Carolyn Kolberg
\nSpecialist, Head of Evening Sale, New York
\n+1 212 940 1206
\nCKolberg@phillips.com
\n

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“I think the figure is the basic measuring device… it’s the most important study there is and the most challenging.”
\n—Wayne Thiebaud, 1974

\n\n

Painted in 1973, Self-Portrait stands among the most incisive and rare works in Wayne Thiebaud’s oeuvre. One of only a small number of self-portraits the artist produced—others now in institutional collections such as the Smithsonian’s National Portrait Gallery and the National Academy of Design—the painting marks a rare moment when the artist directed his exacting gaze toward himself. While his images of cakes, pies, and display counters secured his reputation in the early 1960s as a defining voice of postwar American art, this canvas reveals the painter behind those surfaces, submitting his own likeness to the same discipline he applied to every object he painted.

\n\n

\"\" — Wayne Thiebaud in his studio, Houston, 1975. Image/Artwork: © 2026 Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

\n\n

At sixteen-by-sixteen inches, the work is intimate in scale yet monumental in psychological intensity. Thiebaud presents himself in a tightly cropped, bust-length view, slightly off-center and turned in three-quarter profile. The broad collar of his white shirt forms a stabilizing triangular base, anchoring the head, which becomes the compositional fulcrum. The shallow space and luminous white ground eliminate narrative distraction. There is no studio, no brush, no palette—none of the conventional attributes of artistic identity. Instead, the viewer confronts a face suspended in light.

\n\n

“I would like the painting to create its own light.”
\n—Wayne Thiebaud

\n\n

Thiebaud’s signature chromatic “halation,” his term for the technique he discovered and refined to evoke the pulsating effect of an object’s edge seen in raking light, is vividly demonstrated in Self-Portrait. Vibrating outlines of blue, green, yellow, and red skirt the figure, lending his realism a Kodachrome tonal clarity. Along the bridge of the nose, the cheek, and the collar, color shifts in electric bands that both separate the figure from its ground and bind the two in taut optical tension. Curator Ann Van Devanter described this phenomenon as “a discreet and delicate nimbus of electric light tubes,” concluding, “Wayne Thiebaud is the Georges de la Tour of the neon age.”ⁱ

\n\n

\"\" — Georges de la Tour, *The Choirboy*, circa 1640. New Walk Museum and Art Gallery, Leicester, England. Image: © Leicester Arts and Museums Service / © Leicester Museums & Galleries / Bridgeman Images

\n\n

The paint is richly worked. Creamy passages model the forehead and cheeks, while cooler blues and violets settle into the eye sockets and beneath the glasses. The lenses catch and refract light, flattening the gaze even as they intensify it. Thiebaud once stated, “I would like the painting to create its own light,” and indeed the canvas appears lit from within, as though caught in a concentrated glare just beyond the picture’s edge.ⁱⁱ The white background, though ostensibly blank, is built from horizontal strokes of impasto that register the movement of the brush. Light does not merely describe form; it emerges from the facture itself.

\n\n

“The space interference that I want is one of isolation. Ultra clear, bright, air-conditioned atmosphere that might be sort of stirred up around the objects and echo their presence is what I aim for.”
\n—Wayne Thiebaud

\n\n

Thiebaud frequently acknowledged the challenge of painting the human figure. “Actually, while I was doing still lives I was at the same time trying to do figures, but very unsuccessfully,” he recalled.ⁱⁱⁱ “In 1963 I decided to concentrate on figures for a while. I think an artist’s capacity to handle the figure is a great test of his abilities.”^iv By the early 1970s, he had developed a figurative language that extended naturally from his object paintings.

\n\n

\"\" — Alice Neel, *Self-Portrait*, 1980. National Portrait Gallery, Smithsonian Institution, Washington, D. C. Artwork: © Estate of Alice Neel

\n\n

Like his cakes and counters, Thiebaud’s figures are isolated against stark grounds. He sought to objectify the subject as fully as possible, placing figures in similarly abstract spaces, flooding them with intense illumination, and constructing them with the same tactile materiality of paint. In keeping with his depictions of machine-made foods—gumballs in penny dispensers or pastries in refrigerated cases, rendered identical under the bright lighting used to enhance their appearance—Thiebaud aimed to “work out what is most memorable about the subject and get it down.”^v The crucial difference was that his figures were painted almost exclusively from life. “I started out painting the figure from memory, with disastrous results,” he admitted.^vi “So I have people pose, and I just keep on trying.”^vii By stripping his figures to essential details and eliminating context in favor of what he called a “sort of neutral, environmental stance,”^viii Thiebaud insisted on what one writer described as “limiting the figure to itself, its own objectness. [Just] the facts, please.”^ix As he explained to John Coplans in 1968, such exposure permitted no concealment: “It is a way of eliminating those things which may detract from the specialness of the object or the figure… The setting is no longer important, only the figure is important.”^x

\n\n

“[Painting from life] encourages me to work with specific visual information about the subject at hand and allows enough time to consider more details that memory does not furnish me”
\n—Wayne Thiebaud

\n\n

In Self-Portrait, Thiebaud applies this same discipline to himself, treating his own likeness with the pictorial demands he brought to his still lifes. The face is rendered with the same attentive modeling he lavished on pastry ridges or cake frosting, the paint tactile and almost edible, embodying what he called the sensuous “reality of the object.”^xi Yet the psychological charge is heightened. Here the artist becomes both subject and object, submitting his own image to the same uncompromising scrutiny that defines his work. A pioneering contemporary, Alice Neel brought comparably fearless honesty to her own image in her nude Self-Portrait of 1980, where a sinuous blue line conducts the sitter's electric life force with the same psychological honesty Thiebaud achieves through halation.

