Beschreibung:

Details
JEFF KOONS (B. 1955)
Jim Beam - J.B. Turner Train
stainless steel and bourbon
11 x 114 x 6 1/2 in. (27.9 x 289.6 x 16.5 cm.)
Executed in 1986. This work is number three from an edition of three plus one artist's proof and is accompanied by a certificate of authenticity signed by the artist.
Provenance
Sonnabend Gallery, New York
Acquired from the above by the present owner, 1992
Literature
J. Saltz, R. Smith and P. Halley, Beyond Boundaries: New York's New Art, New York, 1986, p. 6 (another example illustrated).
J. Siegel, 'Jeff Koons: Unachievable States of Being,' Art, October 1986, p. 67 (another example illustrated).
E. Heartney, "The Hot New Cool Art: Simulationism," ARTnews 86, no. 1, January 1987, p. 135
D. Cameron, L’Art i el seu doble: Panoram de l’art a Nova York / Art and Its Double: a New York Perspective, Barcelona, 1987, p. 71 (another example illustrated).
S. Morgan, "Write when you get home..." Artscribe International (UK), September 1987, p. 59 (another example from the edition illustrated).
Carnegie International - 1988, exh. cat., Pittsburgh, Carnegie Museum of Art, 1988, p. 90.
J. Koons and R. Rosenblum, The Jeff Koons Handbook, London, 1992, pp. 66-67 and 157 (another example illustrated).
T. W. Luke, Shows of Force: Power, Politics, and Ideology in Art Exhibitions, Durham, 1992, p. 218.
A. Muthesius, ed., Jeff Koons Cologne, 1992, pp. 21, 68-69 and 70, pl. 1 (installation view of another example illustrated).
Jeff Koons: Easyfun-Ethereal, exh. cat., Berlin, Deutsche Guggenheim Berlin, 2000, pp. 34, fig. 15 (another example illustrated).
Jeff Koons: Pictures 1980-2002, exh. cat., Kunsthalle Bielefeld, 2002, p. 21, pl. IV (installation view of another example illustrated).
“Notable Prices, the Year in Review 2004,” The Art Newspaper, 2004, pp. 36-37 (another example illustrated).
G. McNatt, “Pop with No Apologies,” The Baltimore Sun, 9 April 2005.
S. Cosulich Canarutto, Jeff Koons Milan, 2006, pp. 44-45 (illustrated).
A. Lindemann, Collecting Contemporary, Los Angeles, 2006, pp. 150-151 (another example from the edition illustrated).
H. Holzwarth, ed., Jeff Koons New York, 2008, pp. 87, 188-189, 193, 195-198 and 206 (another example illustrated).
L. Molzhahn, “Jeff Koons Exhibition Opens at Museum of Contemporary Art,” Chicago Tribune, 30 May 2008.
P. Schjeldahl, “Funhouse: A Jeff Koons Retrospective,” The New Yorker, 9 and 16 June 2008.
M. Nakamura, “USA: Jeff Koons ” Art Actuel, no. 57, July/August 2008, p. 75 (another example illustrated).
40 Years Kaldor Public Art Projects, exh. cat., Sydney, Kaldor Art Projects, 2009, p. 166.
Jeff Koons: Popeye Sculpture, exh. cat, Paris, Galerie Jerome de Noirmont, 2010, p. 9 (installation view illustrated).
Jeff Koons: Fondation Beyeler, exh. cat., Basel, Foundation Beyeler, 2012, p. 19 (another example illustrated).
N. Rosenthal, Jeff Koons New Paintings and Sculpture, exh. cat., New York, Gagosian Gallery, 2014, p. 5.
“Private View: Just the Ticket,” Vanity Fair (On Art), November 2014, p. 36.
M. Polsinelli and S. Burkhanova, “The Words,” Garage Magazine, Fall/Winter 2014, pp. 90-91.
A. Malvoisin, “Top 4 des œuvres les plus chères," Beaux Arts éditions, December 2014, pp. 64-65 (another example illustrated).
J. Koons and N. Rosenthal, Jeff Koons Conversations with Norman Rosenthal, New York, 2014, pp. 126-127 (another example illustrated).
H. Holzwarth, Koons, Cologne, 2015, p. 34 (installation view of another example illustrated).
J. Helyer, E. Shad and C. Beck, eds., The Broad Collection, Los Angeles, 2015, pp. 12-13 and 21 (another example illustrated).
Jeff Koons: Now, exh. cat., London, Newport Street Gallery, 2016, pp. 4, 8.
The Broad Foundations Entrepreneurship for the Public Good 2015-2016, Los Angeles, The Broad Art Foundations, 2016, p. 97 (installation view of another example illustrated).
J. Drobnick, "Bottles of Art," Gastronomica: The Journal of Critical Food Studies, Berkeley, Winter 2018, p. 50 (another example illustrated).
M. Gioni and N. Bell, Jeff Koons 2000 Words, Athens, 2019, pp. 54-57 and 122 (illustrated).
A. Perl, "A more public arena: Jeff Koons’ Reinvention in the Midst of Reaganism," Association for Art History, June 2020 (installation view of another example illustrated).
R. Kushner, The Hard Crowd, London, 2021, p. 72.
B.B. Bonomi, "Jeff Koons in Qatar: The American Artist’s Lost in America Exhibition Is One Not To Be Missed," Harper's Bazaar Arabia, March 2022 (installation view of another example illustrated).
Exhibited
Los Angeles, Daniel Weinberg Gallery, Luxury and Degradation, August 1986 (another example exhibited).
