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Auction 8 December 2020 2:30pm EST

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450 Park Avenue, New York (map)

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Viewing by appointment

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30 November – 7 December

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Monday to Saturday 10-6pm

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Sunday 12-5pm

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Contact

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AppointmentsNewYork@phillips.com or +1 212 940 1200 to arrange your visit

\n","auctionDetailsSmall","New York 8 December 2020","extraInfo","

Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York

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1 212 940 1250
\nrbowling@phillips.com

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OSGEMEOS, Dentro do arco-iris, é assim (Within the Rainbow), 2010. Estimate $150,000 - 200,000. 20th Century and Contemporary Art Day Sale.

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Serge Tiroche co-founded the Tiroche DeLeon Collection in 2011, and with a unique combination of intuition and extensive knowledge, he was able to amass one of the strongest contemporary art collections of works by Latin American artists.

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Over the last ten years, Serge Tiroche has been travelling to Latin America, acquiring remarkable works of art, guided not only by his own keen taste, talent, and timing, but also by relying on a very meticulous process that involves continuous research and a deep understanding of the history of the continent, as well as in the development of personal relationships with artists, galleries and other cultural institutions. Through the creation of this well-respected and influential collection, Tiroche has also provided broader exposure for these artists, introducing their work to a larger, international audience.

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Abraham Cruzvillegas, Autorretrato ciego regresando a la cordura entre gritos y sombrerazos en la plaza Taksim, 2013. Estimate $30,000 - 40,000. 20th Century and Contemporary Art Day Sale.

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Representing an expansive and diverse selection of the most influential artists actively working in Latin America today, this important collection includes esteemed names such as Abraham Cruzvillegas, OSGEMEOS, Adrián Villar Rojas, Leandro Erlich, and Vik Muniz. The selection of works currently on offer from the collection is representative of both well-established and more emerging artists. Working with everyday objects in a manner that intersects distinct movements like Pop art and Arte Povera, these varied works heighten our perception and elicit an appreciation of our own experiences. If there is one point around which these artists may be brought together, it is that each of them approaches their work as a field of exploration, suggesting that art offers a unique way of discovering our relationship to the world, a theme that resonates today perhaps more than ever.

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Abraham Cruzvillegas’ work is characterized by the use of discarded materials that are handled, recycled and reassembled in a process of accumulating and reordering everyday objects. The recontextualization and act of bringing new meanings through intuition and improvisation, link his practice to his hometown of Ajusco, Mexico City, where the traditional way of building involves adding or resolving issues with salvaged materials from everyday life. Cruzvillegas has adopted the term "Autoconstruccion" (Self- construction) to name his organic and collaborative way of working. In this way, he reflects on informal versus formal composition, and the organic apprehension and fractures of concepts of the universal with knowledge of philosophy and anthropology.

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OSGEMEOS, Dentro do arco-iris, é assim (Within the Rainbow) (detail), 2010. Estimate $150,000 - 200,000. 20th Century and Contemporary Art Day Sale.

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Autorretrato ciego regresando a la cordura entre gritos y sombrerazos en la plaza Taksim, 2013, belongs to one of the well-known series autorretratos ciegos (blind self-portraits), where the artist gathers large groups of diverse papers accumulated in his day-to-day activity: napkins, envelopes, images and articles from newspapers and magazines, receipts as well as bus, subway, train, tram and plane tickets, etc. In the present work, these various mementos of daily life are unified by color as the artist applied a coat of beige paint to each of the elements obscuring the specific information and then pinning them geometrically to the wall. This action of creating a harmonious abstract structure out of disorganized scraps of daily life proposes a new reflection on identity.

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Camisas, 2012, by the Argentinian artist, Leandro Erlich, consists of two shelves that initially appear to contain ten perfectly folded white shirts, however when approached are revealed to be made of ceramic rather than fabric, some of which are cracked or in pieces. Throughout his career, Erlich has depicted daily situations transformed by an illusion that requires a paradigm shift on behalf of viewers. The viewer is immersed in a fictional world in which nothing is what it seems and everything that responded to an order is disordered. Therefore, in this conceptual movement of Borgian references, it allows the emergence of new questions through an immersive visual language. As the artist and theorist Luis Camnitzer explains in the catalog of the artist’s retrospective exhibition at MALBA, Buenos Aires in 2019, "Leandro's work challenges the word "order" both in its authority and in its organization. It does it insidiously...because it does not mess up, as would be the obvious, but rather it substitutes. The authority seems to be maintained and the organization also. Thus, after all, the impossible seems possible, the absurd becomes rational, and the known is questioned until it touches the unknown."

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Adrián Villar Rojas, Sick of Goodbyes, 2011. Estimate $30,000 - 50,000. 20th Century and Contemporary Art Day Sale.

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Adrián Villar Rojas is a key figure in a younger generation of Argentinian artists. He imagines everyday life to be populated by fictional characters with mythical and literary references, within virtual and digital worlds. With his creation of a new, iconographic corpus from the beginning of his career, such as the devastated pool seen in Sick of Goodbyes, 2011, his spaces are in a state of ruin and his figures, colossal and timeless, cannot be immediately characterized as belonging to a distant past or a near future. He creates immersive environments of a post-human world that require the viewer to take an attentive look at the details in order to realize, the process of production, and thus to reflect on our own material decay. Image, process and matter constitute a complex rhetoric and critical thinking in all his approaches. Likewise, the world of the pictorial image references a state between the intelligible and the strange. Moving between abstraction and figuration, the work of the Brazilian artist, Vik Muniz proposes the creation of worlds where the appearance of things is re-signified in new images that he photographs. Muniz’s Pictures of Garbage, 2008-2011, is arguably his best-known series and was the subject of an award-winning documentary called Waste Land, 2010.

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Vik Muniz, Jackie (Pictures of Diamonds), 2005. Estimate $80,000 - 120,000. 20th Century and Contemporary Art Day Sale.

