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拍賣 2024年12月4日
\n格林尼治時間下午2:00
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倫敦伯克利廣場30號 W1J 6EX（地圖）
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預展 11月28日至12月4日
\n星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午6:00
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參閱富藝斯業務規定 >
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\n","auctionDetailsSmall","倫敦拍賣 2024年12月4日","extraInfo","

Louise Simpson
\n倫敦New Now拍賣主管暨副專家
\nlsimpson@phillips.com
\n+44 7887 473 568
\n

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Marcel Broodthaers and Dr. Jost Herbig. Archival Image from The Herbig Collection. © Maria Gilissen.

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A work from Marcel Broodthaers: The Herbig Collection will be on offer in our London Modern & Contemporary Art Day Sale on 18 October, with the preview exhibition open 9–18 October at 30 Berkeley Square.

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Sometimes collecting art can be even more intimate than simply buying what you love. Through a close relationship with an artist, some lucky collectors gain an unparalleled glimpse into an artist’s personality and working methods, ultimately transforming the collector’s role into one of a historical primary source. It is this approach to collecting that characterizes the Herbig Collection’s assemblage of works by Marcel Broodthaers, a leading figure of the European Post-War avant-garde and a close friend of Dr. Jost and Barbara Herbig and their family.

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Marcel Broodthaers, Barbara Herbig, and Dr. Jost Herbig. Archival Image from The Herbig Collection. © Maria Gilissen.

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Phillips first offered four works from the Herbig Collection in the London Modern & Contemporary Art and New Now auctions this past October and December, with several more works on offer in future auctions over the next 12 months. With works of such exceptional condition and provenance coming to auction over the course of this year, the preview exhibitions are a rare pleasure for collectors and art lovers of all stripes. Here, we unpack this remarkable story of friendship, collaboration, and intellectual inspiration that reaches its apex in a collection like no other.

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Marcel Broodthaers, Écran fig. 1, fig. 2, fig. O, fig. A, 1968. Modern & Contemporary Art Day Sale London.

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Marcel Broodthaers: Avant-Garde Pioneer

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Marcel Broodthaers in Hyde Park, London. Archival Image from The Herbig Collection. © Maria Gilissen.

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Belgian artist Marcel Broodthaers (1924–1976) began his career as a writer and poet before expanding to visual arts at the age of 40. Over the next 12 years, he developed a distinctive visual language characterized by a broad reach both in medium — working across poetry, sculpture, painting, printmaking, and film — and content, delving into a wide range of literary, social, and historical themes. His output was rich with whimsical humor, semiotic puzzles, and strategies of repetition and self-deprecation, all offering a glimpse into his brilliant and singular mind. For him, no idea could be taken too far, and no means of expression was out of reach.

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Marcel Broodthaers, La pipe – Modèle: La pipe. Modern & Contemporary Art Day Sale London.

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Continuing an artistic investigation into a type of conceptual practice pioneered by Marcel Duchamp, Broodthaers rejected rigid distinctions between disciplines and artistic techniques. His works playfully subvert the established relationships between everyday objects, language, and meaning in a challenge to both artistic and social structures. The humor and poetic sensibilities in his works evoke powerful meditations on the capabilities of aesthetics, linguistics, and philosophy and represent a significant chapter in the development of conceptual art.

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Marcel Broodthaers, La pipe - ABCDEF. Modern & Contemporary Art Day Sale London.

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The Herbig Collection brings together some of Broodthaers’ most significant works from the 1960s and ‘70s — including the typographic impression on canvas Die Welt, the installation piece Éloge du sujet, and the film La Pluie. All three works were included in a major traveling retrospective hosted by the Museum of Modern Art, New York, Museo Nacional de Arte Reina Sofia, and Kunstsammlung Nordrhein-Westfallen in 2016–2017.

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A Letter to the Herbigs from Marcel Broodthaers. Archival Image from The Herbig Collection.

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A Remarkable Friendship

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Dr. Jost Herbig and Marcel Broodthaers. Archival Image from The Herbig Collection. © Maria Gilissen.

