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Auction 8 December 2020 10am EST

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450 Park Avenue, New York (map)

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Viewing by appointment

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30 November – 7 December

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Monday to Saturday 10-6pm

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Sunday 12-5pm

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Contact

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AppointmentsNewYork@phillips.com or

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+1 212 940 1200 to arrange your visit

\n","auctionDetailsSmall","New York 8 December 2020","extraInfo","

John McCord
\nHead of Day Sale, Morning Session
\nNew York
\n+1 212 940 1261

\n\n

jmccord@phillips.com

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[218,219,220,221,222,223,224,225,226,227,228,229,230,231,232,233,234,235,236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349],"articles",[169,170,171],"departments",[162],"auctionCurrency",{"_159":72,"_160":161},"totalLotCount",132,"auctionMobilityAuctionRowId","1-3PN01R","auctionUrl","https://www.phillips.com/auction/NY010820","auctionResultsFile","https://www.dist.phillips.com/content/web/auction-results/auctionResultsFile_NY010820.pdf","currencyCode","currencySign","$",{"_163":164,"_165":166,"_167":168},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_172":209,"_174":168,"_176":210,"_16":211,"_179":212,"_181":213,"_183":184,"_185":186,"_187":188,"_189":214,"_191":188,"_193":215,"_195":216,"_197":217},{"_172":199,"_174":168,"_176":200,"_16":201,"_179":202,"_181":203,"_183":204,"_185":186,"_187":188,"_189":205,"_191":164,"_193":206,"_195":207,"_197":208},{"_172":173,"_174":175,"_176":177,"_16":178,"_179":180,"_181":182,"_183":184,"_185":186,"_187":188,"_189":190,"_191":192,"_193":194,"_195":196,"_197":198},"coverUrl","https://flockler.com/thumbs/sites/889/wishlist-phillips-1-0bca2adf-6e87-4900-b179-15fb360d03a4_s600x0.jpg","section","Editions","summary","As gifting season approaches, we asked Phillips specialists to select which pieces they would most like to give (and keep!). ","Specialist Wishlist ","body","

Fernando Campana and Humberto Campana. Cartoon chair, 2007. Estimate $25,000 - 35,000. Gallery One.

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Katherine Lukacher, Head of Online Sales

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Pablo Picasso, Chouetton (Young wood-owl), 1952. Estimate $6,000 - 8,000. Editions Modern.

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To Give

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I would give Pablo Picasso’s Chouetton (Young wood-owl) to my sister; she and I love the whimsical nature of Picasso’s ceramics. The owl was a re-occurring motif in Picasso’s work as it is the symbol for Athena, the goodness of Wisdom. Picasso also had a real-life happenstance with an injured owl, as Françoise Gilot described "…one of his claws had been injured. We bandaged it and it gradually healed.” The healing of owls seems to be a theme of 2020 as this vase also reminds me of the tiny Saw-whet owl that was found in the Rockefeller Christmas tree this year who had survived a ride on the tree and persevered with such resilience in 2020. A nice gift to remind her of one of the happier moments of hope in a challenging year.

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\nBid Now >

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Sturtevant, Warhol Black Marilyn, 2004. Estimate $200,000 - 300,000. Gallery One.

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To Keep

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I would keep Sturtevant’s Warhol Black Marilyn. I’ve always loved Sturtevant since we offered her piece Stella Tomlinson Court Park (First Version) (Study) back in 2014, the same year she passed away. At that time (2014-2015) her retrospective up was up at MoMa and she was reemerging as an important artist on the forefront of the appropriation movement. The curator of the retrospective, Peter Eleey remarked that “In some ways, style is her medium,” I always found that very intriguing as a concept, that she created by culling premade imagery and therefore as an artist could not be pinned down.

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\nBid Now >

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Fred Blauth, Registrar, Online Sales

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Elie Nadelman, Standing Bull, 1915/cast after 1946. Estimate $3,000 - 5,000. Editions Modern.

