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450 Park Avenue, New York (map)

Viewing 2-14 November

Monday-Saturday 10am-6pm
\nSunday 12pm-5pm

","auctionDetailsSmall","New York Auction 14 November 2018","extraInfo","John McCord
\nHead of Day Sale, Morning Session
\nNew York
\n+1 212 940 1261
\njmccord@phillips.com
","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[225,226,227,228,229,230,231,232,233,234,235,236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376],"articles",[167,168,169,170],"departments",[160],"auctionCurrency",{"_157":72,"_158":159},"totalLotCount",152,"auctionMobilityAuctionRowId","1-1BJWIM","auctionUrl","https://www.phillips.com/auction/NY010818","currencyCode","currencySign","$",{"_161":162,"_163":164,"_165":166},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_171":216,"_173":166,"_175":217,"_16":218,"_178":219,"_180":220,"_182":183,"_184":185,"_186":221,"_188":185,"_190":222,"_192":223,"_194":224},{"_171":206,"_173":166,"_175":207,"_16":208,"_178":209,"_180":210,"_182":211,"_184":185,"_186":212,"_188":162,"_190":213,"_192":214,"_194":215},{"_171":196,"_173":166,"_175":197,"_16":198,"_178":199,"_180":200,"_182":183,"_184":185,"_186":201,"_188":202,"_190":203,"_192":204,"_194":205},{"_171":172,"_173":174,"_175":176,"_16":177,"_178":179,"_180":181,"_182":183,"_184":185,"_186":187,"_188":189,"_190":191,"_192":193,"_194":195},"coverUrl","https://flockler.com/thumbs/sites/889/2018_fa_ny_tca_install-0532-2-dcaf20a6-78ce-4c76-b9f1-846ad1d1ba3e_s600x0.jpg","section","Latin America","summary","Our Head of Latin American Art, shares modern and contemporary highlights from this month's sales, from Diego Rivera to Ana Mendieta","Kaeli Deane's Six Picks from 20th Century & Contemporary Art","body","

Now on view at 450 Park Avenue, Tunga Revolution, 2007, highlights our exhibition of 20th Century & Contemporary Art

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This season's 20th Century & Contemporary Art sales are anchored by significant works of Latin American art—for example, Carmen Herrera's Blanco y Verde, 1966 from our New York Evening Sale spent over four decades in the artist's personal collection, while Wifredo Lam's Sur les traces, 1945 from our Hong Kong Evening Sale showcases the artist's dynamic Afro-Chinese-Cuban heritage. Here, Phillips' Kaeli Deane presents a group of highlights from our New York Morning and Afternoon sessions on Wednesday 14 November.

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Doris Salcedo Untitled, 1995. Wood, cement, iron, glass and lace.

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This sculpture comes from Colombian-born Doris Salcedo's best-known body of work and was first exhibited in the Carnegie International 1995, alongside artists like Robert Gober, Cindy Sherman and Franz West. It is an iconic example from the untitled series, featuring a found wooden cabinet filled with cement and iron bars. The sculpture functions as a memorial to those who lost their lives during Colombia's Civil War as well as a reminder of the weighty burden of grief felt by their loved ones. These worn, domestic objects thus become charged with emotional significance and take on a reverential quality. Salcedo's deeply personal approach to universal issues, combined with her poetic use of materials, has solidified her position at the forefront of contemporary art.

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Tunga Revolution, 2007. Brass, aluminum, braided iron wires covered with nylon, fabric lampshade, wiring and light bulb.

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Brazilian artist Tunga drew upon Surrealism as a primary influence, yet his work also has a spiritual nature. Like an alchemist, he combined simple objects to create sculptural installations that transform the energy in the space around them, thereby captivating viewers. This work, from a series he created in 2007, is an otherworldly embodiment of a quotidian experience: the hypnosis of an insect captivated by light. Made from a tall, standing lamp entwined with colossal metal wings, chains and pins, this sculpture is disconcerting yet magnetizing in its appeal. Like a fated moth, the viewer is drawn in by curiosity and compelled by the complex beauty of the work. Strange and extraordinary, this work is emblematic of the artist's oeuvre.

