[{"_1":2,"_3":-5,"_4":-5},"loaderData",{"_5":6,"_7":8},"actionData","errors","root",{"_621":622,"_623":624,"_625":19,"_626":627,"_628":19,"_629":630,"_631":632,"_633":634,"_635":636,"_637":638,"_639":640,"_641":642,"_24":643},"routes/($lang).detail.($maker).($seoName).($auctionCode).$lotOrObjectNumber",{"_9":10,"_11":-5,"_12":13,"_14":15,"_16":17,"_18":19,"_20":21,"_22":23,"_24":25},"lot",{"_380":58,"_516":517,"_91":92,"_518":519,"_520":47,"_382":383,"_499":503,"_521":522,"_523":107,"_524":109,"_525":526,"_201":527,"_60":61,"_528":529,"_501":76,"_530":198,"_531":19,"_532":19,"_533":19,"_534":535,"_536":537,"_538":19,"_138":19,"_139":124,"_539":19,"_540":19,"_541":542,"_543":124,"_131":124,"_544":19,"_119":120,"_545":546,"_547":548,"_549":550,"_551":552,"_553":554,"_555":556,"_557":558,"_559":560,"_561":562,"_563":564,"_93":94,"_150":565,"_137":124},"sanityLotElc","auction",{"_91":92,"_93":94,"_95":96,"_97":49,"_98":99,"_100":101,"_102":103,"_104":105,"_106":107,"_108":109,"_110":111,"_112":113,"_114":113,"_115":116,"_117":118,"_119":120,"_121":19,"_122":19,"_123":124,"_125":19,"_126":19,"_127":19,"_128":124,"_129":19,"_130":19,"_131":124,"_132":19,"_133":124,"_134":19,"_135":19,"_136":19,"_137":124,"_138":19,"_139":124,"_140":141,"_142":143,"_144":145,"_146":147,"_148":149,"_150":151,"_48":152,"_153":154,"_155":156,"_157":158,"_159":160},"messageBanners",[],"title","John Chamberlain - Modern & Contemporary Art: Evening & Day Sale, London Thursday, June 26, 2025 at GMT+1 | Phillips","isPreview",false,"COOKIE_DOMAIN","phillips.com","conditionsOfSalePdfLinkConfig",{"_89":90},"metadata",[26,27,28,29,30,31,32,33,34,35,36,37],{"_16":83},{"_38":87,"_40":88},{"_38":60,"_40":81},{"_38":86,"_40":83},{"_38":85,"_40":81},{"_38":84,"_40":77},{"_78":82,"_40":83},{"_78":80,"_40":81},{"_78":79,"_40":77},{"_50":51},{"_42":43,"_44":45,"_46":47,"_48":49},{"_38":39,"_40":41},"name","apple-itunes-app","content","app-id=397496674","tagName","link","rel","canonical","href","https://www.phillips.com/detail/john-chamberlain/220629","location","London","script:ld+json",{"_52":53,"_54":55,"_38":56,"_57":58,"_59":47,"_60":61,"_62":63,"_64":65,"_66":67},"@context","https://schema.org","@type","Product","John Chamberlain - Modern & Contemporary Art: Evening & Day Sale","sku","220629","url","description","Etruscan Romance","image",[77],"brand",{"_54":75,"_38":76},"offers",{"_54":68,"_69":70,"_71":72,"_73":74,"_59":47},"Offer","price",300000,"priceCurrency","GBP","availability","https://schema.org/SoldOut","Brand","John Chamberlain","https://dist.phillips.com/auction-assets/UK010425/220629_001.jpg?fit=cover&optimize=medium&width=1302","property","og:image","og:description","Discover John Chamberlain's Etruscan Romance featured in Phillips' Modern & Contemporary Art: Evening & Day Sale Auction in London. Browse, bid, and explore art, design, and luxury at Phillips.","og:title","John Chamberlain Modern & Contemporary Art: Evening & Day Sale","twitter:image","twitter:description","twitter:title","keywords","Phillips Auctioneers LLC, auction, Lot, John Chamberlain, London Auction 26 June 2025","NY080126","https://www.dist.phillips.com/content/web/docs/forms/NY_Conditions_of_Sale_NY080126.pdf","auctionId",1802,"auctionCode","UK010425","auctionName","Modern & Contemporary Art: Evening & Day Sale","auctionLocation","auctionTimezone","Europe/London","auctionStartDateTime","2025-06-26T14:00:00.000000Z","lowestEstimate",3000,"highestEstimate",5500000,"auctionStatus","PAST","saleTypeId","Auction","bannerImage","https://dist.phillips.com/auction-assets/UK010425/UK010425.jpg?fit=cover&optimize=medium&width=1302","contactEmail","EBuchanan@phillips.com","conditionRequestEmail","auctionDetails","

Evening Sale (lots 1—21)
\nDay Sale (lots 22—131)
\n
\nView Conditions of Sale >

\n","auctionDetailsSmall","London Auction 26 June 2025","extraInfo","

Olivia Thornton
\nHead of Modern & Contemporary Art, Europe
\n+44 20 7318 4099
\nothornton@phillips.com
\n
\nCharlotte Raybaud
\nSpecialist, Head of Day Sale
\n+44 7833 471016
\ncharlotteraybaud@phillips.com
\n
\nChristopher Phang-Lee
\nCataloguer
\n+44 7823 788 368
\ncphanglee@phillips.com
\n
\nEloise Buchanan
\nSale Manager
\n+44 7826 315 689
\nebuchanan@phillips.com
\n

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[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],"collections",[246],"viewing",{"_227":228,"_229":230,"_48":231,"_232":233},"articles",[180,181,182],"departments",[173],"auctionCurrency",{"_170":72,"_171":172},{"_161":162,"_163":164,"_165":166,"_167":49,"_168":169},"totalLotCount",127,"auctionMobilityAuctionRowId","1-AB4TOW","auctionUrl","https://www.phillips.com/auction/UK010425","auctionResultsFile","https://www.dist.phillips.com/content/web/auction-results/auctionResultsFile_UK010425.pdf","countryName","United Kingdom","countryCode","GB","line1","30 Berkeley Square","city","postCode","W1J 6EX","currencyCode","currencySign","£",{"_174":175,"_176":177,"_178":179},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_183":218,"_185":179,"_186":219,"_16":220,"_189":221,"_191":222,"_193":194,"_195":196,"_197":198,"_199":223,"_201":198,"_203":224,"_205":225,"_207":226},{"_183":209,"_185":179,"_186":210,"_16":211,"_189":212,"_191":213,"_193":194,"_195":196,"_197":198,"_199":214,"_201":175,"_203":215,"_205":216,"_207":217},{"_183":184,"_185":179,"_186":187,"_16":188,"_189":190,"_191":192,"_193":194,"_195":196,"_197":198,"_199":200,"_201":202,"_203":204,"_205":206,"_207":208},"coverUrl","https://flockler.com/thumbs/sites/889/christolead-3fff4e73-6130-448f-b283-e409c013b684_s600x0.jpg","section","summary","Our London Modern & Contemporary Art Day Sale offers further works from ‘Revealed: Important Works by Christo & Jeanne-Claude’ in a banner anniversary year for the artist couple. ","In the Year of Our Christo","body","

Christo, Wrapped Books and Magazines, 1962. Modern & Contemporary Art Day Sale London.

