WOLFGANG TILLMANS (B. 1968)
(i) Concorde L440 - 2A; (ii) Concorde L433; (iii) Concorde L444 - 9
(i) Concorde L440 - 2A
signed, titled and numbered 'Concorde L440-2A ph 497 pr 698 1/10 +1 Wolfgang Tillmans' (on the reverse)
c-print
image: 12¹⁄₈ x 8¹⁄₈in. (30.8 x 20.6cm.)
sheet: 12¹⁄₂ x 8¹⁄₂in. (31.7 x 21.6cm.)
Photographed in 1997 and printed in 1998, this work is number one from an edition of ten plus one artist's proof

Another from the edition is in the permanent collection of Tate, London.

(ii) Concorde L433
signed, titled and numbered 'Concorde L433 ph 497 pr 698 2/10 +1 Wolfgang Tillmans' (on the reverse)
c-print
image: 12¹⁄₈ x 8¹⁄₈in. (30.8 x 20.6cm.)
sheet: 12¹⁄₂ x 8¹⁄₂in. (31.7 x 21.6cm.)
Photographed in 1997 and printed in 1998, this work is number two from an edition of ten plus one artist's proof

Another from the edition is in the permanent collection of Tate, London.

(iii) Concorde L444 - 9
signed, titled and numbered 'Concorde L444-9 ph 497 pr 698' and '3/10 +1' (on the reverse)
c-print
image: 12¹⁄₈ x 8¹⁄₈in. (30.8 x 20.6cm.)
sheet: 12¹⁄₂ x 8¹⁄₂in. (31.7 x 21.6cm.)
Photographed in 1997 and printed in 1998, this work is number three from an edition of ten plus one artist's proof

Another from the edition is in the permanent collection of Tate, London.

Acquired directly from the artist by the present owner.

W. Tillmans (ed.), Wolfgang Tillmans: Burg, London 1998 (another version of (iii) illustrated in colour, n.p.).
J. Verwoert, P. Halley & M. Matsui, Wolfgang Tillmans, London 2002 (another from the edition of (i) illustrated in colour, p. 96; another from the edition of (ii) illustrated in colour, p. 97; another from the edition of (iii) illustrated in colour, pp. 90 and 97).
J. Verwoert, P. Halley, M. Matsui and J. Burton, Wolfgang Tillmans, London 2014 (another from the edition of (i) illustrated in colour, p. 88; another from the edition of (ii) illustrated in colour, p. 89; another from the edition of (iii) illustrated in colour, pp. 89 and 91).

London, Tate Britain, Wolfgang Tillmans: if one thing matters, everything matters, 2003 (another version of (i) illustrated in colour p. 133; another version of (ii) illustrated in colour, p. 131; another version of (iii) illustrated in colour, p. 133).
Chicago, Museum of Contemporary Art, Wolfgang Tillmans, 2006-2007 (another from the edition of (i) illustrated in colour, p. 46; another from the edition of (ii) illustrated in colour, p. 47; another from the edition of (ii) illustrated in colour, p. 47). This exhibition later travelled to Los Angeles, Hammer Museum and Washington D.C., Hirshhorn Museum and Sculpture Garden.

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.
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Lot Essay

The subject of multiple essays, the defining piece of his winning Turner Prize exhibition in 2000 and owned by several major institutions, Wolfgang Tillmans’ Concorde series is one of the artist’s most important works. To Tillmans, Concorde represented an ‘environmental nightmare conceived in 1962 when technology and progress was the answer to everything.’ (W. Tillmans, Concorde, Cologne 1997, p.1) Mixing the glamour and excitement of Concorde with its environmental issues, the series looks to focus in on the contradictions between technological utopia and dystopia.

Executed in 1997, the Concorde series has been described by Neville Wakefield as the turning point in the development of Tillmans’ mature style. Photographed from ground level, under the flight path or outside the airport perimeter fence, Tillmans guards the voyeuristic attitude that that threads his work. However, the series marks the artist’s first move away from his earlier youthful images towards the more critical style for which he has since become internationally renowned.