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Ana Mendieta Untitled: Silueta Series, Iowa, 1979. Lifetime color photograph.

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This work is a rare, unique lifetime print by Cuban-born artist Ana Mendieta that epitomizes her early preoccupation with nature and the female body. Mendieta was sent to an orphanage in Iowa as a Cuban exile at the tender age of 12. This deeply affected her artistic practice and led to a series of staged photographs in which she left traces of her body in the earth, in hopes of facilitating a personal connection with a foreign land. In this particular work, the artist utilized flowers to create her own form, thereby physically rooting herself to the earth and stimulating new growth. Mendieta, whose life was tragically cut short, left a sizable impact on contemporary performance art, and works from this series are increasingly difficult to find.

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Diego Rivera Don Lupito, 1936. Oil on masonite.

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This vibrant portrait by famed Mexican muralist Diego Rivera has been out of view from the public eye since 1983, when it was acquired by a private collector, who has cherished it ever since. Dedicated to renowned American filmmaker King Wallis Vidor (1894-1982), Don Lupito demonstrates Rivera's deep ties with the United States in the 1930s, where he executed a number of public murals and was the subject of MoMA's second monographic exhibition from 1931-1932, the first being Henri Matisse. During this time, American collectors were eager to acquire Rivera's work, which led to friendships with many of the most important names in the entertainment industry. This delighted Rivera, as for him, cinema was the highest expression of modernity. This charming portrait is an iconic example of his classic depictions of Mexico's youth, depicting a small boy in a straw hat and working class coveralls. It embodies Rivera's adept ability to toe the line between commissioned artist for the captitalist elite and radical champion of Mexico's common man.

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León Ferrari Esfera (Sphere), 2006. Stainless steel.

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Like fellow Argentina-born artist Lucio Fontana, León Ferrari spent formative years in Italy studying ceramics. In fact, Fontana recognized his younger compatriot's talent early on by inviting Ferrari to take part in the 1954 X Triennale di Milano. Ultimately Ferrari would return to Argentina where he continued his investigations in three dimensions, eventually graduating from ceramics and wood to delicate wire sculptures that investigate a line's physical expression in space. Even early in his career, Ferrari was interested in hanging sculptures, meant to float and move in space. Esfera is one such example that relates both to Calder's mobiles as well as Gego's Dibujos sin papel (Drawings without Paper). The work appears to express a desire to escape gravity, seemingly nodding to space travel, but it also has a linguistic dimension. The wire weaves together like calligraphy yet the final work is illegible, thereby relating to Ferrari's experience living in Argentina under dictatorship—a time when one's beliefs could not be freely expressed. This work is an epic example of the artist's mature work that is deeply rooted in art history and technological advancement.

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Jesús Rafael Soto Rectangles et Carres, 1969. Acrylic on wood and metal.

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A testament to Jesús Rafael Soto's artistic achievements, this piece is particularly important because of its provenance. Originally sold by Denise René, a pioneer of kinetic and op art in Paris, this work ultimately returned to Venezuela where it became part of the collection of fellow artist Francisco Narvaez. Narvaez recognized the ground-breaking developments of the younger Soto, who although he took a different approach was also preoccupied with developing a new artistic language for the modern time. A masterpiece of color and geometric simplicity, Rectangles et Carres engages with the viewer's perception, affecting visual vibrations as one moves around it in space.