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The Herbig Collection was curated by the renowned scientist Dr. Jost Herbig and his wife, noted jewelry designer Barbara Herbig. The couple began collecting art in the mid-1960s, with a focus on contemporary American and European artists. With their keen eyes, they became known for their collection of museum-quality works by highly desirable artists ranging from Gerhard Richter to Bruce Nauman. Later, in 1970, the couple met Marcel Broodthaers in Düsseldorf, where he was living at the time. From the day they met until the artist’s untimely death in 1976, the Herbigs acquired several of his works and formed a close relationship with him. Broodthaers himself selected which of his works would be offered to them, ensuring that some of the finest examples of the works that most excited him would remain in the hands of collectors who were sure to be stewards of his legacy.

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Christmas cards that were sent to the Herbigs from Marcel Broodthaers (verso). Archival Image from The Herbig Collection.

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Christmas cards that were sent to the Herbigs from Marcel Broodthaers (front). Archival Image from The Herbig Collection.

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After their initial meeting in Düsseldorf, the two families quickly became close friends, enjoying the good humor and intellectual fervor that percolated whenever they spent time together. The Herbigs came to greatly admire Broodthaers’ work, as well as his personality, as Barbara Herbig recently shared with Phillips, “Broodthaers, with his keen understanding of translation and his perceptive, subtly ironic warmth, was a fascinating presence.” She recalled countless hours the families spent together when Broodthaers and his wife Maria — herself an exceptional photographer — and their daughter, Marie-Puck, would visit the Herbig household. Dr. Herbig would give science lectures to the group, and Broodthaers would then give his own lectures as well. “Their exchange of ideas was invigorating,” Barbara recalls. “Broodthaers also shared his latest films, and we all found ourselves transformed by the experience. The children played together, and we took leisurely walks, with Maria capturing moments like the ‘railway robber’ through her lens. We cooked, ate, and enjoyed each other’s company, relishing in the joy of these shared times.”

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The Story Continues

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Dr. Jost Herbig and Marcel Broodthaers. Archival Image from The Herbig Collection. © Maria Gilissen

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In 1998, four years after Dr. Jost Herbig’s passing, the majority of the Herbig Collection was sold in a landmark auction, but the ties between Marcel Broodthaers and the Herbigs were so strong that the family chose to retain the works of their close friend. Since they were first acquired in the 1970s, the works have been kept in the Herbig family’s private home, with several on long-term loan to Museu d’Art Contemporani de Barcelona and exhibited internationally.

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As so many of these works have been seen in public only rarely and have never come to auction before, the next 12 months promise to excite and entice those who love Broodthaers, as the works will be on view ahead of the auctions in multiple cities around the globe. Because of these works’ connection to the Herbig family, they offer a chance to be close to the artist himself through works that he personally selected for his intimate friends. And they also offer an opportunity to be part of this story’s next chapter, a story Barbara Herbig remembers fondly, recalling, “It was a wonderfully memorable experience, full of warmth and creativity — until next time.”

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Discover More from Modern & Contemporary Art >

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Recommended Reading

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Specialist Picks: Modern & Contemporary Art >

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\n","publishDate","2024-09-15T22:50:00.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/148960696/marcel-broodthaers-the-herbig-collection-auction-london","displayOrder",2,"auctionEditorialID",2339,"editorialID",4663,"flocklerID",148960696,"https://flockler.com/thumbs/sites/889/damien-hirst-asteroid-461bf252-e3c3-49c1-bc7e-95dbc1840148_s600x0.png","A selection of works from a remarkable period in the artist’s practice gives us a few ideas to live by.","Damien Hirst: Mantras in Colour","

Damien Hirst, Midas Asteroid, 2007. New Now: Modern & Contemporary Art, London.

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The ‘90s are over. We don’t take pills for that anymore. OK Computer is ten years old.

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No more mass-produced solutions; we’re healing ourselves now.

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Coming out of the decade of pharmaceutical solutions, Damien Hirst takes us on a self-guided journey endemic to the 24/7 handheld world that followed it in our 4 December New Now London Auction. Ranging from 2007 to 2021, these works offer an expansive look at Hirst’s themes during a time in which pop culture began to look inward as our capacity to connect grew ever wider. Central to the artist’s works from this era is the notion of being present in the moment, of experiencing the totality of colour, paint, and expression at the instant of its creation. These works act as visual reminders of a recent past filled with caption-worthy mantras, telling us to be…

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As momentous as an asteroid

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Hirst’s 2007 work Midas Asteroid is a remarkable bridge between the artist’s earlier themes and his subsequent explorations of worldly and mythical connections, united here by Hirst’s ever-present musings on mortality. Named after the potentially hazardous near-Earth asteroid that was discovered in 1973, the butterflies’ physical path across the canvas traces the vortices of a strike on humanity. The present work also references the myth of King Midas, who was granted the ability and curse to turn everything that he touched into gold; here, the seductive colour of wealth and luxury has trapped the butterflies ex situ. Hirst provides a duality to consider: the one who is mired thinks of being fixed. The asteroid only thinks of moving forward, now only with new passengers.

