Rosanna Widén
\nSenior Specialist, Head of Evening Sale
\n+44 20 7318 4060
\nrwiden@phillips.com

\n\n

Olivia Thornton
\nHead of Modern & Contemporary Art, Europe
\n+44 20 7318 4099
\nothornton@phillips.com

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“The book, the idea of a book or the image of a book, is a symbol of learning, of transmitting knowledge […] I make my own books to find my way through the old stories.”
\n—Anselm KieferAn exceptional example of the emphatic, gritty materiality of German artist Anselm Kiefer’s mature practice, für Paul Celan - Buch is a powerful rendering of more abstract concepts of hope and despair, laid bare on canvas. An allegory for the barren and the sublime, creative potential and apathy, Kiefer’s richly laden paintings navigate such oppositional ideas to enable more complex inquiries into cultural memory, history, and literature for our own troubled times.

\n\n

Celan and Kiefer

\n\n

Born in 1945 only months before the end of the war, Kiefer came of age in the shadow of global conflict. Raised in a small town in the Black Forest area of southern Germany, Kiefer could not reconcile his persistent, irrevocable guilt at Germany’s role in the war. It was during his adolescence that the artist first encountered the work of Romanian Jewish poet and writer, Paul Celan (1920-1970) whose writings – in German – left an indelible impression on the trajectory of Kiefer’s career. For Kiefer, ‘Celan does not merely contemplate nothingness; he has experienced it, lived through it’.ⁱ A recurrent figure throughout the artist’s practice, Kiefer was deeply affected by the poet’s experiences of the Holocaust, particularly Celan’s poignant, harrowing text Todesfuge (Death Fuge). Working for eighteen months in a forced labour camp before escaping, Celan tragically lost both of his parents in concentration camps during the war. Like the books that were routinely burnt during the Nazi regime, Kiefer renders his Buch (‘book’) inaccessible, concealed under the weight of the materials encasing it. Though the pages are barren and illegible, Celan’s acerbic words are manifested in the landscape itself, indelible and unforgettable. Depicting a winter landscape after harvest, the heavily impastoed furrows and toiled earth appear like a charred battlefield, bearing the wounds of humanity’s destructive tendencies.

\n\n

“Paul Celan’s language comes from so far away, from another world with which we have not yet been confronted, it comes to us like that of an alien. We find it hard to understand. We grasp a fragment here and there. We cling to it without ever being able to capture the whole of it. I have humbly tried, for sixty years. From now on, I will write this language down on canvas, an undertaking that is like a rite.”
\n—Anselm Kiefer

\n\n

Renewal

\n\n

In confronting the atrocities of the past, Kiefer translates the lyric weight of Celan’s poetry to heal and rebuild rather than erase cultural memory. The landscape, though bare, reflects the life cycle of the natural world after the reaping of the crop: like the charred fields of humanity, Kiefer seems to suggest, might also be renewed. Recalling the vast, oneiric horizons of Caspar David Friedrich, Kiefer engages with the Romantic ideal that from the vicissitudes of nature, redemption and the sublime can be achieved.

\n\n

\"\" — Caspar David Friedrich, *Morning in the Mountains*, 1823, Hermitage Museum, St. Petersburg

\n\n

In examining the cultural psyche, Celan reinvented aspects of German language, incorporating archaic and technical vocabulary from fields like botany, geology and mineralogy to cleanse the German language in the postwar world. Like Celan, the blank pages of Kiefer’s book simultaneously manifest the infinite possibility and potential of ‘nothingness’. Conceived in lead, Kiefer consciously reflects on the base metal’s alchemic properties, qualities that metaphorically embody humanity’s unrealised potential. As Kiefer explains, ‘I feel closest to lead because it is like us. It is in flux. It’s changeable and has the potential to achieve a higher state of gold. You can see this when it is heated. It sweats white and gold. But it is only a potential’.ⁱⁱ Therefore, Kiefer’s für Paul Celan - Buch is a rousing reminder that change is only possible if we consciously reflect, learn and evolve from our past.

