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Auction 28 June 2pm BST
\n30 Berkeley Square, London (map)

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Viewing Information

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18 June - 28 June

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Monday-Saturday 10am-6pm

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Sunday 12pm-6pm

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\n","auctionDetailsSmall","London Auction 28 June 2019","extraInfo","

Tamila Kerimova

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Director, Specialist
\nHead of Day Sale
\n44 20 7318 4065

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tkerimova@phillips.com

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391],"articles",[167,168,169,170,171],"departments",[160],"auctionCurrency",{"_157":72,"_158":159},"totalLotCount",156,"auctionMobilityAuctionRowId","1-1WHWFK","auctionUrl","https://www.phillips.com/auction/UK010519","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/phillips-tca-eve-june-2019-lr-16-8ff32149-358c-4acd-9a24-0179ea00e1c3_s600x0_c1680x982_l0x85.jpg","section","summary","Tour our Evening & Day 20th Century & Contemporary Art Sales in this virtual reality walkthrough from 30 Berkeley Square. On view: KAWS, Tschabalala Self, Dana Schutz, Roy Lichtenstein, Nicolas Party and Willam Kentridge.","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 KAWS, Jean-Michel Basquiat, Roy Lichtenstein, Pablo Picasso, Damien Hirst, Dana Schutz, Nicolas Party, Yayoi Kusama, Allen Jones and more.

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Our 20th Century & Contemporary Art Evening & Day Sales are on view through 26 June at 30 Berkeley Square in London ahead of the 27 June Evening Sale and 28 June Day Sale.

\n","publishDate","2019-06-20T14:29:48.000000Z","coverPosX",77,"coverPosY",97,"articleUrl","https://www.phillips.com/article/44259405/vr-walkthrough-20th-century-and-contemporary-art-5","displayOrder",4,"auctionEditorialID",597,"editorialID",675,"flocklerID",44259405,"https://flockler.com/thumbs/sites/889/phillips-tca-day-june-2019-mp_hr-142-ef7f66ca-d37b-4186-b6a3-c400b6025f45_s600x0.jpg","Ahead of this June's Day Sale in London, we explore a seminal collection of works by contemporary Indian artists. ","From India to Venice: Property from an Esteemed European Collection","

The present selection of works on view at Phillips' Berkeley Square galleries

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The following selection of works by artists living and working in India are linked by a mutual theme of exploration into the changing environment in which they are created and the influence of both Eastern and Western culture. Housed in an esteemed European collection, this year Atul Dodiya's and Shilpa Gupta's work has been selected to represent India at the country's second ever appearance on the Western stage of the Venice Biennale.

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Shilpa Gupta 01:14.9, 2011-2012

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Working across multiple mediums Shilpa Gupta’s oeuvre addresses a wide variety of subjects such as the psyche, society and politics, verbalizing their stifled contents. Her work has been featured at major international institutions, including Tate Modern, London, Louisiana Museum, Humlebaek, Centre Pompidou, Paris, and Solomon R. Guggenheim Museum, New York, and the artist has represented India as part of the 56th and current 58th Venice Biennale. 01: 14.9 powerfully illustrates the fraught West, Northwest border between India and Pakistan: 1188.5 miles, as updated on 31 December 2007 depicted with a ratio of 1 to 14.9. Gupta winds 80 miles of thread into an ivory delicate oval egg shape, highlighting the fragility of fear, threat, paranoia and religious prejudices. An edition of this work is owned by the Solomon R. Guggenheim Museum, New York, and a further edition belongs to the Menil Collection, Houston.

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Jitish Kallat Afterword (versions of a disappearing act), 2010-2011

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Living and working in Mumbai, Jitish Kallat’s works divulge his constant engagement with the concept of time, space, death, cycles of life, our place in the universe and historical nostalgia, moving interchangeably between contemplation of the self and understanding transitory existence within the framework of the eternal. Ageing, distressing and tearing surfaces and elements of his works alludes to these constant musings on time which simultaneously remark upon the unique idiosyncrasies of his home. Dilapidation, degradation, the demolition and reclamation of culture and history are incorporated within Kallat's themes through the artist's perceptive treatment of both subject matter and technique.