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As ever-ready as a wheel

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Damien Hirst, Beautiful, Timeless, Tranquility Spin Painting for Deron, 2016. New Now: Modern & Contemporary Art, London.

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Combining themes of nostalgia, movement, and the relationship between the artist and their tools, the Spin Paintings are among Hirst’s most important and revisited works, appearing in a variety of scales, palettes, mediums, and shapes over the series, now in its third decade. Using household paint on a rotating canvas to create brilliant layers, Hirst returns to his Spin Paintings to present expression in its purest form. In Beautiful, Timeless, Tranquility Spin Painting Hirst continues to radically unravel the formal apparatus of the art canon, asserting the primacy of gesture and material, as well as the nature of a cycle as a realm of constant possibility. A wheel turns, it stops. It goes again, aware that it can change direction with each spin.

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As cherished as a psalm

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Damien Hirst, Psalm 3: Domine, quid multiplicati?, 2008. New Now: Modern & Contemporary Art, London.

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The Psalm series is made up of 150 works of butterfly wings and paint arranged in kaleidoscopic mandala patterns reminiscent of cathedral glass windows. A meditation on the aesthetic qualities of religion and its overlap with the natural world, secular beauty, and the faithful-or-not inevitability of death, the collection is perfectly exemplified by Psalm 3, which reads: Lord, how are they increased that trouble me! (Domine quid multiplicati sunt, for the philologists), and is considered a lesson in salvation by maintaining faith even in times of personal difficulty. The word psalm itself derives from the Greek psalmos, or the twanging of a harp, from psallein, to pluck. Given the delicate formation of these butterfly wings without bodies, they can only be described as plucked from nature and rendered unto the divine. In this way it is not our physical presence that endures, rather it is our own sublime image that carries on.

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As intentional as a veil

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Damien Hirst, PV74. Lucid Veil, 2021. New Now: Modern & Contemporary Art, London.

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Hirst’s Veil Paintings meditate on the beauty and impact of composition and transformation across a constellation of vibrant, layered colours. "I want you to get lost in them,” Hirst notes. “I want you to fall into them, and I want them to delight your eyes and make you want to stay in the painting." The present work hails from the warmer portion of Hirst’s grid, with sunset hues scattered beneath topographical yellows and floral pinks. In its quintessentially Hirstian way, the veil gives and takes; it offers and withholds for the viewer. Our attention is given either to its whole or its specifics; to focus on one layer obfuscates another, and yet we engage with them directly, as if swept up by colour and gesture. It is a reminder to take it all in when the moment emerges, and to leave the analysis for after the celebrations.

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Discover More from Modern & Contemporary Art >

\n\n

Recommended Reading

\n\n

In This Life or the Next >

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Damien Hirst for the Ruwenzori Foundation >

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\n","2024-11-26T18:41:04.000000Z","Arian Murati","https://www.phillips.com/article/152046037/damien-hirst-mantras-in-colou",2352,4785,152046037,"https://flockler.com/thumbs/sites/889/joseph-yaeger-0d689ccf-1beb-4794-9a88-3af8e4f00f30_s600x0.jpg","Seven rising stars burning bright at 30 Berkeley Square.","Artists to Watch: New Now London","

Joseph Yaeger, Unexpress the expressible, 2021. New Now: Modern & Contemporary Art London.

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Joseph Yaeger

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The cinematic and dreamlike worlds created by Joseph Yaeger’s paintings have captured the attention of art lovers around the globe. His works have a distinct ability to prod the function of our memory, seen clearly in Unexpress the expressible from 2021. As our eyes scan the image, our mind attempts to place this likeness that seems familiar but escapes our grasp. The work is characteristic of Yaeger’s process, which often takes source imagery from anything ranging from cinema stills to old newspapers or YouTube videos and presents them in his distinct, carefully framed style with watercolor on gessoed linen. The pigments seem to float above the surface, suggesting the liquidity and fluidity of our subconscious.

