John McCord
\nHead of Day Sale, Morning Session, New York
\n+1 212 940 1261
\njmccord@phillips.com

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\n6–17 November 2021
\nMonday-Saturday 10am-6pm
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ANNE TRUITT Spring Dryad, 1975

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ROBERT INDIANA LOVE (Blue/Red), 1966-1999

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MILTON AVERY Green Sea, 1948

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ROBERT MANGOLD Four Triangles Within a Square, 1976

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BERNAR VENET 221.5° Arc x 15, 2007

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FRANK STELLA Jarmolince III, 1973

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BRICE MARDEN Letter of Gratitude #8, 2007

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ALEX KATZ Black Ada and Island, 1987

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KENNY SCHARF Staticontrol, 1990

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Anne Truitt, Spring Dryad, 1975. 20th Century & Contemporary Art.

\n\n

Ahead of Phillips' 20th Century & Contemporary Art Day and Evening Sales, we look at a group of artists whose visionary works have slipped through the cracks of mainstream art history. Whether they've been recently reexamined or are currently on the rise, the joy of discovery and new perspectives inform each work in the below selection.

\n\n

Anne Truitt

\n\n

Spring Dryad (1975) is the concluding work of a series of four sculptures that began with 1971's Summer Dryad, each titled after a season. Spring Dryad’s pillar-like shape had become a hallmark of Truitt’s work by the 1970s. She painstakingly painted, sanded, and repainted layers of acrylic onto the surfaces of her wooden pillars by hand to achieve a uniform sheen and precise hue. It is this interplay between form and feeling — between the apparently Minimalist abstraction of Truitt’s sculptures and their decidedly un-Minimalist materials and explorations of interiority — that sets her apart from her milieu. Spring Dryad embodies the raw, gentle beauty of its associated season and magnificently illustrates Anne Truitt’s sculptural practice.

\n\n

Why Now: After a 2017-18 retrospective at the National Gallery of Art, Washington D.C., interest in Truitt's timeless sculptures revived, culminating with a long-term exhibition of works in Dia Art Foundation’s in Beacon, and is posed to set an auction record for one of the artist's works.

\n\n

\n\n

Jo Baer, Untitled, 1964-68. 20th Century & Contemporary Art.

\n\n

Jo Baer

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Jo Baer has been a leading figure in American Minimalist painting for over fifty years. Her practice of non-objective painting in the 1960s led to a series of white canvases with starkly colored edges, of which Untitled (1964-68) serves as a prime example. A highly discursive painter, Baer engaged with notions of minimalism as defined by contemporary critics, drawing upon her scientific training and literary works by Samuel Beckett to form a view of the style as being rooted in a liberating resilience. Baer further developed her practice through "radical figuration," a concept employing fragmented images to maintain the openness of discourse.

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Why Now: Despite a 1975 retrospective at the Whitney Museum of American Art, Baer's work has often been overlooked. However, in 2019, Pace Gallery announced its representation of the artist. Recently, Pace Gallery hosted two successful solo shows of the artist at the end of 2020, and is planning further exhibitions for 2022 in Geneva and New York. Untitled is the first painting by Baer to come to auction in six years.

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Leonor Fini, Girl with Shells, 1947. 20th Century & Contemporary Art.

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Leonor Fini

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Most closely associated with Surrealism, though fiercely independent, Leonor Fini's portrayals of women pushed conventional boundaries. The list of Fini's collaborators, contemporaries, and artists she influenced include Jean Cocteau, Man Ray, Salvador Dalí, Albert Camus, Jean Genet, and Federico Fellini. Girl with Shells (1947) comes to auction from the collection of another exemplary modern woman, former Harper’s Bazaar as editor-in-chief Carmel Snow, who commissioned the piece for the November 1947 edition of the magazine.

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Why Now: Fini was the focus of a blockbuster exhibition at the Museum of Sex, New York, in 2018, along with a New York Times profile that same year. An auction record was set in May of this year at $2,319,000 for Autoportrait au scorpion (1938), cementing Fini's turn from forgotten artist to headline figure.

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Reggie Burrows Hodges, On the Verge: Green, 2020. 20th Century & Contemporary Art.

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Reggie Burrows Hodges

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Reggie Borrows Hodges excavates themes of identity and memory, often drawing from his childhood experiences in Compton. Straddling abstraction and figuration, his portraits depict faceless figures emerging from hazy narrative scenes that address the relativity of perception and the human relationship to one’s environment. By employing a black ground for his paintings, Hodges looks to Color Field masters including Milton Avery, Helen Frankenthaler, and Mark Rothko, while “dealing with blackness’s totality.”

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Why Now: His highly acclaimed debut solo show at Karma, New York earlier this year has fueled interest in the artist’s work, leading to Hodges’ auction debut with Phillips London in October when his For the Greater Good achieved £441,000 — soaring over 15 times its low estimate. Building on this momentum, the Centre for Maine Contemporary Art, Rockland will host Hodges’ first institutional solo exhibition in 2022.

