THE INTERNATIONAL MAGAZINE FOR ART COLLECTORS NOVEMBER 2017

NEW YORK LUCIO FONTANA’S

“AMBIENTI COOL
AUCTIONS SPAZIALI” GET
A NEW LIFE
BRITANNIA
STAR WORKS, AT PIRELLI MARKET MOOD
STELLAR PRICES HANGARBICOCCA IS CHANGING
Upcoming Auctions | 2017
American Art
November 3

Ethnographic Art: American Indian,

Pre-Columbian & Tribal Jewelry
November 13

20th Century Decorative Arts,

Featuring Tiffany, Lalique and Art Glass
November 14

Texas Art
November 18

Modern & Contemporary Art

November 30

Rare & Fine Wine

December 1

Fine Jewelry
December 1-2

Luxury Accessories
December 5

Fine European Art

December 8

Fine & Decorative Arts

December 9-10

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47577
 Duane Hanson (1925-1996)
Baby in Carriage, 1983
Polyvinyl, polychromos in oil, and accessories
34-1/2 x 22 x 36 inches
Estimate: $80,000-$120,000
LIVE AUCTION NOVEMBER 22, 2017 L AW R E N S T E WA R T H A R R I S
1885 – 1970 CANADIAN
D E S I G N E XC H A N G E , T O R O N T O
Mountains East of Maligne Lake
P O S T- WA R & C O N T E M P O R A R Y A R T oil on canvas, 1925
F I N E C A N A D I A N A R T  40 1⁄2 x 52 1⁄4 in, 102.9 x 132.7 cm

Previews precede the Auction in Vancouver, Montreal and Toronto E S T I M AT E : $2,500,000 – $3,500,000 CAD

HEFFEL FINE ART AUCTION HOUSE

WWW.HEFFEL.COM · 1 800 528 9608 · [email protected]
 NOVEMBER 2017

88
LUCIO FONTANA

“We want painting

to emerge from
its frame, and
sculpture from its
glass case”
—LUCIO FONTANA, ON HIS CREDO,
“SPATIALISM.” PIRELLI HANGARBICOCCA
NEAR MILAN HAS NOW RECONSTITUTED
LONG-LOST WORKS OF EXPERIENTAL ART
BY THE 20TH-CENTURY MASTER, THE
NINE “AMBIENTI SPAZIALI” THAT SHOULD
BE EXPERIENCED FIRSTHAND

Blouin Art + Auction (ISSN No. 2331-5342) is published

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Heads of Impressionist & Modern, and Contemporary art
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STAR WORKS,
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AT PIRELLI
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IS CHANGING

33 ON THE BLOCK ON THE COVER

Our expert surveys the month’s headlining auctions and Les Amoureux, 1928, Marc Chagall
(1887-1985) . Oil on canvas, 46 1/8 X 35
what their results could mean for the market 5/8 in., at Sotheby’s Impressionist &
BY MARK BEECH Modern Art Evening Sale, New York, Nov
14. Estimate: $12 million - $18 million
NOVEMBER 2017

FEATURES

104 REASSESSING THE YBAS

A few decades ago, the Young British
Artists made a big splash, and some
great money. But time seems to
have changed the market’s
perception of their art
BY MICHAEL PRODGER

46 ON THE AISLES
Paris Photo trains its eye on the
photographers who document their
worlds as powerful witnesses

132 DESTINATION AMSTERDAM

The director of the Affordable Art Fair
Amsterdam, Kris Clark, shares how
to make the best of this fairy tale city

119 CALENDAR
The Musée d’Orsay delves into the
friendship between Edgar Degas and
Paul Valéry while LACMA surveys
18th-century Mexican painting

78 REDISCOVERY OF MASTERS
An exhibition in Washington, D.C.,
throws light on Vermeer and other
masters of 17th-century Dutch
works on blissful domesticity
BY NINA SIEGAL

139 AUCTIONS IN BRIEF

The best of auctions in New York this
season, including photography, high-
profile Impressionist & Modern Art,
and other genres

PHOTO © RMN-GRAND PALAIS (MUSÉE DU LOUVRE)/GÉRARD BLOT

82
The Lacemaker,
c. 1670-1671, by Johannes
Vermeer (1632-1675). Oil
on canvas, transferred
to panel, 23.9 X 20.5 cm
(overall painted surface);
24.5 X 21 cm (overall
unframed); 71 X 63 cm
(overall framed). Musée du
Louvre, Départment des
Peintures, Paris

FOR DAILY MARKETWATCH UPDATES,

GO TO BLOUINARTINFO.COM
 NOVEMBER 2017 VOLUME XL NO. 10

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Nordic Masters DESIGN AUCTION
IN COPENHAGEN
6-7 DECEMBER 2017

Copenhagen, Denmark
Tel +45 8818 1111 · [email protected]
bruun-rasmussen.com
 FROMTHEEDITORS

Flying high! With caution

If you want to win big, you have to think big. There are a lot of stunning pieces
going into the New York November auctions, with some eye-watering, truly big
prices.
The “Leonardo-fest” at Christie’s is a headline grabber, though Sotheby’s
especially is not to be outdone. All the houses promise works variously said to be
“museum quality,” “not seen in decades” or “making an auction debut.” These are
stellar lots, and it is standard practice to talk up the quality of any work as being
highly significant in the artist’s oeuvre. Words like “seminal” and “groundbreaking”
are commonly used. This is not just any old portrait of Chagall’s wife or Picasso’s
lover — it is one of the greatest, and highly regarded by its creator.
Our magazine previews lots on the block — with knowledge that, when buyers
are being selective, they often go for the best quality and ignore minor works.
The London sales we previewed last month provided many bright signals, with
companies reporting solid sales and strong overall totals, along with multiple artist
records. Frieze was also buzzing, certainly more lively than 2016. Famously, the
David Zwirner booth completely sold out within two hours on the VIP Day.
It may all augur well for auctions of works described as “the last by Andy
10 Warhol, inspired by Leonardo da Vinci” and “the last Leonardo in private hands.”
But there is a parallel cautionary tale with buyers needing to be attracted by
realistic estimates and solid provenance in the time of economic uncertainty. The
failure of a pope by Francis Bacon at Christie’s, London, estimated at some £60-80
million (about $78-100 million) rung alarm bells.
Apart from our comprehensive report on what to expect in the most-watched
New York sales, as ever, we preview auctions from around the world.
In this edition too, art historian Michael Prodger follows through on “Cool
Britannia” amid the Brexit question: “What is happening to the market as the
UK continues to negotiate its way out of the European Union?” Prodger grew up
watching the success of the YBAs (Young British Artists) such as Tracey Emin and
Damien Hirst. Now that they are all middle-aged and none of us are so young,
and as the auction houses stage various “Made in Britain” sales, Prodger returns
to ponder their market — and also frankly consider how successful their once
“sensational” art is… with a few years’ perspective.
As ever, Art + Auction continues to believe that art is global. Franca Toscano
moves our attention to Italy and discovers more about the vast Pirelli-backed
HangarBicocca gallery in Milan, which is now turning its focus to Lucio Fontana’s
“Ambienti.” Nina Siegel’s piece on Vermeer and the Masters counterpoints with
a feature that uncovers the mysterious art of Matthijs Maris. The Dutch painter’s
work is only now gaining the recognition he deserves, a century after his death.
Elsewhere our art-fair listing traverses the globe.
Our market insights, using the millions of data points in the Blouin Art Sales
Index, should provide plenty of food for thought as all attention focuses on New
York. The success of these auctions will be measured not just in any high-profile
successes, or indeed failures — but in selling rates by lot and value and how
achieved prices measure up to upper and lower estimates. Fasten your seat belts. It
is going to be an exhilarating and exciting ride.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Kur t Schwitters · Merz Drawing · 1919
Assemblage · Cardboard, paper, wood, wire, nails, chalk · 6.8 x 5.5 x 0.9 inches · US$ 468,000 - 702,000

Autumn AuCtIonS
n o v. 24 A nD DE C. 7 - 9
Please contact us for your free catalogue · US representative: Stella Michaelis · T 310-386-6432
[email protected] · www.kettererkunst.com
 22 – 27 March 2018
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 CONTRIBUTORS

Mark Beech
A journalist for more than
30 years and author of
four books, Beech is a
member of this
magazine’s management
team. He previously was
Global Team leader for
Bloomberg News’s arts
and culture section,
Bloomberg Muse,
Michael Prodger
directing coverage of Michael Prodger teaches art history at the University of
auctions worldwide. He Buckingham and is art critic for the New Statesman and
has also written and lectured extensively on the art market. His Standpoint magazines. He is a former literary editor and judge of 13
experience includes spells working for Forbes, the Sunday Times, the Man Booker Prize. He writes on books and art for a number
ITN and Dante magazine. He is a fellow of the Royal Society of of publications including the Times, Sunday Times and
Arts and holds an MA from Oxford in Philosophy, Politics and Guardian. As auction houses hold sales, nicely timed for
Economics. While he has been on TV more than 100 times, out of Christmas, including some for the best of “Cool Britannia,”
hours he can usually be found at the Arts Club, Groucho Club or Prodger looks back with interest on the heady days of the Young
Royal Academy Academicians’ Room trying to keep a low profile. British Artists and where they are now pricewise and creatively.
“The market is in an interesting place and we are going to see He concludes: “while the younger Hirst, Emin and the
guarantees and estimates as all-important,” he says of the Chapmans may have learned some of their hard-living skills from
November sales. Bacon they have yet to learn how to match him in their art.”

Chris Welsch
Chris Welsch, a photographer, writer and editor, has been based in Paris
for seven years. His photos and stories have appeared in The New York
Times, the Chicago Tribune, the San Francisco Chronicle and the
Minneapolis Star Tribune (where he was a reporter, photographer and
editor for 21 years), among other publications. He is also a contributing
editor for Blouin publications. Welsch previews the 2017 edition of
Paris Photo, the biggest photography fair in the world, in this issue of
Art+Auction. “For me, Paris Photo is a visual feast of the highest order,
where it’s difficult to know where to start and nearly impossible to
stop,’’ he said. He found the focus of this year’s fair shifting away from
classic black-and-white imagery and toward a contemporary take on
documentary work, as seen through the lens of the French photographer
Lise Sarfati, among others.

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 CONTRIBUTORS

Cody
Delistraty
Based in Paris, Cody
Delistraty writes profiles
and cultural criticism for
the dead-tree and digital
pages of The New Yorker,
Nina Siegal The New York Times,
The Paris Review, and
Nina Siegal is an American author and journalist who has been based in Esquire, among others.
Amsterdam for 11 years. She is a regular contributor to The New York He also works on art and
Times, and she also writes for The Economist, Bloomberg News, and editorial projects for Dior,
14 various art and culture magazines. Nina first moved to the Netherlands and he was named one of
to research a novel set in the Dutch Golden Age. She has since gone “in the best young writers of
the footsteps of Vermeer” in Delft, not too far from her home in 2017 by British Vogue. In
Amsterdam, and has had the opportunity to compare Vermeer’s this issue, he explores the
masterpieces with those of other artists of his era in many Dutch close relationship
museums. In this issue, she writes about a Washington, D.C., exhibition between the painter
on Vermeer and his contemporaries, as well as on the illusory works of Edgar Degas and the
Matthijs Maris from the Burrell Collection, which have never been on much younger poet Paul
view in the Netherlands before. Valéry.

Anya Harrison
Anya Harrison is a writer, curator and consultant based in London who has
contributed to Flash Art, The Calvert Journal, GARAGE Magazine,
Performa Magazine, Moscow Art Journal and other publications, mostly
covering art and film. After completing a Master’s degree at the Courtauld
Institute of Art, she worked for the Garage Museum of Contemporary Art in
Moscow, from where she originally hails, and contributed to the publication
“Frozen Dreams: Contemporary Art from Russia.”She is co-founder of The
New Social, a curatorial platform that organizes film screenings, talks and
other projects as a way to re-think today’s “New East” (post-Soviet and post-
Socialist territories), and has recently co-curated “The Return of Memory,”
a major international group exhibition at Manchester’s HOME that opened
last month. Ahead of the opening of Tate Britain’s major exhibition,
“Impressionists in London: French Artists in Exile (1870-1904),” she delves
into the lives and experiences of French émigré artists who fled to London as a
result of the Franco-Prussian War of 1870-71.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

Alex Katz, Edmund 1972. Sture Lindholm, bar cabinet. Jöran Hieronymi Bernegau, silver brandy bowl. Arvid Castman, silver sweetmeat bowl. Axel Salto, stoneware vase.
Stig Lindberg, stoneware vase. Christian Berg, sculpture Torpedfigur IV. Estrid Ericson, mirror. Folke Bensow, cast iron stools Taburett Nr 1. Marianne Richter, carpet, Gula havet.

Modern Art + Design

Viewing 16 – 20 november Modern Art Design Carpets & Textiles
Sale 21 november Lena Rydén Eva Seeman Anette Granlund
0707 78 35 71 +46 708 92 19 69 +46 708 92 19 92
Berzelii Park 1, Stockholm, Sweden lena.ryden eva.seeman anette.granlund
Catalogue online from 9 November @bukowskis.com @bukowskis.com @bukowskis.com
 INS
OUTS
YOUR RELIABLE 2
CHEAT SHEET
FOR ART WORLD NEWS Another significant “In” of the art world was
made by Colnaghi in announcing that Carlos
A. Picón will be the director of the firm’s
new gallery in New York. Presently curator
in charge of the department of Greek and
Roman Art at the Metropolitan Museum of
Art, where he has worked for almost 30
years, Picón will join Colnaghi later this year.

F R O M L E F T: P H OTO R A F FA E L E C A N E PA F O R A R TC U R I A L © 2 013 T H E M E T R O P O L I TA N M U S E U M O F A R T, P H OTO BY JAC K I E N E A L E ; P H OTO M A R C O D E S C A L Z I

The new gallery will open later this year at
38 E. 70th Street in New York’s Upper East
Side. Picón is a widely-published authority
on ancient and classical art and is expected
to expand Colnaghi’s depth in his area of
expertise.

16 Emilie Volka, as the director of Artcurial’s

Milan office, will help explore new territory, Carlos A. Picón leaves
especially in southern Italy and Monaco the Met after nearly
30 years to join
Colnaghi
1
Artcurial announced the arrival of Emilie Cecilia Alemani, director and chief curator of
High Line Art in New York, is the first artistic
Volka as director of its office in Milan. She director of Art Basel Cities, an initiative whose
succeeds Gioia Sardagna Ferrari. An art first focus city is Buenos Aires
market professional, Volka founded the
Milanese office of the Cambi auction house. 3
She will apply her expertise to helping
Artcurial expand in exploring new territories,
especially in southern Italy. Milan’s proximity Art Basel announced an artistic director for its new
to Monaco, the main venue for Artcurial’s Art Basel Cities initiative in Buenos Aires, the first city
auctions for luxury objects including jewelery, in the program. The first events — a series of talks and
collectors’ timepieces and vintage Hermès, workshops — will take place in the Argentine capital
will allow a strengthening bond between later this year. The program will eventually expand to
Italian clientele and these specialities. Volka other cities. The idea is to develop the international
has always lived between France and Italy and audience for art while promoting the culture and arts
has deep connections in both countries. As a scenes of targeted cities. Cecilia Alemani, director and
child, she discovered the world of auctions at chief curator of High Line Art in New York, will be
Drouot, initiated by her grandparents. She serving as the first artistic director of Art Basel Cities
studied the history of art and joined Finarta in in 2018 and will be curating a weeklong public art
2008, specializing in 17th-century Italian program throughout the city September 11-16, 2018.
furniture. In 2011, she took over as head of the Seen as a long-term collaboration, Art Basel Cities:
“House sale” department, becoming a Buenos Aires will support the city’s cultural ecosystem,
member of the Collegio Lombardo Periti, the including artists, galleries, not-for-profit spaces and
Lombard house of experts. public institutions.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

Harald Sohlberg, Migrating Geese at Nevlunghavn, 1924. From the J. E. Safra collection. A pair of famille rose caparisoned elephants, Qing dynasty, Jiaqing (1796-1822). 750 000–800 000 SEK.
Estimate 1 000 000–1 500 000 SEK A pair of faux bois bowls, Qing dynasty, Qianlong (1736-95). 50 000–75 000 SEK

Anders Zorn, Dressing for Summer (Loppan), 1918, (detail). Matthias Stomer, Boy reading by candlelight (detail). Eugène Jansson, Evening (Afton), 1894. From the J. E. Safra collection.
From the J. E. Safra collection. Estimate 4 000 000–6 000 000 SEK Estimate 450 000–500 000 SEK. Estimate: 2 000 000–2 500 000 SEK

Important Winter Sale

Viewing 30 November – 4 December Deputy Managing Director Head Specialist Asian Head Specialist
Sale 5 – 6 December Head Specialist Art Ceramics & Works of Art Carl Barkman
Andreas Rydén, Cecilia Nordström, + 46 708 92 19 71
Berzelii Park 1, Stockholm, Sweden +46 728 58 71 39, +46 739 40 08 02 carl.barkman
Catalogue online from 21 November andreas.ryden cecilia.nordstrom @bukowskis.com
www.bukowskis.com @bukowskis.com @bukowskis.com
 Max Carter, Christie’s Simon Shaw, Sotheby’s Will O’Reilly, Bonhams

18

VIEW FROM
THE TOP
Genre specialists on the New York sales
A discussion on Impressionist & Modern art
auctions inevitably veers toward records. The
November New York sales in the genre are no
different. But, there is always more

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 CONVERSATIONWITH

Max Carter
Head of Impressionist Art, New York, Christie’s
The emergence of Chinese participation has been
the single most transformative development in the
Impressionist and Modern art category since the
surge of Japanese buying in the 1980s, says Max
Carter of Christie’s. In this conversation, he shares
the highlights of upcoming sales and also his
outlook for the genre for the year ahead

What makes the November, ever created are offered. Given

New York sales of Impressionist the enormous amount of
and Modern Art different from interest generated by these 19
the sales in the same genre in genres, what would you advise
other months and in other collectors to take care of while
locations? Is there a different aspiring to buy at one of these
set of works that generally sales? How can they make
tend to be offered in New York informed choices?
than in London? Could you Narrow your focus. The more you
please explain? know, the more informed and
The November auctions are rewarding your choices will be.
typically our largest and most Start with works on paper. The
varied, partly owing to the longer price points are more attainable
build up, with nearly five months and the opportunities to buy
to gather following the June quality, often greater. Always ask
sales. While our New York and questions. And, if you can, always
London auctions offer buy the best example of whatever
broadly similar material, there you’re interested in. You’ll never
are several exceptions, most regret it.
notably the dedicated As we wind down to the
Surrealist sales we hold penultimate leg of the sales for
annually in London. this calendar year, how would
you sum up the showing of your
Along with Contemporary auction house in 2017 in the
art, Impressionist and category of Impressionist and
Modern art sales are Modern art? Could you share
where records are set some highlights and some
and some of the most results that took even you by
desirable works of art surprise?