\n\n

This article was originally published on the 13th of June, and that was quite intentional.

\n\n

Christo and Jeanne-Claude were born 90 years ago on exactly the same day: 13 June 1935. This year, the global art world calendar celebrates the artist couple, whose works transcended traditional art spaces to meet the public head-on. Phillips also celebrates them this year in London, offering a remarkable collection of their works that has been amassed over decades by a single owner who held a close personal relationship with the artists. On this milestone anniversary year, these works are being offered so that other collectors may carry their story forward.

\n\n

Famous for their monumental, temporary public installations, Christo and Jeanne-Claude entirely self-funded their projects by selling the kinds of sketches, drawings, and collages on offer here. In doing so, they decisively resisted the conventions of the art market, insisting on their projects’ independent, public, and temporary nature beyond the bounds of ownership, commercialization, and exclusivity.

\n\n

Now, on the heels of the white-glove offering in Phillips London’s Modern & Contemporary Art auction this June, further works from this collection come to our October Modern & Contemporary Art Day Sale. These works highlight cornerstones of the artists’ practice, many of which also hold significant anniversaries this year: 2025 is the 30th anniversary of Wrapped Reichstag in Berlin and the 40th anniversary of The Pont Neuf, Wrapped in Paris.

\n\n

\n\n

Christo, Surrounded Islands (Project for Biscayne Bay, Greater Miami, Florida), 1983. Modern & Contemporary Art Day Sale London.

\n\n

Visitors to Paris this year will encounter Projet Pont-Neuf by the artist JR in collaboration with the Christo and Jeanne-Claude Foundation. The new work is an immersive installation inspired by Christo and Jeanne-Claude’s The Pont Neuf, Wrapped (Project for Paris), which will temporarily transform the bridge, celebrating Christo and Jeanne-Claude’s legacy with a major cultural event.

\n\n

As the first public urban project realized on such an architectural and public scale, the Pont Neuf Wrapped occupies a special place in Christo and Jeanne-Claude’s oeuvre. The idea of wrapping the oldest bridge in Paris was initially rejected by then-mayor Jacques Chirac, who signed the permit approval only after a long and relentless period of lobbying orchestrated by the artists. The response of the public was nothing short of sensational: the installation attracted three million visitors and the press was enchanted.

\n\n

\n\n

Christo, Over the River (Project for Arkansas River, State of Colorado), 2006. Modern & Contemporary Art Day Sale London.

\n\n

In the evenings through 20 June in Berlin, the west façade of the Reichstag showcased a projection mapping of Wrapped Reichstag, offering the public a chance to discover what the building looked like in June 1995. The original work took 24 years to execute, involved the artists meeting with 352 members of parliament, and included a seventy-minute debate in the German Bundestag.

\n\n

Executed in 1986, Wrapped Reichstag (Project for Berlin) is a supreme example of Christo and Jeanne-Claude’s meticulously conceived preparatory collages. The Reichstag was one of only three buildings — along with The Kunsthalle, Bern, in 1968 and The Museum of Contemporary Art, Chicago, in 1969 — that the artist couple was able to fully wrap, realizing their intended project beyond the conceptual stage.

\n\n

\n
I often say, ‘Our work is a scream of freedom.’
\n
\n—Christo
\n

\n\n

\n\n

Christo, Wrapped Walkway (Project for Ueno Park - Tokyo), 1969. Modern & Contemporary Art Day Sale London.

\n\n

Elsewhere in this collection, we find further notable works, including Christo's foundational early “package” works, which laid the conceptual and aesthetic groundwork for their later iconic wrappings. Christo began his wrapping experiments in 1958, shortly after escaping Bulgaria as a young refugee hidden in the back of a truck. What started as a practical act of wrapping his belongings was initially interpreted by some as a reference to mummification. However, his goal was not to preserve but to dematerialise, removing both practical and symbolic meaning to create something ambiguous.

\n\n

Both conceptually and physically, these works are as much about concealment as they are about openness. While the wrapping shrouds, it also intrinsically invites engagement, prompting viewers to project their thoughts onto what remains unseen and to participate intimately in the work’s interpretation. It's this engaging quality, this invitation to participate in their works, that accounts for their undeniable appeal.

\n\n

Discover more from Modern & Contemporary Art >

\n\n

Recommended Reading

\n\n

Specialist Picks: Modern & Contemporary Art >

\n\n

\n","publishDate","2025-06-11T20:11:56.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/159506142/revealed-important-works-by-christo-jeanne-claude-london-auction","displayOrder",2,"auctionEditorialID",4460,"editorialID",4989,"flocklerID",159506142,"https://flockler.com/thumbs/sites/889/peyton-brient-6140da2a-e589-486b-b7a6-c15314f384a1_s600x0.jpg","Cheyenne Westphal and Marcel Brient discuss his collecting philosophy as a remarkable Elizabeth Peyton comes to auction from his collection.","Seeing Beyond Life","

Elizabeth Peyton, Spencer (Two Palms), 2002. Modern & Contemporary Art: Evening & Day Sale London.

\n\n

French collector Marcel Brient has built one of the most renowned collections of modern and contemporary art and design. Rising from humble beginnings, Brient has developed both an extraordinary eye and close relationships with pivotal artists.

\n\n

It makes sense then that his vision would turn towards works by Elizabeth Peyton, an artist who reinvigorated portraiture at the turn of the 21st century. The psychologically-charged portrait from Brient's collection on offer in London this June depicts artist, musician, and former club owner Spencer Sweeney, a key figure in the late 1990s and early 2000s downtown New York scene. Sweeney is a recurring subject in Peyton’s oeuvre and a close friend of hers. Other notable depictions of Sweeney by Peyton include a coloured pencil on paper drawing, Spencer (1999), in MoMA, New York, the painting Spencer Walking (2001) in the collection of the Philadelphia Museum of Art, and the painting Spencer (Spencer Sweeney) (2005) in the Rubell Museum, Miami.

\n\n

Here, we look back on a conversation between Cheyenne Westphal and Marcel Brient to understand how he developed such a singular perspective, and for clues as to why this work may have resonated with him so deeply.

\n\n

Cheyenne Westphal: Marcel, you are a legendary collector and I feel very fortunate for having known you and spent time with you for the past twenty years. To me the most astonishing is that you have built your incredible collection of paintings, drawings, sculptures, editions, design, books and manuscripts without great means. You talk movingly about your background in Brittany, could you expand on your beginnings?

\n\n

Marcel Brient: I come, originally, from Brittany. My mother couldn’t read or write, but was courageous and honest in everything she did. She worked night and day to raise her family of seven children. My father was a stonecutter in Ile Grande, a small seaside village near Perros-Guirec in the Côtes d’Armor. I remember days fishing for clams and winkles with him, that’s how we lived. Our modest house in rue Joseph Conrad didn’t have running water or electricity, but my mother always encouraged us to work hard and she was very proud when I was placed top of my class at primary school.

\n\n

CW: It was wonderful that your mother encouraged you to go to Paris before you were enlisted to take your military service, where a combination of necessity and curiosity led you to take a range of different jobs in the late 1950s.

\n\n

MB: When I first arrived in Paris, I started working as a mechanical apprentice before I took up a role with the CNRS, which is the national center for scientific research. I was finding my feet in a new, exciting city, which had so much to offer, even though I didn’t have very much money at the time.