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Peter Saul, Icebox #3, 1961-62. 20th Century & Contemporary Art.

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Peter Saul

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Though widely known as one of Pop Art’s founding fathers, Peter Saul has always evaded easy categorization in the art world. At once humorous and macabre, Saul’s visual approach to issues of consumer madness, crime and punishment, and political corruption is as shocking as it is wildly inventive. Fusing Abstract Expressionism, Pop, and Surrealism, his singular aesthetic has long been commended by those who share his maverick sensibility, such as KAWS, and his precocious oeuvre is now gaining the appreciation of wider audiences.

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Why Now: Saul received his long overdue first New York museum survey at the New Museum from 2020 to 2021, marking a renewed critical interest in his work. This past July, the artist was also the subject of an extensive profile in the New York Times Style Magazine, entitled “Peter Saul Doesn’t Want Any Advice.”

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Richmond Barthé, Stevedore, 1986. 20th Century & Contemporary Art.

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Richmond Barthé

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A leading figure in the Harlem Renaissance, Richmond Barthé's works showcase a quality of workmanship that is only recently becoming a major focus point for critics. A devout Catholic, the artist imbued his sculptures with what he called a "spiritual quality I see and feel in people..." The artist's use of sculpture borrowed from classical forms in a manner art historian Margaret Rose Vendryes describes as "part of his expressive camouflage in that male nudes based on classical models or themes made the articulation of his homosexuality possible." Barthé retreated from his fame in 1947, leaving New York for Jamaica, where he continued to make work. By the time he returned to the United States in 1977, he was impoverished, and unable to collect benefits, despite being commissioned to sculpt the eagle statue which stood in front of the Social Security Building in Washington, D.C. Such injustice would prohibit the artist from receiving the recognition he deserved, making him one of the most under-appreciated African American artists of his generation.

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Why Now: A major traveling retrospective beginning in 2010 and culminating earlier this year in March 2021 has recently shed light on the artist’s most celebrated sculptural works. In June 2020, a new auction record of $629,000 was achieved for Barthé's Feral Benga (1935-6). Stevedore is one of his most iconic forms, exemplifying the full spectrum of the artist's attention to form, essence, and spirit.

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Lee Lozano, No Title, 1969. 20th Century & Contemporary Art.

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Lee Lozano

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In 1969, Lee Lozano gradually withdrew from galleries and agents "in order to pursue investigations of total personal and public revolution." Prior to her disengagement, Lozano had been a fixture in the New York art scene, and from then on, she only exhibited works in public forums. She continued to push the boundaries of conceptual art with a 27-year-long project Decide to Boycott Women (1971), in which she refrained from speaking to other women. Lozano's simultaneous rejections of capitalism, patriarchy, and their intertwined relationships with the art world give her conceptual works a heightened degree of intensity.

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Why Now: Lozano's radical measures were undoubtedly why her work was quickly forgotten after the 1970s, making the revived interest in her practice a welcome turn. Jo Applin's 2018 Not Working was the first in-depth study of Lozano's work, and the artist has been the subject of critically acclaimed solo exhibitions at Fruitmarket Gallery, Edinburgh, and Hauser & Wirth, Somerset over the past few years. Earlier in 2021, Karma published a comprehensive monograph to coincide with the exhibition Lee Lozano: Drawings 1959–64.

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Martin Wong, WACO Studio Loft, circa 1975-78. 20th Century & Contemporary Art.

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Martin Wong

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Martin Wong's gritty style illustrates a keen attention to the urban landscape of 1980s New York City. Works like WACO Studio Loft (circa 1975-78) demonstrate Wong's use of abstract and representational forms to striking effect demonstrate Wong's combination of ambiguity and representational forms to striking effect. Wong was diagnosed with AIDS in 1994, after which he moved back to his home city of San Francisco before his untimely passing in 1999. His paintings have become nostalgic glimpses of the romance and desire of a downtown New York that is no longer.

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Why Now: A 2017 solo exhibition at the Bronx Museum of the Arts and a publication by the K11 Art Foundation in Hong Kong have brought Wong's work to new, international audiences. The artist’s auction record was achieved in 2021 for Persuit (El Que Gane Pierde - He Who Wins Looses) (1984), which achieved $1.1 million in September, following a sold-out exhibition at P.P.O.W. Gallery, New York, that amplified and renewed public and market interest in the painter's work.

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Tom of Finland, Eleven works: (i-xi) Untitled (Motorcycle Series), 1959-60. 20th Century & Contemporary Art.

