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Opening 12:00pm ET, February 24, 2026
\nClosing 12:00pm ET, March 10, 2026
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\nLots start closing consecutively with one-minute intervals
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\nkblackwood@phillips.com
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\n","auctionDetailsSmall","24 February - 10 March 2026","extraInfo","

Katerina Blackwood
\nSpecialist, Head of Online Sales
\nkblackwood@phillips.com
\n+1 212 940 1248
\n

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Yacov Arnopolin at home with works from his collection by Ed Ruscha, Annie Morris, and Claudio Bravo.

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Across our upcoming New York Modern & Contemporary Art live and online auctions, collectors will discover a selection of incredible works being offered in support of the Cancer Research Institute, many of which were donated directly to the sales by the artists.

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CRI trustee Yacov Arnopolin, a collector with a lifelong passion for art, discusses the initiative and invites us to view his personal collection.

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PHILLIPS: How do you approach philanthropy and what led you to choose the Cancer Research Institute (CRI)?

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YACOV ARNOPOLIN: Reading the legendary investor Byron Wien’s “20 Life Lessons” ages ago, I came upon his take on philanthropy: “My approach is to try to relieve pain rather than spread joy.” I found this very poignant — it would be fun to be involved with an art charity, but there’s too much suffering in the world. When I read that 1 out of 2 men and 1 out of 3 women get diagnosed with cancer over their lifetimes, it was an easy decision to make.

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Ed Ruscha, Blurred City, 2015. Modern & Contemporary Art New York.

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P: Tell us about your role at CRI and how the sale of these works supports the cause?

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YA: 2026 marks eleven years since I joined the Board of Trustees. Unfortunately, over that time, many relatives and friends have been diagnosed with cancer. The good news is the tally of tumors CRI’s breakthroughs can effectively combat has since increased to 30, with more to come. We naively think a single cure will let us win the “war on cancer,” but one realizes there are hundreds of tumors, each requiring its own approach.

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The number of grant request submissions has doubled year-on-year due to uncertainty over government support for science. CRI’s selection process has traditionally been very competitive — less than 1 in 10 applications gets funded — so there is plenty of room to endow outstanding science if more funds were available.

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P: What makes CRI’s approach so unique and effective?

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YA: When the Cancer Research Institute was founded in 1953, immunotherapy was a moonshot idea, whereas now it’s the cutting edge of science. The treatment’s power lies in using the body’s immune system to prevent and eliminate cancer. It can be far less invasive than traditional chemotherapy or radiation approaches and can enhance outcomes as a combination treatment.

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Over 9 million patients globally now benefit from the CRI’s research on cancer treatments. Thanks to its efficiency and focus, the Institute consistently ranks among the top 5% of charities.

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Jennifer Guidi, Downvalley, 2025. Modern & Contemporary Art New York.

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P: What are some of your favorite works from the selection?

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YA: Ed Ruscha’s Blurred City is a jaw-dropper. Ed has been a supporter of CRI for a decade, and his generosity is to thank for many a successful scientist! The smudged “CITY” is reminiscent of the energy and movement of any dynamic metropolis — there’s an urgency about the letters, a hectic pace.

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Jen Guidi’s and Joel Mesler’s works on paper also strike a chord. The magnetism of Jen’s pointillist composition is compounded by the almost tangible warmth of the sun. And Joel’s ebullient message “TO JOY” is a sentiment I have witnessed when interacting with so many cancer survivors helped by CRI.

\n\n

Sayre Gomez is another exciting contemporary artist, with a stellar show currently on view in LA. I love the hyperrealism and the focus on everyday objects and sites. Last but not least, I am in awe of Isabella Ducrot’s erudition and the multitude of references in her works. Now in her tenth decade, Ducrot used her extensive travels to create a unique voice influenced by the world of textiles.

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Joel Mesler, To Joy, 2025. Modern & Contemporary Art: Online Auction, New York.

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P: What inspired you to collect art?

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YA: Growing up in the Soviet Union, my dad would take me to open-air art fairs and bazaars that came to life under perestroika. It wasn’t easy to get those paintings into the US when we immigrated, but I was lucky to grow up with an eclectic mix of art on the walls. Once in America, as a chubby kid who couldn’t play any sports, I would attend weekend art history classes at the University of Pittsburgh. It was a dozen grandmas plus myself, but it led to a lifelong fascination with everything from Caravaggio to Rococo to Francis Bacon.