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Discover more Latin American art >

\n","publishDate","2018-11-07T20:46:48.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/38253858/from-diego-rivera-to-ana-mendieta-kaeli-deanes-picks-from-20th-century-and-contemporary-art","displayOrder",3,"auctionEditorialID",434,"editorialID",475,"flocklerID",38253858,"https://flockler.com/thumbs/sites/889/2019_phillips_ny_sp_jb-00842-dbffd224-51fe-44b3-9cb7-021661355e5a_s600x0.jpg","Coinciding with Phaidon's release of 'Sagmeister & Walsh: Beauty', renowned graphic designer and typographer Stefan Sagmeister selects his favorite artworks from our upcoming 20th Century & Contemporary Art sales in New York.","In the Name of Beauty: Designer Stefan Sagmeister's Picks","

Stefan Sagmeister with Nick Cave's Soundsuit, 2006, now on view at Phillips New York

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"Beauty as the height of aesthetic achievement has fallen out of favor. In the design world today, most respected practitioners claim not to be interested in it. Artists avoid it so as not to have their work labeled decorative or commercial. One can leaf through stacks of architecture books without seeing the term mentioned. At one time a universal aspiration, the pursuit of beauty came to a crash landing at the beginning of the twentieth century...We believe this rejection of beauty is utterly stupid.

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"Beauty has played a significant role over the course of history. Even before we were Homo sapiens, we were already making decisions inspired by aesthetic considerations. Since then, beauty has been embraced by human culture—from Sumeria and Assyria to Greece and the Roman Empire and all the way to the end of the nineteenth century. It was only during the twentieth century that beauty was pushed to the side in favor of functionality. "
\n— Excerpt adapted from Sagmeister & Walsh: Beauty

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Sagmeister & Walsh: Beauty (Phaidon, November 2018)

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In Sagmeister & Walsh: Beauty, Sagmeister and design partner Jessica Walsh use historical research on the philosophy of beauty to discredit its rejection. They consulted with scientific advisers from the world of empirical aesthetics and conducted surveys to establish what people find beautiful. With this information, they prove that there is nothing superficial about beauty—far from it. Beauty means reaching beyond what just works or what is simply pretty. Beauty is the dose of humanity that makes our lives better. Beautiful works are not only more joyful but they also function much, much better. While it eludes an easy definition, people know beauty when they see it.

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We believe this rejection of beauty to be utterly stupid.
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In between stops on a worldwide book tour, Stefan Sagmeister visited our New York galleries and applied the tenets from Beauty to the works of art in our upcoming 20th Century & Contemporary Art Evening and Day Sales. Discover his top twelve favorites here, and head to Phaidon to purchase the book.

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1. David Hockney Portrait of Paul Jenkins, 1963. "The wall of drawings at his recent show at the Met in New York touched me deeply with its pure display of light-hearted beauty and deep craftsmanship. This Paul Jenkins portrait would fit right up there."

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2. Donald Judd Untitled, 1970. "'Design needs to work; art does not' might be my favorite Judd quote. This untitled piece does not need to do anything, it just is. And it is gorgeous."

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3. Carmen Herrera Blanco y Verde, 1966. "I discovered Herrera's work rather late in my life, which might be one of the reasons I am now so readily won over by her stunning compositions."

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4. Agnes Martin Untitled, 1965. "So subtle and lovely, technical but sweet, I'd love to have it on my wall."

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5. Sol LeWitt Untitled, 1960s-1970s. "I have been a fan ever since I saw my first Sol LeWitt show about 20 years ago and have been utterly convinced when I later discovered the 120+ wall paintings displayed at MASS MoCA in North Adams, Massachusetts. This would make a terrific reminder/souvenir."

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6. Gerhard Richter Ohne Titel (2.1.89), 1989. "His sublime mix of abstraction and realism always gets me."

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7. Josef Albers Study for Homage to the Square: Awakening, 1963. "All I could ever afford of this series was a print, maybe I can slowly work myself up to a study..."

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8. Andy Warhol Brillo Soap Pads Box (Pasadena Type), 1969. "Warhol originally exhibited all sorts of branded boxes, Kelloggs Cornflakes, Heinz Ketchup and others, but only the Brillo box became an icon of pop-art. This is likely connected to the fact that the original Brillo box was designed by James Harvey, an abstract expressionist painter who created commercial work on the weekends."