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Tom of Finland

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Tom of Finland's subjects, or “Tom’s Men”— all bulging pectorals, washboard abs, and chiseled jawlines, scantily clad in uniforms or tight leather and jeans — formed the archetypal images of gay culture in the latter half of the 20th century. From their origins as pictures passed between friends and lovers to their status today as a homoerotic lingua franca, the artist's drawings portray a radical vision for their time: a world not simply normalizing but celebrating the trappings of gay desire and masculine fantasy.

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Why Now: The artist has been honored in a series of international exhibitions this year, celebrating what would have been the artist’s 100th birthday. His influence on generations of artists was discussed in a feature in The New York Times last year. The 11 drawings that comprise the Motorcycle Series, some of the finest examples of the artist’s work, form a complete narrative that could potentially achieve over double the current record price for the artist and marks the first time a serial story by the artist has ever been offered at auction.

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Discover More from 20th Century & Contemporary Art >

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Global Gallery Tour 20th Century & Contemporary Art

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Join us on a virtual global gallery tour of Phillips’ upcoming 20th Century and Contemporary Art auction being held in our brand new, state-of-the-art gallery at 432 Park Avenue in the heart of New York City.

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Recommended Reading

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Max Ernst Among the Stars >

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Georgia O'Keeffe: Hawaii and Beyond >

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Auguste Rodin, Trois ombres, Taille de la Porte dite aussi 'Moyen Modèle' — variante, 1981-82. 20th Century & Contemporary Art Day Sale - Morning Session.

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Classical forms and more contemporary interpretations meet in Phillips 18 November 20th Century & Contemporary Art Day Sales. Here, we pair five Modern bronzes by Auguste Rodin, Aristide Maillol, and Henry Moore coming from an Important Private Japanese Collection with contemporary works that offer striking examples of balance, counterpoint, and interplay.

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Left: Auguste Rodin, Trois ombres, Taille de la Porte dite aussi 'Moyen Modèle' — variante, 1981-82. 20th Century & Contemporary Art Day Sale - Morning Session. Right: Tony Cragg, Runner, 2011. 20th Century & Contemporary Art Day Sale - Afternoon Session.

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Pairing 1: Auguste Rodin & Tony Cragg — Pushing Onward

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Trois ombres depicts three identical male figures radiating from a single point where their left arms converge. Originating as three separate casts, the repeated figure likely evolved from an early study of Adam, which drew from Michelangelo’s Study for a Pietà in its bodily composition and hyper-defined flesh. The present work is an enlarged version of the three identical casts crowning the lintel of The Gates of Hell, looming above the scenes from Dante’s Inferno. In Inferno, the shades (ombres, or souls of the damned) stand at the entrance to Hell, pointing to the disconsolate inscription: “Abandon hope, all ye who enter here.” Dante wrote, “They all three made of themselves a wheel.” Thus, Rodin’s figures represented three recently dead souls, looking down in terror at the tormented melee into which they were about to be thrown.

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"Runner," Tony Cragg said, "gives me that feeling that you get at the moment when you think that you know where you are going but you suspect that you may be running in the wrong direction." The shared physicality of movement along an axis, whether through the spiraling double helix or the meeting point of the figures' hands, opens each piece into deeper emotional landscapes, with themes of repetition, points of no return and, crucially, persistence. Runner then offers an unexpected complement to Trois ombres through its dervish-like quality, as its kinetic energy increases through upward movement, while the ombres cast a downward thrust into their fates.

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Left: Aristide Maillol, Torse de l'Eté, circa 1972-75. 20th Century & Contemporary Art Day Sale - Morning Session. Right: Anne Truitt, Spring Dryad, 1975. 20th Century & Contemporary Art Day Sale - Morning Session.

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Pairing 2: Aristide Maillol & Anne Truitt — Rites of Spring

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A contemporary of Rodin, Aristede Maillol shifted away from the despaired subjects and contorted figures of Rodin, gradually moving toward a more archetypical form of sculpture, epitomized in Torse de l’Eté. Maillol's practice sought to preserve and purify the classical sculptural tradition of the body, allowing for the work's physical presence to take precedent. The "Torso of Summer" is a robust representation of the season, carrying volume in its life-size scale, and displaying a languid posture with an extended hip as if bearing with break in a humid day.

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Anne Truitt's Spring Dryad similarly departs from its conceptual milieu in favor of expressing meaning through its visual language of color and sensation. The sculpture modernizes the form through a radiant pink pillar topped by a thin band of green, embodying the gentle beauty of its associated season. The word dryad refers to a female figure in Greek mythology who inhabits a concentrated form of nature, typically a tree, and appearing in art and literature as a type of semi-human allegory or spirit that is difficult to grasp. Beyond the seasonal inspiration, both pieces share a common potentiality of movement through time and place — where Torse de l’Eté resonates with a corporeal freedom, Spring Dryad presents that same essence in its embryonic form; that of lightness discovering its full capacity.

