Annie Dolan
\nNY Head of Auctions and Specialist, Head of Sale, Morning Session
\n+1 212 940 1288
\nadolan@phillips.com
\n

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\n\n

Global Highlights Tour
\n
\nCopenhagen
\nHighlights from The Collection of Ambassador John L. Loeb Jr.
\n28 January – 31 January
\nThe Erichsen Mansion
\nHolmens Kanal 2
\n1060 Copenhagen K, Denmark (map)
\n
\nSt. Moritz
\nHighlights from The Collection of Ambassador John L. Loeb Jr.
\n27 February – 1 March
\nMAZE Art St. Moritz
\nReina Victoria, Theatersaal
\nVia Rosatsch 18
\n7500 St. Moritz, Switzerland (map)
\n
\nLondon
\nHighlights from The Collection of Ambassador John L. Loeb Jr.
\n26 February - 6 March 2026
\nPhillips London
\n30 Berkeley Square
\nLondon, W1J 6EX (map)
\n
\nHong Kong
\nHighlights from The Collection of Ambassador John L. Loeb Jr.
\n20 March – 29 March
\nPhillips Hong Kong
\nG/F, WKCDA Tower
\nWest Kowloon Cultural District
\nNO. 8 Austin Road West
\nKowloon, Hong Kong (map)
\n
\nTokyo
\nHighlights from The Collection of Ambassador John L. Loeb Jr.
\n9 April – 12 April
\nPhillips Tokyo
\n4F Piramide Building
\n6-6-9 Roppongi, Minato-ku
\nTokyo 106-0032, Japan (map)
\n
\nLos Angeles
\n21 – 23 April
\nPhillips Los Angeles
\n9041 Nemo St
\nLos Angeles, CA 90069 (map)
\n
\nView Conditions of Sale >
\n
\nPriority Bidding is here! Secure a lower Buyer’s Premium. Learn more >
\nDeadline to submit priority bids is Tuesday 19 May 10am

\n\n

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ALFRED SISLEY Les Bords du Canal à Moret, Bords du canal a Moret-sur-Loing, $300,000–500,000

\n","version","0",{"_554":3385,"_3380":3386,"_3382":3383},"https://assets.phillips.com/auctions/NY010426/2_hi copy_hi.jpg","

KIKUO SAITO Cerise, $80,000–120,000

\n",{"_554":3388,"_3380":3389,"_3382":3383},"https://assets.phillips.com/auctions/NY010426/3_hi copy_hi.jpg","

HANS HOFMANN The Great Interieum, $400,000–600,000

\n",{"_554":3391,"_3380":3392,"_3382":3383},"https://assets.phillips.com/auctions/NY010426/4_hi.jpg","

JOHN CHAMBERLAIN Lucy Snaggletooth, $400,000–600,000

\n",{"_554":3394,"_3380":3395,"_3382":3383},"https://assets.phillips.com/auctions/NY010426/morninghi_hi.jpg","

ROBERT RAUSCHENBERG Climb (Urban Bourbon), $500,000–700,000

\n",{"_554":3397,"_3380":3398,"_3382":3383},"https://assets.phillips.com/auctions/NY010426/rosenquist_hi.jpg","

JAMES ROSENQUIST In Honor and Memory of Robert F. Kennedy from the Friends of Eugene McCarthy, $300,000–500,000

\n",{"_554":3400,"_3380":3401,"_3382":3383},"https://assets.phillips.com/auctions/NY010426/newmohi_hi.jpg","

PIERRE BONNARD La fin du repas, $650,000–850,000

\n",{"_554":3403,"_3380":3404,"_3382":3383},"https://assets.phillips.com/auctions/NY010426/5_hi copy_hi.jpg","

ERNIE BARNES Untitled, $120,000–180,000

\n",{"_554":3406,"_3380":3407,"_3382":3383},"https://assets.phillips.com/auctions/NY010426/8_hi copy_hi.jpg","

SAM GILLIAM Untitled, $80,000–120,000

\n",{"_554":3409,"_3380":3410,"_3382":3383},"https://assets.phillips.com/auctions/NY010426/7_hi copy_hi.jpg","

STURTEVANT Warhol Gold Marilyn, $100,000–150,000

\n",{"_93":202,"_95":230,"_97":3412,"_110":3413,"_216":235},{"_99":205,"_101":206,"_103":207,"_107":191,"_108":208,"_209":210},[3414,3415],{"_113":122,"_115":164,"_117":118,"_119":213},{"_113":126,"_115":126,"_117":215,"_119":213},"articles",[3418,3441,3451],{"_3419":3420,"_3421":199,"_3422":3423,"_3380":3424,"_3425":3426,"_3427":3428,"_3429":3430,"_3431":1665,"_3432":475,"_3433":3434,"_467":475,"_3435":3436,"_3437":3438,"_3439":3440},"coverUrl","https://flockler.com/thumbs/sites/889/cerise-lead-556ba227-96e2-4853-bb3e-3e5d89931c65_s600x0.jpg","section","summary","In conversation with Phillips, Dakota Sica shares why Second Generation Abstraction is a market on the rise.","In a Gesture: A 2026 Collector’s Guide to Post-War American Art","body","

Kikuo Saito, Cerise, 2009. Modern & Contemporary Art New York: Morning Session.

\n\n

As an art advisor, owner of New York’s Leslie Feely Gallery, and an expert on Abstract Expressionism and Color Field painting, Dakota Sica holds a unique vantage point in the art world. He is also the vision behind the offering, Gesture - Second Generation Abstraction, in our upcoming Modern & Contemporary Art: Morning Session in New York.

\n\n

Indeed, given the impact of post-war American abstraction and its influence on generations of artists, it is easy to feel that no collection is complete without it, though eye-watering auction results can feel like a barrier to entry. But here, Sica pulls back the curtain on this market, showing us how exceptional works might be more within reach than most emerging collectors would dare to dream.

\n\n

Guidance and strategies for collectors

\n\n

\n\n

Richard Diebenkorn, Untitled (Albuquerque), 1952. Modern & Contemporary Art New York: Morning Session.

\n\n

Phillips: Why should the new generation of collectors consider American post-war abstraction?

\n\n

Dakota Sica: Post-war — referring to the period after the Second World War — was a renaissance of artistic production, specifically the work being made in New York. This fertile period gave birth to many important movements and artists that we revere today. Whether it is about beauty, the sublime, or the human experience, this period of art transcends cultural and generational boundaries, making it timeless, in perpetual vogue.

\n\n

P: What is Second Generation Abstraction? And why do you think this category is gaining momentum right now?

\n\n

DS: The first generation of AbEx (Abstract Expressionist) painters are tightly held in museum collections and multigenerational family collections. When important paintings do come to market, they often command eight to nine-figure sums — this is rarified air, and not many can participate at these levels. However, abstract painting did not end with the first generation — it was reinvented and built upon by the second generation of abstract painters. This group of artists is one of the last frontiers for excavating value at a relatively accessible price point.

\n\n

P: What do you consider the most essential piece of advice for those just beginning to collect?

\n\n

DS: Look before you buy — the more you see, the better informed you will be, and ultimately you will build a better collection because of it. When you do buy, do so with your eyes, not your ears. Collections are a personal pursuit, so you want to make sure it speaks to your own sensibilities. Knowing the histories helps — but it is more rewarding when you draw your own conclusions from them.

\n\n

\n\n

Howard Mehring, Blue Note, 1964. Modern & Contemporary Art New York: Morning Session.

\n\n

P: Does investment value factor into how you collect or advise clients? How does one toe the line between acquiring something because you love it, versus ensuring your assets are allocated responsibly?

