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\n","auctionDetailsSmall","London Auction 7 March 2025","extraInfo","

Simon Tovey
\nDirector, Head of Day Sale, London
\n+44 7502 428 688
\nstovey@phillips.com

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

\n\n

A work from Marcel Broodthaers: The Herbig Collection will be on offer in our London Modern & Contemporary Art Day Sale on 18 October, with the preview exhibition open 9–18 October at 30 Berkeley Square.

\n\n

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

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

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

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Marcel Broodthaers, Écran fig. 1, fig. 2, fig. O, fig. A, 1968. Modern & Contemporary Art Day Sale London.

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Marcel Broodthaers: Avant-Garde Pioneer

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

\n\n

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

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\n\n

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

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

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

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

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

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A Remarkable Friendship

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

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

\n\n

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

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

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

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The Story Continues

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

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

\n\n

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

\n\n

Discover More from Modern & Contemporary Art >

\n\n

Recommended Reading

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Specialist Picks: Modern & Contemporary Art >

\n\n

\n","publishDate","2024-09-15T22:50:00.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/148960696/marcel-broodthaers-the-herbig-collection-auction-london","displayOrder","auctionEditorialID",5267,"editorialID",4663,"flocklerID",148960696,"https://flockler.com/thumbs/sites/889/dubuffet-lead-a88d4b1e-f1c1-4187-90cd-5622863c5418_s600x0.jpg","A closer look at the artist as three of his works come to auction at Phillips London.","Seven Things You Didn't Know About Jean Dubuffet","

Jean Dubuffet, Arabe au désert, 1950. Modern & Contemporary Art Evening Sale London.

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1. Like a fine wine, nuance matters

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Known for beginning his art career in earnest at the age of 41, Dubuffet did in fact train as a painter in his younger years. He began his studies at the age of 17 at the Académie Julian before setting his practice aside and becoming a wine merchant in his family’s successful business. Art was always calling, however, and he created works off-and-on in his 30s before fully immersing himself in a groundbreaking and prolific practice that sought to liberate creativity from the prevailing bourgeois notions of so-called “good taste.”

\n\n

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Jean Dubuffet, Donnée, 1984. Modern & Contemporary Art Day Sale London.

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2. Art Brut is anything but dry

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Dubuffet found inspiration in everyday life and experiences in Paris, from the people he saw on the metro to the colloquial rhythms of the city. It was a wellspring he shared with a friend, fellow Le Havre native and admirer of all things experimental, the French poet and novelist Raymond Queneau. Dubuffet looked to the creative impulses across all walks of life, finding an aesthetic lexicon in supposedly low culture.

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Jean Dubuffet in El Goléa (El Menia), 1948. Image: © ADAGP, Paris and DACS, London 2025

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3. The established, the Avant-Garde, and Dubuffet in-between

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Dubuffet held a unique position within the 20th-century Parisian art and culture scene, and he was friends with just about anyone you can name from the era. His departure in style from those he was associated with made him a standout artist in New York and he had frequent gallery shows in the city. Dubuffet proved to be an influential figure in this cultural-artistic exchange between Paris and New York, old and new.

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Jean Dubuffet, Animation parcellaire, 1979. Modern & Contemporary Art Day Sale, Morning Session New York.

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4. He was an Outsider’s Insider

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Dubuffet was a real champion of Art Brut, seeking diverse sources for his project to establish a movement outside of the traditional spheres of art — from children to inmates, hospital patients, hobbyists, and more. Fascinated with the margins of society, his writing also employed a deeply analytic style, showcasing a side of Dubuffet that was as scholarly as it was vernacular and providing insights into his approach to visual art.

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Jean Dubuffet, Tête de héros, 1950. Modern & Contemporary Art Evening Sale London.

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5. Material differences

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Where Dubuffet’s early works employed traditional materials like oil and canvas, his practice developed with the conceptual range of Art Brut. He branched out into found materials, including polystyrene, asphalt scrapings, and more. His signature impasto was often made thicker by sand or straw stalks, as seen above in Tête de héros, executed with oil and sand on Masonite. This approach extended into other mediums that the artist explored as well, working with sculpture (Jardin d'émail, 1974), music (collaborating with Jasun Martz), and public monuments (Group of Four Trees, 1972).

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6. Becoming the city

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In his later years, Dubuffet’s works reflected the public he drew inspiration from. His sculptures became a worldwide experiment in spontaneity, verticality, and improvisation — concepts that brought the city to his work and his work to the city.

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Jean Dubuffet, Corps de dame, jardin fleuri (Lady's Body, Flower Garden), 1950, The Philadelphia Museum of Art. Artwork: © ADAGP, Paris and DACS, London 2025

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7. A lasting influence in his own time

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Throughout his life, Dubuffet was associated with countless movements and cultural touchpoints. He found kindred relationships with artists whose practices laid the foundations for the next generation of outsiders who found a home in the mainstream. Artists like Jean-Michel Basquiat, Charles McGee, and Keith Haring brought Dubuffet’s essence to their own developments.

\n\n

Discover More from Modern & Contemporary Art >

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How Lee Jaffe Ended Up in Thailand with Basquiat >

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By Way of Jean Dubuffet >

\n\n

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x 137.2 cm (72 7/8 x 54 in.)","medium","acrylic and oil on inkjet print on canvas","sigEdtMan","Executed in 2012.","provenance","Margo Leavin Gallery, Los Angeles \r\nAcquired from the above by the present owner","literature","Patrick Pardo and Robert Dean, eds., John Baldessari Catalogue Raisonné. 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191

John Baldessari

Double Bill (Part 2)… and De Chirico

Full-Cataloguing

John Baldessari