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Painted in 2009, Six PM, Malaga depicts a character from Lynette Yiadom-Boakye’s own imagination. Inhabiting the full height of the 78-inch canvas, her figure is relaxed and confident, rendered with a poise that recalls such canonical influences as Édouard Manet and Barkley L. Hendricks. Capturing our gaze with a steadfast one of their own, her figures are at once real and figments conjured by her paintbrush—color, form, and physical tactility acting as the ingredients by which she builds her open-ended narratives. Having featured in the 2013 Venice Biennale the same year she was shortlisted for the Turner Prize and representing Ghana for its debut pavilion at the Venice Biennale in 2019, Yiadom-Boakye is presently enjoying a major retrospective at Tate, London through February 2023.
Édouard Manet, Young Man in the Costume of a Majo, 1863. Metropolitan Museum of Art, New York, Image: © The Metropolitan Museum of Art. Image source: Art Resource, NY“Her titles run parallel to the images...the canvas is the text.”
—Zadie Smith
The present work anticipates a selection of works the artist named by time and place including 8am Cadiz, 2017, Baltimore Museum of Art. These titles add an extra dimension to the scenes that Yiadom-Boakye conceives, infusing her paintings with more mood than specific narrative. Yiadom-Boakye noted, “For me there’s the wider exercise of removing time or trying to, in some was disregard it. I suppose it goes to also thinking about the figures themselves and what they represent and what they stand for…my relationship to time is perhaps that of anyone who’s never felt particularly fixed anywhere.”i"For me there’s the wider exercise of removing time or trying to, in some ways, to disregard it. I suppose it goes to also thinking about the figures themselves and what they represent and what they stand for; and what a history is and what a future could be."
—Lynette Yiadom-BoakyeHer subjects are at once imaginary and familiar—emptied of narrative—pieced together in her mind’s eye. In conversation with Nadine Rubin Nathan of New York Times Magazine, the artist describes her fictitious sitters as “suggestions of people...They don’t share our concerns or anxieties. They are somewhere else altogether.”ii She conceives of her compositions from a diverse range of source imagery including scrapbooks, archival photographs and drawings. When she arrives at the canvas, however, it is without the accompaniment of these aids, instead wielding her paintbrush with an intuitive ease and fluency. What is evident is Yiadom-Boakye’s firm place within the legacy tradition of portraiture. Her figures emerge from a somber half-light reminiscent of Velázquez and Zurbarán, or Manet’s reworkings of those same shadowy old master backgrounds.
Mark Rothko, Orange and Yellow, 1956. Albright-Knox Art Gallery, Buffalo, Image: Albright-Knox Art Gallery / Art Resource, NY, Artwork: © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York"I learned how to paint from looking at painting and I continue to learn from looking at painting. In that sense, history serves as a resource. But the bigger draw for me is the power that painting can wield across time."
—Lynette Yiadom-BoakyeWhile recalling the work of Manet, Yiadom-Boakye’s practice simultaneously absorbs the monochromatic lessons of the Abstract Expressionists. Her approach is near-scientific, building her composition in accordance with color and form. She notes of her process, “each time I have a particular goal for that work. Whether it’s something to do with color or light or form in some way...[I] build each painting out of colors...it almost becomes scientific in that way that there’s this balancing of different colors.”iii The palette in Six PM, Malaga is at once indicative of her first mature period predominately driven by muted, earth-toned colors and anticipates the bolder painterly splashes that would enter her oeuvre in earnest in 2012.
"Painting for me is the subject. The figures exist only through paint, through color, line, tone and mark-making."
—Lynette Yiadom-BoakyeThe present work was executed at a time in her career when her use of canvas still compelled her to complete each painting in a day due to a faster paint drying process. Building her composition through loose, expressive brushstrokes, Yiadom-Boakye deftly builds her complex compositions a giornata (“a day's work”) in the same tradition as the great Renaissance frescos in order to retain “something in the quality of the mark and in my own mind.”iv
i Lynette Yiadom-Boakye, quoted in Isabella Maidment, “The Power of Invention,” Lynette Yiadom-Boakye: Fly In League With the Night, exh. cat., Tate, London, 2020, p. 51.
ii Lynette Yiadom-Boakye, quoted in Nadine Rubin Nathan, “Lynette Yiadom-Boakye’s Fashionable Eye,” The New York Times, November 15, 2010.
iii Lynette Yiadom-Boakye, quoted in “Biennale Arte 2013 - Lynette Yiadom-Boakye”, 11 June 2013, online.iv Ibid.
Provenance
Faye Fleming & Partner, Geneva
Acquired from the above by the present owner in 2010Exhibited
Geneva, Gowan Contemporary, Lynette Yiadom-Boakye: Manifesto, October 1 – November 6, 2009
Artist Biography
Lynette Yiadom-Boakye
British • 1977
Lynette Yiadom-Boakye is a British painter who is a leader in the contemporary renaissance of portraiture. Her subjects are typically depicted with loose brushwork, floating against muted, ambiguous backgrounds that contribute to a sense of timelessness. Known for the speed of her work, she often completes a canvas in a single day and considers the physical properties of paint to be at the core of her practice.
Yiadom-Boakye was born to Ghanaian parents in London, where she continues to live and work today. In 2013, she was a finalist for the Turner Prize and she was selected for participation in the 55th Venice Biennale. In 2018, the artist won the Carnegie Prize for painting. Her work can be found in the permanent collections at the Victoria & Albert Museum, the Studio Museum and the San Francisco Museum of Modern Art, among many others.
Property of a Distinguished East Coast Collector
36
Six PM, Malaga
signed with the artist's initials, titled and dated "LYB 2009 6pm, Malaga" on the reverse
oil on canvas
78 3/4 x 47 1/4 in. (200 x 120 cm)
Painted in 2009.
