Video
Nathaniel Mary Quinn, 'Over Yonder', Lot 2
20th Century & Contemporary Art Evening Sale, 2 October 2019
Provenance
Rhona Hoffman Gallery, Chicago
Private Collection, Texas
Acquired from the above by the present owner
Literature
Sasha Bogojev, 'Nathaniel Mary Quinn And The Family of Man', Juxtapoz, August 2017, p. 87 (illustrated)
Catalogue Essay
Bearing the kind of illusionistic appearance that commands a second look, Nathaniel Mary Quinn’s Over Yonder, 2015, coalesces myriad varying textures without ever breaking into physicality. The work’s controlled surface, composed of sliced visual elements sourced from picture clippings, Google images and his own photo albums, oozes a prodigiously explosive aesthetic that Adam Lehrer has described as ‘discord in perfect harmony’ (Adam Lehrer, ‘Nathaniel Mary Quinn’, Forbes, 25 October 2017, online). Demonstrating Quinn’s infallible hand in creating trompe l’oeil imagery, the portrait brings attention to the artist’s tendency to pair seminal art historical themes with deeply intimate meanderings and an irrepressibly contemporary style. Here, traditional portraiture is conveyed as vividly as René Magritte’s The Son of Man, 1964, Romare Bearden’s deconstructed photographs, and David Hammons’ fleetingly evocative body prints, all the while containing elusive traits of an anonymous face, collated and dispersed throughout the work’s surface. Catapulted to fame in recent years, notably on the occasion of his breakout show Past/Present at Pace Gallery, London, in September 2014, Nathaniel Mary Quinn was bestowed his first institutional solo exhibition at the Madison Museum of Contemporary Art in 2019.

Enamoured with drawing from a young age, it was Quinn’s brother Charles who first took note of his brother’s talent, urging their mother to keep an eye on his proliferating sketches. Soon thereafter, friends, professors, patrons, and critics acquiesced Quinn’s towering practice in unison; and today, his work is held by such eminent institutions as the Museum of Contemporary Art, Los Angeles, the Whitney Museum of American Art, New York, and the Art Institute of Chicago. Yet before experiencing such meteoric ascent, Quinn’s life underwent a number of fractures that left deep wounds within him. His mother passed away when he was just a student, and upon returning home to Chicago from his school shortly after, he found his family apartment empty, with no trace of his father and four brothers. As a result of loss and abandonment, Quinn has said that, ‘Grief was the constant background noise to whatever success I achieved’ (Nathaniel Mary Quinn, ‘Nathaniel Mary Quinn On Painting The Politics Of Race In America’, Vogue, 21 July 2018, online).

Having grown up in a large family on the South Side of Chicago – Quinn was the youngest of five boys – the artist has stated on many occasions that his youth played a quintessential role within the development of his work. ‘There is no doubt that my work is about family’, Quinn has said (Nathaniel Mary Quinn, quoted in Sasha Bogojev, ‘Nathaniel Mary Quinn and the Family of Man’, Juxtapoz, August 2017, online). Endowed with familiar traits whilst simultaneously being plunged in conflated masses of abstraction, Quinn's complex figures reveal subtle allusions to his family members, namely his brother Charles and his mother Mary. The artist’s relationship with his mother was more than just close; it was, in his own words, woven into his very own identity. ‘I took her name ‘cause she never had a formal education’, he exclaimed. ‘Now all of my degrees say “Nathaniel Mary Quinn” [so] my mom has a college degree and a master’s degree and her name is on the walls of the gallery’ (Nathaniel Mary Quinn, quoted in Sasha Bogojev, ‘Nathaniel Mary Quinn and the Family of Man’, Juxtapoz, August 2017, online).

