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\n","auctionDetailsSmall","London Auction 8 March 2024","extraInfo","

Simon Tovey
\nSpecialist, Associate Director, Head of Day Sale
\n+44 7502 428 688
\nstovey@phillips.com

\n\n

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Works on view at Phillips 30 Berkeley Square Gallery. From left to right, works by Alia Ahmad, Jonathan Gardner, Jean Dubuffet, Dame Barbara Hepworth, and George Condo.

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It’s a new season in the art world and Phillips leaps into 2024 with our London 20th Century & Contemporary Art auctions on 7 and 8 March.

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The full selection offered in the auction is on view through 8 March from our unique gallery space at 30 Berkeley Square. Consider this your personal invitation to discover these remarkable works in a light-filled, modern, and enticing gallery that is unlike any other auction space in London.

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From left to right, works by Yayoi Kusama, Anselm Kiefer, and Sigmar Polke on view at Phillips London.

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Discover works by well-known artists like Andy Warhol, Yayoi Kusama, and Pierre-Auguste Renoir, in addition to those by younger contemporary artists including Wynnie Mynerva, Caroline Walker, Cecily Brown, Kehinde Wiley, and countless others.

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Below, we highlight the auction’s campaign of revealing articles and videos to inspire your visit. Be sure to subscribe and follow us for the latest updates from around the globe.

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Subscribe to the Phillips Newsletter >

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Follow Phillips on Instagram >

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Andy Warhol and Diana, “The People’s Princess”

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Phillips Global Chairwoman Cheyenne Westphal is your guide to Andy Warhol’s iconic 1982 work Portrait of Princess Diana. Executed just a year after the wedding of Diana and Prince Charles, Warhol’s approach echoes that of his defining Pop depictions of American celebrity in the 1960s — including his portraits of Marilyn Monroe and Jackie Kennedy — and presages his portraits of Queen Elizabeth II.

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Discover More >

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London and Its Art and Artists

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Frank Auerbach, J.Y.M. Seated in the Studio II, 1987–1988. 20th Century & Contemporary Art Evening Sale London.

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In a celebration of London and the creativity it inspires, we highlight works by artists who fell under the cultural influence of the city on the Thames. The article tracks an array of artistic practices in London from the post-war era through today, with surprising insights into how artists shape and react to the city’s ever-changing cultural milieu.

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Read A River Flows Through It: London’s Ever-Shifting Art Tides >

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The Infinite Pulse of Yayoi Kusama

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Watch as Senior Specialist Tamila Kerimova explores the vibrant and dynamic INFINITY-NETS (ZXSSAO) by Yayoi Kusama. The work is a particularly sophisticated and rhythmic example of Kusama’s landmark series — a cornerstone of her practice.

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The largest red Infinity Net to come to auction, its entire surface is covered in tightly rendered whorls of deep cadmium red that continue across the canvas edge. Kusama once said that “by obliterating one’s individual self, one returns to the infinite universe.” We tend to agree, as the visual pleasure of total immersion in this work is akin to a spiritual experience.

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Discover More >

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Painter’s Choice: Behind the Process

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Bernard Frize, Risti, 2004. 20th Century & Contemporary Art Day Sale London.

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The material, the medium, and the message are all clear: acrylic (and more) is anything but an alternative for several abstract painters featured in our Day Sale. Learn more about why Bernard Frize, Paolo Scheggi, Katharina Grosse, and Feng Xiao-Min chose acrylic paint, and about the surprising materials used by Minjung Kim, Carlos Cruz-Diez, and Jiří Georg Dokoupil. Soap anyone?

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Read: Painter’s Choice: Behind the Process >

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Swimming in Renoir

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Plunge into a world of imagination with Dr. Caroline Knighton and Pierre-Auguste Renoir’s 1879 masterpiece. La petite pêcheuse depicts the young Marthe Bérard, daughter of the diplomat and banker Paul Bérard. Renoir spent long summers with the family in their country home at Wargemont on the Normandy coast between 1879 and 1888, producing some fourteen portraits of the family, many of which are now held in major institutional collections around the world. This work was commissioned by the sitter’s godmother, Madame de la Perrière, and has been held in only two family collections since its creation.

