Di Donna Galleries is pleased to announces The Life of Forms, an exhibition that explores how modern artists translated forms found in nature into biomorphic shapes in sculpture. The exhibition will bring together important sculptures by Jean Arp, Ruth Asawa, Louise Bourgeois, Alexander Calder, Barbara Hepworth, Henri Matisse, Joan Miró, Henry Moore, and Isamu Noguchi, among others, installed in Di Donna’s Madison Avenue gallery in a setting that evokes an outdoor garden.The works reveal inspiration ranging from flora (Asawa’s nesting wire mesh pods or the organic “growths” of Calder’s sculptures) to anatomy (Bourgeois and Arp’s depiction of bodily fragments) to living organisms (the amoeba-like forms of Moore and Hepworth’s work). The exhibition features loans from major private collections and institutions, including the Calder Foundation, The Matisse Foundation, and The Noguchi Museum.The Life of Forms is on view at Di Donna Galleries (744 Madison Avenue) from October 26 trough December 14, with a public opening the evening of October 25. The exhibition will be accompanied by an illustrated catalogue with an essay that investigates the formal and conceptual motivations that led to the development biomorphic abstraction in sculpture.
In what Christie’s is calling a “seminal moment for the Old Master market,” the December sales of Old Master paintings in London will feature two sales comprising the collection of Eric Albada Jelgersma and his wife, Marie-Louise. The Albada Jelgersma paintings will get their own Evening sale. The rest of the collection of furniture, drawings, silver and the like will fill a a 350-lot day sale. These sales will take place December 6 & 7. The Evening sale will feature a pair of Frans Hals portraits, above, estimated at between £8-12m, and works by Judith Leyster and Anthony van Dyck.
Here’s Christie’s release:
Christie’s will offer a landmark, two-part sale of The Eric Albada Jelgersma Collection in London on 6 & 7 December. This is one of the most important private collections of Golden Age Dutch and Flemish pictures to have been formed in living memory, revealing the unerring eye of Eric Albada Jelgersma and his wife Marie-Louise Albada Jelgersma for outstanding quality.
Christie’s will devote a special, stand-alone Old Masters Evening Sale to The Eric Albada Jelgersma Collection comprising over 40 paintings, including works by the greatest artists from the 17th century, notably Frans Hals, Anthony van Dyck, Jan Breughel the Elder, Judith Leyster and Ambrosius Bosschaert the Elder.
This sale is led by the finest pair of portraits by Frans Hals to remain together in private hands: Portrait of a gentleman, aged 37 and Portrait of a lady, aged 36 (estimate: £8-12 million) and includes arguably the most important Golden Age painting by a female artist left in private ownership, Merry Company by Judith Leyster (estimate: £1.5-2.5 million).
The Collection Sale will take place the following day and will comprise over 350 lots of furniture, decorative objects, sculpture, antiquities, silver, Asian works of art and a selection of the Old Master paintings. The quality and range of the Old Master paintings and works of art within the collection is extraordinary, and their appearance together at auction will constitute an historic pair of sales. Highlights will be on public view at Christie’s New York from 26 to 30 October and in Hong Kong from 23 to 26 November, ahead of the pre-sale exhibition opening in London on 30 November.
Christie’s has a dark Rothko from the de Menil family estimated at between $35 and $45m. The work was displayed in Rothko’s own home, shown alongside Piet Mondrian, Phillip Guston, Franz Kline, Willem de Kooning, and Jackson Pollock in an exhibit curated by Dominique de Menil in the 1960s. It was later a featured work in the 1978 Guggenheim retrospective held the same year it was bought by François de Menil. Along with the Rothko, four boxes by Joseph Cornell will also be sold:
On 15 November, Christie’s Evening Sale of Post-War and Contemporary Art will be highlighted by Works from the Collection of François and Susan de Menil. Encompassing five lots, this grouping encapsulates the impeccable tastes of architect and filmmaker François de Menil, and his wife and business colleague Susan. Leading the selection is a consummate painting by post-war master, Mark Rothko, who is represented by Untitled (Rust, Blacks on Plum) (estimate: $35-45 million). Painted in a period of creative ferment between his two greatest series, the present work was executed shortly after the completion of the Seagram Murals in 1960. During this time, he began to contemplate the shimmering dark plums, blacks, and purples that became the predominant palette in the panels at the Rothko Chapel commission that was soon to follow. Completing the selection, is an exemplary group of four works by Joseph Cornell, made between the 1930’s and 1948.
Ana Maria Celis, Senior Specialist and Head of the Post-War and Contemporary Art Evening Sale, remarked: “It is a privilege to offer five exquisite examples from the distinguished collection of François and Susan de Menil. This group presents a wonderful opportunity to juxtapose the brilliant work of two markedly different artists, Mark Rothko and Joseph Cornell. Although their styles varied dramatically, through the eyes of farsighted collectors, one can see the interconnectedness of two visionary artists who not only worked at the same time, but were inspired by one another’s passions.”
The painting first came into the possession of its current owner in 1978, the same year as Rothko’s stunningly successful retrospective at the Solomon R. Guggenheim Museum. However, the history between the de Menil family and Untitled (Rust, Blacks on Plum) dates back much further. Dominique and John de Menil, the legendary collectors who founded the Menil Collection and the Rothko Chapel, both located in Houston, Texas, had first visited Rothko in his studio in 1960, where the painter showed them the Seagram Murals. The series had originally been commissioned for the Seagram Building on Park Avenue, designed by Mies Van der Rohe, but when Rothko discovered that they had been slated to hang not in the lobby but in the building’s Four Seasons restaurant, he returned the commission and kept the paintings himself. This notorious fit of pique did not deter the de Menils from returning in 1964 and offering him a commission of their own, to paint a series of his own devising that would hang in a chapel in Houston. During the frequent visits that ensued as the couple consulted with the artist and followed his progress, Untitled (Rust, Blacks on Plum) caught the eye of Dominique.
As the construction of the chapel neared completion, Dominique de Menil, then Chairman of the Art History Department of the University of St. Thomas in Houston, proposed arranging an exhibition, “Six Painters,” at the University, which was near the site of the forthcoming Chapel. She requested five works by Rothko, including Untitled (Rust, Blacks on Plum), which she had seen on the walls of the artist’s personal sitting room in his 69th street studio.
The paintings were exhibited with works by the five other midcentury masters, Piet Mondrian, Phillip Guston, Franz Kline, Willem de Kooning, and Jackson Pollock. When the show concluded at the end of the year, the painting returned to Rothko, who possessed it until his death.
Growing up in the environment that he did, François formed a natural affinity for the mysterious and mystical qualities of Rothko’s darker canvases. Some months before the Guggenheim Exhibition, François de Menil approached Arne Glimcher, founder of the Pace gallery who represented the Rothko estate, to express interest in purchasing a painting featuring Rothko’s darker palette. Glimcher offered de Menil, Untitled (Rust, Blacks on Plum), which would grace the Guggenheim retrospective later that year.
In his review of the Rothko retrospective, the art critic for the New York Times, Hilton Kramer, took the unusual step of describing the museum goers attending the show before turning to the works on display: the crowds were “hushed” “awestruck,” “transfixed,” and they tended to linger, “often turning away from the paintings in front of them to look across the great open space of the Guggenheim spiral at paintings in the distance.”
The Christie’s sale on November 11th will present the second instance that Untitled (Rust, Blacks on Plum) has ever changed hands.