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 20

CHRISTIE’S IMAGES LTD. 2017

Left: Composition I, 1955,
by Willem de Kooning
(1904-1997). Oil on paper
laid down on board, 58.4 X
57.7 cm. The Defining
Gesture: Modern Masters
From A Remarkable
Collection, Christie’s New
York, November 15.
Estimate: On Request

21

Right: Contraste de
CHRISTIE’S IMAGES LTD. 2017

forms, 1913, by
Fernand Léger (1881-
1955). Oil on burlap,
92.4 X 73.2 cm.
Christie’s
Impressionist &
Modern Art Evening
Sale, New York,
November 13.
Estimate: On request

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 CONVERSATIONWITH

Animation, 1914, by Francis Picabia (1879-

1953). Gouache, watercolor and pencil on
paper, 53.7 X 64.4 cm. Christie’s
Impressionist & Modern Art Evening Sale,
New York, November 13. Estimate:
$900,000 - $1,200,000

It’s been an extraordinary, market-

leading year in Impressionist and
Modern art at Christie’s. Two
results stand out — the world
auction records established for
Constantin Brancusi’s “La muse
endormie” in May and for Max
Beckmann’s “Holle der Vogel” in
June. “La muse endormie” is an
icon of modern sculpture and its
appearance at auction, where it
achieved $57.4 million, was once-
22 in-a-lifetime (other casts are in the
Metropolitan Museum of Art, the
Art Institute of Chicago and the
Centre Georges Pompidou in
Paris). “Holle der Vogel” is an out-
and-out masterpiece —
Beckmann’s “Guernica” — and it
was only fitting that it more than
doubled the artist’s previous
auction record, realizing $46.1
million in the event.

As the New Year is just around the and Modern art ever to come to years? I believe there is a Chinese bidding in our evening
corner, how do you see this genre auction. The year 2018 promises to growing interest among sales to fully one-third of bidding
performing in 2018? Will the sales be one of the category’s banner collectors from Asia for this and buying from Chinese
and results of 2017 have a bearing years for buyers. genre of art. What could be the collectors this past May.
on what we will see in the New As for artists, I don’t know about driving force for this Whatever the reasons — the
Year? Can you name some artists “lead” but I hope and expect development and how it is going appeal of blue-chip, stable
on whom you would pin your Barbara Hepworth will gain to change the market in the appreciation; strong and
hopes to lead the market? recognition in 2018 and beyond. She years to come? transparent standards of
Christie’s will have the unique was one of the 20th century’s most The emergence of Chinese authenticity; and the comparative
privilege of offering the Collection talented and original sculptors and participation has been the single availability of masterpieces — the

CHRISTIE’S IMAGES LTD. 2017

of Peggy and David Rockefeller yet remains reflectively unsung and most transformative development result for Impressionist and
in spring 2018. Comprising undervalued. in the Impressionist and Modern Modern art is unprecedented
masterworks by the 19th and early Could you share some details art category since the surge of liquidity. For the first time since
20th centuries’ most celebrated about the changing profiles of Japanese buying in the 1980s. the auction category was
artists, it’s the greatest and most collectors of Impressionist and Over the last five years, we have “invented” in the 1960s, the
complete collection of Impressionist Modern art over the past few gone from having little to no audience is truly global.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 CONVERSATIONWITH

Simon Shaw
Co-Head, Impressionist & Modern Art, Worldwide, Sotheby’s
Records at an Impressionist & Modern art sale
anywhere in the world is proof of how intensely
collectors want to own a work by a particular artist.
And that hunger for top quality works by the most
sought-after artists is not just growing but also fueling
the market. Simon Shaw explains the phenomenon and
delineates the shape of the market in the year to come

23
COURTESY SOTHEBY’S

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

24

COURTESY SOTHEBY’S
Untitled (Composition Lyrique), 1922, Wassily
Kandinsky (1866-1944). Watercolor and brush
and ink on paper, 12 3/8 X 14 3/4 in. Property
From A Texas Estate. Sotheby’s Impressionist &
Modern Art Day Sale, New York, November 15.
Estimate: $200,000 - $300,000

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 25

What makes the November, very best in Impressionist & offered. Given the enormous Nature Morte, painted circa 1890, Paul
Cézanne (1839-1906). Oil on canvas,
New York sales of Impressionist Modern art, and collectors know amount of interest generated 11 1/8 X 15 7/8 in. Sotheby’s
and Modern art different from they will see the highest possible by these genres, what would Impressionist & Modern Art Evening
Sale, New York, Nov 14. Estimate:
the sales in the same genre in quality offered in each location. In you advise collectors to take $ 7 million - $10 million
other months and in other that sense, there is no strict care of while aspiring to buy at
locations? Is there a different delineation of material in these one of these sales? How can guide you on both accounts — be
set of works that generally tend marquee auctions between one they make informed choices? an informed collector and engage
to be offered in New York than city and another. There are a few overarching in a dialogue with our specialists
in London?   philosophies that I would always to make smart decisions.
COURTESY SOTHEBY’S

The market for fine art is more Along with Contemporary art, advise. One is to buy the best  
global today than ever before, and Impressionist and Modern art quality work that you can afford. As we wind down to the
our auction calendar speaks to sales are where records are set Another is to buy with your heart, penultimate leg of the sales for
that global appetite. Both our New and some of the most desirable as art is meant to be lived with this calendar year, how would
York and London sales offer the works of art ever created are and enjoyed. And we can help you sum up the showing of your

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 CONVERSATIONWITH

“...desire to own works by household

names like Picasso and Monet is more
global and therefore stronger than ever,
but top-quality examples appear very
rarely on the market.”

were all excited to see Max Ernst’s increase for great examples of
surrealist sculpture “Le Roi jouant modern sculpture, such as the
avec la reine” set a new auction Ernst sold in May. And for
record for any sculpture by the individual artists, we feel that the
artist at $16 million — more than 6 markets for both René Magritte
times the previous record, set in and Joan Miró still have a lot of
2002. More than ten bidders potential, among others.
competed for the work, which was  
emerging from the private Could you share some details
collection of Robert Motherwell about the changing profiles of
and his wife, Renate Ponsold the collectors of Impressionist
Motherwell, which we were and Modern art over the past
privileged to offer in the spring. few years? I believe there is a
  growing interest among
26 As the New Year is just around collectors from Asia for this
the corner, how do you see this genre of art. What could be the
genre performing in 2018? Will driving force for this
the sales and results of 2017 development and how it is going
have a bearing on what we will to change the market in the
see in the New Year? Can you years to come?
name some artists on whom Yes, certainly Asian collectors
you would pin your hopes to have been major participants in
lead the market?  our auctions in recent years, and
In terms of collecting trends, we will continue to grow in
continue to see clients looking importance moving into 2018 and

© 2017 ESTATE OF PABLO PICASSO/ ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
across the 20th and 21st centuries beyond — in every sale we work
for their collections — they do not with new collectors from the
Homme assis au casque et à l’épée, painted on June 11, 1969, Pablo Picasso (1871-1973). Oil on limit themselves to one strict or region, who are among the most
canvas, 57 3/8 X 48 3/4 in. Estimate: $ 8 million - $12 million traditional ‘category’. Another acquisitive and sophisticated
overarching market trend is the collectors active today. It’s
auction house in 2017 in the $59.1 million, to Wassily significant imbalance between important to note that we’re
category of Impressionist and Kandinsky’s masterpiece of supply and demand — desire to referring to a huge region here,
Modern art? Could you share abstraction “Bild mit weissen own works by household names and when we think and talk about
some highlights and some Linien” from the critical year of like Picasso and Monet is more Asian collectors we are not just
results that took even you by 1913 that brought $41.8 million global and therefore stronger than referencing those in Mainland
surprise? (breaking the artist’s auction ever, but top-quality examples China — it’s everything from Japan,
In terms of our sales to-date in record twice in one night!), appear very rarely on the market. where a remarkable collector
2017, our high points really show and “Femme et oiseaux” from Hence, intense competition for purchased the record Basquiat for
the full range of what this Joan Miró’s legendary such works when they do come to his future museum, to Singapore,
category represents: from a “Constellations Series” of 1940-41 auction. In terms of a category Taiwan, Indonesia and beyond. And
gorgeous floral scene by Gustav that fetched $31.1 million. with market potential, I do think we have a broad team in place to
Klimt dated 1907 that sold for In terms of surprises, I think we competition will continue to best serve each region.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 CONVERSATIONWITH

Will O’Reilly
Head of Impressionist & Modern Art, US , Bonhams
The global art market has become, well, truly global
with East Asian buying impacting not just records but
even the entire year’s auction calendar. But basic rules
of buying a good work of art remain the same — lots
of research and buying what you love. As the year
wraps up with the last batch of sales, Will O’Reilly
speaks about the changing dynamics of the market

27

What makes the November, can also suggest future auctions

New York sales of if we feel the context of the other
Impressionist and Modern Art lots may be interesting. East
different from the sales in the Asian buying has had an impact
same genre in other months on the calendar: the traditional
and in other locations? Is there presale marketing and auctions in
a different set of works that London in February used to
generally tend to be offered in coincide with Chinese New Year,
FACING PAGE: COPYRIGHT © 2017 BONHAMS 1793 LTD. ALL RIGHTS RESERVED.

New York than in London? so the season has now moved to

In the past, there was a feeling March. We are exploring options
that some paintings were “New on how this will impact the rest of
York” and some were “London” the calendar.
(generally decorative and
Impressionist versus academic Along with Contemporary art,
and Modern), but the market is Impressionist and Modern art
now fully international. We are sales are where records are set
seeing a steady increase in and some of the most
buying from East Asia, so for desirable works ever created
those clients it makes little are offered. Given the huge
difference. We regularly tour amount of interest generated
highlights internationally, so the by these genres, what would
choice of location is really more you advise collectors to take
about timing and preference. We care of while aspiring to buy at
take care to make our sales feel one of these sales? How can
as cohesive as possible, so we they make informed choices?

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 Hilando (La tejedora),
1936, by Diego Rivera
(1886-1957).
Watercolor and
graphite on paper, 57.8
X 53 cm. Being offered
at Bonhams
Impressionist & Modern
Art sale, New York, Nov
14. Estimate: $200,000
- $300,000

28

COPYRIGHT © 2017 BONHAMS 1793 LTD. ALL RIGHTS RESERVED.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

ANTONY GORMLEY (born 1950)
“Seam”
Lead, fibreglass, plaster and air.
197 x 43 x 50 cm. Executed in 1988.
Estimate: USD 250,000 - 370,000
+46 18 - 12 12 22
www.uppsalaauktion.se

5 - 8 December 2017 in Sweden

Enquiries:
Magnus Bexhed
+46 705 22 12 04
IMPORTANT SALE
[email protected] Classic - Modern - Contemporary - Russian - Asian
 CONVERSATIONWITH

30

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Elefantes en la selva, 1932, by Miguel Covarrubias
(1904-1957). Oil on canvas, 56.5 X 68.9 cm. Being
offered at Bonhams Impressionist & Modern Art sale,
New York, Nov 14. Estimate: $150,000 - $200,000

Time spent on research is never I think we will see an increasing admit with great jealousy, I am
wasted. We provide background looking forward to seeing what
information and explanatory
interest in Latin American art, which is masterpieces Christie’s will
essays on all our key lots. We long overdue recognition in the present from David Rockefeller’s
are passionate about what we international market and is finally storied collection.
do, and are more than happy to breaking out of its niche.
discuss anything in the sales. Go Could you share some details
to museums, read the books (old about the changing profiles of
fashioned, I know!). Take time to the collectors of Impressionist
see what is available. Avoid the Rivera from the collection of the Year? Can you name some and Modern art over the past
hype. Buying a painting just late great Dean Martin, but the artists on whom you would pin few years? I believe there is a
because it is by a hot name is an year has already been full of your hopes to lead the growing interest among
easy way to lose money, and it surprises. My personal highlight market? collectors from Asia for this 31
ignores the fact that collecting was bringing Matisse’s sparkling The Impressionist and Modern Art genre of art. What could be the
art should be a more enjoyable cutout “Arbre de Neige” to market market is largely dominated by driving force for this
pursuit than reading the in May, an extraordinary work collectors, so we are driven less development and how it is
financial pages. Reach for what from an iconic series. I first saw it by fashionable artists and more going to change the market in
you want: it’s the ones that got in a private collection in Canada, by the passion of our clients. I the years to come?
away that will keep you up at where it had been since 1968. We think we will see an increasing The profile of our collectors is
night. The old adage remains spent six months talking to interest in Latin American art, constantly evolving. As wealth is
true: money spent on what you collectors and curators in the run- which is long overdue recognition spread around the world and
love is never wasted. up to the auction, where it sold for in the international market and is across generations, more and
FACING PAGE: COPYRIGHT © 2017 BONHAMS 1793 LTD. ALL RIGHTS RESERVED.

more than $1.5million, significantly finally breaking out of its niche. more people are discovering that
As we wind down to the above the high estimate. I am also Artists working across Latin collecting meets a fundamental
penultimate leg of the sales for auctioneer for our sales in America in the middle of the human need, whether in Paris,
this calendar year, how would London, so it was a thrill to work 20th century were producing Palo Alto or Shanghai. Our job is
you sum up the showing of your with our team there in March to work that was as interesting and to ensure that these collectors
auction house in 2017 in the bring the hammer down on attractive as that of their have the tools to evaluate the
category of Impressionist and Salvador Dali’s “Figura de perfil,” contemporaries in Europe, but is works available and can build
Modern art? Could you share sold for £ 1.8 million (about $2.4 less well known in the Northern collections that reflect their
some highlights and some million) to the Gala-Salvador Dalí Hemisphere. interests and personalities. The
results that took even you Foundation in Figueres, Spain. More in the mainstream, it market will become more
by surprise? would take a fool to bet against international, technology will
The November sales are looking As the New Year is just Picasso, but I think we are finally further shrink distances and
exciting, led by an Alberto around the corner, how do you seeing a better appreciation of communication will be easier, but
Giacometti sculpture and a Max see this genre performing in some the interesting work he was the magic of art is in the
Ernst of Sedona, neither of which 2018? Will the sales and doing in the 1920s, which has chemistry that sparks when you
have been to auction before, and results of 2017 have a bearing hitherto been overlooked. Looking are face to face with an object
a glorious watercolor by Diego on what we will see in the New across the market, although I that really excites you.

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 POST WAR AND
CONTEMPORARY ART
DE CE M B E R 1 4

FINE PRINTS
DE CE M B E R 1 4

AMERICAN AND
EUROPEAN ART
DE CE M B E R 1 5

OUTSIDER ART
DE CE M B E R 1 5

INQUIRIES
[email protected]
312.280.1212
lesliehindman.com
ILLINOIS AUCTION FIRM NUMBER 444000295

R U F I N O TA M AY O
(Mexican, 1899-1991)
Espect adores, 1969.
Propert y f rom t he Est at e of James M. Kemper Jr.,
Kansas Cit y, Missouri. To be off ered in our December 14
Post War and Cont emporary Art auct ion.

CHICAGO

ATLANTA

DENV ER

MILWAUKEE

NAPLES

LESLIE PALM BEACH

HINDMAN
SCOTTSDALE

ST. LOUIS

AUCTIONEERS
 ONTHEBLOCK
BY MARK BEECH NOVEMBER 2017 WHAT TO LOOK FOR AT AUCTION

From da LEONARDO
DA VINCI
(1452-1519)

Vinci to Salvator Mundi,

circa 1500
Oil on panel,

Yoko Ono’s 65.7 x45.7 cm

POST-WAR &
CONTEMPORARY

Basquiat ART EVENING

SALE
Christie’s New
York
November 15,
Christie’s is to offer a work said to 2017
be the last Leonardo Da Vinci in ESTIMATE: $100
MILLION
private hands. And, Andy Warhol’s
last project, put on show just
weeks before his death: “Sixty Last 33
Suppers” — one small and one
monumental, but both with
monumental estimates put at $100
million and $75 million
respectively.
Sotheby’s counters with an icy
Monet landscape estimated at as
much as $25 million. It also is to
offer a Jean-Michel Basquiat
painting owned by Yoko Ono for
25 years, seen as fetching $9-12
million, partly to raise money for
charity.
With lot details still coming in
as this magazine went to press,
Phillips is not to be outdone, with
another Basquiat estimated at as
much as $4.5 million.
COURTESY CHRISTIE’S IMAGES LTD. 2017

The November sales in New

York inevitably feature one-
upmanship between the auction
houses for the most headline-
grabbing lots. This trend has
become even more pronounced
because museum-quality items are
most assured of success when
buyers get selective. Still, the

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

ONTHEBLOCK

prices need to be right, as Christie’s

found in October at its London sale,
when its star Francis Bacon “Study of
Red Pope 1962, 2nd Version”
spectacularly failed against an
estimate of £60-80million (about
$78-104 million).
The failure did not stop Christie’s
evening sales on that day raising
$172,156,735, the second-highest
figure for an evening of Post-war and
Contemporary art in London. The
Frieze Week day and evening sales,
as a test of the market amid worries
about Brexit and the state of the
British pound, showed some
respectable-enough rates, with items
often selling at the midrange of
estimates. New York now aims to do
34 better.