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Gallery Tour

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Join Rosanna Widén — Head of Evening Sale, London — and Olivia Thornton — Head of 20th Century & Contemporary Art, Europe — for a virtual tour of the gallery. The pair highlight works by Alia Ahmed, Frank Auerbach, Cecily Brown, and many more from 30 Berkeley Square.

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Discover Evening Sale >

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Discover Day Sale >

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Discover More from 20th Century & Contemporary Art >

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\n","publishDate","2024-02-28T21:16:45.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/140447910/london-art-week-at-phillips-auction-exhibition-gallery-kusama-warhol","displayOrder",2,"auctionEditorialID",2052,"editorialID",4459,"flocklerID",140447910,"https://flockler.com/thumbs/sites/889/london-lead-c7316076-ae68-4000-8013-22316c4e98b8_s600x0.jpg","Artists and the city through the decades, from stalwarts like Frank Auerbach to emerging talents like Rachel Jones. ","A River Runs Through It: London’s Ever-Shifting Art Tides","

Frank Auerbach. Image: Heritage Image Partnership Ltd / Alamy Stock Photo.

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A city with an voracious appetite for culture, London is a hub of innovation. And with a history dating back at least to the Romans, change may be what’s most familiar to it. Here, ahead of our London Auctions of 20th Century & Contemporary Art, we highlight artists and works with connections to the city and consider the changing cultural climate from the post-war era through the booming 1980s, the irreverent 1990s, and today. All are on view to the public in Phillips’ luminous gallery space at 30 Berkeley Square through 8 March.

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Frank Auerbach: From Post-War to Now

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Frank Auerbach, J.Y.M. Seated in the Studio II, 1987–1988. 20th Century & Contemporary Art Evening Sale London.

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Frank Auerbach rarely leaves London and has worked in his Mornington Crescent studio nearly every day for over 50 years. Since fleeing Germany as a child in 1939, Auerbach has called the city home and has found inspiration in its architecture, unique light, and vibrant community of artists. Auerbach has notably reminisced about spending time in the bohemian barrooms of London’s Soho district with fellow School of London painters Francis Bacon and fellow German expat Lucian Freud. As the mood of the post-war London in which Auerbach came of age was very different than it is today, the artist has witnessed the city’s penchant for creative reinvention unfold time and again since his arrival. And with each revitalized decade, the London art world cognoscenti continues to celebrate his work.

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\n
This part of London is my world. I’ve been wandering around these streets for so long that I have become attached to them, and as fond of them as people are of their pets.
\n—Frank Auerbach
\n

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In a serendipitous moment, Phillips offers Auerbach’s J.Y.M. Seated in the Studio II while London’s Courtauld Gallery presents the exhibition Frank Auerbach: The Charcoal Heads, which runs through 27 May. The subject of the painting, Juliet Yardley Mills, is a British model who Auerbach first met at Sidcup School of Art in the 1950s. Auerbach was drawn to her talent and skill as a sitter — evidenced here in an extraordinary pose she would have had to hold for hours — and has painted more than 130 works of her throughout their collaboration. His characteristic process — which involves scraping away freshly painted surfaces at the end of each sitting and then painting them again — is on full display here. With this approach each area of the canvas becomes a richly textural celebration of paint’s materiality and the artist’s approach to figuration, as well as a document of the passage of time.

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Andy Warhol: Diana and the 1980s

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Andy Warhol, Portrait of Princess Diana, 1982. 20th Century & Contemporary Art Evening Sale London.

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Though well-known as a life-long, die-hard New Yorker, whenever Andy Warhol was in London, he brought his Big Apple verve to a frenzy of engagements across the city’s artistic hotspots. And as an artist obsessed with notions of icon, celebrity, and royalty, London welcomed him. After all, the city calls itself home to personalities with varying degrees of titled fame, as well as some of the more prosperous tabloid magazines (alongside the requisite image-obsessed public that keeps them in business).

