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\n","auctionDetailsSmall","London Auction 7 March 2024","extraInfo","

Rosanna Widén
\nSenior Specialist, Head of Evening Sale
\n+44 20 7318 4060
\nrwiden@phillips.com
\n
\nOlivia Thornton
\nHead of 20th Century & Contemporary Art, Europe
\n+44 20 7318 4099
\nothornton@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","auctionEditorialID",2051,"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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“Kehinde Wiley is a history painter […] he creates history as much as tells it’”
\n—Holland Cotter, The New York Times

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The largest of Kehinde Wiley’s work to have been offered at auction, Christian Martyr Tarcisius is a commanding image, full of majesty and pomp. Created in 2008, the same year as Barack Obama was sworn in as President of the United States, the work is realised on a scale seldom seen in contemporary portraiture, Wiley reconceptualising the formal apparatus of easel painting to create a dynamic, statuesque portrait that challenge hierarchies of race, gender, and taste.

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Since 2001, Kehinde Wiley has reconsidered historical sculptural and pictorial form through his portraits, challenging and expanding the narrower traditions of the European and American art historical canon. Wiley recalls the prevalence of these frameworks during childhood in Los Angeles, where under the encouragement of his mother, he first visited the Huntington Library Art Gallery. Wiley notes that ‘Joshua Renoylds, Thomas Gainsborough and John Constable were some of my favourites’ through their opulence yet ‘as a twentieth-century poor Black kid […] I had no way of digesting it’.

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In appropriating a western pictorial tradition that was used to galvanise secular or religious figures, Wiley reintroduces the historically and socially marginalised Black individual into the frame on a heroic scale. In Christian Martyr Tarcisius, the sitter’s clasped hands, recumbent form, parted lips, and pious gaze directly reference Alexandre Falguière’s 1868 sculpture Tarcisius, martyr chrétien. Falguière had taken the spiritual subject of the young Tarcisius on the edge of death, shielding in his hands the Body of Christ from those who attacked him. Yet, in defiance of the delicacy and fragility of Falguière’s sculpture, Wiley’s Tarcisius is beyond life-size, his epic proportions rendered in exuberant colour. In this way, Christian Martyr Tarcisius is as much poignant as it is victorious and affirming.

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\"\" — Alexandre Falguière, *Saint Tarcisius*, 1868, The Metropolitan Museum of Art, New York. Image: © The Metropolitan Museum of Art, New York, European Sculpture and Decorative Arts Fund, 2007, 2007.407

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Wiley ascribes his sitter’s agency throughout his approach to image-making. His subjects are selected at random, through a process of ‘street casting’ that Wiley commenced in 2001 in Harlem, and has subsequently extended globally, from China and Haiti to Senegal and Jamaica. Those who accept Wiley’s invitation to the studio then choose poses from historical artworks and are photographed in their own clothes: ‘there are no props or dressing people up’, Wiley emphasises. Therefore, Wiley champions ‘the beauty in that person who was just walking by you, who the world is ignoring’, exalting popular culture through paint, particularly the world of hip hop.

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In Christian Martyr Tarcisius, by complicating the relationship between the figure and the patterned field, Wiley brings the cultural associations of pattern into central focus. Like Wiley’s use of pose and dress, pattern establishes the cross-cultural exchange central to his practice. Though the floral motif is based on a cotton textile manufactured in Russia during the twentieth century, the design was influenced by French home-furnishing: a leader of the latest fashions in the Russian market from the late 19^th century. Wiley’s memories of home furnished with ‘faux French furniture’ include a similar fusion of various cultural designs, an environment fundamental to forming his ‘internal taste’. Here too, Wiley brings European and African sources into dialogue with one another, the figure wearing a jacket and baseball cap referencing the colours and geometric patterning of traditional Ghanian textiles. In drawing our attention to these elements Wiley also underscores the relationship between gender and the decorative. As an industry typically associated with ‘women’s work’ and viewed as ‘secondary’ to fine art, by blurring the boundaries between the body and space, Wiley establishes both components of pattern and portrait on equal terms.

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\"\" — [Left] Roller-printed cotton cloth (lining of an Abr Ikat Munisak). Russia, early twentieth century
\n[Right] African Ghanian traditional cotton print. Image: Ivan Okyere-Boakye Photography / Alamy Stock Photo

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Collector’s Digest

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Perpetually playing with the language of power, in Kehinde’s Wiley’s work figure and pattern take centre stage. The youngest of six children raised by his single mother, Freddie Mae Wiley, Wiley approaches oil paint with academic rigour. Having completed his BFA in at the San Francisco Art Institute in 1999, Wiley earned an MFA from Yale in 2001.
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Internationally celebrated through solo exhibitions and the permanent collections of significant institutions, in 2018 Wiley was the first African American artist to paint the American president’s official portrait. The painting of the former president, Barack Obama, now hangs in the National Portrait Gallery, Washington.
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Christian Martyr Tarcisius is part of his DOWN series, executed between 2007 and 2009. A sister work from the series, The Veiled Christ (study), 2008, now resides in the Metropolitan Museum of Art, New York.
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Directly expanding from the DOWN series, an exhibition of a new body of work titled An Archaeology of Silence commenced at the Fine Arts Museum, San Francisco in March 2023 and is currently being shown at the Museum of Fine Arts, Houston until June 2024. The exhibition is scheduled to travel to the Pérez Art Museum Miami (July 2024 to January 2025) and finally the Minneapolis Institute of Art (February to June 2025).
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ⁱ Kehinde Wiley quoted in Robert Hobbs, ‘Kehinde Wiley’s Conceptual Realism,’ in Kehinde Wiley, New York, 2012, p. 24.

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ⁱⁱ Kehinde Wiley quoted in Robert Hobbs, ‘Kehinde Wiley’s Conceptual Realism,’ in Kehinde Wiley, New York, 2012, p. 41.

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ⁱⁱⁱ Kehinde Wiley quoted in Kadish Morris, ‘Artist Kehinde Wiley: ‘The new work is about what it feels like to be young, Black and alive in the 21st century’’, The Guardian, 21 November 2021, online.

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^iv Kehinde Wiley quoted in Robert Hobbs, ‘Kehinde Wiley’s Conceptual Realism,’ in Kehinde Wiley, New York, 2012, p. 22.

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^v Kehinde Wiley quoted in Peter Halley, ‘A Conversation with Kehinde Wiley and Peter Halley,’ in Kehinde Wiley, New York, 2012, p. 161.

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16

Kehinde Wiley

Christian Martyr Tarcisius

Further Details

Full-Cataloguing

Kehinde Wiley