\n\n

\"\" — Left: Jean-Baptiste Siméon Chardin, *Self-Portrait at an Easel*, ca. 1779. Musée du Louvre, Paris. Image: © RMN-Grand Palais / Art Resource, NY
\nRight: Vincent Van Gogh, *Self-Portrait*, 1889. Musée d'Orsay, Paris. Image: Erich Lessing / Art Resource, NY

\n\n

Self-portraiture carries immense art historical weight—from Rembrandt van Rijn and Diego Velázquez to Jean-Baptiste Siméon Chardin, whom Thiebaud deeply admired. Yet unlike Chardin’s circa 1779 Self-Portrait at an Easel, which displays the tools of the trade, Thiebaud omits all markers of profession. The authority of the painter is conveyed not through props but through facture. The impasto, the calibrated color, the compositional restraint—these are the instruments of authorship.

\n\n

“My interest in painting is traditional and modest in its aim. I hope that it may allow us to see ourselves looking at ourselves.”
\n—Wayne Thiebaud

\n\n

In this singular and searching work, Thiebaud achieves a delicate synthesis: the objecthood of Pop, the formal rigor of modernism, and the psychological resonance of portrait tradition. Self-Portrait is not merely an image of the artist; it is a meditation on perception, presence, and the act of painting itself. Suspended against luminous white, the figure seems to hover, at once immediate and ungraspable, an enduring testament to Thiebaud’s capacity to make even the most familiar subject glow with concentrated, electric life.
\n
\n
\ni Ann C. Van Devanter and Alfred V. Frankenstein, American Self-portraits, 1670-1973, Washington, D. C., 1974, p. 232.
\nii Wayne Thiebaud, quoted in John Coplans, "Wayne Thiebaud: An Interview," Wayne Thiebaud, Pasadena, 1968, p. 32.
\niii Ibid., p. 34.
\niv Ibid.
\nv Wayne Thiebaud, Artist Statement, July 1962.
\nvi Wayne Thiebaud, quoted in Steven A. Nash, Wayne Thiebaud: A Paintings Retrospective, 2000, p. 23.
\nvii Ibid.
\nviii Wayne Thiebaud, quoted in Dan Tooker, “Wayne Thiebaud,” Art International, vol. 18, no. 9, November 1974, p. 22.
\nix Wayne Thiebaud, quoted in Steven Steinberg, “Wayne Thiebaud: The Concept of Realism, the Notion of Inquiry,” Southwest Art, vol. 15, February 1986, p. 52.
\nx Wayne Thiebaud, quoted in John Coplans, "Wayne Thiebaud: An Interview," p. 34.
\nxi Ibid., p. 30.

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CLAUDE MONET La Route de Vétheuil, effet de neige, $7,000,000–10,000,000

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ANDY WARHOL Sixteen Jackies, $15,000,000–20,000,000

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SALMAN TOOR Two Friends, $180,000–250,000

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ANDY WARHOL Self-Portrait, $3,000,000–5,000,000

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ALBERT OEHLEN Untitled, $800,000–1,200,000

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HENRI MATISSE Le Tiaré, $700,000–1,000,000

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GERHARD RICHTER Besen, $6,500,000–8,500,000

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LEE BONTECOU Untitled, $1,200,000–1,800,000

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MARC CHAGALL Les amoureux de Saint-Paul de Vence, $1,500,000 - 2,000,000

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Salman Toor, Two Friends, 2020. Modern & Contemporary Art Evening Sale, New York.

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Salman Toor

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Salman Toor’s (b. 1983) small-scale, oil-on-panel paintings depict the imagined lives of young, queer, Brown men navigating the dual landscapes of South Asia and New York: dancing in apartments, lounging on stoops, gathered around kitchen tables, or, in the case of Two Friends (2020), engrossed in the glow of a laptop screen. Tender and precarious, the subjects occupy a space between poise and uncertainty, the enjoyment of one another’s company and the contingent nature of shared screen time. This tension between private and public life is at the heart of Toor’s practice, and the artist continues to explore how the two domains blend.

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Toor’s institutional profile is remarkable for an artist of his generation. Following a landmark solo exhibition entitled How Will I Know at the Whitney Museum of American Art, New York, in 2021, his work entered the collections of the Metropolitan Museum of Art, New York, the Guggenheim Museum, New York, the National Gallery of Art, the British Museum, and the Pinault Collection, among many others. In 2025, Luhring Augustine presented Toor’s acclaimed solo show, Wish Maker, and his next major survey, Someone Like You, opens at the Courtauld, London, in October 2026.

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Anna Ancher

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Left: Anna Ancher, Harvest Girl (Høstpige), 1903–1911. Modern & Contemporary Art: Morning Session, New York. Right: Anna Ancher, On the Way to Church (På vej til kirke), circa 1928. Modern & Contemporary Art: Morning Session, New York.

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The only member of the storied Skagen Painters (Skagensmalerne) to have been born in the remote Danish fishing village, Anna Archer (1859—1935) holds a unique position in the history of both the movement and the environment that would define her practice. Her family’s inn, Brøndums Hotel, was the social center of the artists’ colony and a gathering place for artists from across Europe, as well as where Ancher absorbed the influence of plein air painting and developed a visual language of her own. She trained privately (women were denied enrollment at the Royal Danish Academy of Fine Arts until 1888), eschewing the dramatic seascapes and harbor scenes of her male contemporaries and instead rendering the women and children of her community with the coastal light that Jutland’s far north offered the artist so beautifully. On the Way to Church and Harvest Girl both demonstrate Ancher’s full command of psychological depth and commitment to imbuing her subjects with a luminous, Old Master-influenced resonance.

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Though a household name in Denmark, Ancher has only recently gained wider international attention. The Dulwich Picture Gallery mounted the first UK exhibition dedicated to the artist in 2025, along with a new catalogue of her work published by Simon & Schuster the same year. Her works are held in the collections of the Skagens Museum, Denmark, The Hirschsprung Collection, and the National Museum of Women in the Arts, Washington, D.C. Earlier this year, Young Girl Reading a Letter (Ung pige, der læser et brev) achieved over three times its high estimate at Phillips' Modern & Contemporary Art Sale in London, setting a new auction record for the artist.