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As an emphatic reading of the harsh inequalities faced by the "catadores" (rag-pickers) in Jardim Gramacho—the world’s largest dump site—the present work, criticizes our unbridled consumerism by contrasting the contents of the image with artworks from the cannon of western culture. Muniz portrays seven "catadores" working in the yard on the outskirts of Rio de Janeiro through a trompe l'oeil technique using actual garbage from the yard. The meticulous technique highlights and contrasts beauty with waste. Similarly, in Jackie (Pictures of Diamonds), 2005, Muniz highlights a remarkable figure, while at the same time questioning the legitimacy of the diamond trade that goes hand-in-hand with the image.

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OSGEMEOS’s Dentro do arcoiris, e assim (within the Rainbow), 2010 is an iconic large-scale work that the artists assembled through the partial recycling of earlier works that were exhibited at Deitch Projects, New York in 2008 and then in Vertigem in 2010—a four-stop traveling exhibition in Brazil.

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Inhabited by the artists’ signature yellow figures, that arise from the idiosyncrasy of the Brazilian streets, where they first began their artistic journey, as well as hip-hop culture and American graffiti from the 1990s, the present work was the centerpiece of their mid-career retrospective at the Institute of Contemporary Art in Boston in 2012. The inclusion of everyday objects in this work are a nod to Pop art and constructivism, which marks the seminal development of the new direction in their most recent works.

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Discover More from 20th Century and Contemporary Art >

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Recommended Reading

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The Intimacy of Marlene Dumas >

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Specialist Wishlist >

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\n","publishDate","2020-12-06T17:41:35.000000Z","authorCredit","Sarah Bochicchio","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/67610619/the-tiroche-deleon-collection","displayOrder",5,"auctionEditorialID",1112,"editorialID",3343,"flocklerID",67610619,"https://flockler.com/thumbs/sites/889/wishlist-phillips-1-0bca2adf-6e87-4900-b179-15fb360d03a4_s600x0.jpg","Editions","As gifting season approaches, we asked Phillips specialists to select which pieces they would most like to give (and keep!). ","Specialist Wishlist ","

Fernando Campana and Humberto Campana. Cartoon chair, 2007. Estimate $25,000 - 35,000. Gallery One.

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Katherine Lukacher, Head of Online Sales

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Pablo Picasso, Chouetton (Young wood-owl), 1952. Estimate $6,000 - 8,000. Editions Modern.

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To Give

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I would give Pablo Picasso’s Chouetton (Young wood-owl) to my sister; she and I love the whimsical nature of Picasso’s ceramics. The owl was a re-occurring motif in Picasso’s work as it is the symbol for Athena, the goodness of Wisdom. Picasso also had a real-life happenstance with an injured owl, as Françoise Gilot described "…one of his claws had been injured. We bandaged it and it gradually healed.” The healing of owls seems to be a theme of 2020 as this vase also reminds me of the tiny Saw-whet owl that was found in the Rockefeller Christmas tree this year who had survived a ride on the tree and persevered with such resilience in 2020. A nice gift to remind her of one of the happier moments of hope in a challenging year.

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\nBid Now >

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Sturtevant, Warhol Black Marilyn, 2004. Estimate $200,000 - 300,000. Gallery One.

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To Keep

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I would keep Sturtevant’s Warhol Black Marilyn. I’ve always loved Sturtevant since we offered her piece Stella Tomlinson Court Park (First Version) (Study) back in 2014, the same year she passed away. At that time (2014-2015) her retrospective up was up at MoMa and she was reemerging as an important artist on the forefront of the appropriation movement. The curator of the retrospective, Peter Eleey remarked that “In some ways, style is her medium,” I always found that very intriguing as a concept, that she created by culling premade imagery and therefore as an artist could not be pinned down.

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\nBid Now >

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Fred Blauth, Registrar, Online Sales

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Elie Nadelman, Standing Bull, 1915/cast after 1946. Estimate $3,000 - 5,000. Editions Modern.

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To Give

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I would give Angus, my best friend, Elie Nadelman’s Standing Bull. I laugh the hardest and smile the biggest whenever I am with him. Being a Taurus myself, I also connect with the animal and can appreciate what it has come to represent throughout history. Angus is an incredible Spanish professor that has lived all over the world and cares deeply about language, so a pun or play-on-words seems like the perfect gift to me.

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\nBid Now >

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Ed Ruscha, The End, 1991. Estimate $20,000 - 30,000. Gallery One.

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To Keep

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I have to keep The End print by Ruscha! In 2018, I curated an exhibition in Pittsburgh, PA. by the same title that featured artists who reflected on the concept of finality, loss, break-ups, death...and change, rebirth and resurrection too. I have to hope that when the clock strikes midnight on January 1, 2021, we all can move forward from this trying year (or at least begin to). Let the credits roll!

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\nBid Now >

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Alexis Vourvoulis, Senior Specialist, Vice President, Jewels

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Fernando Campana and Humberto Campana. Cartoon chair, 2007. Estimate $25,000 - 35,000. Gallery One.

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To Give

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I would love to give the Minnie and Mickey chair by the Campana brothers, from Gallery One, to my stepdaughter. She lives in Paris, has impeccable taste and appreciates contemporary furniture and design. She's always on the hunt for a cool chair; this would be it.

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\nBid Now >

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An Art Moderne Diamond and Platinum Ring. Estimate $30,000 - 50,000. Jewels New York.

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To Keep

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There are several special pieces in our December New York Jewels Auction that I would love to own, but there is one piece that I would absolutely love to wear and that is Lot 35, An Art Moderne Diamond and Platinum Ring. A dramatic pinky ring is highly underrated and incredibly chic. The bold, clean lines are contemporary and edgy in contrast to the sweet, old pear-shaped diamonds set side by side. For me, this ring is as good as it gets.

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\nBid Now >

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Anne Mock, GG, Associate Specialist, Jewels

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Alexander Calder, Polka Dots, circa 1970. Estimate $3,000 - 4,000. Editions Modern.

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To Give

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Simple yet bold and playful, Alexander Calder’s Polka Dots would make the perfect gift. Even if the recipient is not an art aficionado, it’s easy to appreciate this piece, which evokes a sense of childlike joy. I love mixing clean, modern pieces with traditional, ornate ones—I think this work would pop in a cozy study!

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\nBid Now >

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An Art Deco Sapphire, Diamond and Platinum Ring. Estimate $50,000 - 70,000. Jewels New York.