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Left: Auguste Rodin, Balzac, étude de nu type F dite aussi 'étude en athlète', 1971. 20th Century & Contemporary Art Day Sale - Morning Session. Right: Vanessa German, a stunning rebuke to the manufacture of your benevolence by the fat negro sculpturess v.german upon the rape of her bountiful wholeness., 2016. 20th Century & Contemporary Art Day Sale - Afternoon Session.

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Pairing 3: Auguste Rodin & vanessa german — A Call to Action

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A voracious reader, Rodin intensely studied Honoré de Balzac’s literature in an attempt to capture the essence of the work’s source, ultimately to achieve a symbolic representation in bronze. His interest in exploring and capturing individual and human characteristics in his mythological, allegorical, and veridical subject matters — as the staunch form of the Balzac poignantly captures — achieves the human experience and psychological state of the figure. The significant gesture of the present work, its arms in a crossed and clasped pose, is just as expressive as any facial tell.

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Compare the pose to the defiant openness of vanessa german's figure. The deeply internal nature of Balzac is countered by a public-facing antithesis in a highly embellished form. The psychology present in both pieces offers a glimpse at the options often presented to any protagonist: retreat or confrontration, the self or the community, the inward gaze or the outward pressure placed upon the shoulders. Does one then lose their head? Or do they fight against supposition?

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Left: Aristide Maillol, Petite Flore nue, circa 1952. 20th Century & Contemporary Art Day Sale - Morning Session. Right: Sarah Lucas, News of the World, 2006. 20th Century & Contemporary Art Day Sale - Afternoon Session.

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Pairing 4: Aristide Maillol & Sarah Lucas — The Female Image

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Maillol's appreciation for the classical form belies the modernity that comes across in his practice. Petite Flore nue, while a tribute to Flora, the Roman goddess of spring and flowers, found her head in the inspiration of a young girl Maillol saw walking down the street, and whom he quickly modeled in clay for the eventual sculpture. The work showcases what critic John Rewald calls a "peculiar balance between a firmness of forms which appear eternal and a sensitivity of expression — even sensuousness — which seems forever quivering and alive,” demonstrating elegance at its most unadorned.

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Consider then what Sarah Lucas' News of the World transposes upon the feminine symbols of wedge sandals and a sunhat. Recall the "Torches of Freedom" campaign — the co-opting of first-wave feminism to tie cigarette smoking to notions of freedom and liberation by by Ed Bernays and the advertising world — and the notions of the male gaze, women as consumable subjects, and the specter of purity come into a new light. The two pieces together present a spectrum of identity, both as imagined and as projected.

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Left: Henry Moore, Square Head Relief, 1962-63. 20th Century & Contemporary Art Day Sale - Morning Session. Right: Ron Gorchov, Comedy, 1975. 20th Century & Contemporary Art Day Sale - Morning Session.

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Pairing 5: Henry Moore & Ron Gorchov — Metafiction

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While Henry Moore’s exploration of the emotional interiority of humanity and his interest in culling from literature shares an affinity with Rodin’s central concerns, Moore’s work formally coincides with Maillol’s softened edges and placid presence.Square Head Relief demonstrates Moore's distinctive reduction of the human figure to its most essential elements, which he then abstracts as an expession of the human state. The result is almost canvas-like with a squared field giving way to a three-dimensional focus point that can be observed and interpreted from multiple angles, much like the metafiction texts which were emerging concurrently in the world of literature.

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Gorchov's approach finds its dimension through the bending and shaping of the canvas itself. Comedy rests upon a concave shield of blue and merging the forms of sculpture and painting. The twin dashes of mustard-yellow countenance a dialogue, almost as quotations, lending an element of conversation to any piece that might hang beside it, open to any possibile configuration — not unlike William Gaddis' J R, a piece written almost entirely in dialogue, or Square Head Relief, which stares back through hollow eyes.

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Discover More from 20th Century & Contemporary Art >

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Global Gallery Tour 20th Century & Contemporary Art

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Recommended Reading

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Marcel Duchamp, De ou par Marcel Duchamp ou Rrose Sélavy (La Boîte-en-valise), series B, 1952. 20th Century & Contemporary Art, New York.

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It is perhaps a synchronicity of history that Marcel Duchamp conceived of what would become La Bôite-en-valise in 1935, the same year Walter Benjamin's “The Work of Art in the Age of Mechanical Reproduction” was first published. The artist and the philosopher met on at least one occasion in 1937, when Duchamp showed Benjamin a pochoir-colored reproduction of Nude Descending a Staircase, which the latter noted as “breathtakingly beautiful” in a diary entry. Benjamin’s notion of the “aura” of the original work waning with each reproduction reaches a collision point with the valise: in seeking to destroy the inherent presence of the original, Duchamp uncovered a wider question of the place of art in an ever-increasingly shrinking, mechanized — and now fully digital — world. Let us then open the box and see what we find.