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Pat Passlof

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Pat Passlof, Fortune, 1960. Modern & Contemporary Art Evening Sale, New York.

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Measuring seventy by seventy-seven and one-half inches, Pat Passlof's Fortune is substantial in scale and ambition, its dimensions aligning it with the heroic formats favored by her Abstract Expressionist contemporaries. Executed in the year preceding her 1961 solo exhibition at Richard Bellamy's Green Gallery in New York, the work marks the decisive consolidation of Passlof's transition from the biomorphic, shape-based vocabulary of the mid-1950s into the idiom of complete abstraction. It is a major canvas from Passlof’s most consequential period, when her work achieved the sustained all-over structure and chromatic sophistication that define her contribution to the second generation of the New York School. Preserving the integrity of each brushstroke, Passlof creates a surface that remains a visible record of the act of depositing pigment, balancing spontaneity and assurance within a disciplined planar structure. The inclusion of Passlof in this auction brings renewed attention to a pivotal figure in post-war abstraction. Offered for the first time at auction, and marking the artist’s debut in an Evening Sale, Fortune stands among the defining achievements of her early maturity.

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Emily Mason

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Emily Mason, Reactivated, 2013. Modern & Contemporary Art: Morning Session, New York.

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Emily Mason (1932—2019) grew up within the legacy of American abstraction: her mother, Alice Trumbull Mason, was a founding member of the American Abstract Artists, and her Greenwich Village home was frequented by the likes of Josef Albers and Joan Mitchell, yet the younger Mason’s artistic development and practice maintained her singular perspective for over six decades. She often poured mixtures of oil and solvent directly onto the canvas, creating unexpected harmonies and veil-like compositions, which she then structured into sensational works. Reactivated (2013) is characteristic of this approach: the shifting colors move across and over one another while still emerging from a shared space and navigating the canvas’s surface tension with wonderful spontaneity.

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In 2025, Rizzoli published Emily Mason: Unknown Possibility, the first comprehensive monograph of the artist’s life and work. Largely overlooked during the market’s boom years for Abstract Expressionism, Mason’s recent rediscovery has brought greater attention to her expansive practice, including exhibitions at Miles McEnery Gallery and the Bruce Museum, Greenwich, Connecticut. Among other institutional collections, her work is held in the National Academy Museum and the New Britain Museum of American Art.

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Lee Bontecou

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Lee Bontecou, Untitled, 1985–2001. Modern & Contemporary Art Evening Sale, New York.

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Lee Bontecou (1931–2022) is best known for her wall-mounted reliefs that combine biological and mechanical elements, set against an almost cosmic, otherworldly unease. One of the artist's few works on canvas and the culmination of a decades-long cycle of drawings, Untitled, 1985–2001— which toured three national museums in a major traveling retrospective between 2003 and 2004 — is her most important two-dimensional work ever to appear at auction. This luminous, expansive pastel composition, defined by sweeping wave-like forms, embodies Bontecou's notion of the "worldscape," where landscape, organism, and imagined terrain converge into a single field of energy and transformation, animated by the medium's capacity to gather and diffuse light across its surface.

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Lee Bontecou, Untitled, 1998. Modern & Contemporary Art: Morning Session, New York.

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First coming to art world attention at the height of Abstract Expressionism and Minimalism, Bontecou rejected affiliation with either movement, instead forging a practice shaped by Cold War anxiety, science fiction, and the natural world. Her works possess a startling physicality, balancing menace and elegance through intricate constructions in which the viewer’s gaze navigates around the work while being held by the gravity of a fixed point, often resembling an event horizon or black hole, as in Untitled (1998).

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After withdrawing from the public eye for decades and teaching at Brooklyn College from the 1970s through 1990s at Brooklyn College, Bontecou’s work was reintroduced to a new generation of audiences through a landmark retrospective at the Museum of Modern Art, New York, and the Museum of Contemporary Art, Chicago, in 2003 and 2004, respectively. Since then, interest in her work has grown considerably, and her work has been featured in recent group shows, including Through, Dusk at Ortuzar, New York, in 2025-26, and Sixties Surreal at the Whitney Museum of American Art, New York.

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Firelei Báez

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Firelei Báez, magnitude and bond, 2018. Modern & Contemporary Art: Afternoon Session, New York.

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Firelei Báez's (b. 1981) densely layered paintings reimagine the histories of colonialism, migration, and the Black diaspora through a vivid, fantastical visual practice. Born in the Dominican Republic and based in New York, Báez frequently transforms archival materials into scenes populated by mythological figures drawn from Caribbean folklore and Afro-Atlantic histories. Created for the acclaimed Joy Out of Fire exhibition organized by the Studio Museum in Harlem, magnitude and bond (the title references the closing line of Gwendolyn Brooks’s poem “Paul Robeson”) is awash with flame-like intensity, and the work marks a departure for the artist in how she examines her subjects and sources. Rather than being transformed into something mythological or abstract, the women’s forms closely correspond to historical photographs — the present dancers are unmistakably drawn from Katherine Dunham’s 1938 ballet L’Ag’Ya, a performance rooted in Caribbean dance traditions. As Báez explained in an interview with Hồng-Ân Trương: “I think the first instinct was that these were real women, and I wanted their real selves to be in conversation with the viewer.”

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Báez's first major solo exhibition in the UK was held at the South London Gallery in 2024, following acclaimed shows at the Institute of Contemporary Art, Boston, and the Wadsworth Atheneum Museum of Art. A mid-career survey of the artist’s works is currently on view at the Museum of Contemporary Art Chicago and the artist is currently exhibiting a solo show at Hauser & Wirth in New York from 12 May through 31 July.

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Cynthia Hawkins

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Cynthia Hawkins, The First to Arrive, 2021. Modern & Contemporary Art: Afternoon Session, New York.