SOTHEBY’S: IMPRESSIONIST AND

MODERN ART EVENING SALE,
NOVEMBER 14, 2017;
CONTEMPORARY ART EVENING
SALE, NOVEMBER 16
Chagall’s naive and romantic
paintings may be an acquired taste,
but he is helped by his signature
style: Entwined lovers, blazing suns
and contented horses. Any artist with
a recognizable look is often at an
advantage. While this auction has
more than one Chagall, the standout

THIS PAGE AND FACING PAGE: CHRISTIE’S IMAGES LTD. 2017

is “Les Amoureux.” The work shows
the artist embracing his childhood
sweetheart, muse and first wife, Bella
Rosenfeld, and it also pays homage
to his adoptive home of France. The
oil-on-canvas portrait is making its
auction debut after remaining in the of the 1920s, according to Simon and Bella is palpable, and their FRANZ KLINE
Light Mechanic, 1960
same family collection for nearly 90 Shaw, co-head of Sotheby’s happiness is at its very heart.” Oil on canvas, 233.6 x171.7 cm
years. It was bought from the Paris worldwide Impressionist & Modern Two Monets are also on offer at THE DEFINING GESTURE: MODERN

gallery Bernheim-Jeune in 1928 — the Art Department: “It captures at a Sotheby’s. The most expensive is the MASTERS FROM A REMARKABLE
PRIVATE COLLECTION
year it was painted. It is estimated at critical moment one of the most striking “Les Glaçons, Bennecourt,”
Christie’s New York
$12-18 million. celebrated love stories in art history an oil painting on canvas from 1893. November 15, 2017
The work is perhaps Chagall’s best — the romance between the artist Monet produced many paintings ESTIMATE UPON REQUEST

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 35

ARSHILE GORKY Composition I, 1943

Ink, wax, crayon and graphite on paper, 48.2 X 63.1 cm THE DEFINING GESTURE: MODERN MASTERS FROM A
REMARKABLE PRIVATE COLLECTION Christie’s New York November 15, 2017
ESTIMATE UPON REQUEST

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

ONTHEBLOCK

PABLO PICASSO
Femme Accroupie
(Jacqueline), October 8,
1954, Oil on canvas
Christie’s Impressionist
& Modern Art Evening
Sale, New York
November 13, 2017
ESTIMATE $ 20 MILLION —
$ 30 MILLION

36

CHRISTIE’S IMAGES LTD. 2017

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM
 OCTOBER 18 - DECEMBER 16
Jean Hélion, Le Dormeur et le Nu, 1947 © ADAGP Paris 2017

26, Avenue Matignon 75008 Paris

[email protected] / www.malingue.net
Phone: + 33 1 42 66 60 33
ONTHEBLOCK

Christie’s Impressionist & Modern Art Evening Sale, New York, November 2016
Top 15 Artworks
Artwork Title Artist
Meule Claude Monet $81.4M
Rigide et courbé Wassily Kandinsky $23. 3M
Buste de femme (Dora Maar) Pablo Picasso $22.6M
Homme à la pipe Pablo Picasso $18.4M
L’hiver Marc Chagall $7.6M
Femme portant une statuette Fernand Léger $7.0M
Femme, monument Joan Miró $7.0M
Théière et oranges (La Nappe) Paul Cezanne $7.0M
Le garçon d’étage Chaim Soutine $6. 5M

L’Atelier Pablo Picasso $6. 2M

Cavalier Marino Marini $4.4M
Nu rose ou Amoureux en rose Marc Chagall $4. 3M
Goûter au jardin Pierre Bonnard $3.6M
Les bords de la Seine près d’Argenteuil Claude Monet $3.6M
La Vague Claude Monet $3. 5M
0M 10M 20M 30M 40M 50M 60M 70M 80M 90M
Sale Value in USD
(© Blouin Art Sales Index - BASI)
(Source of Date: BASI)

38

Sotheby’s Impressionist & Modern Art Evening Sale, New York, November 2016
Top 15 Artworks
Artwork Title Artist
Pikene På Broen (Girls on the Bridge) Edvard Munch $54.4M

Le Peintre Et Son Modèle Pablo Picasso $12.9M

Tête De Femme Pablo Picasso $8. 5M

Le Verger Maurice de Vlaminck $7.6M
Em 1 Telephonbild (Em 1 Telephone Picture) Laszlo Moholy-Nagy $6.1M
Nature Morte: Vase Aux Glaïeuls Vincent van Gogh $5.9M
Nature Morte Marc Chagal $4.7M
Raddampfer Am Landungssteg (Side-wheel Steamer at the Landing) Lyonel Feininge $4.5M
La Famille Marc Chagall $4.4M

Le Rouquin Chaim Soutine $3.8M

Fatimah Ismaël De Louxor Kees van Dongen $3.6M

Fillette À La Chevelure Amedeo Modigliani $3.1M
Sylvette Pablo Picasso $3.0M

Coin De Parc Vincent van Gogh $2.8M

La Route De Rome Paul Delvaux $2.7M
0M 20M 40M 60M
Sale Value in USD
(© Blouin Art Sales Index - BASI)
(Source of Date: BASI)

BLOUIN ARTINFO.COM
ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM
 39
© 2017 THE ESTATE OF JEAN-MICHEL BASQUIAT/ ADAGP, PARIS/ ARS

JEAN-MICHEL BASQUIAT
Cabra 1981-1982, Acrylic and oilstick on canvas, 60 1/4 X 60
1/4 in. Property from the collection of Yoko Ono
CONTEMPORARY ART EVENING AUCTION
Sotheby’s New York, November 16, 2017
EST. $ 9 MILLION - $ 12 MILLION

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

ONTHEBLOCK

ROY LICHTENSTEIN
Female Head 1977
Oil and magna on
canvas, 60 X 50 in
CONTEMPORARY ART
EVENING AUCTION
Sotheby’s New York
November 16, 2017
ESTIMATE $ 10 MILLION
— $15 MILLION

40

© ESTATE OF ROY LICHTENSTEIN

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM
 ALBERTO BURRI
Nero Plastica L.A. 1963
Property from an
important private
collection
CONTEMPORARY ART
EVENING AUCTION
Sotheby’s New York
November 16, 2017
ESTIMATE UPON
REQUEST

41
during a prolonged cold snap in the her collection after 25 years, with he has come close to $100 million, which the material is blowtorched
winter of 1893-4. The river Seine Ono commenting in a statement with “Nurse” making $95.4 million into a new shape.
froze and, as he moved not far that part of the proceeds will in 2015 at Christie’s. Burri’s life story is well-known:
from his Giverny house, Monet benefit The Spirit Foundation, This time, Sotheby’s has a more He was a surgeon who volunteered
found plenty of subjects: icicles, which she “established years ago striking image of a blonde female for war service and was captured
ice flows, and hedges fringed with with the intention of bringing head, executed in the artist’s oil- by Allied troops. The “Plastiche”
frost. The estimate for this work is peace and tolerance to the world.” on-magma medium with Ben-Day series during the 1960s reflects
$18-25 million. “Cabra” is set apart from the (newsprint) style dots during the horrors of warfare and
Call him enfant terrible, call him artist’s other works by its striking Lichtenstein’s so-called Surrealist buildings charred beyond
a bad boy — the short-lived blood-red hue behind the disturbed period. The triple head is seen recognition. There are only six
Basquiat is an art-market darling. bull head and boxing ring. The from two angles and reflected in a other examples of his large-scale
His prices at Sotheby’s this year artist was exploring his Haitian and mirror, mixing influences from reliefs, all held in museums.
broke through the $110 million Puerto Rican roots, and was Picasso and Cubism with pop. It Also at Sotheby’s in the
mark. Basquiat remains a staple of inspired by sporting figures such comes with an enticing estimate of Impressionist and Modern sale:
evening Contemporary sales, his as the boxer Muhammad Ali, who in $10-15 million. “Female Head” was Jean Dubuffet’s “Maison Fondée”
allure undented by a few failures 1970 knocked out his rival acquired from Leo Castelli Gallery from 1961 (est. $12-18 million); Paul
© 2017 ESTATE OF ALBERTO BURRI/ ARTIST RIGHTS

sometimes put down to over- heavyweight, Oscar Bonavena, also in 1977 by the collectors Elizabeth Cézanne, “Nature morte,” an oil-
ambitious estimates. His “Red known as “The Bull.” This explains R. Rea and the late Michael M. Rea, on-canvas of about 1890 (est. $7-
Skull” led the Christie’s October the “TKO” glyph alongside the months after it was painted, and is 10 million); Joan Miró’s pencil,
sale in London at £16.5 million skull. The title is Spanish for another work making its first pastel and gouache “Femmes,
(about $21.6 million). “GOAT” — Ali was known as the appearance at auction. oiseaux, étoiles” from 1942 (est.
SOCIETY (ARS), NEW YORK, NY

There have been many takers “Greatest of All Time.” Also in the November 16 sale is $1.5-2 million); a René Magritte
for the artist’s output, including Roy Lichtenstein prices have Alberto Burri’s “Nero Plastic L.A.” gouache of about 1963 or 1964,
Yoko Ono, who is now following been climbing higher, with the peak from 1963, previously shown at the “La Réponse imprévue,” (est.
U2’s Adam Clayton this year in coming this year with the private Guggenheim Museum of Art, and $2-3 million); and among the
selling. Basquiat’s acrylic-and- sale of “Masterpiece” for a another auction debut. This is the contemporary lots, Marlene
oilstick “Cabra” is emerging from reported $165 million. At auction largest of Burri’s plastic reliefs in Dumas’s 1995 “Magdalena” at

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

ONTHEBLOCK

Christie’s Post-war & Contemporary Art Evening Sale, New York, November 2016
Top 15 Artworks
Artwork Title Artist
Untitled XXV Willem de Kooning $66. 3M
Les Grandes Artères Jean Dubuffet $23.8M

Abstraktes Bild (809-2) Gerhard Richter $22.1M

Nice ‘n Easy John Currin $12.0M
Connect Robert Ryman $10.8M
Untitled #6 Agnes Martin $6.7M
Self-Portrait Andy Warhol $6.5M
Untitled Jean-Michel Basquiat $5.8M
Nurse Elsa Richard Prince $5.8M
Olin MK IV Part 2 Peter Doig $5.8M

Abstraktes Bild (802-1) Gerhard Richter $5.8M

Untitled Christopher Wool $5.5M
Untitled VI Willem de Kooning $5.4M
Untitled Joan Mitchell $5.4M
Rosso Combustione Plastica Alberto Burri $5.0M

0M 10M 20M 30M 40M 50M 60M 70M

Sale Value in USD
(© Blouin Art Sales Index - BASI)
(Source of Date: BASI)

42
Sotheby’s Contemporary Art Evening Auction, New York, November 2016
Top 15 Artworks
Artwork Title Artist
A B, Still Gerhard Richter $34.0M

Self-portrait (Fright Wig) Andy Warhol $24.4M

A B, St James Gerhard Richter $22.7M

Brother’s Sausage Jean-Michel Basquiat

Woldgate Woods, 24, 25, And 26 October 2006 David Hockney $11.7M

Untitled Willem de Kooning $10.4M

Untitled XXXIX Willem de Kooning $9.8M

Ziege Gerhard Richter $9.0M
Pratfall Frank Stella $8.9M

Lenin Andy Warhol $8.1M

Your Sweetness Is My Weakness Christopher Wool $6.8M

Landschaft Gerhard Richter
Untitled Cy Twombly $4.9M
Wood Andy Warhol $2.4M
Jean-Michel Basquiat $2.4M

0M 5M 10M 15M 20M 25M 30M 35M 40M

Sale Value in USD
(© Blouin Art Sales Index - BASI)
(Source of Date: BASI)

BLOUIN ARTINFO.COM
ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM
 $3-4 million.
Some single-owner collections are
also due to be added to the sales.

CHRISTIE’S: IMPRESSIONIST
AND MODERN ART EVENING
SALE, NOVEMBER 13; POST-WAR
AND CONTEMPORARY ART
EVENING SALE, NOVEMBER 15.
From a distance, Andy Warhol’s
acrylic and silkscreen-on-linen
work “Sixty Last Suppers” from
1996 looks like a pile of
rectangular, gray building blocks.
Get closer to this wall-sized work
(about 28 feet by 10 feet) and the
composition becomes clearer: The
images are inspired by Leonard da
Vinci’s mural masterpiece. Warhol
had been commissioned to produce
the piece to mark 500 years since
Leonardo’s death. Rather than
work with the original, he used 43
modern reproductions and found
dozens of versions – some with the
characters in different positions or
with different background details.
The work’s wide $55-75 million
estimate may encourage lower bids Lisa,” and it was put on show in The Appetite for Mark Rothko’s JOAN MIRÓ
to get going. National Gallery, London, in 2011. abstracts has been proven across Femmes, oiseaux, étoiles May 25, 1942
Christie’s says a work by Christie’s also has Picasso’s all hues he produced – from the Pencil, pastel and gouache on paper, 15
1/2 X 18 1/8 in
Leonardo himself, “the greatest “Femme Accroupie (Jacqueline),” a discrete palette of some of the IMPRESSIONIST & MODERN ART EVENING SALE
artistic rediscovery of the 21st colorful celebration of the artist’s 1950s works through the Sotheby’s New York
century,” is also on the block in the lover Jacqueline Roque. The couple psychedelic explosions and dark November 14, 2017
EST. $ 1.5 MILLION — $2 MILLION
November 15 sale. The Leonardo had met in 1952 and this was one of blacks of the later years. “Saffron”
painting of “Salvator Mundi” was three large-format easel works dates from 1957 and is a
long believed to have existed but painted in a day in October 1954 at shimmering field of high-intensity paintings were actually worth.
was generally presumed to have Picasso’s home in the south of yellows, golds and warm oranges (Another similarly-hued 1982
been destroyed. France. Another of the trio painted on estimated at $25-35 million. painting, “Bronze,” failed at
The current work, dating from that day was sold at Sotheby’s last Basquiat’s “II Duce,” an acrylic Sotheby’s in October on an
about 1500, was first recorded in year for £7.4 million and the other is and oilstick on canvas from 1982, estimate of £5-7 million.)
the Royal collection of Kings the Picasso Museum in Spain. has a currently unpublished René Magritte’s “L’empire des
Charles I and Charles II. It was later The lovers returned later to estimate. The golden work was lumières,” painted in Brussels in
over painted, auctioned in 1958 for Paris, married in 1961 and painted during a stay in Modena 1949, is estimated at $14-18
£45 and in 2005 sold again, when Jacqueline remained Picasso’s and seems to reference both the million. It is the first in a series of
COURTESY SOTHEBY’S

the effort started to restore the muse until his death. The painting Fascist dictator Benito Mussolini landscape-and-cloud works, this
work and get it authenticated. being sold remained in the artist’s — otherwise known as “Il Duce”— with the surreal trick of a sunny
There was amazement as experts personal collection for many years and the gallerist Enrico Mazzoli, daytime sky and the houses in
declared it one of fewer than 20 and comes to its first auction with who Basquiat felt treated him night-time gloom with a street light
Leonardo paintings, a “male Mona an estimate of $20-30 million. unfairly, paying him less than his glowing. It was first owned by

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

ONTHEBLOCK

RENÉ MAGRITTE
La Réponse impréuve 1963 or 1964
Gouache on paper, 21 5/8 X 14 in.
IMPRESSIONIST & MODERN ART EVENING SALE
Sotheby’s New York, November 14, 2017
EST. $2 MILLION — $3 MILLION

Nelson A. Rockefeller and now comes from a

private collection.
Among other works to watch at Christie’s
Impressionist and Modern sale: Wassily
Kandinsky’s “Improvisation mit Pferden (Studie
für Improvisation 20)” painted in 1911 (est. $10-15
million); Edouard Vuillard’s 1899 “Misia et
Vallotton à Villeneuve,” from the estate of William
Kelly Simpson(est. $7-10 million); Francis Picabia’s
1914 gouache, watercolor and pencil “Animation”
(est. $900,000-1.2 million). Among the
contemporaries, there is Kerry James Marshall’s
2015 “Still-Life with Wedding Portrait,” an acrylic
and panel scene(est. $1-1.5 million).
The November 13 sale will also include some
44 abstract Impressionist pieces from the private
collection of Heinz and Ruthe Eppler. The
couple built a 27-piece collection now
estimated at $60 million and including Picasso,
Willem de Kooning, and Franz Kline’s 1960
“Light Mechanic.”