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Object 1: Bottle Rack

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Purchased in 1914 at a Parisian department store, Duchamp’s first readymade piece was an ordinary bottle drying rack deliberately unaltered and repositioned into a venerable art object. The original rack was, in fateful readymade fashion, discarded after being mistaken for garbage by Duchamp’s sister, leading him to purchase replicas for subsequent displays, challenging the notion of originality and provenance as an already-produced item. There are now at least seven versions in various museums, and gone with the original was Duchamp’s inscription — a later version was acquired by Robert Rauschenberg, who ask asked Duchamp to sign it. On the rack the artist wrote: “Impossible for me to recall the original phrase M.D. / Marcel Duchamp / 1960.”

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Object 2: The King and Queen Surrounded by Swift Nudes

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Duchamp’s Cubist period engaged in particular with the concept of energy and movement; a study that at times aligned more with Futurist dynamism, and, in hindsight, indicated that the artist’s fluid approach to categorization wasn’t to be easily apprehended. The King and Queen Surrounded by Swift Nudes (1912) showcases the speed at which Duchamp was uncovering the “invisible realities” of the world through art in an era when scientific breakthroughs were accelerating just as rapidly — “[His works of the time were] unified by their debt to the scientific developments Duchamp had first encountered in the extensive literature on X-rays: electrons as studies in research on cathode rays and radioactivity, as well as electric sparks,” wrote art historian Linda Dalrymple Henderson. In another sense, Duchamp executed few oil-on-canvas works after 1912, so the reproduced piece is reminiscent of looking at a postcard from the edge of self-discovery — that spark, once lit, took Duchamp beyond the medium.

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Object 3: L.H.O.O.Q.

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The Mona Lisa is the ultimate museum piece and likely the most recreated image in art history, but in the hands of Duchamp, it reminds the viewer of an injunction to enjoy that is often shorn of its impulse. The practice of fun, as simple as it seems, can be subsumed by the austere gravity of the museum. It takes the simple joy of desecration to bring the work into a new light, like a schoolboy’s version of Backpfeifengesicht; only rather a face in need of a mustache. “In French there is an old expresion, la patte,” Duchamp said, “meaning the artist’s touch, his personal style, his paw. I wanted to get away from la patte and from all that retinal painting.”

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Object 4: Fountain

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In 1917, Duchamp famously submitted an upside-down urinal to the Society of Independent Artists’ Salon in New York, signaling the arrival of readymade art and the most lasting of the artist’s recontextualization of found objects into art concepts. The idea of context is a core consideration in the work itself, and the piece in miniature – commemorated like a museum trinket or tea box figurine — exemplifies the movement of the readymade from controversial, to pervasive, to banal. The telos of the everyday object: it returns to itself eventually.

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Object 5: Comb

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The comb is in many ways the perfect distillation of the Duchamp piece: simple, enigmatic, easily replicated, and ultimately unknowable. Duchamp would later recall: "During forty-eight years [the comb] has kept the characteristics of a true readymade: no beauty, no ugliness, nothing particularly aesthetic about it..." Inscribed in French along the spine of the comb is a cryptic phrase that roughly translates to "3 or 4 drops from [of] height [or “haughtiness”] have nothing to do with savagery." Duchamp was very fond of and well known for his language games involving multilingual puns and nested meanings — various interpretations have observed the intimate, conceivably phallic nature of the comb and its lateral humor, e.g., the similarities between the French title of Peigne and its homophonic term péne, or the idea of caressing one’s hair and the materiality of the piece, which was in fact a comb intended for use with dogs or cattle, lending it an animalistic connotation.

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\n","2021-11-02T15:51:52.000000Z","https://www.phillips.com/article/86197089/unpacking-duchamp-boite-en-valise-phillips-auction",1391,3698,86197089,{"_3114":3157,"_3116":293,"_3117":3158,"_3073":3159,"_3120":3160,"_3122":3161,"_3124":3125,"_3126":1652,"_3127":467,"_3128":3162,"_459":186,"_3130":3163,"_3132":3164,"_3134":3165},"https://flockler.com/thumbs/sites/889/max-ernst-paintings-phillips-auction-house-354c8d9f-cc13-4034-b790-1d45a37b5523_s600x0.jpg","Astrophysicist Ravit Helled examines 20th century breakthroughs in planetary science alongside contemporary works by Max Ernst. ","Max Ernst Among the Stars ","

Max Ernst, Delicate Arch (Zion National Park), 1936. 20th Century & Contemporary Art, New York.

