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Originally acquired by Charles Saatchi directly from Victoria Miro’s pioneering exhibition Afrodizziac in 1996, and first exhibited at the generation defining exhibition of his collection, Sensation: Young British Artists from the Saatchi Collection, at the Royal Academy of Arts, London, in 1997, The Holy Virgin Mary found itself the centre of major public debate when the exhibition travelled to New York two years later. Executed in 1996, set against a golden background awash with a tapestry of iridescent pointillist dots and tendrils of glittering resin, it features a black Madonna shrouded in fluttering robes of cerulean blue, parted to reveal a single breast of dried and varnished elephant dung. The most iconic painting within Chris Ofili’s groundbreaking oeuvre and amongst the defining works of the YBA generation, The Holy Virgin Mary dates from a seminal moment in the artist’s career that saw him rise to international fame amidst a frenzy of media activity and public controversy. Golden, ‘A Conversation’, in Chris Ofili: Within Reach, British Pavilion 50th Venice Biennale, 2003, n.p.).
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My surfaces are always about seduction’ (C. ‘I think some of the most serious and weighty subjects should be presented sometimes in a light, glittery, glistening way to lure you in and then, slowly as you become accustomed to that, other layers start to reveal, to unfold. cat., Southampton City Art Gallery, Southampton, 1998, p.
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‘I really think it’s a very beautiful painting to look at, full of contradiction which is perhaps why it’s been misunderstood’ (C. It’s quite important that it’s a Black Madonna’ (C. I wanted to juxtapose the profanity of the porn clips with something that’s considered quite sacred. ‘One of the starting points was the way black females are talked about in contemporary gangsta rap. Now when I go to the National Gallery and see paintings of the Virgin Mary, I see how sexually charged they are. ‘As an altar boy I was confused by the idea of a holy Virgin Mary giving birth to a young boy. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. Import VAT is payable (at 5%) on the Hammer price. If the lot is not sold, the third party may incur a loss.Ĭhristie’s guarantee of a minimum price for this lot has been fully financed through third parties These lots have been imported from outside the EU for sale using a Temporary Import regime. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. The third party may bid for the lot and may or may not have knowledge of the reserves. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk out of Christie’s revenues from the sale, whether or not the third party is a successful bidder. Christie’s may choose to assume this financial risk on its own or may contract with a third party for such third party to assume all or part of this financial risk. On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. 389 (installation view illustrated in colour, pp.
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Booth-Clibborn (ed.), The History of the Saatchi Gallery, London 2009, p. Muir, Lucky Kunst: The Rise and Fall of Young British Art, London 2009 (mentioned, pp. Mahon, Eroticism in Art, Oxford, 2007, p. Brent Plate, Blasphemy: Art that Offends, London 2006 (mentioned, pp. Ellis, 100: The Work That Changed British Art, London 2003, pp. Price (eds.), Young British Art: The Saatchi Decade, London 1999 (illustrated in colour, p. 246- 275 (illustrated in colour on the cover). Dubin, ‘Afterword: When Elephants Fight: how Sensation became Sensational’ in Displays of Power: Controversy in the American Museum from the Enola Gay to Sensation, New York, 1999, pp.