\n\n

DS: Investment value should always be a consideration when buying art at higher price points (i.e., over $20,000). This may be a controversial take, but I have seen firsthand that collectors tend to enjoy good works that they also bought well. On the other hand, there is also value in paying tomorrow’s price for something that is truly exceptional. Therefore, value is a moving target, but one that should always be accounted for.

\n\n

P: What are your thoughts on the benefits of buying at auction?

\n\n

DS: Auction has become the most democratic way of buying art. There are no waiting lists, no prioritized relationships, no protracted negotiating periods — the individual who is willing to place the winning bid will take the work home. There is something great about that! And if you’re lucky and someone misses the call on the sale day, you might even get something for a steal.

\n\n

P: Recently, we’ve noticed many collectors seeking out artists who may have been overlooked by previous generations. Do you have any advice on how to exercise discernment when seeking the next rediscovery?

\n\n

DS: Not all overlooked artists are great — some were overlooked for good reason. Just like how gold doesn’t have the same value as silver, but both are precious metals found in the earth. Ushering in these historical names takes conviction on the collector’s part — but there are historical inequities stemming from gender, race, socioeconomic status, etc., where great artists went unnoticed. Those collectors with vision and foresight and the willingness to do the work will be rewarded.

\n\n

P: In terms of provenance, authentication, and expertise, what should collectors be keeping in mind when navigating post-war American art? Does it differ depending on how well-established the artist’s market is?

\n\n

DS: Buying at auction from a major house like Phillips already gives a collector a lot of peace of mind. These works are vetted and thoroughly researched. The same level of due diligence done by an auction house should be conducted when acquiring works privately. With the rising prices, there are also opportunistic bad actors, so always check provenance, exhibition history, publications, and estate records where possible.

\n\n

On Gesture - Second Generation Abstraction

\n\n

\n\n

Kenneth Noland, Everglade, 1981. Modern & Contemporary Art New York: Morning Session.

\n\n

P: Tell us a bit more about the Washington Color School. Do you consider these artists to be undervalued?

\n\n

DS: The Washington Color School is a subset of second-generation abstract painters. Although these artists were from Washington, D.C., their works were widely exhibited in New York and many kept studios in the city. The movement is characterized by paintings made directly on the surfaces of unprimed canvas — sometimes gestural, like in the work of Morris Louis, and at other times hard-edge, like in works by Kenneth Noland and Howard Mehring, who are both featured in this sale. These artists are all wildly undervalued compared both to their artist peers and their contributions to the history of painting.

\n\n

\n\n

Emily Mason, Reactivated, 2013. Modern & Contemporary Art New York: Morning Session.

\n\n

P: What are some of the aspects of Emily Mason’s practice that differentiated her from her contemporaries?

\n\n

DS: Mason has a distinct and singular vocabulary — once you are familiar with her practice, her paintings become instantly recognizable. Admittedly, she was a late discovery even for me. I initially knew the work of her husband, painter Wolf Kahn, but after finding out about Emily’s work, I feel there is no comparison. Kindly note, Wolf Kahn’s prices are still far above Mason's — I think that is likely to change soon.

\n\n

\n\n

Frank Bowling, Shoreidol, 1999. Modern & Contemporary Art New York: Morning Session.

\n\n

P: Frank Bowling is a bit of an outlier in the collection, as he is associated with London as much as New York. What was the thought process in adding his work to the collection, and how does he relate to these artists who are more distinctly American?

\n\n

DS: Bowling is a British-Guyanese painter, but he lived and worked in New York from ’66 to ’75 — arguably the peak of artistic activity in the city — and later returned in the ’90s. Bowling may have been at times a pond away, but he was very much intertwined with the artistic milieu of the second generation of abstract painters. Therefore, it made perfect sense to draw parallels with his work and this collection.

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Kikuo Saito, Thorn Apple, 1984. Modern & Contemporary Art New York: Morning Session.

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P: There are two works by Kikuo Saito in the collection, one from 2009 and one from 1984. What do they say about the progression of the artist’s practice? And how do you help collectors decide if they will collect a single artist’s work in-depth?