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To Keep

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I would happily take ownership of this Art Deco Sapphire, Diamond and Platinum Ring. Weighing in at approximately 4.00 carats, this Burmese beauty is a deep, velvety blue color, free from heat treatment and inclusions, a gemologists dream. The delicate platinum mounting is encrusted with single-cut diamonds and intricate detailing; a little piece of history on the hand. I would have no problem wearing it with my quarantine jammies or a cocktail dress in the (hopefully near) future!

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\nBid Now >

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Kelly Troester, Worldwide Co-Head, Editions

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A Pair of Turquoise, Diamond and Platinum Plated Silver Earrings. Estimate $1,500 - 2,500. Jewels & More.

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To Give

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This holiday season I feel like giving small, precious or intimate objects more than anything else. My colleagues’ Jewels & More auction is filled with wonderful things at attractive price points, many at no reserve, hooray! These turquoise and diamond earrings (Lot 205) caught my eye as a beautiful gift to a beloved friend or dear colleague such as Sarah Browne, specialist in the Editions department. They are an elegant mix of stones and eras—Art Deco design but contemporary. Sarah and I share a love of Navajo, Native American, and vintage jewelry, so the turquoise and the Deco form a symbolic combination (with a ton of character). I hope she likes them!

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\nBid Now >

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Pablo Picasso, Jacqueline au chevalet (Jacqueline at the Easel), 1956. Estimate $30,000 - 50,000. Editions Modern.

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To Keep

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This solid repoussée silver platter just radiates a shimmering holiday gift—example of an objet d’art someone gives another as a completely wonderful surprise. In 1956 Picasso wanted to translate a small group of his Madoura ceramics into opulent silver plates inspired by 16th and 17th century chased silver and gold Venetian and French plates. He chose metalsmith François Victor-Hugo to create small editions. It’s a wonderful collaboration. I find it to be one of those rare, festive, luxe pieces that would have been sourced for a Neiman Marcus Christmas Book, the ultimate holiday wish-book back in its day. It is my grand little sports car. I would not chance someone missing it in this auction; I'm keeping it for myself to make sure it finds its way to me!

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\nBid Now >

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Patrizia Koenig, Associate Specialist, 20^th Century & Contemporary Art

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Olafur Eliasson,The hue of the void, 2020. Estimate $10,000 - 15,000. 20th Century & Contemporary Art Day Sale.

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To Give

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I would gift Olafur Eliasson’s The hue of the void to my best friend who recently moved to Los Angeles. When I think of Los Angeles, I think of light and space—and in many ways this watercolor poetically captures this. I love the work’s poetic title, the delicacy of its composition and the subtle shift in colors that reveals itself to you the longer you stand in front of it. And importantly, this work in itself is a generous gift by the artist, who donated it to the Hall Art Foundation, which is donating all proceeds to the Alexander W. Dreyfoos School of the Arts in West Palm Beach for low-income Black students who wish to pursue a career in the visual and performing arts.

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\nBid Now >

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Bill Traylor, Untitled (Black and Brown Horse), circa 1941. Estimate $40,000 - 60,000. 20th Century & Contemporary Art Day Sale.

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To Keep

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I’d have to keep Bill Traylor’s Untitled (Black and Brown Horse) without a doubt! Traylor is arguably one of the most important American artists of the past century, and this work is of a caliber that’s extremely hard to come by. Not only is it rare for its large scale and the singular imagery of the horse, it was notably done on the back of a poster related to the African American community (in this case a 1941 The Ink Spots poster). Traylor’s works are politically and artistically assertive; they speak of an artist seeking self-definition, a visual storyteller recording a segregated country at the precipice of the Civil Rights movement.

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\nBid Now >

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Annie Dolan, Associate Head of Day Sales, 20^th Century & Contemporary Art

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Hermès, A Stainless Steel ‘Cape Cod Tonneau’ Wristwatch. Estimate $1,500 - 2,500. Jewels & More.

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To Give

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I would gift the Hermès Cape Cod Tonneau wristwatch to my mom this holiday season. She has amassed a large watch collection over the years, and this stainless steel watch with the orange band is definitely the missing link! She loves a pop of color with an all-black outfit, and I have no doubt that she would want to wear this watch every day.

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\nBid Now >

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Fred Wilson, Untitled (Bast), 1992. Estimate $25,000 - 35,000. 20th Century & Contemporary Art Day Sale.

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To Keep

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If I had to pick one work on offer right now to take home for the holidays, I would pick Fred Wilson’s Untitled (Bast). I’ve always loved Fred Wilson’s work, and especially love this plaster wall-bound work. The plaster cast relates to those found in ancient Greco-Roman culture, specifically those cultures with Egyptian origins. It reminds me of the reliefs seen on my countless visits to the Metropolitan Museum of Art growing up just outside of New York City. Wilson has appropriated art historical objects like these throughout his practice, re-contexualizing them in profound, and sometimes satirical ways. I love that here, Wilson has taken the bust of a cat in profile and placed it atop the left figure (admittedly, as a cat lady myself!).

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\nBid Now >

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Sarah Browne, Associate Specialist, Editions

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Coralynn Pence, A Diamond, Aquamarine and Gold Brooch. Estimate $4,000 - 6,000. Jewels & More.

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To Give

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I inherited a love of brooches and lapel pins from my grandmother. She was known to adorn all coats, hats and blazers with pins ranging from Tiffany classics, political buttons and museum souvenirs, to rhinestone creations purchased at thrift stores around the world. Coralynn Pence’s modernist inspired silhouettes remind me of my grandmother’s collection. Pence was also a known world traveler and often brought back materials to include in her work. A Diamond, Aquamarine and Gold Brooch would make a great gift for my colleague Kelly Troester; a lover of antiques, a savvy thrifter and a collector of all things eclectic and beautiful.

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\nBid Now >

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David Smith, Juliette, 1938. Estimate $3,000 - 4,000. 20th Century & Contemporary Art Day Sale.