The formal aspect of Quinn’s work, formidably skillful and innovative, is matched in intensity only by the profound emotional impact that his subject matters exude. It furthermore shines with the light of a man who has crystallised pain and transformed it into art. ‘We all experience loss, happiness, we go up, we go down, and we have various experiences that impact who we are and what we may become’, the artist remarked. ‘Pain feels the same way to everybody. It's what binds us all together. And I'm interested in exploring that’ (Nathaniel Mary Quinn, quoted in Sasha Bogojev, ‘Nathaniel Mary Quinn and the Family of Man’, Juxtapoz, August 2017, online).
Artist Biography
Nathaniel Mary Quinn
American • 1977
Having grown up as the youngest of five boys on the South Side of Chicago, artist Nathaniel Mary Quinn creates work that centers on family and youth. In his paintings and drawings of collaged figures, Quinn slices visual elements sourced from advertisements, Google images and his own photo albums: he takes on art historical themes and imbues them with deeply intimate and personal emotion.
Quinn was enamored with drawing from a young age. His brother Charles first noticed his talent and urged his mother to pay attention to it. In spite of his meteoric ascent as an artist, Quinn lost his mother while he was a student and, upon returning home to Chicago, discovered his family apartment had been deserted by his father and four brothers. As a result of loss and abandonment, the artist has said, “Grief was the constant background noise to whatever success I achieved.”
View More Works

2

Nathaniel Mary Quinn

Over Yonder

signed 'Nathaniel MQ' on a label affixed to the reverse; further signed, titled, inscribed and dated 'Nathaniel M. Quinn Love Mom Jesus 2015 "Over Yonder" Baby-Cakes Studio, LLC © 2015' on the reverse
charcoal, soft pastel, oil pastel, oil, paintstick and gouache on Coventry vellum paper
85.8 x 77.5 cm. (33 3/4 x 30 1/2 in.)
Executed in 2015.

Estimate
£40,000 - 60,000 ‡

Sold for £212,500

Contact Specialist

Olivia Thornton
Senior Director
Head of 20th Century & Contemporary Art, Europe
+44 20 7318 4099
othornton@phillips.com

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Director, Senior Specialist
+44 20 7318 4060
rwiden@phillips.com