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It makes sense then, that as Lady Diana Spencer made waves across the world from the Thatcher-era booming London, Warhol’s eye would turn to her. Altering Lord Snowden’s official engagement portrait of the royal couple to bring Diana’s face into focus and removing then-Prince Charles entirely, Warhol narrows the scope of the iconic source photograph to present a poignant depiction of a young Diana alone. Made just one year after her marriage to the Prince of Wales, this work is the only blue portrait from the original set of silkscreened canvas, highlighting the color of her iconic engagement ring. The image greets us now with perhaps an even more affecting tone than when it was first made, with Diana’s life story reigning prominently in our collective imagination due to the lauded television show The Crown, in addition to the recent passing of Queen Elizabeth and the subsequent ascension of Charles and Camilla.

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The Young British Artists and 1990s Irreverence

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In 1988, an enterprising art student at Goldsmiths Art College by the name of Damien Hirst took over an abandoned fire station at Surrey Docks. Assembling his works alongside those of his classmates — including Sarah Lucas — Hirst featured experimental and at times shocking works as he rewrote the rule book for how young artists should behave and how much they should take ownership of their commercial success. Word of the unique show spread quickly and was followed by subsequent prominent exhibitions. London was now the hottest scene in the contemporary art world, and the phenomenon of the Young British Artists (YBAs) was born.

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Damien Hirst, Cupric Nitrate, 2007. 20th Century & Contemporary Art Evening Sale London.

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Throughout the 1990s the YBAs created works that shocked and challenged viewers. Damien Hirst became best known for boundary-pushing sculptures of animals submerged in formaldehyde, his series of medicine cabinets, and his celebrated Spot Paintings. With this sale, Phillips brings one such work, Cupric Nitrate, to auction for the first time. It was included in the Paris iteration of Hirst’s ambitious multi-venue presentation of Spot Paintings, mounted by Gagosian Gallery across its eleven global locations simultaneously in 2012, and in the first major museum retrospective of Hirst’s work, which opened at Tate Modern in London that same year. Works by Tracey Emin — an artist long associated with the YBAs and London — are on offer in the day sale as well, including the provocative self-portraits I held you in my hand and Tight.

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Tracey Emin, I held you in my hand, 2021. 20th Century & Contemporary Art Day Sale London.

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Rachel Jones, Issy Wood, Daisy Dodd-Noble and London Today

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Rachel Jones, Untitled, 2020. 20th Century & Contemporary Art Day Sale London.

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Today London continues to draw young artists from around the world due to its vibrant cultural climate and exceptional art schools. Rachel Jones, a young London-based painter on the rise, who earned her MA at the Royal Academy Schools in 2019, centers color and ambiguity in her work. Looking beyond the swathes of color that make up the ostensibly abstract Untitled from 2020 reveals two rows of teeth positioned in a clenching fashion — an enduring motif for the artist.

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Issy Wood, Super Luncheon, 2020. 20th Century & Contemporary Art Day Sale London.

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As a global hub, London also pulls artists from elsewhere into its embrace. The young artist Issy Wood — who was born in North Carolina — moved to the city to attend Goldsmiths and the Royal Academy Schools and never left. Her 2020 work Super Luncheon, on offer here, is a clear example of the hazy appearance and disquieting surrealism that has come to define her style. Her works are imbued with a sense of a lingering and inescapable past that contaminates our present moment, a sense the writer and curator Margaret Kross has called “the estrangement of the contemporary.” The young painter Daisy Dodd-Noble is yet another American artist who has made London her base. Dodd-Noble, trained in New York, explores themes around the environment and our relationship with nature through bucolic and vividly colored landscapes that spread awareness about environmental conservation.

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Daisy Dodd-Noble, Tree at Waters Edge at Sunset, 2020. 20th Century & Contemporary Art Day Sale London.