\n\n

Collector’s Digest

\n\n

Known for his layered landscapes and assemblages, Anselm Kiefer’s physical, tactile work encompasses a broad range of cultural references: from theology, history and philosophy to literature and mysticism.
Working across painting, printmaking, sculpture and architectural installations, the book is among the most recurrent mediums in Kiefer’s creative practice. First studying law before embarking on his career as an artist, in his deeply academic approach Kiefer devotes an entire studio to bookmaking and his library.
The subject of international retrospectives at significant institutions, Kiefer’s critically acclaimed exhibition Fallen Angels recently closed at the Palazzo Strozzi in Florence in July 2024. Paintings related to Paul Celan have been included in Kiefer’s recent 2021 presentation at the Grand Palais Éphémère in Paris and at Thaddeus Ropac’s Pantin Gallery in 2022.

\n\n

ⁱ Anselm Kiefer, quoted in Ana Beatriz Duarte, ‘Anselm Kiefer: Pour Paul Celan’, Studio International, online.
\nⁱⁱ Anselm Kiefer, quoted in Michael Auping, ‘Introduction’, Anselm Kiefer: Heaven and Earth, exh. cat., Modern Art Museum of Fort Worth, 2005, pp. 37-39.

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ANDY WARHOL Dollar Sign, 1981

\n","1728309392",{"_102":1361,"_104":1362,"_106":1363,"_117":1364},"2024-10-02T23:00:00.000000Z","2024-10-09T23:00:00.000000Z",{"_108":109,"_110":111,"_112":113,"_114":90,"_115":116},[1365,1366],{"_120":121,"_122":123,"_124":125,"_126":127},{"_120":129,"_122":129,"_124":130,"_126":127},"articles",[1369,1393,1403],{"_1370":1371,"_1372":231,"_1373":1374,"_512":1375,"_1376":1377,"_1378":1379,"_1380":1381,"_1382":1383,"_1384":469,"_1385":1386,"_462":469,"_1387":1388,"_1389":1390,"_1391":1392},"coverUrl","https://flockler.com/thumbs/sites/889/warhol-with-portraits-342a43b6-a743-43dc-9910-419f71298fc7_s600x0.jpg","section","summary","On two Royal Warhols and the stories we tell and retell.","Charles, Diana, and Andy","body","

Christopher Makos, Andy Warhol with Portrait of Princess Diana and Portrait of Prince Charles, 1982. Image: © Christopher Makos, Artwork: © 2024 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London.

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Whenever something major happens today, culture seems to quickly settle on the most iconic image that represents it, and that image suddenly shows up everywhere. Just think of recent political events. After they occur, their representative image is published across countless news publications and on each of their various media channels. Try swiping from app to app, or even pick up a printed publication, and you still can’t avoid it. Such images then often turn into memes which are shared by individual users on social media platforms, and before we can blink, the images are burned into our collective consciousness. Such is the power of an image’s repetition and proliferation, a power that both Andy Warhol and the British Royal Family knew all too well in the early 1980s — seemingly before anyone else.

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Left: Lot 11: Andy Warhol, Portrait of Princess Diana, 1982. Modern & Contemporary Art Evening Sale, London.
\nRight: Lot 12: Andy Warhol, Portrait of Prince Charles, 1982. Modern & Contemporary Art Evening Sale, London.

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Coming to auction together for the first time, having previously been held in the esteemed collection of author and Conservative deputy chairman Jeffrey Archer, Andy Warhol’s portraits of Princess Diana and then-Prince Charles exemplify this keen understanding of the relationship between image and power that was shared by both Warhol and the Royal Family. Here, we explore how the repetition of imagery can amplify its message and create a lasting impact, both within Warhol’s distinctive practice and within visual culture at large.

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With only four Princess Diana works created in this format, Phillips is proud to offer these rare works at the upcoming Modern & Contemporary Art Evening Sale in London. What’s more, drawings by Warhol that were made in preparation for the silkscreen portraits are also on offer in the Day Sale, offering visitors to Phillips’ 30 Berkely Square gallery the rare opportunity to glimpse a nearly complete sense of the artist’s process, and revealing the repetition within it.