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9. Nick Cave Soundsuit, 2006. "These suits are full of references, and I find them all beautiful."

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10. Sol LeWitt Wall Drawing #408, 1983. "His plan on how these drawings can be drawn on various walls and will always appear new is beautiful, all by itself."

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11. Hiroshi Sugimoto Lake Superior, Cascade River, 2003. "This piece is part of one of the most sublime series of photography ever created. Simply gorgeous."

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12. Barry McGee Untitled, 2013. "I can offer no explanation. I am drawn to it and I would love to be near it."

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\n","2018-11-06T20:42:18.000000Z","https://www.phillips.com/article/38220711/stefan-sagmeisters-picks",2,430,471,38220711,"https://flockler.com/thumbs/sites/889/p80-81_001-b4617aa3-87ee-4aa2-9cfa-3a0d5cec0ec2_s600x0.jpg","The following selection of masterworks by Raoul Dufy, kept in the same private collection for nearly thirty years, showcases the French painter's lifelong homage to the joy and color of life.","Raoul Dufy's Search for Light ","

Interior of the private French collector's residence depicting Raoul Dufy Chevaux, jockeys et élégantes, circa 1950

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Though Raoul Dufy interacted with and was influenced by the contemporaneous currents in art, including Fauvism and Cubism, he maintained his independence as an artist and forged his own path to develop an aesthetic that is distinctly and enduringly his own. His entire oeuvre can be viewed as an aspiration towards light and his serenely painted renderings of nature and people are imbued with irony, grandeur and wit. Characterized by the artist’s love for all that is vibrant in life, the works in this impressive group span his influential career and demonstrate many of the themes Dufy explored with his graceful, poetic charm.

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Raoul Dufy Le port du Havre, 1906

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Painted in 1906 at the height of his Fauve period, Le port du Havre showcases Dufy's lifelong love of the sea and his distinct use of color. Born in Le Havre, the Normandy port town depicted in the present work, Dufy owed his love of the sea to the city where he spent all of his childhood and adolescence. The years of 1906-07 saw a period of intense experimentation for Dufy when he first coined his theory 'couleur-lumière', which he would apply to his entire oeuvre: "I was spontaneously led towards what was to become my real preoccupation. I had discovered a system, whose theory was this: to follow the light of the sun is a waste of time. Light in painting is something completely different: it is a light distributed throughout the composition, a 'couleur-lumière'" (the artist, quoted in Dora Perez-Tibi, Dufy, New York, 1989, p. 24).

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In the summer of 1906, Dufy worked alongside Albert Marquet, one of the original Fauves, in the seaside towns of Le Havre, Trouville and Honfleur. Marquet guided the artist during these months as Dufy experimented with color to depict a departure from reality, using it in an expressive, rather than descriptive, technique. The rich chromatism that Dufy developed during this period is evident in Le port du Havre in the bright green, orange and purple hues that highlight the boats and the windows of the portside buildings. Though Dufy's Fauve period was brief, spanning only the years of 1906-07, the artist retained the stylistic qualities that he learned during this time, such as the paring down of subjects and his taste for color, applying them to his work throughout his career.

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Raoul Dufy Régates à Deauville, 1934

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The theme of the regatta first appeared in Dufy's work in 1907 and would appear time and time again throughout his practice, set against a backdrop of different towns across France and England. Dufy considered the sea a backdrop for activities and lively spectacles, and the ultimate location to observe the effects of light: "Unhappy the man who lives in a climate far from the sea, or unfed by the sparkling waters of a river!…The painter constantly needs to be able to see a certain quality of light, a flickering, an airy palpitation bathing what he sees" (the artist, quoted in Dora Perez-Tibi, Dufy, New York, 1989 p. 158). In Régates à Deauville, painted in 1934, sailboats with billowing crescent sails, bathed in light, race by grand buildings on the quai on the far side of the shore. The horizontal brushstrokes of the expressive sea and sky enhance the sense of movement as the boats enter the composition at the left and then pass by the viewer in our implied position as spectator. Detail is sacrificed in favor of broad strokes that capture the general impression of the scene, allowing one to be easily immersed into the light-hearted activities.