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Atul Dodiya Krishna Swallowing Forest Fire, 2009-2010

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Krishna Swallowing Forest Fire depicts the story of the god Krishna extinguishing a forest fire by swallowing the flames. Intensely cognisant of history, Dodiya entwines stylistic and iconographic characteristics from the East and West, unifying classical myth and political history to fuse fragments of Western art historical masterpieces in a new interpretation. 'In Indian miniature paintings there are many beautiful images of adventures of Lord Krishna as a saviour from the series 'Bhagwat Puran'. Here in my painting Krishna is swallowing forest fire. At the edge of each flame I have placed the museum magnets of great works of art, which I have been collecting from the various western museums. I often convey my interest in the history of art, juxtaposing the references from the diverse sources and try to give a new meaning to an existing image in my work. In this work, it could be me devouring great masterpieces, so in that sense it's also a self-portrait. I enjoy the amalgamation of diverse time and situation in a single picture plane and often feel that the past no longer remains past and reveals itself in the present. The present easily moves and goes back in time. I am fascinated by the idea of mingling time, life and art and it appears empathetically in my work.' - Atul Dodiya (May 2019).

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Nalini Malani Two works: (i) Time; (ii) Warriors & Green Worm, 2009

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Alluding to a multitude of cultural references from both East and West throughout her oeuvre, and clearly evident in Time and Warriors & Green Worm, Nalini Malani refers to both Greek and Indian ancient mythology amalgamated with contemporary symbols and imagery. This exploration culminates in works that strongly condemn contemporary violence and injustice. Malani’s work is currently on view in the Sharjah Biennial, United Arab Emirates, and it was the subject of a retrospective at the Castello di Rivoli in Turin, Italy, earlier this year. She has been announced as the winner of the Joan Miró Prize 2019 with a solo show set to open at the Fundació Joan Miró in Barcelona in 2020.

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Thukral & Tagra Kingdom Come I (Couple), 2011

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Jiten Thukral and Sumir Tagra work collaboratively, utilizing a wide range of mediums to increase the possibility and realms of art, breaking from arbitrated and punitive rules to create sensory and immersive works that involve the viewer. Creating a canvas that protrudes and subsequently includes the viewer through invading the mutual space, Kingdom Come I (Couple) invites intrigue and further investigation. Their work is a dynamic dialogue on shifting moral codes in India's modernizing cities. Thukral and Tagra utilise bright, colorful palettes and the glossy luster of pop aesthetics to critically scrutinize taboo subjects like sexuality in this socially-aware vibrant work.

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Jagannath Panda The Migrant, 2009

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Jagannath Panda's works are often inspired by his native historic state Orissa, famed for its temples and tribal culture, and his current home, chaotically urban and constantly developing New Delhi, bringing together many binary opposites in his work. Sensitive to the issues raised by urbanization and politics, Panda contrasts nature and culture, rural and urban, tradition and modernization to reflect his own experiences and concerns. Migrant uses his motif of animal life to represent these conflictions and concerns around displacement and alienation. Jagannath Panda has received significant international exposure and recognition, having participated in a multitude of international exhibitions including the Mori Art Museum, Tokyo, in 2008.

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Yudi Noor Breaking the Water Picture, 2010

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Born in West Java, Indonesia, and now living and working in Berlin, Yudi Noor examines the relational state of material as an abstract visual, proffering spiritual denotation through paired back arrangements and compositions in a multitude of mediums.

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\n","2019-06-21T20:16:08.000000Z",50,0,"https://www.phillips.com/article/44322961/from-india-to-venice-property-from-an-esteemed-european-collection",3,603,679,44322961,"https://flockler.com/thumbs/sites/889/p63_001-ed744e7a-280d-4904-a123-a9f5c5668f5b_s600x0.jpg","Focusing on three works, all coming under the hammer in London's 20th Century and Contemporary Art Day Sale, we delve into the Catalan master's assemblage sculptures. ","Joan Miró in the Fiterman Collection ","

Miró with one of his famous plaster sculptures in his studio in Montroig, Barcelona/Montroig 1955 © Successió Miró / ADAGP, Paris and DACS London 2019. © 2019 Stifung Ernst Scheidegger-Archiv, Zurich. Photograph by Ernst Scheidegger

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Poetically and magically re-inventing traditional sculptural depictions of the female form, birds and figures, the current selection of works from the Fiterman Collection wonderfully demonstrate Joan Miró’s constant challenge of artistic norms since his initial spectacular emergence as a sculptor between 1946 and 1949 with the creation, modeling and casting of Lunar Bird and Solar Birds.