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I: An Iconic Engagement Photo

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Already a sensation in the press before its official televised announcement, the courtship and subsequent engagement of Prince Charles to Lady Diana Spencer sent waves through the media and, one can imagine, surely caught the attention of Andy Warhol. As the Royal family sought to shift the perception of the monarchy to be more in line with the optimism and hope for change that was ringing throughout British culture in the 1980s, Prince Charles would have been aware of the impact an image could have when disseminated across all the available media platforms of the day. To this end, Lord Snowden’s official engagement photograph was released following the announcement, and one suspects that the overwhelming response from the public must have surprised everyone associated with the crown.

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Lord Snowdon, Official Engagement portrait of Charles and Diana, 1981. Image: © Snowdon / Camera Press.

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In Lord Snowden’s photograph, the promising couple is pictured with casual ease and glamour that global audiences perceived as the dawn of a new chapter for the British Monarchy. Diana appears youthful and beautiful, Charles empowered and protective. As a public display of Royal power, the photograph places emphasis on certain symbols to reinforce this message: Diana’s jewels and engagement ring; Charles’ naval regalia; the choice of certain colors. One can’t help but perceive the connotations of health, youth, fertility, and renewal from Diana’s green gown and the implication of Charles’ blue-blooded pedigree represented by the color of his coat — each echoed in the portraits on offer here. Taking in the original image today, it’s clear to see how much was there for Andy Warhol to unpack from his characteristic viewpoint.

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II: From Photograph to Drawing

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Andy Warhol, Princess Diana, circa 1982, Modern & Contemporary Art Day Sale, London.

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Having begun his career by making drawings for advertisements, primarily for women’s shoes, Andy Warhol would have gained a keen understanding of how repeated imagery latches onto our memories. We see this in the use of repetition in his practice, both within a single composition and across several, which were often issued as multiples. However, with this shift away from commercial work, Warhol also moved away from drawing, making no drawings at all between 1963 and 1972. In an Artforum review of the Kunstmuseum Basel exhibition Andy Warhol: Drawings, 1942–87, Arthur C. Danto offers that Warhol had “not really found a way of reconciling two philosophies of art — or two philosophies of being — exemplified in the tension between the expressivity of urgent scribbles and the deadpan, photo-mechanical look that had become his signature style.” But here, in these traced drawings made in preparation for the silkscreen portraits, we recognize a sense of line that is iconically Warholian. And indeed, we see how Warhol’s settled sense of line impacts the expressive majesty of the ultimate silkscreen portraits.

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“Unquestionably the great American draughtsman of the latter half of the century.”
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\n—Jeffrey Archer on Andy Warhol
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Already in these drawings, we can see how Warhol takes distinct visual icons of beauty and power — their perfect hair, her priceless jewels, his naval awards, her youthful, plump lips and doe-like eyes — and renders them as almost independent graphic elements. In both the drawings and the silkscreens, these elements come together to create the final image and its web of influence and innocence, but even if considered in isolation, each visual element exudes an enviable power.

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Andy Warhol, Prince Charles, circa 1982. Modern & Contemporary Art Day Sale, London.

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Cropped like two actors’ headshots, Warhol separates the figures, homing in on their distinct and separate meanings as cultural figures. This decision is made further poignant from our viewpoint today, knowing the tragic end of the subjects’ story. These drawings offer significant insight into Warhol’s process, but there’s also historical serendipity here. Just as the Royal Family allowed this engagement photograph to be disseminated as if it were a Hollywood advertisement for an upcoming film, Andy Warhol, in a sense, returns to his roots, at work with a pencil and what could be considered a kind of advertising imagery.

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III: From Sketch to Silkscreen

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Andy Warhol, Portrait of Prince Charles, 1982. Modern & Contemporary Art Evening Sale, London.