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DS: I am very happy to showcase the range in Saito’s career. In the earlier painting, Thorn Apple, you feel the influences of Frankenthaler, for whom Saito was a studio assistant for many years. In the later work, Cerise, you feel Saito reach the height of his artistic powers, also marked by the end of his life. I am not sure if he instinctually knew that his time was short, but these late paintings radiate vitality — both fearless and urgent, as if everything was left on the canvas, Saito leaving his lasting mark.

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If an artist inspires you, it is natural to collect the whole career. Often with great artists there are distinct periods in their career. It is rewarding to find and secure key examples from each period to tell the whole story.

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Dakota Sica in Phillips’ New York gallery.

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P: This selection features a mix of hard-edge abstraction and lyrical abstraction. If you could only choose one personally, which would it be?

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DS: I am quite partial to lyrical abstraction; however, I find that one ripens the other. There is a harmony created when you juxtapose a lyrical work against a minimal abstraction. In a way, they are opposites but make each other sweeter when they coalesce.

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Sica’s own journey to collecting

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Sam Francis, Untitled, 1972. Modern & Contemporary Art New York: Morning Session.

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Phillips: In addition to the many hats you wear in the art world, you have built an impressive art collection yourself. How did it all start for you?

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DS: First off, thank you — it has been a labor of love. I first started by collecting editions, then works on paper, followed by small paintings, and eventually large paintings. I sold when I was able to acquire a better example by the same artist. In the cases where I was priced out of the large canvas, I bought the best small painting or work on paper I could find and afford. I am always slightly wary of dealers who don’t collect. For me, I love the art, and I want to live with it. I just don’t invite clients over anymore, or else they want to buy everything off my walls!

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Joan Mitchell, Weeds III, 1992. Modern & Contemporary Art New York: Morning Session.

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P: It is interesting that you collect both post-war and contemporary art. Is there an overarching principle that has guided your collecting?

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DS: There is a through line that traces all the way from the cave paintings to an emerging artist toiling away in their Brooklyn studio. It is a joy and a challenge to follow that lineage — collecting the past, present, and future in art. It is good to remember that all great artists were once emerging.

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P: How has your approach changed as you’ve gained experience as a collector?

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DS: Over the years, I have learned that patience is rewarded in collecting art. This applies to both buying and selling — a skill I think is only gained by being in the market long enough. Those who are patient and measured in their collecting journey often end up with the best works. Collecting art is more akin to a way of living, so patience, like in life, is an invaluable trait.

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Discover more from Modern & Contemporary Art >

\n\n

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Georgia O'Keeffe, Maple Leaves (recto) and Flowering Cactus (verso) (double-sided), 1925 and circa 1922. Modern & Contemporary Art New York Evening Sale.

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There’s nothing like a stroll through history to leave us with new ways to see the world today. And across our upcoming Modern & Contemporary Art sales in New York, works from the Tanenbaum Family Collection offer us that compelling experience. Works from the same collection were recently offered in Phillips’ Modernism: Editions & Works on Paper auction in New York, where they were received with enthusiasm from collectors.

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The works from this collection on offer in the Modern & Contemporary Art sales can be seen as a small survey of modern American painting, charting a course from the Hudson River School to American Impressionism, Modernism, and beyond. They each serve as portals to another time, and the subtext is perhaps how early modern advancements enabled artists to connect with ideas emerging in different locations, to travel more widely and frequently, and to share ideas with each other from afar. Indeed, many of the artists in this selection shared personal connections, and all of them felt deep ties to the locations they both inhabited and depicted.

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Georgia O'Keeffe’s double-sided rarity

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Georgia O'Keeffe, Maple Leaves (recto) and Flowering Cactus (verso) (double-sided), 1925 and circa 1922. Modern & Contemporary Art New York Evening Sale.

