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Auction 13 November 2pm EST

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450 Park Avenue, New York (map)

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Viewing 1-13 November

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

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432 and 450 Park Avenue, New York

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\n","auctionDetailsSmall","New York Auction 13 November 2019","extraInfo","Rebekah Bowling
\nHead of Day Sale, Afternoon Session
\nNew York
\n+ 1 212 940 1250
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Vija Celmins Night Sky #23, 2003. Estimate: $1,000,000-1,500,000. 20th Century & Contemporary Art Evening Sale at Phillips New York, 14 November.

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Capturing the innovative temperament of the last 50 years of art history, the works meticulously amassed over 25 years which comprise A Discerning Vision: Property from an Important Private Collection include those by artists who are some of the most highly regarded today. This selection reflects the joined passion and vision of two collectors, who initially accumulated an impressive collection of Old Master paintings before bringing that same astute connoisseurship to post-war and contemporary art in their mission to gather the art of their time.

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The scope of artists, genres and styles that these collectors subsequently brought together are broad and varied; it ranges from well established, blue-chip names, such as Roy Lichtenstein and Cy Twombly, to previously under-appreciated artists such as Martin Puryear and Vija Celmins, who are now enjoying recognition on a global stage.

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From developing close relationships with gallerists to studiously visiting museums, these collectors have nurtured a sophisticated eye for acquiring works by some of the most renowned masters of the past half-century. This discerning vision was exemplified by their acquisition of Philip Guston's Smoking II, 1973, which was formerly in the revered collection of Edward F. Broida, and of which similar self-portraits by the artist are housed in The Metropolitan Museum of Art, New York, Stedelijk Museum, Amsterdam, and The Museum of Modern Art, New York. Indeed, it was announced this year that a major traveling exhibition of Guston's work, Philip Guston Now, will be organized by the National Gallery of Art, Washington, D.C., Museum of Fine Arts, Houston, Tate Modern, London, and the Museum of Fine Arts, Boston during 2020 and 2021. Further denoting the collectors' comprehensive art historical knowledge is a work by Robert Ryman, Untitled, from 1965, a year of significant importance in the artist's career as it launched his self-proclaimed mature period.

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On the other hand, many of the artists they have sought out very early, such as Michaël Borremans or George Condo, have since established themselves as some of the most important voices of their generation—exemplifying the foresight that continues to guide these collectors in their focus on championing artists who are young or overlooked. It is a testament to their cultivated eye and collecting vision that a great number of the artists from the collection are having a conspicuous impact in the international art world, experiencing widespread exposure and—often overdue—critical acclaim. On the heels of the large survey of work by Maria Lassnig hosted by the Stedelijk Museum in celebration of what would have been her 100th birthday, Puryear represented the United States at the 2019 Venice Biennale. The Palazzo Grassi in Venice is currently presenting La Pelle, an almost yearlong monographic show dedicated to Luc Tuymans; Celmins' retrospective To Fix the Image in Memory has traveled from the San Francisco Museum of Modern Art to The Metropolitan Museum of Art.

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The participation of these artists in the current international discussion is denotative of the pioneering foresight of the visionaries who assembled the collection. It is rare to encounter a private collection of such quality that is as diverse, yet that so clearly articulates the passion and vision of the collectors. A combination of exceptional taste and a forward-thinking approach has resulted in a collection so impressive that it can be said to capture the revolutionary spirit of the last half-century.

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Featured Editorial

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In the Small Hours: Philip Guston's Late Figurative Painting
\nNoted Guston scholar Dr. Kosme de Barañano contextualizes two works from the American artist's later oeuvre.
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\nRead Story >

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Maria Lassnig: Figuration and the Abstracted Self
\nThe Austrian painter approaches her own body and its limitations in turns both humorous and anguished.
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\nRead Story >

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Collection Highlights

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Robert Ryman Untitled, 1965. Estimate: $1,200,000-1,800,000. 20th Century & Contemporary Art Evening Sale at Phillips New York, 14 November.

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Martin Puryear Untitled, 2008. Estimate: $400,000-600,000. 20th Century & Contemporary Art Evening Sale at Phillips New York, 14 November.

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Roy Lichtenstein Haystacks, 1968. Estimate: $500,000-700,000. 20th Century & Contemporary Art Evening Sale at Phillips New York, 14 November.

