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Tuesday 18 November 10:00am—4:00pm
\nWednesday 19 November 10:00am—4:00pm
\nThursday 20 November by appointment
\n
\nClick here to learn more about 'Out of This World'.
\n
\nGlobal Highlights Tour
\nLos Angeles
\n22 – 24 September and 21 – 23 October
\nPhillips Los Angeles
\n9041 Nemo St
\nLos Angeles, CA 90069 (map)
\n
\nView Conditions of Sale >
\n
\nPriority Bidding is here! Secure a lower Buyer’s Premium. Learn more >

\n","auctionDetailsSmall","New York Auction 19 November 2025","extraInfo","

Patrizia Koenig
\nSpecialist, Head of Sale, Afternoon Session
\n+1 212 940 1279
\npkoenig@phillips.com

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Works by Auguste Rodin and Ugo Rondinone in front of a subadult Pteranodon.

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One of the joys of art collecting is the ability to form our own perspectives, to tell our own stories — composing distinct lines of inquiry within a collection and weaving them together with individuality. This is even more interesting today, at a time when algorithms tend to homogenize mainstream taste.

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In turn, following an extended period during which art collectors often sought out the freshest, most contemporary works, we’re seeing collectors’ purchases become more considered. Some are exploring more comprehensive approaches to collecting, often delving deeper within the categories they already know, or branching out into related ones.

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Front: Manolo Valdés, Reina Mariana, 2016. Modern & Contemporary Art Day Sale, Morning Session, New York.
\nBack: Fernando Botero, Femme du Monde, 1974. Modern & Contemporary Art Day Sale, Morning Session, New York.

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“I’ve definitely noticed an increased interest in cross-category collecting over the past several years,” says Adam Green, founder of Adam Green Art Advisory and host of the ArtTactic podcast. “This trend has accelerated in the past couple of years as the art market has softened. Many of my clients are becoming more selective with their acquisitions and are focusing more on collecting across generations. That often means exploring more established Impressionist, Modern, or Post-War artists, or studying the living artists in their collections and considering the historical figures who influenced them.”

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For many collectors, there has been a shift toward refining their own perspective. As Green explains, “I find a well-rounded collection that spans multiple generations often tells the most compelling story, and it’s the kind of collection that living artists are genuinely excited to be part of. It also helps collectors stay focused rather than feeling pressure to chase every new name that comes along.”

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Art Advisor Adam Green. An auction world veteran, Green now advises clients on acquisitions of investment-quality Post-War and contemporary art.

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“Beyond fine art, several of my clients have also broadened their interests into other collecting categories such as watches, wine, design, and first edition books,” Green tells us, echoing trends we’re also seeing. “These areas similarly combine connoisseurship, history, and a discerning eye for quality.”

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Furniture by Gio Ponti and Judy Kensley McKie in conversation with Modern and Contemporary Art in “The Cabinet of Curiosities” room at Phillips' galleries. Left to right: Works by Alexander Calder, Sonia Delaunay, Joan Miró, Henri Laurens, Fernand Léger, Pablo Picasso, Karel Appel, and Norman Lewis.

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But collecting across categories isn’t exactly new. A quick look at the past reveals several intriguing examples of unbridled and eccentric collectors. Although these characters were unique, many shared an interest in collecting across various fields. One thinks of the British Neoclassical Architect Sir John Soane (1753–1837), who collected art, artifacts, and natural history, presenting them in intriguing and unexpected ways in his London home and museum. In an anecdote that may sound familiar to some collectors today, his star acquisition, the Sarcophagus of Seti I — acquired after the British Museum refused to pay the asking price — was too large to fit through the front entrance of his home. Naturally, he had a hole knocked out in the back of the building so the sarcophagus could be lowered into his basement, and then illuminated the room with a plethora of candles and torches and hosted parties for three consecutive evenings.

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An engraving by Mason Jackson of The Sarcophagus of Seti I in the museum and home of Sir John Soane, depicted in an 1864 publication of the Illustrated London News.