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A remarkable double-sided Georgia O'Keeffe canvas leads the selection, created during a period when the artist split her time between Manhattan and Alfred Stieglitz’s family estate in Lake George, New York. Curiously, in 1925, O'Keeffe returned to a circa 1922 floral study, painting an autumnal leaf on the alternate face. On both sides of this canvas, we discover her almost photographic sense of tight cropping, chromatic intensity, and the formal isolation that would anchor her place as a pioneer of American modernism.

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Georgia O'Keeffe in Lake George, New York, 1918. Photograph by Alfred Stieglitz. Image via Wikimedia Commons.

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Adding to the work’s allure, this canvas was first handled by Alfred Stieglitz’s landmark New York gallery, An American Place. The gallery served as a platform for O'Keeffe and the intimate circle of other artists Stieglitz championed, including Marsden Hartley and John Marin, who are also represented in the collection. For O'Keeffe, the two subjects across each side of this canvas are deeply emblematic of how she constructed an American visual identity and, in many respects, built towards the apex of American modernism. But to understand how she arrived here and how this national visual identity emerged, it’s helpful to revisit the origins of American visual language — the Hudson River School.

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Thomas Cole, George Bellows, and William Merritt Chase in New York

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Thomas Cole, Catskill Stream Autumn Foliage, 1828. Modern & Contemporary Art Day Sale Morning Session, New York.

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Thomas Cole is widely considered the founding father of the Hudson River School, a movement that helped forge a distinctly American identity in visual art. Influenced by European Romantic painters like John Constable and J.M.W. Turner, these artists brought national sensibilities to their works, which often explored themes of exploration, settlement, and pastoral spirituality, rooted in the idyllic landscape of the Hudson River Valley. We see these themes clearly in this work by Thomas Cole. Painted in Catskill, New York, this inviting painting depicts the region’s iconic autumn foliage at its vibrant peak.

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William Merritt Chase, A Stormy Day at Bath Beach, Long Island, 1889. Modern & Contemporary Art Day Sale Morning Session, New York.

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This William Merritt Chase scene, painted at Bath Beach in Brooklyn, shows how subsequent painters came to pivot away from the sensibilities of the Hudson River School. Chase, an American Impressionist painter, offers a direct study of light and reflection in this work, avoiding the overtly spiritual quality that so defined the Hudson River School works.

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There are interesting connections between Chase and other artists in this selection as well. He founded the Chase School, which later became the Parsons School of Design, and also taught at the Art Students League, where he encountered other iconic American artists who are represented in the collection during their student years, including Georgia O'Keeffe, George Bellows, Robert Henri, and Charles Sheeler.

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William Merritt Chase with Parsons School of Design students. Image via Wikimedia Commons.

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George Bellows, Miss Ruth, 1920. Modern & Contemporary Art New York Day Sale, Morning Session.

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In subsequent reaction to the work of the American Impressionists, a group of artists emerged known as the Ashcan School. Led by Robert Henri — whose star student was George Bellows — their approach was more in the vein of American realist painting, refusing to shy away from the rougher edges of modern life.

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This 1920 portrait by George Bellows, painted in Woodstock, New York, is a prime example of this novel concept. Her gaze greets us with an almost uncomfortable intensity, the imperfections of her skin and clothing depicted boldly. Characteristic of Bellows’ approach to portraiture, the high-contrast, dark background echoes many of the artist’s European influences, including Velázquez, Hals, and Goya. But most tellingly, he presents an ordinary person as subject, privileging the psychological depth of the portrait over the Impressionists’ leanings toward elegant depictions of the leisure class.

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Robert Henri in Pennsylvania

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Robert Henri, The Rain Storm-Wyoming, 1902. Modern & Contemporary Art Day Sale Morning Session, New York.