PHILLIPS: 20TH CENTURY AND

CONTEMPORARY ART EVENING SALE,
NOVEMBER 16
Basquiat is among the stars at Phillips too.
His “Untitled (Halloween)” with a voodoo-style
face next to ghoulish symbolsis estimated at
$3.5-4.5 million. The early published lots also
include an Anish Kapoor wall sculpture,
“Untitled (Random Triangle Mirror),” estimated
at $700,000-1 million.
Works from the collection of Anne Marie and
Julian J. Aberbach include some charming
drawings. Picasso’s “Portrait de femme
endormie III,” a 1946 crayon-on-paper sketch, is
estimated at $1-1.5 million. There is also an
earlier Picasso sketch, “Deux Nus” from 1920,
seen as making as much as $1.2 million. Two

COURTESY SOTHEBY’S
Henri Matisse charcoal-on-papers, “Jeune fille
accoudée” (1938) and “Jeune fille dormant à la
blouse roumaine” (1939) have estimates of as
much as $1.2 million and $1.8 million.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 C U R AT E D A U C T I O N H O U S E I N PA R I S

Auction: November 16, 2017 Auction: November 22, 2017

AMERICAN SELECTED DESIGN VENINI IN PROGRESS II
PROTOTYPES, UNIQUE PIECES
FROM VENINI MUSEO

Auction: November 29, 2017 Auction: November 29, 2017

CONTEMPORARY AFRICAN ART DESIGNERS, ARTISTS, DECORATORS
IN PARTNERSHIP WITH AD

VIEWINGS & AUCTIONS UPCOMING AUCTIONS AND RESULTS

PIASA - 118 rue du Faubourg Saint-Honoré WWW.PIASA.FR
75008 Paris - France
+33 1 53 34 10 10 - [email protected]

PIASA SA - agreement n° 2001-020 - Auctioneer: Frédéric Chambre

46

Oh Man, 2012,
Lise Sarfati (born
1958). Archival

CELEBRATING
pigment print, 101

THIS PAGE: © LISE SARFATI. COURTESY LA GALERIE PARTICULIÈRE, PARIS-BRUXELLES;

X 127 cm. At La

FACING PAGE: SUSAN MEISELAS/MAGNUM PHOTOS, COURTESY DANZIGER GALLERY

Galerie
Particulière,
Paris-Bruxelles

THE WITNESSES
THIS YEAR’S PARIS PHOTO BRINGS A SPECIAL
FOCUS TO PHOTOGRAPHERS WHO DOCUMENT
THEIR WORLDS, IN CONVENTIONAL AND
UNCONVENTIONAL WAYS
BY CHRIS WELSCH

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 ONTHEAISLES

The 2017 edition of Paris Photo reflects a world that is on A photo from Sarfati’s “Oh Man” series, shot on the
edge in many ways, highlighting the importance of streets of Los Angeles, serves as the poster image of this
documentary work with a selection of artists who depict year’s fair.
upheavals, large and small; or whose work questions our “We thought it was important to give a sign that there’s a
assumptions about visual reportage. new way to work with documentary photography, and
The fair returns to the Grand Palais November 9-12 for that it’s an important concern in Contemporary art,’’ said
its 21st edition, with its characteristically overwhelming Christoph Wiesner, artistic director of the fair, of the
volume of exhibitors (190), countries (30), and time frame choice of Sarfati’s image for the poster. “She’s in-between,
(photography spanning nearly 200 years). Among the in that she chooses her scene carefully, and then waits for
usual mix of genres, the strong range of documentary something to happen. She has said her influences extend
work on display ranges from classic photo reportage — to directors, like Robert Bresson and Jean Eustache, in
like the combat scenes of the French war photographer how she approaches an image.’’
Gilles Caron and the gritty carnival strippers of the For the “Oh Man” series, Sarfati, who gained
Untitled from
American Susan Meiselas — to current work like that of recognition for her intimate portrayal of disaffected “Carnival
Lise Sarfati, a French photographer whose work occupies Russian youths during the ’90s, photographed desolate Strippers,” 1972-
1975, Susan
a more ambiguous middle ground. urban scenes in Los Angeles, traversed by a sole male Meiselas

47

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 ONTHEAISLES

figure. The scenes are characterized by immaculately

choreographed geometry, where the walking figures are
framed — or trapped — by the hard-right angles of the
architecture and streets that surround them. Sarfati’s
work is being shown at Paris Photo by Galerie
Particulière.
Among the other artists represented at Paris Photo
who can be considered documentarians are some of the
genre’s most luminous names.
The Prismes section of the fair, reserved for large-scale
works, installations and series in the Salon d’Honneur,
features an exhibition of the work of Gilles Caron. He is
known as the “French Capa” for his exceptional
48 photographs of war and protest during the late ’60s, and
for disappearing without a trace while covering the war in
Cambodia at the age of 30 in 1970. (Capa died when he
stepped on a land mine in Vietnam in 1954.)
“A Choreography of Revolt,’’ organized by the School
Gallery Olivier Castaing in Paris, combines a wall
papered with panoramic versions of Caron’s images of
bomb- and rock-hurling protesters and weary
combatants in Asia and Africa with original prints of
the work that secured his place as a ground-breaking
journalist and artist.
The Prismes section also has a solo show of the work of
Henry Chalfant, an American photographer and
documentary filmmaker who focused on graffiti and
hip-hop culture in the 1970s and ’80s and whose work
helped elevate the status of graffiti as a legitimate art
form. Eric Firestone Gallery is offering a selection of
Chalfant’s large-scale photographs of whole train cars
used as canvases by graffiti artists.
Other notable documentary work includes that of the
2016 Prix Elysée winner Matthias Bruggmann, whose
war photography in Iraq, Somalia and Syria is featured
(Galerie Polaris); a solo show of Susan Meiselas’ well-
known “Carnival Strippers” series from the ’70s
(Danziger Gallery), and Stephen Shames’ work on the
Black Panthers in the late ’60s and early ’70s (Stephen

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

THIS PAGE: ARTIST AND GALERIE NATHALIE OBADIA, PARIS/ BRUSSELS
FACING PAGE: GILLES CARON; THIS PAGE: MATTHIAS BRUGGMANN

Above: Iraq, 2003, Matthias Bruggman. Polaris.

Left: American Soldier, Vietnam War, November

1967, Gilles Caron. Courtesy Foundation Gilles
Caron, School Gallery Olivier Castaing Paris

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 ONTHEAISLES

50

TOP LEFT: © VANESSA BEECROFT. COURTESY LIA RUMMA GALLERY. MILAN/NAPLES

Above: VB62,
2008, Vanessa
Beecroft. Digital
c-print, 170 X 127
cm. Edition of 6.
Lia Rumma

AVEC CAROLINE SMULDERS, PARIS; THIS IMAGE: GILLES CARON

Gallery Milan/
Naples with
Caroline Smulders
Gallery Paris

Right: The
Thrower of the
Paving Stone, rue
Saint Jacques,
Paris, May 6, 1968,
Gilles Caron.
Foundation Gilles
Caron, School
Gallery Olivier
Castaing Paris
 51

Kasher Gallery). Meiselas is among the photographers, The choice was also a chance to reflect trends in Somalia, 2009,
editors and curators participating in the Paris Photo Contemporary photography, said Wiesner, the artistic Matthias
Bruggman. Polaris
Platform Conversations series this year. director. “Several of the artists whose films will be shown
For the first time, Paris Photo has added a film and video also have work in the galleries, like Vanessa Beecroft,’’ he
section, in partnership with the MK2 theater chain and said. “We wanted to underline that now we have a lot of
production company, which has a theater in the Grand artists working in different mediums.”
MATTHIAS BRUGGMANN

Palais on its south side. “With the new section, we wanted Beecroft’s film, “VB 62 Spasibo Palermo,’’ being shown
to take advantage of having the theater space in the Grand November 10, is of a performance piece in a Palermo
Palais to emphasize the direct connection between church, with sculptures of women and real women as the
moving and still images,” said Florence Bourgeois, the subjects. Her photographs are being shown by the
director of Paris Photo. Caroline Smulders and Lia Rumma galleries.

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 LONDON
THROUGH THE
EYES OF EXPATS
FROM A PARIS
52
UNDER SIEGE
By Anya Harrison
 Charing Cross
Bridge, by Camille
Pissarro
(1830-1903),
painted in 1890. Oil
paint on canvas,
600 X 924 mm,
National Gallery
of Art,
Washington, D.C.

53

COURTESY OF TATE BRITAIN

 SPOTLIGHT

54

COURTESY OF TATE BRITAIN

Houses of Parliament, Sunlight effect, 1903, by
Claude Monet (1840-1926). Oil paint on canvas, 813 X
921 mm, Brooklyn Museum of Art, New York

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

modern &
SAM GILLIAM

contemporary art (american, B. 1933)

“IDYLLS I”, 1970
Acrylic on unstretched canvas

Auction 11/07/17 Installed (variable): 76 x 61 in. (193 x 154.9cm)

$50,000-80,000

Dunham Townend | 267.414.1221

[email protected] www.freemansauction.com
56

COURTESY OF TATE BRITAIN

Houses of Parliament, c. 1900, by
Claude Monet (1840-1926). Oil paint on canvas, 812 X 928 mm,
Art Institute of Chicago

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Leicester
Square, 1901,
by Claude
Monet
(1840-1926).
Oil paint on
canvas, 805
X 648 mm.
Collection
Fondation
Jean et
Suzanne
Planque (in
deposit at
Musée
Granet,
Aix-en-
Provence)

57
PHOTO: © LUC CHESSEX
 SPOTLIGHT

58
C Claude Monet’s paintings of the Houses of
Parliament or of the river Thames. The bucolic
scenes at Kew and Dulwich painted by Camille
Pissarro, or the crowd on a large barge by Charing
Cross Bridge captured by his brush. Such scenes of
London are among the most well-known works by
these artists, as well as their contemporaries and
compatriots, who made the city their base
periodically throughout the 1870s and onward.
None of these depictions of leisure and
everyday life seem to suggest anything amiss.
Yet these works were produced during a period
of political trauma for France, when the
country’s political strength was being tested to
its utmost with the Franco-Prussian War of
1870-1871 and the ensuing years of political
instability. While political upheaval seems
foreign to the story of Impressionism, a new
War of 1866, which had resulted in a Prussian
victory. The diplomatic rift and ensuing fighting
led to Paris being subjected to a siege (people
were reduced to eating rats) with heavy
bombardment, the capture of Napoleon III, the
unification of Germany, the bloody uprising of
the Paris Commune and the installation of the
Third Republic in France.
Some of the most poignant depictions of
war-ravaged Paris were made by James Tissot
(1836-1902). In “The Wounded Soldier,” a
watercolor from 1870 that is one of two
important works by the artist to be shown in
public for the first time at Tate Britain, a young
man is shown recovering in a makeshift hospital
at La Comédie-Française, the famous Parisian
theater. The second — “The Execution of
Communards by French Government Forces at
show at London’s Tate Britain aims to re-situate Fortifications in the Bois de Boulogne,”1871—
this movement within its immediate socio- is a rare representation of a mass execution in
political context. “Impressionists in London, May 1871 of supporters of the Commune as they
French Artists in Exile (1870-1904),” which are hurled to their deaths. Tissot witnessed this
runs through May 7, 2018, brings together more event first hand — he had enlisted in the French
than 100 works to chart the stories of artists army where he worked as a stretcher-bearer. A
who sought refuge in Britain during the war and large brick wall blocks the horizon. Limp and
its aftermath, and the networks that they bloodied human figures are scattered on the
formed. grass next to it, while another lone figure is
Although the war only lasted one year and is captured by Tissot’s brush mid-air as it
perhaps not well-known outside of France, it plummets, head first, to its end. The historical
was a global sensation when it happened, with scene takes on a disturbingly personal
multiple underlying causes. For Prince Otto von perspective, not dissimilar to Francisco Goya’s
Bismarck, the Prussian leader, it was a carefully dramatic “The 3rd of May 1808 in Madrid” or
planned campaign for the unification of “The Executions” of 1814, showing the
Germany and, as a consequence, the loosening execution of patriots from Madrid by a
of French influence. On France’s side, it was an Napoleonic firing squad.
opportunity for Emperor Napoleon III to regain In these two pieces, we get a glimpse into
the prestige lost after numerous diplomatic Tissot’s private mind, one that is very different
reverses, not least during the Austro-Prussian both to the historic scene and genre paintings

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Kew Green, 1892, by Camille Pissaro (1830-
1903). Oil paint on canvas, 460 X 550 mm.
Musée d’Orsay

59
COURTESY OF TATE BRITAIN

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 SPOTLIGHT

that defined his style of the 1860s, and to the younger artist’s mentor. Yet the city also became
other works he would go on to make in London the site of fortuitous encounters, relationships
after his flight there in 1871 following his and networks of support. The art dealer Paul
association with the defeated Paris Commune. Durand-Ruel, one of the most avid supporters of
His London exile elicited a change in his work, the future Impressionists — and who went on to
according to the exhibition’s curator, Caroline purchase more than 5,000 of their works over
Corbeau-Parsons: “He was very influenced by his lifetime — met both Monet and Pissarro in
[Jean-Auguste-Dominique] Ingres but when he London during their 1870-‘71 exile. He went on
arrived in London, he adapted his style to British to provide crucial emotional and financial
clientele.” support both to them — but also to Edgar
Here he met the painter John Everett Millais, Degas, Auguste Renoir and others — at a time
an establishment figure, and quickly entered when their work was deeply unfashionable and
Victorian high society. Tate Britain’s exhibition misunderstood by the status quo.
includes Tissot’s “The Farewells, Les Despite — and even because of — the
Adieux,”1871, and Millais’ “The hardships experienced, London held a sway over
Huguenot,”1851-‘52, hung side by side. “It many. “Pissarro and Monet had unfinished
becomes very obvious through this pairing that business in London,” said Corbeau-Parsons.
60 Tissot was looking at what British artists were “When they first arrived, Monet made only six
doing,” Corbeau-Parsons said. Tissot’s palette paintings in eight months [including
might be more subdued than the rich purples “Meditation, Mrs Monet Sitting on a Sofa” of
and ivy greens of the British painter’s work, but 1871]… They were baffled by the fact that they
the similarity in composition and mood are couldn’t find success or any British buyers, and
striking. Another political exile, the sculptor wanted to come back as more successful artists.”
Jules Dalou, who was a convicted Communard, This they did. When Monet returned to
also found success, receiving commissions from London on subsequent trips in 1899-1901, he
Queen Victoria and the Duke of Westminster. was wealthy enough to stay at the Savoy
Although London was a logical destination Hotel.“Impressionists in London” brings
for French artists — travel to the city could be together six paintings from the 19-strong
made without a passport and one could stay “Houses of Parliament” series first begun by
indefinitely — not everyone found it as easy to Monet in 1870, and to which he returned during
adapt. Monet, who did not speak English and these later visits. The impoverished artist who
had little money during his first stay in England, recalled his first encounter with the British
kept company with French expats and capital as the “miserable time” of his exile, was
gravitated toward figures like Charles François able in 1904 to finally exhibit these London
Daubigny (1817-1878) — an important paintings at Paul Durand-Ruel’s Paris gallery in
precursor of Impressionism who became the the most successful show to date in his career.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 NADEAU’S
AUCTION GALLERY
Wayne Thiebaud (b. 1920)
“Lollipop Tree” 13” x 10.25”
Allan Stone Galleries, Inc. label
$500,000 - $800,000

Ercole Barovier
Vaso Masaico, circa 1924-1925
dia. 12.25 in., ht. 10.5 in. $30,000 - $50,000

Charles Topino
Late Louis XV, ht. 36 in.
$20,000 - $40,000 each

Important Annual New Year’s Day Auction - January 1, 2018

[email protected] 860-246-2444 www.NadeausAuction.com
 SPOTLIGHT

62

The Ball on Shipboard, c. 1874, by James Tissot (1836-

1902). Oil paint on canvas, 1012 X 1476 X 115 mm. Tate,
presented by the Trustees of the Chantrey Bequest, 1937

THIS AND FACING PAGE: COURTESY

OF TATE BRITAIN

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

Saint Anne’s
Church at
Kew, London,
1892, by
Camille
Pissaro
(1830-1903).
Oil paint on
canvas, 548
X 460 mm,
from a private
collection

63
64

PHOTO OLIVIER MIDDENDORP

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM
A view of the exhibition
“Matthijs Maris” at
Rijksmuseum,
Amsterdam

THE
RESURRECTION
OF MATTHIJS
MARIS
An extraordinary body 65
of ethereal 19th-century
paintings travels out of
Scotland for the very
first time
BY NINA SIEGAL

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 SCOTTISHSECRET

66
T
The Dutch artist Matthijs Maris, who painted
ethereal images of figures who appear to be
trapped inside the canvas, was a kind of cult figure
of 19th-century painting, with admirers all over
the world.
His most avid collector was the Scottish
shipping merchant Sir William Burrell, who
bought directly from Maris’ easel. Because of his
trade, Burrell was all-too aware of the dangers of
transporting goods by sea. When he died in
1944, he bequeathed his entire collection to the
city of Glasgow, with the caveat that the works
never travel.
Because of this accident of history — coupled
with the fact that Maris’s work didn’t fit nicely into
any particular 19th-century genre and therefore
wasn’t regularly displayed in other museums that
owned it — Matthijs Maris has become unknown,
because he was unseen.
“He’s very important in Scotland, but he has
otherwise been completely forgotten about,” said
Suzanne Veldink, junior curator of 19th-century
Dutch art paintings at the Rijksmuseum in
Amsterdam. “Because they don’t loan it to other
museums, we could never make a serious
exhibition of his work.”
That is, until now. Because the Burrell
Collection is currently undergoing a major
renovation and will be closed until 2020, the
Scottish Parliament has made an exception and
allowed the works to visit the Rijksmuseum for the
first large-scale retrospective of Maris’s work
outside of Scotland, “Matthijs Maris,” through
January 7, 2018.
Along with two dozen works from Glasgow, the
 Rijksmuseum has secured loans from the Stedelijk
A view of the exhibition of
Museum Amsterdam, the Gemeentemuseum in the
the works of Matthijs Hague, private collections, and it includes some of
Maris at Rijksmuseum, its own pictures in the show.
Amsterdam.
Facing page: The Young The Burrell loan has also occasioned the first
Cook, 1871, by Matthijs large-scale examination and restoration of the
Maris (1839-1917). Oil on
canvas. On loan from a works, conducted by Rijksmuseum conservators,
private collector. which has provided for new insights into how Maris
created these strange, unworldly pictures.
The first room of the show presents us with two
images, one from the beginning of his career and
one from the end: “The Butterflies,” a lyrical image
of a girl lying in the grass as butterflies flutter
overhead, was painted in 1874, and sold for a record
sum of almost 20,000 guilders (worth about
$250,000 today). The work represents the kinds of
bewitching pictures for which he first became
famous — and for which he received a royal
decoration from the Dutch queen.
Next to it is the painting “Grief (Vanished
Illusions),” an elusive image painted in mostly dark 67
gray tones, of a figure that seems to be situated
behind the canvas, with a vague impression of a
face pressing up against the painting’s surface,
made some time between 1911 and 1917.
The rest of the exhibition proceeds
chronologically, tracking the development of
Maris’s work from those early evocative figurations
through a handful of landscape paintings and
PHOTO OLIVIER MIDDENDORP; FACING PAGE: COURTESY RIJKSMUSEUM

As the Burrell Collection

is closed for renovation
until 2020, the Scottish
Parliament has made an
exception and allowed
the works to visit the
Rijksmuseum for a first
major retrospective
outside Scotland