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More to Explore

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Cecily Brown, Luck Just Kissed You Hello, 2013. 20th Century & Contemporary Art Evening Sale London.

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Further artists associated with London feature prominently in the sale, including the British painter Cecily Brown. Long associated with the city, the artist has recently relocated to New York and honored with a major career retrospective at the Metropolitan Museum of Art. Her lauded blend of figuration and abstraction characterized by theatrical and indulgent compositions is on full display here in her 2013 work Luck Just Kissed You Hello, which was first presented at an eponymous exhibition at Gagosian in Beverly Hills.

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Dame Barbara Hepworth, Four Figures Waiting, 1968. 20th Century & Contemporary Art Evening Sale London.

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Of further note is the 1968 work Four Figures Waiting by British sculptor Dame Barbara Hepworth. The artist studied in London at the Royal College of Art before eventually settling in St Ives until her passing in 1975. One of the most celebrated sculptors of the 20th century and a defining figure of international modernism, this work showcases the elongated forms, experimental approach to space, and sensitivity to the tactility of her chosen materials. Her works often seem to embody both the human figure and the prehistoric standing stones found throughout the Cornish landscape she called home.

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With more than 150 works on view, there are nearly endless possibilities for creative discovery in our London gallery right now. The collected works, by artists associated with London and elsewhere, prove that there’s no end in sight to the creative vitality of the city.

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Discover More from 20th Century & Contemporary Art >

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\n","2024-02-22T15:10:28.000000Z","https://www.phillips.com/article/140105265/a-river-runs-through-it-london-art-auction-exhibition",2042,4452,140105265,"https://flockler.com/thumbs/sites/889/bf-full-cc119bc4-d7c4-4e08-872f-b571a944b1c8_s600x0.jpg","The material, the medium, and the message are all clear: acrylic is anything but an alternative for several abstract painters featured in our upcoming 20th Century & Contemporary Art Day Sale.","Painter’s Choice: Behind the Process","

Bernard Frize, Risti, 2004. 20th Century & Contemporary Art Day Sale London.

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The internet abounds with articles and Tik-Toks encouraging beginner DIY painters to visit their local craft shop and pick up some acrylic paints. The benefits are clear, they all say: even artist-grade acrylic paints are more affordable than oils, working with acrylic doesn’t require the strong ventilation of a professional studio, acrylics adhere to most surfaces, and they dry exceptionally quickly. Though this pervasive content may have led to a cultural perception of acrylic as a lesser material, countless artists — particularly young painters with limited resources — have turned this idea on its head, producing acclaimed work utilizing acrylic and often other craft materials (Mickalene Thomas comes to mind). Sometimes they even shatter auction records along the way.

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Beyond the fact that improved manufacturing processes have strengthened the quality of artist-grade acrylic paint since the material was first marketed in the 1950s (when its early champions included David Hockney), acrylic paint isn’t always the second choice. Sometimes, an abstract visual idea is so specific that the idea itself guides the choice of medium, not external factors. And for the painters below — who utilize acrylic paint and a variety of unexpected materials to service their artistic needs — it’s the only choice.

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Bernard Frize

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Bernard Frize, Risti, 2004. 20th Century & Contemporary Art Day Sale London.

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Bernard Frize’s distinctive process-driven approach calls for thin, translucent paint that dries quickly. Having entered art school following the wave of student protests in May 1968, Frize rejected painterly approaches that would either outwardly depict or entirely ignore his political convictions regarding class and labor. He eventually stopped painting for a decade to consider how to imbue his social beliefs in the way his paintings were made, not just how they appear: “I was looking for a way to be modern in painting, a way to be contemporary with my time, as the Impressionists had been in the 19th century,” Frize explained to Olivier Zahn in an interview for Purple Magazine in 2016. He went on to share that “because the revolution — as we believed — was supposed to come from the working class, I wanted to work out my painting in an extremely modest way. I wanted to turn out art that wouldn’t distinguish itself from the work of a factory worker.”

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Bernard Frize, Risti (detail), 2004. 20th Century & Contemporary Art Day Sale London.