\n\n

CW: Without much money, you started buying works by young artists when they were not that expensive. But you had an excellent eye, which not only led you to buy great artists, but also excellent works by them. You visited Germany after the fall of the Berlin Wall when you did not speak a word of German, and yet you still recognised the brilliant talent that was emerging there in artists such as Neo Rauch. In your constant trips to America too, you were engaging with the young scene, going to studio visits and being among the first to discover the stars of tomorrow.

\n\n

MB: It’s true that it cost very little to invest in young artists then. But, even so, I still found that I needed courage and patience, as does anyone who wishes to live their passion through art — it’s like waging a battle between wisdom and daring.

\n\n

CW: You developed many beautiful friendships with artists over the years, particularly with Felix Gonzalez-Torres, who I know was of great importance to you.

\n\n

MB: When I was a young child, I used to choose the sweet wrappers I liked, iron them, and stick them into my school notebook. A strange thing to do, perhaps! I recounted this story at the gallery Ghislaine Hussenot in Paris in the presence of Felix Gonzalez-Torres and his friend Jennifer Flay, and, to my surprise, it thrilled him. He took my hand and suggested I go and get the sweets that reminded me of my youth…so I did! When I returned, he chose a turquoise sweet from the palm of my hand. The colour of my eyes. The sweet had “Passion’ written above “Chez Lenotre, Paris.” In this gesture, my portrait was realised: 90 kg, my weight, of sweets to put wherever one desires and also — to quote Torres — in many places simultaneously. Citing Felix, one could “suck” and “swallow” me so that as I was gradually disappearing through desire, and I might also be was reborn again in an intense, personal communion. This brings to my mind the extraordinary concept of immortality and Felix’s deeply moving Perfect Lovers, two ordinary clocks hanging on the wall both showing the same time and moving in unison until one, inevitably stops, leaving the other to record the passing of time alone. Today, in Felix’s absence, which artist leads us to communion like this? Beyond history and politics, art places a new universe on our doorstep.

\n\n

CW: You have one of the most important collections of contemporary design, which you display so sensitively alongside your works by modern and contemporary masters. More than decorative additions, your selections and presentation highlight how design can be elevated to the status of a work of art.

\n\n

MB: Design obviously has its place in art. My clever marriage proves it to me. Marc Newson’s Lockheed Lounge is a design masterpiece.

\n\n

CW: To me what is extraordinary about you is your love and passion for poetry. You often recited poems to me that have taken you further as a man, and collector, and true lover of art. The poetry of fin de siècle Symbolists Paul Verlaine and Arthur Rimbaud seems to be of particular inspiration to you, and you even hold the handwritten manuscript of Rimbaud’s Lettre du Voyant in your collection. It strikes me that both Verlaine and Rimbaud were utterly brilliant, unpredictable, and deeply committed to the search for the new in both art and life, not unlike your own, visionary approach to collecting.

\n\n

MB: Arthur Rimbaud recommended “seeing beyond life.” This says it all! Such a sentiment makes me think especially of my friend, Felix Gonzalez-Torres. Rimbaud, Giacometti, Felix Gonzalez-Torres, these brilliant minds of our time paved the way.

\n\n

Discover more from Modern & Contemporary Art >

\n\n

Recommended Reading

\n\n

PERSPECTIVES: Stine Goya >

\n\n

Seeing Beyond Life >

\n\n

\n","2025-06-10T15:07:54.000000Z","https://www.phillips.com/article/159446755/marcel-brient-elizabeth-payton-auction-london-june-2025",4462,4986,159446755,"https://flockler.com/thumbs/sites/889/stine-lead-bb33c2c9-f043-4762-a71f-e1db9b6be9ef_s600x0.jpg","The award-winning Danish designer on what inspires her — in her work and in our upcoming auction.","PERSPECTIVES: Stine Goya ","

Designer Stine Goya. Photograph: Petra Kleis.

\n\n

Not only is Stine Goya a decorated fashion designer whose eponymous brand showcases her personal approach to living, she’s also an art lover, curator, and collector. In fact, her lauded exhibition If You See What I See — Stine Goya x Kunsten is currently on view through January 2026 at Denmark’s Kunsten Museum of Modern Art.

\n\n

We recently caught up with the designer in London ahead of our Modern & Contemporary Art: Evening & Day Sale to get her insights on living with art, finding inspiration, and collecting with purpose. She also selected a captivating curation of her favorite works on offer, which can be discovered, along with much more, at 30 Berkeley Square from 19–26 June.

\n\n

PHILLIPS: Between art and fashion, which drew you in first? Do you recall your earliest experiences with them?
\nSTINE GOYA: Fashion came first. I was about ten when I became fascinated with clothes — I started making outfits for myself and even for my mother. It was a way of expressing myself before I had the words. Art came later, as I began to reflect more deeply on identity, belonging, and community. While I was initially drawn to the aesthetic of art, its ability to express complex ideas and values has become increasingly meaningful to me over time. Today, I can't imagine life without it — both in my work and in my personal world.

\n\n

P: How does visual art influence your approach to fashion design?
\nSG: Art is at the core of every collection we create. I honestly can't think of a season that didn't begin with an artwork, an artist, or some creative movement as a starting point. Our design process always builds around a visual narrative — something that feels rich with emotion, meaning, and aesthetics. This storytelling layer is essential. Without it, I wouldn’t be able to design. It’s our DNA.

\n\n

\n\n

Stine Goya. Photograph: Rasmus Weng Karlsen.

\n\n

P: When you're curating or hanging art, what are your guiding principles?
\nSG: Aesthetics guide me first — my eyes lead the way. But mood plays a big role, too. I tend to be drawn to pieces that feel emotionally resonant in a particular moment. I don’t always need to understand why right away. That reflection often comes later. There’s something intuitive and deeply personal about the way I connect with art — like it finds me when I need it.

\n\n

\n\n

Stine Goya’s home. Photograph: Irina Boersma.

\n\n

\n\n

Stine Goya’s home. Photograph: Irina Boersma.

\n\n

P: Which works from our upcoming Modern & Contemporary Art sale speak to you most and why?

\n\n

\n\n

Amoako Boafo, Purple Jacket, 2019. Modern & Contemporary Art: Evening & Day Sale.

\n\n

SG: That jacket. I could have chosen that colour. Beautiful. But it’s the eyes that captivate me. I feel like they’re searching for me. And asking me: Are you okay? There’s something expectant in the attitude. I’m okay. I think. And I enjoy the composition as a whole.

\n\n

\n\n

Tracey Emin, But Yea, 2005. Modern & Contemporary Art: Evening & Day Sale.

\n\n

SG: The master of neon, if you ask me. I’ve always been drawn to neon. Bent into messages or graceful forms. Like handwriting or a brushstroke. Clear, luminous, and fragile.

\n\n

\n\n

Martha Jungwirth, Ohne Titel, 1987. Modern & Contemporary Art: Evening & Day Sale.

\n\n

SG: I can clearly feel the energy from all the colours, shapes, clashes, and especially from the spontaneity in the composition. Is it falling apart or coming together? I don’t know. It shifts and moves. What energy — a poetic explosion.

\n\n

\n\n

Robert Ryman, Manual, 1993–2004. Modern & Contemporary Art: Evening & Day Sale.