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Or take the Holy Roman Emperor Rudolf II (1552–1612), whose eccentricities expanded far beyond his love of art and his lauded Kunstkammer. Among the tales told of the Emperor — who moved his court from Vienna to Prague in order to have more solitude to focus on his passions for art and science — is the story that he had his court alchemist arrested for refusing to produce gold. He also collected exotic animals, natural history specimens, and mystical oddities, ranging from magical stones to unusual horns and automatons. Although his goal was to acquire a specimen of everything in the known world, it’s easy to see he was an art lover above all — he often ignored his official tasks to spend hours gazing at paintings from his collection. Particularly fond of Northern Mannerism, he collected works by artists including Albrecht Dürer and Giuseppe Arcimboldo.

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Giuseppe Arcimboldo, Rudolf II of Habsburg as Vertumnus, 1590.

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These stories resonate with us partly because they seem unbelievable, and partly because we may see a bit of ourselves in them. In many ways, such historic figures set the stage for contemporary collectors whose interests extend to natural history. Christian Link, founder of Wunderkammer Zurich and Phillips’ Natural History Consultant, tells us his buyers are often well-known contemporary art collectors. “What excites me most is sharing these treasures with collectors, guiding them into corners of history they may never have explored,” he shares.

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Left to Right: CERA — Juvenile Triceratops Skeleton, circa 66 million years ago. Modern & Contemporary Art Evening Sale, New York.
\nLegacy of the Predator King, Complete Tyrannosaurus Rex Jaw Section on a Custom Metal Stand, circa 66 million years ago. Modern & Contemporary Art Presents: Out of This World.
\nUgo Rondinone, the great, 2013. Modern & Contemporary Art Day Sale, Afternoon Session, New York.

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Upon closer look, art and natural history are a fitting pairing. After all, if art can be a portal to another world, so too can objects from space, or from prehistory. “I see my role as opening new paths for discovery, and I recognize the importance of handling these incredible objects with both scientific accuracy and respect,” Link says. Miety Heiden, Phillips’ Chairman, Private Sales, adds, “It is undeniable that today’s global collectors are increasingly drawn to rare and extraordinary objects that transcend traditional collecting categories. They seek the unexpected.”

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Front to Back: Auguste Rodin, Les bourgeois de Calais, deuxième maquette, 1885. Modern & Contemporary Art Day Sale, Morning Session, New York.
\nUgo Rondinone, black green mountain, 2015–2016. Modern & Contemporary Art Day Sale, Afternoon Session, New York.
\nKing Ghidorah, A very fine subadult Pteranodon, circa 87 million years ago. Modern & Contemporary Art Presents: Out of This World.

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Of course, no two collectors share the same approach, goals, or ideas, but exposure to new concepts and the experience of ownership can help solidify one’s path. When asked why some collectors focus on a particular area and others explore multiple categories, Green explains: “I think it often comes down to what aspect of collecting feels most meaningful to the individual. For some, that means focusing on living artists and building relationships that extend beyond the artworks themselves. Collecting in this way is about engagement and connection. Many collectors visit studios, get to know the artists personally, and feel a genuine sense of purpose in supporting their growth through acquiring their work, museum donations, exhibition loans, and more.”

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Amoako Boafo, Red Dress, 2017. Modern & Contemporary Art Day Sale, Afternoon Session, New York.

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Green continues: “Others share that same passion for living artists but also want to build a broader narrative within their collections. They see collecting as a way to reflect ideas, values, and artistic progress over time. As their journey evolves, I often see collectors begin with one area of focus and then gradually expand their interests to include others as their collecting deepens.”

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Barbara Hepworth, Two Forms (Orkney), 1967. Modern & Contemporary Art Day Sale, Morning Session, New York.

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Asked what cross-category pairing he would personally form among the lots on offer this season in New York, Green suggests two works that, surprisingly, can be seen in conversation with each other — Simone Leigh’s The Village Series #19 and David Smith’s Forging V.

