Auction 13 November 10am EST

\n\n

450 Park Avenue, New York (map)

\n\n

Viewing 1-13 November

\n\n

Monday-Saturday 10am-6pm
\nSunday 12pm-6pm

\n\n

432 and 450 Park Avenue, New York

\n\n

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ROBERT MOTHERWELL Open No. 116: La France Open, circa 1985

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SAM GILLIAM Blue, 1970

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ROY LICHTENSTEIN Screen with Brushstrokes Head, 1986

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LUCIO FONTANA Concetto Spaziale, 1964

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JEAN-PAUL RIOPELLE Port Coton, circa 1959

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DOROTHEA ROCKBURNE Oxymoron, 1987-1988

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STURTEVANT Stella Getty Tomb (First Study), 1988

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ED RUSCHA Words #2, 1985

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ANDY WARHOL Four Works: Man Ray, 1974

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DANIEL BUREN Zu Unterstreichen, travail situé, 1989

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Travel through our galleries at 450 and 432 Park Avenue in New York and browse our 20th Century & Contemporary Art Evening and Day Sales.

\n\n

Our Evening Sale features an exceptional group of works by Jean-Michel Basquiat, Pablo Picasso and Rufino Tamayo alongside some of the most sought-after contemporary names today including KAWS, Tschabalala Self, Keith Haring, Ed Ruscha and more.

\n\n

From the Day Sale, our Morning and Afternoon Session feature works by Yayoi Kusama, Josef Albers, Robert Motherwell, Nicolas Party and Julie Curtiss, among others.

\n\n

Our 20th Century & Contemporary Art fall preview is open through 13 November in New York ahead of the 13-14 November auctions.

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Robert Motherwell Open No. 116: La France Open, 1969/1983/circa 1985. Estimate: $1,000,000-1,500,000. Offered on 13 November in the 20th Century & Contemporary Art Day Sale, Morning Session at Phillips New York.

\n\n

Resplendent in color and gesture, Robert Motherwell’s Open No. 116: La France Open envelops the viewer in an atmospheric blue field of color anchored by a luminous white form outlined in bold black lines. As one approaches the vast surface, hints of green, ultramarine blue, sienna and red begin to reveal themselves behind the veils of pale blue and white paint that Motherwell gesturally applied in subtle, oftentimes semitransparent layers. Completed between 1983 and 1985, this work is the impressive result of over a decade and a half of constant revision. This painting hence simultaneously exhibits elements of his early Opens, as well as the looser, more gestural style that Motherwell pursued in the last decade of his life. An ode to the color blue, Open No. 116: La France Open represents a striking continuation of Motherwell’s celebrated The Blue Painting Lesson paintings from 1973-1975, which reside in the Wadsworth Atheneum Museum of Art, in Hartford.

\n\n

\n\n

Robert Motherwell The Blue Painting Lesson: A Study in Painterly Logic, 1973–1975. Wadsworth Atheneum Museum of Art, Hartford, Artwork © 2019 Dedalus Foundation, Inc./Licensed by VAGA at Artists Rights Society (ARS), New York

\n\n

To encounter Open No. 116: La France Open is to experience an overwhelming sense of contemplation and Zen-like harmony, wholly unique to Motherwell’s Open series. The Opens represented a major shift from the stark black and white of Motherwell’s preceding Elegies, a series begun in the late 1940s. If the Elegies were frequently imbued with undertones of tragedy and suffering, works such as the present example reflect the opposite spectrum of Motherwell’s sensibility.

\n\n

The Open series was inspired by chance as Motherwell worked in his studio in 1967. Struck by the relationship between a smaller canvas leaning against a larger one, he outlined the smaller canvas in charcoal. According to Motherwell, “The series began as a ‘door’”, which “ultimately reversed into a ‘window’” (Robert Motherwell, “Statement of the Open Series”, 1969, in The Writings of Robert Motherwell). That the first such Open painting was born from a chance episode was not surprising for an artist such as Motherwell, who since his early contact with Surrealism held a firm belief in the generative potential of luck and imagination.

\n\n

\n\n

Henri Matisse View of Notre Dame, 1914. The Museum of Modern Art, New York, Digital Image © The Museum of Modern Art/Licensed by SCALA/ Art Resource, NY, Artwork © 2019 Succession H. Matisse/Artists Rights Society (ARS), New York

\n\n

The Opens also reveal Motherwell’s engagement with the art historical motif of the window, likely prompted by his first in-person encounter with Henri Matisse’s highly abstracted Porte-fenêtre à Collioure, 1914, and the View of Notre Dame, 1914, at The Museum of Modern Art’s 1966 retrospective of the Fauve master. As Jack Flam indeed observed, “The relationship between some of the Opens and Matisse’s View of Notre Dame is striking, in terms of dialogue between drawn line and loosely brushed field of color, and even in the way the exquisite brushstroke in the ground is able to call forth so much luminosity and so much chromatic richness from the blues” (Jack Flam, in, Robert Motherwell Paintings and Collages: A Catalogue Raisonné, 1941 – 1991).