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Painting on canvases placed flat on the floor of his Berlin studio, Frize works quickly with very transparent, liquid colors and according to carefully developed processes that explore chance within a set of strict parameters. Working in series, Frize explores the same set of parameters multiple times to produce every possible execution of them. It’s a practice that attempts to remove the artist’s individual expressive choices, akin to the experience of worker on a production line. Stating that he takes approximately 10 minutes to paint a canvas once the process is determined, Frize piles layers of translucent acrylic and resin rapidly, using different colors at random simply to keep track of where he is in the process — a practice that would be impossible with oil paint. The resulting works are colorful visual pleasures that invite us to question the subjectivity of the act of painting and its effect on the resulting objects.

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Paolo Scheggi

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Paolo Scheggi, Intersuperficie curva-dal bianco cerchi progressivi-regressivi, 1965. 20th Century & Contemporary Art Day Sale London.

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For Paolo Scheggi, a pivotal member of the Italian post-war avant-garde alongside Lucio Fontana, Alberto Burri, Enrico Castellani, and Agostino Bonalumi, the consideration of a painting as object was crucial. Consistently interested in shape and matter, Scheggi gained early notoriety for his metal assemblages and collages before progressing to his lauded Intersuperfici works. These works are characterized by overlapping monochromatic canvases (typically three) with curvilinear openings. In this case, the white acrylic paint on the canvas surfaces is presumably an intentional choice, one that calls on the medium’s unique properties to highlight the interplay of light and shadow within space.

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Contrary to Fontana’s physically intensive approach, in which viewers glimpse beyond a pictorial plane that has been literally fractured, Scheggi’s approach does the opposite. In the Intersuperfici works, the picture plane essentially is stacked outwards, inviting us to look within it. These are Spatialist notions, strongly associated with the Italian avant-garde, and they overcome the two-dimensionality of the canvas while merging color, space, movement, and time. The work on offer, executed just six years prior to the artist’s untimely passing at the age of 30, is highly emblematic of Scheggi’s approach — one that is firmly secured in the pages of art history.

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Katharina Grosse

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Katharina Grosse, Untitled, 2021. 20th Century & Contemporary Art Day Sale London.

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German artist Katharina Grosse is well-known for large site-specific works that often involve painting abstractions across indoor and outdoor spaces, including on paths and walkways. Her choice of materials — unmixed acrylic colors applied with a spray gun — is crucial to achieve these results at scale. When working on canvas, as in the present large-scaled work, the same needs remain. Her approach pushes the boundaries of Abstract Expressionism and privileges layering colors, evident in the present work and emphasized by her use of handmade stencils, which cover sections of the painting and are then removed to reveal the painting’s layered compositional structure. The fast-drying nature of acrylic paint allows Grosse to work relatively quickly in large public spaces but has benefits on monumental canvases as well. Drawing from traditions of Abstract Expressionist painters including Jackson Pollack and Cy Twombly, she explores the relationship between the body’s outward physical expression of her inner psyche and the composition, using the spray gun as a tool to extend beyond her physical reach. For her, the experience of viewing the resulting work is very personal, one that she has described as looking “at the residue of my thinking.”

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Minjung Kim

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Minjung Kim, Pieno di vuoto, 2008. 20th Century & Contemporary Art Day Sale London.

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It’s not only aesthetic reasons that draw artists to unexpected materials, but they can also serve a purpose in expressing identity. Korean artist Minjung Kim uses various water-based paints and inks on traditional hanjipaper, a material she’s explained as an extension of her body: “I feel the material becomes a part of myself. Paper is my skin.” Kim grew close to the material early in life, playing with discarded scraps of hanji in her father’s print shop in Gwangju as a child in the 1960s. Her process typically involves singeing the edges of the paper with incense or candles before affixing them with glue to other sheets in the final composition.

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Carlos Cruz-Diez and Jiří Georg Dokoupil

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Carlos Cruz-Diez, Induction Chromatique Sebon, 2017. 20th Century & Contemporary Art Day Sale London.