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Executed with Warhol’s mature sense of bold lines and neon colors, these silkscreens brought the art historical tradition of royal portraiture to its apex. At this moment in time, Warhol is exploring this type of imagery and all its symbolic associations with the concepts of power, sovereignty, and socio-political stability, but he’s also keenly aware of the ways in which our conception of this imagery may shift as modern technology affords all classes access to an image-saturated environment. Historically, Royal imagery would have been carefully controlled, appearing only on currency and in official public displays, but by the early 1980s, imagery of Royals proliferated through news reports and paparazzi photographs, to say nothing of the portable image machines we carry in our pockets today. Representative of this crucial shift in visual culture, the couple’s televised wedding remains the most viewed televised wedding in history.

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Belonging to the past, [Diana] persists in the present, transformed by an artificial, superimposed veneer.
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\n—Paul Moorhouse
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Andy Warhol, Portrait of Princess Diana, 1982. Modern & Contemporary Art Evening Sale, London.

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Together, Charles and Diana appear almost doll-like in these portraits, presented as visual objects fit for public consumption. Warhol’s treatment of them aligns with Diana’s celebrity status and the public’s demand for access to the couple, rendering in image what this cultural moment felt like for many — Charles and Diana seemed close to us, closer than any Royal figures before. Created at a seminal moment in the development of Warhol’s late style, the simplified imagery and exploration of fame, political weight, social hierarchy, and cultural consumption foreshadows nearly the rest of Warhol’s career, including the Reigning Queens series produced three years later.

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IV: An Enduring and Warholian Appeal

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In comparing the dissemination of the official photograph to that of Hollywood movie posters, we also touch upon a significant idea that can be gleaned from these works. Warhol’s visual mix of clout and purity showcases two people who, like actors, are forced to play a role. In Charles’ case, a role he inherited by birth, and in Diana’s, a role thrust upon her. For as much power as they each have, perhaps they also possess an identifiable lack of agency, which may help explain why this imagery and story has continued to resonate through continued repetition, from books and cultural commentary to the later seasons of the lauded Netflix series The Crown.

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These works represent a crucial moment in contemporary visual culture as we know it. After all, particularly when it comes to weddings and engagement announcements, many of us seem to run a similar playbook for the repetition of imagery from our own lives. Today, one thinks of how we circulate digital images of important moments in our lives and their subsequent resharing and proliferation on social media, or even the so-called “main character syndrome” trend making waves across certain networks. Indeed, the story of Lady Diana Spencer and Prince Charles is as Warholian as the imagery of contemporary life. Through its repetition and our own participation, we unpack this notion further with each passing year, but these works show that to the King of Pop, it was inevitable all along.

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Discover More from Modern & Contemporary Art >

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Recommended Reading

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Unexpected Pairings: Hockney & Marini >

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A Legacy of Friendship — Marcel Broodthaers: The Herbig Collection >

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David Hockney, Path Through Wheat Field, July, 2005. Modern & Contemporary Art Evening Sale, London.

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When we think of Marino Marini, what likely comes to mind is his position as one of the most well-known Italian sculptors of the 20th century. Though his emblematic sculptures of the horse and rider motif are instantly recognizable in public and art spaces worldwide, Marini was adventurous in his choice of medium, turning his thematically focused practice toward painting, printmaking, and engraving throughout his life.

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Similarly, David Hockney has also cultivated a much deeper and more varied practice than a casual viewer may realize. Though known for Pop-influenced portraits and his superlative draughtsmanship, Hockney excelled in his pursuit of landscape oil painting en plein air, particularly in his 21st-century depictions of his native Yorkshire landscape.

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Considering Hockney and Marini together in two works on offer at Phillips’ upcoming Modern & Contemporary Art Evening Sale in London, we discover several curious resonances between them. Each approaches a very personal subject to the artist and one they explored in series. For David Hockney, his ongoing exploration of the seasons’ impact on the landscape so closely tied to childhood memories is a deeply personal expression, just as the symbol of the horse and its associations with strength, power, mortality, and war is so deeply tied to Marini’s Etruscan heritage.

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Marino Marini, Il Cavaliere Azzurro (The Blue Rider), 1952–1954. Modern & Contemporary Art Evening Sale, London.