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To Keep

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This uneditioned proof of David Smith’s Juliette is packed with print history! I am always drawn to these gems that lead you down a rabbit hole of discovery. Besides, who wouldn’t love to own a rare piece of Smith’s print history?! This elegant, strong female form is presumably a ballet dancer, as drawing dancers from life was part of Smith’s studio practice. This proof was printed on what looks to be found paper and is the first of three states. With each state, Juliette’s form is further embellished and in the final state, which is an edition of just 10, Juliette is depicted in front of an elaborately detailed fireplace setting. For me, I like the simplicity and crispness of this version most.

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\nBid Now >

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Recommended Reading

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Splurge vs. Steal: A Jewelry Gift Guide >

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Your Year in Art: 2021 Horoscopes >

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\n","2020-12-02T20:38:27.000000Z","https://www.phillips.com/article/67340255/wishlist-gift-guide-auction-jewels-editions-gallery-one",4,1111,3335,67340255,"https://flockler.com/thumbs/sites/889/titus-kaphar-memory-fails-for-sale-30ad178b-8cb3-4a2b-81ea-9c7285e787b2_s600x0.jpg","Some of this season's standout works by Black artists arrive at auction from the Collection of Pamela K. and William A. Royall Jr.","Inside the Royall Collection","

Titus Kaphar, Memory Fails, 2010. Estimate $80,000 - 120,000. 20th Century and Contemporary Art New York.

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The internationally distinguished collection of pioneering philanthropists Pamela and William Royall — prominent collectors of 20^th century and contemporary art in the American South — reflects their broad interests, from well-known artists of the 20^th century to emerging and established Black artists. Committed arts patrons and forces of change in Richmond, Virginia, the Royalls spearheaded the Virginia Museum of Fine Arts’s recent acquisition of Kehinde Wiley’s sculpture Rumors of War as board members of the institution and were instrumental to the museum’s expansion of the diversity of its collection. Believing in a vision of greater inclusivity for Richmond, the Royalls established a non-profit art gallery for the collection, Try-me, which was open without charge to the public to foster a space for local artists and education. Here, five key works from the Royall's personal collection spotlight some of the last century's most influential names in depicting the contemporary Black experience.

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Amy Sherald

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Amy Sherald,The Bathers, 2015. Estimate $150,000 - 200,000. 20th Century and Contemporary Art New York.

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Amy Sherald’s paintings of everyday African Americans subvert the conventional genre of portraiture to show a more complete picture of humanity. Her figures — in this case, two young bathers — gaze directly at us with a confident disposition that exudes timelessness, asserting their presence in a medium and traditional subject matter that has historically ostracized non-white artists and sitters. A rare image for Sherald in that it depicts two sitters, The Bathers is one of the finest works by the artist in private hands, showcasing her idiosyncratic aesthetic of fashionable gray-scaled figures represented against Barkley Hendricks-esque monochromatic expanse.

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\nLot 1 >

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Barkley L. Hendricks

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Barkley Hendricks, Selina/Star, 1980. Estimate $800,000 - 1,200,000. 20th Century and Contemporary Art New York.

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This work epitomizes Barkley Hendricks’s arresting portrayals of fashionable, super-cool Black and Latino subjects, which revolutionized contemporary figurative painting. A superb example from the artist’s more celebrated bodies of work — nearly life-size portraits that were executed between the late 1960s and early 1980s — it showcases his unrivaled ability to capture not only the personality but the inner spirit of each of his sitters. Though Hendricks is known for the wide array of vibrant colors he employed throughout his oeuvre, he often revisited his favorites: the palette of Selina/Star is redolent of the brilliant yellow he used seven years earlier in Woody, 1973 and which he would use two years later for his subject’s attire in Icon for Fifi, 1982. This mastery of color and faculty for encapsulating such a distinctive sartorial individuality has left an indelible mark on art history, and has influenced a generation of artists — from Kehinde Wiley to Mickalene Thomas to Amy Sherald.

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\nLot 12 >

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Beauford Delaney

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Beauford Delaney, Street Scene, 1968. Estimate $120,000 - 180,000. 20th Century and Contemporary Art New York.

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Street Scene (Paris) is a quintessential work that Beauford Delaney created in Paris, having moved from New York in 1953. Whilst Delaney had established himself as a central figure in the Harlem Renaissance in the decades prior — gaining widespread recognition for pastel portraits of prominent African Americans figures such as W. E. B. Du Bois and Duke Ellington — he decided at the age of 52 to move to the French capital. Blurring the boundaries of abstraction and figuration in a manner evocative of such artistic forebears as Claude Monet and Vincent van Gogh, Delaney here offers a work that at once harkens back to his street scenes of the 1940s and exemplifies his painterly investigations of color and light.

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\nLot 107 >

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Bill Traylor

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Bill Traylor, Untitled (Black and Brown Horse), 1941. Estimate $40,000 - 60,000. 20th Century and Contemporary Art New York.

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A work by one of the most important American artists of the 20^th century, Untitled (Black and Brown Horse) was executed on the verso of a poster advertising The Ink Spots, the famed vocal jazz group who was regularly featured in the U.S. Pop Charts in the 1940s and collaborated with the likes of Ella Fitzgerald. Advertising an upcoming June 4, 1941 concert in Montgomery, Alabama, this poster offers insights into a unique moment in time in which Bill Traylor was creating his distinctive art from often modest materials while sitting on a wooden box on the sidewalk of Monroe Avenue, the center of Montgomery's African-American community.

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\nLot 101 >

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Henry Taylor

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Henry Taylor, Noah was here and obviously Thelma too, 2014. Estimate $150,000 - 200,000. 20th Century and Contemporary Art New York.

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Having a zeal for exploring the stories of people from various walks of life, Henry Taylor is known for his particular skill in unraveling his subjects’ personal character through an idiosyncratic painterly aesthetic. In Noah Was Here and Obviously Thelma Too, the artist portrays two subjects that have played a particularly intimate role in his life and career — Noah Davis, a close friend, fellow artist and significant creative influence and Thelma Hudgins, a patron of Taylor’s work. Having many odd jobs before pursuing his career as an artist, Taylor’s first paintings depicted family members and patients he met while employed at a mental hospital in Camarillo, California and later began inviting local waitresses, cashiers and homeless people into his studio to sit for portraits. The present painting is an exquisite example of Taylor’s larger body of work focused on relationships, history and the contemporary human experience.