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Right: David Smith, Forging V, 1955. Modern & Contemporary Art Evening Sale, New York. Left: Simone Leigh, The Village Series #19, 2020. Modern & Contemporary Art Day Sale, Afternoon Session, New York

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“At first glance, they come from very different worlds, yet both artists reveal the expressive potential of raw material. Smith’s Forging V translates the language of drawing into steel and, through its verticality and curvature, subtly evokes the human body. Leigh’s ceramic bust, by contrast, renders the body explicitly, conveying quiet monumentality while honoring the histories and labor of Black women. Seen together, their works trace how two sculptors, generations apart, use material and form to assert presence: one through industrial abstraction and the other through cultural embodiment,” he tells us.

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Such combinations of ideas abound throughout our galleries this season. With a look to the left, you’re in Modernist territory; to the right, a painting made just last year; and straight ahead, evidence of life on earth from billions of years ago.

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In fact, the closer you look, the more unexpected relationships you might discover. And there’s only one way to find out.

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Phillips’ November auctions of Modern & Contemporary Art and Natural History are on view at 432 Park Avenue through 19 November.

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Discover more from Modern & Contemporary Art >

\n\n

Recommended Reading

\n\n

Artists to Watch >

\n\n

Alma Thomas’ Ultimate Gift >

\n\n

Emily Friedman on Collecting Ahead of the Curve >

\n\n

\n","publishDate","2025-11-11T18:42:58.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/163734184/trend-report-cross-category-curiosity-modern-contemporary-art-auction-new-york-november-2025","displayOrder","auctionEditorialID",8153,"editorialID",5127,"flocklerID",163734184,"https://flockler.com/thumbs/sites/889/mj-atw-lead-update-82cde0fe-c559-4369-9b4a-088356f1b1ec_s600x0.jpg","The names to know this season in New York. ","Artists to Watch","

Martha Jungwirth, Untitled, 2017. Modern & Contemporary Art Evening Sale, New York.

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Martha Jungwirth

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Martha Jungwirth, Fruchtfleisch 1, 2012–2014. Modern & Contemporary Art Day Sale, Morning Session, New York.

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For Martha Jungwirth (b. 1940), painting is rooted in the oscillation between the physicality of outward movements and the interiority of the mind. Having been a constant force in contemporary abstraction since the 1960s, when she regularly exhibited as the only female member of the loose association of artists known as “Wirklichkeiten” (Realties), her practice has recently earned wider acclaim through lauded retrospective exhibitions that contextualize the significance of her works. Her practice is personal, subjective, often spontaneous, raw, and emotive, and frequently leaves behind traces of the artist’s hand. The works on offer in our Evening and Day sales are highly characteristic of this approach. As she explained to ArtForum last year, “My art is like a diary, seismographic. My state of mind plays a big role. Am I energized, tired, or distraught? That’s all in there. When I’m euphoric, when I’m sad, when I’m angry, that’s when I’m at my best, painting.”

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There’s a freshness to Jungwirth’s work that has recently garnered significant international attention. In 2025, the Long Museum in Shanghai presented her first institutional exhibition in China. Last year, the Guggenheim Museum Bilbao presented a major career retrospective of her works, and the Fondazione Giorgio Cini in Venice hosted a solo exhibition of her work, Herz der Finsternis (Heart of Darkness), alongside the 2024 Venice Biennale.

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Emily Kame Kngwarreye

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Emily Kame Kngwarreye, Untitled, 1990. Modern & Contemporary Art Day Sale, Morning Session, New York.

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Emily Kame Kngwarreye (c. 1910–1996) was renowned for her vibrant, colorful works inspired by her deep ties to the Aboriginal culture of Australia’s Northern Territory. A member of the Anmatyerr people, Kngwarreye developed a unique style which combined traditional elements with innovative mark-making in ritual and mythological forms, creating a supernatural relationship between her works and their ties to ancestral land, its totems, and its inhabitants. Kngwarreye’s international breakthrough in the 1990s brought global attention to Aboriginal painters — shortly after her passing in 1996, the artist represented Australia posthumously at the 1997 Venice Biennale, and her dreamlike canvases continue to bring new perspectives to contemporary notions of abstraction. Since her first major retrospective in 1998, Kngwarreye’s work has featured in shows and surveys around the world, including Women in Abstraction at Centre Pompidou, Paris (2021), a retrospective at the National Gallery of Australia (2023), and solo exhibitions at Gagosian Paris (2022), and now currently at Tate Modern, London (2025).