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To Give

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I would give Angus, my best friend, Elie Nadelman’s Standing Bull. I laugh the hardest and smile the biggest whenever I am with him. Being a Taurus myself, I also connect with the animal and can appreciate what it has come to represent throughout history. Angus is an incredible Spanish professor that has lived all over the world and cares deeply about language, so a pun or play-on-words seems like the perfect gift to me.

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\nBid Now >

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Ed Ruscha, The End, 1991. Estimate $20,000 - 30,000. Gallery One.

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To Keep

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I have to keep The End print by Ruscha! In 2018, I curated an exhibition in Pittsburgh, PA. by the same title that featured artists who reflected on the concept of finality, loss, break-ups, death...and change, rebirth and resurrection too. I have to hope that when the clock strikes midnight on January 1, 2021, we all can move forward from this trying year (or at least begin to). Let the credits roll!

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\nBid Now >

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Alexis Vourvoulis, Senior Specialist, Vice President, Jewels

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Fernando Campana and Humberto Campana. Cartoon chair, 2007. Estimate $25,000 - 35,000. Gallery One.

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To Give

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I would love to give the Minnie and Mickey chair by the Campana brothers, from Gallery One, to my stepdaughter. She lives in Paris, has impeccable taste and appreciates contemporary furniture and design. She's always on the hunt for a cool chair; this would be it.

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\nBid Now >

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An Art Moderne Diamond and Platinum Ring. Estimate $30,000 - 50,000. Jewels New York.

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To Keep

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There are several special pieces in our December New York Jewels Auction that I would love to own, but there is one piece that I would absolutely love to wear and that is Lot 35, An Art Moderne Diamond and Platinum Ring. A dramatic pinky ring is highly underrated and incredibly chic. The bold, clean lines are contemporary and edgy in contrast to the sweet, old pear-shaped diamonds set side by side. For me, this ring is as good as it gets.

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\nBid Now >

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Anne Mock, GG, Associate Specialist, Jewels

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Alexander Calder, Polka Dots, circa 1970. Estimate $3,000 - 4,000. Editions Modern.

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To Give

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Simple yet bold and playful, Alexander Calder’s Polka Dots would make the perfect gift. Even if the recipient is not an art aficionado, it’s easy to appreciate this piece, which evokes a sense of childlike joy. I love mixing clean, modern pieces with traditional, ornate ones—I think this work would pop in a cozy study!

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\nBid Now >

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An Art Deco Sapphire, Diamond and Platinum Ring. Estimate $50,000 - 70,000. Jewels New York.

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To Keep

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I would happily take ownership of this Art Deco Sapphire, Diamond and Platinum Ring. Weighing in at approximately 4.00 carats, this Burmese beauty is a deep, velvety blue color, free from heat treatment and inclusions, a gemologists dream. The delicate platinum mounting is encrusted with single-cut diamonds and intricate detailing; a little piece of history on the hand. I would have no problem wearing it with my quarantine jammies or a cocktail dress in the (hopefully near) future!

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\nBid Now >

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Kelly Troester, Worldwide Co-Head, Editions

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A Pair of Turquoise, Diamond and Platinum Plated Silver Earrings. Estimate $1,500 - 2,500. Jewels & More.

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To Give

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This holiday season I feel like giving small, precious or intimate objects more than anything else. My colleagues’ Jewels & More auction is filled with wonderful things at attractive price points, many at no reserve, hooray! These turquoise and diamond earrings (Lot 205) caught my eye as a beautiful gift to a beloved friend or dear colleague such as Sarah Browne, specialist in the Editions department. They are an elegant mix of stones and eras—Art Deco design but contemporary. Sarah and I share a love of Navajo, Native American, and vintage jewelry, so the turquoise and the Deco form a symbolic combination (with a ton of character). I hope she likes them!

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\nBid Now >

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Pablo Picasso, Jacqueline au chevalet (Jacqueline at the Easel), 1956. Estimate $30,000 - 50,000. Editions Modern.

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To Keep

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This solid repoussée silver platter just radiates a shimmering holiday gift—example of an objet d’art someone gives another as a completely wonderful surprise. In 1956 Picasso wanted to translate a small group of his Madoura ceramics into opulent silver plates inspired by 16th and 17th century chased silver and gold Venetian and French plates. He chose metalsmith François Victor-Hugo to create small editions. It’s a wonderful collaboration. I find it to be one of those rare, festive, luxe pieces that would have been sourced for a Neiman Marcus Christmas Book, the ultimate holiday wish-book back in its day. It is my grand little sports car. I would not chance someone missing it in this auction; I'm keeping it for myself to make sure it finds its way to me!

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\nBid Now >

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Patrizia Koenig, Associate Specialist, 20^th Century & Contemporary Art

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Olafur Eliasson,The hue of the void, 2020. Estimate $10,000 - 15,000. 20th Century & Contemporary Art Day Sale.

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To Give

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I would gift Olafur Eliasson’s The hue of the void to my best friend who recently moved to Los Angeles. When I think of Los Angeles, I think of light and space—and in many ways this watercolor poetically captures this. I love the work’s poetic title, the delicacy of its composition and the subtle shift in colors that reveals itself to you the longer you stand in front of it. And importantly, this work in itself is a generous gift by the artist, who donated it to the Hall Art Foundation, which is donating all proceeds to the Alexander W. Dreyfoos School of the Arts in West Palm Beach for low-income Black students who wish to pursue a career in the visual and performing arts.

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\nBid Now >

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Bill Traylor, Untitled (Black and Brown Horse), circa 1941. Estimate $40,000 - 60,000. 20th Century & Contemporary Art Day Sale.

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To Keep

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I’d have to keep Bill Traylor’s Untitled (Black and Brown Horse) without a doubt! Traylor is arguably one of the most important American artists of the past century, and this work is of a caliber that’s extremely hard to come by. Not only is it rare for its large scale and the singular imagery of the horse, it was notably done on the back of a poster related to the African American community (in this case a 1941 The Ink Spots poster). Traylor’s works are politically and artistically assertive; they speak of an artist seeking self-definition, a visual storyteller recording a segregated country at the precipice of the Civil Rights movement.

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\nBid Now >

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Annie Dolan, Associate Head of Day Sales, 20^th Century & Contemporary Art

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Hermès, A Stainless Steel ‘Cape Cod Tonneau’ Wristwatch. Estimate $1,500 - 2,500. Jewels & More.

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To Give

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I would gift the Hermès Cape Cod Tonneau wristwatch to my mom this holiday season. She has amassed a large watch collection over the years, and this stainless steel watch with the orange band is definitely the missing link! She loves a pop of color with an all-black outfit, and I have no doubt that she would want to wear this watch every day.

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\nBid Now >

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Fred Wilson, Untitled (Bast), 1992. Estimate $25,000 - 35,000. 20th Century & Contemporary Art Day Sale.

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To Keep

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If I had to pick one work on offer right now to take home for the holidays, I would pick Fred Wilson’s Untitled (Bast). I’ve always loved Fred Wilson’s work, and especially love this plaster wall-bound work. The plaster cast relates to those found in ancient Greco-Roman culture, specifically those cultures with Egyptian origins. It reminds me of the reliefs seen on my countless visits to the Metropolitan Museum of Art growing up just outside of New York City. Wilson has appropriated art historical objects like these throughout his practice, re-contexualizing them in profound, and sometimes satirical ways. I love that here, Wilson has taken the bust of a cat in profile and placed it atop the left figure (admittedly, as a cat lady myself!).

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\nBid Now >

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Sarah Browne, Associate Specialist, Editions

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Coralynn Pence, A Diamond, Aquamarine and Gold Brooch. Estimate $4,000 - 6,000. Jewels & More.

