKE AND DINOS CHAPMAN

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Description: Exquisite Corpse portfolio all signed and numbered 19/30 in pencil on the reverse and numbered 19/30 in pencil on the colophon page (there were also 6 artist’s proofs), published by Paragon Press, London, all in very good condition, all contained in original box.

Lot 110: JAKE AND DINOS CHAPMAN

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Description: My Giant Coloring Book portfolio all signed and numbered 14/35 in pencil on the reverse (there were also 10 artist’s proofs), published by Paragon Press, London, all in very good condition, all contained in original bukram-covered wooden box.

Lot 112: Dinos Chapman Corbata (Culturalties),1999 Corbata

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Description: Dinos ChapmanCorbata (Culturalties),1999Corbata de seda en caja de acrílico. Ed. 267/30044.5 x 15 x 4.5 cm

Lot 116: Jake and Dinos Chapman (b.1962 & b.1966)

Description: Being Me the Head of... signed and dated (verso)unique colour still photograph35.5 x 47.5 cm. (14 x 18 3/4 in.)Executed in 1995

Lot 118: Jake and Dinos Chapman (b.1962 & b.1966)

Description: Bring Me the Head of... signed and dated (verso)unique colour photograph35.5 x 47.5 cm. (14 x 18 3/4 in.)Executed in 1995

Lot 118: Jake & Dinos Chapman (B. 1966; B. 1962)

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Description: Jake & Dinos Chapman (B. 1966; B. 1962) Double Deathshead from SCREEN screenprint in colours, 1997, on Somerset satin paper, signed and dedicated in red felt-tip on the reverse of the frame, an artist's proof aside from the edition of 75 (there were also 15 proofs numbered in roman numerals), apparently in excellent overall condition, framedL. 713 x 864 mm., S. 734 x 883 mm.

Lot 118: Jake and Dinos Chapman (b. 1966 & b. 1962)

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Description: Jake and Dinos Chapman (b. 1966 & b. 1962) Dinos und Adolf VI (from the series If Hitler Had Been a Hippy, How Happy Would We Be)titled 'Dinos und Adolf' (on the reverse) ink and watercolour on found off-set lithograph 9¼ x 5¾in. (23.5 x 14.5cm.) Executed in 2007

Lot 121: Jake and Dinos Chapman (b.1962 and 1966)

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Description: Bring Me the Head of... signed and numbered on the label Jake and Dinos Chapman, 15/200 VHS video Executed in 1996 in an edition of 200, this is number 15.

Lot 121: Jake and Dinos Chapman (b.1962 and 1966)

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Description: Bring Me the Head of... signed and numbered on the label Jake and Dinos Chapman, 15/200 VHS video Executed in 1996 in an edition of 200, this is number 15.

Lot 121: Jake and Dinos Chapman (b.1962 and 1966)

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Description: Bring Me the Head of... signed and numbered on the label Jake and Dinos Chapman, 15/200 VHS video Executed in 1996 in an edition of 200, this is number 15.

Lot 121: Jake and Dinos Chapman (b.1962 and 1966)

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Description: Bring Me the Head of... signed and numbered on the label Jake and Dinos Chapman, 15/200 VHS video Executed in 1996 in an edition of 200, this is number 15.

Lot 122: JAKE AND DINOS CHAPMAN (b. 1966 and 1962) ...

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Description: JAKE AND DINOS CHAPMAN(b. 1966 and 1962)CFC72540310.2titled "CFC72540310.2" on the reverse of the maskoil on bronze with metal support and wooden base67 x 117/8 x 117/8 in. (170.2 x 30.2 x 30.2 cm) overallexecuted in 2002this work is from an edition of three

Lot 122: Jake and Dinos Chapman (b.1962 and b.1966)

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Description: All our Ideas for the next twenty Years offset-lithograph, 1997, on gloss paper, signed in pencil, dated and inscribed 'AP', printed close to the edges of the full sheet as published, generally in very good condition L., S. 1220 x 1000mm.

Lot 122: Jake and Dinos Chapman (b.1962 and b.1966)

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Description: All our Ideas for the next twenty Years offset-lithograph, 1997, on gloss paper, signed in pencil, dated and inscribed 'AP', printed close to the edges of the full sheet as published, generally in very good condition L., S. 1220 x 1000mm.