Accompanying the Rothko offering from the collection of François and Susan de Menil, is a quartet of examples by Joseph Cornell. The works are exquisite, speaking fluently in an imagistic language that feels just beyond grasp. The intangible mystery possessed by Cornell’s work runs parallel to a similar quality inhabited by the enigmatic paintings of his close friend Mark Rothko. The two were born just three months apart in 1903, Rothko in Dvinsk, Russia and Cornell in Nyack, New York. They first met by chance in 1949, at the Horn & Hardart automat on 57th Street, where they struck up a friendship that seems to have lasted throughout their lives. In 1957, Cornell sent Rothko’s daughter Kate a book on Fra Angelico, and Rothko’s wife sent back a thank you note with a hand-colored angel that Kate had made for the family Christmas tree. Rothko, despite a reputation as a formidable and imperious figure, was notably gregarious. Nevertheless, he envied the ease and generosity that Cornell displayed around other artists. “I wish I could approach your genius for expressing to people how you think about them and what they do,” he wrote to Cornell in 1959. Then, he gave a wonderful example of his own brand of artistic appraisal: “I do want to tell you that I think of you and the uncanny magic of the things you make.”
Leading the selection of examples by Cornell is Untitled (Medici Slot Machine), 1942. Executed in 1942, Untitled (Medici Slot Machine) comes from
the celebrated eponymous series and emerges as an archaeology of poetry. In this body of works, Cornell adapts three different Renaissance portraits as their
sources. Here Cornell reproduces a painting by Sofonisba Anguissola, titled Portrait of Marquess Massimiliano Stampa in the Walters Art Museum, Baltimore.
Although Cornell was known to have almost never traveled beyond the bounds of New York, he was an inveterate traveler of the mind. He was enchanted and obsessed by ideas of the travel of bygone years, in the same way that he was obsessed by the ballerinas of prior centuries. In this sense, his accumulation of materials for his boxes
resembled the souvenir-gathering of the Grand Tour. Here in the present work, Cornell himself brings the magpie tendency of the romantic imaginary traveler of yesteryear to his box, filling it with snippets of different works and maps, subliminal and seemingly random scatterings of thought, interrelation, memory and association. This is a very personal museum of the mind.
Sotheby’s has a consignment of three Georgia O’Keeffe works from the O’Keeffe museum in Santa Fe that are being sold to plump up the museum’s acquisition. The works include a rare New York cityscape from 1926, a painting of Calla Lillies from later in the decade along with a vibrantly colored depiction of a cottonwood tree from the mid-1940s. These sales follow Sotheby’s success four years ago with Jimson Weed/White Flower No. 1 which was purchased by the Crystal Bridges museum in Bentonville, AR for $44.4m, a huge step up in the record price paid for an artist who was a woman.
The highest value work of the three is one of the 20 cityscapes O’Keeffe painted during the late 1920s shortly after she married Alfred Stieglitz. Stieglitz cautioned O’Keeffe that the subject matter was too masculine compared to her work with flowers and landscapes. A Street carries a $12m low estimate. Calla Lillies on Red is estimated at between $8m and $12m; Cottonwood Tree in Spring is a comparative bargain at $1.5m to $2m.
Here’s Sotheby’s release on the three paintings:
On 14 November, Sotheby’s will present works by O’Keeffe in a Contemporary Art Evening Auction for the first time: A Street from 1926, one of the most psychologically penetrating paintings from the artist’s rare and distinguished series of New York cityscapes (estimate $12/18 million), and Calla Lilies on Red from 1928, a vibrant depiction of the flower with which O’Keeffe would become synonymous (estimate $8/12 million). Our American Art Auction on 16 November will feature Cottonwood Tree in Spring from 1943, which reveals the profound inspiration O’Keeffe gleaned from the American Southwest (estimate $1.5/2.5 million).
All three paintings are on public view this week in Sotheby’s Los Angeles galleries (16 & 17 October) and at SITE131 in Dallas’s Design District (19 October), as part of our tour of highlights from our marquee fall auctions. The full Contemporary Art and American Art sales will open for exhibition in Sotheby’s New York galleries on 2 November.
Robert A. Kret, Director of the Georgia O’Keeffe Museum, said: “Museum leadership, with the endorsements of the donors and Board of Trustees, selected these works to de-accession after very careful and thoughtful consideration. Removing an artwork from the collection is never an easy thing for any museum to do, but it is an integral part of good collections management to continually build and refine our holdings.”