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Executed in the years after Marini’s award-winning presentation at the 1952 Venice Biennale, Il Cavaliere Azzurro (The Blue Rider) sees the artist explore a characteristic theme from a triumphant point in his career. The charged nature of Marini’s depictions of this motif stems from his experiences in early life. Encountering horses and riders as a child in his native Tuscany, Marini later compared the sight of this harmonious and balanced interaction as a symbol of the equilibrium between humans and the natural world — a balance he sensed was becoming lost to modernity. As such, this remarkably energetic work combines movement, form, texture, and color to present one of art history’s oldest themes in a decidedly modern context. Marini pulls from the ancient, iconographic Etruscan sources of this motif in a painting that encompasses the timeless struggle of man to harness and control the power of horses — an apt analogy for our continued struggle to contain the uncontrollable forces of modernity.

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Depictions of horses are among humanity’s earliest expressions and fit into a tradition that stretches back to prehistoric cave paintings. Indeed, exploring the works on offer this October in London, we also discover German artist Daniel Richter’s White Horse - Pink Flag — a work that depicts a struggle between two horses. In contrast with Marini’s painting, here we can consider this a depiction of a battle between two uncontrollable forces rather than our collective struggle against one. Fitting within Richter’s overtly political practice, we can also find a surprising comparison here. For Marini, much of his work’s intent stems from Europe’s cultural reckoning following the Second World War, and for Richter, his background in the underground East German Punk scene, the fall of the Berlin Wall, and the terrorist attacks in the United States on 11 September, serve as anchor points that inform his view of the world.

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Daniel Richter, White Horse - Pink Flag, 2004. Modern & Contemporary Art Day Sale, London.

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Both Marini and Hockney's childhood connections to their subject matter are palpable in these works. But for David Hockney in particular, Path Through Wheat Field, July represents a homecoming as he took to working outdoors, recording the passing seasons’ impact on his native landscape. In this completely fresh-to-market work, we find a prodigious and masterful artist returning to the subject that filled his childhood imagination, opening his mature eyes to an environment that had lived in his memory for more than 60 years.

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David Hockney, Path Through Wheat Field, July, 2005. Modern & Contemporary Art Evening Sale, London.

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In this important early example of Hockney’s Yorkshire landscape oil paintings we can see how the artist translated the lessons learned in his panoramic Californian landscapes into this new body of work. The skills honed by the artist in recreating California’s intense colors and spatial depth introduce a vibrance and glow to the golden fields and lush greens of the Wolds, illustrating the artist’s deeply personal connection to the place.

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As he approached 60 Hockney started to make more frequent return visits to Bridlington in East Yorkshire, called back by the bonds of family and friendship. At this time, the artist rediscovered the wonder of his childhood environment, recalling the summers he spent working the fields and riding his bicycle through the winding paths, where he caught sight of intense vistas. Though the strong physical and emotional presence of the Yorkshire Wolds never really left him, there’s such a poignant intimacy that we can glean from his artistic return late in life.

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Hockney’s shift to a more traditional mode of landscape painting places this work directly within a lineage of artists who found specific pictorial challenges and rewards in their immediate surroundings. One thinks immediately of Vincent van Gogh, but glancing around this auction’s preview in our London gallery, we also find a strong resonance between Path Through Wheat Field, July and Etel Adnan’s Jardins 5.

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Etel Adnan, Jardins 5, 2018. Modern & Contemporary Art Day Sale, London.

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Beyond the obvious coloristic associations, in Hockney and Adnan, we find two artists with strong childhood relationships to their native landscape — one that each artist left to eventually settle in California. Regardless of where these two artists work, Hockney’s memories of his native Yorkshire and Adnan’s of her native Lebanon impact how they observe and depict their surroundings. Ultimately, across all these works, we find ways that an artist’s forward-thinking ideas exist in a conversation with their own past, and we discover new ways to open our minds to the exciting connections we can find between them.

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Discover More from Modern & Contemporary Art >

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Recommended Reading

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Charles, Diana, and Andy >

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A Legacy of Friendship — Marcel Broodthaers: The Herbig Collection >

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Marcel Broodthaers and Dr. Jost Herbig. Archival Image from The Herbig Collection. © Maria Gilissen.

