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Online Auction 4 - 11 December 2020

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Opening 12pm EST 4 December 2020

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Closing 2pm EST 11 December 2020

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Online Bidding Guide >

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The countdown timer above indicates when the first lot in the sale will close. Each subsequent lot will close one minute after the preceding lot. If a bid is placed in the final three minutes of bidding time on a given lot, the bidding time for that lot will be reset to three minutes. The bidding time will be reset to three minutes each time a new bid is placed during the extended bidding time.

\n","auctionDetailsSmall","Online Auction 4 - 11 December 2020","extraInfo","

Editions@phillips.com

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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",1,"auctionEditorialID",1110,"editorialID",3335,"flocklerID",67340255,"https://flockler.com/thumbs/sites/889/stuart-davis-phillips-1-a775e39f-6158-4d98-8816-113c8e1f51ab_s600x0.jpg","How prints provided an evolution in Davis’ oeuvre and cemented his devotion to the ethos of modernism.","Stuart Davis: Becoming a Modern Artist ","

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Stuart Davis was an artist fiercely, undeniably devoted to the ethos of modernism. Born in Philadelphia in 1892, he grew up around art; his father was the art editor of the Philadelphia Press, his mother was a sculptor. This supportive environment propelled Davis to New York where he studied under Robert Henri at the New York School of Art. Henri’s students were trained to work in realism, to look for inspiration in their daily lives, which fostered Davis’ sensitivity to his surroundings.

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By 1913, Davis had five watercolors on view at the Armory Show in New York. The 1913 Armory Show introduced American audiences to the work of the European modernists, many for the first time. Davis was in such awe of what he saw that he vowed to commit himself to the teachings of modernism. “I sensed an order in these works which I felt was lacking in my own,” he later wrote. “I resolved that I would quite definitely have to become a ‘modern’ artist.” Going forward, Davis’ artistic focus was diverted from realism as he sought to create works that better reflected the realities of a modern industrial society.

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Paris

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Stuart Davis, Arch Hotel, 1929, Oil on canvas, Sheldon Memorial Art Gallery, University of Nebraska-Lincoln, F.M. Hall Collection. Davis © 2020 Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY.

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In the early 1900s, Paris was the epicenter of modernism and a rapidly evolving hub for artists. To immerse himself in the movement, Davis rented a studio in 1928 and spent 13 months in Paris. Davis’ time there proved fundamental in the progression of his practice, as he aimed to accommodate both nature and abstraction. It was also the first time Davis seriously engaged with printmaking.

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Scholars believe that the Paris prints were produced with the guidance and expertise of the highly sought-after Master Printer, Edmond Desjobert. While the records on Davis and Desjobert’s printing relationship are incomplete, Desjobert’s atelier likely introduced Davis to lithography, which allowed Davis to revisit subjects and compositions from his paintings in a new formal way. “These [Paris] prints demonstrate an uncommon sensitivity to the compositional function of paper that is the mark of a sophisticated understanding of the aesthetic and formal properties of the medium,” stated Diane Kelder, Art Historian and Stuart Davis scholar in her 1986 essay “Stuart Davis: Methodology and Imagery.”

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There is an apparent evolution in Davis’ prints. Some prints portray the winding streets of Paris on a single plane, while others present more straightforward depictions of his surroundings. “Although Davis’s Paris prints do not lend themselves to a strict chronology,” wrote Diane Kelder, “it may be that such lithographs as Arch No. I and Arch No. 2 characterized by more complex imagery, fall later in the series than the more direct interpretations of Parisian street scenes.” Arch No. I  (Lot 2) and Arch No. 2 (Lot 3) allow the eye to wonder through pattern and contrast. Davis masterfully uses lithography to flatten storefronts and imbue form through the high contrast of black ink on white paper.

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Similarly, the interpretations of the Place Pasdeloup, located in the 11^th arrondissement, play with the amount of linear information necessary for the scene to be recognizable. Place Pasdeloup No. I (Lot 5) and Place Pasdeloup No. 2 (lot Lot 6) further support this exercise in abstraction, as Davis presents the building’s architectural details as more open, abstracted patterns.

