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30 Berkeley Square, London (map)
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Viewing 23 February - 8 March
\nMonday-Saturday 10am-6pm
\nSunday 12pm-6pm\n

","auctionDetailsSmall","London Auction 8 March 2019","extraInfo","Tamila Kerimova
\nSpecialist, Head of Day Sale
\n+ 44 20 7318 4065
\ntkerimova@phillips.com
","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368],"articles",[167,168,169,170,171],"departments",[160],"auctionCurrency",{"_157":72,"_158":159},"totalLotCount",133,"auctionMobilityAuctionRowId","1-1JUHFN","auctionUrl","https://www.phillips.com/auction/UK010219","currencyCode","currencySign","£",{"_161":162,"_163":164,"_165":166},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_172":227,"_174":166,"_175":228,"_16":229,"_178":230,"_180":231,"_182":201,"_184":202,"_186":232,"_188":202,"_190":233,"_192":234,"_194":235},{"_172":218,"_174":166,"_175":219,"_16":220,"_178":221,"_180":222,"_182":201,"_184":202,"_186":223,"_188":162,"_190":224,"_192":225,"_194":226},{"_172":208,"_174":166,"_175":209,"_16":210,"_178":211,"_180":212,"_182":201,"_184":202,"_186":213,"_188":214,"_190":215,"_192":216,"_194":217},{"_172":196,"_174":166,"_175":197,"_16":198,"_178":199,"_180":200,"_182":201,"_184":202,"_186":203,"_188":204,"_190":205,"_192":206,"_194":207},{"_172":173,"_174":166,"_175":176,"_16":177,"_178":179,"_180":181,"_182":183,"_184":185,"_186":187,"_188":189,"_190":191,"_192":193,"_194":195},"coverUrl","https://flockler.com/thumbs/sites/889/1551107881-372476685749-7b2db756-e4cc-475a-915d-7b60074398d4_s600x0_c1344x785_l0x200.jpeg","section","summary","Tour our Evening & Day 20th Century & Contemporary Art Sales in this virtual reality walkthrough from 30 Berkeley Square. On view: Tomoo Gokita, KAWS, Cecily Brown, Jean-Michel Basquiat, Allen Jones and Damien Hirst. ","VR Walkthrough: 20th Century & Contemporary Art","body","

Explore a virtual reality walkthrough of our 20th Century & Contemporary Art Evening and Day Sales.

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Travel through our galleries at 30 Berkeley Square in London and browse our Evening & Day Sale, featuring an exceptional group of masterworks by Tomoo Gokita, KAWS, Jean-Michel Basquiat, Allen Jones, Damien Hirst, Peter Doig, Yayoi Kusama and more.

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Our 20th Century & Contemporary Art Evening & Day Sales are on view through 7 March at 30 Berkeley Square in London ahead of the 7 March Evening Sale and 8 March Day Sale.

\n","publishDate","2019-02-26T20:38:49.000000Z","coverPosX",7,"coverPosY",72,"articleUrl","https://www.phillips.com/article/41242856/vr-walkthrough-20th-century-and-contemporary-art-3","displayOrder",4,"auctionEditorialID",513,"editorialID",551,"flocklerID",41242856,"https://flockler.com/thumbs/sites/889/1551108163-104398594549-782f431f-cc11-469a-9a6b-c637435aee81_s600x0.jpeg","\"I'll become a violinist. I'll enter a conservatory,\" Chagall once said as a child. A painting from 1964 marries the artist's distinctive style and his love for music and theater—creating an allegory for nostalgia and an expression of music's transformative capacity.","The Painted Cellist: Marc Chagall Captures the Power of Music","

Now on view at Phillips Berkeley Square before our 20th Century & Contemporary Art Day Sale, Marc Chagall's Le violoncelliste, 1964, is seen alongside works by Fernand Léger and Sam Francis

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For me, the picture is a surface covered with representations of things...in certain order in which logic and illustration have no importance. The visual effect of the composition is what is paramount.
\n— Marc Chagall
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Bringing together the iconic motifs and colors that populated Marc Chagall's oeuvre throughout his career, Le violoncelliste, 1964, is a perfect embodiment of the artist's distinctive style. Belonging to a cycle of works centering on the theme of music, this work on paper from our 20th Century & Contemporary Art Day Sale showcases Chagall's close proximity to the subject: "I'll become a violinist. I'll enter a conservatory," the artist had mused as a child.