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A group of works from Marcel Broodthaers: The Herbig Collection will be on offer in our London Modern & Contemporary Art Day Sale on 7 March, with the preview exhibition open 27 February–7 March at 30 Berkeley Square.

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Sometimes collecting art can be even more intimate than simply buying what you love. Through a close relationship with an artist, some lucky collectors gain an unparalleled glimpse into an artist’s personality and working methods, ultimately transforming the collector’s role into one of a historical primary source. It is this approach to collecting that characterizes the Herbig Collection’s assemblage of works by Marcel Broodthaers, a leading figure of the European Post-War avant-garde and a close friend of Dr. Jost and Barbara Herbig and their family.

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Phillips first offered four works from the Herbig Collection in the London Modern & Contemporary Art and New Now auctions this past October and December, with several more works on offer in future auctions over the next 12 months. With works of such exceptional condition and provenance coming to auction over the course of this year, the preview exhibitions are a rare pleasure for collectors and art lovers of all stripes. Here, we unpack this remarkable story of friendship, collaboration, and intellectual inspiration that reaches its apex in a collection like no other.

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Marcel Broodthaers, Le Corbeau et le Renard, 1967–1968. Modern & Contemporary Art Day Sale London.

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Marcel Broodthaers: Avant-Garde Pioneer

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Belgian artist Marcel Broodthaers (1924–1976) began his career as a writer and poet before expanding to visual arts at the age of 40. Over the next 12 years, he developed a distinctive visual language characterized by a broad reach both in medium — working across poetry, sculpture, painting, printmaking, and film — and content, delving into a wide range of literary, social, and historical themes. His output was rich with whimsical humor, semiotic puzzles, and strategies of repetition and self-deprecation, all offering a glimpse into his brilliant and singular mind. For him, no idea could be taken too far, and no means of expression was out of reach.

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Marcel Broodthaers, La pipe – Modèle: La pipe. Modern & Contemporary Art Day Sale London.

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Continuing an artistic investigation into a type of conceptual practice pioneered by Marcel Duchamp, Broodthaers rejected rigid distinctions between disciplines and artistic techniques. His works playfully subvert the established relationships between everyday objects, language, and meaning in a challenge to both artistic and social structures. The humor and poetic sensibilities in his works evoke powerful meditations on the capabilities of aesthetics, linguistics, and philosophy and represent a significant chapter in the development of conceptual art.

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Marcel Broodthaers, La pipe - ABCDEF. Modern & Contemporary Art Day Sale London.

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The Herbig Collection brings together some of Broodthaers’ most significant works from the 1960s and ‘70s — including the typographic impression on canvas Die Welt, the installation piece Éloge du sujet, and the film La Pluie. All three works were included in a major traveling retrospective hosted by the Museum of Modern Art, New York, Museo Nacional de Arte Reina Sofia, and Kunstsammlung Nordrhein-Westfallen in 2016–2017.

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A Letter to the Herbigs from Marcel Broodthaers. Archival Image from The Herbig Collection.

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A Remarkable Friendship

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The Herbig Collection was curated by the renowned scientist Dr. Jost Herbig and his wife, noted jewelry designer Barbara Herbig. The couple began collecting art in the mid-1960s, with a focus on contemporary American and European artists. With their keen eyes, they became known for their collection of museum-quality works by highly desirable artists ranging from Gerhard Richter to Bruce Nauman. Later, in 1970, the couple met Marcel Broodthaers in Düsseldorf, where he was living at the time. From the day they met until the artist’s untimely death in 1976, the Herbigs acquired several of his works and formed a close relationship with him. Broodthaers himself selected which of his works would be offered to them, ensuring that some of the finest examples of the works that most excited him would remain in the hands of collectors who were sure to be stewards of his legacy.

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Christmas cards that were sent to the Herbigs from Marcel Broodthaers (verso). Archival Image from The Herbig Collection.

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Christmas cards that were sent to the Herbigs from Marcel Broodthaers (front). Archival Image from The Herbig Collection.