Cody Hartley, the Georgia O’Keeffe Museum’s Senior Director, Collections and Interpretation, said: “A Street, Calla Lilies on Red, and Cottonwood Tree in Spring represent some of O’Keeffe’s most beloved subjects. They are bold, strong, wonderful paintings that epitomize everything that made Georgia O’Keeffe a master of American Modernism.”
Grégoire Billault, Head of Sotheby’s Contemporary Art Department in New York, said: “Georgia O’Keeffe remains one of the most singular artistic voices of the last century – nothing looks like an O’Keeffe – and the diversity of this particular group of paintings touches upon the breadth and depth of her iconic career. Her images are not only an essential part of American culture, but are now appreciated on an international stage among the great works of her time. We are thrilled to present these superb paintings in a new and wider context this November, sparking dialogues between O’Keeffe’s work and that of artists spanning the 20th and 21st centuries. It is a great privilege for Sotheby’s to work with the Georgia O’Keeffe Museum again this fall.”
In May 2014, Sotheby’s sold Georgia O’Keeffe’s iconic flower painting Jimson Weed/White Flower No. 1 to benefit the Georgia O’Keeffe Museum’s Acquisitions Fund. The painting achieved a remarkable $44.4 million, setting a world auction record for any work by a female artist that still stands today. Jimson Weed/White Flower No. 1 now resides in the collection of Crystal Bridges Museum of American Art in Bentonville, Arkansas, and was the star of the blockbuster retrospective Georgia O’Keeffe at the Tate Modern and Art Gallery of Ontario in 2016–17.
Calla Lilies on Red (1928) Oil on canvas 32 1⁄8 by 17 1⁄8 inches Estimate $8/12 million
Between 1918 and 1932, Georgia O’Keeffe created more than 200 flower paintings. But it was arguably in the calla lily that the artist found her ideal motif, one that provided the perfect synthesis of subject and form that now defines her most celebrated work. O’Keeffe painted Calla Lilies on Red in 1928. She would ultimately depict the calla lily eight times in this period, both in oil and pastel, revisiting the blossom on each occasion with a new viewpoint or altered perspective. In the present work, she emphasizes the verticality of the flower’s delicate form by presenting an elongated picture plane with its sensuous petals at center. She utilizes vibrant hues of red and green, which contrast dramatically the white flower, to imbue the canvas with energy and vitality, and emphasizes the simple elegance of the flower’s curves by reducing extraneous details.
Cottonwood Tree in Spring (1943) Oil on canvas 30 by 36 inches Estimate $1.5/2.5 million
O’Keeffe started to visit New Mexico regularly in 1929 when, in an effort to escape city life, she left New York to spend the summer there. While the stark simplicity and expansiveness of the desert landscape always strongly appealed to O’Keeffe’s artistic sensibilities, this particular trip proved transformative for her both personally and artistically. Works such as Cottonwood Tree in Spring reveal the profound inspiration O’Keeffe gleaned from the American Southwest. The sublime beauty of the landscape provided a free range for her imagination, and she would continue to investigate its imagery for the remainder of her life, returning almost every summer until 1949 when she made Abiquiu her permanent home. While the artist had always utilized the natural world as the basis for her unique visual language, in New Mexico her art gained an even deeper intimacy and, in works such as Cottonwood Tree in Spring, it transcends a literal study of nature to evoke the spiritual connection she felt with her adopted home.
Sotheby’s just announced a large David Hockney painting from the estate of television producer and writer Steven Bochco. The $9m interior image was painted in 1988.
Today Sotheby’s announces that David Hockney’s large scale painting Montcalm Interior with 2 Dogs from 1988, a highly regarded period within the artist’s career, will highlight our Contemporary Art Evening Auction in New York on 14 November 2018. The work comes to auction from the collection of legendary television producer and writer Steven Bochco, who acquired it in 1997, and appears at auction for the first time this fall with an estimate of $9/12 million.