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

68
 Grief (Vanished
Illusions), c. 1911-1917, by
Matthijs Maris (1839-
1917). On loan from a
private collector

69

COURTESY OF RIJKSMUSEUM
 SCOTTISHSECRET
For centuries, art
historians have been
in the dark about
how Maris achieved
his painterly effect.
Through research on
17 of his works from
ground to varnish,
the Rijksmuseum’s
conservators were
able to demystify that
process somewhat.
commercially-driven projects (including
etchings and even stained-glass works)
70 to the mature work: ghostly, illusory
paintings where the figurations recede
into ever-darker canvases.
Early imagery from the Hague School
period, during which his brothers, the
painters Jacob and Willem Maris made
their mark, is remarkably
uncharacteristic of that era. Matthijs
pushed the atmospheric elements of
that style of landscape painting to a
mist-filled extreme, where the landscape
becomes so obscured as to fade
into a fog.
Moving through the exhibition, one is
struck by a range of comparisons, but
not especially to artists of his own era.
His work is most closely aligned
thematically with the Symbolists, and his
technique connects him to the American
painter James Abbott McNeill Whistler,

PHOTO KELLY SCHENK

A work by Matthijs
Maris on view at the
Rijksmuseum in
Amsterdam

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

Auction 252: December 13th, 2017

Antiquities
Parts of Moussaieff Collection
An important Collection of greek vases
www.gmcoinart.de
Maximiliansplatz 20 D - 80333 München
 SCOTTISHSECRET

who, like Maris, lived for many years in

London and was a friend, but the comparison
that comes to mind more often is to
Contemporary artists such as Gerhard
Richter and Anselm Kiefer.
The late work, created after he was
unfettered from art market demands thanks
to the carte-blanche support of his new
London art dealer, E.J. van Wisselingh, is
astonishing. Figures of small children seem to
have been sucked back toward us from an
otherworldly realm far beyond the walls of the
museum and drawn into the canvas for a brief
glimpse, though we can barely reach them
through a filmy lens of time. No obvious
comparisons from art history come to
mind — the works are elusive, penetrating and
deeply haunting.
“Head of a Woman (Ecstasy),” the final
work in the show (on loan from the Museum
BoijmansVan Beuningen in Rotterdam), is
perhaps his finest creation. Maris’s Dutch art
72 dealer, van Wisselingh, commented that the
work achieved “what he had been seeking his
entire life.” A work on paper in chalk and
charcoal, the image of a woman, her mouth is
open in what could be any expression from
ecstasy to a frightened howl —it is impossible
to know.
For a long time, Maris’ contemporaries
were mystified by his work, and art historians
for centuries have been in the dark about how
Maris achieved his painterly effect. Through a
process of material research on 17 of his
works from ground to varnish, the
Rijksmuseum’s conservators were able to
demystify that process somewhat.
“We found that he was much more in
control of what he was doing than previously
thought,” said the Rijksmuseum’s technical
art historian, Erma Hermans, who worked with
a team of conservators on the examination.
“Through his techniques, he created his very
own language.”
Using high magnification microscopes,
she said, they discovered that Maris’s later,

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 De vlinders (The
Butterflies), 1874,
by Matthijs Maris
(1839-1917). Oil on
canvas, 64.8 X 99.1
cm. The Burrell
Collection.

73

PHOTO GLASGOW MUSEUMS

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 SCOTTISHSECRET

74

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 75

Left: Saint Ouen, by Matthijs Maris (1839-

1917). On loan from a private collector.

Above: The Walk, 1889, by Matthijs Maris

(1839-1917). Glasgow Museums, The
Burrell Collection
LEFT: COURTESY RIJKSMUSEUM; ABOVE:
GLASGOW MUSEUMS

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 SCOTTISHSECRET

GEMEENTEMUSEUM DEN HAAG

Getting acquainted (The Little Goat), c. 1865-1866, by Matthijs
Maris (1839-1917). Gemeentemuseum Den Haag. Purchased with
the support of Vereniging Rembrandt

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 At the end of his
career, Maris created
drawings rather than
paintings, and seemed
to more easily achieve
his desired outcomes in
the more manipulable
combination of
charcoal and chalk.

ghostly works were created by painting on

many layers of paint and to scrape or
vigorously rub the paint off the canvas before
adding another layer. The method is similar to
that used by Whistler, but Maris took it a great
deal further, scraping all the way down to the
canvas weave, to expose the raw canvas. In a 77
sense, he was pushing the paint through the
canvas, said Hermans, to create a structure
for the painting.
According to a secondary catalogue
focused on the material research that
accompanies the exhibition, “Matthijs Maris
at Work,” the artist only used a limited palette
of traditional pigments, but he employed a
broad range of tools to manipulate the paint
on the canvas; along with brushes, he used
“rags, sticks, his fingers and possibly even
tools such as a decorators’ graining combs.”
At the end of his career, he created
drawings rather than paintings, and seemed
to more easily achieve his desired outcomes
in the more manipulable combination of
charcoal and chalk. With “Head of a Woman
(Ecstasy)” he was apparently trying to create
the feeling that the woman was vaporizing
into space. By removing the chalk and
charcoal, he wrote, he was “rubbing things out
to get more light in.”
COURTESY RIJKSMUSEUM

The Nieuwe Haarlemse Sluise on the Singel,

known as ‘Souvenir d’ Amsterdam,’ by
Matthijs Maris (1839-1917). Gift of the heirs
of W.J. van Randwijk, The Hague

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 Woman Washing her
hands, 1675, by Eglon
van der Neer (1635-
1703). Oil on panel,
unframed, 49 X 39.5
cm. Royal Picture
Gallery, Mauritshuis,
The Hague

78
 Even though 17th-century paintings depicting contemplative
moments within Dutch homes are mostly associated with
Johannes Vermeer, he did not invent the genre. An exhibition
at the National Gallery of Art in Washington, D.C., throws
79
light on other Dutch masters of domestic interiors
by NINA SIEGAL

I
n the late 1640s, a young Dutch painter named among the most famous and beloved works of art history
Gerard Ter Borch returned from a whirlwind artistic — paintings that compel millions of visitors to flock to any
education that took him first to the Dutch city of museum that presents one of his 34 extant works.
Haarlem, then to London, on to Madrid and the Vermeer, however, did not invent the genre of
Spanish court, and finally back to his hometown of domestic interiors, and in fact was just one of more than
Zwolle, where he settled down to work as a painter of a dozen accomplished Dutch painters who created such
“modern scenes.” high-life imagery, which was in great demand among
Regarded as a worldly and accomplished artist by the art collectors of their era. Ter Borch was the
FACING PAGE: PHOTOGRAPHY BY MARGARETA SVENSSON

his contemporaries, Ter Borch was inspired not by the innovator and lodestar, and his imitators and
ever-shifting Dutch sky or images of his ice-skating competitors included artists such as Eglon van der
countrymen gathered on frozen lakes, but rather by Neer, Gerrit Dou, Pieter de Hooch, Nicolaes Maes,
quiet, contemplative moments taking place within Gabriel Metsu, Frans van Mieris and Jan Steen.
Dutch homes. He painted scenes of remarkable Vermeer, in fact, was a rather late follower.
intimacy, depicting figures writing letters, playing How, then, did Vermeer come to be the stand-out
instruments, or fastening a necklace in extreme artist of this genre? What were the ideas, forms and
quietude, attuned to his subjects’ inner lives. themes that he borrowed from other such genre
Today, many people associate these kinds of images painters to extraordinary effect? And how did he
with another Dutch name: Johannes Vermeer. The transform a very particular kind of 17th-century style
17th-century painter’s masterpieces, such as “The into the timeless paintings that still command so much
Milkmaid,” “The Astronomer” and “The Love Letter,” are adoration and attention today?

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 “These artists are painting to make a living, and so they
are thinking about what kinds of works will appeal to
the market,” says Arthur K. Wheelock, a curator at the
National Gallery of Art, Washington, D.C.
“Vermeer and the Masters of Genre Painting: compiled existing data about artists visiting one
Inspiration and Rivalry,” a blockbuster exhibition which another’s studios, or when they might have seen works
appeared at the Louvre in Paris in February, then moved at the home of a shared client.
to the National Gallery of Ireland in Dublin in June and “These artists are painting to make a living, and so
opened last month at the National Gallery of Art in they are thinking about what kinds of works will appeal
Washington, D.C., attempts to ask and answer these to the market,” said Wheelock. “I can imagine that they
questions, with some 80 paintings from the mid-1650s looked at what each other was doing and they said ‘that
to about 1680. It remains on view through January 21. was successful, and I want to try to figure out something
“Most people do or did have the idea that Vermeer comparable that will garner me comparable success.’ ”
was this sort of isolated genius, and I hope that this While some of the other painters introduced
show has pointed out that that’s not the case,” said painterly ideas, themes and subject matter, Wheelock
Adriaan E. Waiboer, curator of Northern European Art added, “Vermeer excels in light and color and harmony,
80 at the National Gallery of Ireland and the lead curator of and a sense of a narrative.” Part of the reason that
the show. Vermeer surpasses Ter Borch and the other
The exhibition, he added, “allows people to see the contemporaries, he added, is that his commercial work
origins of Vermeer’s ideas, and to place Vermeer in the evolved from a firm foundation of painting biblical
context of his contemporaries, and to see which scenes, which gave his art a moral and ethical
paintings he must have seen to arrive at his own works. framework.
If you hang these works next to each other, you allow “There’s such a sense of dignity and a sense of
people to see the extent to which Vermeer borrowed permanence in Vermeer’s work and it somehow takes
from, and distinguished himself, or differed from, his us out of the flow of everyday life,” said Wheelock. “In
contemporaries.” that sense, somehow, they are timeless and part of
Organized into thematic sections that present that timelessness is that he restricts the activity, the
paintings on such subjects as the writing of love letters level of action.” He added: “Other artists have a lot
(both male and female), a woman at her vanity, musical more going on in the image — a lot more objects in the
duets, or a doctor visiting a lovesick patient, the show background that put you into a time frame of the
allows viewers to compare and contrast paintings by Netherlands in the 17th century,” while Vermeer pares
the various artists side-by-side, and one can’t fail to the image down to the essential elements, “so that you
notice the connections. “That, for many people, had can transfer them to your own place and time.”Do the

FACING PAGE: © NATIONAL GALLERY OF IRELAND

been an eye opener: that there were other artists out curators have any concern that by placing Vermeer in
there and they may have been more skilled in some the context of other artists who painted such similar
areas than Vermeer,” said Waiboer. themes that he will not appear as unique as we’d
In addition to bringing together the pictures, previously thought?
Waiboer and his fellow curators — Arthur K. Wheelock at “I’m not worried about Vermeer’s reputation based
the National Gallery of Art and Blaise Ducos at the on people’s reactions so far,” said Wheelock. “He still
Louvre — were eager to make not only the stylistic and seems to rise to a different level. Vermeer is a standard
art historical links, but also the biographical that is quite exceptional, but these other artists are
connections between the artists. With the help of a amazing as well. I think the exhibit helps raise up
team of Dutch Golden Age scholars and interns, they everybody, actually.”

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Woman writing a
letter, with her
maid, c. 1670-1671,
by Johannes
Vermeer (1632-
1675). Oil on
canvas, unframed,
72.2 X 59.7 cm.
National Gallery of
Ireland, Dublin.
From the Beit
Collection of Sir
Alfred and Lady
Beit, 1987

81

BLOUINARTINFO.COM | OCTOBER 2017

NOVEMBER 2017ART+AUCTION
ART+AUCTION
 The Lacemaker, c.
1670-1671, by
Johannes Vermeer
(1632-1675). Oil on
canvas, transferred
to panel, 23.9 X 20.5
cm (overall painted
surface); 24.5 X 21
cm (overall
unframed); 71 X 63
cm (overall framed).
Musée du Louvre,
Départment des
Peintures, Paris

Facing page:
Woman holding a
balance, c. 1664, by
Johannes Vermeer
(1632-1675). Oil on
canvas, 39.7 X 35.5
cm (painted
surface); 42.5 X 38
cm (stretcher size);
62.9 X 58.4 X 7.6 cm
(framed). National
Gallery of Art,
Washington, D.C.,
Widener Collection

82
PHOTO © RMN-GRAND PALAIS (MUSÉE DU LOUVRE)/GÉRARD BLOT; FACING PAGE:
NATIONAL GALLERY OF ART, WASHINGTON, WIDENER COLLECTION

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 83

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 Facing page: Lady
Writing, c. 1665, by
Johannes Vermeer
(1632-1675). Oil on
canvas, 45 X 39.9 cm
(overall); 68.3 X 62.2
cm (framed). National
Gallery of Art,
Washington, D.C. Gift of
Harry Waldron
Havemeyer and Horace
Havemeyer, Jr., in
memory of their father,
Horace Havemeyer.

84

NATIONAL GALLERY OF ART, WASHINGTON, D.C.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM
 Curated by BlouinShop

G. Lancelot
The Costan Weekender

The Art of Living, Curated by Our Editors

 The Love Letter, c.
1669-1670, by
Johannes Vermeer
(1632-1675). Oil on
canvas,44 X 38 cm
(overall painted
surface); 44 X 38.5
cm (overall
unframed).
Rijksmuseum,
purchased with the
support of
Vereniging
Rembrandt

86

AY)/ HERVÉ LEWANDOWSKI

RIJKSMUSEUM

ART+AUCTION
ART+AUCTIONNOVEMBER
OCTOBER 2017 | BLOUINARTINFO.COM
 Left: Young woman
at her toilet with a
maid, c. 1650-51, by
Gerard ter Borch
(1617-1681). Oil on
wood, 47.6 X 34.6
cm (overall). Lent by
The Metropolitan
Museum of Art. Gift
of J. Pierpont
Morgan, 1917

87

© 2017 THE METROPOLITAN MUSEUM OF ART/ART RESOURCE/SCALA, FLORENCE;

FACING PAGE: NATIONAL GALLERY OF ART, WASHINGTON, D.C.

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

88

Lucio Fontana’s
Ambiente
spaziale a luce
nera, 1948-1949.
Papier-mâché,
fluorescent paint
and Wood’s light
 OUTSIZE
AMBITION
For more than a decade, HangarBicocca has been
bringing monumental art to Milan. It now turns
its focus to Lucio Fontana’s “Ambienti”

BY FRANCA TOSCANO
89
THIS AND FACING PAGE: © FONDAZIONE LUCIO FONTANA, MILAN
 AHEADOFTIMES
Facing page: Installation view of
Lucio Fontana’s Ambiente
spaziale, 1966, at Walker Art
Center, Minneapolis. Black
canvas, fluorescent paint

w hen Tate Modern opened in 2000

in what was previously a power
generation plant, it went a long way
in transforming the museum-going
experience. The London institution
permanently eradicated the notion
that viewing art meant standing
motionless in a room full of gilded
frames. Admittedly, Tate was not the first:
the Pompidou Center in Paris revolutionized
the look and feel of the museum nearly four
decades earlier, exposing pipes on its
factory-like facade, and showing oversize
works in its massive entrance foyer. The
locomotives, trains and farm machinery; to
assemble and test high-voltage machinery;
and to test electrical turbines.
HangarBicocca has no collection of its
own. Yet in the year it opened, the German
artist Anselm Kiefer created a site-specific
installation for it that is permanently on
view. “The Seven Heavenly Palaces”
(2004-2015) consists of seven reinforced-
concrete towers, measuring between 14
and 18 meters high, that appear wobbly and
as if about to crumble. The towers are now
surrounded by five giant Kiefer canvases
painted between 2009 and 2013 that depict

FACING PAGE: PHOTO ERIC SUTHERLAND, COURTESY WALKER ART CENTER, MINNEAPOLIS, © FONDAZIONE LUCIO FONTANA, MILAN
novelty was that the Tate Modern building apocalyptic landscapes and that complete
90 actually had a genuine industrial past. the installation.
An ex-utility required art that matched it It was the Pirelli Chief Executive Marco
in scale and ambition. So Tate launched a Tronchetti Provera who had the idea for
series of colossal commissions, inviting HangarBicocca. He had visited Tate Modern
artists like Olafur Eliasson, Ai Weiwei and in London at its opening and observed the
Karsten Höller to fill the Turbine Hall, the unusual dimensions of the project. So when
name given to the museum’s massive he noticed a vast and vacant industrial
sloping entrance. space near Pirelli’s headquarters in the
In the decade and a half since its early 2000s, he saw the potential to create
creation, Tate Modern has spawned Milan’s answer to the Turbine Hall. Milan,
numerous copycats around the world. Few Italy’s business and fashion capital, had no
are as expansive as Pirelli’s 13-year-old Contemporary art museum to speak of at
contemporary art space on the edges of that point; the city’s museum of
Milan. Known as HangarBicocca, the tire 20th-century art, the Museo del Novecento,
manufacturer’s non-profit center measures wouldn’t open until 2010.
15,000 square meters, with exhibition In its early years, HangarBicocca put on
spaces that are more than three times the solo or group shows, sometimes in tandem
size of the Turbine Hall. Operating on an with other arts organizations. Artists with
annual budget of 3.5 million euros, or about standalone exhibitions included Mark
$4.1 million, the center puts on four shows a Wallinger (2005), Marina Abramovic
year and welcomes some 240,000 visitors. (2006), and Christian Boltanski (2010). In
Located in one of Italy’s oldest industrial “Terre Vulnerabili” (“Vulnerable Lands,”
districts, and named after a 15th-century 2010-11), 30 artists came together for a
country villa (the Bicocca degli Arcimboldi, four-part exhibition. As of 2009, the space
which still stands), the former plant — was overseen by the art historian and
constructed between the 1920s and the curator Chiara Bertoli, who in 2011 was
mid-1960s — was once used to build joined by the curator Andrea Lissoni.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

91
 AHEADOFTIMES

In 2012, Spanish-born Vicente Todolí,

who had served as the director of Tate
Modern from 2003 to 2010, became
HangarBicocca’s artistic director,
bringing fresh momentum to the post
“When I accepted the job, I said ‘This is
the cousin of the Turbine Hall, because
they were making turbines here,” Todolí
said in an interview at Hangar Bicocca.
“Because I don’t repeat things, I said:
‘Here, I’m not going to do site-specific
commissions. I’m going to do site-specific
retrospectives, with one condition: that
there be no rooms.’ ”
Todolí explained that he refused to
“divide the space like an art fair,” and
preferred to create a mutually beneficial
rapport between the art and the
architecture. “The architecture gets a
second life from industry to art, and the art
gets an architecture where this can be
done and couldn’t be done anywhere
else,” he said.
92 In his five years at the helm, Todolí has
staged solo exhibitions of artists including
Mike Kelley, Cildo Meireles, Joan Jonas,
Juan Muñoz, and Höller. (Meireles, Muñoz
and Höller all previously had shows at Tate

COURTESY PIRELLI HANGARBICOCCA, MILAN. ©FONDAZIONE LUCIO FONTANA. PHOTO: AGOSTINO OSIO
Modern, the latter two in the Turbine Hall).
Currently on at HangarBicocca is one
of the center’s most ambitious exhibitions
to date (through February 25, 2018): an
exact reconstitution of long-lost works by
the 20th-century master Lucio Fontana, a
pioneer of the very experiential art that,
today, draws crowds to Tate Modern and
its outsize clones. The Argentine-born
Italian artist, who started out as a sculptor,
made it his mission to introduce the notion
of three-dimensionality and space in
conventional art forms, in part through his
slashed and perforated canvases. Those
works have since turned him into a favorite
of the Contemporary art market: his large,
egg-shaped “Concetto Spaziale: La fine di
Dio” sold for a record $29 million at

Lucio Fontana’s Ambiente spaziale a luce nera,

1948-1949/ 2017. Installation view at Pirelli
HangarBicocca, Milan, 2017.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Lucio Fontana’s Ambiente spaziale in
Documenta 4, a Kassel, 1968/ 2017.
Installation view at Pirelli
HangarBicocca, Milan, 2017.