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Raoul Dufy Le Grand Orchestre, circa 1946

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Le Grand Orchestre, executed circa 1946, showcase Dufy's unwavering passion for music, which he inherited from his father, an amateur musician and organ player, who inspired a passion for music in all of his children from an early age. In Dufy's representations of musicians, compositions are transposed into pure musicality, reflecting his deep understanding and appreciation for this form of art, so much so that his friend Pablo Casals told him: "I cannot tell what piece your orchestra is playing, but I know which key it is written in" (Pablo Casals, quoted in Dora Perez-Tibi, Dufy, New York, 1989, p. 292). In Le Grand Orchestre, the composition, flanked by the theater's wings and centered by the impressive chandelier overhead, appears to be floating on a sumptuous yellow surface that inhabits the entire canvas. The simplified forms of the audience, musicians and instruments evoke musical notes on a staff and convey a palpable sense of rhythm across the work.

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Raoul Dufy Nu dans l'atelier de la place Arago à Perpignan, circa 1946

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Nu dans l'atelier de la place Arago à Perpignan, from the same year, 1946, belongs to a series of nudes depicted in Dufy's study, begun decades prior in 1909. Though this subject did not play a major role in Dufy's oeuvre, it served as a means of uniting two traditional themes conceived in a distinctly modern aesthetic - the nude and the artist's studio - and marked the development of his style as he returned to this model throughout his career. The studio acted as a representation of the mental space in which the artist’s work occurred, and, fittingly, the scene depicted in Nu dans l'atelier de la place Arago à Perpignan is composed of bright colors and is bathed in light from the large window at the left side of the composition. A tenderly portrayed, relaxed woman reclines on a chaise-lounge at the center, while the easel to her right holds an unfinished painting, suggestive of the artist's presence in the room.

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The window overlooking the town visually increases the dimensions of the studio, endowing it with an airy and spacious feeling characteristic of Dufy’s interiors, and his studio in the Place Arago in Perpignan, where he worked from 1946-51, depicted in the present work, is the apotheosis of this theme.

\n","2018-11-06T21:56:37.000000Z",79,"https://www.phillips.com/article/38220991/raoul-dufys-search-for-light",432,473,38220991,"https://flockler.com/thumbs/sites/889/p225_001-7d241e26-4f3d-4ae9-9802-6abeb26d7f63_s600x0.jpg","Jim Dine has been prolific in his 60-plus years of producing works, from large-scale Pop-inflected paintings to emotive collaged works-on-paper. Dine is often considered alongside rougher painters like Robert Rauschenberg and Jasper Johns.","Jim Dine and the Art of the Everyday ","

Jim Dine in his studio, 1977.

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Drawing on personal experiences and natural intuition, Jim Dine creates works that are at once intimate and playfully accessible. Dine has painted since he was a child, and after several years of study, he no longer saw the value in formal art education. The artist instead drew inspiration from museums and art journals, weaving elements of contemporary and historical artworks into his own practice, and was particularly inspired by Robert Rauschenberg's Combines and Jasper Johns' Flags and Targets.

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After moving to New York from Ohio in 1958, Dine was associated with the Pop movement, though his works lack the cool irony central to Pop and instead exude a raw quality, inviting the viewer to interpret what is being portrayed. Reflecting on this distinction in 1963, Dine explained: "Actually I'm interested in the problem and not in solutions. I think there are certain Pop artists who are interested mainly in solutions. I paint about the problems of how to make a picture work, the problems of seeing, of making people aware without handing it to them on a silver platter" (the artist, quoted in Jim Dine: Walking Memory, 1959-1969, The Solomon R. Guggenheim Museum, New York, 1999, p. 166). In addition to their distinct materiality, A Study/ Your Yard, Crescent Wrench, and Harry Mathews Skis the Vercour are each titled with poetic phrases, inspiring further contemplation.