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A scholar, curator, and painter in equal measure, Cynthia Hawkins has pursued a rigorous practice spanning over half a century. The artist first rose to prominence in the early 1970s as a mainstay in the burgeoning Black-owned gallery scene in New York, where she exhibited alongside artists like David Hammons at Linda Good Bryant’s Just Above Midtown gallery, where she also held her first solo show in 1981. Her paintings are composed of a highly personal network of signs, symbols, geometric contours, and calligraphic marks that draw on her early fascinations with totems, Cycladic figurines, cave paintings, and jazz improvisation. The First to Arrive (2021) exemplifies Hawkins’ monumental approach with two panels at nearly 100 inches in length, each featuring layered, chromatic forms that, despite their disparate placements, give the work a structure befitting its scale.

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In 2023, Hawkins received the Helen Frankenthaler Award for Painting. Two years later, she was included in the inaugural exhibition at the Studio Museum in Harlem, New York, and the Bienal de São Paulo, as well as a solo exhibition at Paula Cooper Gallery, New York. Hawkins is well represented in museum collections, including the Museum of Contemporary Art, Los Angeles, and the Bronx Museum of the Arts, New York.

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Leilah Babirye

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Left: Leilah Babirye, Abambowa (Royal Guard Who Protects the King), 2021. Modern & Contemporary Art: Afternoon Session, New York. Right: Leilah Babirye, Prince Ggamotoka from the Kuchu Royal Family of Buganda, 2021. Modern & Contemporary Art: Afternoon Session, New York.

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Leilah Babirye (b. 1985) transforms discarded materials into commanding, sculptural portraits that celebrate queer identity and community. Born in Uganda and based in New York, the artist draws on African carving traditions while incorporating found debris and objects into her works. Babirye’s sculptures reclaim language historically used to persecute and instill it with dignity and power, as seen in Abambowa (Royal Guard Who Protects the King), named after an elite warrior force tasked with protecting the Kabaka (King) and bound by a strict code of conduct and honor-bound duties. The rough-hewn surfaces of the sculptures and open-mouthed unison suggest the deep bonds and singular purpose of the subjects. Likewise, Prince Ggamotoka from the Kuchu Royal Family of Buganda stands with a royal posture and knowing gaze atop a plinth, as if surveying his territory.

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In 2023, the artist was the subject of a solo exhibition at the de Young Museum in San Francisco, and her work has since been included in the collections of the Whitney Museum of American Art, New York, the Hammer Museum, Los Angeles, and the Musée d’Art moderne de Paris. Recent exhibitions include Stephen Friedman Gallery, London, and Gordon Robichaux, New York.

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Adriana Varejão

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Adriana Varejão, Monocromo redondo Guan, 2014. Modern & Contemporary Art: Afternoon Session, New York.

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Among the most influential contemporary Brazilian artists to emerge in recent decades, Adriana Varejão (b. 1964) has built a practice that confronts the legacies of colonial violence. Her paintings and sculptural works are immediately recognizable for their cracked surfaces, which appear to split open, revealing visceral undercurrents. Drawing on the visual language of tilework, Baroque architecture, and decorative wall painting, Varejao exposes the tension between seduction and brutality that underlie Brazil’s cultural formation. Monocromo redondo Guan balances the artist’s meticulous craft with an unsettling beauty — the cool, circular field gives way to a venous web that spreads through the work before diminishing at the farthest reaches, like an incomplete circulatory system or rivers that end before finding a mouth.

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Varejão has been the subject of major retrospectives at the Museu de Arte Moderna de São Paulo and the Hispanic Society Museum & Library, as well as in museum collections including the Tate, London, and the Museum of Contemporary Art San Diego. Currently, Varejão is representing Brazil alongside Rosana Paulino at the 61st Venice Biennale.

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Discover more from Modern & Contemporary Art >

\n","publishDate","2026-05-07T17:57:59.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/168279748/artists-to-watch-spring-sings-in-new-york","auctionEditorialID",9207,"editorialID",5293,"flocklerID",168279748,{"_1797":1822,"_1799":86,"_1800":1823,"_500":1824,"_1803":1825,"_1805":1826,"_1807":1827,"_1809":1810,"_1811":1812,"_1813":1828,"_441":82,"_1815":1829,"_1817":1830,"_1819":1831},"https://flockler.com/thumbs/sites/889/o-keefe-lead-a9bda5e3-22dc-4c8a-9979-c6996e9326c1_s600x0.jpg","What nearly one hundred years of modern painting tells us about the roots of American visual culture. ","A Particular Time in a Particular Place","

Georgia O'Keeffe, Maple Leaves (recto) and Flowering Cactus (verso) (double-sided), 1925 and circa 1922. Modern & Contemporary Art Evening Sale, New York.

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There’s nothing like a stroll through history to leave us with new ways to see the world today. And across our upcoming Modern & Contemporary Art sales in New York, works from the Tanenbaum Family Collection offer us that compelling experience. Works from the same collection were recently offered in Phillips’ Modernism: Editions & Works on Paper auction in New York, where they were received with enthusiasm from collectors.

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The works from this collection on offer in the Modern & Contemporary Art sales can be seen as a small survey of modern American painting, charting a course from the Hudson River School to American Impressionism, Modernism, and beyond. They each serve as portals to another time, and the subtext is perhaps how early modern advancements enabled artists to connect with ideas emerging in different locations, to travel more widely and frequently, and to share ideas with each other from afar. Indeed, many of the artists in this selection shared personal connections, and all of them felt deep ties to the locations they both inhabited and depicted.

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Georgia O'Keeffe’s double-sided rarity

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Georgia O'Keeffe, Maple Leaves (recto) and Flowering Cactus (verso) (double-sided), 1925 and circa 1922. Modern & Contemporary Art Evening Sale, New York.

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A remarkable double-sided Georgia O'Keeffe canvas leads the selection, created during a period when the artist split her time between Manhattan and Alfred Stieglitz’s family estate in Lake George, New York. Curiously, in 1925, O'Keeffe returned to a circa 1922 floral study, painting an autumnal leaf on the alternate face. On both sides of this canvas, we discover her almost photographic sense of tight cropping, chromatic intensity, and the formal isolation that would anchor her place as a pioneer of American modernism.