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\nLot 418 >

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Discover More from 20th Century and Contemporary Art >

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\nThe Illustrious Blacks x The Royall Collection

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Your favorite NeoAfroFuturisticPsychedelicSurrealisticHippys, The Illustrious Blacks (Manchildblack x Monstah Black), take on Phillips Southampton on their mission to save the world one beat at a time! Join them on a wild, haunting tour of The Pamela and William Royall Collection featuring extraordinary works by artists Titus Kaphar, Amy Sherald, Mickalene Thomas, and more.

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Recommended Reading

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Emerging Talent: 12 Artists to Watch >

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David Hockney's Wiggly Lanes >

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\n","2020-12-02T19:17:24.000000Z","Phillip Crook","https://www.phillips.com/article/67335088/pamela-and-william-royall-collection-art-auction",3,1096,3334,67335088,"https://flockler.com/thumbs/sites/889/dumas-phillips-1-df3323b6-0918-4bee-a4b5-73d44fa9aed5_s600x0.jpg","The selection drawings and paintings from the collection of the late Edward Blake Byrne is representative of the artist's depictions of isolation, fragmentation, and intimacy. ","The Intimacy of Marlene Dumas","

Marlene Dumas, The Reflection, 1992. Estimate $70,000 - 100,000. 20th Century and Contemporary Art New York.

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Marlene Dumas’ works circulate around psychological themes of the human condition: love, death, sexuality, and memory. Mining imagery from pop-culture, newspaper clippings and decontextualized film stills, as well as her own photographs of family and friends, Dumas’ phantasmagorical faces and distorted bodies challenge the distinctions between context and origin. This selection of eleven intimate drawings and paintings made between 1987 and 2001, from the collection of the late Edward Blake Byrne, is representative of Dumas’ oeuvre in which the artist isolates and fragments her figures.

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Marlene Dumas, Helena Sleeping, 1989. Estimate $15,000 - 20,000. 20th Century and Contemporary Art New York.

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Inspired by the birth of her daughter Helena in 1989, Dumas has consistently explored the stages of motherhood, beginning with pregnancy and birth. The anticipatory sensation of motherhood is reflected upon in works such as Not born Yet, 1990, Baba Soldaat, 1990, and A Little Devil, 1989. The reality of childbirth and motherhood is felt especially in Baba Soldaat, where an infant with exaggerated proportions stands before the viewer with a soft swirl of pigment sitting in place of a fully developed face.

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In Helena Sleeping, 1989, Dumas invites viewers to observe imagery culled from the registers of her intimate experiences with her daughter. In this work, each feature of the infant’s face is depicted in great detail—the only element left to the viewer’s imagination is the subject’s placement within the black ink/wash haze that surrounds her seemingly disembodied head. This prevailing sense of obscurity is indicative of the metaphor of natural and artistic creation that underlines Dumas’s work. Similar to biological development, Dumas’s artistic practice urges the viewer to question the transmutation of the image as object and subject as well as the differences attributed to it once it takes on a new form.

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Painting is about the trace of the human touch. It is about the skin of a surface. – Marlene Dumas
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Unlike the works that center around the extensions of the self, The Reflection, 1992, looks inward and addresses issues surrounding self-perception. In The Reflection, a figure shrouded in darkness sits in front of a mirror while her reflection reveals an alternate depiction of her—a phantom-like presence constructed from a thin coat of white and grey paint. The difference between the figure’s body and their own reflection taps into an ongoing theme that characterizes Dumas’s methodology of interrogating the division between one’s public and private self. "I am dealing with emotions that everyone feels. But I'm always conscious of this tension between knowing that you are making an object, a physical thing, and being aware that you are also referring to things [the emotions] that cannot actually be painted. If the painting works, that tension is in there."

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Marlene Dumas, The Woman and the Mirror, 1990. Estimate $12,000 - 18,000. 20th Century and Contemporary Art New York.

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The ineffability of emotion is extended in Dumas’s exploration of the erotic—one of Dumas’ most sought after subject matters. In The Woman and the Mirror, 1990, a woman stands nude against a white background while one gloved hand grasps at her breast and another covers her face. Her gestures obscure the typical signifiers of the ecstatic experience, distancing the erotic nature of this work from the pornographic. Known for her preference for suggestive scenes rather than narrative ones, Dumas urges the viewer to seek other cues that would allow them to approach her subject. The unconstrained contours of the nude as well as the liquid and almost formless attributes of the watercolor deepen this work with a sense of vulnerability akin to the erotic. Dumas works with this phenomenon, its openness and fluidity as well as its ability to transcend public and private spheres, in order to bring its peculiarities to light.

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Discover More from 20th Century and Contemporary Art >

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Recommended Reading

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Christina Quarles: A Fragmented Union >

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Emerging Talent: 12 Artists to Watch >

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\n","2020-12-03T20:51:00.000000Z","https://www.phillips.com/article/67417024/marlene-dumas-twentieth-century-contemporary-art-new-york-auction",2,1092,3342,67417024,"https://flockler.com/thumbs/sites/889/artists-to-watch-4-9bfdb546-3b92-48a6-9b39-dc075e17a424_s600x0.jpg","We're rounding up some relative newcomers to the auction world ahead of this season's 20th Century & Contemporary Art auctions. ","Emerging Talent: 12 Artists to Watch","

Tunji Adeniyi-Jones, Red Twins III, 2018. Estimate $15,000 - 20,000. 20th Century and Contemporary Art New York.

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Vaughn Spann

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Vaughn Spann, Big Black Rainbow (Deep Dive), 2019. Estimate $40,000 - 60,000. 20th Century and Contemporary Art New York.

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Two years after finishing his MFA at Yale, Vaughn Spann has sold out a solo show at Almine Rech, and his work can be found in multiple museum collections. His meteoric rise is a reflection of his fluid yet very deliberate oeuvre, which hovers between figuration and abstraction, incorporating commonplace iconography and materials—like coarse terrycloth—to explore personal, historical, and political narratives.