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Yayoi Kusama Untitled, 1968. Estimate: $120,000-180,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

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Ed Ruscha Two Sheets with Whisky Stains, 1973. Estimate: $280,000-350,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

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Gerhard Richter Rot-Blau-Gelb, 1972. Estimate: $300,000-500,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

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Maria Lassnig Competition III, 2000. Estimate: $280,000-350,000. 20th Century & Contemporary Art Day Sale Afternoon Session at Phillips New York, 13 November.

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Martin Kippenberger Untitled, 1996. Estimate: $350,000-450,000. 20th Century & Contemporary Art Day Sale Afternoon Session at Phillips New York, 13 November.

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George Condo The Picture Gallery, 2002. Estimate: $700,000-1,000,000. 20th Century & Contemporary Art Day Sale Afternoon Session at Phillips New York, 13 November.

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\n","publishDate","2019-10-29T16:03:24.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/49930861/a-discerning-vision-private-collection-postwar-contemporary-art","displayOrder","auctionEditorialID",676,"editorialID",780,"flocklerID",49930861,"https://flockler.com/thumbs/sites/889/p151-4ed58e7b-cfc9-4e41-b533-dfb1352dccf6_s600x0.jpg","In two works from a distinguished private collection, the Austrian painter approaches her own body and its limitations in turns both humorous and anguished. ","Maria Lassnig: Figuration and the Abstracted Self","

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For over half a century, Maria Lassnig pursued a singular approach to painting that insisted upon the body as an instrument of self-realization. Her prolific oeuvre, which consists almost entirely of self-portraits, traces the artist’s 70-year career, which took her from her native Austria to Paris, New York and, ultimately, back to Vienna where she passed away at the age of 94 in 2014. Though Lassnig received widespread recognition in her home country, having been the first female artist to win the Grand Austrian State Prize in 1988, it was not until more recently that her work garnered attention on an international stage. In the past five years, Lassnig’s work has been the subject of solo exhibitions at renowned institutions such as MoMA PS1, New York and Tate Liverpool, and in 2019, she was honored with a large-scale retrospective at the Stedelijk Museum, Amsterdam.

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In 1948, Lassnig created her first “Körperbilder” or “body awareness” paintings, illustrating sensations experienced by her body to define her relationship with the outside world. Though self-referential, her paintings are not self-portraits in the traditional sense. Lassnig depicts only the parts of her body that she can actually feel while working, resulting in idiosyncratic, and often abstracted, compositions. “At first I called my body awareness 'paintings', then 'introspective' experiences,” she explains. “Later on I did not call them anything at all after I had been ridiculed for claiming that my blobs and piles of color were 'self portraits.' I recommend my body awareness paintings as an ideal application of art because the subject matter can never be exhausted” (Maria Lassnig, quoted in Maria Lassnig, Friedrich Petzel Gallery). Discussing Lassnig’s insistence on the body—specifically the female body—as the foundation of her conceptually diverse oeuvre, artist Carrie Moyer writes, “Lassnig seems to have spent much of her career groping for tangible images—both representational and abstract—to convey the experience of being an ambitious woman artist caught between outdated societal mores and the mirage of liberation” (Carrie Moyer, “The Pitiless Eye”, Art In America).

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Figuration comes about almost automatically, because in my art I start first and foremost with myself. – Maria Lassnig
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Maria Lassnig Competition III, 2000. Estimate $280,000-350,000.
\n20th Century & Contemporary Art Day Sale, Afternoon Session at Phillips New York, 13 November.

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In Competition III, 2000, Lassnig paints three soccer players actively engaged in athletic pursuit. Lusciously rendered in a palette of neon greens, crimson pinks, acerbic yellows and turquoise blues, her figures quite literally leap across the canvas. Surprisingly—as Lassnig was 81 years old at the time of the work’s execution—all three athletes are based on the figure of the artist herself. With their muscularity and vivacious energy, the subjects do not reveal any sense of the artist’s age. Flourishing with dynamism and vitality, they are pure, gestural articulations of her internal sensations and inner awareness—the players are both “rude and funny, sometimes grotesque but also treated with a great tenderness” (Maria Lassnig, Friedrich Petzel Gallery, New York).

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Lassnig approaches her paintings with little premeditation, reflecting only upon the sensations she feels in a given moment. This unpredictability in her approach lends an energy to her compositions—in Competition III, expressive figuration and fluid brushwork, sublime hues and multilayered emotional effects, coalesce with striking intensity. Though Lassnig paints herself with athletic zeal, she insists her paintings are not inventions or fantasy: “the images already exist in my head. Imagination and fantasy are very different; fantasy has nothing to do with reality, but imagination is connected to an awareness of the body as well as what you see inside your head” (Maria Lassnig, quoted in Sarah Kent, “Maria Lassnig Baring the Soul", Art World).