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P: With decades of experience in finance, we’re curious if investment value plays into how you collect?

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YA: It doesn’t. Inevitably, one makes the mistake along the way of “buying with the ears, not the eyes” — i.e., listening to tips on the next hot artist, rather than what actually resonates. In the end, art is about what you respond to and want to live with; all the speculation ends up in storage.

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An art advisor once said a collector should accumulate “eye mileage.” It’s a great concept, and every museum or gallery visit is a chance to learn and train one’s eye.

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Wolfgang Tillmans, Chrysanthemum, 2006. Modern & Contemporary Art: Online Auction, New York.

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P: What are your favorite works to live with?

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YA: I can never get enough of Ed Ruscha’s MEDICAL MARTINI — half the fun was coming up with the text!

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With revolutionary technology in every phone, we all think we are 21st century Arbuses and Avedons — but there’s still so much technique in photography, and to me, Wolfgang Tillmans is second to none.

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Lucian Freud's Woman with an Arm Tattoo hangs in Arnopolin’s sitting room.

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Finally, Lucian Freud’s Woman with an Arm Tattoo print is mesmerizing. There’s a tranquility but also vulnerability about a sleeping person. And as a Cancer Research Institute board member, I am confronted with our vulnerability as humans all too often.

\n\n

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Stanley Whitney, Untitled, 2016. Modern & Contemporary Art: Online Auction, New York.

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Callum Innes

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Callum Innes, Exposed Painting Dioxazine Violet, 2012. Modern & Contemporary Art: Online Auction, New York.

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Scottish painter Callum Innes is known for charged abstract paintings that work within the tradition of the monochrome. His washes of color, with their subtle gradations and interrupting rivulets, might first call to mind the pours and drips of Color Field painting, but he achieves these effects through a distinctive method. After applying a layer of paint to the canvas, Innes “unpaints” it by brushing over it with turpentine. He repeats this process to build the layers of pigment that give his paintings their mysterious, luminous quality. The violet sections of this particular work summon an almost textile quality beside the severe contrast of black and white.

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Jacqueline Humphries

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Jacqueline Humphries, Untitled, 1994. Modern & Contemporary Art: Online Auction, New York.

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This incredible serial work by Jacqueline Humphries comprises 36 panels grouped together. Taken individually, each panel iterates on a seeming opposition between a narrow, orange and ochre form made up of only a few brushstrokes, and a wider section of blue and black, monumental by contrast. Repeated and aligned in a grid, the panels become distinctly geometric, offering a regular rhythm within which variations of form can play. Born in New Orleans and active since the 1980s, that moment when painting died yet again, Humphries has experimented across multiple tendencies. While her earlier work explored expressionist modes, her practice has also interrogated the relationship of painting to the digital. This work seems almost to toggle between the two, drawing our attention to repetition as the source of something new.

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Walead Beshty

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Walead Beshty, 2 Sided Mirror Pair, 2010. Modern & Contemporary Art: Online Auction, New York.

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In this vibrant work, Los Angeles-based artist Walead Beshty wields the possibilities of photography to striking effect. In his practice, Beshty has explored the relationship between photography — that medium we might mistake for truth in representation — and reality. This particular diptych showcases two of Beshty’s photograms, produced through a camera-less process in which photographic paper is folded before being exposed to light. The resulting interlocking shapes and layered colors give a sense of why Beshty has called his work “concrete” photography. The two prints seem to fold in and out of each other, bringing an impression of constant motion.

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Stanley Whitney

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Stanley Whitney, Untitled, 2016. Modern & Contemporary Art: Online Auction, New York.

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One can hardly consider geometric abstraction without thinking of Stanley Whitney, the prolific, Philadelphia-born painter who has been experimenting with color and form since the 1960s. In his singular method, Whitney assembles gridded combinations of colored blocks and lines, improvising as a jazz musician would. According to Whitney, “Color dictates the structure, not the other way round.” This style developed in part under the influence of Roman art and architecture, drawing on Whitney’s time in Rome during the 1990s. Though his oil paintings can establish an almost monumental effect, this gouache on paper showcases a looser beauty.

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Hisao Domoto

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Hisao Domoto, Solution de Continuite #26, 1966. Modern & Contemporary Art: Online Auction, New York.