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Big Black Rainbow (Deep Dive), only the second work by Spann to go to auction, is part of the artist’s rainbow series, which began as a tribute to Trayvon Martin, an unarmed teenager who was fatally shot while walking back from a nearby convenience store. The series tends to bring up a wide spectrum of associations—oscillating between joy and mourning, pride and political outcry. The complexity of its response feels representative of Spann’s thoughtful reconsideration of everyday images, signs, and ideas whose meanings are far more ambiguous than we realize.

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\nLot 3 >

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Jadé Fadojutimi

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Jadé Fadojutimi, Lotus Land, 2017. Estimate $40,000 - 60,000. 20th Century and Contemporary Art New York.

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One of the most sought-after young artists, Fadojutimi is the youngest person in the collection of the Tate and a rising star by all accounts. The 27-year-old artist makes her auction debut with Lotus Land, which is replete with the kinetic strokes, prodigious talent, and convention-shattering abstractions that have gained the artist such recognition. Lotus Land offers an environment reminiscent of an aquatic, semi-tropical space that is punctured by emotion, plurality, and rhythmic gestures. Yet its palpable energy cannot be mistaken for spontaneity; Fadojutimi meticulously plans her compositions, creating layers of selves that teem with conceptual tension.

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Lot 2 >

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Madelynn Green

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Madelynn Green, Cadillac, 2017. Estimate $3,000 - 5,000. 20th Century and Contemporary Art New York.

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Madelynn Green regards artists as the boldest critics—and analysts—of society. This belief manifests in her own background: after studying political science as an undergraduate, Green moved on to Central Saint Martins, where she received her MFA in 2019. Her work is thus distinctly anti-hegemonic, infused with the desire to embolden underrepresented histories and highlight political themes.

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Concerned with this concept of representation and documentation, she has gravitated towards the photograph—both as a concept and an aesthetic medium, playing with the blurred figures, nostalgia, and self-recognition at play in social dynamics (and how we capture them). Green’s work is held in private collections and in the UK Government Art Collection and will be featured in an exhibition at Almine Rech in 2021.

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\nLot 423 >

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Christina Forrer

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Christina Forrer, Untitled (Purple and Pink), 2018. Estimate $20,000 - 30,000. 20th Century and Contemporary Art New York.

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Christina Forrer, whose oeuvre comprises tapestries, paintings, and works on paper, finds inspiration in the classical tradition, ruthlessly breaking apart a central art historical theme: conflict. Raw yet folkloric, Forrer’s works depict the restlessness, anxiety, and occasional joy of modern communication and relationships, exaggerated and perpetuated over time. She has had numerous solo exhibitions in New York, Savannah, and Los Angeles and has participated in group exhibitions in New York and Minneapolis.

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\nLot 403 >

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Joy Labinjo

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Joy Labinjo, Visiting Great Grandma, 2018. Estimate $10,000 - 15,000. 20th Century and Contemporary Art New York.

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Featured in exhibitions at the Royal Academy, BALTIC Centre, and The Breeder in Athens, Joy Labinjo’s oeuvre refracts a life lived through multiple identities. Her paintings expand on her heritage—growing up Black, British, and Nigerian—and reference the distinct domesticity and material memories she associates with the 1990s and early 2000s.

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Her point of departure is often her personal archive, allowing her to incorporate abstraction, naturalism, and Ankara prints in equal measure. A work like Visiting Great Grandma repurposes a family memory in order to pose questions about the very nature of belonging, heritage, and identity.

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\nLot 409 >

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Moffat Takadiwa

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Moffat Takadiwa, Educated Fulls, 2016. Estimate $12,000 - 18,000. 20th Century and Contemporary Art New York.

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Moffat Takadiwa lives and works in Zimbabwe, in a neighborhood known for its recycling and repurposing micro-economy. His work appropriates the refuse of the West, reverse-engineering wasteful consumerism into traditional textiles. Think: the computer keys and wire here incorporated into Educated Fulls. The works quite literally weave together concepts of identity, colonialism, environmental concerns, and social practice. His work has been exhibited across Zimbabwe, as well as globally, in cities such as Oslo, Bologna, London, and Los Angeles.

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\nLot 549 >

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Tunji Adeniyi-Jones

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Tunji Adeniyi-Jones, Red Twins III, 2018. Estimate $15,000 - 20,000. 20th Century and Contemporary Art New York.

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After studying fine art at Oxford and Yale, Adeniyi-Jones has forged a name with his figurative paintings that draw on his Yoruba heritage. Adeniyi-Jones approaches his figures with great physicality, energizing bodies like dancers, in all their fluidity and power (which has, perhaps unsurprisingly, generated a fair share of Matisse comparisons).

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For Adeniyi-Jones, these figures are a correction, as much as an aesthetic force, “I’m interested in how cross-cultural aesthetics and cultural hybridity relate to the history of painting,” he explains. Although the relationship is often discredited, he reminds us that “European modernist movements like Cubism and Expressionism simply would not exist without the influence of West African sculpture.”

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\nLot 413 >

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Robin F. Williams

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Robin F. Williams, The Getaway (Study), 2016. Estimate $25,000 - 35,000. 20th Century and Contemporary Art New York.

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Brooklyn-based painter Robin F. Williams has firmly reoriented the male gaze. Appropriating the visual language of advertising and popular culture, Williams depicts women who stare right back at their viewer, until their viewer stands down. “Some of these women are saying with their bodies and their expressions, ‘Oh, I’ve been waiting for you,’” she explains. “The implication is that the viewer was their idea, instead of the other way around.” The Getaway (Study) sings with her signature, leaving the viewer wondering what the narrative was, but never doubting who is in charge of it. Williams’ work has been displayed in numerous solo and group exhibitions throughout the US, a standout being “With Pleasure” at Various Small Fires, Los Angeles.

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\nLot 405 >

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Kudzanai-Violet Hwami

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Kudzanai-Violet Hwami, Eve on Psilocybin, 2018. Estimate $30,000 - 40,000. 20th Century and Contemporary Art New York.

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"Simultaneously I am experiencing Zimbabwe and South Africa and the UK, in my mind. I’m in the UK, but I carry those places with me everywhere I go,” says Kudzanai-Violet Hwami, who though London-based, lived in Zimbabwe and South Africa for most of her life. Much of her work thus explores what it is like to see her old haunts only from afar, through the luminous glare of a tablet’s screen.