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A collection of American art from this era would be incomplete without the work of Robert Henri, who was perhaps the most defining voice of American Realism. This depiction of an impending storm, painted in Wyoming Valley, Pennsylvania, is a shining example of Henri’s approach to landscape. Executed in a bold and gestural style, the atmospheric work captures the spirit of the place — one can almost feel the shifts in air pressure and the gusts of wind in this wide open valley. For Henri, imparting the sensation of the overwhelming power of nature was as important as its sight.

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Robert Henri with his students, circa 1911.

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In Henri’s later portrait, Teresa, we find resonance with Bellows’ above portrait. Here, Henri also presents a direct gaze, and he boldly executes, and perhaps accentuates, his subject’s flushed cheeks and wrinkled, faded clothing, but her faint smile and slightly askew hair are cheerfully defiant. Again, we get a sense of which social class this subject might belong to, and it is one that Henri must have felt was being overlooked by his contemporaries. Henri and his followers painted what they saw, exploring the margins of society in ways that challenge our assumptions and resonate with a wide range of later American artists, from figures like Diane Arbus to the street culture of Jean-Michel Basquiat and Keith Haring.

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Robert Henri, Teresa, 1924. Modern & Contemporary Art Day Sale Morning Session, New York.

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Thomas Eakins and John Marin in New Jersey

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Thomas Eakins, Study for The Meadows, Gloucester, New Jersey, 1882. Modern & Contemporary Art Day Sale Morning Session, New York.

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Thomas Eakins’ approach to Realism, coming several decades before Henri and Bellows, was rooted in a quest for truth, exemplified by his anatomical studies as a student. In this landscape study, painted in Gloucester, New Jersey, we can observe the artist precisely working out the reality of perspective, depth, and atmosphere.

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His portrait, A Spanish Woman (Dolores), likely painted in Seville, Spain, during a stint the artist spent in the country from 1869 to 1870, offers an interesting contrast to Henri and Bellows’ later portraits. Here, careful attention is paid to the anatomical structure of the subject’s face and torso and the play of light and shadow. Unlike the direct, confrontational gazes favored by Henri and Bellows, her eyes are cast into the distance. The reality Eakins depicts is one of objective, physical truth rather than an exploration of hidden psychologies.

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Thomas Eakins, A Spanish Woman (Dolores), 1870. Modern & Contemporary Art Day Sale Morning Session, New York.

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John Marin, Sea Fantasy No. 1, 1942. Modern & Contemporary Art Day Sale Morning Session, New York.

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New Jersey-born artist John Marin is celebrated for his semi-abstract watercolor landscape paintings, and was also closely associated with the circle surrounding Alfred Stieglitz and Georgia O'Keeffe. At the time the artist painted this 1942 seascape, he was living and working between New Jersey and Cape Split, Maine, and this remarkable work captures the explosive energy of the sea and the myriad colors that reflect off its surface. Visually, we can place this scene in either New England or New Jersey, and indeed, the artist may have drawn from his intimacy with each setting.

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John Marin. Photograph by Alfred Stieglitz, circa 1911. Image: Art Institute of Chicago, Alfred Stieglitz Collection, 1949.712

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Maurice Brazil Prendergast and Marsden Hartley in New England

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Maurice Brazil Prendergast, Salem, 1916. Modern & Contemporary Art Day Sale Morning Session, New York.

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Also associated with the loose group of artists surrounding Robert Henri, Prendergast’s work showcases a distinctive and personal Modernist voice. He did much to introduce Modernist aesthetics to the United States, including acting as an organizer of the 1913 Armory Show. The above depiction of a landscape scene in Salem, Massachusetts, is highly characteristic of his colorful, mosaic-like imagery of figures relaxing in nature. Depicted in light, airy strokes, this charming work invites us to imagine its narrative.

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Marsden Hartley, Snow Capped Mountains, 1941. Modern & Contemporary Art Day Sale Morning Session, New York.