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Untitled (1990), with its richly layered composition, is emblematic of Kngwarreye’s final few years of dot painting, before her assemblages connected through lines from 1992 onward. Its palette is distinctly atemporal: the brightness of the overlapping orange dots suggests desert heat, a scorched daytime, yet the interspersed blue-grey against the deep brown background brings forth the desert night sky, connecting past and future as an Everywhen — a concept central to many Aboriginal cultures, and one which Kngwarreye masterfully explores in the present work.

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Suzanne Jackson

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Suzanne Jackson, Two Faces of Bernie Casey, circa 1973. Modern & Contemporary Art Day Sale, Morning Session, New York.

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Multidisciplinary American artist Suzanne Jackson’s (b. 1944) influential practice spans over half a century and continues to this day through her activism and teaching. A trained performer, Jackson first toured as a ballet dancer before opening Gallery 32 in 1968 in Los Angeles, which became an important space for Black artists at the height of the civil rights movement. Jackson’s community focus and commitment to fostering new generations of artists made her a sought-after educator throughout the United States, but it was her expressive paintings and installations that brought Jackson’s visual art to the wider art world. Her style is characterized by lyrical abstraction that approaches painting as almost sculptural, often working with layered pigment to create translucent surfaces, as seen in Two Faces of Bernie Casey, and rhythmic movement centered on intuitive forms, such as the wreathed hearts of Totem.

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Suzanne Jackson, Totem-Red-Hots, 1977. Modern & Contemporary Art Day Sale, Morning Session, New York.

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Her first major museum retrospective, Suzanne Jackson: What is Love, opened in September at the San Francisco Museum of Modern Art and is on view through March 2026. The exhibition will then travel to the Walker Art Center, Minneapolis, from May to August 2026, and then to the Museum of Fine Arts, Boston, where it will run until February 2027. Other recent shows include Suzanne Jackson: light and paper at Ortuzar Projects, New York, and she was prominently featured in the Whitney Biennial 2024.

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Alexis Ralaivao

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Alexis Ralaivao, Milano, 2022. Modern & Contemporary Art Day Sale, Afternoon Session, New York.

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Named to the 2022 Artsy Vanguard — the same year this painting was executed — Alexis Ralaivao’s (b. 1991) rise in the art world has been steady, marked by critical acclaim and increasing market demand. His solo exhibition at Kasmin New York, Éloge de l’ombre (In Praise of Shadows), was a standout moment this past summer, and it’s easy to see why. There’s an airy lightness and cinematic sense of freedom to his paintings that belie the meticulous nature of their composition. By honing in on small details, Ralaivao magnifies them to a grand scale, giving our eyes a break from the deluge of imagery on small screens encountered in contemporary life. His paintings reach us with an immediacy akin to photography and a painterly skill reminiscent of the Dutch Golden Age artists. His works are sensory, reveling in an ecstasy of texture and tone and imparting a sense of the artist’s closeness to his subjects. Milano is a sterling example of these aspects of his practice: we see a masterful impression of the soft textures of the shirt and skin, our eyes drawn to the luminous reflections off the shirt buttons. It draws us in, making us long to touch and feel these textures, and to see what’s beyond the frame.

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Having been represented by Kasmin since 2024, Ralaivao has recently joined the roster of the newly-formed Olney Gleason gallery, and his works are now part of institutional collections internationally, including the Institute of Contemporary Art, Miami; the Nerman Museum of Contemporary Art, Kansas; He Art Museum, China; and Musée des Beaux-Arts de Rennes — the capital city of Brittany, where he was born. Beyond Kasmin, his solo and group exhibitions have been presented by Nahmad Project, London (2024); T293, Rome (2022); Bill Brady Gallery, Miami (2022); LGDR, Hong Kong (2022); and ATM Gallery, New York (2020).

