Charlotte Raybaud
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\nOlivia Thornton
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“There’s a kind of half-light quality to the metallic paint, and it changes, brightens and darkens with the light and as you move around it, it’s very unstable.”
\n—Jacqueline Humphries

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Untitled, executed in 2010, epitomises Jacqueline Humphries’ orchestration of painting as a dynamic encounter between canvas and viewer. A monumental, gleaming silvery surface with a gestural symphony of perpendicular strokes and swirls running through its centre denies a fixed vantage point. Colours shift quicksilver with the viewer’s gaze, enacting an intensely visual, and emotional, experience that remains texturally, aesthetically rich whilst simultaneously revealing the fleeting nature of digital forms. As the artist has noted, ‘Having a heightened sense of the painting changing in front of your eyes gives it an almost cinematic quality—light moves across the surface and makes new images before your eyes’.ⁱ This palimpsestic, multilayered approach to image-making reflects and is reflective of a complex conceptual practice that seeks to define and situate the act of painting within a contemporary society saturated by technology. Amorphous and gesturally feverish, Untitled emblematises Humphries’ transformative and iconic monumental canvases.

\n\n

\"\" — Lee Krasner, *Cobalt Night*, 1962, National Gallery of Art, Washington, D.C. Image: National Gallery of Art, Washington, D.C., Gift of Lila Acheson Wallace, 1984.40.1, Artwork: © ARS, NY and DACS, London 2025

\n\n

At the core of her painting practice, Humphries expresses ‘a profound knowledge of how to make, and fake, marks on canvas, how to navigate the histories and associations of those marks and control what impact they might have on viewers’.ⁱⁱ In the present work, she has built the composition both by hand and with the assistance of tools such as laser-cut stencils and printer guns, working to add, then erase, then readd marks and gestures. In places, form appears solid and secure, confidently delineated; elsewhere, the surface is smeared, blotted and stained, with vertical streaks of cadmium white and pale rose interrupting the graffiti-like whips of black oil paint.
\n
\nAs exemplified in Untitled, Humphries’ sustained engagement with metallic silver pigment realises a kind of unstable reality, challenging conventions of perspective, depth and, ultimately, composition. She has explained that ‘Color in these paintings has a very disruptive effect, almost seems to register on a separate plane than the black and silver, worrying the effect of unity. It’s almost an unwanted element, a specter of another painting, formerly banished, insisting through a wall of metallic and black. I consciously avoid colors conspiring together to create any naturalistic feelings’.ⁱⁱⁱ Lush, shimmering reflective surfaces mirror a particularly urban kind of drifting light, architectural surface and flickering digital screens, with the artist’s flowing manual mark-making interrupted by hard-edged geometries. In Untitled, Humphries has deployed her signature interwoven, antagonistic techniques across a single, singular surface, creating a painting of textural and optical complexity that rewards a particularly intensive kind of viewing.

\n\n

\n
\n
\n“All four of these painters […] have departed from the authentic gesture of mid-century and the emptied postmodern gesture. Instead, their canvases are populated by uncertain […] or unlocatable gestures. And where we do find ‘real’ drips of passages of firm brushwork, we find it impossible to read them as we once did. Meaning is thrown back onto the viewer as the artists’ own subjective investments in their decisions around paint handling become indeterminate and unknowable.”
\n—Mark Godfrey

\n\n

Across her expansive painted fields, Humphries has continually explored mutable visual conditions through a combination of tactile gesture and spatial abstraction. As she has stated, ‘What I am trying to do is alter baseline conditions of viewing to anticipate a new kind of viewing, to establish a site for “content” or experience’.^iv This sensitivity to the act of viewing and the moment(s) of experience aligns her with a specific generation of Contemporary painters that include Laura Owens, Amy Sillman and Charline Von Heyl. Binding traditional approaches to abstract painting, as seen in their active, fluid mark-making, with a contemporary image bank of fleeting, vagrant flashes of form and light, these artists have reconfigured means and methods of representation.