Jacqueline Wachter, Sotheby’s Vice President of Private Sales, Contemporary Art, said: “We are thrilled to present this dynamic Los Angeles interior to collectors on the West Coast next week and to bring it to auction for the first time in November. Los Angeles has played a major role in Hockney’s life and work, and this painting is an excellent illustration of that relationship. This piece is also one of the greatest Hockney’s to be kept in a private California collection, out of public view for the last 20 years. It is a particular privilege to offer this painting from the collection of the late Steven Bochco – himself a legend of the entertainment industry and of the city of Los Angeles.”
Steven Bochco (1943 – 2018), a winner of ten Emmy Awards, was an iconic television writer and producer for over 50 years, best known for creating the groundbreaking television dramas “NYPD Blue,” “Hill Street Blues,” and “L.A. Law.” Bochco was an avid enthusiast of Hockney’s work and he hung Montcalm Interior With 2 Dogs prominently in the salon of his Los Angeles home, denoting it as his personal favorite from his collection of art.
Montcalm Interior with 2 Dogs will be exhibited publicly for the first time in over two decades in our Los Angeles galleries (2029 Century Park East, Suite 2950) on 16 & 17 October, alongside other highlights of our marquee autumn auctions in New York. In addition to the present painting, works by titans of the 20th and 21st centuries – including Jean-Michel Basquiat, Andy Warhol, Roy Lichtenstein, Barkley Hendricks, Claude Monet, René Magritte and more – will be on view to the public.
Lit with the bright glow of California sunshine, Montcalm Interior with 2 Dogs encapsulates Hockney’s evolution in the tradition of interior painting, while also displaying his unique interpretation of the genre. Painted in 1988 – the same year as his first, critically-acclaimed U.S. retrospective at the Los Angeles County Museum of Art – the canvas captures a room within Hockney’s Montcalm Avenue home in Los Angeles, which he purchased in the summer of 1979. This home went on to inspire a number of the artist’s most iconic paintings of the late-1980s, including the sister painting to the present work, Large Interior, Los Angeles, which has been held in the collection of The Metropolitan Museum of Art in New York since 1989. Montcalm Interior with 2 Dogs was featured prominently in the artist’s 1992-93 retrospective organized by Fundación Juan March, Madrid, which traveled to both the Palais des Beaux-Arts, Brussels and the Palau de la Virreina, Barcelona. The work has not been exhibited publicly since.
At once highly personalized and deeply rooted in art historical tradition, Montcalm Interior with 2 Dogs exemplifies Hockney’s ability to merge the painterly techniques of the past with his own distinctive, inventive, and remarkably intimate experience of reality. Painting with vivid brushstrokes and vibrant, raw colors that clearly evoke the post-Impressionist masters whom he greatly admired, Hockney flattens space to enhance the emotional and physical immediacy of the viewing experience. In this way, Montcalm Interior with 2 Dogs showcases the rich, saturated color application and deft handling of space that are characteristic of Hockney’s greatest paintings.
Hauser & Wirth returns to FIAC this October with a selection of works on the theme of notions of desire and sexual ambiguity. Built around an intriguing dialogue between the works of Louise Bourgeois and Hans Bellmer, the concept of the booth takes as a point of departure the title, Le Cœur est Là, referencing a series of works which Louise Bourgeois returned to over the course of her career.While Bourgeois and Bellmer lived in Paris in 1938, it is believed they never met. Their approaches have marked differences as well as shared themes – of the body as expressive material, a source of creativity and fertility, ambiguity and eroticism. The concept pays homage to the landmark exhibition ‘Double Sexus’ which was held in Berlin at the Nationalgalerie – Sammlung Scharf-Gerstenberg in 2010, the Gemeentemuseum Den Haag and the Wexner Center for the Arts, Columbus Ohio in 2011.With the participation of Ubu Gallery – who loaned significant works by Hans Bellmer to ‘Double Sexus’ – the booth expands on the topic by creating compelling narratives. The presentation features important works by Franz West, Lee Lozano, Zoe Leonard and others. In two works by Paul McCarthy and Alina Szapocznikow, the human form suggests a trajectory from Hans Bellmer’s illustrated book, ‘Les Jeux de la Poupée’, a collaboration with Paul Éluard for the Surrealist journal Le Minotaure.