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Georgia O'Keeffe in Lake George, New York, 1918. Photograph by Alfred Stieglitz. Image via Wikimedia Commons.

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Adding to the work’s allure, this canvas was first handled by Alfred Stieglitz’s landmark New York gallery, An American Place. The gallery served as a platform for O'Keeffe and the intimate circle of other artists Stieglitz championed, including Marsden Hartley and John Marin, who are also represented in the collection. For O'Keeffe, the two subjects across each side of this canvas are deeply emblematic of how she constructed an American visual identity and, in many respects, built towards the apex of American modernism. But to understand how she arrived here and how this national visual identity emerged, it’s helpful to revisit the origins of American visual language — the Hudson River School.

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Thomas Cole, George Bellows, and William Merritt Chase in New York

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Thomas Cole, Catskill Stream Autumn Foliage, 1828. Modern & Contemporary Art Morning Session, New York.

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Thomas Cole is widely considered the founding father of the Hudson River School, a movement that helped forge a distinctly American identity in visual art. Influenced by European Romantic painters like John Constable and J.M.W. Turner, these artists brought national sensibilities to their works, which often explored themes of exploration, settlement, and pastoral spirituality, rooted in the idyllic landscape of the Hudson River Valley. We see these themes clearly in this work by Thomas Cole. Painted in Catskill, New York, this inviting painting depicts the region’s iconic autumn foliage at its vibrant peak.

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William Merritt Chase, A Stormy Day at Bath Beach, Long Island, 1889. Modern & Contemporary Art Morning Session, New York.

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This William Merritt Chase scene, painted at Bath Beach in Brooklyn, shows how subsequent painters came to pivot away from the sensibilities of the Hudson River School. Chase, an American Impressionist painter, offers a direct study of light and reflection in this work, avoiding the overtly spiritual quality that so defined the Hudson River School works.

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There are interesting connections between Chase and other artists in this selection as well. He founded the Chase School, which later became the Parsons School of Design, and also taught at the Art Students League, where he encountered other iconic American artists who are represented in the collection during their student years, including Georgia O'Keeffe, George Bellows, Robert Henri, and Charles Sheeler.

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William Merritt Chase with Parsons School of Design students. Image via Wikimedia Commons.

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George Bellows, Miss Ruth, 1920. Modern & Contemporary Art Morning Session, New York.

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In subsequent reaction to the work of the American Impressionists, a group of artists emerged known as the Ashcan School. Led by Robert Henri — whose star student was George Bellows — their approach was more in the vein of American realist painting, refusing to shy away from the rougher edges of modern life.

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This 1920 portrait by George Bellows, painted in Woodstock, New York, is a prime example of this novel concept. Her gaze greets us with an almost uncomfortable intensity, the imperfections of her skin and clothing depicted boldly. Characteristic of Bellows’ approach to portraiture, the high-contrast, dark background echoes many of the artist’s European influences, including Velázquez, Hals, and Goya. But most tellingly, he presents an ordinary person as subject, privileging the psychological depth of the portrait over the Impressionists’ leanings toward elegant depictions of the leisure class.

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Robert Henri in Pennsylvania

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Robert Henri, The Rain Storm-Wyoming, 1902. Modern & Contemporary Art Morning Session, New York.

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A collection of American art from this era would be incomplete without the work of Robert Henri, who was perhaps the most defining voice of American Realism. This depiction of an impending storm, painted in Wyoming Valley, Pennsylvania, is a shining example of Henri’s approach to landscape. Executed in a bold and gestural style, the atmospheric work captures the spirit of the place — one can almost feel the shifts in air pressure and the gusts of wind in this wide open valley. For Henri, imparting the sensation of the overwhelming power of nature was as important as its sight.

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Robert Henri with his students, circa 1911.

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In Henri’s later portrait, Teresa, we find resonance with Bellows’ above portrait. Here, Henri also presents a direct gaze, and he boldly executes, and perhaps accentuates, his subject’s flushed cheeks and wrinkled, faded clothing, but her faint smile and slightly askew hair are cheerfully defiant. Again, we get a sense of which social class this subject might belong to, and it is one that Henri must have felt was being overlooked by his contemporaries. Henri and his followers painted what they saw, exploring the margins of society in ways that challenge our assumptions and resonate with a wide range of later American artists, from figures like Diane Arbus to the street culture of Jean-Michel Basquiat and Keith Haring.

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Robert Henri, Teresa, 1924. Modern & Contemporary Art Morning Session, New York.

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Thomas Eakins and John Marin in New Jersey

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Thomas Eakins, Study for The Meadows, Gloucester, New Jersey, 1882. Modern & Contemporary Art Morning Session, New York.

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Thomas Eakins’ approach to Realism, coming several decades before Henri and Bellows, was rooted in a quest for truth, exemplified by his anatomical studies as a student. In this landscape study, painted in Gloucester, New Jersey, we can observe the artist precisely working out the reality of perspective, depth, and atmosphere.

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His portrait, A Spanish Woman (Dolores), likely painted in Seville, Spain, during a stint the artist spent in the country from 1869 to 1870, offers an interesting contrast to Henri and Bellows’ later portraits. Here, careful attention is paid to the anatomical structure of the subject’s face and torso and the play of light and shadow. Unlike the direct, confrontational gazes favored by Henri and Bellows, her eyes are cast into the distance. The reality Eakins depicts is one of objective, physical truth rather than an exploration of hidden psychologies.

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Thomas Eakins, A Spanish Woman (Dolores), 1870. Modern & Contemporary Art Morning Session, New York.

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John Marin, Sea Fantasy No. 1, 1942. Modern & Contemporary Art Morning Session, New York.

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New Jersey-born artist John Marin is celebrated for his semi-abstract watercolor landscape paintings, and was also closely associated with the circle surrounding Alfred Stieglitz and Georgia O'Keeffe. At the time the artist painted this 1942 seascape, he was living and working between New Jersey and Cape Split, Maine, and this remarkable work captures the explosive energy of the sea and the myriad colors that reflect off its surface. Visually, we can place this scene in either New England or New Jersey, and indeed, the artist may have drawn from his intimacy with each setting.