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Sculpture by Joan Miró from the Miles & Shirley Fiterman Collection, all coming to auction this June in London

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From the mid 1960’s, Miró adopted assemblage in the modeling of his women, birds and figures; subjects that appear intermittently throughout Miró’s output and typically assigned titles such as Personnage, Oiseau, Femme. Miró's assemblage sculptures, rooted in Surrealist collage and Goya’s Caprices, unite the marvel of childhood joy with the rustic wit of the Catalan people. Reminiscent of ‘that brand of confused alchemy derived from Miró’s close friend Marcel Duchamp … Miró changed the experience of pictorial invention with his peasant-like, dogmatic instinct. He approached and re-examined the most familiar subjects – a pebble, a tap, a leaf, twig, piece of soap, a toy or a Catalan cake.’ (Jacques Dupin, in Emilio Fernández Miró and Pilar Ortega Chapel, Joan Miró: Sculptures. Catalogue raisonné 1928-1982).

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Joan Miró Personnage, 1970

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Objects collected such as iron, stones and other found and discovered treasures were combined during the evolution of his bronzes, thereby altering their artistic purpose and infusing the final work with a dynamic poetic spirit. ‘The real, almost unique inventiveness of Miró the sculptor lay in his work with assemblage. In the beginning, strange, disparate elements gradually evolved during the process of discovery to become recognisable pieces – parts of a construction in which they increasingly revealed themselves … to form a sculpture that was articulate and that unfolded like a musical fugue and variations.’ (Jacques Dupin, in Emilio Fernández Miró and Pilar Ortega Chapel, Joan Miró: Sculptures. Catalogue raisonné 1928-1982).

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Joan Miró Femme, 1979

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Through these assemblage works, Miró was able to escape the constraints of everyday life. Explaining his process of using the found items he collected on his walks in the countryside, Miró noted, 'I feel attracted to an object by a magnetic force, without the slightest premeditation, and then I feel myself being drawn to another object which is added to the first, and in combination they create a poetic shock, preceded by that visual and physical revelation which makes poetry truly moving…' (the artist, quoted in Joan Miró: Selected Writings and Interviews).

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Joan Miró Personnage et oiseau, 1978

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Conceived between 1970 and 1978, the following examples, Personnage, Femme and Personnage et oiseau, take Miró’s key motifs as their subject, delightfully conveying femininity and expressing the fantasy of found materials becoming animate and alive, leaving representation and reality to arouse the imagination. Miró devised a new poetry and denotation that conjure unconscious primitive forms and prehistoric traditions.

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\n","2019-06-17T20:42:38.000000Z","https://www.phillips.com/article/44210813/joan-miro-in-the-fiterman-collection",2,596,673,44210813,"https://flockler.com/thumbs/sites/889/119_001_cropped-39e4673d-43fe-4d2e-a36e-c6a0860ce722_s600x0.jpg","We examine the myriad influences and meanings of the South African artist's work, coming to auction this June in London. ","William Kentridge: Challenging Space and Time","

William Kentridge Anti-Entropy, 2011

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William Kentridge, More Sweetly Play the Dance, 2015, 8 channel HD video, 15 minutes duration, installation view at Kunstmuseum Basel. Image © Kunstmuseum Basel | Gegenwart, Photo: Julian Salinas. © William Kentridge; courtesy of the artist and Goodman Gallery.

