On Wednesday, Art Basel launched the second iteration of its revamped digital fair, “OVR,” which features six-work presentations from 100 galleries. In its first wholly digital endeavor, the fair placed a focus on work made in 2020. For this edition, named “OVR:20c,” Art Basel has spotlighted art made in the 20th century.

“Art Basel, as an entity within the art world, is known not just for contemporary work but also for historical work,” Marc Spiegler, Art Basel’s global director, told ARTnews of the digital experiments that have replaced the now-canceled main Swiss fair. “I’ve always felt that the historical material is important in terms of grounding the contemporary material, and the contemporary material is important in making the historical work feel topical.”

This second version of Basel’s online concept saw sales trickle in more slowly compared to its counterpart in September. In both editions, mega-galleries like Hauser & Wirth, David Zwirner, and Gagosian were absent from the roster of participants, making room for midsize and smaller local galleries from 23 different countries in this edition.

Blue-chip galleries with international branches like Lévy Gorvy and Blum & Poe were part of the lineup, though neither had confirmed sales during either of the first two days. Almine Rech, which has locations in Paris, Brussels, London, New York, and Shanghai, sold a 1998 piece depicting a floral still-life, Study for Mixed Bouquet by Tom Wesselmann, in the price range of $120,000–$150,000.

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Has Christmas come early for Phillips? That might be the case when the auction house offers up a Joan Mitchell painting titled Noël (1961–62) at its rescheduled 20th Century and Contemporary Art Evening Sale, which has moved from the end of June and is now slated to take place on July 2. The work is expected to sell for $9.5–$12.5 million.

The abstract canvas, with large swaths of hunter green paint and expressive brushstrokes in orange and gold, is part of a series that Mitchell painted shortly after moving to Paris in 1959. Though Mitchell was still showing with the famed Stable Gallery at the time, Noël and the other works were first shown in a solo exhibition at Galerie Klipstein und Kornfeld in Bern, Switzerland, in October 1962.

Only one work from this era sold from the show to fellow artist Sam Francis and the rest stayed in storage in Switzerland for some 20 years. (The great collector of American art Barney A. Ebsworth would later acquire that piece, titled 12 Hawks at 3 O’Clock, which sold at Christie’s New York in 2018 for $14 million.)

It was not until New York’s Xavier Fourcade Gallery began working with Mitchell that the gallery would learn about the existence of these works and then mount a show of them in 1985, where they were a hit. Noël sold shortly after the Fourcade exhibition and changed hands a few times, but has been in a California private collection since 1995.

“It’s an extraordinary painting—and exactly what you’d want,” said Robert Manley, Phillips’s deputy chairman and worldwide co-head of 20th-century and contemporary art. “It’s fresh to the market, and it’s a stunning example from a very sought-after period. There’s that feeling that you’re witnessing a first.”Continue Reading

With New York’s Armory Week looming in the horizon, the fairs that will take over the city for the first week in March won’t be the only place for high-priced art transactions. On March 4, Phillips will host the first of its biannual “New Now” sales that will include 196 lots, many of which are recent examples of figurative painting, and carries a pre-sale estimate in excess of $4.3 million.

Keeping in the register of the fairs where buyers are looking at primary market material at lower price points, the works in these auctions carry lower estimates than what one would find in an evening sale. Samuel Mansour, who heads up the “New Now” sale, said the auction is “far more approachable in its price point.” Art fairs are venues for galleries to reach new clients. These sales are no different. At the last iteration of the sale,  36 percent of buyers had never bought from Phillips before.

A mid-season sale like this can drive big returns for Phillips. The September “New Now” sale, which often carries somewhat more high-profile lots than spring, made $8 million over an estimate in excess of $5.8 million. The February 2019 one made $5.2 million over an estimate in excess of $3.6 million.

The “New Now” sale often mixes together work by established artists, like Julian Schnabel and Richard Prince, with more recent rising stars, like Nicolas Party, Njideka Akunyili Crosby, and Jonathan Lyndon Chase. And for seasoned collectors, it can indicate which artists “might be coming up next in a day sale or an evening sale in a season or two.”

“There are always artists that I have in mind and that we’d really like to have in the sale that we go hunting for,” Mansour said. “Artists we’ve sold before or, in the case of this sale, certainly artists that we feel are finally ‘ready’ for the secondary market That’s an aspect of the sale that people have come to expect.”

One of those artists is Jonathan Gardner whose 2014 piece, Daisy, will be the first work by the artist ever sold at auction. Carrying an estimate of $20,000–$30,000, the painting will be the first lot of the sale, which Mansour likes to reserve as “a real coming out moment for the artist in the secondary market.” He added, “Oftentimes, these artists’ work is being traded on the secondary market privately before somebody is willing to take the leap and put them up at auction.”

The late Noah Davis is another artist whose work currently has active secondary marketing interest thanks to a solo exhibition on view through February 22 at David Zwirner in New York. His 2009 painting, showing a slightly surreal head in a landscape and titled In Search of Gallerius Maximumianus, carries an estimate of $60,000–$80,000.

“Now there’s an interest being paid toward more figurative material,” Mansour said. “There’s also an interest in revisiting older artists, who perhaps may not have had their due in the prime of their careers,” many of which are artists of color, women artists, and queer artists.

A 1978 abstract canvas by Ed Clark, titled Untitled (Acrylic #1), from his “Louisiana” series, Mansour points out, is an example of that. Measuring just under 8 feet it is “the largest and earliest,” Mansour said, of his mature works. Clark, who died in October, has seen somewhat of a resurgence in interest in his work, including exhibitions of his paintings at Mnuchin Gallery and Hauser & Wirth in New York.

Phillips was the first of the houses to auction Clark’s work during a charity sale, Art for One Drop, in September 2018, where a 1990 canvas went for $198,000, well above the high estimate of $120,000. Clark’s current record of $495,000 was set in November at an afternoon sale of postwar and contemporary at Christie’s for a piece from 1998. The 1978 painting that will be sold next month carries an estimate of $200,000–$300,000.

“Even though it’s slightly more historic, the painting feels really much of the now,” Mansour said. “It feels far more contemporaneous with what’s happening more generally. It’s about finding works that aren’t exactly new, but it’s very much certainly now with regards to the critical and commercial attention being paid to Ed Clark’s art.”