Untitled

Price realised GBP 818,500

Estimate

GBP 500,000 – GBP 700,000

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ANISH KAPOOR (B. 1954)

Untitled

Price realised GBP 818,500

Closed: 13 Oct 2014

Price realised GBP 818,500

Closed: 13 Oct 2014

Details Lot essay More from

ANISH KAPOOR (B. 1954)
Untitled
aluminium and paint
diameter: 89½in. (226cm.)
Executed in 2004

Lisson Gallery, London.
Acquired from the above by the present owner in June 2004.

Esslsbrücke, FotografInnen im Dialog mit Werken der Sammlung Essl, exh. cat., Klosterneuburg, Essl Museum - Kunst der Gegenwart, 2005 (illustrated in colour unpaged).

Klosterneuburg, Essl Museum - Kunst der Gegenwart, Anselm Kiefer und Zeitgenossen - Neuankäufe der Sammlung Essl, 2004-2005.
Klosterneuburg, Essl Museum - Kunst der Gegenwart, Passion for Art: 35th Anniversary of the Essl Collection, vol. II, 2007, pp. 116 and 548 (illustrated in colour, p. 117).
Klosterneuburg, Essl Museum - Kunst der Gegenwart, Schönes Klosterneuburg: Albert Oehlen Hängt Bilder der Sammlung Essl, 2010-2011, p. 108 (installation view illustrated in colour, pp. 22, 23, 25 and 98; illustrated in colour, p. 89).

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

Please note that all lots should be marked with a dagger symbol. This means that unless exported out of the EU within 90 days of collection or unless you are VAT registered in, and will ship to, another EU State, VAT of 20% will be payable on the hammer price and buyer’s premium. Please see the conditions of sale in the back of the catalogue for further guidance or contact Neil Millen (nmillen@christies.com / 0771 769 3835) for information on VAT refunds.

Brought to you by

Katharine Arnold

karnold@christies.com +44 (0)20 7389 2024

Lot Essay

'The mirror’s magic reduces both the depth and weight of the world into a skin that floats on the surface of the steel, emphasising the nothingness of the object itself. It is no longer the cavernous ‘inside’ of the piece that signifies the void; the creation of emptiness is now, like the mirror itself, everywhere and nowhere... if the mirror sucks in it also spits out – it reflects and refluxes’ (H.K. Bhabha, quoted in ‘Anish Kapoor: Making Emptiness’, , exh. cat., Hayward Gallery, London, 1998, p. 25).

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