\n\n

SG: So simple. So monumental. Is there even space for me, I wonder. I search into it. Enveloped by the colour, the warmth, I come to rest. There is no sound here. Only the space created by the light and the surfaces. This is my place.

\n\n

\n\n

Wolfgang Tillmans, Wesen, 2001. Modern & Contemporary Art: Evening & Day Sale.

\n\n

SG: Organic and sensual. Soft-toned colour scales reflected in light and shadow. Is it moving? Yes, it’s moving in its own unique way.

\n\n

\n\n

Ron Gorchov, Haydée, 2014. Modern & Contemporary Art: Evening & Day Sale.

\n\n

SG: It demands attention. Wants to have a dialogue with me. I’m up for that. I like our dialogue. It’s about form and colour. About standing out and being present in your own right. I’d like to have a chat with Haydée every day.

\n\n

\n\n

Andy Warhol, Dominique de Menil, 1969. Modern & Contemporary Art: Evening & Day Sale.

\n\n

SG: For me, this painting gives a new dimension to Andy Warhol and the portrait genre. Not much is revealed here, but it opens up the imagination for interpretation. Who was this Dominique de Menil, what was their relationship, and why did this particular portrait become so subtle and different? If I were Dominique, I’d be especially fond of this portrait.

\n\n

\n\n

Anastasia Bay, A Song of Love (3), 2021. Modern & Contemporary Art: Evening & Day Sale.

\n\n

SG: It’s so human. Naked and fragile. The way she lies there. Holding herself. And taking care of herself. I think we all know that feeling. To love, to lose, to grieve, to gather yourself, to rise, and to meet new love.

\n\n

P: Considering these works, how might the artists’ creative process differ from your own?
\nSG: I think we share more than we differ. All of us start from emotion and try to transform it into something physical — something others can feel too. That said, fashion is more collaborative and often bound by seasonality, practicality, and wearability. Some constraints push creativity in different directions. Artists might have more freedom in their mediums, but in the end, we’re all trying to tell a story through form, colour, and composition.

\n\n

P: What is your personal approach to collecting?
\nSG: I gravitate toward works that make me feel something — whether that’s calm, joy, nostalgia, or even discomfort. I collect pieces that reflect where I am emotionally or creatively. There’s no grand logic to it — just a desire to live among objects that feel alive and speak to who I am, or who I’m becoming.

\n\n

\n\n

Stine Goya. Photograph: Petra Kleis.

\n\n

Discover more from Modern & Contemporary Art >

\n\n

Recommended Reading

\n\n

In the Year of Our Christo >

\n\n

Seeing Beyond Life >

\n\n

\n","2025-06-11T17:57:01.000000Z","https://www.phillips.com/article/159497777/perspectives-stine-goya-london-modern-contemporary-art-auction",4461,4990,159497777,"startDateTime","2025-06-18T23:00:00.000000Z","endDateTime","2025-06-25T23:00:00.000000Z",{"_161":162,"_163":164,"_165":166,"_167":49,"_168":169},"hourRanges",[234,235],{"_236":243,"_238":244,"_239":245,"_241":242},{"_236":237,"_238":237,"_239":240,"_241":242},"dayEnd","Sunday","dayStart","startTime","12:00:00","endTime","18:00:00","Saturday","Monday","10:00:00",{"_247":248,"_38":249,"_250":251,"_252":19},"id",419,"REVEALED","hexColor","#00D5FF","isFilterOnly",{"_380":515,"_382":383},{"_380":514,"_382":383},{"_380":513,"_382":383},{"_380":512,"_382":383},{"_380":511,"_382":383},{"_380":510,"_382":383},{"_380":509,"_382":383},{"_380":508,"_382":383},{"_380":507,"_382":383},{"_380":504,"_382":383,"_499":505,"_501":506},{"_380":58,"_382":383,"_499":503,"_501":76},{"_380":498,"_382":383,"_499":500,"_501":502},{"_380":497,"_382":383},{"_380":496,"_382":383},{"_380":495,"_382":383},{"_380":494,"_382":383},{"_380":493,"_382":383},{"_380":492,"_382":383},{"_380":491,"_382":383},{"_380":490,"_382":383},{"_380":489,"_382":383},{"_380":488,"_382":383},{"_380":487,"_382":383},{"_380":486,"_382":383},{"_380":485,"_382":383},{"_380":484,"_382":383},{"_380":483,"_382":383},{"_380":482,"_382":383},{"_380":481,"_382":383},{"_380":480,"_382":383},{"_380":479,"_382":383},{"_380":478,"_382":383},{"_380":477,"_382":383},{"_380":476,"_382":383},{"_380":475,"_382":383},{"_380":474,"_382":383},{"_380":473,"_382":383},{"_380":472,"_382":383},{"_380":471,"_382":383},{"_380":470,"_382":383},{"_380":469,"_382":383},{"_380":468,"_382":383},{"_380":467,"_382":383},{"_380":466,"_382":383},{"_380":465,"_382":383},{"_380":464,"_382":383},{"_380":463,"_382":383},{"_380":462,"_382":383},{"_380":461,"_382":383},{"_380":460,"_382":383},{"_380":459,"_382":383},{"_380":458,"_382":383},{"_380":457,"_382":383},{"_380":456,"_382":383},{"_380":455,"_382":383},{"_380":454,"_382":383},{"_380":453,"_382":383},{"_380":452,"_382":383},{"_380":451,"_382":383},{"_380":450,"_382":383},{"_380":449,"_382":383},{"_380":448,"_382":383},{"_380":447,"_382":383},{"_380":446,"_382":383},{"_380":445,"_382":383},{"_380":444,"_382":383},{"_380":443,"_382":383},{"_380":442,"_382":383},{"_380":441,"_382":383},{"_380":440,"_382":383},{"_380":439,"_382":383},{"_380":438,"_382":383},{"_380":437,"_382":383},{"_380":436,"_382":383},{"_380":435,"_382":383},{"_380":434,"_382":383},{"_380":433,"_382":383},{"_380":432,"_382":383},{"_380":431,"_382":383},{"_380":430,"_382":383},{"_380":429,"_382":383},{"_380":428,"_382":383},{"_380":427,"_382":383},{"_380":426,"_382":383},{"_380":425,"_382":383},{"_380":424,"_382":383},{"_380":423,"_382":383},{"_380":422,"_382":383},{"_380":421,"_382":383},{"_380":420,"_382":383},{"_380":419,"_382":383},{"_380":418,"_382":383},{"_380":417,"_382":383},{"_380":416,"_382":383},{"_380":415,"_382":383},{"_380":414,"_382":383},{"_380":413,"_382":383},{"_380":412,"_382":383},{"_380":411,"_382":383},{"_380":410,"_382":383},{"_380":409,"_382":383},{"_380":408,"_382":383},{"_380":407,"_382":383},{"_380":406,"_382":383},{"_380":405,"_382":383},{"_380":404,"_382":383},{"_380":403,"_382":383},{"_380":402,"_382":383},{"_380":401,"_382":383},{"_380":400,"_382":383},{"_380":399,"_382":383},{"_380":398,"_382":383},{"_380":397,"_382":383},{"_380":396,"_382":383},{"_380":395,"_382":383},{"_380":394,"_382":383},{"_380":393,"_382":383},{"_380":392,"_382":383},{"_380":391,"_382":383},{"_380":390,"_382":383},{"_380":389,"_382":383},{"_380":388,"_382":383},{"_380":387,"_382":383},{"_380":386,"_382":383},{"_380":385,"_382":383},{"_380":384,"_382":383},{"_380":381,"_382":383},"objectNumber","220927","lotType","AuctionLot","204822","204823","209904","210516","220592","221030","220637","218086","217197","220560","218084","220805","220817","220651","220814","220810","220806","220459","220270","220349","219502","220550","220140","220359","220475","213654","213653","220181","220322","220180","219611","220460","220635","220323","216261","220428","219160","219162","219161","219163","220625","220385","220656","220634","219741","221101","220644","219623","219199","220869","216571","217546","220556","220012","204767","220941","217877","202371","220655","219820","217878","219525","219523","219521","219530","219517","219527","219548","219532","219546","219528","219541","219536","219531","219542","219520","219518","219539","219537","219547","219526","219540","219529","219514","219516","219534","219511","219549","219545","219509","219524","219522","219515","217541","217542","220868","220557","220657","220129","204733","220626","220344","220992","220551","216582","220269","220847","220509","220650","220565","204821","219494","220633","220175","217291","lotNumberFull","13","makerName","Damien Hirst","12","220928","11","Christopher Wool","220648","220379","217637","218412","220630","220347","220433","220618","220474","lotNumber",12,"estimate",{"_593":594,"_595":596},"detailLink","lotStatus","Sold","parentAuctionStatus","parentAuctionType","auctionMobilityLotRowId","1-AR5WHX",17,"makerId",9642,"executedBidCount","currentlyEligibleForBids","priorityBiddingEnabled","reserveMet","startBidAmount",210000,"soldPrice",463550,"isNoReserve","is360View","isNoLot","videoSource","https://players.brightcove.net/6415663453001/51tsefL9J_default/index.html?videoId=6374125174112","showSoldLabel","isPremiumLot","dimensions","284.2 x 143.5 x 78.5 cm (111 7/8 x 56 1/2 x 30 7/8 in.)","medium","painted and chrome-plated steel","sigEdtMan","Executed in 1984, in the United States.","provenance","Xavier Fourcade, New York\r\nMargo Leavin Gallery, Los Angeles\r\nFrederick R. Weisman Art Foundation, Los Angeles\r\nSotheby’s, New York, 6 November 1990, lot 64\r\nMargo Leavin Gallery, Los Angeles\r\nPrivate Collection, New York\r\nPrivate Collection, Seattle\r\nMichael Altman Fine Art & Advisory Services, New York\r\nAcquired from the above by the present owner","literature","William Wilson, 'The Galleries. La Cienega Area', The Los Angeles Times, 15 March 1985\r\nJulie Sylvester, John Chamberlain: A Catalogue Raisonné of the Sculpture 1954-1985, New York, 1986, no. 765, p. 208 (illustrated, p. 208)","exhibited","Los Angeles, Margo Leavin Gallery, John Chamberlain: Sculpture, 4 - 30 March 1985\r\nLos Angeles, Museum of Contemporary Art, John Chamberlain, 30 July - 5 October 1986\r\nBaltimore, Baltimore Museum of Art; Minneapolis, Walker Art Center, Selections from the Frederick R. Weisman Collection, 2 February - 30 August 1987, pp. 22, 108 (illustrated, p. 22)\r\nFullerton, Muckenthaler Cultural Center, The Traveling Show: Art Influences by Transportation, August - September 1989\r\nLondon, Skarstedt, Still Life, 30 November 2023 - 24 February 2024","mainImagePath","https://dist.phillips.com/auction-assets/UK010425/220629_001.jpg","additionalImagePaths",[589,590,591,592],"estimateSymbols",[588],"enhancedLotComponents",[566,567],{"_170":72,"_171":172},{"_568":124,"_569":570,"_571":582,"_16":583,"_574":584},{"_568":124,"_569":570,"_571":572,"_16":573,"_574":575},"isActive","componentType","RichText","componentId",21612,"DETAIL-HEADER-DISABLED 36784","componentItems",[576],{"_568":124,"_577":578,"_579":580,"_581":-7},"componentItemId",25396,"htmlCaption","