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John Marin. Photograph by Alfred Stieglitz, circa 1911. Image: Art Institute of Chicago, Alfred Stieglitz Collection, 1949.712

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Maurice Brazil Prendergast and Marsden Hartley in New England

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Maurice Brazil Prendergast, Salem, 1916. Modern & Contemporary Art Morning Session, New York.

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Also associated with the loose group of artists surrounding Robert Henri, Prendergast’s work showcases a distinctive and personal Modernist voice. He did much to introduce Modernist aesthetics to the United States, including acting as an organizer of the 1913 Armory Show. The above depiction of a landscape scene in Salem, Massachusetts, is highly characteristic of his colorful, mosaic-like imagery of figures relaxing in nature. Depicted in light, airy strokes, this charming work invites us to imagine its narrative.

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Marsden Hartley, Snow Capped Mountains, 1941. Modern & Contemporary Art Morning Session, New York.

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In contrast, Marsden Hartley’s 1941 depiction of his beloved Mt. Katahdin, executed when the artist lived in Maine during his later years, showcases the large, heavy brushstrokes that are emblematic of his late style. Having experienced personal tragedy by the time he painted this work at 64, Hartley seemingly found relief in depicting this colossal mountain, and in the endurance and strength it represents.

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Marsden Hartley on the banks of the Androscoggin River at Lewiston, Maine, circa 1911.

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Across these works, we find not just a multitude of approaches to painting but a loose narrative of the progression of Modernism in American visual culture. Each work is fully present in its own way in its own time and place, but from our vantage point more than a quarter of the way through the 21st century, there's perhaps another loose connection hiding in plain sight. We can sense across these works — spanning the 1820s up to the precipice of the Second World War — just how much modern life seems to move ever faster with each passing year. And the transcendent experience of viewing these works all together gives us the space we need to slow it down, offering us visions of places we may know well but can now see through different eyes in an era as much like our own as it isn’t.

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Phillips’ spring auctions of Modern & Contemporary Art will be on view from 9 May 2026 at 432 Park Avenue.

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Discover more from Modern & Contemporary Art >

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\n","2026-04-22T20:34:12.000000Z","Jesse Limbacher","https://www.phillips.com/article/167850704/a-particular-time-in-a-particular-place-modern-american-painting-auction-may-2026",9208,5278,167850704,{"_1797":1833,"_1799":86,"_1800":1834,"_500":1835,"_1803":1836,"_1805":1837,"_1807":1827,"_1809":1810,"_1811":1812,"_1813":1838,"_441":365,"_1815":1839,"_1817":1840,"_1819":1841},"https://flockler.com/thumbs/sites/889/loeb-collection-mca-ny-lead-50481e86-d95e-4099-9309-cd444dd61711_s600x0.png","Ambassador John L. Loeb, Jr. on the unique brilliance of Danish art and the mission that went beyond his post. ","A Mandate of Light ","

Vilhelm Hammershøi, Courtyard Interior at Strandgade 30 (Gårdinteriør. Strandgade 30), circa 1905. Modern & Contemporary Art Evening Sale, New York.

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As U.S. ambassador to Denmark during the 1980s, John L. Loeb, Jr. expressed his admiration for his host nation through a remarkable collection of 19th century Danish art. The works span expansive landscapes, intimate domestic interiors, and seascapes bathed in Nordic light, as well as vivid portraits and scenes of daily life in the capital and countryside. It is within this grand survey that Ambassador Loeb recalls how Denmark's essence revealed itself to him, completely and quietly, through the eyes of its artists, and how, in the decades since, the country and its Golden Age continue to inspire reflection. Read our full interview with Ambassador Loeb below, and browse the full complement of works from the collection in our Modern & Contemporary Art Evening and Morning sales this May in New York.

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Jeremiah Evarts: When you first arrived in Copenhagen and walked the halls of Rydhave, what did you feel in those quiet evenings?

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Ambassador John L. Loeb, Jr.: I arrived in Denmark, excited to begin this new adventure as the U.S. Ambassador to this wonderful country. And, unlike other countries in Europe, a place I didn’t know much about when I began my tour there.

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I spent my first evening in Denmark with my children. Alexandra was about to go into her second year at Harvard, and Nicholas was six years old. After they went to bed that night, and during the next few days, I would walk through the house to clear my thoughts after extremely busy days. My evenings ended quietly, and my thoughts would drift to the empty walls of this big home.

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Vilhelm Hammershøi, Interior with Windsor Chair at Strandgade 25 (Interiør med windsorstol. Strandgade 25), 1913. Modern & Contemporary Art Evening Sale, New York.

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I grew up in a similar house full of beautiful art, and I immediately thought about what American Art I would want to put on the walls. While I was living in the States, I had, in fact, started to collect contemporary American art. So I have to admit, my first plan was to fill the empty walls with American art.

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Of course, Jeremiah, as fate would have it, and as you well know, that idea soon changed; otherwise, I wouldn’t be sitting here with you today as the largest collector in the world, outside the Danish museums, of Danish art.

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Vilhelm Hammershøi, The Church of St. Peter, Copenhagen (Petri Kirke set fra Larslejstræde, København), circa 1906. Modern & Contemporary Art: Morning Session, New York.

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JE: You’ve written that being alone led you into art galleries and to friendships with Danish artists. Can you tell me about that turning point? And how did Jacob Asbæk’s gallery open a new world for you?

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AL: The second weekend I was in Copenhagen, I went to Jacob Asbæk gallery by myself — I had heard it was one of the foremost contemporary art galleries in Denmark. I found a lot of young people there — all friendly — all involved in art: Artists, art collectors, art students — it ran the entire gamut.