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Though he later gave up on the idea, Chagall ceaselessly produced momentous works circling the musical realm, most notably the Opéra Garnier's luxurious ceiling in Paris in 1964, and two monumental murals, The Triumph of Music and The Sources of Music, commissioned by the Metropolitan Opera of New York in 1966, all produced alongside the present work in the mid-1960s.

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Above from top: View of the brightly colored auditorium ceiling, 1964, by Marc Chagall, Palais Garnier, Paris, France. The ceiling, commissioned by Culture Minister Andre Malraux (1901-76), represents scenes from ballets and operas which might be performed at the Opera House. Picture by Manuel Cohen © Marc Chagall. Image: Scala Images, Florence. Below, Chagall and French Minister of Culture Malraux at the unveiling of the artist's ceiling painting at the Opéra in Paris, 23 September 1964. Image: Bridgeman Images.

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Resting their head against their instrument while looking into the distance, the artist's Le violoncelliste touches on various themes that were bolstered by Chagall's boundless imagination. Moving beyond the realm of music, this work on paper is evocative of childhood memories in the artist's native Vitebsk, invoking visions of fiddlers, birds and cold wintery tones while simultaneously presenting itself as a universally understandable allegory for nostalgia.

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Buttressed by each symbol's overarching thematic association, Le violoncelliste brings forth powerful evocations of freedom, passion and the past, dexterously typifying the artist's ability to coalesce "mysterious delicacy and charm of feeling" ('Art Exhibitions: The Leicester Galleries', The Times, 1 May 1935). Emerging from an indiscernible background, the painted cellist's restful position within an imaginary world further highlights the composition's elusively poetic aspect.
\n
\nA myriad free-floating Chagallian signs populate the work: a wide, round sun, a smaller crescent-shaped moon, a cascade of flowers, a mother holding her child and an elegant dove entwined within the cellist's hair. Finally, the leading musician takes center stage, embodying Chagall's poetic vision; embracing his instrument as he would a lover, the musician and his violoncelle fuse into one, alluding to a bodily transformation sparked by the force of an all-consuming passion.

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Invoking this quasi-incantatory dimension, Chagall further likens the violoncelle to a powerful life force, imparting it with a pigment similar to that attributed to the sun, metaphorically expressing music's transformative capacity to elicit potent illumination.

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\n","2019-03-04T16:33:58.000000Z",50,0,"https://www.phillips.com/article/41355417/marc-chagall-painted-cellist",3,512,557,41355417,"https://flockler.com/thumbs/sites/889/113_003-d84374c4-20e8-45de-8c11-435df5f20ee6_s600x0.jpg","Using a visual language adapted from American advertising, Jones creates a world of fragmented tension. ","Allen Jones and the Illusion of Space","

Allen Jones, Private Collection
\n© Allen Jones, Image: Bridgeman Images

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Allen Jones Encore, 1977

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Allen Jones enrolled in the Royal College of Art in 1959 at the age of 22, where he studied under Richard Hamilton alongside a group of young, imaginative and inordinately talented contemporaries such as R.B. Kitaj, Peter Phillips and David Hockney. This intellectual and artistic milieu established a generation of artists who would become instrumental in the birth of the nascent British Pop Art movement. Following his expulsion from the Royal College after only one year, Jones embarked on a formative trip to the US in the 1960s, including a stay in New York during the height of American Pop. Jones’s early work became heavily influenced by the sleek imagery of contemporary American advertisements and pin-ups. Upon his return to London, Jones explored a variety of media including sculpture and four-dimensional representation.

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James Rosenquist Untitled (Blue Sky), 1962 © James Rosenquist/VAGA

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In Encore (1977) Jones’ exploration of the female form, namely the elongated leg, is the central focus, creating implicit tension through the poised, high arch of the dancer’s foot. The abstracted sensuality of Encore invites a comparison with another pioneer of the American pop art movement, James Rosenquist, whose abstracted aesthetic language similarly incorporated fragments of advertising, automobiles, food and cut out figures to create surreal re-imaginings of postwar America. In both artists’ works, abstraction is not an end in and of itself but is instead reflective of the Modernist tradition of using abstraction to convey emotional and thematic concerns.