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Ana Segovia

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Ana Segovia, Loving Me Is Like Chewing On Pearls I, 2021. Modern & Contemporary Art Day Sale, Afternoon Session, New York.

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Ana Segovia’s (b. 1991) paintings are marked by bold, cinematic composition and an incisive engagement with cultural imagery through queer identity and camp aesthetics. Drawing on Mexican popular culture and masculine tropes, Segovia stages his subjects in subversive performances, emphasizing their ambiguity through deft figurations and fluorescent arrangements. With Loving Me is Like Chewing on Pearls I, Segovia pinpoints the moment before the curtain rises in the presentation of a foul in football. For both players, what follows is always theater: the offended must sell the foul; he must insist that it was reckless, dangerous, and worthy of punishment. For the offender, his opponent clearly took a dive; he folded like a cheap suit; he’s selling a story to the ref and has no honor as a man. Reverse the roles and the drama plays out no differently, of course; at the heart of machismo, there is a whining boy. The work is particularly resonant now in the era of the Video Assistant Referee, when such theatrics are repeated on the screen for the entire stadium to view repeatedly and judge the honor and disgrace of their heroes and villains.

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Ana Segovia received his BFA from the School of the Art Institute of Chicago. In 2020, he participated in the Casa Wabi Residency, Puerto Escondido, Mexico. In 2024, Segovia featured in a MOCA Focus solo exhibition at the Museum of Contemporary Art, Los Angeles, along with group inclusions at the Venice Biennale and Museo de Arte Contemporáneo de Monterrey (MARCO), Mexico, in the same year.

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Tyler Mitchell

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Tyler Mitchell, Albany, Georgia, 2021. Modern & Contemporary Art Day Sale, Afternoon Session, New York.

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American artist Tyler Mitchell (b. 1995) is lauded for his vivid and fluid images that blur lines between lyric documentary, fashion, and fine art photography. Foregrounding the experience of Black joy through depictions of leisure, Mitchell rose to prominence in 2018 when he became the first Black artist to photograph the cover of Vogue in the publication’s 126-year history. That now-iconic cover image, of Beyoncé wearing a floral headdress, showcases Mitchell’s visual motivation, which he describes as “an urgency to visualize Black people as free, expressive, effortless, and sensitive.”

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The work on offer here is a testament to Mitchell’s approach, presenting a Black family impeccably dressed and at play against the backdrop of sand dunes in Albany, Georgia. Executed in 2021, at a moment when COVID lockdowns instilled a sense of nostalgia in the artist, another example of this edition was included in the exhibition Tyler Mitchell: Idyllic Space at The High Museum in Atlanta, Georgia; the other is in the permanent collection of the National Gallery of Victoria, Melbourne.

\n\n

Discover more from Modern & Contemporary Art >

\n\n

Recommended Reading

\n\n

TREND REPORT: Cross-Category Curiosity >

\n\n

Artists to Watch >

\n\n

Alma Thomas’ Ultimate Gift >

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Executed in 1994, I Know This captures the quiet intensity that defines Jim Hodges’ poetic exploration of time, loss, and endurance. Suspended from a ceiling corner, the work consists of two delicate spiderwebs formed from fine silver chains bisected by a weighty, industrial link.
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The work's central tension emerges from this paradox: spider webs, nature's paradigm of ephemeral fragility, are rendered permanent through silver. Hodges imbues these gossamer forms with organic grace, despite their metal composition. The webs become more enduring yet retain their visual subtlety.
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The substantial chain bisecting these two webs introduces a stark interruption, a deliberate contrast to the webs’ ethereal quality. Where the webs suggest patient, intricate labor and natural architecture, the industrial chain asserts weight and strength, introducing a visual and conceptual dissonance. At the same time, the heavy chain is what unites the two webs, delicately connected to opposing links.