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The practice of art and the science of the cosmos combined in the surreal works of Max Ernst through his creative fascination with German astronomer Wilhelm Tempel. In 1861, Tempel discovered a planetoid and named it after Maximillian II, King of Bavaria. Ernst, in turn, would become engrossed in Tempel's unique approaches to astronomy, finding a kindred spirit in the relationship between science and the surreal; in the exploration of the limits of human perception of the universe. The stars continued to align when Ernst and director Peter Schamoni collaborated for a 1967 documentary on the life and work of Tempel, The Unlawful Practice of Astronomy, which began an artistic relationship betwen the director and the artist. Through his close friendship with Max Ernst, Peter Schamoni assembled an exceptional collection that serves as a lasting memento and retrospective of one of the most significant artists of the 20th century.

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Written by Ravit Helled

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We are part of the cosmos, but we are small and the universe is huge. It is important to open our eyes and hearts to better understand our place in the the grand picture, how insignificant, fragile and short-lived we are, how fascinating space is, and how we can be inspired by it. Perhaps astronomers and artists are not that different after all — they both aim to see beyond the visible and find a meaning to what’s around us.

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Max Ernst, Ohne Titel (les hommes ne le sauront jamais), circa 1921. 20th Century & Contemporary Art, New York.

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1926: A Breakthrough

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Although the Sun is just one of billions of similar stars in our galaxy, it is special to us because it provides the energy for nearly all living things on Earth. Our Sun has shone for four and half billion years and will continue for another seven billion. Its main source of energy was a mystery until Albert Einstein showed that matter itself is pure energy and Arthur Eddington demonstrated how atoms could fuse together in stars, liberating this energy. In 1926, Eddington published calculations that revolutionized our understanding of the structure of stars and how they evolve in time. He showed that there is an intricate balance between gravity that holds stars together and nuclear energy that prevents them from collapsing. This work led to the relation between the masses of stars and their brightness, allowing astronomers to estimate their ages. This in turn led to the first limits on the age of our universe, which had to be older than the oldest stars that are 13 billion years old. The leap in our understanding of the workings of stars was a crucial milestone for astrophysics and our investigation of the cosmos.

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Max Ernst, Kachina, le chien de Peggy Guggenheim, circa 1942. 20th Century & Contemporary Art, New York.

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1930: Planet X

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At the beginning of the 20th century, astronomer Percival Lowell thought that the irregular movements of the outer planets Uranus and Neptune could be due to a more distant, hypothetical planet X. In 1930, 14 years after his death, Pluto was discovered at the Lowell Observatory and officially added as the ninth planet of the Solar System. Its status as a planet lasted over seventy years, until the 2005 discovery of a larger object beyond the orbit of Neptune known as Eris, which initiated discussions on how planets in the solar system should be defined. After vivid and emotional debates culminating in a vote among professional astronomers, the International Astronomical Union (IAU) announced in 2006 that Pluto was no longer a planet, and classified it instead as a “dwarf planet.” One of the criteria for an object to be a planet is that it has to have cleared its planetary environment — in other words, it must be the dominant object in its orbital region. This is not the case for Pluto, which is part of the Kuiper belt, a region full of large rocky, icy objects beyond Neptune’s orbit. It was only in 2015 that we had our first close-up images of Pluto’s surface, showing that it is active with a liquid ocean that could even host life.

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Max Ernst, Hawaï, 1952. 20th Century & Contemporary Art, New York.

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1957-58: The Age of Exploration Begins

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1957 represents the dawn of the Space Age. That year, the Soviet space program launched Sputnik 1, the world’s first artificial satellite, triggering the space race. The following year, the United States launched its first satellites into space, including Vanguard 1, which still orbits the Earth today. Political dimensions aside, the space race triggered important technological and scientific developments, from communication and Earth monitoring satellites to landing humans on the moon and the remote exploration of our solar system. Today there is a new space race, as many nations plan return trips to the moon and beyond. We also have private companies and the beginnings of space tourism. These breakthroughs raise their own important questions, such as who owns space? What are we capable of achieving in terms of space exploration? Will we colonize space? How are we going to be affected by these efforts? Are there limits we should not cross?

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Max Ernst, Déchets d'oeuvres, 1968. 20th Century & Contemporary Art, New York.

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1969: To the Moon and Beyond

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Our planetary system is the remnant of the formation of the Sun. While today we know that planetary systems are common in the galaxy, just about two decades ago, the Solar System was the only known planetary system. Already in the late 1700s it was suggested that our planetary system was formed as a result of the collapse of a gaseous cloud. The collapse of this cloud was thought to lead to the formation of the young Sun, which was surrounded by a disk, from where the planets formed. Only in 1969 did the Russian astronomer Victor Safronov publish his theory on the “Evolution of the protoplanetary cloud and formation of the earth and the planets” in Russian. This work, which introduces key questions linked to the origin of planets, was been translated into English three years later. This theory represents the beginning of extensive research on the origin of the Solar System and planetary systems around other stars.

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Max Ernst, Portrait de Ernst Wilhelm Leberecht Tempel, 1965. 20th Century & Contemporary Art, New York.