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Maria Lassnig Untitled (Horizontally on Two Crutches), 2005. Estimate $150,000-200,000.
\n20th Century & Contemporary Art Day Sale, Afternoon Session at Phillips New York, 13 November.

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Painted just five years later, Untitled (Horizontally on Two Crutches), 2005, depicts the artist in a very different state. No longer embodying the vitality of her Competition paintings, Lassnig here renders herself sustained by two crutches, highlighting the fragility of her body threatened by illness and age. Having lived through the trauma of World War II decades prior, Lassnig explores the lasting effects of such experiences on both mind and body. Yet despite such misanthropic overtones, Lassnig imparts humor in the work. The hospitalized figure’s hyper-unrealistic pose—splayed horizontally across two crutches—lends an exaggerated air to the painting, contradicting the otherwise agony-ridden scene. “Imperfections may be overcome through humor,” she explains; and indeed, Lassnig here achieves absurdity in the grotesque (Maria Lassnig, quoted in Maria Lassnig, Friedrich Petzel Gallery, New York).

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Signature of Lassnig’s canvases, the artist leaves the background of Untitled (Horizontally on Two Crutches) unadorned, explaining, “background creates mood and atmosphere and I don't need that” (Maria Lassnig, quoted in Jackie Wullshlager, “Still Angry After All these Years”, Financial Times). Painted with lush brushwork that gives way to vibrant outlines of reds and blues, the figure is the focal point of the composition, leaving little room for distraction. In stark contrast to the monochromatic white background, the two blue crutches pop off the canvas, reminding us of their indispensable support.

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Lassnig’s uncanny ability to convey such heightened, raw emotions in her paintings is a testament to her artistic fervor, which only accelerated in the later years of her life. “Lassnig’s oeuvre is formally and conceptually diverse precisely because she insists on her physical body as primary source. This position has given her license to freely hybridize figuration with abstraction as a means toward full sensory and psychological expression, and has engendered some of the most darkly perceptive imagery of the past century” (Carrie Moyer, “The Pitiless Eye”, Art In America).

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Learn more about A Discerning Vision: Property from an Important Private Collection >

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Featured Editorial

Collection Highlights

Robert Ryman Untitled, 1965. Estimate: $1,200,000-1,800,000. 20th Century & Contemporary Art Evening Sale at Phillips New York, 14 November.

Martin Puryear Untitled, 2008. Estimate: $400,000-600,000. 20th Century & Contemporary Art Evening Sale at Phillips New York, 14 November.

Roy Lichtenstein Haystacks, 1968. Estimate: $500,000-700,000. 20th Century & Contemporary Art Evening Sale at Phillips New York, 14 November.

Yayoi Kusama Untitled, 1968. Estimate: $120,000-180,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

Ed Ruscha Two Sheets with Whisky Stains, 1973. Estimate: $280,000-350,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

Gerhard Richter Rot-Blau-Gelb, 1972. Estimate: $300,000-500,000. 20th Century & Contemporary Art Day Sale Morning Session at Phillips New York, 13 November.

Maria Lassnig Competition III, 2000. Estimate: $280,000-350,000. 20th Century & Contemporary Art Day Sale Afternoon Session at Phillips New York, 13 November.

Martin Kippenberger Untitled, 1996. Estimate: $350,000-450,000. 20th Century & Contemporary Art Day Sale Afternoon Session at Phillips New York, 13 November.

George Condo The Picture Gallery, 2002. Estimate: $700,000-1,000,000. 20th Century & Contemporary Art Day Sale Afternoon Session at Phillips New York, 13 November.

Maria Lassnig Competition III, 2000. Estimate $280,000-350,000. \n20th Century & Contemporary Art Day Sale, Afternoon Session at Phillips New York, 13 November.

Maria Lassnig Untitled (Horizontally on Two Crutches), 2005. Estimate $150,000-200,000.\n20th Century & Contemporary Art Day Sale, Afternoon Session at Phillips New York, 13 November.

Maria Lassnig Competition III, 2000. Estimate $280,000-350,000.
\n20th Century & Contemporary Art Day Sale, Afternoon Session at Phillips New York, 13 November.

Maria Lassnig Untitled (Horizontally on Two Crutches), 2005. Estimate $150,000-200,000.
\n20th Century & Contemporary Art Day Sale, Afternoon Session at Phillips New York, 13 November.

475

積克·高甸

Untitled

完整圖錄內容

積克·高甸