Lot 122: Jake and Dinos Chapman (b.1962 and b.1966)

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Description: All our Ideas for the next twenty Years offset-lithograph, 1997, on gloss paper, signed in pencil, dated and inscribed 'AP', printed close to the edges of the full sheet as published, generally in very good condition L., S. 1220 x 1000mm.

Lot 122: Jake and Dinos Chapman (b.1962 and b.1966)

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Description: All our Ideas for the next twenty Years offset-lithograph, 1997, on gloss paper, signed in pencil, dated and inscribed 'AP', printed close to the edges of the full sheet as published, generally in very good condition L., S. 1220 x 1000mm.

Lot 126: Jake and Dinos Chapman (b. 1966 & b. 1962)

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Description: Jake and Dinos Chapman (b. 1966 & b. 1962) The Dogs Have Grown Up With The Turkeys signed, inscribed and dated '2007 years after the death of our Lord Jesus Christ Amen' (on the reverse)oil and glass eyes on fiberglass on two panels in artist's metal frame 96 x 96½ x 4in. (240 x 245 x 10cm.) Executed in 2007

Lot 127: Jake and Dinos Chapman (b. 1966 & b. 1962)

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Description: Jake and Dinos Chapman (b. 1966 & b. 1962) Dagger Legs I etching and watercolor on paper 18½ x 15 in. (46.9 x 38.1 cm.) Executed in 2000. This work is from an edition of twenty.

Lot 128: Jake and Dinos Chapman (b. 1966 & b. 1962)

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Description: Jake and Dinos Chapman (b. 1966 & b. 1962) Alice in Horrorland I etching and watercolor on paper 18½ x 15 in. (46.9 x 38.1 cm.) Executed in 2000. This work is from an edition of twenty.

Lot 130: Jake & Dinos Chapman (B. 1962 & 1966)

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Description: Ubermensch fiberglass, resin, paint 144 x 72 x 72in. (366 x 183 x 183cm.) Executed in 1995 Other work by this artist is included in 'Sensation: Young British Artists from the Saatchi Collection', currently on view at the Nationalgalerie, Hamburger Bahnhof, Berlin. LITERATURE J. Kastner, 'Brilliant?', Art Monthly, Dec.1995-Jan.1996, p.10-15 (illustrated p.14). 'Chapmanworld Dinos and Jake Chapman', London 1996 (illustrated in colour). P. Johnson, 'British exhibit knows attitude, some brilliance', Houston Chronicle, Feb.1996, p.6 (illustrated). S. Dewan, 'England's Edge', Houston Press, 21 Mar.1996, p.35 (illustrated). London, Institute of Contemporary Art, 'Chapmanworld', May-July 1996 (illustrated in colour in the catalogue). This exhibition travelled to Graz, Kunstverein and Berlin, Kunst-werke, Nov.-March 1996 (illustrated in colour in the catalogue). "Unholy Libel", London, 1997 (illusrated in colour p.141) London, The Royal Academy of Arts, 'Sensation Young British Artist's From The Saatchi Collection', Sept.-Dec. 1998 (illustrated in colour in the catalogue, p. 66). EXHIBITION Minneapolis, Walker Art Center, '"Brilliant!" New Art from London', 1995. This exhibition travelled to Houston, Contemporary Arts Museum, Feb.-April 1996 NOTES For 'Ubermensch', Jake and Dinos Chapman have drawn formal and theoretical qualities from their trademark repositories of bodily obscenities. The work is a towering fibreglass rendition of physicist Stephen Hawking perched in his wheelchair at the edge of a rocky cliff. "We are interested in perfect and imperfect bodies", say the artists. "With 'Ubermensch' we were interested in Stephen's perfect mind animated within an imperfect body, which gives rise to a kind of fanatical or extreme idealism which is fuelled by his bodily entropy. The degeneration of his body infects his theoretical position, becoming more spectulative and flowery. We elevated him to become a sort of Monarch of the Glen, or Monarch of Astrophysics." ('Unholy Libel', London 1997, pp. 152-153.) Hawking is portrayed as a purveyor of the void, his elevated position poignantly echoes that of a Nietzschean 'superman'.