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Hwami, who has already represented Zimbabwe at the Venice Biennale despite her young age, grew up in that glow. Eve on Psilocybin highlights the deceptiveness of the apparent intimacy cultivated through social media, dramatizing the gap between inward and outward perception. The digital thread appears in other ways too: the multidimensionality, the sense of discovery and representation, and thoughtfully planning her work in spite of its candid appearance.

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Lot 401 >

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Alex Gardner

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Alex Gardner, to be titled, 2018. Estimate $20,000 - 30,000. 20th Century and Contemporary Art New York.

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Alex Gardner’s surreal, Mannerist figures are immediately recognizable. Often positioned in languid, classical poses, Gardner presents the entanglement—either physical or emotional—of these bodies as open-ended questions, rather than narratives. Works like to be titled suggest a huge variety of meanings that appeal to each viewer for their own unique projection of how Black bodies should exist in our distant, virtual world.

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\nLot 410 >

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Samuel Levi Jones

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Samuel Levi Jones, Promises, 2014. Estimate $40,000 - 60,000. 20th Century and Contemporary Art New York.

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Samuel Levi Jones works with historical material, exploring documentation as a medium through which authority, representation, and power meet. Promises, which is comprised of a deconstructed encyclopedia set on canvas, reflects his practice of reorganizing books into abstracted grids that highlight their gaps, rather than their seeming expertise they wield when untouched on a lofty shelf. His work can be found in both private and public collections including SF MOMA, LACMA, and the Studio Museum in Harlem.

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\nLot 420 >

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Jammie Holmes

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Jammie Holmes, Untitled, 2019. Estimate $6,000 - 8,000. 20th Century and Contemporary Art New York.

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When Jammie Holmes launched George Floyd’s final words—“They’re going to kill me” and “My neck hurts”— into the skies of major American cities this summer, he released a collective grief. As he has said, “Having George Floyd’s last words above the crowds allowed for a greater moment of silence, for peace, like when doves are released in the sky.”

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The tableaux-like nature of the aerial demonstration reflects an ongoing illumination of the scars of American racism. The self-taught painter from Thibodaux, Louisiana has depicted Black contemporary life, particularly in the Deep South, with a focus on family, tradition, and advocacy. His work has been featured at institutions such as Dallas Contemporary, where a digital exhibition recorded and amplified his aerial work this past June.

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\nLot 424 >

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Recommended Reading

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Joan Mitchell in Another Dimension >

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David Hockney's Wiggly Lanes >

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\n","2020-12-01T22:05:10.000000Z","https://www.phillips.com/article/67265122/emerging-talent-12-artists-to-watch-twentieth-century-contemporary-art-new-york-auction",1091,3327,67265122,"https://flockler.com/thumbs/sites/889/christina-quarles-phillips-ff584fc9-2b6e-4b82-8321-f6ed8818edd2_s600x0.jpg","Drawing on a wide-ranging lexicon, the young artist simultaneously combines and dislocates her points of reference, contouring her subjects in ambiguity.","Christina Quarles: A Fragmented Union ","

Christina Quarles, Tuckt, 2016. Estimate $70,000 - 100,000. 20th Century and Contemporary Art New York.

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Painted the same year she completed her MFA at Yale, Tuckt, 2016, demonstrates the sharp focus and technical skill that garnered Christina Quarles immediate recognition. Only one year after her graduation, Quarles’ work was exhibited in group exhibitions at the New Museum, New York and the Studio Museum, Harlem, where it received critical acclaim. Looking forward, Quarles will be the subject of a major solo exhibition at the Museum of Contemporary Art Chicago in 2021, which will be the largest presentation of her work to date.

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In Tuckt, Quarles paints two gray-toned figures against an ambiguous background constructed from thick blue strips of impasto against an isolated window. The frontal figure bends over on all fours and arches towards a set of dotted pink sheets, while beside them, another figure sweeps forward in an identical pose. Although Quarles has contoured these genderless bodies with wisps of red pigment, once the viewer’s eye traces the hips of the subjects, the two once-distinct figures fuse into a single being where it becomes impossible to determine the point of separation. It is this fragmentation of perception and imperceptibility of identity that uniquely characterizes Quarles’ vivid paintings as well as her lived experience.

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Through her practice, Quarles brings her own multifaceted positions on race and sexuality to the forefront. Born to a Black father and a white mother, Quarles has moved through several spaces where her own Black heritage has become illegible. Her outward appearance resists the immediate and constrained classification that race encourages, and this schism between what she believes of her own identity and how others perceive her has evolved into a conflict that she readily explores in her oeuvre. As a result, Quarles defies categorization and expertly uses a varied visual lexicon. In Tuckt, her gestural brushstrokes evoke the memory of abstract expressionism while the severing of context and dislocation of a preconceived logic recalls the more radical aspects of surrealism.

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Quarles’s identification as a queer woman also plays a prominent role in her work, as many of her paintings highlight the erotic nature of abstraction. The indeterminate appearance of the body (or bodies) represented in Tuckt, is akin to the amorphous figure presented in Francis Bacon’s Lying Figure, 1969. In Lying Figure, Bacon portrays a nude, contorted figure who rests within an unspecified room underneath the skewed halo of a lightbulb. For both artists, this disruption of time and space and its ability to transform the familiar is key to a painting’s success.

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Discover More from 20th Century and Contemporary Art >

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Recommended Reading

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Joan Mitchell in Another Dimension >

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Ruth O'Hara's Legacy >

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Collectors Digest

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Concurrent Institutional Show:

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Savannah, SCAD Museum of Art, Emily Mae Smith: ‘Feast & Famine’, August 20, 2020 - January 1, 2021

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Abraham Cruzvillegas, Autorretrato ciego regresando a la cordura entre gritos y sombrerazos en la plaza Taksim, 2013. Estimate $30,000 - 40,000. 20th Century and Contemporary Art Day Sale.

OSGEMEOS, Dentro do arco-iris, é assim (Within the Rainbow) (detail), 2010. Estimate $150,000 - 200,000. 20th Century and Contemporary Art Day Sale.

Adrián Villar Rojas, Sick of Goodbyes, 2011. Estimate $30,000 - 50,000. 20th Century and Contemporary Art Day Sale.