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An example of a more direct interpretation of the Paris streets, can been seen in Rue des Rats (Lot 1). This lithograph was selected by the artist John Sloan to be included in the American Institute of Graphic Arts’ fifth annual Fifty Prints of the Year exhibition, an important show for modern printmaking. “In the lithograph Rue des Rats, [Davis] used crayon to convey the light-stippled areas of the roof and introduced dense woven patterns in the sky and street, which create an effect comparable to the crust, sand-permeated pigment [of the painting, Rue des Rats No. 2]” wrote Diane Kelder. Again, we see Davis experimenting with the possibilities of lithography, as he translates his paintings into a new medium.

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New York

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In 1931, after his return to New York, Davis painted New York-Paris No. 2, merging Paris and New York and placing us in both cities at once. The painting, which features key elements from the lithograph Hotel de France of 1929, merges a New York train platform with iconic Parisian architecture. Davis’ Paris prints present a divergence from realism, abstracting architecture to create new forms—and beginning an exploration he would pursue for the rest of his career.

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Unlike the Paris prints, Davis’ New York prints are largely independent of paintings. It is probable that the lithographs Davis made in New York were printed with George C. Miller, although a lack of documentation makes it difficult to be certain. These lithographs Davis made in the New York present the artist’s talent for creating robust patterns and graphic abstractions. Composition (Lot 7) from 1931, combines figural elements (an arm) with an emphasis on pattern, which in their “virtual abstraction,” as Diane Kelder wrote, "prefigure[s] many of Davis’s later painterly concerns.”

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Stuart Davis, New York-Paris No. 2, February 1931, Oil on canvas, Portland Museum of Art, Portland, Maine; Hamilton Easter Field Art FoundaEon Collection; Gift of Barn Gallery Associates, Inc., Ogunquit, Maine, 1979. Davis © 2020 Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY.

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Davis’s lithograph, Anchor (Lot 8) was published in a portfolio to benefit the American Artist School in New York. The scene is nautical, hence its title, and combines hints of rural architecture with boats. When looking at the form in its entirety, the bow of a ship appears, slightly more visible to the eye in Davis’s initial graphite study. Anchor is the result of his ongoing experimentation with—and confidence in—these pattern-like abstractions.

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Stuart Davis’ initial investigation into lithography in Paris and continued exploration in New York represent the active migration of modernism from Europe to New York, of which Stuart Davis was a central figure. This rare collection of Davis’ prints present an exceptional insight into the progression of his work as he devoted himself to becoming a “modern” artist. Assembled in the 1960s and 70s from a passionate Midwest collector, this collection was mainly acquired from dealer Sylvan Cole at the famed Associated American Artists gallery in New York. A few of the images have not appeared at auction in over 30 years.

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\nDiscover More from Editions Modern >

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Recommended Reading

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Author Picks: Editions & Works on Paper >

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Emerging Talent: 12 Artists to Watch >

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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

Stuart Davis outside his studio at 43 Seventh Avenue, New York, 1935. Photography by Earl Davis. Davis © 2020 Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY.

Paris

Stuart Davis, Arch Hotel, 1929, Oil on canvas, Sheldon Memorial Art Gallery, University of Nebraska-Lincoln, F.M. Hall Collection. Davis © 2020 Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY.

Stuart Davis, Arch No. 2, 1929. Estimate $4,000 - 6,000. Editions New York. Davis © 2020 Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY.

Stuart Davis, Place Pasdeloup No. 2, 1929. Estimate $4,000 - 6,000. Editions Modern. Davis © 2020 Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY.

New York

Stuart Davis, Hotel de France, 1929. Estimate $4,000 - 6,000. Editions New York. Davis © 2020 Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY.

Stuart Davis, Anchor, 1936. Estimate $3,000 - 5,000. Editions Modern. Davis © 2020 Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY.

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

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

14

Robert De Niro Sr.

Still Life

完整圖錄內容

Robert De Niro Sr.