Christie’s New York in 2015.

Unbeknownst to many, Fontana was
also a visionary creator of “Ambienti
Spaziali” (Spatial Environments), which
the visitor had to enter and experience
firsthand, rather than stand and look at.
HangarBicocca has recreated nine of
these environments — enclosures which
Fontana produced between the late 1940s
and late 1960s.
Beneath the vaulted post-industrial
ceilings of HangarBicocca, rows of black
containers have been set up in a darkened
space that, on arrival, looks like a shipyard
by night. Inside each of the containers is a
replica of one of Fontana’s mythical
environments. 93
The first, “Ambiente spaziale a luce
nera” (Spatial Environment in Black Light),
was originally presented in 1949 in a
six-day solo show at the groundbreaking
Galleria del Naviglio in Milan; the show is
COURTESY PIRELLI HANGARBICOCCA, MILAN. ©FONDAZIONE LUCIO FONTANA. PHOTO: AGOSTINO OSIO

now considered a milestone in Fontana’s

career. Visitors slipped through a curtain
into a dark space lit by “Wood” ultraviolet
lights, and gazed at biomorphic forms
(made of papier-mache) that hung from
the ceiling and were painted in fluorescent
shades of yellow, purple, pink and blue.
Those early Post-war years coincided with
the beginnings of space exploration, and
Fontana’s forms could be reminiscent of
the traces left in the sky by the world’s first
rocket missions.
“Our intention is not to abolish the art
of the past,” Fontana explained in
manifestos on his new credo, “Spatialism,”
that he was publishing at the time. “We
want painting to emerge from its frame,
and sculpture from its glass case. An
expression of aerial art that lasts a minute,
yet appears to last for a millennium, into
eternity.”
Another striking environment

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 curated by

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 Somogy Art Publishers since 1937
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© Musée du Louvre, dist. R M N – Grand Palais / Hervé Lewandowski / Laurent Chastel / Thierry Le Mage / Adrien Didierjean
 AHEADOFTIMES
Left: Lucio Fontana
and Jef Verheyen
creating the shape
for the
environment
executed on the
occasion of the
exhibition at
Stedelijk Museum,
Amsterdam, 1967.
Right: Fontana’s
Ambiente spaziale
con neon,
1967/ 2017.
Installation view at
Pirelli
HangarBicocca,
Milan, 2017.

ABOVE: ©FONDAZIONE LUCIO FONTANA, MILAN. RIGHT: COURTESY PIRELLI HANGARBICOCCA, MILAN. ©FONDAZIONE LUCIO FONTANA. PHOTO: AGOSTINO OSIO
96

recreated inside HangarBicocca is one of reassembling them at HangarBicocca

two “Ambiente spaziale: Utopie” from was left to the exhibition’s two curators:
1964. It is lit with red neon, and its walls Marina Pugliese and Barbara Ferriani.
and ceilings are covered with metallic red They relied on photographs, sketches, and
wallpaper. The floor undulates like a mini- plans, but also everyday paperwork such
ski slope, and is covered with a soft and as invoices, which they found in the
plush red carpet that invites the visitor to institutions where the environments were
crawl up and down it. first shown. When there was too little
Fontana created environments for archival evidence to put an “Ambiente”
exhibitions at the Milan Triennale, the back together, it was crossed off the list.
Venice Biennale, the Walker Art Center in The proposal for the show initially
Minneapolis, and the Stedelijk Museum in came from Pugliese, who previously led
Amsterdam, among other places. He Milan’s Museo Del Novecento, and is now
destroyed them as soon as the show an adjunct professor at the California
ended, creating one-off installations. College of the Arts in Oakland. Fontana’s
Their ephemeral, pop-up nature was “Ambienti” were the topic of her Ph.D.
proof, yet again, of Fontana’s uncanny thesis, so she approached Todolí to see if
ability to predict the art trends of the he was willing to bring them back to life.
future. The director — who, despite his
Sadly, the artist left no instructions for extensive familiarity with the work of
his “Ambienti.” So the painstaking job of Fontana, confessed to being completely
 97

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98

Lucio Fontana’s unaware of the “Ambienti” — said yes. “Fontana One environment that proved impossible to
Fonti di energia, was a pioneer,” he explained. “He was the reconstitute was the solo room that Fontana
soffitto al neon per
“Italia 61”, a Torino, antecedent for so many artists: not only James set up for the Venice Biennale in 1966: a
1961/ 2017. Turrell and Bruce Nauman, but also handsome white oval chamber with white
installation
view at Pirelli contemporary artists.” Besides, “the work has slashes. As the paintings it contained were
HangarBicocca, not aged: it’s still fresh, which is amazing, and original Fontana’s, the museums that own
Milan, 2017.
it’s also unknown. So it was fulfilling all of the them would have had to loan them. “The
aspects I want for an exhibition.” museums didn’t allow us to remove the frames
Of the 15 environments that Fontana and the glasses,” said Pugliese. “So we gave
created in his lifetime, nine were singled out for up.”
recreation by Pugliese and Ferriani. The To Pugliese, the environments were “the
backup research for each was submitted to most experimental segment of Fontana’s body
Todolí and to the Fontana Foundation, which of work, and he knew it,” she said. When he
has the copyrights to all of Fontana’s oeuvre. A completed the first one in 1949, “he was aware
decision was jointly made as to which ones of a huge discovery, of having gone beyond the
could be recreated fairly. idea of painting and sculpture and of having

ART+AUCTION
ART+AUCTIONSEPTEMBER
NOVEMBER 2017 | BLOUINARTINFO.COM
 invented a new medium. But he was too
forward for the times.”
After 1949, he asked twice to show
environments at the Venice Biennale, but
received no reply. He had to wait 11 years
before making a second environment—
thanks to the then-director of the
Stedelijk Museum in Amsterdam, who was
a graphic designer by training, and ran an
avant-garde program at the museum. That
second environment was presented in
Venice in 1960 for an exhibition called
“Dalla Natura all’arte,” then traveled to the
Stedelijk.
Meanwhile, and much to
Fontana’s frustration, environments
started appearing in the late 1950s in the
United States, and becoming the new
medium of artists such as Alan Kaprow
and Claes Oldenburg. “Fontana was too
late,” said Pugliese. “He was angry about
it.” According to Pugliese, he produced a
whole series of environments in the 1960s
in part to demonstrate “that he had the
primacy on this medium.” 99
THIS AND FACING PAGE: COURTESY PIRELLI HANGARBICOCCA, MILAN. ©FONDAZIONE LUCIO FONTANA. PHOTO: AGOSTINO OSIO

Overlapping with the Fontana

show at HangerBicocca is “Take Me (I’m
Yours),” co-curated by the artist Christian
Boltanski and by the Serpentine Galleries
artistic director Hans Ulrich Obrist (from
November 1 to January 14). It’s based on an
idea that the pair of them first had in 1995.
Visitors are encouraged to do what would
normally be banned: touch, use, modify or
buy artworks, or swap them for an item
they’re carrying. They can walk off with
one of the thousands of copies of each
work available on site, and take part in
special performances. Artists whose
works will be included in the interactive
show include Boltanski, Gilbert & George,
Pierre Huyghe, Maurizio Cattelan, Tino
Sehgal, Bruce Nauman and Wolfgang
Tillmans.
HangarBicocca’s most popular
exhibition to date has been Höller’s

Lucio Fontana’s Ambiente spaziale, 1966/

2017. installation view at Pirelli
HangarBicocca, Milan, 2017.

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Artsalesindex.artinfo.com Gerhard Richter, Abstraktes Bild, Courbet, 1986 © Gerhard Richter

102

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 Ambiente spaziale: “Utopie”, nella XIII
Triennale di Milano, 1964/ 2017, Lucio Fontana
in collaboration with Nanda Vigo. Installation
view at Pirelli HangarBicocca, Milan, 2017.

“Doubt” in 2016. The German-born artist,

whose art explores the notions of fun and
entertainment, showed 20 works that
turned the art center into a giant
fairground, including a merry-go-round
for adults, two beds drifting endlessly in
space, two flying machines, and goggles
with which to see the world upside down.
In an interview, Höller recalled how
Tate Modern had redefined the museum
experience and paved the way for Pirelli’s
Milan art outpost.
“Tate Modern established a new
possibility: to show Contemporary art in
very big spaces, not just like a museum
divided into different units,” he said,

COURTESY ARCHIVIO NANDA VIGO AND PIRELLI HANGARBICOCCA, MILAN. ©FONDAZIONE LUCIO FONTANA. PHOTO: AGOSTINO OSIO
adding that he expected to see more and
more venues of its kind in the future. 103
At HangarBicocca, he said, “the bar is
very high for the shows, and there have been
some very important exhibitions,” he said.
His own “was a great experience, because
you don’t often have a chance to work in
these dimensions and these possibilities.”
Todolí, the center’s artistic director, is
staying on until the end of 2020. He says
he has complete freedom to choose
HangarBicocca’s programming, and gets
no interference from the Pirelli chief
executive (who chairs the Pirelli
HangarBicocca Foundation) or anyone
else inside the company. And he is happy
to have shaken off the administrative
tasks that went along with being the boss
of Tate Modern.
“When I left Tate, I said, ‘I’ve done three
museums: that’s enough,’ ” said Todolí,
referring to his previous positions as
artistic director of the Valencia Institute
of Modern Art and director of the
Fundação De Serralves contemporary art
museum in Porto, Portugal. “‘I don’t want
any more fundraising, no management, no
meetings: I want 100 percent art.’ This is
100 percent art. So I have fun here.”

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 MARKETPULSE
Antony Gormley’s
A Case for an Angel I, 1989.
Plaster, fiberglass, lead, steel and air
197 x 858 x 46 cm.
At Sotheby’s Contemporary Art Evening
Auction in November last year, it was
estimated at £5,000,000 - £7,000,000.

THE STATE
104
104
OF COOL
BRITANNIA
As ‘Made in Britain’ sales multiply, has the
market already found out the YBAs?
By Michael Prodger

COURTESY: SOTHEBY’S

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105
 MARKETPULSE

W
When in the late 1980s and early 1990s, the Young
British Artists announced themselves in an alcohol-
fueled cacophony of controversy it looked as though
the British art scene would never be the same again.
Here was a media-savvy group untrammeled by
artistic or behavioral politeness. Shock and outrage
were a key part of their modus operandi, from Tracey
Emin’s drunken cavorting on television after the 1997
Turner Prize and Marcus Harvey’s portrait of the
Moors Murderer Myra Hindley composed of
children’s handprints to Jake and Dinos Chapman’s
phallus-faced sculptures and Damien Hirst’s
pickled animals.
While the group had no shared aesthetic or
intention other than to grab attention, they managed
to put art on the front page of newspapers and take
their place alongside musicians and designers as an
integral part of the cultural renaissance tagged Cool
Britannia. In the process, many of the group fi nessed
106 their devil-may-care attitude into enormous wealth.
The group’s figurehead Damien Hirst is thought by
some to be worth $1 billion and even the more
considered “Sunday Times Rich List” thinks $370
million is realistic: what is not in doubt is that they have
made a great deal of money.
With the passing of time, however, a rather
different judgement as to the YBAs’ importance has
coalesced. Even in their pomp the group never had the
same impact beyond the British Isles and their ability
to rattle the collective cage of the British public has also
decreased as their reputations have begun to settle. As
Philip Hook, senior director in Impressionist and
Modern Art at Sotheby’s in London put it, “inevitably
there is a danger that the bubble will burst” when the
YBAs are no longer seen to be as cool as they once were.
Hook thinks death will be the arbiter: “An artist who
simply is very good at playing the market and is good at
marketing himself,” he said, “will, of course, be found
out by dying because they won’t be able to market
themselves any longer.” Others might say that there’s
no need to wait so long and that the market has already
found them out.
The highpoint of the YBA phenomenon reads like
something from myth. On September 15 and 16, 2008

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 David
Hockney’s
Woldgate
Woods, 24,
25 and 26 is
his most
expensive
painting ever
sold. It
fetched $11.7
million last
year.

107

©DAVID HOCKNEY

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 MARKETPULSE

IN 2008, SOME
70 WORKS BY
YBAS SOLD FOR
MORE THAN
A MILLION
DOLLARS...

Damien Hirst bypassed his dealer and held a

two-day auction of his works at Sotheby’s in
London. The sale was called “Beautiful Inside
My Head Forever” and so it must have seemed:
the 218 lots raised £111 million ($198 million).
In a curious twist that set tongues wagging, it
emerged that three of Hirst’s dealer-associates
were among the bidders, which seemed to
108 some that they were propping up their boy’s
prices. Whatever was happening in London
was, however, dwarfed by news from the other
side of the Atlantic; as the first day of the Hirst
sale concluded in triumph the financial
services firm Lehman Brothers filed for
bankruptcy in New York City. Lehman’s fall
sparked the global financial crash, among the
collateral damage of which was the
ascendancy of the YBAs.
In 2008, some 70 works by YBAs sold for
more than a million dollars, in 2009 fewer
than five reached that sum and over the
succeeding years the figures have not
recovered. In 2008 the cumulative sales of the
YBAs touched $275 million while the figure
for the following year hovered around a paltry
$25 million: by 2016 the sum had inched its
Men Have Lost Their Spirits, circa 1988, Grayson Perry.
way up to nearly $40 million. What the artists gives a clear and surprising indication Estimated at £20,000 - £30,000 at Sotheby’s Made In
financial crisis seemed to reveal was that the of which ones the market now thinks are worth Britain sale, London, Sept 2017. Sold for £52,500

success of Hirst, Emin et al was a case of the backing. Hirst tops the list with auction sales
emperor’s new art; in the light of the prevailing between 1987 and September 2017 amounting them multiples — the spot, spin and butterfly

COURTESY: SOTHEBY’S
economic reality the YBAs did not seem a very to a staggering $607,462,373. Hirst, however, pictures and prints that have been produced by
big deal after all. (All figures are from the is a prolific artist — or rather his cohort of the quire. What the figures show is that the
Blouin Art Sales Index.) assistants is — and this Croesus-like sum was average price for a Hirst work is a still
A look at the individual sales records of the generated by a whopping 4,219 lots, many of impressive but possibly less than eye-catching

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 YBA sale profile (1987 - 2017)
Artist Sale Volume Total Sale Value (USD)

1 Damien Hirst 4,219 607,462,373

2 Glenn Brown 96 53,485,936

3 Marc Quinn 506 33,818,663

4 Chris Ofili 331 31,844,904

5 Jenny Saville 94 29,601,181

6 Tracey Emin 497 19,866,414

7 Rachel Whiteread 189 10,797,447

8 Gary Hume 291 10,273,132

9 Sarah Lucas 201 8,613,958

10 Jake and Dinos Chapman 211 5,288,704

11 Douglas Gordon 212 3,711,782

12 Gavin Turk 116 2,848,472

13 Sam Taylor-Wood 152 2,428,441

14 Fiona Rae 84 1,265,080

15 Liam Gillick 45 881,372 109

16 Ian Davenport 84 860,861

17 Michael Landy 53 457,804

18 Angus Fairhurst 53 446,029

19 Tacita Dean 30 418,225

20 Mat Collishaw 54 332,205

21 Marcus Harvey 21 230,934

22 Angela Bulloch 21 214,712

23 Fiona Banner 22 206,981

24 Jane and Louise Wilson 26 191,226

25 Abigail Lane 12 78,951

26 Richard Patterson 6 68,658

27 Alessandro Raho 14 65,613

28 Anya Gallaccio 12 55,827

29 Henry Bond 15 38,278

30 Stephen Park 14 17,739

31 Adam Chodzko 1 13,933

32 Christine Borland 2 11,085

33 Georgina Starr 3 2,670

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 MARKETPULSE

YBA Sales Trend

250M

200M
Sale Value (in USD)

150M

100M

50M

0M

2000

2008
2006

2009
2004

2005
2003
2002

2007
1998
1996

1999

2001

2010

2016
2015
1987

2014
1997

2013
2012
2011
YBA sale profile (1987-2017)
Less than 50K USD 3,729
50K to 150 K USD 680
110 150 K to 1 Million USD 756
1 Million USD to 10 Million USD 160
10 Million USD to 100 Million USD 3
0 500 1000 1500 2000 2500 3000 3500 4000
Sale Volume

Sales Trend YBA: Number of artworks selling for less than USD 1 million

500

400
Number of Artworks

300

200

100

0
2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016

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 Sales Trend YBA: Number of artworks selling for more than USD 1 million