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Exploring and championing a breadth of mediums, such as animation, collage, performance and drawing, William Kentridge’s complex creations are multifaceted in form, resonating with audiences through their unifying exploration of the very fabric of our existence. Drawing on Richard Wagner’s notion of the ‘Gesamtkunstwerk’, Kentridge’s sensory microcosms toy with the layering of multiple meanings. Revisiting and reacting to philosophical, historical or political tropes, Kentridge conjures myriad themes in his polymorphic works, producing works on paper and videos which are both experimental, structurally fragmented and conceptually rich. This multifaceted approach is explored in Kentridge's solo show, A Poem That Is Not Our Own, currently on view at the Kunstmuseum Basel, which explicitly delineates the multiple points of connection between drawing and filmmaking in the artist's oeuvre. Kentridge even coined a unique term, "poor man's animation," to describe his style of using photographs of charcoal drawings to create short films.

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William Kentridge, The Refusal of Time, 2012, The Metropolitan Museum of Art, New York. Image © The Metropolitan Museum of Art / Art Resource, NY, Artwork. © William Kentridge; courtesy of the artist and Goodman Gallery.

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Utilizing charcoal, colored pencil and paint on paper in the present work, Anti-Entropy, executed in 2011, invokes a key image from the Kentridge’s Anti-Mercator video piece, a work created in preparation for the artist’s project The Refusal of Time at Documenta 13 in Kassel, 2012, later shown at Louisiana Museum of Modern Art, Humlebaek, with a version jointly purchased by The Metropolitan Museum of Art, New York, and the San Francisco Museum of Modern Art. This immersive work explored the technology of time-keeping and string theory, created in dialogue with physicist Peter Galison, while the earlier preparatory Anti-Mercator work explored the suspension of time and the resistance of spatial and formal linearity presented by scientists such as Gerardus Mercator. Together, this body of work by Kentridge explores time and our changing cultural and standardized perceptions of time and space.

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Detail from William Kentridge's Anti-Entropy, 2011

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Breaking away from a linear presentation, Kentridge’s films present images that become increasingly incomplete, as if erased; in Anti-Mercator the artist runs the film backwards so that the drawings diminish within the film rather than flourish. Comprised of three parts of brown pattern-makers paper, Anti-Entropy presents the monumental formalization and expansion of the video’s principal image. Highlighting the importance of narrative and movement in his oeuvre, Kentridge’s works on paper incorporate the artist’s experimentation with stratifying and layering, culminating on paper through fragmented, part-intelligible vignettes, made with thin washes of paint and sheer veils of graphite, which suggest an upcoming chapter or installment.

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Eadweard Muybridge Dancing Woman, plate 187 from Animal Locomotion, 1887. Image: Bridgeman Images.

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In the present work, Kentridge evidently extols in the medium of drawing; through laying bare erasures, smudges and altered forms, as well as exposing the work’s multiple compositional recesses, he allows the viewer to animate the scene, bringing the dancing pair to life. Deploying a filmic sequence or an image captured in motion, as evident in the work of Eadweard Muybridge, Anti-Entropy extends its purely formal dimension to the conceptual. Weaving the caption 'Anti-Entropy' across what seems to be a costume-globe, worn by a figure engaged with another graphically adorned dancing figure, the composition alludes to a theme Kentridge returned to time and again in his oeuvre. Anti-Entropy, in his terms, could be defined as an act of resistance: a fortified will. As specified by the artist, ‘One way of describing what makes something alive is that it resists the tendency to cool down, lose energy, to go from one state of order to disorder, for the human body to turn to dust. It is anti-entropic. So, when we throw a jug up in the air and it shatters, entropy declares statistically how unlikely it is that if we throw those shards into the air they will land back into the form of that same jug. But if you take all the shards that have been shattered, the artist's job is to construct these shards, if not into the first jug, then into another jug. To describe another understanding of the world is an act of resisting entropy’ (the artist, quoted in Keli-Safia Maksud, ‘William Kentridge in Conversation’, Ocula Magazine).