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Jim Dine Crescent Wrench, 1962

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Executed in 1962, Crescent Wrench dates to the beginning of Dine's career, a period marked by increasing art world recognition and intense creative development for the artist. Soon after moving to New York, Dine had a flurry of prominent solo exhibitions, starting with his first ever solo exhibition at Reuben Gallery, New York. After visiting the artist's studio in 1962 where she saw his recent Tools paintings, Illeana Sonnabend gave Dine a show in Paris in 1963, and Sidney Janis Gallery began representing the artist in New York that same year. A number of Dine's works were chosen for inclusion in the 1964 Venice Biennale, and due to the controversial lack of space in the American pavilion, a parallel exhibition was held at Boston's Institute of Contemporary Art, Rauschenberg & Noland & Johns & Chamberlain & Dine & Stella & Oldenburg: The Biennale Eight, where further works were shown to truly showcase the talent of the artists, including Dine's Crescent Wrench. Previously in the legendary collection of Mr. and Mrs. Burton Tremaine, Connecticut, Crescent Wrench stands as testament to the success of Dine's early work, evidenced by this particular lot's rich history.

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Jim Dine Harry Matthew Skis the Vercour, 1973

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Crescent Wrench and Harry Mathews Skis the Vercour are exceptional examples of Dine's mixed-media works and his lifelong love of objects. His assemblages feature objects projecting from the canvas or dangling daringly close to the surface, blurring the line between reality and the painted space and creating a dialogue between the objects and the canvas. Though the works take on an almost surrealist quality, this pairing of seemingly disparate objects came naturally to the artist, as Dine described: "A piece of red paint is no different than a pencil if I use it, or vice versa. If I use a yellow pencil, I use a yellow pencil. If I use a piece of yellow paint, that's another kind of object. They all have history" (the artist, quoted in Jim Dine: Walking Memory, 1959-1969, The Solomon R. Guggenheim Museum, New York, 1999, p. 27).

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The motif of the tool first appeared in Dine's work in 1960 and harkens back to his childhood days playing in his grandfather and father's hardware stores. As such, his works incorporating tools are imbued with an autobiographical element and are an expression of the artist's feelings and memories, rather than conceptual constructions. Fascinated by the inherent aesthetic beauty of tools, Dine described his visits to hardware stores to source materials for his paintings: "Sometimes I'd buy dozens of hammers. But also, I got so excited to find something that was inspiring. Not just because it’s some sort of phallic object in itself. It has been refined to be an extension of one’s hand, over the centuries, in a process of evolution. And it can inspire you that way. It has all this history" (the artist, quoted in Jim Dine: Walking Memory, 1959-1969, The Solomon R. Guggenheim Museum, New York, 1999, p. 132). Dine considers tools as an extension of one's hand, and, as such, his assemblage paintings are at once a self-portrait and a visual representation of the act of making the work itself.

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Jim Dine A Study/ Your Yard, 1981

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The motif of the heart is central to Dine's oeuvre, and is one that he has explored in depth throughout his career. Painted in 1981, A Study/ Your Yard is a stellar early example of this iconic image and was included in the artist’s solo exhibition at Pace Gallery, New York that same year. In the introductory text for the exhibition catalogue, Dine explained that the works were all executed in the spring and summer of 1981 during a period in which he was worried about a friend. A symbol of hope and compassion, he believed the familiar image of the heart could be particularly comforting and described: "I've tried to depict in these works, years of joy and pain. In painting, I would not care to 'illustrate' those emotions. I would rather keep looking very hard and see if the paint itself can do the job. Actually I know it can" (the artist, quoted in Jim Dine: Recent Work, exh. cat., Pace Gallery, New York, 1981, n.p.).

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Rendered in exquisite vibrant and jewel-like hues, A Study/ Your Yard is imbued with the deeply personal emotions of the artist, and the gestural brushstrokes and dense impasto demonstrate Dine's unique and celebrated application of paint.

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Lee Bontecou