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Yaeger’s works have been on a hot streak on both sides of the pond as of late. At Phillips’ Modern & Contemporary Art Day Sale in New York this November, his 2020 work We are constantly on trial sold for more than double its low estimate. His 2021 work Sphinx without a secret achieved an even more resounding success at Phillips London in October, achieving more than 10 times its low estimate. Yaeger’s work has been presented in numerous acclaimed solo and group exhibitions, including at Hauser & Wirth, The Perimeter in London, and Antenna Space in Shanghai. He is represented globally by Modern Art, London, and Gladstone Gallery announced their US representation of the artist this past October.

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Ariana Papademetropoulos

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Ariana Papademetropoulos, Glass Slipper, 2018. New Now: Modern & Contemporary Art London.

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Los Angeles-born multidisciplinary artist Ariana Papademetropoulos’ upbringing in a family of architects, coupled with her peak-millennial generation’s exposure to mass media, has led her to create work that questions how we conceive and express our identities outwardly and the constructions we use to define ourselves privately. Her 2018 work, Glass Slipper was born of a process emblematic of the artist, who often stains architectural magazine pages with water to explore the possibilities of a slightly alternate reality before rendering the results hyper-realistically with oil paint on canvas. The pseudo-fabricated worlds that Papademetropoulos builds allow us to discover how our sense of selfhood may be defined by the media we consume and the structures we build for ourselves. She then subverts their power over us by pointing out the fragility of both in colorful paintings that are as elusive as they are alluring.

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Born in 1990, Papademetropoulos studied art at CalArts and, upon graduation in 2012, worked as a studio assistant for the late figurative painter Noah Davis. It was Davis who helped launch the younger artist’s career when he included her work in an exhibition he curated at Roberts Projects in Los Angeles in 2010. Today, she enjoys a devoted following, having participated in lauded solo exhibitions, including at Vito Schnabel Gallery in New York, Wilding Cran in Los Angeles, and Soft Opening in London, where the present work was shown in the 2018 exhibition Sunken Gardens.

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Brook Hsu

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Brook Hsu, Tree in a Landscape 2, 2020. New Now: Modern & Contemporary Art London.

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For Taiwanese-American artist Brook Hsu, an autobiographical approach to mythological and fantastical imagery emerges from her personal study of art history, film, and literature and is realized in a characteristic painting practice that has captured the eyes of art lovers worldwide. Her often miniature works, awash in mysterious green hues, are lauded for their ability to hold our attention and make us question preconceived notions of value and representation. Tree in a Landscape 2 is a sterling example of the artist’s practice, centering a tree that seems somewhat out of context and resonates with a human energy that is perhaps unintentionally reminiscent of the protagonist’s ultimate mental state in Han Kang’s novel The Vegetarian.

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Making her successful auction debut at Phillips this past June, quickly followed by her 2018 work satyr family selling for more than twice its low estimate in Phillips’ New Now sale in New York this September, Hsu has been on a bit of a roll since graduating from Yale in 2016. Her acclaimed solo exhibition, The Oklahoma Nature Theater, opened earlier this month at Gladstone Gallery in New York. Her work sits in the permanent collections of Musée d’Art Moderne de Paris, Yan Du Collection, London; Boros Collection, Berlin; Philara Collection, Düsseldorf; X Museum, Beijing; and Long Museum, Shanghai.

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Henni Alftan

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Henni Alftan, X, 2020. New Now: Modern & Contemporary Art London.

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Considered and carefully framed, Henni Alftan’s paintings most frequently present everyday subject matter in a mode that invites quiet and careful contemplation. “I choose everyday subjects because we have them in common,” the artist recently told the magazine A Rabbits Foot, further noting that she is “showing you things you have already seen, but perhaps in a different way, from a different point of view.” Far from being easy to ignore, her works are captivating for their softness and direct expression. This enigmatic 2021 work, titled X, is characteristic of this approach, depicting a subject that most of us encounter daily with a careful economy that brings an introspective pleasure to the ordinary.

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Born in Helsinki and now based in Paris, Alftan earned her MFA in 2004 at the École Nationale Supérieure des Beaux-Arts de Paris. Her work has been exhibited widely, most recently at Karma New York and Los Angeles, Sprüth Magers in London and Berlin, Various Small Fires in Seoul, and many more.