20th Century & Contemporary Art Evening Sale

London Auction 2 October 2019

1
Simone Leigh
Shower Cap
Estimate £40,000 - 60,000 ‡
Sold for £175,000
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2
Nathaniel Mary Quinn
Over Yonder
Estimate £40,000 - 60,000 ‡
Sold for £212,500
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3
Derek Fordjour
Green Horn
Estimate £30,000 - 50,000
Sold for £137,500
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4
Sanya Kantarovsky
Lavender Arrest
Estimate £30,000 - 40,000 ‡
Sold for £150,000
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5
Tschabalala Self
Florida
Estimate £40,000 - 60,000 ‡
Sold for £275,000
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6
Tomoo Gokita
Caroline
Estimate £100,000 - 150,000 ‡
Sold for £181,250
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7
George Condo
Untitled
Estimate £250,000 - 350,000 ‡
Sold for £471,000
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8
Mark Grotjahn
Untitled (Orange and Grass Green Butterfly 45.02)
Estimate £400,000 - 600,000
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9
Mark Bradford
Value 35
Estimate £1,500,000 - 2,000,000 ‡
Sold for £1,935,000
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10
Ed Ruscha
Street Greed
Estimate £200,000 - 300,000 ‡
Sold for £237,500
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11
Hurvin Anderson
Beaver Lake
Estimate £1,500,000 - 2,000,000 ‡♠
Sold for £2,175,000
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12
Gerhard Richter
Abstraktes Bild
Estimate £500,000 - 700,000 ♠
Sold for £495,000
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13
Luc Tuymans
The Exorcist
Estimate £700,000 - 900,000 ‡♠
Sold for £675,000
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14
Alex Katz
Blue Umbrella I
Estimate £800,000 - 1,200,000 ‡
Sold for £3,375,000
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15
Rudolf Stingel
Untitled
Estimate £700,000 - 1,000,000 ‡♠
Sold for £1,035,000
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16
Anish Kapoor
Untitled
Estimate £500,000 - 700,000 ‡♠
Sold for £569,000
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17
Jim Hodges
another together
Estimate £400,000 - 600,000 ‡
Sold for £375,000
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18
Rudolf Stingel
Untitled
Estimate £300,000 - 500,000 ‡♠
Sold for £350,000
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19
Keith Haring
Untitled
Estimate £800,000 - 1,200,000
Sold for £975,000
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20
Takashi Murakami
Spiral
Estimate £400,000 - 600,000 ‡
Sold for £495,000
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21
Joe Bradley
Big Boy
Estimate £300,000 - 500,000 ‡
Sold for £399,000
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22
KAWS
AT THIS TIME
Estimate £800,000 - 1,200,000 ‡
Sold for £1,455,000
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23
Keith Haring
Cruella de Vil
Estimate £500,000 - 700,000 ‡
Sold for £975,000
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24
KAWS
UNTITLED
Estimate £800,000 - 1,200,000 ‡
Sold for £1,089,000
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25
John Baldessari
Intersection Series: Automobile / High Rise Building
Estimate £300,000 - 500,000 ‡
Sold for £287,500
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26
Andreas Gursky
Klitschko
Estimate £500,000 - 700,000 ‡♠
Sold for £399,000
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27
Bernd and Hilla Becher
Watertowers
Estimate £250,000 - 350,000 ‡♠
Sold for £287,500
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28
Thomas Schütte
Maschine
Estimate £1,000,000 - 1,500,000 ‡♠
Sold for £1,215,000
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29
Gerhard Richter
Abstraktes Bild
Estimate £700,000 - 1,000,000 ♠
Sold for £1,695,000
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30
Robert Mangold
A Curved Line and a Diagonal within a Distorted Rectangle (Yellow)
Estimate £300,000 - 400,000
Sold for £423,000
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31
Günther Förg
Untitled
Estimate £250,000 - 350,000 ♠
Sold for £325,000
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32
Raoul De Keyser
Kabinet
Estimate £100,000 - 150,000 ♠
Sold for £162,500
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33
This lot is no longer available.
34
Sherrie Levine
Caribou Skull
Estimate £250,000 - 350,000 ‡
Sold for £237,500
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35
Jenny Holzer
Red Yellow Looming
Estimate £250,000 - 350,000 ‡
Sold for £435,000
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36
Jannis Kounellis
Untitled
Estimate £150,000 - 200,000 ♠
Sold for £275,000
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37
Alighiero Boetti
Ogni lettera un suono
Estimate £300,000 - 400,000 ♠
Sold for £447,000
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38
Rosemarie Trockel
Assisted Lines
Estimate £200,000 - 300,000 ‡♠
Sold for £225,000
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39
Richard Serra
Elevational Weights, Vertical Mass
Estimate £400,000 - 600,000 ‡
Sold for £447,000
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40
Tracey Emin
Nature 1
Estimate £70,000 - 100,000 ♠
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41
Elizabeth Peyton
Evan Recording
Estimate £80,000 - 120,000
Sold for £112,500
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42
Wolfgang Tillmans
Freischwimmer 99
Estimate £250,000 - 350,000 ♠
Sold for £435,000
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43
Cory Arcangel
Photoshop CS: 110 by 72 inches, 300 DPI, RGB, square pixels, default gradient "Spectrum," mousedown y=31100 x=1500, mouse up y=32850 x=800
Estimate £100,000 - 150,000 ‡
Sold for £325,000
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20th Century & Contemporary Art Evening Sale

London Auction 2 October 2019

Create your first list.

Video

Provenance

Literature

Catalogue Essay

Artist Biography

Nathaniel Mary Quinn

2

Nathaniel Mary Quinn

Over Yonder

20th Century & Contemporary Art Evening Sale

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