A monumental exemplar of John Chamberlain’s singular aesthetic, Etruscan Romance, executed in 1984, comprises colourful metal forms that twist, crumple and interlock. Glimmering yet lustreless, smooth yet creased, the sculpture exults in its dramatic, sensuous surfaces and theatrical, twisting passages that belie its dense depths. Included in Chamberlain’s major lifetime retrospective at the Museum of Contemporary Art in Los Angeles in 1986, it sublimates form, colour and texture into a seething mass of folds and wrinkles, breathing new life and function into a tightly-fitted assemblage of compacted metal. This transformational aspect that defines Etruscan Romance is the key characteristic of Chamberlain’s intensely ‘baroque aesthetic’, that is, his ability to refashion parts into a whole, reconfiguring material and redefining space at will.ⁱ Elegant and complex, dancing between line and edge, volume and void, Etruscan Romance is suffused with an inherent magnetism, brilliantly capturing Chamberlain’s forceful and idiosyncratic artistic vision and his sheer mastery of materials.

\n\n

\"\" — Dan Flavin, *“monument” for V. Tatlin*, 1969-1970, National Gallery of Art, Washington, D.C. Image: National Gallery of Art, Washington, D.C., Gift of the Collectors Committee, 2001.84.1, Artwork: © DACS, London 2025

\n\n

Stratified yet cohesive, the present work is replete with the juxtapositions of curled and jagged edges, hard surfaces and hidden crevices that define Chamberlain’s most powerful sculptures. Manipulating industrial and non-traditional materials into a single active and kinetic force, the artist simultaneously gestures towards the powerful, physical presence of Minimalist art and the impulsive freehand of Abstract Expressionism. At the same time, however, Chamberlain has described his sculptures as kinds of self-portraits, imbued with his personality and character in every peak and trough of the folded steel. For him, they embody the potent combination of fate and chance, choice and composition, that governs human existence: ‘Some seem to think that I would like found pieces, but I don't. They're chosen, you see. The idea is that there has been a lot of magic implied in the choice’.ⁱⁱ

\n\n

\n
\n
\n“I wasn’t interested in the car parts per se. I was interested in either the color or the shape or the amount… I believe that common materials are the best materials.”
\n—John Chamberlain

\n\n

Created using a complex amalgamation of painted and chromium-plated steel, Etruscan Romance epitomises the artist’s use of found and chosen industrial materials, especially remains from automobiles. Chamberlain’s affinity for using car metal scraps as a medium began in the 1950s at a time when the automobile symbolised the economic boom and an atomisation of American culture. Whilst studying at the School of the Art Institute of Chicago in 1951, he would formatively encounter the abstract sculpture of David Smith. Subsequently, he enrolled at the legendary Black Mountain College, North Carolina, in 1955, the experimental and avant-garde centre for art-making that was the interdisciplinary alma mater of artists such as Josef and Anni Albers, Ruth Asawa, Willem de Kooning and Franz Kline.