Lot 130: Jake & Dinos Chapman (B. 1962 & 1966)

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Description: Ubermensch fiberglass, resin, paint 144 x 72 x 72in. (366 x 183 x 183cm.) Executed in 1995 Other work by this artist is included in 'Sensation: Young British Artists from the Saatchi Collection', currently on view at the Nationalgalerie, Hamburger Bahnhof, Berlin. LITERATURE J. Kastner, 'Brilliant?', Art Monthly, Dec.1995-Jan.1996, p.10-15 (illustrated p.14). 'Chapmanworld Dinos and Jake Chapman', London 1996 (illustrated in colour). P. Johnson, 'British exhibit knows attitude, some brilliance', Houston Chronicle, Feb.1996, p.6 (illustrated). S. Dewan, 'England's Edge', Houston Press, 21 Mar.1996, p.35 (illustrated). London, Institute of Contemporary Art, 'Chapmanworld', May-July 1996 (illustrated in colour in the catalogue). This exhibition travelled to Graz, Kunstverein and Berlin, Kunst-werke, Nov.-March 1996 (illustrated in colour in the catalogue). "Unholy Libel", London, 1997 (illusrated in colour p.141) London, The Royal Academy of Arts, 'Sensation Young British Artist's From The Saatchi Collection', Sept.-Dec. 1998 (illustrated in colour in the catalogue, p. 66). EXHIBITION Minneapolis, Walker Art Center, '"Brilliant!" New Art from London', 1995. This exhibition travelled to Houston, Contemporary Arts Museum, Feb.-April 1996 NOTES For 'Ubermensch', Jake and Dinos Chapman have drawn formal and theoretical qualities from their trademark repositories of bodily obscenities. The work is a towering fibreglass rendition of physicist Stephen Hawking perched in his wheelchair at the edge of a rocky cliff. "We are interested in perfect and imperfect bodies", say the artists. "With 'Ubermensch' we were interested in Stephen's perfect mind animated within an imperfect body, which gives rise to a kind of fanatical or extreme idealism which is fuelled by his bodily entropy. The degeneration of his body infects his theoretical position, becoming more spectulative and flowery. We elevated him to become a sort of Monarch of the Glen, or Monarch of Astrophysics." ('Unholy Libel', London 1997, pp. 152-153.) Hawking is portrayed as a purveyor of the void, his elevated position poignantly echoes that of a Nietzschean 'superman'.

Lot 130: Jake & Dinos Chapman (B. 1962 & 1966)

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Description: Ubermensch fiberglass, resin, paint 144 x 72 x 72in. (366 x 183 x 183cm.) Executed in 1995 Other work by this artist is included in 'Sensation: Young British Artists from the Saatchi Collection', currently on view at the Nationalgalerie, Hamburger Bahnhof, Berlin. LITERATURE J. Kastner, 'Brilliant?', Art Monthly, Dec.1995-Jan.1996, p.10-15 (illustrated p.14). 'Chapmanworld Dinos and Jake Chapman', London 1996 (illustrated in colour). P. Johnson, 'British exhibit knows attitude, some brilliance', Houston Chronicle, Feb.1996, p.6 (illustrated). S. Dewan, 'England's Edge', Houston Press, 21 Mar.1996, p.35 (illustrated). London, Institute of Contemporary Art, 'Chapmanworld', May-July 1996 (illustrated in colour in the catalogue). This exhibition travelled to Graz, Kunstverein and Berlin, Kunst-werke, Nov.-March 1996 (illustrated in colour in the catalogue). "Unholy Libel", London, 1997 (illusrated in colour p.141) London, The Royal Academy of Arts, 'Sensation Young British Artist's From The Saatchi Collection', Sept.-Dec. 1998 (illustrated in colour in the catalogue, p. 66). EXHIBITION Minneapolis, Walker Art Center, '"Brilliant!" New Art from London', 1995. This exhibition travelled to Houston, Contemporary Arts Museum, Feb.-April 1996 NOTES For 'Ubermensch', Jake and Dinos Chapman have drawn formal and theoretical qualities from their trademark repositories of bodily obscenities. The work is a towering fibreglass rendition of physicist Stephen Hawking perched in his wheelchair at the edge of a rocky cliff. "We are interested in perfect and imperfect bodies", say the artists. "With 'Ubermensch' we were interested in Stephen's perfect mind animated within an imperfect body, which gives rise to a kind of fanatical or extreme idealism which is fuelled by his bodily entropy. The degeneration of his body infects his theoretical position, becoming more spectulative and flowery. We elevated him to become a sort of Monarch of the Glen, or Monarch of Astrophysics." ('Unholy Libel', London 1997, pp. 152-153.) Hawking is portrayed as a purveyor of the void, his elevated position poignantly echoes that of a Nietzschean 'superman'.