70

60

50
Sale Volume

40

30

20

10

0
2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016

111
$144,000. It might be worth remembering that who sold 331 works at an average of $96,000; can be seen as developing it. This gives them a
Howard Hodgkin, an older British artist of a Jenny Saville, whose 94 lots went for an provenance that makes some of the other
very different type, was regularly selling his average of $315,000; and the biggest surprise YBAs seem transient and technically flimsy.
small, poetry-rich paintings for upwards of of all, Glenn Brown with 96 works at Brown and Saville’s attributes are those buyers
£200,000-£250,000 during this same period. $557,000. Part of the appeal of the latter, more obviously like.
Among the other core YBAs, Marc Quinn lucrative pair is perhaps that both are highly This pair represent the exception though.
sold 506 pieces at an average of $67,000, skilled painters who do something new with Since 1987, 5,328 works by the YBAs have sold
Rachel Whiteread 189 works at an average of established genres. at auction but only 163 fetched more than $1
$57,000, and Sarah Lucas 201 works at Saville has long been appreciated for her million and of those just three made more than
$43,000. The big surprises are the headline- uncomfortable but insistently fleshy close-up $10 million (topped by one of Hirst’s medicine
friendly Emin and the Chapman Brothers. The paintings of the nude, a fact recognized in 2016 cabinet pieces, “Lullaby Spring,” which sold
former has publicly and apparently without when “Shift,” a sardine can of top-to-tail for £9.65 million in 2007 – $19.2 million at the
irony declared herself to be a great artist but naked bodies, sold for £6.8 million ($9.1 time). The vast majority of the works, 3,729 of
her 497 works (again, like Hirst, many of them million); it was last seen at the “Sensation” them, sold for less than $50,000, hardly small
multiples) fetched on average only $40,000 exhibition at the Royal Academy in 1997 that change but the sort of price fetched by
each, which seems something of a snip for a cemented the YBA brand. Brown, meanwhile, contemporary photographers such as Rineke
“great.” Emin has complained that her prices appropriates works by everyone from Frank Dijkstra and Nan Goldin.
seem low because few of her works reach the Auerbach and Velázquez to Rembrandt and A caveat is perhaps due at this point. These
secondary markets, but 497 lots gives the lie to Fragonard and gives them his own unnerving figures do not take into account the number of
this line of argument. All these things are and dramatic twist — heightening colors, YBA works sold through the artists’ dealers
relative, but the Chapmans have fared worse accentuating poses, upping their painterliness where both the volume and the prices fetched
than Emin, their 211 pieces making an average and expressiveness. are rarely released. Pieces from “Treasures
of $25,000. Both these artists are resolutely unjokey From the Wreck of the Unbelievable,” Hirst’s
The flip side of the list is that it also reveals and, unlike some of their peers, neither seeks massive and vainglorious show at this year’s
three figures in particular who the market the limelight. Their pictures can be easily Venice Biennale, for example, were said to be
believes promise artistic longevity: Chris Ofili, placed in the art historical tradition and indeed selling well. There were 189 works in the show,

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 MARKETPULSE

THE REALLY COOL BRITANNIA “Flag” of 1954 sold for $110 million in 2010
and his “False Start” for $80 million in 2006.
The genuinely Cool Britannia artists, it
ARTISTS, IT SEEMS, BELONG TO seems, are not the YBAs at all but largely
belong to an older generation. Among the
AN OLDER GENERATION established and perhaps expected names are,
for example, Henry Moore, whose “Reclining
Figure: Festival” from 1951 sold in 2016 for
$32.7 million; Frank Auerbach, whose “Head
each in an edition of three, with a rumored from 1990 sold in 2015 at Christie’s New York, of Gerda Boehm,” previously owned by David
entry point for buyers of $1.3 million while the not London, for $25.9 million) and Antony Bowie, also sold last year, for £3.8 million; and
most expensive item carried a price-tag of $14 Gormley (his “A Case for an Angel I,” 1989, of course David Hockney, whose most
million. Among those who supposedly made £5.30 million, or $6.93 million, during expensive painting, “Woldgate Woods, 24, 25
snapped up pieces were the Nahmad and the this year’s Frieze Week in London), and abroad and 26,” fetched $11.7m in 2016 and whose 15
Mugrabi families, François Pinault (who was by the likes of Gerhard Richter, Anselm Kiefer, canvas “Study of the Grand Canyon” of 1998
asked if he was indeed a buyer and responded Jeff Koons, Christopher Wool, Andreas fetched more than £6 million just this October
“Perhaps. Probably. But I am not going to tell Gursky (producer of the world’s most (at the same sale Hodgkin’s “House” sold for
you which ones!”) and Qiao Zhibing, the expensive photograph, “Rhein II,” which sold £704,750, more than double its estimate).
Chinese collector behind the Tank Shanghai, for more than $4.3 million in 2011), Rudolf Some less familiar names are also
which opened last year. Stingel and Mark Grotjahn. overtaking the YBAs. Hurvin Anderson, for
As with the furore surrounding Hirst’s When put next to these figures, and others example, passed the £1 million mark back in
diamond-encrusted skull, “For the Love of such as Cindy Sherman, Chuck Close and Ed 2008. Best known for his lush, almost abstract
God,” the truth behind his and other dealers’ Ruscha, the YBAs start to look very parochial (and Doig-inflected) landscapes, his “Peter’s
112 sales is unlikely to emerge. Hirst claimed first indeed — and that’s before the biggest gun of Series: Back,” a figurative work from 2008
that he sold the skull for the asking price of £50 all, Jasper Johns, enters the equation. His sales showing a man alone in a room from behind,
million to an anonymous consortium. This record is in an altogether different league; his has just made more than £1.8 million (from an

PRIVATE COLLECTION © JASPER JOHNS / VAGA, NEW YORK / DACS, LONDON 2017. PHOTO: JAMIE STUKENBERG
was contradicted by others who claimed he
had been offering it for £38 million. Hirst then
countered by saying he had sold it for cash
leaving no paper trail, while later still he said:
“In the end I covered my fabrication and a few
other costs by selling a third of it to an
investment group, who are anonymous.”
Members of that investment group were said in
news reports at the time to include both Hirst
himself and his dealer Jay Jopling, thus
protecting his price base and making the
nature of the “sale” somewhat less than clear
cut.

© THE WILDENSTEIN PLATTNER INSTITUTE, 2017

The secondary market for YBA works is
less open to such manoeuvers and it is the place
where they can be judged against their peers,
both British and foreign. Among their
contemporaries the bulk of the YBAs are
outperformed by such fellow, yet slightly
older, Brits as Peter Doig (whose “Swamped”

Flag, 1958, Jasper Johns . Encaustic on canvas. 105.1 x

154.9 cm. It sold for $110 million in 2010

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Britain Is Best,
2014, Grayson
Perry.
Estimated at
£40,000 -
£60,000 at
Sotheby’s Made
In Britain sale,
London, Sept
2017. Sold for
£48,750

113
COURTESY: SOTHEBY’S

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 MARKETPULSE

Large ‘Knitted’
Bowl, circa
1980, Dame
Lucie Rie.
Estimated at
£15,000 -
£25,000 at
Sotheby’s Made
In Britain sale,
London, Sept
2017. Sold for
£43,750

114

CHRISTIE’S IMAGES LTD. 2017

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 Curated by BlouinShop

The Art of Living, Curated by Our Editors

 MARKETPULSE

116

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Didused Lock, circa
1960s, Ivon
Hitchens.
Estimated at
£25,000 - £35,000
at Sotheby’s Made
In Britain sale,
London, Sept 2017.
Sold for £68,750

117

COURTESY: SOTHEBY’S

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 MARKETPULSE

Swamped, 1990,Peter Doig. Oil on canvas,

197 X 241 cm. Realized $25.9 million at a
Christie’s auction in New York in 2015

color scheme, is unpleasant on the

eye and fails to break new stylistic
ground. The fact that it shows
another major artist undoubtedly
boosted the price but few would
claim that it ranks among his most
significant works.
Ironically, having seemed iron-
clad in auction terms, a major Bacon,
“Study of Red Pope 1962. 2nd
version 1971,” the star lot of this
year’s Frieze Week, failed to sell. The
painting showed not just a pope but
also Bacon’s lover George Dyer, who
died from a drug overdose in Paris a
mere two days before the work was
first exhibited, and it was vigorously
hyped by Francis Outred, Christie’s
chairman and head of Postwar and
Contemporary art: “this painting is
118 quite simply art history.” Clearly not
everyone thought it was. The
painting carried a top estimate of £80
million which, had it been achieved,
would have made it the most
expensive work ever sold at auction
in Europe. In fact the bidding
flatlined after reaching £58 million,
still £2 million shy of the reserve, and
estimate of £600,000-£900,000). Bacon. Indeed it was Bacon’s 1969 work, it went unsold.
All of these artists pale into insignificance “Three Studies of Lucian Freud,” that became, Of course what this means for Bacons in
beside the two capos of the British art scene, when it went to Christie’s New York in 2013, the future remains to be seen. While it seems a
Lucian Freud and Francis Bacon. When the most expensive painting ever sold at failure, it is worth noting that had it been
Freud’s “Benefits Supervisor Resting,” a auction and the most expensive work of allowed to go for £58 million it would still have
pressingly fleshy portrait of 1994 showing a contemporary art. At $142.4 million it put him been one of the 30 most expensive paintings
naked and corpulent Job Centre worker called in the super-league, leaving his own “Triptych, ever sold at auction, so there’s failure and
Sue Tilley, was sold to Roman Abramovich in 1976,” which made a hefty $86.3 million in failure. The offered sum nevertheless
2015 for some $56 million it nailed down his 2008, in its wake. Only 15 paintings have cost represents the sort of price that is so far out of
lofty auction position. Another portrait of more and the sale meant that Bacon found sight to the YBAs as to be over the horizon. The
Tilley, “Benefits Supervisor Sleeping,” had himself keeping heady company with the most YBA generation is of course no longer young;
fetched $33.6 million in 2008, setting the then- notable names of 20th-century art: Picasso, now in their 50s, they have become the Middle
record price for a living artist (and taking the Modigliani, Roy Lichtenstein and a clutch of Aged British Artists. And while the younger

COURTESY: SOTHEBY’S
title from Jeff Koons, whose “Hanging Heart” Abstract Expressionists – Willem de Kooning, Hirst, Emin and the Chapmans may have
had sold for $23.5 million). Jackson Pollock and Mark Rothko. learned some of their hard-living skills from
Freud though is barely in the foothills when Many observers thought the price Bacon they have yet to learn how to match him
compared with his one-time friend Francis excessive; the triptych, with its custard-yellow in their art.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 DATEBOOK
NOVEMBER 2017
PARIS
TOP EXHIBITIONS TO VISIT THIS MONTH

The Unlikely Friendship of Edgar Degas and Paul Valéry

Degas Danse
Dessin
MUSÉE D’ORSAY
A FREQUENT DINNER guest of the
wealthy engineer, art collector, and
Impressionist painter Henri Rouart,
Edgar Degas was — for better or for
worse — always the life of the
party. “At dinner every Friday, at
M. Rouart’s, Degas would be the soul 119
of the evening,” wrote the poet Paul
Valéry in his 1936 monograph called
“Degas Danse Dessin,” which
chronicled his 20-year friendship
with the artist. “A constant, brilliant,
unbearable guest, spreading wit,
terror, and gaiety. A piercing mimic,
with an endless fund of whims,
maxims, banter, anecdotes, brilliantly
unfair in his attacks, infallible in his
taste, narrow-mindedly yet lucidly
passionate, he was always throwing
mud at writers, at the Institut, at the
aloof poseurs, and the artists who
© MUSÉE D’ORSAY DIST. RMN-GRAND PALAIS/ PATRICE SCHMIDT

were bent on getting there... I can still

hear him.”
There is relatively little known of
Degas’s interior life. (His biographer
Roy McMullen called him a
“formidable enigma.”) Historians are
therefore particularly grateful for
Valéry’s eloquent 272-page
monograph, first published by
Editions Vollard, which includes

Danseuses (also called Groupe de danseuses),

1884-1885, by Edgar Degas (1834-1917). Pastel
on paper, 78.3 X 77.2 cm. Musée d’Orsay, Paris.

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 DATEBOOK
Danseuse au bouquet,
saluant sur la scène,
1878, by Edgar Degas
(1834-1917). Pastel on
paper, rubbed on
canvas , 72 X 77.5 cm.
Musée d’Orsay, Paris

120

© MUSÉE D’ORSAY DIST. RMN-GRAND PALAIS/ PATRICE SCHMIDT

dozens of pages of illustrations. From of Degas’s death in 1917. Marine Kisiel and the poet, and while Valéry was generally cool-
November 28, 2017, to February 25, 2018, Leila Jarbouai, the Orsay’s curator of headed, Degas was a loose cannon, with Valéry
the Musée d’Orsay in Paris will be exhibiting paintings and curator of drawings, describing him as a “deliberately harsh
“Degas Danse Dessin,” which juxtaposes respectively, have collaborated on the show, character,” having a “directness that bordered
excerpts from Valéry’s monograph with focusing on Degas’s personality, his art and on brutality.” Their mutual friend, the
Degas’s paintings, drawings, photographs, his creative process, as mediated and symbolist poet Stéphane Mallarmé, could
and sculptures. In total, there will be over interpreted by Valéry. hardly stand Degas at times, but Valéry
200 works on display. Degas and Valéry had a special friendship. respected him deeply, always coming back to
The exhibition also marks the centenary The artist was more than 37 years older than his friend’s talent. “As far as origin is

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 Curated by BlouinShop

The Art of Living, Curated by Our Editors

 DATEBOOK
concerned, works seem to be born of a happy and the equestrian. The juxtaposition of than almost anything else — goes furthest in
encounter of a subject and a talent,” Valéry Valéry’s text and Degas’s images provides an explaining his creative process and artistic
wrote in his monograph, “an artist of this insight into the artist’s keenness for the drive. Valéry would likely have agreed with
profound kind.” realms of movement — principally, dancing this assessment, but he would also have
The Orsay exhibition begins with Degas’s and horse racing, which Valéry said mirrored probably thought it foolhardy to try to
drawings, exploring how his use of lines, Degas’s keenness for creating a sense of dissect Degas’s personality at all — even
dashes, and forms led to his finished works. movement in his artworks. with his text as a source. Kisiel and Jarbouai,
The exhibition then moves to his interest in The exhibition’s curators argue that no doubt, deserve credit for trying.
ballet before ending on his love for horses Degas’s understanding of movement — more —CODY DELISTRATY

Danseuse se grattant le dos, 1873-

1876, by Edgar Degas (1834-1917).
Black stone and white highlights
(rehauts de blanc) on sepia paper, 45 X
30 cm. Musée
d’Orsay, Paris
Quatre études d’une danseuse,
1878-1879, by Edgar Degas (1834-
1917). Charcoal and white
highlights (rehauts de blanc) on
rose paper, 49 X 32 cm. Musée
d’Orsay, Paris

122

BOTH IMAGES ©RMN-GRAND PALAIS (MUSÉE D’ORSAY)/ ADRIEN DIDIERJEAN

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM
 LOS A N G E L ES

Painted in Mexico,
1700-1790: Pinxit
Mexici
LACMA
An expansive survey of 18th-century
Mexican painting is the central attraction at the
Los Angeles County Museum of Art, November
19-March 18, 2018.
This period in Mexican art was marked by a
major stylistic evolution and the invention of
new iconographies, addressing Mexico’s unique
cultural mix. More than 100 paintings will be on
view, many of them restored for this exhibition.
“Painted in Mexico, 1700–1790: Pinxit Mexici” is
divided into seven central themes: Great
Masters, Master Story Tellers, Noble Pursuits and
the Academy, Paintings of the Land, The Power
of Portraiture, The Allegorical World, and
Imagining the Sacred. The themes elaborate on 123
the context of the era, highlighting the painters’
inventiveness as well as the diverse
circumstances that influenced the creation of
the paintings.
Though most of the works were
PHOTO © MUSEUM ASSOCIATES/ LACMA/FOMENTO CULTURAL BANAMEX, A.C., BY FRANCISCO KOCHEN

commissioned by the Catholic Church, even

secular art forms made their way to the canvas.
Portrait painting allowed artists greater liberty to
express themselves.
The exhibition will travel to the Metropolitan
Museum of Art in New York after its run in Los
Angeles. The show is accompanied by an
expansive catalog with scholarly essays and
illustrations of the work.

The Virgin of Guadalupe, Christ Carrying the

Cross, Saints, and Souls in Purgatory (La
Virgen de Guadalupe, Jesús Nazareno,
santos y animas del purgatorio), c. 1770-
1780, by José de Páez (1721-c.1790). Oil on
canvas, 310 X 230 cm. Templo de San Blas,
Secretaría de Cultura, Sitios y Monumentos
del Patrimonio Cultural, Pabellón de
Hidalgo, Aguascalientes, Mexico.

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 DATEBOOK
Portrait of Doña
Tomasa Durán
López de
Cárdenas
(Retrato de
Dona Tomasa
Durán López de
Cárdenas) , c.
1762, by Juan
Patricio
Morlete Ruiz,
Mexico (1713-
1772). Galeria
Coloniart.
Collection of
Felipe Siegal,
Anna and
Andrés Siegal,
Mexico City.

124

PHOTO © MUSEUM ASSOCIATES/LACMA/FOMENTO CULTURAL BANAMEX, A.C., BY RAFAEL DONIZ

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 The Divine Spouse (El Divino Esposo), c. 1750, by Miguel Cabrera
(Mexico, c. 1715-1768). Oil on canvas, 108 X 147.5 cm, Fundación
Cultural Daniel Liebsohn, A.C., Mexico City.