Vik Muniz, Jackie (Pictures of Diamonds), 2005. Estimate $80,000 - 120,000. 20th Century and Contemporary Art Day Sale.

Katherine Lukacher, Head of Online Sales

Pablo Picasso, Chouetton (Young wood-owl), 1952. Estimate $6,000 - 8,000. Editions Modern.

To Give

Sturtevant, Warhol Black Marilyn, 2004. Estimate $200,000 - 300,000. Gallery One.

To Keep

Fred Blauth, Registrar, Online Sales

Elie Nadelman, Standing Bull, 1915/cast after 1946. Estimate $3,000 - 5,000. Editions Modern.

To Give

Ed Ruscha, The End, 1991. Estimate $20,000 - 30,000. Gallery One.

To Keep

Alexis Vourvoulis, Senior Specialist, Vice President, Jewels

Fernando Campana and Humberto Campana. Cartoon chair, 2007. Estimate $25,000 - 35,000. Gallery One.

To Give

An Art Moderne Diamond and Platinum Ring. Estimate $30,000 - 50,000. Jewels New York.

To Keep

Anne Mock, GG, Associate Specialist, Jewels

Alexander Calder, Polka Dots, circa 1970. Estimate $3,000 - 4,000. Editions Modern.

To Give

An Art Deco Sapphire, Diamond and Platinum Ring. Estimate $50,000 - 70,000. Jewels New York.

To Keep

Kelly Troester, Worldwide Co-Head, Editions

A Pair of Turquoise, Diamond and Platinum Plated Silver Earrings. Estimate $1,500 - 2,500. Jewels & More.

To Give

Pablo Picasso, Jacqueline au chevalet (Jacqueline at the Easel), 1956. Estimate $30,000 - 50,000. Editions Modern.

To Keep

Patrizia Koenig, Associate Specialist, 20th Century & Contemporary Art

Olafur Eliasson,The hue of the void, 2020. Estimate $10,000 - 15,000. 20th Century & Contemporary Art Day Sale.

To Give

Bill Traylor, Untitled (Black and Brown Horse), circa 1941. Estimate $40,000 - 60,000. 20th Century & Contemporary Art Day Sale.

To Keep

Annie Dolan, Associate Head of Day Sales, 20th Century & Contemporary Art

Hermès, A Stainless Steel ‘Cape Cod Tonneau’ Wristwatch. Estimate $1,500 - 2,500. Jewels & More.

To Give

Fred Wilson, Untitled (Bast), 1992. Estimate $25,000 - 35,000. 20th Century & Contemporary Art Day Sale.

To Keep

Sarah Browne, Associate Specialist, Editions

Coralynn Pence, A Diamond, Aquamarine and Gold Brooch. Estimate $4,000 - 6,000. Jewels & More.

To Give

David Smith, Juliette, 1938. Estimate $3,000 - 4,000. 20th Century & Contemporary Art Day Sale.

To Keep

Amy Sherald

Amy Sherald,The Bathers, 2015. Estimate $150,000 - 200,000. 20th Century and Contemporary Art New York.

Barkley L. Hendricks

Barkley Hendricks, Selina/Star, 1980. Estimate $800,000 - 1,200,000. 20th Century and Contemporary Art New York.

Beauford Delaney

Beauford Delaney, Street Scene, 1968. Estimate $120,000 - 180,000. 20th Century and Contemporary Art New York.

Bill Traylor

Bill Traylor, Untitled (Black and Brown Horse), 1941. Estimate $40,000 - 60,000. 20th Century and Contemporary Art New York.

Henry Taylor

Henry Taylor, Noah was here and obviously Thelma too, 2014. Estimate $150,000 - 200,000. 20th Century and Contemporary Art New York.

\nThe Illustrious Blacks x The Royall Collection

Marlene Dumas, Helena Sleeping, 1989. Estimate $15,000 - 20,000. 20th Century and Contemporary Art New York.

Marlene Dumas, The Woman and the Mirror, 1990. Estimate $12,000 - 18,000. 20th Century and Contemporary Art New York.

Vaughn Spann

Vaughn Spann, Big Black Rainbow (Deep Dive), 2019. Estimate $40,000 - 60,000. 20th Century and Contemporary Art New York.

Jadé Fadojutimi

Jadé Fadojutimi, Lotus Land, 2017. Estimate $40,000 - 60,000. 20th Century and Contemporary Art New York.

Madelynn Green

Madelynn Green, Cadillac, 2017. Estimate $3,000 - 5,000. 20th Century and Contemporary Art New York.

Christina Forrer

Christina Forrer, Untitled (Purple and Pink), 2018. Estimate $20,000 - 30,000. 20th Century and Contemporary Art New York.

Joy Labinjo

Joy Labinjo, Visiting Great Grandma, 2018. Estimate $10,000 - 15,000. 20th Century and Contemporary Art New York.

Moffat Takadiwa

Moffat Takadiwa, Educated Fulls, 2016. Estimate $12,000 - 18,000. 20th Century and Contemporary Art New York.

Tunji Adeniyi-Jones

Tunji Adeniyi-Jones, Red Twins III, 2018. Estimate $15,000 - 20,000. 20th Century and Contemporary Art New York.

Robin F. Williams

Robin F. Williams, The Getaway (Study), 2016. Estimate $25,000 - 35,000. 20th Century and Contemporary Art New York.

Kudzanai-Violet Hwami

Kudzanai-Violet Hwami, Eve on Psilocybin, 2018. Estimate $30,000 - 40,000. 20th Century and Contemporary Art New York.

Alex Gardner

Alex Gardner, to be titled, 2018. Estimate $20,000 - 30,000. 20th Century and Contemporary Art New York.

Samuel Levi Jones

Samuel Levi Jones, Promises, 2014. Estimate $40,000 - 60,000. 20th Century and Contemporary Art New York.

Jammie Holmes

Patrizia Koenig, Associate Specialist, 20^th Century & Contemporary Art

Annie Dolan, Associate Head of Day Sales, 20^th Century & Contemporary Art

407

Emily Mae Smith

Centurion XX

Further Details

Full-Cataloguing

Emily Mae Smith