Andy Warhol, 20 Pink Maos (1979), via Phillips
Complementing the offering of new works across town at Regent’s Park, Phillips London has opened a week of auctions around Frieze Week, closing out its 30-lot sale this evening with a consistent sale, seeing 6 of the evening’s 30 lots go unsold to reach a final tally of £17,867,750. (more…)
Paul Lee, Lung (2016), via Art Observed
Currently on view at Maccarone Gallery in LA, New York-based Paul Lee has brought a series of his enigmatic assemblages to bear on the gallery walls. The artist, who previously worked between film and photography, has branched out over the course of his career into a wide variety of techniques, formal elements and material engagements, turning his attention here to a minimal selection of objects that allow him to explore a series of visual correlations and systems within Maccarone’s spacious rooms.
Paul Lee, Either Side of the Night (2016), via Art Observed
Richard Serra, NJ-1 (2016), via Art Observed
Spread across both of Gagosian’s Chelsea exhibition spaces, Richard Serra’s immense spatial investigations have returned to New York City, marking a continuation and expansion of the artist’s already tightly honed sculptural language. Consisting of a total of only four works, the gallery is showing Serra’s immense rolled steel work NJ-1 in its 21st Street space, while giving over its 24th Street gallery to a trio of Serra’s pressed steel installations, a pairing that sees him returning to his precise visual vocabulary while pushing its expressive limits.
Richard Serra, Every Which Way (2015), via Art Observed (more…)
Colin O’Con, Magma Arch (2015), via Art Observed
In 2012, David Zwirner Gallery launched a novel concept for the summer group show. Called People Who Work Here, the gallery opened its floors to its own employees, launching an exhibition of works that underscored the depth of talent of those working for the international mega-gallery. Four years later, the gallery has picked up where the last exhibition left off, opening a new iteration of the show that welcomes over 35 artists to show their work at the gallery’s 19th Street location, just steps away from a massive new Jeff Koons sculpture in the gallery’s open garage exhibition space. Curated by Marina Gluckman and Jaime Schwartz in gallery’s Research and Exhibitions department, the show takes a playful look at the gallery’s skilled employee based, and offers subtle historical parallels with its own selection of artists.
Joel Fennell, Still-life (after McCobb) (2016), via Art Observed
Sam Lewitt, Less Light Warm Words (Installation View), via Art Observed
The news that Swiss Institute would leave its location at 18 Wooster this summer joined a slow but steady list of high-profile departures from SoHo that included Artist’s Space and other longtime residents of the neighborhood. With this movement from its home soon to be underway, Swiss Institute has turned its attention to a pair of exhibitions dealing with concepts of the institution, infrastructure, and urban locales as it takes its final bow in the space. Giving the space upstairs over to artist Sam Lewitt’s installation Less Light Warm Words, while German artist Mathis Altmann takes over the gallery’s basement exhibition space, filling it with a bizarre series of pieces that mix the abject with the structural.
Mathis Altmann, Untitled (2016)
Liz Larner, xv (caesura) (2016), via Max Hetzler
Exploring recent trends in the use of ceramics and pottery in contemporary art practice, Galerie Max Hetzler has launched a group exhibition exploring not only current approaches and interests in the ancient art of ceramics, but equally placing it in the context of 20th and 21st Century practice. Delving into the historical undertones and evolutions of the ceramic craft in the hands of those not originally trained in the medium, the show moves from the early explorations of Lucio Fontana, through to a range of works made in the past five years.
La Mia Ceramica (Installation View), via Max Hetzler
Wolfgang Tillmans, The State We’re In, A (2015), via Art Observed
Few artists have served as such fervent and enigmatic documentarians of the modern landscape as Wolfgang Tillmans, the German-born, London-based photographer who mixes astute and often empathetic images of nightlife and youth culture alongside his more exploratory projects, mixing natural photos, landscapes, and even surreal images of technological innovations, massive building projects, or the iconography of international commerce. For his current exhibition at Maureen Paley in London, Tillmans has allowed each of these elements to take their moment in the spotlight, creating an expansive catalog of works that feels remarkably perceptive in the context of current events.