\n\n

Though many of Motherwell’s Opens have naturalistic points of reference and evoke the image of a window against a wall, the artist emphasized that the motif of the window mainly represented a poetic metaphor to him. Skimming through his copy of the Random House Unabridged Dictionary of the English Language, Motherwell was intrigued by the conceptual breadth and ambiguity of the myriad of definitions for the word “open”. Echoing Stéphane Mallarmé’s belief that a poem should transcend a specific idea or event, Motherwell strove to create open-ended paintings. His paintings are neither meant as direct correspondences to the real world, nor are they exemplary of abstraction as an end in itself.

\n\n

\n
…each brush stroke is a decision. It is not only a decision of aesthetics – will this look more beautiful? – but a decision that concerns one’s inner I
\n— Robert Motherwell
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Open No. 116: La France Open is a remarkable example of how re-painting formed a core part of Motherwell’s artistic process. The first version of this painting featured a sienna, blue and green composition and as such was titled Open No. 116: In Sienna, Blue and Green when it was consigned to Marlborough-Gerson Gallery in New York. By the time it was exhibited at Knoelder & Company in 1983, however, Motherwell had radically re-painted it – transforming it into a predominantly blue painting with a red Open form and titling it Open No. 116: La France Open. Motherwell then revised it still one more time – painting the rectangular Open form white – to achieve his current composition. This form of constant re-working was a long-standing practice for Motherwell, who once stated, “…each brush stroke is a decision. It is not only a decision of aesthetics – will this look more beautiful? – but a decision that concerns one’s inner I” (Robert Motherwell, quoted in Robert Motherwell, Albright-Knox Art Gallery).

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Robert Motherwell’s Open No. 116: La France Open in a previous state in the artist’s studio, circa 1984. Photo by Peter Vitale. Artwork © 2019 Dedalus Foundation, Inc./Licensed by VAGA at Artists Rights Society (ARS), New York

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Rather than a matter of perfectionism, this process has been likened to an elusive attempt to find himself through the very act painting. Indeed, as Motherwell declared speaking of his tendency to re-paint works, “I realize that whatever ‘meaning’ that picture has is just the accumulated ‘meaning’ of ten thousand brushstrokes, each one being decided as it was painted. In that sense, to ask what ‘what does this painting mean?’ is essentially unanswerable, except as the accumulation of hundreds of decisions with the brush. On a single day, or during a few hours, I might be in a very particular state, and make something much lighter, much heavier… than I normally would. But when you steadily work at something over a period of time, your whole being must emerge” (Robert Motherwell, quoted in Jack Flam et al., in Robert Motherwell, Albright-Knox Art Gallery).

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\n","2019-10-29T14:30:15.000000Z","https://www.phillips.com/article/49874372/robert-motherwell-open-series",678,779,49874372,{"_3077":3108,"_3079":231,"_3080":3109,"_3034":3110,"_3083":3111,"_3085":3112,"_3087":1562,"_3088":467,"_3089":3113,"_459":382,"_3091":3114,"_3093":3115,"_3095":3116},"https://flockler.com/thumbs/sites/889/3-copy-87ba90f1-491b-4bb8-9664-fa03991cc6ab_s600x0.jpg","Throughout the fall in New York, Phillips offers twentieth-century & contemporary art and design from the collection of Florence Knoll Bassett. Paul Makovsky, Editor-in-Chief for Contract Magazine, tells the story of the pioneering American architect and her lasting legacy.","Making Modern: Property from the Collection of Florence Knoll Bassett","

Florence Knoll during a meeting of the Knoll Planning Unit (c.1955), Courtesy Knoll Archive

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By Paul Makovsky, Critic and Curator

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Florence Knoll Bassett (née Schust), an architect and pioneer of modern interior design, died earlier this year at 101. A true visionary, "Shu"—as she was affectionately called by those who knew her well—was one of the most influential architects and designers of postwar America, yet her mark on modern design transcends any one of these fields. Her career is inextricably linked with Knoll, Inc., the furniture company founded by Hans Knoll, who later became her husband. During the 1940s, she worked with designers like Eero Saarinen, Harry Bertoia and George Nakashima to create designs that fulfilled a need for modern interiors, and along the way produced innovative, high-quality furniture classics that are still relevant today.

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Born to a baker in Saginaw, Michigan in 1917, Shu was beset by tragedy throughout her early life after becoming an orphan at 14. She ended up at the Cranbrook Academy of Art in Bloomfield Hills, Michigan during the 1930s, where she was taken under the wing of the Saarinen family and was exposed to the importance of the overlapping fields of art, craft and design. Later in Chicago, she was introduced to a rationalist design approach with Mies van der Rohe and received her Bachelor of Architecture at the Illinois Institute of Technology in 1941.