Lot 130: Jake & Dinos Chapman (B. 1962 & 1966)

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Description: Ubermensch fiberglass, resin, paint 144 x 72 x 72in. (366 x 183 x 183cm.) Executed in 1995 Other work by this artist is included in 'Sensation: Young British Artists from the Saatchi Collection', currently on view at the Nationalgalerie, Hamburger Bahnhof, Berlin. LITERATURE J. Kastner, 'Brilliant?', Art Monthly, Dec.1995-Jan.1996, p.10-15 (illustrated p.14). 'Chapmanworld Dinos and Jake Chapman', London 1996 (illustrated in colour). P. Johnson, 'British exhibit knows attitude, some brilliance', Houston Chronicle, Feb.1996, p.6 (illustrated). S. Dewan, 'England's Edge', Houston Press, 21 Mar.1996, p.35 (illustrated). London, Institute of Contemporary Art, 'Chapmanworld', May-July 1996 (illustrated in colour in the catalogue). This exhibition travelled to Graz, Kunstverein and Berlin, Kunst-werke, Nov.-March 1996 (illustrated in colour in the catalogue). "Unholy Libel", London, 1997 (illusrated in colour p.141) London, The Royal Academy of Arts, 'Sensation Young British Artist's From The Saatchi Collection', Sept.-Dec. 1998 (illustrated in colour in the catalogue, p. 66). EXHIBITION Minneapolis, Walker Art Center, '"Brilliant!" New Art from London', 1995. This exhibition travelled to Houston, Contemporary Arts Museum, Feb.-April 1996 NOTES For 'Ubermensch', Jake and Dinos Chapman have drawn formal and theoretical qualities from their trademark repositories of bodily obscenities. The work is a towering fibreglass rendition of physicist Stephen Hawking perched in his wheelchair at the edge of a rocky cliff. "We are interested in perfect and imperfect bodies", say the artists. "With 'Ubermensch' we were interested in Stephen's perfect mind animated within an imperfect body, which gives rise to a kind of fanatical or extreme idealism which is fuelled by his bodily entropy. The degeneration of his body infects his theoretical position, becoming more spectulative and flowery. We elevated him to become a sort of Monarch of the Glen, or Monarch of Astrophysics." ('Unholy Libel', London 1997, pp. 152-153.) Hawking is portrayed as a purveyor of the void, his elevated position poignantly echoes that of a Nietzschean 'superman'.

Lot 130: Jake & Dinos Chapman (B. 1966 & B. 1962)

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Description: Cockroach Kid fibreglass, resin, paint, wig, shoes on a metal base 403/4 x 22 x 215/8in. (103.5 x 56 x 55cm.) PROVENANCE Victoria Miro Gallery, London.

Lot 130: Jake & Dinos Chapman (B. 1966 & B. 1962)

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Description: Cockroach Kid fibreglass, resin, paint, wig, shoes on a metal base 403/4 x 22 x 215/8in. (103.5 x 56 x 55cm.) PROVENANCE Victoria Miro Gallery, London.

Lot 130: Jake & Dinos Chapman (B. 1966 & B. 1962)

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Description: Cockroach Kid fibreglass, resin, paint, wig, shoes on a metal base 403/4 x 22 x 215/8in. (103.5 x 56 x 55cm.) PROVENANCE Victoria Miro Gallery, London.

Lot 130: Jake & Dinos Chapman (B. 1966 & B. 1962)

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Description: Cockroach Kid fibreglass, resin, paint, wig, shoes on a metal base 403/4 x 22 x 215/8in. (103.5 x 56 x 55cm.) PROVENANCE Victoria Miro Gallery, London.