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His gallery opened up a new world for me — a Danish World. I felt comfortable in this environment of warm conversation, light drinks and light food. I felt drawn to be a part of it. I had already begun buying art in the States, both in New York City, Palm Beach, and in London. I wanted to learn more about Denmark, I wanted to learn more about the Danish people and their art.

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Christian Mourier-Petersen, Ironing Room in an Old Country Mansion (Strygestue i en gammel gård på landet), 1891. Modern & Contemporary Art: Morning Session, New York.

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JE: When you began receiving catalogues from Bruun Rasmussen, what was it that drew you to 19^th-century Danish painting, as opposed to the contemporary art you first encountered?

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AL: After I began living in Denmark, I started to receive catalogues of 19th century Danish art from Bruun Rasmussen auction house. At that time, they were the premier auction house for art and collectibles in Denmark. Having heard I was a lover of art, they reached out to me to encourage my interest in their auction house.

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I was immediately drawn to their beautifully prepared catalogues. The art itself was also beautiful. It was art I felt comfortable with, and comforted by. It was art I could live with every day. It was art I wanted to live with every day. Contemporary art did not resonate with me. I bought 19th century Danish art quite simply because I liked it. I never felt that way about contemporary art.

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It wasn’t a cerebral decision; it was a visceral one. I lived all of my adult life in a high-powered environment, so when I stepped into a room of Danish art — I stepped into a quiet, calm space. It made such an impact on me.

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P. S. Krøyer, Self-Portrait, Sitting by His Easel at Skagen Beach (Selvportræt, siddende ved staffeliet på Skagens strand), 1902. Modern & Contemporary Art Evening Sale, New York.

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JE: You’ve said Hirschsprung became your ‘mentor,’ though he’d been dead for 75 years. What did you learn from his collection that guided your own?

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AL: A few weeks after the Bruun Rasmussen catalogues arrived at the Embassy, I was invited to visit the Hirschsprung Museum. It is a museum which is similar to the Frick in New York City. This understated, though substantial, building housed magnificent examples of 19th century Danish art that have acted as the conduit through which Mr. Hirschsprung guided me from the grave, in my collecting, all these years. His great eye for 19th century Danish art was the standard to which I aspired in my collecting.

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Harald Slott-Møller, Summer Day (Sommerdag), 1888. Modern & Contemporary Art: Morning Sale, New York.

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JE: Your decision to focus on artists represented in the Hirschsprung Collection gave you a kind of compass. What did that discipline mean to you as a collector?

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AL: After my first visit to the Museum, I would go back many times to study the works Hirschsprung collected. The discipline Hirschsprung’s collection provided me kept my collecting on track, as I rarely collected any Danish artists who were not represented in his collection.

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Over the years, I’ve acquired more than 200 works of Danish art. Of that total, I have probably owned only six artists (including non-Danish ones) who were not represented in his collection.

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Anna Ancher, Harvest Girl (Høstpige), 1903—1911. Modern & Contemporary Art: Morning Session, New York.

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JE: You wrote that your collection began simply because you were alone. How did art become companionship for you during those years?

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AL: At first, I did not expect that my buying Danish Art would turn into a major passion. I began buying Denmark’s art because it gave me a way to learn about the country, its people, and its culture. It was even a history lesson at times, especially once I fell in love with 19th century art, instead of its contemporary counterpart. I sought out books — of course, written in English — about that period of art and about the well-known artists who painted during that era.

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Later, when my collection became truly substantial, I commissioned some of the top Danish scholars of the 19th century to write the text for the catalogue of my entire collection. It has become a treatise that art students now look to for scholarly texts on the artists of that period. This is something that I am very proud of because I have contributed to the scholarly learning of Danish art that can be used outside of Denmark by those who want to know more about this beautiful Scandinavian art.

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Vilhelm Hammershøi, Landscape Study from Haraldskær Paper Mill by the Stream in Vejle (Landskabsstudie. Fra Haraldskær Papirfabrik ved Vejle å), 1883. Modern & Contemporary Art: Morning Session, New York.

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Vilhelm Hammershøi, Landscape with a Row of Trees (Landskab med en række træer), circa 1880. Modern & Contemporary Art Evening Sale, New York.

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Michael Ancher, The Old Garden House, summer 1914 (Det gamle Havehus, sommer 1914), 1914. Modern & Contemporary Art: Morning Session, New York.

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JE: You’ve described your Danish collection as the largest outside Denmark’s museums. What do you hope people feel when they stand before these works?

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AL: I hope when they stand before an exhibition of my works, they’ll sense the beauty in the people and the land — the countryside, the seaside, and the cities — that I feel when I look at these paintings.

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P. S. Krøyer, Portrait of the Artist's Wife Marie (Kunstnerens hustru Marie), circa 1889. Modern & Contemporary Art: Morning Session, New York.

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JE: What does it mean to you for this collection to now be seen by the world beyond Denmark?

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AL: Of course, I hope the auction will be a success, and that these works, which I have grown to love, will be shared by those who acquire them after me.

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I also hope the upcoming auction will continue to shine a light on the artists of this wonderful Scandinavian country and highlight their paintings of this particular period, which I so love. I hope it will encourage more interest in Denmark’s art, its people, and its land.

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\n","2026-04-30T17:56:13.000000Z","https://www.phillips.com/article/168077899/a-mandate-of-light",9209,5285,168077899,{"_1797":1843,"_1799":86,"_1800":1844,"_500":1845,"_1803":1846,"_1805":1847,"_1807":1827,"_1809":1810,"_1811":1812,"_1813":1848,"_441":369,"_1815":1849,"_1817":1850,"_1819":1851},"https://flockler.com/thumbs/sites/889/priority-bidding_3_2-8454aef4-84a3-4957-8b6e-e8712a4dcb8b_s600x0.jpg","How to save up to 4% with Priority Bidding — exclusively at Phillips.","Priority Bidding 101","

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中文閱讀

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What is a Priority Bid?

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Priority Bids are written, binding bids that must be placed no less than 48 hours in advance of an auction’s start time. The bid must be equal to or greater than the lot’s published low estimate and placed using Phillips’ absentee bid forms.