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In contrast, Marsden Hartley’s 1941 depiction of his beloved Mt. Katahdin, executed when the artist lived in Maine during his later years, showcases the large, heavy brushstrokes that are emblematic of his late style. Having experienced personal tragedy by the time he painted this work at 64, Hartley seemingly found relief in depicting this colossal mountain, and in the endurance and strength it represents.

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Marsden Hartley on the banks of the Androscoggin River at Lewiston, Maine, circa 1911.

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Across these works, we find not just a multitude of approaches to painting but a loose narrative of the progression of Modernism in American visual culture. Each work is fully present in its own way in its own time and place, but from our vantage point more than a quarter of the way through the 21st century, there's perhaps another loose connection hiding in plain sight. We can sense across these works — spanning the 1820s up to the precipice of the Second World War — just how much modern life seems to move ever faster with each passing year. And the transcendent experience of viewing these works all together gives us the space we need to slow it down, offering us visions of places we may know well but can now see through different eyes in an era as much like our own as it isn’t.

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Phillips’ spring auctions of Modern & Contemporary Art will be on view from 9 May 2026 at 432 Park Avenue.

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Discover more from Modern & Contemporary Art >

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\n","2026-04-22T20:34:12.000000Z","https://www.phillips.com/article/167850704/a-particular-time-in-a-particular-place-modern-american-painting-auction-may-2026",8972,5278,167850704,{"_3419":3452,"_3421":199,"_3422":3453,"_3380":3454,"_3425":3455,"_3427":3456,"_3429":3430,"_3431":1665,"_3432":475,"_3433":3457,"_467":393,"_3435":3458,"_3437":3459,"_3439":3460},"https://flockler.com/thumbs/sites/889/priority-bidding_3_2-8454aef4-84a3-4957-8b6e-e8712a4dcb8b_s600x0.jpg","How to save up to 4% with Priority Bidding — exclusively at Phillips.","Priority Bidding 101","

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中文閱讀

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What is a Priority Bid?

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Priority Bids are written, binding bids that must be placed no less than 48 hours in advance of an auction’s start time. The bid must be equal to or greater than the lot’s published low estimate and placed using Phillips’ absentee bid forms.

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Bidders who have placed Priority Bids ahead of the auction, if they are the winning bidder and satisfy the other conditions of Priority Bidding, will benefit from a Buyer’s Premium rate which is significantly lower than the Buyer’s Premium rate otherwise. This benefit applies whether their winning bid is at the amount of their early Priority Bid or a higher bid placed subsequently by them bidding live in the auction.

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The new Buyer’s Premium structure featuring Priority Bidding rates is effective from 1 September 2025 and applies to all live auctions in the Fall 2025 season and for all categories, excluding Watches.

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Watch auctions (both live and timed online auctions) will continue using the same Buyer’s Premium rates that applied in the spring 2025 sale season and will not be eligible for Priority Bidding. Details of these rates can be found here.

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Timed online-only auctions will be subject to the new standard Buyer’s Premium rates and are not currently eligible for Priority Bidding. You can find details of these rates here.

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How do I place a Priority Bid?

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To be eligible for a lower Buyer’s Premium through the scheme, you must leave a written bid at least 48 hours before the auction. The bid must be a written absentee bid.

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Submitting Priority Bids is simple:

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• Complete Phillips’ Absentee Bid Form with details of the Absentee Bid(s) you want to submit. You can download and complete the Bid Form here.

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• Ensure your written absentee Bids are at or above the published low estimate of the Lots you are bidding on.

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• Sign and send the form to Phillips’ Bids Department in the auction location before the 48-hour pre-auction cut-off. Forms can be emailed using the contact details found below.

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Please note that Priority Bids cannot be cancelled.

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Bids New York
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If you satisfy the criteria for a qualifying Priority Bid, you will receive an email confirmation from Phillips’ Bids Department in the auction location, acknowledging your Priority Bids.

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More questions? View the full FAQ, including sample scenarios, or contact the bids team to discuss further.

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237

Morgan Russell

A Synchromy

Full-Cataloguing

Morgan Russell