Lot 131: JAKE & DINOS CHAPMAN (B. 1966 & B. 1962)

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Description: Fuck Face (One from "Five Easy Pissers) fibreglass, resin, paint, wig, shoes and t-shirt 39.3/8 x 11.7/8 x 7.7/8in. (100 x 30 x 20cm.) Executed in 1995 PROVENANCE Victoria Miro Gallery, London. NOTES "We suffer the same moral and ethical obligations as everybody else - we would have to be oblivious to the implications. We are interested in shock - in convulsion. We are obsessed with the failed attempt at producing objects with a vertiginous obscenity attached to them; in being purely gratuitous and rejecting critical worth. But, even more, we are interested in how even the most abject object is recuperated to 'use value'. We are interested in the redemptive value of transgression, and how morality is squeezed from sin. We fantasize about producing things with zero culture value, to produce aesthetic inertia - a series of works of art to be consumed and then forgotten". ("Revelations. A Conversation Between Robert Rosenblum and Dinos & Jake Chapman", in: Unholy Libel. Six Feet Under, New York 1997, p. 147.) SALESROOM NOTICE Please note that VAT is payable at 17.5 on the hammer price and the buyers premium on this lot.

Lot 131: JAKE & DINOS CHAPMAN (B. 1966 & B. 1962)

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Description: Fuck Face (One from "Five Easy Pissers) fibreglass, resin, paint, wig, shoes and t-shirt 39.3/8 x 11.7/8 x 7.7/8in. (100 x 30 x 20cm.) Executed in 1995 PROVENANCE Victoria Miro Gallery, London. NOTES "We suffer the same moral and ethical obligations as everybody else - we would have to be oblivious to the implications. We are interested in shock - in convulsion. We are obsessed with the failed attempt at producing objects with a vertiginous obscenity attached to them; in being purely gratuitous and rejecting critical worth. But, even more, we are interested in how even the most abject object is recuperated to 'use value'. We are interested in the redemptive value of transgression, and how morality is squeezed from sin. We fantasize about producing things with zero culture value, to produce aesthetic inertia - a series of works of art to be consumed and then forgotten". ("Revelations. A Conversation Between Robert Rosenblum and Dinos & Jake Chapman", in: Unholy Libel. Six Feet Under, New York 1997, p. 147.) SALESROOM NOTICE Please note that VAT is payable at 17.5 on the hammer price and the buyers premium on this lot.

Lot 131: JAKE & DINOS CHAPMAN (B. 1966 & B. 1962)

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Description: Fuck Face (One from "Five Easy Pissers) fibreglass, resin, paint, wig, shoes and t-shirt 39.3/8 x 11.7/8 x 7.7/8in. (100 x 30 x 20cm.) Executed in 1995 PROVENANCE Victoria Miro Gallery, London. NOTES "We suffer the same moral and ethical obligations as everybody else - we would have to be oblivious to the implications. We are interested in shock - in convulsion. We are obsessed with the failed attempt at producing objects with a vertiginous obscenity attached to them; in being purely gratuitous and rejecting critical worth. But, even more, we are interested in how even the most abject object is recuperated to 'use value'. We are interested in the redemptive value of transgression, and how morality is squeezed from sin. We fantasize about producing things with zero culture value, to produce aesthetic inertia - a series of works of art to be consumed and then forgotten". ("Revelations. A Conversation Between Robert Rosenblum and Dinos & Jake Chapman", in: Unholy Libel. Six Feet Under, New York 1997, p. 147.) SALESROOM NOTICE Please note that VAT is payable at 17.5 on the hammer price and the buyers premium on this lot.

Lot 131: JAKE & DINOS CHAPMAN (B. 1966 & B. 1962)

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Description: Fuck Face (One from "Five Easy Pissers) fibreglass, resin, paint, wig, shoes and t-shirt 39.3/8 x 11.7/8 x 7.7/8in. (100 x 30 x 20cm.) Executed in 1995 PROVENANCE Victoria Miro Gallery, London. NOTES "We suffer the same moral and ethical obligations as everybody else - we would have to be oblivious to the implications. We are interested in shock - in convulsion. We are obsessed with the failed attempt at producing objects with a vertiginous obscenity attached to them; in being purely gratuitous and rejecting critical worth. But, even more, we are interested in how even the most abject object is recuperated to 'use value'. We are interested in the redemptive value of transgression, and how morality is squeezed from sin. We fantasize about producing things with zero culture value, to produce aesthetic inertia - a series of works of art to be consumed and then forgotten". ("Revelations. A Conversation Between Robert Rosenblum and Dinos & Jake Chapman", in: Unholy Libel. Six Feet Under, New York 1997, p. 147.) SALESROOM NOTICE Please note that VAT is payable at 17.5 on the hammer price and the buyers premium on this lot.