Wolfgang Tillmans, I refuse to be your enemy, 2 (2016), via Maureen Paley
Henry Moore, Reclining Figure Festival (1951), via Christie’s
Adding one final sale to the end of a long two weeks of auctions, Christie’s “Defining British Art” Sale this past evening notched an impressive last set of sales for the spring season, pushing a 29-lot sale of works ranging from Impressionist Masterpieces to Modernist Sculpture to Contemporary pieces to an impressive £99,479,500 final tally. The sale saw only two works go unsold over the course of the evening, and offering an exclamation point at the end of a week that did much to challenge assumptions over the impact of the Brexit on market health in Europe.
John Constable, View on the Stour near Dedham, full-scale sketch (c. 1821), via Christie’s
Jenny Saville, Shift (1996-97), via Sotheby’s
The post-Brexit contemporary sales continued in London this past evening, as Sotheby’s capped a 47-lot offering of contemporary and post-war works, seeing all but 7 works find a buyer, and bringing in a sales tally of £52,194,000 that exceeded its initial $35 million estimates. (more…)
Anselm Kiefer, Für Velimir Khlebnikov: Die Lehre vom Krieg: Seeschlachten (2004-2010), via Phillips
The first of June’s Contemporary Art sales in London has wrapped up in London this evening, as Phillips concluded its 20th Century and Contemporary sale to mixed results and a final sales total of £11,873,000, within the evening’s sales estimate. The 31-lot sale saw 10 of its works go unsold, while a handful of other pieces brought impressively strong prices, ultimately casting ominous, albeit foggy indications of the European market in the wake of the Brexit vote.
Amedeo Modigliani, Madame Hanka Zborowska (1917), via Christie’s
Early warnings about this week’s sales in London seem to have some weight to them following the sales outcome at Christie’s this evening. The auction house’s summer Impressionist and Modern Evening Sale wrapped in London tonight with a dreary outing, closing the 36-lot auction to the paltry tune of £25,612,500, with almost one third of the works offered failing to find a buyer.
Claude Monet, L’Ancienne rue de la Chaussée, Argenteuil (1872), via Christie’s
Amedeo Modigliani, Jeanne Hébuterne (Au Foulard) (1919), via Sotheby’s
Sotheby’s logged its entry in the Impressionist and Modern Evening sales last evening, with a healthy, brisk sale that reached a final tally of £103,280,000, beating initial estimates with only three works unsold. Despite a small selection of lots, the evening’s offerings saw healthy competition, and several top lots that commanded hefty final prices, even if prices tapered off quickly after several marquee works.
The Modigliani Sells, via Art Observed
After a long week of sales that has seen both ups and downs for the two main auction houses, Christie’s has concluded its week with a consistently solid Impressionist and Modern sale, with 7 of the 54 lots at auction going unsold for a final tally of $141,532,000. The auction house saw its momentary stumbles over the course of the sale, with several pieces falling well below estimate, and a few high-profile lots going unsold. Even so, Christie’s managed to keep the bids moving, and keep works selling, a point that surely is not lost on those watching Sotheby’s occasionally disheartening sale earlier this week. (more…)
A new world record set for Sam Francis tonight, via Art Observed
Another night of sales has come and gone at Sotheby’s, with an unexpectedly robust outing from the auction house that moved quickly through the 44-lot sale to a final total of $242,194,000. The sale was a short but impressive affair, as the auction house’s early lots consistently beat out estimates in the early lots, and ultimately saw only a small handful of lots go unsold. The sale makes for an impressive response to market alarmists and critics of the auction house, showing there seems to still be strong enthusiasm in the contemporary market. (more…)
Paul Signac, Maisons du Port, Saint-Tropez (1892), via Sotheby’s
Having just announced a loss of over $25 million for the first quarter of 2016, Sotheby’s needed a strong performance this evening to alleviate concerns over its recent shakeups and acquisitions, but there were few reassurances in sight for the house’s New York Impressionist and Modern Evening Sale tonight, as it concluded a 62 lot outing with almost a third of the works going unsold, bringing a final sales tally of $144,434,000. (more…)
Brice Marden, Star (for Patti Smith) (1972-74), via Phillips Auction
Following in the footsteps of an early evening auction at Christie’s just an hour prior, Phillips has logged a staid but consistent auction into the books for its sole evening sale of the spring auction week. The auction house’s 20th Century Sale achieved moderate success with a final tally of $46,576,000, with only 3 of the 38 lots going unsold.