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1974: A Message to the Stars

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The question of whether extraterrestrial life exists has been keeping scientists and philosophers busy well before we detected the first extra-solar planet. Only recently we have learned that small planets are common in the galaxy, suggesting that life in the universe is not a rare phenomenon, at least statistically speaking.

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In 1974, a message to space, known as the Arecibo message, was sent to the star cluster M13, near the edge of the Milky Way galaxy. The Arecibo message included 1,679 binary digits, and was sent from the Arecibo radio telescope in Puerto Rico. The message included basic information about human race, such as the fundamental chemicals of life, the formula for DNA, and graphics of the Solar System and the Arecibo telescope. The search for intelligent extraterrestrial communications in the universe and Earth-like planets are ongoing, and we seem to be closer than ever to finally answer the question: “Are we alone?”

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Ravit Helled is a Professor of Theoretical Astrophysics at the Institute for Computational Science, Center for Theoretical Astrophysics & Cosmology, University of Zurich. Helled’s scientific work concentrates on planet formation and evolution, planetary interiors, and extrasolar planets. She is an international expert in planetary modeling, and uniquely addressing the link between planetary formation, evolution, and internal structure, as well as linking exoplanetary studies with solar system science. Professor Helled is strongly involved in space exploration and is a key member in several ESA and NASA space missions.

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Jerrell Gibbs, Top Down, 2019. 20th Century & Contemporary Art.

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Jerrell Gibbs

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Auction Debut

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Jerrell Gibbs' paintings depict the simple beauties of everyday life, highlighting scenes with engaging swathes of color and ephemeral elements. The perspective through which Gibbs highlights black identity is an instructive homage to artists like Matisse, whose mode of expression employed heavily decorative elements – which Gibbs makes his own with an authentic, layered style. His work has been exhibited at Mariane Ibrahim Gallery, Chicago, with a forthcoming solo show at its Paris gallery slated for 2022. Gibbs' paintings are in the permanent collection of The Columbus Museum of Art, Baltimore Museum of Art, LACMA, and X Museum, Beijing.

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Amani Lewis, Into the Valley, the Boy Walks (Psalms 23:4), 2020. 20th Century & Contemporary Art.

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Amani Lewis

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Amani Lewis aims to pivot away from the often manipulated narratives that dominate the public perception of Baltimore, Maryland, through their dynamic practice. Lewis showcases the deeper complexities of the city, widening the subject's perspective and their relationship with the notions of power and community. Lewis' approach combines photography, digital collage, screen printing, and various surface textures to turn portraits into vibrant sites of myth, becoming, and engagement. Through these electric monographs, Lewis embraces the inherent agency of each individual's narrative, cumulatively raising their voices as ones that grow with the community at large. Lewis will be the focus of an upcoming solo show at Salon 94, New York, from November 12 through December 18.

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Tyler Ballon, Mary and Christ, 2017. 20th Century & Contemporary Art.

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Tyler Ballon

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Auction Debut

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Tyler Ballon is inspired by early Christian artwork and the environment of his native Jersey City. The youngest of four, Ballon grew up in the church – both of his parents were pastors who raised their children in the Pentecostal tradition – and noticed the absence of Black people in the religious iconography he saw daily. His works narrate the experiences of the Black community through the framing context of the bible, opening spaces for Ballon to dialogue with and create empathy among people who might not be familar with these experiences. Ballon still lives and works in his home city; after attending MICA in Baltimore, where Amy Sherald became a mentor of his, he returned to his roots and today two artists both have studios at Mana in Jersey City. In addition to his auction debut, Ballon has a concurrent solo show opening on November 13 at Deitch Projects in New York.

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Hiejin Yoo, Facing South home gets more sunlight, 2017. 20th Century & Contemporary Art.

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Hiejin Yoo

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Auction Debut

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South Korean-born Hiejin Yoo paints vignettes of everyday life, often with inspirations from her early life and the changing environments she experienced as a student in Chicago, and currently as an artist Los Angeles. Yoo maintains a diary of drawings that she references for intimate snapshots of her personal life and wider concepts in her paintings like feelings of place and belonging. Her figures are usually marked with bold, white outlines, moving the viewer's primary focus to the innate emotions of the piece instead of the material qualities of the given moment captured. Having exhibited along with Daniel Heidkamp at Half Gallery, Miami, in 2021, Yoo will be the focus of a solo show at Half Gallery's New York space in January of 2022. Her work sits in the public collections of the Pérez Collection, Miami, High Museum of Art, Atlanta, the Beth Rudin DeWoody Collection (The Bunker), Miami, and The Hort Family Collection, New York.

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Wahab Saheed, Actual Queen, 2020. 20th Century & Contemporary Art.