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Japanese artist Hisao Domoto became a devotee of Michel Tapié’s Art Informel movement while studying in Paris during the 1950s. He developed his signature style in 1956, using oil paint in thick layers and incorporating circles and other rounded forms. That style was guided by Domoto’s traditional Japanese Nihonga training, engaging the compositional rules and spiritual ideals of that lineage. Significantly, Domoto also introduced the members of Art Informel to Japanese Gutai. In this work, Domoto’s interest in the materiality of paint creates a multidimensional space. The thicker strokes of black paint appear almost wet against the smooth, regular pattern of black circles on a cobalt background, seeming to invite the viewer into another world.

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Rana Begum

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Rana Begum, No. 319, 2012. Modern & Contemporary Art: Online Auction, New York.

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Rana Begum works across painting, sculpture, and installation, often using industrial materials in her explorations of light, geometry, and color. Born in Bangladesh but raised partly in England, Begum’s practice deftly combines minimalist and constructivist impulses with personal inspiration. Begum connects her use of pattern to the repetition of childhood Qur’an recitals, as well as to the use of geometric imagery in Islamic art. Here, Begum’s folded steel object celebrates the capacity of art’s simplest elements — line, color, shape — to evoke whatever the viewer’s eye might be open to. A profound calm juxtaposed by the enduring vitality of color gives this work a patient, meditative quality.

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Hsiao Chin

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Hsiao Chin, Tension-I, 1986. Modern & Contemporary Art: Online Auction, New York.

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Shanghai-born painter Hsiao Chin trained in Taipei. In 1956, he became one of the founders of Eastern Art Group, also known as Tung fang, one of the earliest modern art groups in Taiwan. Chin and his fellow members sought to synthesize modernism and traditional Chinese painting, bringing the influence of American abstraction to Taiwan, in defiance of Chinese government policies. As Chin's career progressed, he became increasingly interested in Eastern spiritual philosophies, especially Zen and Taoism. In this elegant painting, Chin’s restraint and masterful wielding of composition yields the sublime tension referenced in the work's title. Form and void seem to toy with each other in a delicate balance.

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Discover more from Modern & Contemporary Art: Online Auction, New York >

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“The Mangels are willing to make their own mistakes, and that’s a real difference. They trust their artists, and they trust their taste.”
\n—Suzanne Horvitz

\n\n

Benjamin and Deborah Mangel occupy a distinctive place in the cultural history of postwar American collecting and dealing, defined as much by conviction and warmth as by connoisseurship. Moving from Bala Avenue to Center City and ultimately to Rittenhouse Square, the Mangel Gallery championed some of the foremost postwar artists ranging from Harry Bertoia, Alex Katz, Red Grooms and Robert Motherwell to Philadelphia figures such as Jane Piper and Bill Scott. Their personal lives mirrored their professional commitments: living in Merion surrounded by works by Rauschenberg, Moore, Katz, Johns, and Matisse, they raised a family steeped in art, learning, and generosity. Known for their directness, integrity, and hospitality, Ben and Debbie cultivated a gallery culture that welcomed curiosity over pretense – an ethos that earned them lasting loyalty and shaped generations of collectors.

\n\n

In August 1970, the Mangels opened The Mangel Gallery in Bala Cynwyd in Merion Township on the Philadelphia main line, paying $85 a month in rent and making their first sale – a $12 frame – amid slow early traffic. Their breakthrough fortuitously came when they hosted a traveling exhibition of Robert Motherwell’s prints; the gallery sold 75 works with a mailing list of just 200, outperforming every other venue on the tour and announcing their arrival on the national stage.

\n\n

\"\" — Postcard from Alex and Ada Katz to Ben and Deborah Mangel.

\n\n

The Mangels came from modest beginnings, with no real grounding in art; Ben grew up an orthodox butcher’s son, above Mangel’s Kosher Meat Market in Philadelphia. He would later attend Wharton on the GI bill, where he would study statistics, and become a management statistician at the Defense Supply Agency. Debbie was similarly self-made – by age 8, she was making money delivering papers. The couple met in July 1960 at a bar in Atlantic City, and the rest fell into place. They shared a love of art, which “became my release”, Ben recounted; “I visited every museum I could.” 10 years later, The Mangel Gallery would open.

\n\n

“It’s a different type of gallery, it’s so homelike. I never feel like I’m being pressured,” said longtime patron and friend of the gallery, Edna Tuttleman. “Some galleries are very haughty. They look down on collectors if they don’t know you. That’s not Ben and Debbie.”

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48

Wolf Kahn

Staccato

Further Details

Full-Cataloguing

Wolf Kahn