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After their initial meeting in Düsseldorf, the two families quickly became close friends, enjoying the good humor and intellectual fervor that percolated whenever they spent time together. The Herbigs came to greatly admire Broodthaers’ work, as well as his personality, as Barbara Herbig recently shared with Phillips, “Broodthaers, with his keen understanding of translation and his perceptive, subtly ironic warmth, was a fascinating presence.” She recalled countless hours the families spent together when Broodthaers and his wife Maria — herself an exceptional photographer — and their daughter, Marie-Puck, would visit the Herbig household. Dr. Herbig would give science lectures to the group, and Broodthaers would then give his own lectures as well. “Their exchange of ideas was invigorating,” Barbara recalls. “Broodthaers also shared his latest films, and we all found ourselves transformed by the experience. The children played together, and we took leisurely walks, with Maria capturing moments like the ‘railway robber’ through her lens. We cooked, ate, and enjoyed each other’s company, relishing in the joy of these shared times.”

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The Story Continues

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In 1998, four years after Dr. Jost Herbig’s passing, the majority of the Herbig Collection was sold in a landmark auction, but the ties between Marcel Broodthaers and the Herbigs were so strong that the family chose to retain the works of their close friend. Since they were first acquired in the 1970s, the works have been kept in the Herbig family’s private home, with several on long-term loan to Museu d’Art Contemporani de Barcelona and exhibited internationally.

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As so many of these works have been seen in public only rarely and have never come to auction before, the next 12 months promise to excite and entice those who love Broodthaers, as the works will be on view ahead of the auctions in multiple cities around the globe. Because of these works’ connection to the Herbig family, they offer a chance to be close to the artist himself through works that he personally selected for his intimate friends. And they also offer an opportunity to be part of this story’s next chapter, a story Barbara Herbig remembers fondly, recalling, “It was a wonderfully memorable experience, full of warmth and creativity — until next time.”

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Discover More from Modern & Contemporary Art >

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Recommended Reading

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Charles, Diana, and Andy >

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Unexpected Pairings: Hockney & Marini >

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Celan and Kiefer

Renewal

Collector’s Digest

Left: Lot 11: Andy Warhol, Portrait of Princess Diana, 1982. Modern & Contemporary Art Evening Sale, London.
\nRight: Lot 12: Andy Warhol, Portrait of Prince Charles, 1982. Modern & Contemporary Art Evening Sale, London.

I: An Iconic Engagement Photo

Lord Snowdon, Official Engagement portrait of Charles and Diana, 1981. Image: © Snowdon / Camera Press.

II: From Photograph to Drawing

Andy Warhol, Princess Diana, circa 1982, Modern & Contemporary Art Day Sale, London.

Andy Warhol, Prince Charles, circa 1982. Modern & Contemporary Art Day Sale, London.

III: From Sketch to Silkscreen

Andy Warhol, Portrait of Prince Charles, 1982. Modern & Contemporary Art Evening Sale, London.

Andy Warhol, Portrait of Princess Diana, 1982. Modern & Contemporary Art Evening Sale, London.

IV: An Enduring and Warholian Appeal

Marino Marini, Il Cavaliere Azzurro (The Blue Rider), 1952–1954. Modern & Contemporary Art Evening Sale, London.

Daniel Richter, White Horse - Pink Flag, 2004. Modern & Contemporary Art Day Sale, London.

David Hockney, Path Through Wheat Field, July, 2005. Modern & Contemporary Art Evening Sale, London.

Etel Adnan, Jardins 5, 2018. Modern & Contemporary Art Day Sale, London.

Marcel Broodthaers, Barbara Herbig, and Dr. Jost Herbig. Archival Image from The Herbig Collection. © Maria Gilissen.

Marcel Broodthaers, Le Corbeau et le Renard, 1967–1968. Modern & Contemporary Art Day Sale London.

Marcel Broodthaers: Avant-Garde Pioneer

Marcel Broodthaers in Hyde Park, London. Archival Image from The Herbig Collection. © Maria Gilissen.