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Wahab Saheed

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Auction Debut

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Wahab Saheed paints portraits of Black identities from the perspective of his Nigerian experience. His practice is rendered through angular and quick brushwork that offsets the balanced fields of the spaces his subjects occupy. In doing so the artist demonstrates the physical presence and spirituality that these subjects project to the viewer. The artist paints the friends and family members in his community as they face the extraordinary times brought on by the pandemic with remarkable strength. Concurrent to his auction debut with Phillips, Saheed's work will be exhibited at Nanzuka Underground, Tokyo.

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Ewa Juszkiewicz, Girl in Blue, 2013, 20th Century & Contemporary Art.

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Ewa Juszkiewicz

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Ewa Juszkiewicz engages with history’s portrayal of the female sitter and the ways in which past cultural imperatives persist. Though often considered a portraitist, Juszkiewicz is just as committed to the tradition of still life. Often replacing her figure’s head with vanitas imagery, the artist comments on the transience of beauty which works in conjunction with the lack of identity bestowed on her sitters. Through this subversion, she situates herself within the lineage of 20th and 21st century artists who have explored the history of effacement — from Magritte’s Surrealist portraits, to Francis Bacon’s fantastical popes, to Nathaniel Mary Quinn’s more recent hybrid, fractured renderings. After shows in her native Poland, Juszkiewicz's work has been recently exhibited at Frieze Art Fair, New York, in 2021, which has heightened her popularity and interest in her practice.

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Kwesi Botchway, Green Sofa, 2020. 20th Century & Contemporary Art.

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Kwesi Botchway

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Auction Debut

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Part of the new generation of West African painters, Ghanian artist Kwesi Botchway employs a unique visual vocabulary that places him among the vital contemporary figurative painters who seek to reframe Black narratives within the art historical canon. In 2020, the present work featured in the artist’s celebrated solo show, Dark Purple is Everything Black, at Gallery 1957 in Accra, Ghana. A critical element in Botchway’s oeuvre, the fashion of his figures is an important complement to their dispositions — the matching colors of the figure’s clothes and furniture is a device similarly seen in his groundbreaking triple self-portrait Metamorphose in July, on which he explains, “I am signifying the instinctive way we change with time, whether we are ready or not. One’s ability to remain true to their core no matter their changing nature.” Botchway's auction debut follows a successful solo show at London's Gallery 1957 entitled Becoming as well as Being.

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Honor Titus, Linden Blvd Jazz Radio, 2019. 20th Century & Contemporary Art.

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Honor Titus

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Auction Debut

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Honor Titus grew up immersed in the cultural arts scene in New York during the late 1990s and early 2000s. As the son of rapper Andres “Dres” Titus of the famed duo Black Sheep, his childhood and teenage years were spent around poets and musicians, but it was working as a studio assistant to Raymond Pettibon that ignited a spark and passion for painting in young artist. His practice has since developed into its unique artistic language and culminates in works such as Linden Blvd Jazz Radio, with its emphasis on flatness of lines, colors, and decorative elements. In January of 2020, Titus exhibited at Henry Taylor's studio in Los Angeles, where his paintings quickly made waves with collectors like Beth Rudin DeWoody, and later in the year at Karma Gallery, New York.

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Florine Démosthène, ...But I Have To, 2019. 20th Century & Contemporary Art.

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Florine Démosthène

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M. Florine Démosthène uses elements of collage and multimedia to depict figures immersed in dystopian spaces. The otherworldly quality of her work is grounded by the Black female body, which the artist engages as visual shorthand for the collective experiences of her subjects, all beyond base themes of sensuality and simplified interpretation. Démosthène's use of mylar creates a sense of impermanence in the background, making her figures appear transluscent or floating through the space. This illusive style is deliberately luring, as the artist's sparkling surfaces and marbled figures often feature aquatic, siren-like elements that blur the horizon of reality and dreams. Public collections of Démosthène's works include the Smithsonian National Museum of African Art, Washington D.C, University of South Africa (UNISA), Pretoria, the Lowe Museum of Art, Miami, as well as in private collections worldwide.

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

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Featuring leading works from the most sought-after artists of the 20th and 21st centuries, our Evening Sale is comprised of an exceptional group of works from Francis Bacon, Georgia O'Keeffe, Jean-Michel Basquiat, Andy Warhol, Willem de Kooning, Joan Mitchell, and more.

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Our Day Sale, Morning Session features masterworks from Frank Stella, Marcel Duchamp, Robert Indiana, Anne Truitt, and more. Additionally, our Day Sale, Afternoon Session includes works by George Condo, Richard Prince, Damien Hirst, Raymond Pettibon, Cindy Sherman, and more.

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Visit our 432 Park Avenue galleries through 16 November to preview our New York 20th Century & Contemporary Art Evening and Day Sales ahead of the 17-18 November auctions.

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182

Al Held

Padua I

Full-Cataloguing

Al Held