New York, International With Monument Gallery, Luxury and Degradation, October 1986 (another example exhibited).
Barcelona, Centre Cultural de la Fundació Caixa de Pensions, Art and its Double: A New York perspective/L'art i el seu doble: Panorama de l'art a Nova York, November 1986-January 1987, p. 71, no. 46 (another example exhibited and illustrated).
Chicago, Museum of Contemporary Art, Jeff Koons Works 1979-1988, July-August 1988, pp. 30-31 and 39, no. 19 (another example exhibited and illustrated).
London, Saatchi Gallery, New York Art Now: The Saatchi Collection, September 1987-January 1988, pp. 136-137 (another example exhibited and illustrated).
Washington D.C, Hirshhorn Museum and Sculpture Garden, Culture and Commentary: An Eighties Perspective, February-May 1990, p. 79 (another example exhibited and illustrated).
New York, Museum of Modern Art; Art Institute of Chicago and Los Angeles, Museum of Contemporary Art, High & Low: Modern Art and Popular Culture, October 1990-September 1991, p. 395, no. 32 (illustrated).
San Francisco Museum of Modern Art and Minneapolis, Walker Art Center, Jeff Koons December 1992-October 1993, pp. 70-71 and 131, pl. 24, no. 28 (another example exhibited and illustrated).
Amsterdam, Stedelijk Museum; Denmark, Aarhus Kunstmuseum and Staatsgalerie Stuttgart, Jeff Koons Retrospektiv, November 1992-April 1993, Amsterdam and Stuttgart, pp. 52-53 (illustrated); Aarhus, pp. 42-43, cat. no. 13 (illustrated).
Berlin, Martin-Gropius-Bau; London, Royal Academy of Arts and London, Saatchi Gallery, American Art in the 20th Century: Painting and Sculpture 1913-1993, May-December 1993, p. 435, no. 250 (illustrated).
Kunsthalle Zürich, Playpen & Corpus Delirium, October-December 1996, pp. 16-17 and 20 (another example exhibited and illustrated).
Santa Monica, Eli Broad Family Foundation, Group Show, December 1997-July 1999 (another example exhibited).
Museum of Contemporary Art Chicago, Age of Influence: Reflections in the Mirror of American Culture, April-June 2000 (another example exhibited).
Los Angeles County Museum of Art; Washington, D.C., Corcoran Gallery of Art; Boston, Museum of Fine Arts and Bilbao, Guggenheim Museum, Jasper Johns to Jeff Koons Four Decades of Art from the Broad Collection, October 2001-September 2003, p. 224 (another example exhibited and illustrated).
Naples, Museo Archeologico Nazionale, Jeff Koons June-September 2003, pp. 44-45 and 51 (illustrated).
New York, C&M Arts, Jeff Koons Highlights of 25 Years, April-June 2004, pp. 50-51 and 81, no. 15 (another example exhibited and illustrated).
Oslo, Astrup Fearnley Museum of Modern Art and Helsinki City Art Museum, Jeff Koons Retrospective, September 2004-April 2005, pp. 44-45, 110-111 and 146 (another example exhibited and illustrated).
Museum of Contemporary Art Chicago and London, Hayward Gallery, Universal Experience: Art, Life and the Tourist's Eye, February-December 2005 (another example exhibited and illustrated).
Kunsthaus Bregenz, Re-Object: Marcel Duchamp Damien Hirst Jeff Koons Gerhard Merz February-May 2007, pp. 110-111 and 120-121 (illustrated).
London, Gagosian Gallery, Pop Art Is, September-November 2007, n.p., no. 101 (another example exhibited and illustrated).
Chicago, Museum of Contemporary Art, Jeff Koons May-September 2008, pp. 48-49 (another example exhibited and illustrated).
Los Angeles County Museum of Art, Broad Contemporary Art Museum at LACMA, Inaugural Installation, February-September 2008, pp. 199 and 243 ­­­(another example exhibited and installation view illustrated).
Chateau de Versailles, Jeff Koons Versailles, October 2008-April 2009, pp. 81-83, 156 and 166 (illustrated).
Frankfurt, Liebieghaus Skulpturensammlung, Jeff Koons The Sculptor, June-September 2012, p. 172 (another example exhibited and illustrated).
New York, Whitney Museum of American Art; Paris, Centre Georges Pompidou and Bilbao, Guggenheim Museum, Jeff Koons A Retrospective, June 2014-September 2015, pp. 82 and 86-87 (New York, another example exhibited and illustrated), pp. 90 and 94-95 (Paris, illustrated).
Mexico City, Museo Jumex, Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons Even, May-September 2019, pp. 230-233 (illustrated).
Florence, Fondazione Palazzo Strozzi, Jeff Koons Shine, October 2021-January 2022, p. 74-77 (illustrated).
Doha, Qatar Museums Al Riwaq Gallery, Jeff Koons Lost in America, November 2021-March 2022, pp. 58-59 (another example exhibited).
Special Notice
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. Where Christie's has provided a Minimum Price Guarantee it is at risk of making a loss, which can be significant, if the lot fails to sell. Christie's therefore sometimes chooses to share that risk with a third party. In such cases the third party agrees prior to the auction to place an irrevocable written bid on the lot. The third party is therefore committed to bidding on the lot and, even if there are no other bids, buying the lot at the level of the written bid unless there are any higher bids. In doing so, the third party takes on all or part of the risk of the lot not being sold. If the lot is not sold, the third party may incur a loss. The third party will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot above the written bid.
Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot.