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拍賣 2021年6月24日 10am (美國東岸時間)

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紐約公園大道432號 (地圖)

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預展

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6月17-23日

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星期一至六，10am-6pm

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星期日，12-6pm

\n","auctionDetailsSmall","紐約拍賣2021年6月24日","extraInfo","

John McCord
\n日間拍賣主管（上午部分）
\n紐約
\n+1 212 940 1261

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jmccord@phillips.com

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393],"viewing",{"_48":251},"articles",[181,182,183,184,185],"departments",[174],"auctionCurrency",{"_171":72,"_172":173},{"_160":161,"_162":163,"_164":165,"_166":49,"_167":168,"_169":170},"totalLotCount",142,"auctionMobilityAuctionRowId","1-4EBYFD","auctionUrl","https://www.phillips.com/auction/NY010421","countryName","United States","countryCode","US","line1","432 Park Avenue","city","postCode","10022","province","NY","currencyCode","currencySign","$",{"_175":176,"_177":178,"_179":180},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_186":242,"_188":180,"_189":243,"_16":244,"_192":245,"_194":246,"_196":217,"_198":199,"_200":201,"_202":247,"_204":201,"_206":248,"_208":249,"_210":250},{"_186":233,"_188":180,"_189":234,"_16":235,"_192":236,"_194":237,"_196":217,"_198":199,"_200":201,"_202":238,"_204":176,"_206":239,"_208":240,"_210":241},{"_186":223,"_188":180,"_189":224,"_16":225,"_192":226,"_194":227,"_198":199,"_200":201,"_202":228,"_204":229,"_206":230,"_208":231,"_210":232},{"_186":212,"_188":180,"_189":213,"_16":214,"_192":215,"_194":216,"_196":217,"_198":199,"_200":201,"_202":218,"_204":219,"_206":220,"_208":221,"_210":222},{"_186":187,"_188":180,"_189":190,"_16":191,"_192":193,"_194":195,"_196":197,"_198":199,"_200":201,"_202":203,"_204":205,"_206":207,"_208":209,"_210":211},"coverUrl","https://flockler.com/thumbs/sites/889/henry-moore-sculpture-for-sale-7644c642-ba6e-4a0b-abca-e8a49-a86d7563-9606-4308-80f7-40dd91a48d77_s600x0.jpg","section","summary","Seen through seven sculptures acquired from the Contemporary Sculpture Center in Japan, we explore how Auguste Rodin and Antoine Bourdelle have influenced post-war and contemporary artists in both subject and style.","Legacy in 3D: Property from an Important Private Japanese Collection","body","

Henry Moore, Working Model for Animal Form, 1969–1971. Estimate $200,000 - 300,000. 20th Century & Contemporary Art Day Sale, Morning Session.

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Redefining the Modern Language for Sculpture

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From Jeff Koons’s Gazing Ball (Demeter) to Lynn Chadwick’s bronze couples to Jim Dine’s mythological figures, 20^th and 21^st century artists have continued redefining the modern language for sculpture first explored by French modernists Auguste Rodin and Antoine Bourdelle. The raw physicality of bronze works featured in our Evening and Day Sales, including Louise Bourgeois and Willem de Kooning—with all their psychological and emotion connotations—are indebted to Rodin’s approach. Bourdelle’s chevaux anticipated Deborah Butterfield’s steel and bronze horses and Kehinde Wiley’s Rumors of War. Even Vase Saigon “Les Limbes et les Syrènes” foreshadows post-war artists’ exploration in the design realm, such as Keith Haring’s Writing Table, Allan McCollum's Collection of Five Perfect Vehicles and Frank Gehry’s Fish Lamp. Whether reinforcing their influence or responding against it, in their own way, each artist adds to the legacy of Rodin and Bourdelle.

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Auguste Rodin, Étude pour Adam au pilier, Estimate $40,000 - 60,000. Étude pour Eve au pilier, Estimate $40,000 - 60,000. 20th Century & Contemporary Art Day Sale, Morning Session.

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Considered the grandfather of modern sculpture, Rodin was interested in exploring and capturing individual and very human characteristics in his mythological and allegorical subject matter—exemplified in the biblical imagery he employed in Étude pour Adam au pilier and Étude pour Eve au pilier. The anxiety about the human state and individual experience so characteristic of his approach is poignantly apparent in his Cariatide à l’Urne, taille originale dite aussi petit modèle and Main crispée gauche avec figure implorante, the contorted forms of which accentuate movement and dynamism.

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Antoine Bourdelle, Cheval avec grand soubassement, étude pour le Monument au général Alvear. Estimate $30,000 - 50,000. 20th Century & Contemporary Art Day Sale, Morning Session.

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At the start of his career, Bourdelle shared Rodin’s interest in infusing realism with mythical and archetypal figures, while still foregrounding individual expression. Between 1893 and 1908 he was a pupil and assistant at the studio of Rodin, who was a great admirer of his student’s innovative monumental sculpture. Cheval avec grand soubassement, étude pour le Monument au général Alvear is the perfect example of the rough surfaces of Bourdelle's sculptures influenced by Rodin, and his use of flat, simplified forms drawn from archaic Greek and Roman antiquity.

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Henry Moore’s Working Model for Animal Form echoes the work of both Rodin and Bourdelle: while the British sculptor’s exploration of the emotional interiority of humanity—both in relationships with others and isolated—shares an affinity with Rodin’s central concerns, Moore’s interest in antiquity and Greek mythology evokes that of Bourdelle. Working Model for Animal Form is rhythmic, dynamic, and betrays a profound understanding of the human state—characteristics that are so focal to his predecessors’ oeuvres.

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Lost Wax Bronze Casting

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Conceived and executed between 1895 and 1979, the Rodins and Bourdelle in this superb grouping celebrate the technique and merit of bronze lost wax casting, successfully re-examining the importance of posthumous casting and the preservation of artists’ legacy.

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Auguste Rodin, Main crispée gauche avec figure implorante. Estimate $50,000 - 70,000. 20th Century & Contemporary Art Day Sale, Morning Session.

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The view some may associate with posthumous casts is conditioned by a specific historical ideology that dates to the 19^th and 20^th century that prioritized notions of “originality” and “authenticity.” This is based on a misunderstanding of the process of creating a bronze sculpture, which entails the creation of a model that needs to be copied and cast, a process that the artist did not always oversee as closely as many imagine. Rodin was one of the first to take a forward-thinking approach to the “original” and the value of multiples that would go on to inform many outstanding artists of the 20^th century. These later casts should be viewed together with sculpture that was being made during the last 70 years to illustrate the enduring influence and relevance of Rodin’s approach not only to the human form but to the way we perceive art today. As attitudes change, some artists have recently seen an increase in prices for posthumous works, because as these artists remind us: what really counts is the mind, not the hand.

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Discover More from 20th Century & Contemporary Art >

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Global Gallery Tour 20th Century & Contemporary Art

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Join us on a virtual global gallery tour of Phillips’ upcoming 20th Century and Contemporary Art auction being held in our brand new, state-of-the-art gallery at 432 Park Avenue in the heart of New York City. This sale features masterpieces by David Hockney, Wayne Thiebaud, Vija Celmins, Gerhard Richter, Mark Rothko and many more.

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Recommended Reading

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The Prompt: A Neat Lawn by David Hockney >

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Whose Histories Should Be Commemorated? >

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\n","publishDate","2021-06-15T14:44:10.000000Z","authorCredit","Phillip Crook","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/77865088/modern-sculpture-rodin-moore-bourdelle","displayOrder",4,"auctionEditorialID",1299,"editorialID",3575,"flocklerID",77865088,"https://flockler.com/thumbs/sites/889/felix-salmon-lost-masterpieces-norman-rockwell-country-2-e942b1de-fd09-46a7-99e4-91051c30a218_s600x0.jpg","Three paintings in our upcoming New York auctions show off Rockwell's incomparable storytelling abilities—and bring to light a cross-generational dialogue between three great American narrators. ","Norman Rockwell: Titan of American Storytelling","

Norman Rockwell. Photograph by Underwood Archives / Getty

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The heartening narrative behind My Mother (Soldier with French Woman) upholds Norman Rockwell’s reputation as the quintessential storyteller of 20th century American life. The painting features a rosy-cheeked infantryman proudly presenting an image of his mother to a French woman, as she kindly looks on–knitting needles in hand. Thematically, the work exemplifies the wholesome simplicity of Rockwell’s imagined world, while the painter’s unyielding attention to detail allows the scene to effortlessly unfold before our eyes.

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Norman Rockwell, My Mother (Soldier with French Woman), 1918. Estimate $300,000 - 500,000. 20th Century and Contemporary Art Evening Sale, New York.

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Featured on the December 19, 1918 issue of Life magazine, Norman Rockwell’s My Mother (Soldier with French Woman) captures the zeitgeist of a victorious nation still in the emotional throes of war. Undertaken when Rockwell’s prominence was on the rise with his popular Post covers from 1916, the present work demonstrates the more expressive and painterly execution that characterizes his works through the 1930s, before he incorporated photography into his technical process. Published two weeks after President Woodrow Wilson departed for the Paris Peace Conference, My Mother (Soldier with French Woman) captures the tensions still felt by a nation whose boys were not yet home. Of the period, Rockwell remarked “everyone in the country is thinking along the same lines, the war penetrates into everyone's life…in 1917 I couldn't read a newspaper without finding an idea for a cover.”

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Vacation! (Country Gentleman) in the August 25, 1917 issue of Country Gentleman. My Mother (Soldier with French Woman) on the cover of Life, December 19, 1918.

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Executed when Norman Rockwell was just 25 years old, Vacation! (Country Gentleman) is emblematic of the light-hearted charm of the artist’s early work. While the painter graced the covers of publications like Life magazine and The Saturday Evening Post throughout his career, Rockwell only produced paintings for Country Gentleman between 1917 to 1922. These playful covers were centered around the adventures of Chuck Peterskin, the sprightly Doolittle brothers and their bookish, metropolitan cousin, Reginald Claude Fitzhugh–all of whom were first introduced in the August 25, 1917 issue of the magazine. In Vacation!, Tubby Doolittle buoyantly leads the way, Rusty Doolittle tipping his hat with an impish grin on his face, while cousin Reginald moodily trails behind. Though Rockwell explored weightier themes in his late career—particularly during the 1960s—this piece is representative of his early works depicting children: adventurous, hopeful, and up to no good. The nuance and detail with which Rockwell renders the three boys–from Reginald’s immaculate hat to the small but conspicuous hole in Tubby’s pocket—Rockwell captures the varied glory of America’s youth in Vacation!.

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Norman Rockwell, Vacation! (Country Gentleman), 1919. Estimate $250,000 - 450,000. 20th Century and Contemporary Art Day Sale, Morning Session, New York.

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Both images, as well as The Young Graduate (Big Day) and The Young Graduate, come to auction from the formidable collection of storied television producers Thomas Miller and Robert Boyett, who found an affinity with Rockwell’s visual narrative. The legendary couple behind Miller-Boyett Productions developed some of the most influential and iconic sitcoms in television history—from Happy Days to Laverne & Shirley to Full House.

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\n
"In each episode of our television shows, we made sure to have characters make some form of human connection. Rockwell did the very same." —Robert Boyett
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The Peephole, which sold for $2,087,000 in Phillips' December 2020 New York Evening Sale, likewise came from the couple's collection—and like this season's offerings, first appeared in periodical form. It graced the cover of the August 30, 1958 issue of The Saturday Evening Post and was gifted from the artist to the publication's editor Peter Elliott Schruth. The painting’s subject of a pitcher winding up is shown from the unconventional vantage point of a knothole in a wooden fence, positioning the viewer as an eager child covertly watching a baseball game.The Rockwell pictures that Mr. Boyett and Mr. Miller, who died in 2020, collected offer a compelling dialogue between three great American storytellers.

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Norman Rockwell, The Young Graduate (Big Day) and The Young Graduate: Two works, 1959. Estimate $50,000 - 70,000. 20th Century and Contemporary Art Day Sale, Morning Session, New York.

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Discover More from 20th Century and Contemporary Art >

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\n\n

Recommended Reading

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The Statesman, the Magnate, and the Original 'Superyacht' >

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Jean Dubuffet: An Artist and an Alchemist >

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\n","2020-12-02T19:55:40.000000Z","Sarah Bochicchio","https://www.phillips.com/article/67337548/norman-rockwell-twentieth-century-contemporary-art-new-york-auction",3,1307,3333,67337548,"https://flockler.com/thumbs/sites/889/2021_ny_sp_tca_install-068-dacefea3-6e08-4044-a372-7c75d06945f2_s600x0.jpg","Join us for a virtual walkthrough of our inaugural 432 Park Avenue viewing, featuring 20th Century & Contemporary Art Evening and Day Sales. On view: David Hockney, Matthew Wong, Kehinde Wiley, Andy Warhol, Carmen Herrera, and more. ","VR Walkthrough: 20th Century & Contemporary Art | Auction, 23-24 June","

Travel through our new state-of-the-art galleries at 432 Park Avenue and browse our 20th Century & Contemporary Art Evening and Day Sales.

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Featuring leading works from the most sought-after artists of the 20th and 21st centuries, our Evening Sale is comprised of an exceptional group of works from Mark Rothko, Jean Dubuffet, Andy Warhol, Amoako Boafo, Carmen Herrera, Amy Sherald, David Hockney, and more.

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Our Day Sale, Morning Session features masterworks from Barbara Hepworth, Roy Lichtenstein, Wayne Thiebaud, Norman Rockwell, and more. Additionally, our Day Sale, Afternoon Session includes works by Wonder Buhle Mbambo, Jammie Holmes, Genieve Figgis, Kehinde Wiley, Banksy, and more.

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Visit our 432 Park Avenue galleries 17-22 June to preview our New York 20th Century & Contemporary Art Evening and Day Sales ahead of the 23-24 June auctions.

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\n","2021-06-22T19:09:13.000000Z","https://www.phillips.com/article/78379710/vr-walkthrough-20th-century-and-contemporary-art-auction-23-24-june",2,1315,3584,78379710,"https://flockler.com/thumbs/sites/889/lead-image-370f9a7f-681c-4522-af85-18a42e1d38bd.gif","For Robin (“Binnie”) Quist Gates, it was her warmth, humanity, curiosity, and, of course, excellent taste that became the foundation of the work she collected.","The Collection of Robin Quist Gates","

Yves Klein, Le Vènus d'Alexandrie (Vènus bleue), 1962-1982. Editions & Works on Paper, New York.

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Every great collection tells the story of the collector behind it. For Robin (“Binnie”) Quist Gates, it was her warmth, humanity, curiosity, and, of course, excellent taste that became the foundation of the work she collected.

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Our Bay Area regional lead Sophia Kinell sat down with family and friends who knew Binnie Gates best—her granddaughter Sarah Wendell Sherrill, co-founder of art technology company, Lobus; John Berggruen, owner of Berggruen Gallery in San Francisco; and Denise Erickson, professor of art history at Cañada College. In reflecting on Gates’ legacy, they also illuminate a core element of so many great collections: how to bring people together.

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SOPHIA KINELL: I want to start at the beginning and with you, Sarah. When and where did Binnie’s spark with art start?

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SARAH WENDELL SHERRILL: I'm so glad that Denise is in this conversation because I think she is really where it started. My grandmother went back to school around age 50 and fell in love with art and art history. She was taking classes at Cañada College and San Jose State, and she found that art really energized her. She always had an incredible eye, and was drawn to sculpture early on. It was at Cañada College where she first discovered Henry Moore.

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My grandfather had an investment bank out here on the West Coast that was responsible for taking early technology companies public, including Apple and Genentech. He tragically passed away and my grandmother was given advice “Buy something that will make you happy” and for her that was Henry Moore. Back to those art history classes, Henry Moore was one of her favorite artists. She asked where to find sculptures by the artist and was told about Marlborough Gallery in New York. She traveled there alone for the first time, looked at one and bought it, which led to a series of experiences and friends and relationships that really catapulted, I think, her love of art, her love of people, and her love of travel.

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Binnie and Henry Moore in his studio, 1985.

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SK: Denise, you were instrumental in cultivating Binnie’s initial interest in art at Cañada College. Can you tell us about how you first met? Was Binnie a good student?

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DENISE ERICKSON: I was at Cañada College teaching art history and this wonderful woman showed up in my class. She was a top student. And I'm not just saying that! She was just an outstanding student.

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On one of my first art trips down to Los Angeles, Binnie and I sat next to each other on the plane. For the next hour on our trip south, she told me this wonderful story about how she had a very close friend, Shirley Davis. Shirley was just getting into collecting and was very active at SFMoMA, but Binnie wasn’t quite there yet.

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After George died, which was just a horrendous shock, Shirley invited Binnie on a Collector’s Forum trip to London. So off they went, and one of the features of the trip was a visit to Henry Moore’s estate. So she went and she met Henry Moore, and she was with people who loved art, and that was a very nurturing environment. When she went to Moore’s studio, he had some works there that she fell in love with. At this point, she had already purchased her first that sat outside at her home in Woodside, silhouetted against the vineyards and reflecting against her swimming pool. It was a spectacular entrée into this world.

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Somewhere along the line, Binnie being Binnie said, I don't want to do all this unless I know something about art. So she decided to take the art history classes that Cañada College right up the hill from her. And that's when she started taking my classes to fully appreciate this experience and to learn more. She didn’t just take the course in modern art—she took antiquity and classical and renaissance art, even though it wasn’t really her taste. But she wanted to know it all.

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She traveled with me many times, and it was always such a joy for me when I realized Binnie was coming on a trip because she always had such incredible insights.

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SK: John, many of the works in this collection came from Berggruen Gallery. I understand Binnie would visit you up on Grant Avenue and you would visit her down in Woodside? How did you first meet?

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JOHN BERGGRUEN: I met Binnie coming into the gallery. And I think one of the great, great qualities that Binnie exemplified was her curiosity. She was always interested in different things, and open to ideas, and had a great sort of energy about her. And a sense of humor, which is very important, I think. But the curiosity factor, and that she loved the idea of the participation, and the discoveries, the journey, the experiences. So all the ingredients sort of clicked together. Visiting her down in Woodside was always a pleasure. She was a very warm, dear friend.

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Henry Moore, Standing Figures, 1949. Editions & Works on Paper, New York.

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SK: How would you describe her collecting? Was there a particular kind of work that she was drawn to?

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JB: I would say the word eclectic would be an apt adjective. She also had things that were personal to her. It wasn't about collecting art that was chic or trendy. She was independent that way—she had her own eye, her own taste and her own vision. So it could be quite varied, which was part of the surprise. One of the great things about having an art gallery is when people walk in, they're looking for something, but then they turn the corner and they see something else. It's a surprise, and perhaps it pushes them or leads them to a different direction.

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SK: The collection includes works by several Bay Area artists—Richard Diebenkorn, Elmer Bischoff, David Park, Paul Wonner, Theophilus Brown, Wayne Thiebaud. Can you tell us a bit about these acquisitions, that element of discovery you touched on and talk to us about how you helped shape the collection?

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JB: These were artists that I either represented or specialized in. It would appeal to her in terms of the whole sensibility of Bay Area figurative art, and those artists were pretty exceptional. By coming to me, she would see a selection of works by those artists in varying degrees. And it was one-stop shopping. She wouldn’t see those works elsewhere, even in New York because it was more of a West Coast thing.

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I think a lot of clients become good clients because they have a rapport with the owner of the gallery, and in this case, it was me and my wife, Gretchen. We both had a great rapport with Binnie. It was very meaningful, and we liked her so much. I was sort of an extended member of the family.

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SWS: John was very important to my grandmother. She had so much joy being with him, visiting him. It was a lifelong friendship.

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DE: And in her collecting, she felt so confident about his guidance and opinion and direction. And that was very, very important to her.

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SWS: She cared about people. It was as much about the people she met along the way as the actual objects. I think about John and Gretchen and her relationship with them, and how deeply meaningful that was. She was very people-oriented.

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DE: She also really loved sharing her art with other people. Whenever she had a dinner party, she was always very generous. She didn’t go on and on about her collection, but it was something she loved. Just as whenever we have anyone in our space, and we fix them a nice meal and want them to have a good time. Binnie’s art collection was something she loved sharing with other people and seeing their enjoyment and appreciation of it.

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Richard Diebenkorn, Blue, 1984. Editions & Works on Paper, New York.

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SK: I love that and I think this ties into her support of museums as well. Beyond what Phillips is offering, Binnie collected several large-scale sculptures early on, which are now housed in important Bay Area institutions—Claes Oldenburg at the Cantor Arts Center at Stanford and Henry Moore at the de Young. She was also a longtime supporter and Trustee of SFMoMA. Sarah, why was this important to her?

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SWS: I think it comes back to the people again. With SFMoMA, it wasn't in pursuit of being involved with an institution. She was naturally drawn to the experiences that she had with SFMoMA under John Caldwell and Jack Lane. Same with Director Harry Parker at the de Young, and her second husband Ned was also involved with the construction of their new Herzog & de Meuron building. She gifted Claes Oldenburg’s Soft Inverted Q from 1977 to Stanford University, a playful reference to our family name. We have a long history at Stanford. Her father was the track coach there for many years, she and her sister basically grew up on campus, and she met her husband there while she was working at the bookstore and he was playing football. Stanford was always a very meaningful place to her, and it just felt natural that one of these pieces would find their way there.

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She always showed up, she was always generous. She never viewed her art as an investment or as an asset, or as anything other than joy that it brought into her life. For her, sharing it with an institution she cared deeply about, that was run by people that she cared about, enjoyed by people that she cared about, was just fun for her.

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Roy Lichtenstein, Two Paintings: Beach Ball, from Paintings Series, 1984. Editions & Works on Paper, New York.

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SK: The works in this collection were truly loved and lived with. Can you tell us about Binnie's philosophy around art and how it has shaped your own? What was it like growing up around her art? How did she live with it?

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SWS: She really lived with the things that she loved and not the other way around. She had a sense of humor with how she lived with art, and how she put things together. In her later years she found a great Greyhound bus sign, 10 feet long I think and quite heavy. She mounted it in her kitchen across from a Jenny Holzer ticker tape.

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DE: She had an Etruscan-like Tom Otterness frieze that he made for her dining room, and of course she learned about the Etruscans and their erotic paintings in her art history classes, and if anybody asked her about it, she said, “Well, they're being a little naughty.” They were being naughty, but she just loved that. She loved the playfulness of her collection. She didn't try and make it overly pretentious or overly serious, although she had very discriminating taste.

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SWS: Things were not precious. She lived with these things. We used to sunbathe on the Henry Moore and climb all over the Barry Flanagan hare she had in her garden. She had a Lalanne sheep outside of her front door that we would sit on. She had David Gilhooly oreos and ice cream cones we used to play with. She would get invitations to all of John’s shows and frame them because she liked the images—she had a little Wayne Thiebaud cupcake invitation framed on her desk. She just loved living with fun and beautiful things. Her confidence came through her eye. Art was a manifestation of this. She trusted her gut. But again, she never took this too seriously—she loved to shop and she had great taste and an eye she trusted, she loved discovery and the thrill of a buy.

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JB: I think the concept of shopping is important. Some people don’t want to make the commitment of an acquisition, but she was courageous that way. She didn’t overthink things.

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Wayne Thiebaud, Daffodil, from Recent Etchings I, 1979. Editions & Works on Paper, New York.

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SK: My understanding is that Binnie didn’t set out to build a certain type of collection, which makes the connectivity all the more astonishing. From modern masters Milton Avery, Henri Matisse and William Turnbull, to the colorful compositions by California based artists David Hockney, Paul Wonner and Wayne Thiebaud, this collection bridges nearly a century of art history. Can you speak to the through line that is evident here?

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DE: I think the through line is Binnie. Color is certainly a theme that runs through those artists, but I think another is the combination of humanity, warmth, and playfulness. And that was just a reflection of who she was, and it’s why we all wanted to be around her. We all loved her art collection because the things that she loved spoke to everyone that loved her, as well.

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She was incredibly intuitive. And there was nothing about her that looked calculated or planned. There is also an appreciation, I think, in the works of art that she collected for a natural, instinctive composition. The Paul Wonner is one of my favorites. It has a very formal structured quality to it, and the colors kind of rhyme with one another. All this stuff is so instinctive. And that's true for Binnie as well. That's why everybody loved being around her.

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Wayne Thiebaud, Candy Apples, 1987. Editions & Works on Paper, New York.

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SK: Sarah, how has this all informed your personal approach to collecting and how do you think about people approaching collecting for the first time?

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SWS: I basically think that it's to live with and buy what you love. First and foremost, what grabs you is probably right. I've learned a very unprecious way of living with beautiful things. My grandmother had beautiful taste, and it was so subtle. She wasn't about what anyone else was buying, it was just very embedded in the way that she lived with art, decorated her home, looked at her gardens. Nothing was premeditated for her. It was so effortless. She didn't discriminate between painting and sculpture and prints or reproductions. In her dining room, she had a great Lichtenstein print that she loved. She mixed and matched throughout, and lived with all mediums. Prints are very accessible from a price point, and are often the best way to access an artist’s body of work.

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I think the other thing I’ve learned is that objects and people are inextricably linked. Her love of art was so deeply connected to the people that she met along the way—the relationships it built for her, the experiences that it formed, the way it all opened up her world.

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Discover More from Editions >

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Legacy in 3D: Property from an Important Private Japanese Collection >

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\n","2021-06-16T21:47:09.000000Z","https://www.phillips.com/article/77966206/the-gates-collection",1309,3579,77966206,"https://flockler.com/thumbs/sites/889/139357_1_uc327460-401ba5b9-a3b9-447e-a94a-b42ffc0b0f91_s600x0.jpg","As her father parts ways with two 1981 works by Jean-Michel Basquiat, Georgi Page reflects on the influence her family's collection had on her life, taste, and imagination. ","Growing Up With Basquiat: In Conversation with Georgi Page","

Jean-Michel Basquiat, Untitled (Starvation), 1981. Estimate $250,000 - 350,000. 20th Century & Contemporary Art Day Sale New York.

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PHILLIPS: I understand you were the person who suggested your family begin collecting Basquiat. Could you share how you first encountered his work and what attracted you to it?

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GEORGI PAGE: Growing up in Minneapolis, we had great exposure to the arts. We lived about a mile or so away from the Walker Art Center, so instead of going to the mall, a lot of times we would just walk up to the Walker Art Center and check out all of these artists. So we had some familiarity and when we got into high school—and I’m talking about Minneapolis public schools—we had an amazing art teacher who would take us to see exhibits.

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So I think I was kind of prepared when that Basquiat cover of The New York Times Magazine came into our house. After I did the dishes at night, I would sit and read the Times and do the crosswords and I saw this article and I was totally transfixed. It was a real perspective shift because I saw this artist of color being elevated, and it was seismic. The audacity of his work and the originality of it kind of gave me a lift, gave me a sense of courage: the fact that he could do this powerful work, be recognized for it, and own it. And you could see he was totally enjoying owning the moment, as he leaned back in his chair.

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P: And how did you bring up the idea of actually going to see his work in person and what happened after that?

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GP: I wasn't directly involved in the purchase of those specific works—I didn’t really even know it was possible. When my parents went to New York on that trip I asked if they could go to Trash & Vaudeville to pick me up some creepers! They went into the store in search of the shoes and there was a bald guy walking around with a big mustache and a giant snake around his neck. They had written on a piece of paper, “creepers, size 40.” And they did bring me those creepers, with the thick rubber soles, the really pointy toes, a buckle on the side.

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But they also brought back these Basquiats. I felt like it was a vote of confidence in my voice, in my opinions, in my acumen, and so it reinforced my point of view. And I was just beside myself to have the works in the house while I was growing up. I was going through a rebellious phase, smoking, and staying out late—so to have discovered Basquiat at that time and then to have the drawings in the house helped reinforce that it was okay to be different. It was the rawness of what he was doing and the space he was claiming for himself. I was very lucky to have those works around me as a reminder to be brave during that time.

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P: I imagined you hadn't seen his works in person prior to that. Was your reaction to them different from your reading about them?

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GP: Oh, definitely. On two levels. One, to bring something that was so visionary to me, and so in this other world, to bring it home, and to have it accessible, and to have it feel like it's part of my world was totally different than just reading about it in a magazine. You know, I felt like, wow, it's part of our home, it’s part of our story.

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Then to be able to see the work every day, and look at it closely. To be honest with you, there are things that I’m still noticing about it. When you look at them online, the images are digital, and it kind of flattens them out. But in person, you see the color and texture of the paper, the crumbs of the oil crayon, the subtleties of color. I don’t know if people think about this as much, but his composition is as brilliant as his use of metaphor, and I think that was very apparent from having the works close at home and experiencing them over time. You can especially see that in the athlete, with its economical use of lines and color.

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Coming from a multicultural family it was such a gift to grow up with these pieces; it has helped form my lens, my view of what constitutes art and what constitutes beauty, how to find meaning. That was such a huge opportunity, along with the storytelling and witnessing in the work, like in ‘Starvation’. These are very grounding concepts that keep you humble.
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P: Did having these artworks affect the artwork that you were attracted to later in life?

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GP: I definitely draw a line between growing up around the Basquiat and then later on, connecting very strongly to Egon Schiele. His exhibition at the Whitney was actually one of the first shows I saw when I moved to New York. There was something in the awkwardness and the vulnerability of his figures that I relate to Basquiat. When I went to the University of Washington, I saw a show of Kara Walker’s work and then started following her pretty early on. I also love Kerry James Marshall, Charles White. My taste is somewhat "off the radar" I think, but I find myself drawn to work that feels liberating or breaks boundaries in some way.

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P: I was wondering about the shift in your family collecting Warhol and Frankenthaler to collecting black American artists, and later African American artifacts. What inspired that transition and the collection?

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GP: My parents tell this story that a friend came over to our house and looked around and wasn’t suitably impressed with the work that was on the walls. The friend kind of prodded them and questioned them a little bit and said, “Well what about African American artists? You’re raising these kids and there’s so much incredible work and heritage there.” From that point on, it was like a flip was switched, and they started really networking with dealers and researching and discovering what they liked. I think this happened shortly after they bought the Basquiats. So just after that was a pivot point where they started focusing more on African American Art and Americana.

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Jean-Michel Basquiat, Untitled (The Athlete), 1981. Estimate $200,000 - 300,000. 20th Century & Contemporary Art Day Sale New York.

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P: I was wondering about the family activity nature of this and the community you may have developed. It feels like it was a very collaborative interest?

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GP: I was kind of the one most interested in art and so sometimes I was pulled in to consult if they couldn’t make up their minds. My stepmom would plan special dates for us to go see collections or meet dealers. She wanted to see which work I liked, and at that time I was studying art in college so I was experiencing it on a different level. Beyond that art was more a part of the broader cultural conversations we were having as a family.

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P: There are so many stories in this collection of community, family, and human experience. What has been the most meaningful part of it to you? What do you really want people to take away from these works and the collection?

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GP: We haven’t even talked about Testify, an exhibition our family did together that was one of the last big projects. It was about bringing together so many threads of the journey of African Americans in this country: slavery, Jim Crow, segregation, reconstruction, the ways we transcended our circumstances and built ourselves back up—and all of that all dovetailed with the conversations happening around the Super Bowl. Who are we? To what do we testify?

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We had people write their responses to the exhibit and tell their own stories in this book, so it wasn't just about our family telling our version of the story, but also about eliciting other people’s stories, to become part of the exhibit and part of the record. I think art and my involvement in the collection has taught me to pay better attention, to really cultivate my capacity for discovery. That has been the most meaningful and moving for me, and what I hope people will take away.

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\nP: Do you still have the book?

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GP: Yes! It was hand-bound in the East Village by a Hasidic bookbinder and my stepmom treasured it. It meant so much to see how moved people were by the exhibit, and to give them a place to immediately process their emotions and memories, because it was very powerful.
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P: It makes it an ongoing conversation, more than a record.

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GP: Yes, we were trying to have a conversation. And afterwards, we have gotten a lot of interest from local communities, small towns across Minnesota. And then we got a call from the Smithsonian, saying that some of their curators were very interested in learning more about the collection. So it really is part of a big conversation that many people are eager to have.

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Discover More from 20th Century & Contemporary Art >

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A superb example of Julian Schnabel’s titular series of five works from 1989, Canard De Chaine coalesces history’s most enduring art-making materials, such as oil and gesso, with unconventional materials such as velvet and banner, exemplifying the artist's quintessential break from tradition. The present work makes reference in both title and form to the satirical French newspaper Le Canard enchaîné (“the chained duck”), famous for its farcical and unyielding commentary on international politics and government censorship. While Le Canard enchaîné is itself a play on words—“canard” is French slang for newspaper—Schnabel unravels its grammar further by switching the prefix “en” to “de.” Indeed, Canard de Chain even adopts the vertical format of a newspaper, its title appearing at the top as a publication name and the skeleton appearing as a lead image.

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At its core, Canard De Chaine is a painting about painting. This word play evokes both Marcel Duchamp's signature tongue-in-cheek approach as well as Pablo Picasso’s Still Life with Chair Caning, 1912, the “jou” across the top of which similarly hints at a major French newspaper (Le Journal). Moreover, the wood and banner adhered to the velvet in Schanbel’s work alludes to the latter’s collaged surface, bringing Picasso’s papier collé into the modern day.

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Layers of not only texture, paint, and other media are piled onto the canvas, but also layers of an entire visual and linguistic history. As Le Canard enchaîné ruthlessly mocks the political establishment and the manners in which information is relayed to citizens, so Canard De Chaine takes as its subject the pedagogy of art and art history. A skeleton on a banner on the left side of the canvas resembles an anatomy poster in a classroom as well as Leonardo da Vinci’s dedicated representations of the corporeal; the defined, organic white shapes in the center may be subtly biomorphic; the circle and gesturally applied gesso line of the upper half remind one of abstraction, particularly Barnett Newman’s early work. These myriad of references to painting’s past and present almost seem to parody an art history textbook, but by positioning them on velvet—a nod to the black velvet paintings that are sold in rural America, the epitome of “low culture”—Schnabel takes aim at the establishment, challenging us to consider who has the power to define art.

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Julian Schnabel

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Julian Schnabel