\n\n

\n
\n
\n“That’s what makes painting so fascinating, that it’s fixed and yet in motion.”
\n—Jacqueline Humphries

\n\n

\"\" — Piet Mondrian, *The Flowering Apple Tree*, 1912, Kunstmuseum Den Haag, The Hague

\n\n

In Untitled, Humphries balances lucid optical presence with fluid conceptual manoeuvres, centring uncertainty within her interpretation of contemporary aesthetic experience. As such, she rejects any attempt at unearthing a stable structure of reality, as so fervently pursued by artists such as Piet Mondrian. Likewise, her career-long focus on abstraction has consistently run counter to visual and conceptual trends towards figuration: ‘Humphries persisted with abstraction through thick and thin, making a case for painting as a way of working with and through–rather than against–the medium’s obsolescence, and as a platform from which to engage the transformations of visual culture in the digital age’.^v This has culminated in a uniquely attuned and multifaceted aesthetic sensibility that, above all, privilege physical, lived experience: ‘The multifariousness and mutability of these objects, the dazzling ways in which they shift and change, reaffirm IRL experience—and place painting on par not with the solitary mindsuck of the iPhone, but with the sacred, rapturous twentieth-century environments of the nightclub and the cinema’.^vi At its core, Untitled is a work of semiotics. It invites and demands questions over what it means to represent and be represented. Geometric order is subverted by loose whirls of paint and formal fluidity destabilises theoretical structure. Conveying a shifting vision of contemporary reality and recognising an urgency to come to terms with it, Untitled demands a new kind of attention.

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Collector’s Digest

\n\n

- Untitled belongs to a series of paintings in which Jacqueline Humphries utilises silver paint to achieve a glimmering visual effect. The shifting tonality together with the dynamic composition underscore the instability of contemporary reality, echoing urban spaces and digital surfaces.

\n\n

\n- Jacqueline Humphries’ work was recently included in the 59^th Venice Biennale, The Milk of Dreams, 2022 and in 2021 was the subject of a major survey at the Wexner Center for the Arts, Columbus. Other recent solo shows include Matthew Marks, Los Angeles (2025), Crown Point Press, San Francisco (2024), Greene Naftali, New York (2022), and The Dan Flavin Art Institute, Bridgehampton, New York (2019).

\n\n

\n- Attesting to the painter’s significance, her works are in some of the most important institutional collections, such as Museum of Modern Art, New York, Solomon R. Guggenheim Museum, New York, Whitney Museum of American Art, New York, Museum of Contemporary Art, Los Angeles, Tate Modern, London, Centre Pompidou, Paris, Fondation Louis Vuitton, Paris, Aïshti Foundation, Lebanon, Museum Brandhorst, Munich, among others.

\n\n

i Jacqueline Humphries, quoted in ‘Jacqueline Humphries by Cecily Brown’, BOMB Magazine, 1 April 2009, online

\n\n

ii Mark Godfrey, ‘Statements of Intent: The Art of Jacqueline Humphries, Laura Owens, Amy Sillman, and Charline von Heyl’, Artforum, vol. 52, no. 9, May 2014, online

\n\n

iii Jacqueline Humphries, quoted in Paul Soto, ‘Painting in Silver and Noir: Q+A With Jacqueline Humphries’, Art in America, 27 April 2012, online

\n\n

iv Jacqueline Humphries, quoted in ‘Jacqueline Humphries by Cecily Brown’, BOMB Magazine, 1 April 2009, online

\n\n

v Johanna Burton, Jacqueline Humphries jHΩ1:), exh. cat., Wexner Center for the Arts, Columbus, 2022, p. 9

\n\n

vi Lloyd Wise, ‘Feelings Aren’t Facts’, Artforum, Summer 2019, online

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XIV》","https://assets.phillips.com/auctions/UK010425/204822_001.jpg","130",{"_405":3078,"_62":407,"_408":3079,"_442":3087,"_444":445,"_448":584,"_450":451,"_452":453,"_454":3088,"_456":380,"_458":3089,"_588":3090,"_460":3091,"_462":3092,"_463":464,"_465":54,"_466":54,"_467":54,"_468":653,"_328":2475,"_470":54,"_471":54,"_472":94,"_473":54,"_474":54,"_477":94,"_478":94,"_406":3007,"_446":3093,"_595":3007},"220927",{"_410":3080,"_420":3081},{"_412":413,"_414":415,"_416":630,"_418":631},[3082,3083,3084,3085,3086],{"_412":413,"_414":415,"_416":630,"_418":631},{"_412":424,"_414":424,"_416":635,"_418":636},{"_412":428,"_414":429,"_416":638,"_418":639},{"_412":433,"_414":434,"_416":641,"_418":642},{"_412":438,"_414":439,"_416":644,"_418":645},"https://www.phillips.com/detail/thierry-noir/220927","1-AR5Z68","兩件作品: (i) 《我快速環顧了周圍環境，然後戴上新太陽眼鏡》; (ii)《我的想法敏銳，我的鞋子閃亮》","https://assets.phillips.com/auctions/UK010425/220927_001.jpg",23800,"蒂艾里·諾亞","131","collections",[3096],{"_1355":1356,"_355":1357,"_1358":1359,"_1360":54},"highlights",[3099,3104,3108,3112,3116,3120,3124,3128,3132,3136],{"_588":3100,"_511":3101,"_3102":3103},"https://assets.phillips.com/auctions/UK010425/61_hi.jpg","

JACQUELINE HUMPHRIES Untitled, 2010

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LYNETTE YIADOM-BOAKYE The Pearl For A Mackerel, 2010

\n","1750779154",{"_588":3109,"_511":3110,"_3102":3111},"https://assets.phillips.com/auctions/UK010425/63_hi.jpg","

JADÉ FADOJUTIMI Perhaps This is Also A Current Pattern of Life, 2020

\n","1750779171",{"_588":3113,"_511":3114,"_3102":3115},"https://assets.phillips.com/auctions/UK010425/64_hi.jpg","

MICHAELA YEARWOOD DAN Just smile (when there's nothing left to say), 2020

\n","1750779187",{"_588":3117,"_511":3118,"_3102":3119},"https://assets.phillips.com/auctions/UK010425/65_hi.jpg","

JOHN CHAMBERLAIN Etruscan Romance, 1984

\n","1750779197",{"_588":3121,"_511":3122,"_3102":3123},"https://assets.phillips.com/auctions/UK010425/66_hi.jpg","

DAMIEN HIRST Invocation, 2006

\n","1750779260",{"_588":3125,"_511":3126,"_3102":3127},"https://assets.phillips.com/auctions/UK010425/67_hi.jpg","

DANIEL RICHTER KLAVIERSTUNDENTRÄUME, 2021

\n","1750779274",{"_588":3129,"_511":3130,"_3102":3131},"https://assets.phillips.com/auctions/UK010425/68_hi.jpg","

MICHEL MAJERUS MoM Block Nr. 92, 1999

\n","1750779292",{"_588":3133,"_511":3134,"_3102":3135},"https://assets.phillips.com/auctions/UK010425/69_hi.jpg","

RASHID JOHNSON Art Ensemble, 2010

\n","1750779305",{"_588":3137,"_511":3138,"_3102":3139},"https://assets.phillips.com/auctions/UK010425/610_hi.jpg","

MICKALENE THOMAS The Untamed in Rosseau, 2003

\n","1750779343",{"_97":3141,"_99":3142,"_139":3143,"_101":3144},"2025-06-18T23:00:00.000000Z","2025-06-25T23:00:00.000000Z",{"_141":278,"_143":279,"_145":280,"_147":265,"_148":281},[3145,3146],{"_104":114,"_106":117,"_108":109,"_110":284},{"_104":113,"_106":113,"_108":156,"_110":284},"articles",[3149,3172,3182],{"_3150":3151,"_3152":134,"_3153":3154,"_511":3155,"_3156":3157,"_3158":3159,"_3160":3161,"_3162":1530,"_3163":464,"_3164":3165,"_456":464,"_3166":3167,"_3168":3169,"_3170":3171},"coverUrl","https://flockler.com/thumbs/sites/889/stine-lead-bb33c2c9-f043-4762-a71f-e1db9b6be9ef_s600x0.jpg","section","summary","The award-winning Danish designer on what inspires her — in her work and in our upcoming auction.","PERSPECTIVES: Stine Goya ","body","

Designer Stine Goya. Photograph: Petra Kleis.

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Not only is Stine Goya a decorated fashion designer whose eponymous brand showcases her personal approach to living, she’s also an art lover, curator, and collector. In fact, her lauded exhibition If You See What I See — Stine Goya x Kunsten is currently on view through January 2026 at Denmark’s Kunsten Museum of Modern Art.

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We recently caught up with the designer in London ahead of our Modern & Contemporary Art: Evening & Day Sale to get her insights on living with art, finding inspiration, and collecting with purpose. She also selected a captivating curation of her favorite works on offer, which can be discovered, along with much more, at 30 Berkeley Square from 19–26 June.

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PHILLIPS: Between art and fashion, which drew you in first? Do you recall your earliest experiences with them?
\nSTINE GOYA: Fashion came first. I was about ten when I became fascinated with clothes — I started making outfits for myself and even for my mother. It was a way of expressing myself before I had the words. Art came later, as I began to reflect more deeply on identity, belonging, and community. While I was initially drawn to the aesthetic of art, its ability to express complex ideas and values has become increasingly meaningful to me over time. Today, I can't imagine life without it — both in my work and in my personal world.

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P: How does visual art influence your approach to fashion design?
\nSG: Art is at the core of every collection we create. I honestly can't think of a season that didn't begin with an artwork, an artist, or some creative movement as a starting point. Our design process always builds around a visual narrative — something that feels rich with emotion, meaning, and aesthetics. This storytelling layer is essential. Without it, I wouldn’t be able to design. It’s our DNA.

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Stine Goya. Photograph: Rasmus Weng Karlsen.

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P: When you're curating or hanging art, what are your guiding principles?
\nSG: Aesthetics guide me first — my eyes lead the way. But mood plays a big role, too. I tend to be drawn to pieces that feel emotionally resonant in a particular moment. I don’t always need to understand why right away. That reflection often comes later. There’s something intuitive and deeply personal about the way I connect with art — like it finds me when I need it.

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Stine Goya’s home. Photograph: Irina Boersma.

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Stine Goya’s home. Photograph: Irina Boersma.

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P: Which works from our upcoming Modern & Contemporary Art sale speak to you most and why?

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Amoako Boafo, Purple Jacket, 2019. Modern & Contemporary Art: Evening & Day Sale.

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SG: That jacket. I could have chosen that colour. Beautiful. But it’s the eyes that captivate me. I feel like they’re searching for me. And asking me: Are you okay? There’s something expectant in the attitude. I’m okay. I think. And I enjoy the composition as a whole.

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Tracey Emin, But Yea, 2005. Modern & Contemporary Art: Evening & Day Sale.

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SG: The master of neon, if you ask me. I’ve always been drawn to neon. Bent into messages or graceful forms. Like handwriting or a brushstroke. Clear, luminous, and fragile.

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Martha Jungwirth, Ohne Titel, 1987. Modern & Contemporary Art: Evening & Day Sale.

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SG: I can clearly feel the energy from all the colours, shapes, clashes, and especially from the spontaneity in the composition. Is it falling apart or coming together? I don’t know. It shifts and moves. What energy — a poetic explosion.

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Robert Ryman, Manual, 1993–2004. Modern & Contemporary Art: Evening & Day Sale.

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SG: So simple. So monumental. Is there even space for me, I wonder. I search into it. Enveloped by the colour, the warmth, I come to rest. There is no sound here. Only the space created by the light and the surfaces. This is my place.

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Wolfgang Tillmans, Wesen, 2001. Modern & Contemporary Art: Evening & Day Sale.

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SG: Organic and sensual. Soft-toned colour scales reflected in light and shadow. Is it moving? Yes, it’s moving in its own unique way.

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Ron Gorchov, Haydée, 2014. Modern & Contemporary Art: Evening & Day Sale.

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SG: It demands attention. Wants to have a dialogue with me. I’m up for that. I like our dialogue. It’s about form and colour. About standing out and being present in your own right. I’d like to have a chat with Haydée every day.

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Andy Warhol, Dominique de Menil, 1969. Modern & Contemporary Art: Evening & Day Sale.

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SG: For me, this painting gives a new dimension to Andy Warhol and the portrait genre. Not much is revealed here, but it opens up the imagination for interpretation. Who was this Dominique de Menil, what was their relationship, and why did this particular portrait become so subtle and different? If I were Dominique, I’d be especially fond of this portrait.

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Anastasia Bay, A Song of Love (3), 2021. Modern & Contemporary Art: Evening & Day Sale.

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SG: It’s so human. Naked and fragile. The way she lies there. Holding herself. And taking care of herself. I think we all know that feeling. To love, to lose, to grieve, to gather yourself, to rise, and to meet new love.

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P: Considering these works, how might the artists’ creative process differ from your own?
\nSG: I think we share more than we differ. All of us start from emotion and try to transform it into something physical — something others can feel too. That said, fashion is more collaborative and often bound by seasonality, practicality, and wearability. Some constraints push creativity in different directions. Artists might have more freedom in their mediums, but in the end, we’re all trying to tell a story through form, colour, and composition.

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P: What is your personal approach to collecting?
\nSG: I gravitate toward works that make me feel something — whether that’s calm, joy, nostalgia, or even discomfort. I collect pieces that reflect where I am emotionally or creatively. There’s no grand logic to it — just a desire to live among objects that feel alive and speak to who I am, or who I’m becoming.

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Stine Goya. Photograph: Petra Kleis.

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Discover more from Modern & Contemporary Art >

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Recommended Reading

\n\n

In the Year of Our Christo >

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Seeing Beyond Life >

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\n","publishDate","2025-06-11T17:57:01.000000Z","authorCredit","Jesse Limbacher","coverPosX","coverPosY","articleUrl","https://www.phillips.com/article/159497777/perspectives-stine-goya-london-modern-contemporary-art-auction","auctionEditorialID",4461,"editorialID",4990,"flocklerID",159497777,{"_3150":3173,"_3152":134,"_3153":3174,"_511":3175,"_3156":3176,"_3158":3177,"_3160":3161,"_3162":1530,"_3163":464,"_3164":3178,"_456":132,"_3166":3179,"_3168":3180,"_3170":3181},"https://flockler.com/thumbs/sites/889/peyton-brient-6140da2a-e589-486b-b7a6-c15314f384a1_s600x0.jpg","Cheyenne Westphal and Marcel Brient discuss his collecting philosophy as a remarkable Elizabeth Peyton comes to auction from his collection.","Seeing Beyond Life","

Elizabeth Peyton, Spencer (Two Palms), 2002. Modern & Contemporary Art: Evening & Day Sale London.

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French collector Marcel Brient has built one of the most renowned collections of modern and contemporary art and design. Rising from humble beginnings, Brient has developed both an extraordinary eye and close relationships with pivotal artists.

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It makes sense then that his vision would turn towards works by Elizabeth Peyton, an artist who reinvigorated portraiture at the turn of the 21st century. The psychologically-charged portrait from Brient's collection on offer in London this June depicts artist, musician, and former club owner Spencer Sweeney, a key figure in the late 1990s and early 2000s downtown New York scene. Sweeney is a recurring subject in Peyton’s oeuvre and a close friend of hers. Other notable depictions of Sweeney by Peyton include a coloured pencil on paper drawing, Spencer (1999), in MoMA, New York, the painting Spencer Walking (2001) in the collection of the Philadelphia Museum of Art, and the painting Spencer (Spencer Sweeney) (2005) in the Rubell Museum, Miami.

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Here, we look back on a conversation between Cheyenne Westphal and Marcel Brient to understand how he developed such a singular perspective, and for clues as to why this work may have resonated with him so deeply.

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Cheyenne Westphal: Marcel, you are a legendary collector and I feel very fortunate for having known you and spent time with you for the past twenty years. To me the most astonishing is that you have built your incredible collection of paintings, drawings, sculptures, editions, design, books and manuscripts without great means. You talk movingly about your background in Brittany, could you expand on your beginnings?

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Marcel Brient: I come, originally, from Brittany. My mother couldn’t read or write, but was courageous and honest in everything she did. She worked night and day to raise her family of seven children. My father was a stonecutter in Ile Grande, a small seaside village near Perros-Guirec in the Côtes d’Armor. I remember days fishing for clams and winkles with him, that’s how we lived. Our modest house in rue Joseph Conrad didn’t have running water or electricity, but my mother always encouraged us to work hard and she was very proud when I was placed top of my class at primary school.

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CW: It was wonderful that your mother encouraged you to go to Paris before you were enlisted to take your military service, where a combination of necessity and curiosity led you to take a range of different jobs in the late 1950s.

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MB: When I first arrived in Paris, I started working as a mechanical apprentice before I took up a role with the CNRS, which is the national center for scientific research. I was finding my feet in a new, exciting city, which had so much to offer, even though I didn’t have very much money at the time.

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CW: Without much money, you started buying works by young artists when they were not that expensive. But you had an excellent eye, which not only led you to buy great artists, but also excellent works by them. You visited Germany after the fall of the Berlin Wall when you did not speak a word of German, and yet you still recognised the brilliant talent that was emerging there in artists such as Neo Rauch. In your constant trips to America too, you were engaging with the young scene, going to studio visits and being among the first to discover the stars of tomorrow.

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MB: It’s true that it cost very little to invest in young artists then. But, even so, I still found that I needed courage and patience, as does anyone who wishes to live their passion through art — it’s like waging a battle between wisdom and daring.

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CW: You developed many beautiful friendships with artists over the years, particularly with Felix Gonzalez-Torres, who I know was of great importance to you.

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MB: When I was a young child, I used to choose the sweet wrappers I liked, iron them, and stick them into my school notebook. A strange thing to do, perhaps! I recounted this story at the gallery Ghislaine Hussenot in Paris in the presence of Felix Gonzalez-Torres and his friend Jennifer Flay, and, to my surprise, it thrilled him. He took my hand and suggested I go and get the sweets that reminded me of my youth…so I did! When I returned, he chose a turquoise sweet from the palm of my hand. The colour of my eyes. The sweet had “Passion’ written above “Chez Lenotre, Paris.” In this gesture, my portrait was realised: 90 kg, my weight, of sweets to put wherever one desires and also — to quote Torres — in many places simultaneously. Citing Felix, one could “suck” and “swallow” me so that as I was gradually disappearing through desire, and I might also be was reborn again in an intense, personal communion. This brings to my mind the extraordinary concept of immortality and Felix’s deeply moving Perfect Lovers, two ordinary clocks hanging on the wall both showing the same time and moving in unison until one, inevitably stops, leaving the other to record the passing of time alone. Today, in Felix’s absence, which artist leads us to communion like this? Beyond history and politics, art places a new universe on our doorstep.

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CW: You have one of the most important collections of contemporary design, which you display so sensitively alongside your works by modern and contemporary masters. More than decorative additions, your selections and presentation highlight how design can be elevated to the status of a work of art.

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MB: Design obviously has its place in art. My clever marriage proves it to me. Marc Newson’s Lockheed Lounge is a design masterpiece.

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CW: To me what is extraordinary about you is your love and passion for poetry. You often recited poems to me that have taken you further as a man, and collector, and true lover of art. The poetry of fin de siècle Symbolists Paul Verlaine and Arthur Rimbaud seems to be of particular inspiration to you, and you even hold the handwritten manuscript of Rimbaud’s Lettre du Voyant in your collection. It strikes me that both Verlaine and Rimbaud were utterly brilliant, unpredictable, and deeply committed to the search for the new in both art and life, not unlike your own, visionary approach to collecting.

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MB: Arthur Rimbaud recommended “seeing beyond life.” This says it all! Such a sentiment makes me think especially of my friend, Felix Gonzalez-Torres. Rimbaud, Giacometti, Felix Gonzalez-Torres, these brilliant minds of our time paved the way.

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Discover more from Modern & Contemporary Art >

\n\n

Recommended Reading

\n\n

PERSPECTIVES: Stine Goya >

\n\n

Seeing Beyond Life >

\n\n

\n","2025-06-10T15:07:54.000000Z","https://www.phillips.com/article/159446755/marcel-brient-elizabeth-payton-auction-london-june-2025",4462,4986,159446755,{"_3150":3183,"_3152":134,"_3153":3184,"_511":3185,"_3156":3186,"_3158":3187,"_3160":3161,"_3162":1530,"_3163":464,"_3164":3188,"_456":376,"_3166":3189,"_3168":3190,"_3170":3191},"https://flockler.com/thumbs/sites/889/christolead-3fff4e73-6130-448f-b283-e409c013b684_s600x0.jpg","Our London Modern & Contemporary Art Day Sale offers further works from ‘Revealed: Important Works by Christo & Jeanne-Claude’ in a banner anniversary year for the artist couple. ","In the Year of Our Christo","

Christo, Wrapped Books and Magazines, 1962. Modern & Contemporary Art Day Sale London.

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This article was originally published on the 13th of June, and that was quite intentional.

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Christo and Jeanne-Claude were born 90 years ago on exactly the same day: 13 June 1935. This year, the global art world calendar celebrates the artist couple, whose works transcended traditional art spaces to meet the public head-on. Phillips also celebrates them this year in London, offering a remarkable collection of their works that has been amassed over decades by a single owner who held a close personal relationship with the artists. On this milestone anniversary year, these works are being offered so that other collectors may carry their story forward.

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Famous for their monumental, temporary public installations, Christo and Jeanne-Claude entirely self-funded their projects by selling the kinds of sketches, drawings, and collages on offer here. In doing so, they decisively resisted the conventions of the art market, insisting on their projects’ independent, public, and temporary nature beyond the bounds of ownership, commercialization, and exclusivity.

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Now, on the heels of the white-glove offering in Phillips London’s Modern & Contemporary Art auction this June, further works from this collection come to our October Modern & Contemporary Art Day Sale. These works highlight cornerstones of the artists’ practice, many of which also hold significant anniversaries this year: 2025 is the 30th anniversary of Wrapped Reichstag in Berlin and the 40th anniversary of The Pont Neuf, Wrapped in Paris.

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Christo, Surrounded Islands (Project for Biscayne Bay, Greater Miami, Florida), 1983. Modern & Contemporary Art Day Sale London.

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Visitors to Paris this year will encounter Projet Pont-Neuf by the artist JR in collaboration with the Christo and Jeanne-Claude Foundation. The new work is an immersive installation inspired by Christo and Jeanne-Claude’s The Pont Neuf, Wrapped (Project for Paris), which will temporarily transform the bridge, celebrating Christo and Jeanne-Claude’s legacy with a major cultural event.

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As the first public urban project realized on such an architectural and public scale, the Pont Neuf Wrapped occupies a special place in Christo and Jeanne-Claude’s oeuvre. The idea of wrapping the oldest bridge in Paris was initially rejected by then-mayor Jacques Chirac, who signed the permit approval only after a long and relentless period of lobbying orchestrated by the artists. The response of the public was nothing short of sensational: the installation attracted three million visitors and the press was enchanted.

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Christo, Over the River (Project for Arkansas River, State of Colorado), 2006. Modern & Contemporary Art Day Sale London.

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In the evenings through 20 June in Berlin, the west façade of the Reichstag showcased a projection mapping of Wrapped Reichstag, offering the public a chance to discover what the building looked like in June 1995. The original work took 24 years to execute, involved the artists meeting with 352 members of parliament, and included a seventy-minute debate in the German Bundestag.

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Executed in 1986, Wrapped Reichstag (Project for Berlin) is a supreme example of Christo and Jeanne-Claude’s meticulously conceived preparatory collages. The Reichstag was one of only three buildings — along with The Kunsthalle, Bern, in 1968 and The Museum of Contemporary Art, Chicago, in 1969 — that the artist couple was able to fully wrap, realizing their intended project beyond the conceptual stage.

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I often say, ‘Our work is a scream of freedom.’
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\n—Christo
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Christo, Wrapped Walkway (Project for Ueno Park - Tokyo), 1969. Modern & Contemporary Art Day Sale London.

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Elsewhere in this collection, we find further notable works, including Christo's foundational early “package” works, which laid the conceptual and aesthetic groundwork for their later iconic wrappings. Christo began his wrapping experiments in 1958, shortly after escaping Bulgaria as a young refugee hidden in the back of a truck. What started as a practical act of wrapping his belongings was initially interpreted by some as a reference to mummification. However, his goal was not to preserve but to dematerialise, removing both practical and symbolic meaning to create something ambiguous.

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Both conceptually and physically, these works are as much about concealment as they are about openness. While the wrapping shrouds, it also intrinsically invites engagement, prompting viewers to project their thoughts onto what remains unseen and to participate intimately in the work’s interpretation. It's this engaging quality, this invitation to participate in their works, that accounts for their undeniable appeal.

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Discover more from Modern & Contemporary Art >

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