Maurizio Cattelan, Him (2001), via Christie’s
This week’s marathon series of art auctions is underway in New York City, as Christie’s launched a rare, specially-curated Sunday sale, ending its 39 lot Bound to Fail auction with a final tally of $78,123,250, with only a single lot going unsold. The fair, which followed hot on the heels of the last hours of Frieze, saw modest bidding and consistently dependable sales, although several works sold for final prices below estimate. (more…)
Lucian Freud, Pregnant Girl (1960-61), via Sotheby’s
The London Contemporary Auctions continued its mixed run this week, as Sotheby’s concludes this evening’s entry to mixed results. The 59-lot sale saw 11 works go unsold,not to mention a number of high-profile withdrawn lots, bringing a final tally of £69,461,000, a figure that sat squarely within the auction house’s presale estimates. Of particular note in the early moments of the sale was the withdrawal of the evening’s star Gerhard Richter lot, a move that left the auction house with a considerable gap in its initial estimates. Even so, the auction room was practically buzzing as the sale got underway.
Piero Manzoni, Achrome (1958), via Phillips
The week of Contemporary Sales is now underway in London, after Phillips concluded its first major auction of 2016, its “20th Century and Contemporary Art,” to uneven results this past evening, seeing 9 of 43 lots going unsold, and a final total of £24,590,500. Sales were decidedly reluctant this evening, despite the sale’s strong sell through this evening. Many works lingered at low estimate, or only achieved the low with the added premium and fees, a note that underscores realistic estimates set by Phillips, but perhaps a far less rabid buying market.
Pablo Picasso, Tête de Femme (1935), via Sotheby’s
The first week of February’s auctions concluded last evening, following a difficult set of sales at Sotheby’s that saw tepid, occasionally concerning results, with 13 of the 37 Impressionist and Modern works going unsold, bringing a total of £78,308,000, while the auction house’s small but impressive selection of 16 Surrealist pieces saw 2 go unsold, bringing the modest sale a tally of £14,860,500. (more…)
Max Ernst, The Stolen Mirror (1941), via Christie’s
A marathon night has concluded at Christie’s this evening, following the auction house’s back to back sales of premier works. The sale provided an solid start to 2016’s winter and spring seasons of sales, and sends an indication of the market’s stability moving forward, even if the astronomical prices of the recent past were notably absent. All told, the Impressionist and Modern Sale saw a respectable outing, with 12 of the 50 lots on sale going unsold, and reaching a total of £66,430,000, while the Surrealist auction immediately after achieved £29,487,100, with 10 unsold lots.
René Magritte’s Miroir Universel sells over estimate for$6,661,000, via Rae Wang for Art Observed
The November auctions are over, as Christie’s capped its final major evening sale of the year to strong results, with 13 lots going unsold out of the 62 offered, tallying a final of $145,545,000. (more…)
Cy Twombly, Untitled (New York City) (1968), via Sotheby’s
Tonight Sotheby’s has logged its response to Christie’s moderate outing last evening, as the auction house’s Post-War and Contemporary Evening Sale saw steady, albeit occasionally slow proceedings, bringing a final sales tally of $294,850,000 with 13 of the 57 lots offered going unsold. (more…)
Louise Bourgeois, Spider (1997), via Rae Wang for Art Observed
Christie’s continued its impressive run of record-setting sales last night, with a steady, competitive sale tonight that ultimately brought a final tally of $331,809,000, with 13 of the 70 lots offered passing (barring several withdrawn, high-priced lots). (more…)