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Through the 20th century artists have been preoccupied with balancing the illusion inherent in image making with the need to recognise the objective fact of the canvas as being part of the picture. 'Encore' plays with this idea with the sphere bulging into our space. Colour aids the illusion as well as the geometry of the image that balances the sphere on the very threshold of the canvas. — Allen Jones
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Detail from Encore by Allen Jones

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Key to Jones’s depictions of legs are the inherent improbability of his compositions, as evidenced in the structural intrique created by the pivotal, precariously balanced foot. Poised en pointe on top of a sphere and teetering on the edge of a fall, the dancer’s legs are enclosed by the sweeping balletic arch of a quarter circle, suggestive of both a delicate transparent skirt or a cartoonish signifier for movement. The scene is rendered in strikingly flat, saturated block colors that create a chromatic intensity reminiscent of the Pop Art movement. The subsequent two-dimensionality of the shapes, their illusionistic shadows and spotlighting and the incompleteness of the heavily-stylized human figure all work counterintuitively against the implicit tension created by the possibility of the performer’s fall. The scene is at once static, precarious and wholly imaginary – a geometric quandary that creates a visual scepticism in the viewer which perfectly accords with the experience of viewing an illusory circus performance.

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Writing on the recurring motif in his painting of female legs balancing on a sphere, Jones notes ‘I liked the idea that the picture contained information that was manifestly untrue: the sphere painted so that it defies the picture surface. The figure standing on it accentuated the fact that it is existing in an illusionistic space by definition.’

\n","2019-02-28T21:33:45.000000Z","https://www.phillips.com/article/41285871/allen-jones",2,510,555,41285871,"https://flockler.com/thumbs/sites/889/107_001-e2f19429-dc88-4ed8-99cb-11775baf5e34_s600x0.jpg","In his ingenious Lead Paintings, evinced by 'Untitled', 1988, from our forthcoming London Day Sale, Förg constructs a \"fragile beauty\" redolent of Judd, Palermo and Newman.","Günther Förg's Command of Balance","

Günther Förg, Untitled, 1988

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A commanding example of Günther Förg's multi-disciplinary oeuvre, Untitled belongs to one of the artist's most iconic series, commenced in the early 1980s and celebrating the versatility of lead. A study in contradictions, Untitled prodigiously showcases the artist's ability to balance rigorous lines and unrestrained strokes, painterly two-dimensionality and sculptural texture.

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Lead Paintings installed at Günther Förg - A Fragile Beauty, Stedelijk Museum, Amsterdam, 26 May - 14 October 2018. © Estate Günther Förg, Suisse / VG Bild-Kunst, Bonn 2018. Image: Stedelijk Museum, Amsterdam.

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Rendering homage to a number of eminent figures of the avant-garde, Untitled is redolent of Blinky Palermo's ingenious aluminum paintings, Donald Judd's rigorous geometric constructions and Barnett Newman's deeply reduced planes while exuding a force of abstraction distinctively its own. Masterfully flattening discrete textures and materials, the painting hovers between milky translucence and impenetrable density, conjuring a sense of depth that ostensibly digs into its own surface.

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Barnett Newman Onement IV, 1949. Allen Memorial Art Museum, Oberlin College, Ohio, USA. © The Barnett Newman Foundation New York/DACS, London 2019. Image: Bridgeman Images.

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Although Untitled's rich yellow summons the viewer's eye faster than the coarseness of its chromatic grey, Förg underscored the latter color as a starting point from which his compositions could expand. A pigment that captivated Förg throughout his career, gray pervaded much of the artist's practice across the various media he experimented with; his black and white photography, early gray monochromes and later Lead Paintings all converged in celebrating the polymorphous nature of the color.

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Sensuously raw and unpolished, Untitled nonetheless departs from the liminal staticity of the lead's coloration as the artist introduces a luminous tone, warm like an egg's yolk, at the bottom half of the painting's surface. The two constitutive colors' neat separation summons the rigor and formality of minimalist composition, yet the brightness of the heliacal color suffuses the lead's metallic heaviness with hints of gleaming light. These two contradicting yet mutually invigorating energies showcase the artist's distinctive command of balance, as well as his desire to explore a "clarity of form with an expressionist handling."

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I think painting is a resilient practice; if you look through the history of painting it doesn't change so much and we always see it in the present. It is still now.
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Whereas the minimalist artists' work relied on the reduction of form and the avid promotion of clean geometry, Förg indeed placed special emphasis on painterly texture and depth, extending his predecessors' spatial investigations through uncalculated gestures and incongruous material juxtapositions.

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Presaging future experimentation with brighter color palettes, Untitled is a stellar synthesis of the artist's practice. Situated at the core of his oeuvre, it exists alongside a range of comparable works housed in esteemed public collections, namely the Museum of Modern Art, New York, and the San Francisco Museum of Modern Art.