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Installation view of William Kentridge's Anti-Entropy, 2011

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In Anti-Entropy, a sense of performativity is also made evident. The work’s open and dynamically sketched appearance defies the static nature of two-dimensional compositions. The act of drawing itself can be an almost liberating and anti-entropic gesture; notably Kentridge’s desire to materialize unending movement in the present work seems to echo his fervent desire to utilize theatrical or expressionist language to convey motion and emotion in his narrative-driven works. Constantly rethinking the boundaries of drawing and two-dimensionality, the artist expands his creations beyond the confines of their medium, thereby challenging the static nature they inherently suggest. Boasting gigantic scale, dramatic contrast, and projecting images on blank space as he would characters on a stage, the artist ceaselessly works with theatrics that exude an arresting sense of resonance through their form, content and context.

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\n","2019-06-11T15:10:21.000000Z","https://www.phillips.com/article/43999064/william-kentridge-anti-entropy",592,667,43999064,"https://flockler.com/thumbs/sites/889/4_004-82ae4192-1c7d-4272-ada1-1df3d24a16d1_s600x0.jpg","From the family long-associated with 'Interview Magazine', Ryan Brant amassed a colorful, playful and crisply contemporary collection of art.","Game Changer: Property from the Estate of Ryan Brant","

Julian Schnabel Portrait of Ryan Brant Holding a Copy of William Gaddis's "JR", 2011 © Julian Schnabel / ARS, New York / DACS 2019. Image: Phillips.

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This June, Phillips is honored to present a unique group of works from the estate of Ryan Brant. Encapsulating Brant’s brilliant entrepreneurial spirit and extraordinary creative mind, shining through an all-too-short life, the four paintings offered in our Day and Evening Sales trace the practice of a single artist, KAWS, whose innovative approach has earned him extraordinary international acclaim in recent years. Echoing Brant’s passion and commitment for graphic imagery, – having headed of one of the world’s leading video game companies, Take Two – the two sister paintings entitled KIMPSONS, dated 2005, along with UNTITLED (HTLD5), 2011, and UNTITLED (MBFV5), 2016, present a potent illustration of his committed eye, informed by prodigious beginnings.

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KAWS UNTITLED (MBFV5), 2016

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With a degree in Economics from the Wharton School of Business, Brant subsequently followed his father’s footsteps into the family business of publishing, working for the family-owned Interview Magazine, notoriously founded by Andy Warhol and John Wilcock in the late 1960s. Aged 21, he founded Take-Two, a company that rapidly became the leader in the games industry, launching the record-breaking video game franchise Grand Theft Auto. Concurrently, Brant developed his interest in literature and art – a combination of disciplines which, together, conjured his unfaltering drive to create stories alongside his similarly themed professional task.

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KAWS UNTITLED (HTLD5), 2011

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Beginning his career as a street artist in New Jersey, KAWS – Brian Donnelly’s chosen moniker – remained relatively unknown throughout the 1990s, until experiencing a meteoric ascent to the international contemporary art scene in recent years. Following his production of limited edition toys, mainly iterations of his own highly-graphic subjects, the artist began appropriating familiar television and cartoon icons such as Snoopy, the Simpsons, the Smurfs, and SpongeBob. The artist’s unique pictorial language has earned him both critical and institutional success, culminating in his first ever survey, slated to take place in 2021 at the Brooklyn Museum.

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KAWS KIMPSONS, 2005

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The two sister paintings presented in Phillips’ Day Sale, both titled KIMPSONS and dated 2005, exemplify the artist’s ingenious riff upon the Simpsons, while UNTITLED (MBFV5), 2016, lot number 4 in the Evening Sale, presents his irreverent reinvention of Snoopy, flipped upside down so as to impart the composition with additional dynamism. Lastly, UNTITLED (HTLD5), 2011, introduces a more ruffled and indistinct image within its colorful composition: through methods of cropping and enlargement, the painted protagonist eschews strict or even remote mimesis, and falls within a wider category of imaginary characters that KAWS constituted after the early 2000s.

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KAWS KIMPSONS, 2005

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With the four present works, Brant’s formidable passion and expertise in graphic imagery comes to the fore. Reflective of his impressive professional and personal backgrounds, they exemplify the singular vision he cultivated in a number of artistic realms, being both vibrant in tone and crisply contemporary. The sum of Brant’s collection reflects an individual who revelled in creating an imaginative parallel world to dive into.

\n\n

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