Marcel Broodthaers, La pipe – Modèle: La pipe. Modern & Contemporary Art Day Sale London.

Marcel Broodthaers, La pipe - ABCDEF. Modern & Contemporary Art Day Sale London.

A Letter to the Herbigs from Marcel Broodthaers. Archival Image from The Herbig Collection.

A Remarkable Friendship

Dr. Jost Herbig and Marcel Broodthaers. Archival Image from The Herbig Collection. © Maria Gilissen.

Christmas cards that were sent to the Herbigs from Marcel Broodthaers (verso). Archival Image from The Herbig Collection.

Christmas cards that were sent to the Herbigs from Marcel Broodthaers (front). Archival Image from The Herbig Collection.

The Story Continues

Dr. Jost Herbig and Marcel Broodthaers. Archival Image from The Herbig Collection. © Maria Gilissen

Celan and Kiefer

Renewal

Collector’s Digest

Left: Lot 11: Andy Warhol, Portrait of Princess Diana, 1982. Modern & Contemporary Art Evening Sale, London.\nRight: Lot 12: Andy Warhol, Portrait of Prince Charles, 1982. Modern & Contemporary Art Evening Sale, London.

I: An Iconic Engagement Photo

Lord Snowdon, Official Engagement portrait of Charles and Diana, 1981. Image: © Snowdon / Camera Press.

II: From Photograph to Drawing

Andy Warhol, Princess Diana, circa 1982, Modern & Contemporary Art Day Sale, London.

Andy Warhol, Prince Charles, circa 1982. Modern & Contemporary Art Day Sale, London.

III: From Sketch to Silkscreen

Andy Warhol, Portrait of Prince Charles, 1982. Modern & Contemporary Art Evening Sale, London.

Andy Warhol, Portrait of Princess Diana, 1982. Modern & Contemporary Art Evening Sale, London.

IV: An Enduring and Warholian Appeal

Marino Marini, Il Cavaliere Azzurro (The Blue Rider), 1952–1954. Modern & Contemporary Art Evening Sale, London.

Daniel Richter, White Horse - Pink Flag, 2004. Modern & Contemporary Art Day Sale, London.

David Hockney, Path Through Wheat Field, July, 2005. Modern & Contemporary Art Evening Sale, London.

Etel Adnan, Jardins 5, 2018. Modern & Contemporary Art Day Sale, London.

Marcel Broodthaers, Barbara Herbig, and Dr. Jost Herbig. Archival Image from The Herbig Collection. © Maria Gilissen.

Marcel Broodthaers, Le Corbeau et le Renard, 1967–1968. Modern & Contemporary Art Day Sale London.

Marcel Broodthaers: Avant-Garde Pioneer

Marcel Broodthaers in Hyde Park, London. Archival Image from The Herbig Collection. © Maria Gilissen.

Marcel Broodthaers, La pipe – Modèle: La pipe. Modern & Contemporary Art Day Sale London.

Marcel Broodthaers, La pipe - ABCDEF. Modern & Contemporary Art Day Sale London.

A Letter to the Herbigs from Marcel Broodthaers. Archival Image from The Herbig Collection.

A Remarkable Friendship

Dr. Jost Herbig and Marcel Broodthaers. Archival Image from The Herbig Collection. © Maria Gilissen.

Christmas cards that were sent to the Herbigs from Marcel Broodthaers (verso). Archival Image from The Herbig Collection.

Christmas cards that were sent to the Herbigs from Marcel Broodthaers (front). Archival Image from The Herbig Collection.

The Story Continues

Dr. Jost Herbig and Marcel Broodthaers. Archival Image from The Herbig Collection. © Maria Gilissen

Left: Lot 11: Andy Warhol, Portrait of Princess Diana, 1982. Modern & Contemporary Art Evening Sale, London.
\nRight: Lot 12: Andy Warhol, Portrait of Prince Charles, 1982. Modern & Contemporary Art Evening Sale, London.

21Ο︎◆︎

Anselm Kiefer

für Paul Celan - Buch

Further Details

Full-Cataloguing

Anselm Kiefer