\n\n

This experience galvanised his sculptural practice, most notably in the appreciation he gained for poetry: ‘Chamberlain began to make spontaneously calligraphic pen-and-ink drawings and abbreviated word-collages of nonsense – emphasizing the junction and disjunction of sounds more than Freudian word association. The poetics of structure were becoming sensate’.ⁱⁱⁱ His linguistic sensitivity informs and deepens the conceptual impact of the present work. The title Etruscan Romance, instantly Byronic and evocative, in turn bleeds into the work’s colour palette, with dusky reds and earthy browns recalling the hues of ancient Etruscan terracotta. Chamberlain’s rhythmic folding and weaving of his metallic forms realises another kind of visual lyricism, the artist as poet (re)organising and (re)ordering individual units of meaning into an altered, transcendent whole.

\n\n

\"\" — Franz Kline, *Four Square,* 1956, National Gallery of Art, Washington, D.C. Image: National Gallery of Art, Washington, D.C., Gift of Mr. and Mrs. Burton Tremaine, 1971.87.12, Artwork: © DACS, London 2025

\n\n

Etruscan Romance evinces Chamberlain’s masterful ability to blend techniques and established genres, taking inspiration from multiple sources to create something purely his own. Relatively early in his career, he was included in the landmark 1961 exhibition The Art of Assemblage at the Museum of Modern Art alongside titans of Modernism like Picasso, Duchamp and Jasper Johns. However, Chamberlain’s use of automobile metal breathed new life into Duchamp’s notion of the readymade, simultaneously aligning with Pop Art’s interest in the industrial mass-produced. His sculpture has often been described as giving three-dimensional form to the bold aesthetics of Abstract Expressionism; indeed, the present work powerfully re-echoes Willem de Kooning’s intuitive blurring of abstract and figurative forms, as well as the structured force and intention of Franz Kline’s brushwork. Chamberlain openly acknowledged the importance of Kline for his own work: ‘I was really more influenced by Franz Kline. That had to do with power […] The force, the velocity, that’s what I get out of Franz’.^iv As in Kline’s paintings, Etruscan Romance manifests a decisive, energetic linearity that disrupts its inhabited space completely. However, as a physical, highly tactile three-dimension object, it juts into space yet remains compressed, drawing the eye over its multifaceted topography through an expressive juxtaposition of contrasting torqued and linear metals.

\n\n

\"\" — Donald Judd, *Untitled*, 1967, Private Collection. Artwork: © Judd Foundation/ARS, NY and DACS, London 2025

\n\n

In 1980, Chamberlain moved to Sarasota, Florida, in search for a larger studio. As a result, in the following decade, Chamberlain’s works grew, achieving new heights and physical potential. In a Los Angeles Times article from 1985, William Wilson writes that Etruscan Romance and contemporary works by Chamberlain ‘call up associations with everything from eroded Egyptian monoliths to wrecked rockets still sitting on their launch pads’.^v Despite its folds and crumples, the work strains upwards above the viewer, redefining their space in a manner that clearly echoes the Minimalist sculptures of Dan Flavin and Donald Judd. Unlike these earlier artists, however, Chamberlain’s use, and choice, of material was conceptually and politically charged: ‘His answer to the conventional, and the conventionally beautiful sculptural materials, such as bronze and steel, is the discarded steel remnants of his society's pretentious stabs at materialist beauty’.^vi Working with intuition and instinct girded to a singular aesthetic sensitivity, Chamberlain’s monumental steel sculptures remain odes to transformation and, moreover, the power of art to transcend. Etruscan Romance is a compelling masterpiece of torqued mass and striking texture, a supreme example of the artist’s uniquely engaging and elegant oeuvre.

\n\n

Collector’s Digest

\n\n

- John Chamberlain has gained global recognition since the 1950s for his contorted, abstract sculptures using scrap automobile metal; his works can be seen in major international institutions such as the Tate Modern in London, the Museum of Modern Art in New York, and the Art Institute of Chicago.

\n\n

\n- Measuring almost three metres in height, Etruscan Romance is a monumental sculpture that imbues the readymade with Chamberlain’s character and spontaneous nature.

\n\n

\n- Since his death in 2011, Chamberlain has continued to be the subject of solo exhibitions worldwide, with landmark shows at the Guggenheim Museum, the Dia Art Foundation and the Van Gogh Museum, proving the longevity and resonance of his work across generations.

\n\n

i Rebecca Massie, The Lewis Contemporary Art Fund Collection, Richmond, 1980, p. 22

\n\n

ii John Chamberlain, quoted in John Chamberlain: Choices, exh. cat., The Solomon R. Guggenheim Museum, New York, 2012, p. 18

\n\n

iii Julie Sylvester, John Chamberlain: A Catalogue Raisonné of the Sculpture 1954-1985, New York, 1986, p. 28

\n\n

iv John Chamberlain, quoted in Phyllis Tuchman, ‘An Interview with John Chamberlain’, Artforum, vol. 10, no. 6, February 1972, p. 43

\n\n

v William Wilson, ‘La Cienega Area’, The Los Angeles Times, 15 March 1985

\n\n

vi Mark Rosenthal, quoted in John Chamberlain: Early Years, exh. cat., L&M Arts, Inc., New York, 2009, p. 9

\n","imageUrl",21613,"DETAIL-HEADER-DISABLED 27392",[585],{"_568":124,"_577":586,"_579":587,"_581":-7},25397,"

“Most all the sculptures I do, of one kind or another, have certain kinds of balance and rhythm that are characteristic of myself.”
\n—John Chamberlain