Galerie Thaddaeus Ropac has announced the works it is bringing to FIAC later next week. The fair held in Paris’s Grand Palais will feature works by Jack Pierson, Yan Pei-Ming, and Imi Knoebel, alongside recent works by Robert Longo, Georg Baselitz and Tony Cragg. Coinciding with the survey exhibition Monumental Minimal, on view at Galerie Thaddaeus Ropac Pantin during FIAC, Ropac’s stand will also present major pieces of Minimal art by Carl Andre (above) and Robert Mangold.
Carl Andre‘s Fifth Copper Square (2007) is the result of a life-long investigation into mathematical structures, geometric forms and seriality. Composed of 25 copper plates, this sculpture embodies the characteristic features of Andre’s work, such as the use of ready-made materials, the employment of modular units, and the articulation of three-dimensionality through a consideration of negative as well as positive space. Considered one of the most important figures of Minimal art, Andre has sought to reduce the vocabulary of 20th-century sculpture to basic forms such as the square.
With classical restraint, Robert Mangold translates the most basic of formal elements – shape, line, and colour – into paintings whose apparent simplicity expresses complex ideas. In his shaped panel paintings, of which Four Color Frame Painting (1985) is a distinctive example, he uses subtle modulations of colour and hand-drawn graphite lines to present the viewer with a meditative experience.
Untitled (X-Ray of A Bar at the Folies-Bergère, 1882, After Manet) (2017), a monumental charcoal drawing by Robert Longo, is a remarkable rendering of Édouard Manet’s last major work. Longo decided to tackle Manet’s masterpiece after seeing an X-ray of the work. The X-ray image offered a window into the past, revealing clues about Manet’s working process and, most intriguingly, the adjustments he made to the barmaid’s position in earlier stages of the composition. Both past and present versions are made visible in Longo’s intricately-detailed depiction, showing the viewer what usually remains unseen and revealing an alternate history.
Providing a preview of the artist’s forthcoming exhibition at the Musée Courbet, Ornans, Yan Pei-Ming’s Portrait de Gustave Courbet (2018) pays homage to the master of Realism. Ming’s monochromatic paintings of epic scale have redefined the traditional parameters of portraiture over the past three decades. The artist believes that portraits have the power to capture and transcend experience and thought. His exhibition at Musée Courbet will coincide with the celebration of the bicentenary of Courbet’s birth in June 2019, before it travels to the Petit Palais and to the Musée d’Orsay.
Starting on Sunday, October 14, Sotheby’s will have the highlights of its Prints and Multiples sales to be held in four auction sessions from October 18 to 22nd. The sales feature more than 450 works, including this rare complete set of Jasper Johns screenprints (above) from the collection of David Teiger. Cicada is estimated to sell for $300/500,000. The last time another example of this set was offered was 21 years ago during the Ganz Collection sale. Here’s what Sotheby’s has to say about the highlights:
The Collection of David Teiger
Ranging from works by Henri Matisse and Pablo Picasso to Christopher Wool, David Hockney and Olafur Eliasson, the selection of 21 prints on offer from the Collection of David Teiger is led by a complete set of Jasper Johns’s beautiful Cicada (ULAE 215) from 1981 (estimate $300/500,000), which illustrates the artist’s iconic crosshatch motif across an array of complementary colors. In both its imagery and technique, the work demonstrates Johns’ passion for printmaking, with each screenprint employing 19 screens to achieve depth and texture – in the process exploring the boundaries of the medium. The present set is one of two printer’s proofs from an edition of only seven. A complete set of Cicada has not appeared at auction since 1997, when one sold from the famed Ganz Collection.