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Florence Knoll transformed the field of 'interior design' from interior decoration to spatial architecture.
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Office of Harry Hood Bassett at the First National Bank in Miami, Florida (ca. 1957), Courtesy Knoll Archive.

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"Being a woman, I was given interiors," Shu said. She started moonlighting for Hans Knoll as a draftsman and eventually joined his company as the director of the Knoll Planning Unit, later becoming partner and co-owner. One of her first projects was to do the interiors for Secretary of War Henry Stimson—the first of many government projects. "It was an exciting time, but it was mostly hard work. We had to battle the prejudices against contemporary design," she said.

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Shu transformed the field of "interior design" from interior decoration to spatial architecture—which in the 1950s was almost completely dominated by men. She collaborated with the most important mid-century modern architects, including Philip Johnson, Gordon Bunshaft and Marcel Breuer, designing their interiors which were rooted in practical needs and rigorous spatial planning. Her showrooms for Knoll became laboratories for contemporary design on how we could live and work, and came to represent her signature "Knoll look" that would epitomize the style of the 1950s. Her location at 575 Madison Avenue was one of the first to incorporate contemporary art and included pieces from artists with whom she had personal friendships. She developed her appreciation of Paul Klee from her mentor Mies van der Rohe, who at the time had a large collection of Klees, and when a group of works from the artist didn't sell in her showroom, she purchased all of them. Shu visited Black Mountain College to see the painter and teacher Josef Albers, from whom she said she learned about color, and later worked with his wife Anni Albers to develop textiles for the Knoll line.

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Josef Albers Homage to the Square: Silent Gray, 1955. Estimate: $400,000-600,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

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After Hans Knoll died in a car crash in 1955, Shu became president of the company and continued to spearhead many innovations such as the Saarinen pedestal furniture collection. She completed large-scale interior projects for companies including Connecticut General Life Insurance, Heinz and CBS, which exemplified the best in postwar design in the United States. Very often, public art was integrated into her large projects. In 1955, while Shu was designing the interiors for the Bank of the Southwest in Houston, she met the Mexican artist Rufino Tamayo and remembered him coming to visit her with a small model of the mural that was going to be installed in the bank and today is considered to be one of his finest mural works. For many years, her Tamayo painting of watermelon slices was the first thing a visitor was greeted by when they visited her home.

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Rufino Tamayo Cinco Rebanadas de Sandía, 1959. Estimate: $1,000,000-1,500,000. 20th Century & Contemporary Art Evening Sale at Phillips New York, 14 November.

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In 1958, Shu—by then the single most powerful figure in the field of modern design—married bank executive Harry Hood Bassett and eventually settled in Miami, where she would go on to design commercial Miami interiors in addition to several private residences. Hood Bassett was an important civic leader in Miami, and the corporate art collection that was developed for the Southeast First National Bank became one of the best in the country.

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At the height of her career, and after designing thousands of office interiors, she resigned from Knoll in 1965. At only 48 years old, she had profoundly influenced post-World War II design by defining the look for corporate interiors during the 1950s and 1960s and promoting the "open office" workspace. She is one of the most influential architects and designers of post-war America, and she made designers like Saarinen and van der Rohe famous for their furniture—designs that are today considered classics (along with her own pieces)—and still being used in contemporary interiors. She had a curatorial eye for identifying talent and great works of art that she integrated both in her showrooms and in her homes.

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Florence Knoll and Eero Saarinen developing the Pedestal Collection, ca. 1955. Courtesy Knoll Archive.

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Shu was of the belief that art was to be lived with and enjoyed on a daily basis, rather than something kept hidden away in storage. Now, Phillips offers the rare opportunity to share in the joy and memories that Shu experienced over an incredible life of art and design. When mid-century modern furniture was having a resurgence, Shu often came across her own furniture when perusing auction catalogues. With her wit and dry sense of humor she would jokingly say to me: "You know, Paul, I'm an antique now."

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Paul Makovsky is a writer based in New York City. He is the Editor-in-Chief of Contract Magazine, a publication dedicated to architecture and design. Makovsky has curated countless exhibitions about art and design, including "Knoll Textiles: 1945- 2010" at the Bard Graduate Center, and was a contributor to the accompanying catalogue published by Yale University Press. He was a close friend of Florence Knoll Bassett and is currently writing a biography of her life and work.

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More Collection Highlights

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Morris Louis Singing, 1961. Estimate: $1,500,000-2,000,000. 20th Century & Contemporary Art Evening Sale at Phillips New York, 14 November.

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Paul Klee Der Exkaiser, 1921. Estimate: $250,000-350,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

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Josef Albers Gay Desert, 1948. Estimate: $200,000-300,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

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Isamu Noguchi Small Wonder, 1946. Estimate: $80,000-120,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

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Victor Vasarely CTA 102, 1965. Estimate: $80,000-120,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

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179

Kenneth Noland

Hot Blue

Full-Cataloguing

Kenneth Noland