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Bidders who have placed Priority Bids ahead of the auction, if they are the winning bidder and satisfy the other conditions of Priority Bidding, will benefit from a Buyer’s Premium rate which is significantly lower than the Buyer’s Premium rate otherwise. This benefit applies whether their winning bid is at the amount of their early Priority Bid or a higher bid placed subsequently by them bidding live in the auction.

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The new Buyer’s Premium structure featuring Priority Bidding rates is effective from 1 September 2025 and applies to all live auctions in the Fall 2025 season and for all categories, excluding Watches.

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Watch auctions (both live and timed online auctions) will continue using the same Buyer’s Premium rates that applied in the spring 2025 sale season and will not be eligible for Priority Bidding. Details of these rates can be found here.

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Timed online-only auctions will be subject to the new standard Buyer’s Premium rates and are not currently eligible for Priority Bidding. You can find details of these rates here.

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How do I place a Priority Bid?

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To be eligible for a lower Buyer’s Premium through the scheme, you must leave a written bid at least 48 hours before the auction. The bid must be a written absentee bid.

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Submitting Priority Bids is simple:

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• Complete Phillips’ Absentee Bid Form with details of the Absentee Bid(s) you want to submit. You can download and complete the Bid Form here.

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• Ensure your written absentee Bids are at or above the published low estimate of the Lots you are bidding on.

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• Sign and send the form to Phillips’ Bids Department in the auction location before the 48-hour pre-auction cut-off. Forms can be emailed using the contact details found below.

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Please note that Priority Bids cannot be cancelled.

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Bids New York
\nbidsnewyork@phillips.com
\n+ 1 212 940 1228

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Bids London
\nbidslondon@phillips.com
\n+ 44 20 7318 4045

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Bids Hong Kong
\nbidshongkong@phillips.com
\n+ 852 2318 2029

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Bids Geneva
\nbidsgeneva@phillips.com
\n+ 44 20 7318 4045

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Bids Paris
\nbidsparis@phillips.com
\n+ 44 20 7318 4045

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If you satisfy the criteria for a qualifying Priority Bid, you will receive an email confirmation from Phillips’ Bids Department in the auction location, acknowledging your Priority Bids.

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More questions? View the full FAQ, including sample scenarios, or contact the bids team to discuss further.

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Learn more about Priority Bidding >

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\n","2025-09-03T19:11:05.000000Z","https://www.phillips.com/article/161930391/priority-bidding-101",9210,5033,161930391,{"_1797":1853,"_1799":86,"_1800":1854,"_500":1855,"_1803":1856,"_1805":1857,"_1807":1808,"_1809":1810,"_1811":1812,"_1813":1858,"_441":286,"_1815":1859,"_1817":1860,"_1819":1861},"https://flockler.com/thumbs/sites/889/tina-hills-tribute-lead-e5d12c9c-879d-4710-9e93-4bd2d5b6af5a_s600x0.jpg","A magnetic passion for art and civic leadership made Tina Hills the perfect match for the city that continues to honor her today. ","A Vision Come to Life","

Tina with the editorial and vice presidents of El Mundo, WKAQ radio, and Telemundo in San Juan.

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This spring and throughout the auction year, Phillips will offer A Life in Color: Property from the Estate of Tina Hills across a series of sales in New York. Hills, an influential figure in Miami and beyond, helped shape the city’s cultural landscape through decades of civic engagement and philanthropy. That legacy continues today and holds a special place in the city's future, as Suzanne Delehanty, Founding Director of the Miami Art Museum, now the Perez Art Museum, eloquently captures.

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Thirty-one years ago, I moved to Miami to head up the fledgling Center for the Fine Arts (CFA). To my good fortune, Tina Hills was a member of the CFA's board. For more than a decade, I had the privilege of working with Tina and other community members in transforming the CFA into the flagship art museum for the greater Miami community. Many thought this aspiration was an impossible dream. But Tina believed in dreams.

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An incomparable civic leader and philanthropist, Tina showed up year after year. She joyfully joined students, artists, and other citizens in attending countless community town halls and city and county commission meetings to champion the vision of a museum for all in Miami. Few could resist Tina's radiant smile, melodious voice, sparkling brown eyes, and keen intelligence. She simply brought out the best in everyone.

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Tina and Lee Hills with a friend.

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In 1996, CFA set out to become a collecting institution and was renamed the Miami Art Museum (MAM). Creating the foundation for the museum's collection was my charge. I immediately asked Tina and Lee for one painting from their nationally admired collection. I will never forget Tina's response: “But, darling, you need more than one. What about our Helen Frankenthaler as well.” The Hills set a high bar — for quality, for generosity, for what it meant to believe in a museum’s future.

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Tina & Lee Hills with Helen Frankenthaler's Blue Jump, 1966. Collection Pérez Art Museum Miami.

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Later, when MAM needed to mount a campaign to secure a waterfront site from the City of Miami and Miami-Dade County bond funding for a new museum building, Tina and Lee were among the first patrons to contribute to the MAM Leadership Fund. Once again, the Hills’ commitment was a magnet for other patrons to join in realizing the dream.

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Now, thirty years later, the Miami Art Museum — known today as the Pérez Art Museum Miami — is housed in an award-winning building designed by Herzog & de Meuron on one of the most beautiful waterfront sites in the Western Hemisphere, welcoming hundreds of thousands of residents and visitors of all ages and speaking many languages each year.

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The museum sits just blocks away from the Tina Hills Pavilion and the Lee and Tina Hills Playground. Tina’s name graces those spaces, but her incandescent spirit lives in the museum — a dream she helped will into being with her generosity, joy, and love of art.

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Suzanne Delehanty
\nFounding Director, Miami Art Museum

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4 March 2026

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Discover more from A Life in Color: Property from the Estate of Tina Hills >

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18

Wayne Thiebaud

Self-Portrait

Further Details

Full-Cataloguing

Wayne Thiebaud