\n","‡","https://dist.phillips.com/auction-assets/UK010425/220629_002.jpg","https://dist.phillips.com/auction-assets/UK010425/220629_003.jpg","https://dist.phillips.com/auction-assets/UK010425/220629_004.jpg","https://dist.phillips.com/auction-assets/UK010425/220629_005.jpg","mainEstimate",{"_170":72,"_603":172,"_605":620,"_607":70},"otherEstimates",[597,598,599,600,601],{"_170":72,"_603":172,"_605":620,"_607":70},{"_170":617,"_603":617,"_605":618,"_607":619},{"_170":613,"_603":614,"_605":615,"_607":616},{"_170":609,"_603":610,"_605":611,"_607":612},{"_170":602,"_603":604,"_605":606,"_607":608},"HKD","currencySymbol","HK$","highEstimate",5340000,"lowEstimate",3200000,"USD","$",680000,408000,"EUR","€",586000,352000,"CHF",551000,331000,500000,"ENV",{"_926":927,"_928":929,"_930":931,"_932":933,"_934":935,"_936":937,"_938":939,"_940":941,"_942":943,"_20":21,"_944":-7,"_945":946,"_947":948,"_949":124,"_950":946,"_951":124,"_952":19,"_953":954,"_955":956,"_957":124,"_958":959,"_960":961,"_962":963,"_964":956,"_965":966},"locale","en","sanityPreview","messageBannerData","","hideSiteFurniture","upcomingAuctions",[705,706,707,708,709,710,711,712,713,714],"flagHash","d7559c8ecea7786139fb961b20bd7bce57b2c5455466ce33a9c05ab7ec37deeb","serverKey","46a280d7-972b-49bb-aa32-4d36ffa0ade4","priorityBiddingConfig",{"_694":695,"_696":697,"_698":699,"_700":124},"soldPriceConfig",{"_685":536,"_686":687,"_688":687,"_689":690,"_691":690,"_692":536,"_693":536},"imagePathConfig",{"_680":681,"_682":681,"_683":681,"_684":681},"globalJsonLd",{"_52":53,"_647":648},[644,645],{"_42":43,"_44":45,"_46":47},{"_38":39,"_40":646},"app-id=6742061430","@graph",[649,650],{"_52":53,"_54":668,"_669":670,"_38":671,"_59":667,"_672":673,"_674":675},{"_52":53,"_54":651,"_652":653},"BreadcrumbList","itemListElement",[654,655,656,657],{"_54":658,"_659":175,"_38":666,"_661":667},{"_54":658,"_659":202,"_38":664,"_661":665},{"_54":658,"_659":662,"_38":76,"_661":663},{"_54":658,"_659":660,"_38":58,"_661":47},"ListItem","position",4,"item",3,"https://www.phillips.com/detail/john-chamberlain","Detail","https://www.phillips.com/detail","Home","https://www.phillips.com","Organization","@id","https://www.phillips.com/#organization","Phillips","foundingDate","1796","sameAs",[676,677,678,679],"https://www.instagram.com/phillipsauction/","https://www.linkedin.com/company/phillips/","https://www.facebook.com/phillipsauction/","https://x.com/phillipsauction","highlightsSource","fastly","lotImagesSource","saleBannersSource","ELCsSource","plpLotCard","saleroomBidStream","hammerPrice","saleroomResultsRail","accountBids","hammerPricePlusBP","accountFavorites","pdpBidForm","pdpDetailsRail","floorAmount","priority-activated","priorityBidColors",{"_701":702,"_703":704},"uiMode","priority","enabled","activated","#00CC3A","default","#6F4EEA",{"_93":915,"_91":916,"_95":917,"_97":752,"_106":908,"_98":754,"_157":918,"_100":919,"_723":920,"_148":921,"_128":19,"_110":922,"_137":124},{"_93":905,"_91":906,"_95":907,"_97":752,"_106":908,"_98":754,"_157":909,"_100":910,"_723":911,"_148":912,"_128":19,"_110":913,"_137":124},{"_93":889,"_91":890,"_95":891,"_97":49,"_106":719,"_98":99,"_157":892,"_100":893,"_148":894,"_128":124,"_110":895,"_137":124,"_144":896,"_48":897},{"_93":862,"_91":863,"_95":864,"_97":807,"_106":719,"_98":808,"_157":865,"_100":866,"_723":867,"_148":868,"_128":124,"_110":869,"_137":124,"_144":870,"_728":871,"_48":872},{"_93":831,"_91":832,"_95":833,"_97":807,"_106":719,"_98":808,"_157":834,"_100":835,"_148":836,"_128":124,"_110":837,"_137":124,"_144":838,"_728":839,"_48":840},{"_93":804,"_91":805,"_95":806,"_97":807,"_106":753,"_98":808,"_157":809,"_100":810,"_723":811,"_148":812,"_128":19,"_110":813,"_137":124,"_144":814},{"_93":789,"_91":790,"_95":791,"_97":752,"_106":753,"_98":754,"_157":792,"_100":793,"_148":794,"_128":124,"_110":795,"_137":124,"_144":796,"_48":797},{"_93":775,"_91":776,"_95":777,"_97":752,"_106":753,"_98":754,"_157":778,"_100":779,"_148":780,"_128":124,"_110":781,"_137":124,"_144":782,"_48":783},{"_93":749,"_91":750,"_95":751,"_97":752,"_106":753,"_98":754,"_157":755,"_100":756,"_148":757,"_128":124,"_110":758,"_137":124,"_144":759,"_48":760},{"_93":715,"_91":716,"_95":717,"_97":718,"_106":719,"_98":720,"_157":721,"_100":722,"_723":724,"_148":725,"_128":124,"_110":726,"_137":124,"_144":727,"_728":729,"_48":730},"HK080426",1984,"The Hong Kong Watch Auction: XXIII","Hong Kong","READY","Asia/Hong_Kong","https://www.phillips.com/auction/HK080426","2026-11-21T03:00:00.000000Z","auctionEndDateTime","2026-11-22T10:00:00.000000Z",[747],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/HK080426/HK080426.jpg",{"_227":741,"_229":742,"_48":743,"_232":744},"sessions",[738,739],{"_161":718,"_163":731,"_165":732,"_733":734,"_735":736,"_167":737},"HK","G/F, WKCDA Tower","line2","West Kowloon Cultural District","line3","No. 8 Austin Road West","Kowloon",{"_227":722},{"_227":740},"2026-11-22T03:00:00.000000Z","2026-11-15T16:00:00.000000Z","2026-11-21T16:00:00.000000Z",{"_161":718,"_163":731,"_165":732,"_733":734,"_735":736,"_167":737},[745],{"_236":237,"_238":244,"_239":245,"_241":746},"19:00:00",{"_174":517,"_176":748,"_178":748},"Watches","NY011626",2090,"Modern & Contemporary Art: Afternoon Session","New York","HIGHLIGHTS_ONLY","America/New_York","https://www.phillips.com/auction/NY011626","2026-11-20T19:00:00.000000Z",[774],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY011626/NY011626.jpg",{"_227":767,"_229":768,"_48":769,"_232":770},{"_161":761,"_163":762,"_165":763,"_167":752,"_168":764,"_765":766},"United States","US","432 Park Avenue","10022","province","NY","2026-11-07T05:00:00.000000Z","2026-11-19T05:00:00.000000Z",{"_161":761,"_163":762,"_165":763,"_167":752,"_168":764,"_765":766},[771,772],{"_236":243,"_238":244,"_239":245,"_241":773},{"_236":237,"_238":237,"_239":240,"_241":773},"17:00:00",{"_174":175,"_176":177,"_178":179},"NY011526",2021,"Modern & Contemporary Art: Morning