David Teiger had a strong commitment to collecting and supporting works by female artists, and the selection of prints from his collection features a group of figural nudes by Marlene Dumas as well as portraits by Elizabeth Peyton, including Flower Ben from 2003 (estimate $5/7,000).
Andy Warhol Icons
A strong selection of works by Andy Warhol are highlighted by three complete sets of the artist’s prints, highlighted by Ten Portraits of the Jews of the Twentieth Century (F. & S. II.226-235) from 1980 (estimate $250/350,000). The portraits are a testament to the achievements of Sarah Bernhardt, Louis Brandeis, Martin Buber, Albert Einstein, Sigmund Freud, George Gershwin, Franz Kafka, the Marx Brothers, Golda Meir, and Gertrude Stein. Other iconic subjects by Warhol include unique trial proofs of Paramount and Dracula, a screenprint of Superman from the Myths portfolio, and nine screenprints from the Flowers portfolio – each sold individually.
Richard Diebenkorn’s Monumental Green
Considered an icon of postwar printmaking in America, Richard Diebenkorn’s Green is a showcase of the artist’s achievement in the field (estimate $400/600,000). Its monumental size – measuring 45 inches tall – balanced composition, layers of abstraction and brilliant color all factor into this work’s label as the artist’s largest and most important print.
A Survey of Pablo Picasso Prints
Next week’s sale includes an extensive range of over 60 prints by Pablo Picasso. Spanning the artist’s career and mastery of nearly every print medium, highlights range from an impression of the artist’s first masterwork in etching, Le Repas frugal (B. 1; BA. 2) (estimate $50/70,000), to some of the strongest images from the Vollard Suite and numerous linoleum cuts from the 1960s – including Portrait de Jacqueline de face, II (Tête de femme) (B. 1063; BA. 1280) (estimate $80/120,000), one of three portraits of the artist’s wife and muse, Jacqueline Roque.
Lincoln Center Editions
The Prints & Multiples auction will close on 22 October with a session dedicated to a selection of 79 prints from Lincoln Center Editions, with works by a diverse group of artists including Vija Celmins, Chuck Close, Jim Dine and Karen Kilimnik. The Proceeds from their sale of these prints continue to benefit Lincoln Center’s innovative cultural programming and education.
Lincoln Center Editions is a component of the Vera List Art Project, which was launched at Lincoln Center for the Performing Arts in 1962 by philanthropist and art collector, Vera List. A pioneer in the fields of contemporary patronage and art education, Vera was committed to helping develop Lincoln Center into an intersection of the visual and performing arts.
Her vision was realized in a publishing program that commissioned artists to create images inspired by Lincoln Center and published in limited editions to commemorate its events, from film screenings to operas. Cultural icons such as Chuck Close, Helen Frankenthaler, Barbara Kruger, Sol Lewitt and Andy Warhol each created stellar editions that were offered for sale to benefit education and performance programs at Lincoln Center. To date, the highly-respected program has published more than 150 limited edition prints. Today, Lincoln Center Editions continues to collaborate with contemporary artists in the spirit of Vera List. Artists such as John Baldessari, Angel Otero, Robin Rhode and Carlos Rolón/Dzine have most recently contributed editions.
Phillips is seeking a record price for Carmen Herrara next month with Blanco y Verde, a work that has not been exhibited in five decades. Each November for the last three years, Phillips has set a new auction record price for Carmen Herrera. In 2015, they scored with Basque, a 1965 work that made $437k over a much lower estimate. In 2016, Cerulean from the same year was sold for $970k. Last year, it was Untitled (Orange and Black) from 1956 that pushed the record to $1.179m. If Blanco y Verde follows the previous pattern of selling near the high estimate (here it’s $1-1.5m) we will see yet another record fall for Herrera.
Here’s Phillips’s release on the painting:Continue Reading