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At times, an artist’s idea calls for surprising material invention, as is the case for both Carlos Cruz-Diez and Jiří Georg Dokoupil. Cruz-Diez’s works explore color and perception through a scientific approach that is emotionally resonant, as demonstrated clearly by the chromography on aluminum in the present work from his celebrated Induction Chromatique series. When viewing his works, our senses reveal color events as they unfold in our eyes. Czech artist Jiří Georg Dokoupil, mixes pigments with lye soap in his lauded Soap Bubble Paintings to create a thin and translucent layer of abstract forms that mimic the electric vibrance of organic forms from marine life.

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Jiří Georg Dokoupil, Untitled, 2016. 20th Century & Contemporary Art Day Sale London.

\n\n

Discover More from 20th Century & Contemporary Art >

\n\n

Recommended Reading

\n\n

London Art Week at Phillips >

\n\n

A River Runs Through It: London’s Ever-Shifting Art Tides >

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“Painting allows for a unique understanding of time. Unlike any other medium, it allows us to see different moments in time within one and the same painting. All the layers on the surface generate a cluster of time. A painting reverses your understanding of present, future and past to a point that it even annihilates it.”
\n—Katharina Grosse

\n\n

Expressive and vibrant streaks of colour envelop the works of the renowned German artist, Katharina Grosse. Known for her large in situ installations, that transform architectural spaces and even landscapes into all-consuming compositions, she continuously pushes boundaries through her radical approach to abstract expressionism. Her practice returns to the fundamentals of painting – ‘the application of pure colour to a surface’ – yet transforms it through excess and exaggeration.ⁱ Using a spray gun, irregularly shaped stencils, and a limited colour palette, Grosse layers and blocks paint to create a composition of kaleidoscopic shapes.

\n\n

Katharina Grosse’s o.T., painted in 2021, is a compelling example of the artist’s traditional use of colour and abstraction. Rendered in expressive swathes of reds, yellows, blues, purples, and greens, Grosse creates an imposing landscape of colour. Layers of ribbon-like strips flow down the canvas, only to be interrupted by coiled and jagged forms, reminiscent of tears or scars. From the white lacerations, remnants of paint peer through, inviting the viewer to look more closely in an attempt to discover what lies beneath the surface. Grosse’s work does not seek to offer solutions, however, and instead revels in its self-avowed ambiguity. Indeed, space is no less of a target for Grosse’s unconventional gaze than colour. It is perhaps only her own imagination that presents any boundaries to Grosse’s approach.

\n\n

Intent on expanding the scope of her work beyond the confining canvas, many of Grosse’s works from the same year utilise foraged vegetal materials. Twigs, branches and vines are pinned to the canvas with varying degrees of rigour and are subsequently removed after the paint’s application. The reductive technique results in forms that range from serpentine entanglements to jagged tears and slashes. In collecting foreign materials and incorporating them into her process, the finished product evidences a practice that is wide reaching both physically and conceptually.

\n\n

Recalling the canonical works of artists, such as Jackson Pollock and Cy Twombly, Grosse’s approach to painting requires a physical relationship between her body and the composition. As she travels around the large-scale sculptures, canvases, or even architectural surfaces, her movements directly affect the application of paint. As she moves closer to the surface, the colours become more solid and vibrant, in contrast, moving away results in a sheer and dispersed effect in the paint. This constant movement allows for a variable yet controlled spontaneity. In their exhibited state, Grosse’s works such as the present example are potentially imposing, yet her active process infers a palpable intimacy. Despite its monumentality and dizzying execution, there is consideration granted to the viewer. Grosse aims at first destabilising the viewer’s perspective, allowing them to participate in her approach as they are whisked through heady revelations. Thus, a fresh perspective on action painting does not prioritise the artist’s dynamism alone but connects her process to the viewer’s participation.

\n\n

ⁱGregory Volk, Katharina Grosse, London, 2020, p. 41

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Katharina Grosse

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Katharina Grosse