\n","2019-02-28T20:51:34.000000Z","https://www.phillips.com/article/41284851/gunther-forg-command-balance",511,554,41284851,"https://flockler.com/thumbs/sites/889/108_005-2d68792f-808a-4abc-973c-54d6b5c5cd35_s600x0.jpg","Unlike the work of the Minimalists, Scully's abstraction bears the distinctive mark of its creator.","Sean Scully and His Spiritual Approach to Abstraction","

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My work is based on immersion…I am taking on the history of art, I'm immersed in it and I'm immersed in what I make.
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Sean Scully's sumptuously rendered canvases celebrate the possibilities of the medium of painting, their rich strata of tonal variation and architectural linearity exemplary of his celebrated body of work. Comprised of three tessellated canvases, Dust—which comes to auction in our London 20th Century & Contemporary Day Sale on 8 March—encapsulates Scully's profound experimentation with austere geometry and lyrical contemplation, coalescing in an array of sublime striations of thickly applied impasto and translucent gradations of gray-blue, ochre and cherry tones.

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Sean Scully Dust, 1984

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Evoking an emotive visual resonance through the artist's symbiosis of formal reduction and painterly poesy, the canvas subsumes our gaze through the hypnotic bands of rich color and rigorous geometric repetition. Executed in 1984, this work was painted the same year in which Scully was selected for An International Survey of Recent Painting and Sculpture at the Museum of Modern Art, New York—the year preceding his first solo institutional exhibition in America at the Museum of Art, Carnegie Institute, Pittsburgh, which later traveled to the Museum of Fine Arts, Boston.

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Primarily drawing upon the tenets of abstraction to transport the viewer into his contemplative painterly sphere, Scully's repetitive formal pattern—his strips of worked brushstrokes which overlap and intertwine with one another—are hypnotic in their rhythmic vitality. Continuing an aesthetic dialogue with hard abstraction, the squares of Kazimir Malevich and the hard edges of Ad Reinhardt, Scully's linear bands reverberate through his expressive paint application. Removing the guidelines of tape he used to section his painted stripes in 1981, the artist began to paint freehand, allowing his brushstrokes to bleed, smudge and waver.

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Above from top: Josef Albers Browns, Ochre, Yellow, 1948. The Josef & Anni Albers Foundation. © The Josef & Anni Albers Foundation/ VG Bild-Kunst, Bonn and DACS. Image: Josef & Anni Albers Foundation. Joseph Mallord William Turner Staffa, Fingal's Cave, 1832. Yale Center for British Art, Paul Mellon Collection, USA. Image: Bridgeman Images.

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Scully creates radiated slithers of color that border his tonal sections. These contours glimmer through the intensity of his palette, demarcating the wall of sections like tonal channels, furrowing through his composition. The artist's presence in the creation of the work is felt through the evident stratifying of paint layers; Scully's abstraction bears the mark of its creator rather than aspiring to a polished, perfected and highly finished surface as displayed in the work of the Minimalists.

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I distinguish between two spheres of reality: one is the physical reality of everyday life and the other corresponds to the realm of art. Abstraction is the spiritual art of our time.
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In striking an emotional chord through compositional and tonal push and pull, Scully masterfully marries this duality while incorporating myriad differences, charging Dust with a natural visual dynamism. Drawing upon the world around him, Scully traveled to Morocco in 1969, and the light, sights and sounds left an unrivaled impression on his practice; Scully incorporated the stripes and patterns from local Moroccan textiles into his compositions. Four years before the creation of Dust, Scully traveled to Mexico where, like Josef and Anni Albers, the artist experienced the intense heat, vivid light and scorched, arid colors of the country's landscape. At odds with the colder climes of the artist's native Ireland and England, Dust conveys the equatorial divide between the North and South, emphasizing the split within his oppositional palette. Leading us on a visual adventure, Scully notes, "The need to create comes because you are split and forced to find some kind of unity. I believe that duality is a quality evident in all my work."

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Capturing the essence of a fleeting or deeply felt emotion, a landscape or a memory, Scully's paintings strike at the core of human experience, uniting us all through our shared familiarities. Continuing a dialogue with Joseph Mallord William Turner's tumultuous land and seascapes which begin to explore the possibilities of abstraction, Scully here further reduces the essence of what surrounds us, communicating its organic quintessence through the subtlest expression of form and tone.

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Opening later this spring in London, Sea Star: Sean Scully at the National Gallery will feature new paintings by the artist inspired by Joseph Mallord William Turner and the National Gallery Collection.

\n\n

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