Estimate
$500,000 - 700,000
Sold for $567,000
Amanda Lo Iacono
New York Head of Department & Head of Auctions
+1 212 940 1278
aloiacono@phillips.com
20th Century & Contemporary Art Evening Sale
New York Auction 17 November 2021
1
Shara Hughes
Inside Outside
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2
Jadé Fadojutimi
My Umbrella Has A Nourishing Disguise
Estimate $150,000 - 200,000
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3
Ewa Juszkiewicz
Girl in Blue
Estimate $80,000 - 120,000
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4
Kwesi Botchway
Green Sofa
Estimate $30,000 - 50,000
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5
Titus Kaphar
Fade With Time
Estimate $400,000 - 600,000
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6
David Hammons
Puzzling Times
Estimate $1,000,000 - 1,500,000
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7
Raymond Pettibon
No Title (Let him come...)
Estimate $1,500,000 - 2,000,000
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8
Joan Mitchell
Untitled
Estimate $4,000,000 - 6,000,000
Sold for $11,870,000
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9
Georgia O'Keeffe
Crab’s Claw Ginger Hawaii
Estimate $4,000,000 - 6,000,000
Sold for $7,748,000
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10
Alexander Calder
White Moon
Estimate $4,000,000 - 6,000,000
Sold for $4,628,000
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11
Cecily Brown
Untitled
Estimate $3,500,000 - 4,500,000
Sold for $6,140,500
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12
Willem de Kooning
Composition
Estimate $800,000 - 1,200,000
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13
Rudolf Stingel
Untitled
Estimate $1,800,000 - 2,500,000
Sold for $2,692,000
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14
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15
Amy Sherald
Welfare Queen
Estimate $1,200,000 - 1,800,000
Sold for $3,902,000
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16
Francis Bacon
'Pope with Owls'
Estimate $35,000,000 - 45,000,000
Sold for $33,000,000
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17
Luc Tuymans
Wallpaper
Estimate $1,500,000 - 2,000,000
Sold for $1,250,000
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18
Pierre Bonnard
Panier de fruit
Estimate $2,000,000 - 3,000,000
Sold for $4,991,000
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19
Honor Titus
Linden Blvd Jazz Radio
Estimate $30,000 - 50,000
Sold for $163,800
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20
Matthew Wong
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Estimate $800,000 - 1,200,000
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21
Avery Singer
European Ego Ideal
Estimate $1,500,000 - 2,500,000
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22
Mark Tansey
Garden
Estimate $700,000 - 1,000,000
Sold for $2,934,000
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23
KAWS
THE WAY HE KNOWS
Estimate $850,000 - 1,000,000
Sold for $1,542,500
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24
Wassily Kandinsky
Fliessend
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25
Jean-Michel Basquiat
Untitled (from Famous Negro Athlete Series)
Estimate $750,000 - 1,100,000
Sold for $2,450,000
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26
Peter Saul
Ice Box #3
Estimate $350,000 - 450,000
Sold for $441,000
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27
Jean-Michel Basquiat
Untitled (The Door)
Estimate $6,000,000 - 8,000,000
Sold for $8,549,500
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28
Emily Mae Smith
Feast and Famine
Estimate $200,000 - 300,000
Sold for $1,361,000
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29
Gerhard Richter
Weiß (White)
Estimate $4,000,000 - 6,000,000
Sold for $5,717,000
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30
Robert Ryman
Series #25 (White)
Estimate $1,000,000 - 1,500,000
Sold for $1,421,500
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31
Frank Stella
Double Concentric Square
Estimate $1,500,000 - 2,500,000
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32
Carmen Herrera
Amarillo y Negro
Estimate $500,000 - 700,000
Sold for $630,000
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33
Andy Warhol
The Last Supper/Be a Somebody with a Body
Estimate $6,000,000 - 8,000,000
Sold for $6,806,000
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34
Christopher Wool
Blue Fool
Estimate $800,000 - 1,200,000
Sold for $1,179,500
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35
This lot is no longer available.
36
Lynette Yiadom-Boakye
Six PM, Malaga
Estimate $500,000 - 700,000
Sold for $567,000
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37
Mickalene Thomas
Portrait of Qusuquzah #5
Estimate $400,000 - 600,000
Sold for $504,000
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38
Mike Kelley
Memory Ware Flat #3
Estimate $1,000,000 - 1,500,000
Sold for $1,179,500
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39
George Condo
Collision Course
Estimate $1,800,000 - 2,500,000
Sold for $2,450,000
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40
Bruce Nauman
Untitled (from Fifteen Pairs of Hands)
Estimate $1,000,000 - 1,500,000
Sold for $983,000
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41
David Hammons
Untitled
Estimate $1,000,000 - 1,500,000
Sold for $3,660,000
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42
Nicolas Party
Houses
Estimate $400,000 - 600,000
Sold for $1,724,000
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43
Hurvin Anderson
Country Club—Mixed Doubles
Estimate $400,000 - 600,000
Sold for $604,800
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44
Max Ernst
Ohne Titel (les hommes ne le sauront jamais)
Estimate $500,000 - 700,000
Sold for $504,000
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45
Max Ernst
Kachina, le chien de Peggy Guggenheim
Estimate $280,000 - 350,000
Sold for $277,200
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46
Cy Twombly
Untitled
Estimate $600,000 - 800,000
Sold for $786,250
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47
Reggie Burrows Hodges
On the Verge: Green
Estimate $100,000 - 150,000
Sold for $567,000
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48
Max Ernst
Portrait de Ernst Wilhelm Leberecht Tempel
Estimate $200,000 - 300,000
Sold for $176,400
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