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To Give

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I inherited a love of brooches and lapel pins from my grandmother. She was known to adorn all coats, hats and blazers with pins ranging from Tiffany classics, political buttons and museum souvenirs, to rhinestone creations purchased at thrift stores around the world. Coralynn Pence’s modernist inspired silhouettes remind me of my grandmother’s collection. Pence was also a known world traveler and often brought back materials to include in her work. A Diamond, Aquamarine and Gold Brooch would make a great gift for my colleague Kelly Troester; a lover of antiques, a savvy thrifter and a collector of all things eclectic and beautiful.

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\nBid Now >

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David Smith, Juliette, 1938. Estimate $3,000 - 4,000. 20th Century & Contemporary Art Day Sale.

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To Keep

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This uneditioned proof of David Smith’s Juliette is packed with print history! I am always drawn to these gems that lead you down a rabbit hole of discovery. Besides, who wouldn’t love to own a rare piece of Smith’s print history?! This elegant, strong female form is presumably a ballet dancer, as drawing dancers from life was part of Smith’s studio practice. This proof was printed on what looks to be found paper and is the first of three states. With each state, Juliette’s form is further embellished and in the final state, which is an edition of just 10, Juliette is depicted in front of an elaborately detailed fireplace setting. For me, I like the simplicity and crispness of this version most.

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\nBid Now >

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Recommended Reading

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Splurge vs. Steal: A Jewelry Gift Guide >

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Your Year in Art: 2021 Horoscopes >

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\n","publishDate","2020-12-02T20:38:27.000000Z","authorCredit","Sarah Bochicchio","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/67340255/wishlist-gift-guide-auction-jewels-editions-gallery-one","displayOrder",2,"auctionEditorialID",1106,"editorialID",3335,"flocklerID",67340255,"https://flockler.com/thumbs/sites/889/titus-kaphar-memory-fails-for-sale-30ad178b-8cb3-4a2b-81ea-9c7285e787b2_s600x0.jpg","Some of this season's standout works by Black artists arrive at auction from the Collection of Pamela K. and William A. Royall Jr.","Inside the Royall Collection","

Titus Kaphar, Memory Fails, 2010. Estimate $80,000 - 120,000. 20th Century and Contemporary Art New York.

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The internationally distinguished collection of pioneering philanthropists Pamela and William Royall — prominent collectors of 20^th century and contemporary art in the American South — reflects their broad interests, from well-known artists of the 20^th century to emerging and established Black artists. Committed arts patrons and forces of change in Richmond, Virginia, the Royalls spearheaded the Virginia Museum of Fine Arts’s recent acquisition of Kehinde Wiley’s sculpture Rumors of War as board members of the institution and were instrumental to the museum’s expansion of the diversity of its collection. Believing in a vision of greater inclusivity for Richmond, the Royalls established a non-profit art gallery for the collection, Try-me, which was open without charge to the public to foster a space for local artists and education. Here, five key works from the Royall's personal collection spotlight some of the last century's most influential names in depicting the contemporary Black experience.

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Amy Sherald

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Amy Sherald,The Bathers, 2015. Estimate $150,000 - 200,000. 20th Century and Contemporary Art New York.

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Amy Sherald’s paintings of everyday African Americans subvert the conventional genre of portraiture to show a more complete picture of humanity. Her figures — in this case, two young bathers — gaze directly at us with a confident disposition that exudes timelessness, asserting their presence in a medium and traditional subject matter that has historically ostracized non-white artists and sitters. A rare image for Sherald in that it depicts two sitters, The Bathers is one of the finest works by the artist in private hands, showcasing her idiosyncratic aesthetic of fashionable gray-scaled figures represented against Barkley Hendricks-esque monochromatic expanse.

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\nLot 1 >

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Barkley L. Hendricks

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Barkley Hendricks, Selina/Star, 1980. Estimate $800,000 - 1,200,000. 20th Century and Contemporary Art New York.

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This work epitomizes Barkley Hendricks’s arresting portrayals of fashionable, super-cool Black and Latino subjects, which revolutionized contemporary figurative painting. A superb example from the artist’s more celebrated bodies of work — nearly life-size portraits that were executed between the late 1960s and early 1980s — it showcases his unrivaled ability to capture not only the personality but the inner spirit of each of his sitters. Though Hendricks is known for the wide array of vibrant colors he employed throughout his oeuvre, he often revisited his favorites: the palette of Selina/Star is redolent of the brilliant yellow he used seven years earlier in Woody, 1973 and which he would use two years later for his subject’s attire in Icon for Fifi, 1982. This mastery of color and faculty for encapsulating such a distinctive sartorial individuality has left an indelible mark on art history, and has influenced a generation of artists — from Kehinde Wiley to Mickalene Thomas to Amy Sherald.

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\nLot 12 >

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Beauford Delaney

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Beauford Delaney, Street Scene, 1968. Estimate $120,000 - 180,000. 20th Century and Contemporary Art New York.

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Street Scene (Paris) is a quintessential work that Beauford Delaney created in Paris, having moved from New York in 1953. Whilst Delaney had established himself as a central figure in the Harlem Renaissance in the decades prior — gaining widespread recognition for pastel portraits of prominent African Americans figures such as W. E. B. Du Bois and Duke Ellington — he decided at the age of 52 to move to the French capital. Blurring the boundaries of abstraction and figuration in a manner evocative of such artistic forebears as Claude Monet and Vincent van Gogh, Delaney here offers a work that at once harkens back to his street scenes of the 1940s and exemplifies his painterly investigations of color and light.

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\nLot 107 >

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Bill Traylor

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Bill Traylor, Untitled (Black and Brown Horse), 1941. Estimate $40,000 - 60,000. 20th Century and Contemporary Art New York.

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A work by one of the most important American artists of the 20^th century, Untitled (Black and Brown Horse) was executed on the verso of a poster advertising The Ink Spots, the famed vocal jazz group who was regularly featured in the U.S. Pop Charts in the 1940s and collaborated with the likes of Ella Fitzgerald. Advertising an upcoming June 4, 1941 concert in Montgomery, Alabama, this poster offers insights into a unique moment in time in which Bill Traylor was creating his distinctive art from often modest materials while sitting on a wooden box on the sidewalk of Monroe Avenue, the center of Montgomery's African-American community.

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\nLot 101 >

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Henry Taylor

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Henry Taylor, Noah was here and obviously Thelma too, 2014. Estimate $150,000 - 200,000. 20th Century and Contemporary Art New York.

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Having a zeal for exploring the stories of people from various walks of life, Henry Taylor is known for his particular skill in unraveling his subjects’ personal character through an idiosyncratic painterly aesthetic. In Noah Was Here and Obviously Thelma Too, the artist portrays two subjects that have played a particularly intimate role in his life and career — Noah Davis, a close friend, fellow artist and significant creative influence and Thelma Hudgins, a patron of Taylor’s work. Having many odd jobs before pursuing his career as an artist, Taylor’s first paintings depicted family members and patients he met while employed at a mental hospital in Camarillo, California and later began inviting local waitresses, cashiers and homeless people into his studio to sit for portraits. The present painting is an exquisite example of Taylor’s larger body of work focused on relationships, history and the contemporary human experience.

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\nLot 418 >

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Discover More from 20th Century and Contemporary Art >

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\nThe Illustrious Blacks x The Royall Collection

\n\n

Your favorite NeoAfroFuturisticPsychedelicSurrealisticHippys, The Illustrious Blacks (Manchildblack x Monstah Black), take on Phillips Southampton on their mission to save the world one beat at a time! Join them on a wild, haunting tour of The Pamela and William Royall Collection featuring extraordinary works by artists Titus Kaphar, Amy Sherald, Mickalene Thomas, and more.

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Recommended Reading

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Emerging Talent: 12 Artists to Watch >

\n\n

David Hockney's Wiggly Lanes >

\n\n

\n","2020-12-02T19:17:24.000000Z","Phillip Crook","https://www.phillips.com/article/67335088/pamela-and-william-royall-collection-art-auction",1095,3334,67335088,"https://flockler.com/thumbs/sites/889/ruth-o-hara-rauschenberg-phillips-1610c2e2-1395-436b-9722-fed0376c98d6_s600x0.jpg","The Estate of Ruth O’Hara is testament to the late art dealer and collector’s engagement with the art of her time. ","Ruth O'Hara's Legacy","

Robert Rauschenberg, Untitled, 1968. Estimate $180,000 - 250,000. 20th Century and Contemporary Art Day Sale.

\n\n

\n\n

Ruth Printz O’Hara in her senior yearbook, Lexicon 1952. Courtesy of Baruch College.

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Encompassing works by masters such as Joan Miró, Robert Rauschenberg, and Alexander Calder, the selection from the Estate of Ruth O’Hara is testament to the late art dealer and collector’s remarkable understanding of art history and her engagement with the art of her time.

\n\n

But Ruth O’Hara—as a leader, art dealer, collector, and philanthropist—was often ahead of her time, as well. Born in 1931 to Polish immigrants, O’Hara brazenly forged her own path as a young woman in the heady New York art world in the 1950s and 1960s and developed an international reputation as an art dealer and gallery owner. Her collection ranges from a pre-Spanish Civil War work by Miró, capturing simultaneous anxiety and optimism, to a Rauschenberg, once owned by Andy Warhol, that powerfully encapsulates his acclaimed transfer drawing technique.

\n\n

Below, Phillips' David Norman, Chairman of the Americas, remembers his friend and colleague, reflecting on the industry’s universal respect for her character, intuition, and remarkable eye.

\n\n

\n\n

\n\n

Ruth O'Hara, New York.

\n\n

David Norman on Ruth O’Hara

\n\n

“Ruth had a great eye.” That was one of the first thing her colleagues—all veteran art dealers—said when asked for a few words about Ruth O’Hara for this introduction. With regard to her career and reputation, no other comment from one’s peers carries as much weight, or is as telling as that.

\n\n

One summer break from Baruch College, Ruth took a job as a waitress in the Catskills' famed Borscht Belt and was offered a job, on the spot, by one of her diners who turned out to be the director of the FAR Gallery on Madison Avenue in Manhattan (1934-1971). She learned the ropes and after the gallery closed, opened up her own, specializing in European Modernism and post-war American art. She was well-known for handling works from Chagall and Calder to Warhol and Rauschenberg (all represented in this collection sale).

\n\n

\n\n

Joan Miró, Figures, 1936. Estimate $250,000 - 350,000. 20th Century and Contemporary Art Day Sale.

\n\n

She was an avid collector and acquired a diverse range of works including Old Master prints, ancient Roman glass, African and Oceanic masks, Deco furniture, and modern and contemporary Art.

\n\n

Ruth was also known for her generosity towards others, particularly her support and counsel to women trying to establish themselves in the art world. Philanthropic as well, she created the Ruth Printz O'Hara Professorship in Holocaust Studies at Baruch College.

\n\n

On a personal note, as a young person trying to find his way in the art market, Ruth showed me great kindness and encouragement. She formed her career when the art world was a much smaller place, when dealers invited you in for an unhurried conversation and shared their experiences in the market. It’s a privilege to offer works from Ruth’s collection and to have known her.

\n\n

\n\n

Recommended Reading

\n\n

Paris in West Hollywood: The Blake Byrne Collection >

\n\n

Basquiat's Kings >

\n\n

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With its bursting verticality, forceful dynamism, and vibrantly dappled matrices of color, Los Ang Us, 1988, is emblematic of John Chamberlain’s celebrated mature work. Marked by its explosive use of color, this monumental work perfectly encapsulates how Chamberlain, having revolutionized the field of art making in the late 1950s by using wrecked automobile parts as his material, continued to develop his radical sculptural practice in the late 1980s. With its tongue-in-cheek title, Los Ang Us brilliantly evokes the sprawling, car-centric city of Los Angeles that held an important place in Chamberlain’s life and career. Indeed, the present sculpture was created just two years after Chamberlain was honored with a retrospective at the Museum of Contemporary Art, Los Angeles, and was notably acquired from the Margo Leavin Gallery by the noted Swedish collector Fredrik Roos.

\n\n

Warped and contorted as the artwork itself, this title Los Ang Us shows how Chamberlain manipulated language much as his found material when composing his titles from found words and expressions, often incorporating wordplay, nonsense, and innuendo. This poetic sensibility reflects the influence of Chamberlain’s time at Black Mountain College in the mid-1950s, where he became acquainted with poets Charles Olsen, Robert Creeley, and Robert Duncan and was exposed to the disruptive lyricism and unapologetic playfulness of the poetic avant-garde.

\n\n

While Chamberlain’s titles are often meant to be deliberately open-ended, Los Ang Us does speak to the importance of Los Angeles in Chamberlain’s life and career. Chamberlain was itinerant by nature and frequently travelled between New York and Los Angeles in the early 1960s; it was in fact during a stay at art collector and gallerist Virginia Dwan’s Malibu Beach home in 1965 that he radically embarked upon his foam sculptures. He was later represented by Margo Leavin Gallery, one of the most prominent Angeleno art galleries that placed Chamberlain’s in many important collections.

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"…the nearest a late-20th-century sculptor can get to Stonehenge." —Vivien Raynor, The New York Times

\n\n

Executed in 1988, the present work was notably created in the aftermath of Chamberlain’s retrospective at the Museum of Contemporary Art, Los Angeles, which saw the publication of the seminal John Chamberlain: A Catalogue Raisonné of the Sculpture, 1954-1985 that had been in production for five years. One of the two new pieces Chamberlain had made for the exhibition included Straits of Night, a five-part painted and chromium-plated sculpture now in the collection of AXA Winterthur Versicherungen Kunstsammlung in Switzerland, which clearly prefigures the present work. As The New York Times critic Vivien Raynor described the work, “Fragments of painted and chromium-plated steel that have been crimped, dented and wadded into submission, they may be the nearest a late-20th-century sculptor can get to Stonehenge.”ⁱ

\n\n

\"John — John Chamberlain, *Straits of Night*, 1986. Collection of AXA Winterthur Versicherungen Kunstsammlung, Artwork © 2020 John Chamberlain / Artists Rights Society (ARS), New York

\n\n

With Los Ang Us, Chamberlain continues to explore this towering format in the form of an individual, wall-leaning sculpture. Towering over the viewer at more than eight feet tall, this work actualizes the magnitude of Chamberlain’s ambitious aspirations enabled by his move to Sarasota, Florida in 1980. Like fellow New York transplants Robert Rauschenberg and James Rosenquist, Chamberlain’s move to Florida and purchase of a large warehouse provided him with the freedom for more experimentation in the complexity and scale of his sculptures.

\n\n

Restricting his focus to the use of specific, larger-scale parts of the automobile, such as the fenders, bumpers, and chassis, and the twisting, warping, and bending the found material into a violently blooming bouquet of color and metal, Chamberlain creates an artwork that at once pulls into itself by an intrinsic gravitational force and breaks free from its own vertiginous contortion. In contrast to the ready identification with wrecked cars in his earlier works, this work articulates Chamberlain’s shift to creating more ambiguous sculptural forms from his scrapped source material, questioning what sculpture can be. Los Ang Us is alive and frozen in place, a soaring tangle of metal forms bursting out and into one another but locked in sculptural stasis in a manner that exudes an imposing sense of presence.

\n\n

ⁱ Vivien Raynor, “Art: Pure Sculpture by John Chamberlain”, The New York Times, May 22, 1987, Section C, p. 23

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Katherine Lukacher, Head of Online Sales

Pablo Picasso, Chouetton (Young wood-owl), 1952. Estimate $6,000 - 8,000. Editions Modern.