Session","https://www.phillips.com/auction/NY011526","2026-11-20T15:00:00.000000Z",[788],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY011526/NY011526.jpg",{"_227":767,"_229":768,"_48":784,"_232":785},{"_161":761,"_163":762,"_165":763,"_167":752,"_168":764,"_765":766},{"_161":761,"_163":762,"_165":763,"_167":752,"_168":764,"_765":766},[786,787],{"_236":243,"_238":244,"_239":245,"_241":773},{"_236":237,"_238":237,"_239":240,"_241":773},{"_174":175,"_176":177,"_178":179},"NY010726",2043,"Modern & Contemporary Art Evening Sale","https://www.phillips.com/auction/NY010726","2026-11-18T22:00:00.000000Z",[803],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY010726/NY010726.jpg",{"_227":767,"_229":798,"_48":799,"_232":800},{"_161":761,"_163":762,"_165":763,"_167":752,"_168":764,"_765":766},"2026-11-18T05:00:00.000000Z",{"_161":761,"_163":762,"_165":763,"_167":752,"_168":764,"_765":766},[801,802],{"_236":243,"_238":244,"_239":245,"_241":773},{"_236":237,"_238":237,"_239":240,"_241":773},{"_174":175,"_176":177,"_178":179},"CH060326",2088,"Geneva Jewels: Online Auction","Geneva","Europe/Zurich","https://www.phillips.com/auction/CH060326","2026-11-04T09:00:00.000000Z","2026-11-12T13:00:00.000000Z",[825,826],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/CH060326/CH060326.jpg",{"_227":815,"_229":816,"_232":817},"2026-11-03T23:00:00.000000Z","2026-11-11T23:00:00.000000Z",[818,819,820],{"_236":823,"_238":824,"_239":245,"_241":746},{"_236":237,"_238":243,"_239":821,"_241":746},{"_236":244,"_238":244,"_239":821,"_241":822},"09:00:00","13:00:00","Friday","Wednesday",{"_174":660,"_176":829,"_178":830},{"_174":827,"_176":828,"_178":828},24,"Online","Jewelry","Jewels","CH060426",2089,"The Geneva Jewels Auction: VII","https://www.phillips.com/auction/CH060426","2026-11-09T14:00:00.000000Z",[861],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/CH060426/CH060426.jpg",{"_227":815,"_229":855,"_48":856,"_232":857},[846,847],{"_161":841,"_163":842,"_165":843,"_733":844,"_167":807,"_168":845},"Switzerland","CH","Hôtel Président","Quai Wilson 47","1201",{"_227":835,"_849":853,"_851":854},{"_227":848,"_849":850,"_851":852},"2026-11-09T15:00:00.000000Z","lotNumberStart","330","lotNumberEnd","426","301","329","2026-11-08T23:00:00.000000Z",{"_161":841,"_163":842,"_165":843,"_733":844,"_167":807,"_168":845},[858,859,860],{"_236":823,"_238":824,"_239":245,"_241":746},{"_236":237,"_238":243,"_239":821,"_241":746},{"_236":244,"_238":244,"_239":821,"_241":240},{"_174":660,"_176":829,"_178":830},"CH080426",1988,"The Geneva Watch Auction: XXIV","https://www.phillips.com/auction/CH080426","2026-11-07T13:00:00.000000Z","2026-11-08T19:00:00.000000Z",[888],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/CH080426/CH080426.jpg",{"_227":815,"_229":882,"_48":883,"_232":884},[875,876],{"_161":841,"_163":842,"_165":873,"_733":844,"_167":807,"_168":874},"Hotel President Wilson","1211",{"_227":866,"_849":880,"_851":881},{"_227":877,"_849":878,"_851":879},"2026-11-08T13:00:00.000000Z","108","221","1","107","2026-11-07T23:00:00.000000Z",{"_161":841,"_163":842,"_165":873,"_733":844,"_167":807,"_168":874},[885,886,887],{"_236":823,"_238":824,"_239":245,"_241":746},{"_236":243,"_238":243,"_239":821,"_241":746},{"_236":237,"_238":237,"_239":821,"_241":822},{"_174":517,"_176":748,"_178":748},"UK050226",2019,"Design","https://www.phillips.com/auction/UK050226","2026-11-04T14:00:00.000000Z",[904],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/UK050226/UK050226.jpg",{"_227":898,"_229":899,"_48":900,"_232":901},{"_161":162,"_163":164,"_165":166,"_167":49,"_168":169},"2026-10-29T00:00:00.000000Z","2026-11-04T00:00:00.000000Z",{"_161":162,"_163":164,"_165":166,"_167":49,"_168":169},[902,903],{"_236":243,"_238":244,"_239":245,"_241":242},{"_236":237,"_238":237,"_239":240,"_241":242},{"_174":662,"_176":891,"_178":891},"NY011726",2107,"Rema Hort Mann Fund 30th Anniversary Auction: Launching Artists Living With Cancer Grant","LIVE","https://www.phillips.com/auction/NY011726","2026-10-19T16:00:00.000000Z","2026-10-29T02:00:00.000000Z",[914],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY011726/NY011726.jpg",{"_174":175,"_176":177,"_178":179},"NY031026",2098,"Editions & Works on Paper: No Reserve Online Auction","https://www.phillips.com/auction/NY031026","2026-10-20T16:00:00.000000Z","2026-10-28T16:00:00.000000Z",[923],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY031026/NY031026.jpg",{"_174":924,"_176":925,"_178":925},5,"Editions","MODE","production","websocketConfig",{"_59":979,"_980":981,"_982":983},"authConfig",{"_974":975,"_976":977,"_978":927},"ONE_TRUST_SCRIPT_ID","da236391-c57c-40f8-a671-294df558fa4c","GLOBAL_CDN_URL","https://www.dist.phillips.com/content/web/","GLOBAL_ASSET_URL","https://www.dist.phillips.com/static-assets/","THEOPLAYER_LICENSE_KEY","sZP7IYe6T6P60ohoIDC_3OzzTufcFSar0oB-CDIlImkeISbzTDaiCLbcIQB6FOPlUY3zWokgbgjNIOf9flRr3DCLCo0cFSeZIS5-3u1e3mk63uI1FS0iISI60Kht3u5rIOfVfK4_bQgZCYxNWoryIQXzImf90Sb_3SeZ3u5i0u5i0Oi6Io4pIYP1UQgqWgjeCYxgflEc3LhZ0lhc3uCt3uRrFOPeWok1dDrLYtA1Ioh6TgV6v6fVfKcqCoXVdQjLUOfVfGxEIDjiWQXrIYfpCoj-fgzVfKxqWDXNWG3ybojkbK3gflNWf6E6FOPVWo31WQ1qbta6FOPzdQ4qbQc1sD4ZFK3qWmPUFOPLIQ-LflNWfK1zWDikfgzVfG3gWKxydDkibK4LbogqW6f9UwPkImi6IK41Uw4ZIY06Tg-Uya","DOLBY_STREAMING_ACCOUNT_ID","BYwFZf","LAUNCHDARKLY_CLIENT_SIDE_ID","68aefc0f2547850ac0505b8d","POLLING_INTERVAL","FETCH_TIMEOUT",5000,"WS_REFRESH_JITTER_MAX_MS",2000,"ENABLE_SLOW_BROWSER_PERFORMANCE_PROBE","SLOW_TELEMETRY_THRESHOLD_MS","ENABLE_BROWSER_DOCUMENT_LOAD_TRACING","BROWSER_DOCUMENT_LOAD_IGNORE_NETWORK_EVENTS","BROWSER_DOCUMENT_LOAD_RESOURCE_SPANS","slow","BROWSER_LONG_TASK_MIN_DURATION_MS",100,"ENABLE_BROWSER_ROUTE_TRANSITION_TRACING","CORALOGIX_APP_PUBKEY","cxtp_ZonPe8vXSpl7Sbn2e9lrxdxOLJQFof","CORALOGIX_SEND_YOUR_DATA_API_KEY","cxtp_j2JgJ8zS2kCYRwUSWE5ZsBnzIMxbrj","OTEL_SERVICE_NAME","remix","CORALOGIX_SESSION_SAMPLE_RATE","sanityConfig",{"_967":968,"_969":927,"_970":971,"_972":973},"projectId","o6wj5zo6","dataset","apiVersion","2025-03-09","studioUrl","http://localhost:3334","authClientId","76af4ad3-83f1-485c-9242-9621d986dd70","authSyncContext","customer","authEnv","ws.phillips.com","apiKey","YNg99gZHWH8V2TK41OyvHaH9lbSyo0WF14DooTlH","heartbeatInterval",300]

12

John Chamberlain

Etruscan Romance

Further Details

Full-Cataloguing

John Chamberlain