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\"\" — Richard Serra, *Equal (Corner Prop Piece)*, 1969-1970. Collection of the Museum of Modern Art, New York. Image: © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY, Artwork: © 2025 Richard Serra / Artists Rights Society (ARS), New York

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As Nayland Blake observes, "Hodges consistently works back and forth between formal rigor and symbolic density. He is inspired both by the structural clarity of Richard Serra and the narrative allusiveness of Paul Thek." This duality manifests perfectly in the present example. The work possesses Serra-like attention to material properties, weight, and spatial relationships—the way metal occupies a corner, how chains hang according to gravity's demands. Yet it simultaneously evokes Thek's symbolic richness: webs as metaphors for connection, fragility, entrapment, or creation; the industrial chain suggesting bonds, barriers, or lifelines.
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Throughout his practice, Hodges has returned to the motif of the web as a vessel for reflection on intimacy, connection, and survival. Here, the material’s opposing qualities, its strength and its vulnerability, mirror the emotional dualities at the heart of his work. Beautiful yet precarious, the web embodies the delicate balance between creation and collapse, visibility and disappearance.
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With its understated power and lyrical restraint, the work exemplifies Hodges’ ability to transform modest materials into profound meditations on beauty, fragility, and the will to persist.
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\nNayland Blake, 1991, 1992: Jim Hodges New York, CGR Gallery, 2007, pp. 31

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Front: Manolo Valdés, Reina Mariana, 2016. Modern & Contemporary Art Day Sale, Morning Session, New York.\nBack: Fernando Botero, Femme du Monde, 1974. Modern & Contemporary Art Day Sale, Morning Session, New York.

Art Advisor Adam Green. An auction world veteran, Green now advises clients on acquisitions of investment-quality Post-War and contemporary art.

An engraving by Mason Jackson of The Sarcophagus of Seti I in the museum and home of Sir John Soane, depicted in an 1864 publication of the Illustrated London News.

Giuseppe Arcimboldo, Rudolf II of Habsburg as Vertumnus, 1590.

Amoako Boafo, Red Dress, 2017. Modern & Contemporary Art Day Sale, Afternoon Session, New York.

Barbara Hepworth, Two Forms (Orkney), 1967. Modern & Contemporary Art Day Sale, Morning Session, New York.

Right: David Smith, Forging V, 1955. Modern & Contemporary Art Evening Sale, New York. Left: Simone Leigh, The Village Series #19, 2020. Modern & Contemporary Art Day Sale, Afternoon Session, New York

Martha Jungwirth

Martha Jungwirth, Fruchtfleisch 1, 2012–2014. Modern & Contemporary Art Day Sale, Morning Session, New York.

Emily Kame Kngwarreye

Emily Kame Kngwarreye, Untitled, 1990. Modern & Contemporary Art Day Sale, Morning Session, New York.

Suzanne Jackson

Suzanne Jackson, Two Faces of Bernie Casey, circa 1973. Modern & Contemporary Art Day Sale, Morning Session, New York.

Suzanne Jackson, Totem-Red-Hots, 1977. Modern & Contemporary Art Day Sale, Morning Session, New York.

Alexis Ralaivao

Alexis Ralaivao, Milano, 2022. Modern & Contemporary Art Day Sale, Afternoon Session, New York.

Ana Segovia

Ana Segovia, Loving Me Is Like Chewing On Pearls I, 2021. Modern & Contemporary Art Day Sale, Afternoon Session, New York.

Tyler Mitchell

Tyler Mitchell, Albany, Georgia, 2021. Modern & Contemporary Art Day Sale, Afternoon Session, New York.

Front: Manolo Valdés, Reina Mariana, 2016. Modern & Contemporary Art Day Sale, Morning Session, New York.
\nBack: Fernando Botero, Femme du Monde, 1974. Modern & Contemporary Art Day Sale, Morning Session, New York.

322

Jim Hodges

I Know This

Further Details

Full-Cataloguing

Jim Hodges