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Harminder Judge

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Harminder Judge, Untitled (soil cursed and lit and burst), 2022. New Now: Modern & Contemporary Art London.

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British-Indian artist Harminder Judge’s works exist in the space between painting and sculpture. They are transportive and otherworldly, seeming to float off the wall due to his careful process of layering pigments into wet plaster before sanding, polishing, and oiling the surface. These sweeping panels feel like portals to a mystical dimension, vibrating with an energy that is at once reminiscent of Indian neo-tantric painting, Abstract Expressionism, and color field painting. This 2022 work is a shining example of the remarkable acuity of Judge’s practice, with the vibrant bright colors seeming to confront the darker edges with almost geological force across the stone-like surface. The work almost appears to undulate with prolonged viewing — the longer you look at it, the more it reveals.

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Born in Rotherham, UK, in 1982, Judge graduated from the Royal Academy Schools in London, where he is based today. His work has rapidly achieved success, seen in lauded solo exhibitions from Spain to London, India, Los Angeles, Vienna, Hong Kong, and many more.

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Rebecca Ackroyd

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Rebecca Ackroyd, The rabbit, 2021. New Now: Modern & Contemporary Art London.

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Living and working between London and Berlin, Rebecca Ackroyd has cultivated a personal practice across painting, drawing, sculpture, installation, and film that engages with her own state of mind in a nightmarish world. Body horror, lived anxiety, and psychoanalytical symbols abound in her works, which compellingly resonate with both global institutions and collectors. In this 2021 work, The rabbit, a woman — her lengthy hair appearing like a rabbit warren, her face ambiguously flush red with either anxiety, pain, or release — swoons. Her subconsciousness seems to be exiting her body in a swirl of effervescence originating from the eyelids — the very skin that shuts her eyes away from us. This hazy swirl of unease is further suggested by the work’s evocative title, which calls to mind metaphors for rabbits as the hunter’s prey, a commentary on contemporary womanhood.

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Ackroyd received a Post Graduate Diploma in Fine Art at the Royal Academy of Arts in London in 2015 and has since exhibited widely. Her works have been shown internationally in France, Germany, Korea, Denmark, and Norway and sit in the permanent collections of the Musée d’Art Contemporain de Lyon; The Bunker Art Collection, Palm Beach, FL; Sifang Art Museum, Nanjing, and more. She is represented by Peres Projects Berlin and this work marks her auction debut.

\n\n

Danny Fox

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Danny Fox, The Prodigal Son Sucks Dick For Crack, 2018. New Now: Modern & Contemporary Art London.

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Immediately striking and unrelenting in its presentation of its subject matter, British artist Danny Fox’s The Prodigal Son Sucks Dick For Crack reveals a complex depth of thought once the initial shock has worn off. By reimagining the low point of the Prodigal Son’s arc as an act of harlotry between two figures in a tangle of racial ambiguity and the low points of addiction, Fox calls attention to a myriad of contemporary issues and perhaps identifies inequality as their source. By positioning the Prodigal Son in a referential kneeling pose — here drawn from the Victorian-era prodigal son lithographs by the Kellogg Brothers but transported to Los Angeles’ Skid Row — Fox calls our attention to the story’s ending, with the protagonist kneeling before his wealthy father. As we recall, the Prodigal Son is immediately forgiven and showered with riches and fine foods amid a famine. In this sense, Fox’s work highlights a stark contrast between the two figures’ social stature and questions what can be defined as sin and who is eligible for redemption in contemporary society.

\n\n

Born in 1986, the self-taught artist is a rising star in the art world, with his 2018 work D. Livingstone As Old Man achieving more than three times its low estimate at Phillips London just this July. Now based in Los Angeles, Fox has formed a close relationship with the painter Henry Taylor. Fox keeps his studio next door to Taylor’s and has exhibited his own works at Chinatown Taylor — the elder artist’s Los Angeles gallery. His work has also been exhibited globally at Alexander Berggruen, New York; The Saatchi Gallery, London; Jeffrey Deitch, Los Angeles; V1 Gallery, Copenhagen; Yuz Project Space of Art, Shanghai, and many others.

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Discover More from New Now: Modern & Contemporary Art London >

\n\n

Recommended Reading

\n\n

A Legacy of Friendship — Marcel Broodthaers: The Herbig Collection >

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Raymond Pettibon

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Raymond Pettibon