To Give

Sturtevant, Warhol Black Marilyn, 2004. Estimate $200,000 - 300,000. Gallery One.

To Keep

Fred Blauth, Registrar, Online Sales

Elie Nadelman, Standing Bull, 1915/cast after 1946. Estimate $3,000 - 5,000. Editions Modern.

To Give

Ed Ruscha, The End, 1991. Estimate $20,000 - 30,000. Gallery One.

To Keep

Alexis Vourvoulis, Senior Specialist, Vice President, Jewels

Fernando Campana and Humberto Campana. Cartoon chair, 2007. Estimate $25,000 - 35,000. Gallery One.

To Give

An Art Moderne Diamond and Platinum Ring. Estimate $30,000 - 50,000. Jewels New York.

To Keep

Anne Mock, GG, Associate Specialist, Jewels

Alexander Calder, Polka Dots, circa 1970. Estimate $3,000 - 4,000. Editions Modern.

To Give

An Art Deco Sapphire, Diamond and Platinum Ring. Estimate $50,000 - 70,000. Jewels New York.

To Keep

Kelly Troester, Worldwide Co-Head, Editions

A Pair of Turquoise, Diamond and Platinum Plated Silver Earrings. Estimate $1,500 - 2,500. Jewels & More.

To Give

Pablo Picasso, Jacqueline au chevalet (Jacqueline at the Easel), 1956. Estimate $30,000 - 50,000. Editions Modern.

To Keep

Patrizia Koenig, Associate Specialist, 20th Century & Contemporary Art

Olafur Eliasson,The hue of the void, 2020. Estimate $10,000 - 15,000. 20th Century & Contemporary Art Day Sale.

To Give

Bill Traylor, Untitled (Black and Brown Horse), circa 1941. Estimate $40,000 - 60,000. 20th Century & Contemporary Art Day Sale.

To Keep

Annie Dolan, Associate Head of Day Sales, 20th Century & Contemporary Art

Hermès, A Stainless Steel ‘Cape Cod Tonneau’ Wristwatch. Estimate $1,500 - 2,500. Jewels & More.

To Give

Fred Wilson, Untitled (Bast), 1992. Estimate $25,000 - 35,000. 20th Century & Contemporary Art Day Sale.

To Keep

Sarah Browne, Associate Specialist, Editions

Coralynn Pence, A Diamond, Aquamarine and Gold Brooch. Estimate $4,000 - 6,000. Jewels & More.

To Give

David Smith, Juliette, 1938. Estimate $3,000 - 4,000. 20th Century & Contemporary Art Day Sale.

To Keep

Amy Sherald

Amy Sherald,The Bathers, 2015. Estimate $150,000 - 200,000. 20th Century and Contemporary Art New York.

Barkley L. Hendricks

Barkley Hendricks, Selina/Star, 1980. Estimate $800,000 - 1,200,000. 20th Century and Contemporary Art New York.

Beauford Delaney

Beauford Delaney, Street Scene, 1968. Estimate $120,000 - 180,000. 20th Century and Contemporary Art New York.

Bill Traylor

Bill Traylor, Untitled (Black and Brown Horse), 1941. Estimate $40,000 - 60,000. 20th Century and Contemporary Art New York.

Henry Taylor

Henry Taylor, Noah was here and obviously Thelma too, 2014. Estimate $150,000 - 200,000. 20th Century and Contemporary Art New York.

\nThe Illustrious Blacks x The Royall Collection

Ruth Printz O’Hara in her senior yearbook, Lexicon 1952. Courtesy of Baruch College.

Ruth O'Hara, New York.

David Norman on Ruth O’Hara

Joan Miró, Figures, 1936. Estimate $250,000 - 350,000. 20th Century and Contemporary Art Day Sale.

Patrizia Koenig, Associate Specialist, 20^th Century & Contemporary Art

Annie Dolan, Associate Head of Day Sales, 20^th Century & Contemporary Art

161

John Chamberlain

Los Ang Us

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John Chamberlain