125
PHOTO © MUSEUM ASSOCIATES/LACMA/FOMENTO CULTURAL BANAMEX, A.C., BY RAFAEL DONIZ

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 DATEBOOK
NOVEMBER 2017
A M ST E R DA M
THIS MONTH’S CULTURAL AGENDA

12th Edition of
the Affordable
Art Fair
Amsterdam
AT A FFORDABLE Art Fair
Amsterdam, 67 local, regional
and international galleries will
put on offer a wide range of
Contemporary art that costs as
little as 100 euros and no more
than 6,000 euros. The organizers
126 say at least 75 percent of the art
on offer will cost less than 3,000
euros.
The fair, November 2-5, is one
of a series of Affordable Art Fairs
held in several European cities
(including London, Brussels,
Stockholm, Hamburg and Milan)
as well as New York, Hong Kong
and Singapore. The Amsterdam
edition will be held in the
expansive Kromhouthal
exhibition space in Amsterdam
North. The four-day festival is
designed to encourage new talents
and connect them to an audience
and buyers, although some
established artists also show their
work at the fairs. The website
offers a chance to preview and
buy works online.
For details, visit:
affordableartfair.com/fairs/
amsterdam
DENIEUWEGALERIE

Women in a red tent, by Dutch artist

Frits Nolte. Linen, 26.5 X 27 cm. At
denieuwegalerie, Amsterdam

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 127
PHOTO BY FROUKJE

Visitors at a
previous edition
of Affordable
Art Fair

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 DATEBOOK

Turn out as one

wishes II, 2016,
by Um Mi Keum,
Lucir Design,
Seoul.
Silkscreen
printing, 50 X
50 cm. At
Affordable
Art Fair
Amsterdam

128

LUCIR DESIGN

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 D U BA I

The World of Design Comes to the Middle East

Dubai Design Week 2017 is inarguably the events, is the festival’s hub. The Dubai College of Art, California’s Stanford
most important design event in the Middle International Financial Center, the Etihad University and Melbourne’s RMIT are among
East, bringing together designers, architects, Museum, and Hamdan Bin Mohammed the 90 top universities participating in the
artists and thought-leaders in a six-day-long Heritage Center are the other top venues annual Global Grad Show, the world’s largest
celebration of design and creativity. attracting design lovers from different parts of exchange platform for design graduates. A
This year the city comes alive with more the world. The Downtown Design trade show celebration of regional design talent, “Abwab,”
than 200 events and activities spread across returns to the festival with its fifth edition, or “doors” in Arabic, returns in a new home
various locations during event, November 13- featuring 25 countries and an impressive array that features a cloud-like structure created from
18. The Dubai Design District, the site of 90 of 150 contemporary designers. London’s Royal discarded bedsprings by Fahed + Architects.

A rendering of The New Home of

“Abwab,“ featuring a cloud-like
structure created from discarded
bedsprings by Fahed+Architects

129
FAHED + ARCHITECTS

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 DATEBOOK

Left: Her
Highness
Sheikha
Latifa Bint
Mohammed
Bin Rashid
Al Maktoum,
patron of the
Dubai Design
Week, and Vice
Chairman of
Dubai Culture &
Arts Authority

Right: All PET Shoe, a football

boot made entirely of
recycled plastic bottles,
designed at ECAL/
University of Art and Design,
130 Lausanne, Switzerland

Among the speakers at this year’s Design

Week is Sir David Adjaye, a star in the world of
architecture, who has won a nomination for

FROM TOP: DUBAI DESIGN WEEK (DXBDW); UNIVERSITY OF ART AND DESIGN, LAUSANNE
Beazley Designs of the Year for his National
Museum of African American History and
Culture in Washington, D.C.
“Iconic City,” “Graphics RCA: 50 Years and
Beyond,” and “Once Upon Design” present a
curation of works ranging from graphic design
to contemporary-product and furniture design.
Specially commissioned installations dot the
exhibition space in the design district including
an eye-catching structure that plays with light
devised by Lujaine Rezk and Albert Kolambel.
“The team has been thrilled to work with an
incredible range of designers, companies and
sponsors to stage an event that is bursting with
possibilities for visitors from near and far,” said
William Knight, head of Design for Dubai
Design Week. The Dubai Design District’s chief
operating officer, Mohammad Saeed Al Shehhi,
adds that “each year, this event is growing in
size and reach and it will continue to be an
anchor platform for the design community.”
 131

TreeSense, a VR
narrative film by
Yedan Qian and Xin
Liu, Massachusetts
MIT MEDIA LAB

Institute of
Technology (MIT
Media Lab)

BLOUINARTINFO.COM | NOVERMBER 2017 ART+AUCTION

 BOATS, BIKES AND
BREATHTAKING ART
132 IN AMSTERDAM
Kris Clark, director of Affordable Art Fair
Amsterdam, shares some quick tips to make
the most of this fairy tale city
 133
COURTESY OF NETHERLANDS BOARD OF TOURISM AND CONVENTIONS

The river Amstel lends a unique

character to Amsterdam as it
allows for many water activities
 GLOBETROTTER

134

W
Who wouldn’t want to visit Amsterdam?
Known for its “brown cafés,” traditional Dutch
pubs where all troubles seem to melt away and
great beer flows like water, the capital city of
the Netherlands has a warm place in the
hearts of myriad tourists. The historic Golden
Age canals, narrow houses with gabled
exteriors, vintage shops and museums are an
artist’s delight. And with the Affordable Art
Fair Amsterdam in November (it runs from
November 1 through 5, 2017), it’s time to start
The Willet-Holtyhuysen Museum because it is
such a beautiful time capsule, the Van Gogh
museum, of course, and I recommend a bike
ride along the river.

What restaurants, bars, and cafés

would you recommend in Amsterdam
and why?
We love getting lunch from Caldi& Freddi —
best Italian sandwiches ever.
dreaming of a Dutch getaway.
Where would you go and what would
American born and raised, Kris Clark came
you do if you had a free morning or
to Amsterdam for art and stayed for love. She
afternoon in Amsterdam?
joined the Affordable Art Fair team in 2015
I’d go to the main library on the waterfront
just four months before the fair. She firmly
OBA (Openbare Bibliotheek Amsterdam) — I
believes that good partnerships and
love the building, the area and books. Getting
programming to accompany the art on show
coffee at Café de Pont and just biking along
are the keys to a great fair. Blouin ARTINFO
the canals are also things I enjoy.
spoke to Clark about her favorite places to
eat, relax and be inspired in Amsterdam.
Where would you head to in
Amsterdam for the best shopping and
What are your recommendations what would you buy?
for must-visit places in Amsterdam Our office is rather conveniently located on
and why? the Dam next to the Bijenkorf and close to the

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 135
Clockwise from bottom, far left:
Kris Clark, director, Affordable
Art Fair Amsterdam; Lloyd hotel
enjoys a unique location by the
canal; Woudagemaal, the world’s
largest steam-driven pumping
station, is an important tourist
attraction in the city; Willemstad
is a popular heritage site as it
features Dutch, Spanish and
Portuguese architecture styles in
vivid Caribbean colors
CLOCKWISE FROM LEFT: KRIS CLARK; ©YAMANDU ROOS, COURTESY OF LLOYD
HOTEL & CULTURAL EMBASSY, AMSTERDAM; COURTESY OF NETHERLANDS
BOARD OF TOURISM AND CONVENTIONS; CATHARINA77/ PIXABAY
 Curated by BlouinShop

The Art of Living, Curated by Our Editors

 Kalverstraat and Nieuwendijk. I’d just go
strolling and see what catches my eye.

Where would you recommend people

stay (hotels etc.) when they visit
Amsterdam?
Well, one of our hotel partners, of course.
Lloyd is a great place with a great concept and
fun location, and Vondel Hotels just opened a
boutique property right across from the zoo.

What are the best places to see and

buy art in Amsterdam?
Any one of the festival exhibitors! Amsterdam
is spoilt for choice with so many galleries.

What are the best places to see live

bands or musicians in Amsterdam?
Paradiso for the great sound and intimate 137
atmosphere.

What are the best spots for

experiencing the city’s nightlife?
I’m a morning person so not big on nightlife.
But I have heard there are some great late
night jazz cafés near the Leidseplein.

What projects are you currently

working on/involved in?
The Amsterdam fair opens soon so all hands
on deck for that!

What are some interesting artworks

that we can look forward to at
Affordable Art Fair Amsterdam?
We are super excited to welcome a group of
artists from Bulgaria, a collective of young
talent from Mumbai and Kollektiv Lumen who
make art from photography of your iris. Then
there’s Ronen Gallery with works by Daan
WIKIMEDIA COMMONS

Oude Elferink, more phenomenal

photography art “Artitled” representing Matt
Henry and Jeffrey Milstein among others, and
of course, exciting paintings at Aperture and
Gallery Ter Beek.

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 CLOCKWISE FROM TOP LEFT: COURTESY OF HOTEL OKURA; COURTESY OF NETHERLANDS BOARD OF TOURISM AND CONVENTIONS; COURTESY OF NETHERLANDS BOARD OF TOURISM AND CONVENTIONS
Clockwise from
top, far left:
Yamazato at Hotel
Okura is popular
among locals and
tourists for its
Japanese cuisine;
the 19 windmills of
Kinderdijk; the
Rietveld Schröder
House, an
138 architectonic
wonder by Gerrit
Rietveld, is a
must-visit
destination in
Amsterdam

5
RESTAURANTS 3. Wynand Fockink near Dam mansions chocolates and truffles
TOP 1. La Rive at InterContinental Square for jenever and liqueur 5. Breitner House at Oosterpark
Amstel Amsterdam for 4. Vesper in the Jordaan area for 87-88, is a luxurious art hotel that MUST-VISIT
Mediterranean and French cuisine intoxicating “high tea” once housed famous 19th century HERITAGE SITES
2. Yamazato at Hotel Okura for 5. Brouwerij ‘t IJ at Funenkade Dutch artists 1. The canals, especially the one
its Japanese cuisine and garden 7, organic and craft beer from Leidsestraat to Vijzelstraat
3. De Kas at Kamerlingh SHOPPING and the bridge on the corner of
Onneslaan 3 for organic and HOTELS TO STAY AT DESTINATIONS Reguliersgracht’ and
healthy European cuisine 1. Lloyd Hotelat Oostelijke 1. Galleria d’Arte
Herengracht
4. Restaurant Blauw at Handelskade 34, housed in a Rinascimento at Prinsengracht
2. The 19 windmills of
ART+AUCTION Amstelveenseweg 158-160, for former youth prison 170 ,for authentic Dutch Delftware
Kinderdijk situated in the lovely
PICKS THE Rijsttafel, a hybrid Dutch- 2. Hotel Vondel at Vondelstraat 2. Droog at Staalstraat 7-A, for
wetlands around Dordrecht
BEST OF Indonesian tradition
5. Caldi& Freddi at Spuistraat
18-26, is a boutique hotel with
great art and a garden
stylish homeware, clothing and
beauty products
3. The Woudagemaal, which is
AMSTERDAM 102 for great takeaway 3. Sofitel Legend The Grand 3. Amsterdam Vintage
the world’s largest steam-driven
sandwiches Amsterdam near the Red Light Watches at Singel 414, for pumping station
District, used to be a staging post timepieces and antique jewelry 4. Willemstad, which features
BARS for royals in the Golden Age, and 4. Van Ravenstein at Dutch, Spanish and Portuguese
1. Twenty Third Bar on the 23rd was later Amsterdam’s town hall Keizersgracht 359, for the best of building styles in vivid Caribbean
floor of the Hotel Okura for 4. Waldorf Astoria Dutch and Belgian fashion colors
swanky cocktails and views Amsterdamon the UNESCO 5. Vanroselen Fine 5. Rietveld Schröder House, an
2. Café Hoppe at Spui 18-20, for ‘Gentlemen’s Canal’ consists of Chocolates at Nieuwe architectonic wonder by Gerrit
great beer with the locals six wonderful canal-side Spiegelstraat 72, for great Rietveld

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 AUCTION
PREVIEWS
NOVEMBER 2017
Auction Preview: Phillips’
THIS MONTH’S SALES AGENDA

Photographs Sale, London, Nov 2

The auction will bring together more than 90 lots of
photographic artworks by leading artists like Helena
Almeida, Steven Meisel, William Eggleston, Irving Penn,
Bruce Weber, Thomas Ruff and many others.

What: Sale of photographs

Where: Phillips, 30 Berkeley Square, Mayfair, London W1J
6EX, UK 139
When: November 2, 2PM BST
Public Viewing: October 27 through November 2;
Monday through Saturday: 10AM- 6PM; Sunday: 12PM-
6PM

Top Lots of the Sale:

-A 1982 unique flush-mounted gelatin silver print by
Helena Almeida titled “Ponto de Fuga” (Vanishing Point),
the image/sheet is measured at 208.3 x 124.5 cm (82 x
49 in.) while in frame it is measured at 214.6 x 133.4 cm
(84 1/2 x 52 1/2 in.); estimate: £60,000- £80,000
(US$79,710- US$106,280);
-A unique sized flush-mounted archival pigment print by
Steven Meisel titled “CK One, New York City”, the image
is measured at 93 x 274.3 cm (36 3/5 x 108 in.) while the
framed work measures to 103 x 284.4 cm (40 1/2 x 111
7/8 in.), estimate: £60,000- £80,000 (US$79,710-
US$106,280);
-An untitled flush-mounted pigment print by William
Eggleston, measured at 80 x 121.9 cm (31 1/2 x 48 in.) and
112.4 x 151.8 cm (44 1/4 x 59 3/4 in. ) while framed;
estimate: £50,000- £70,000 (US$66,425- US$92,995);
-A dye transfer print by Irving Penn titled “Single Oriental
Poppy, New York”, from an edition of 18, the works is
measured approximately at 54.4 x 43.1 cm (21 3/8 x 16
7/8 in.); ; estimate: £50,000- £70,000 (US$66,425-
©BRUCE WEBER

Ultimate, Carré Otis, San Francisco, CA, 1991, Bruce

Weber (born 1946). Estimate: £40,000 - £60,000

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 AUCTION PREVIEWS

140

Untitled (Woman
and daughter
with makeup),
from “Kitchen

PHILLIPS/ PHILLIPS.COM
Table” series,
1990 , Carrie
Mae Weems
(born 1953).
Estimate:
£25,000 -
£35,000

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Curated by BlouinShop

The Art of Living, Curated by Our Editors

142

US$92,995); -A face-mounted chromogenic print by Thomas Ruff titled “Sterne 58th Street/ 5th
Ave. (Grand
-A diasec and flush-mounted chromogenic print by Desiree Dolron 18h 22m/-60°”, measured at 201.2 x 134 cm (79 1/4 x 52 3/4 in.) Army Plaza),
titled “Xteriors XII”, measured at 173 x 119.3 cm (68 1/8 x 46 7/8 and 258.9 x 186.5 cm (101 7/8 x 73 3/8 in.) in frame; estimate: New York, 1978,
in.); estimate: £40,000- £60,000 (US$53,140- US$79,710); £30,000- £50,000 (US$39,855- US$66,425); Thomas Struth
(born 1954).
-A 2007 printed flush-mounted chromogenic print by Guido -A flush-mounted dye destruction print, face-mounted to Plexiglas Vintage silver
Mocafico titled “Naja Melanoleuca from Serpens”, the image/sheet by Ruud van Empel titled “Theatre #7”, measured at 100 x 300 cm print flush-
is measured at 118.6 x 153.2 cm (46 3/4 x 60 3/8 in.) while the (39 3/8 x 118 1/8 in.); estimate: £30,000- £50,000 (US$39,855- mounted to

SOTHEBY’S/ ART DIGITAL STUDIO

original card, 31
framed version is measured at 127.4 x 161.5 cm (50 1/8 x 63 5/8 US$66,425);
X 40.5 cm.
in.); estimate: £40,000- £60,000 (US$53,140- US$79,710); -A 1988 gelatin silver print, face-mounted to Plexiglas by Laurie Estimate:
-A 2017 printed unique sized flush-mounted gelatin silver print by Simmons titled “Walking Purse”, measured at 213.4 x 121.9 cm (84 x €30,000 -
€50,000
Bruce Weber titled “Carré Otis, San Francisco, California”; the 48 in.) and the framed work is measured at 226.1 x 134.6 cm (89 x
image/sheet is measured at 178 x 128 cm (70 1/8 x 50 3/8 in.) and 53 in.); estimate: £30,000- £40,000 (US$39,855- US$53,140).
in frame it is measured at 182.5 x 132.5 cm (71 7/8 x 52 1/8 in.); For details, visit https://www.phillips.com/
estimate: £40,000- £60,000 (US$53,140- US$79,710);

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 143
© THE IRVING PENN FOUNDATION. SOTHEBY’S/ ART DIGITAL STUDIO

Picasso (B) Cannes, 1957, Irving Penn (1917-2009).

Platinum-palladium print flush-mounted to aluminium,
47.5 X 47.5 cm. Estimate: €60,000 - €80,000

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 AUCTION PREVIEWS

144

SOTHEBY’S/ ART DIGITAL STUDIO

Calla Lily, 1988, Robert
Mapplethorpe (1946-
1989). Dry-transfer print,
flush-mounted to card,
57.5 X 56.5 cm. Estimate:
€50,000 – €70,000.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 145
©EGGLESTON ARTIST TRUST. SOTHEBY’S/ ART DIGITAL STUDIO

Untitled
(Yellow Car),
1976, William
Eggleston
(born 1939).
Dye-transfer
print, 36 X
35.6 cm.
Estimate:
€15,000 –
€25,000.

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 AUCTION PREVIEWS

146

© THE IRVING PENN FOUNDATION.

SOTHEBY’S/ ART DIGITAL STUDIO
Single Oriental Poppy, 1968, New York,
Irving Penn (1917-2009). Platinum-palla-
dium print, printed 1987, flush-mounted
to aluminium, 56 X 63.4 cm. Estimate:
€30,000 - €50,000

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Untitled (Halloween), circa
1983, Jean Michel-Bas-
quiat (1960-1988). Acrylic
and oilstick on canvas,
211.5 X 151.8 cm. Estimate:
$3,500,000 – $4,500,000

Phillips’ 20th Century &

Contemporary Art Evening
Sale, New York,
November 16

What: Sale of 20th-century and

Contemporary artworks
Where: Phillips, 450 Park Ave., New York
When: November 16, 5 p.m. East Coast time
Public Viewing: November 3-14;
Monday- Saturday: 10 a.m.-6 p.m.;
Sunday: 12 p.m.-6 p.m.

Highlights of the sale:

— “Untitled (Halloween),” a circa 1983 acrylic
and oil-stick on canvas painting by Jean- 147
Michel Basquiat (1960-1988), measured at
83 1/4 x 59 3/4 in. (211.5 x 151.8 cm.);
Estimate: $3,500,000 - $4,500,000
— A 1946 crayon-on-paper work by Pablo
Picasso (1881-1973) titled “Portrait de
Femme Endormie. III,” measured at 19 1/4 x
25 3/4 in. (48.9 x 65.4 cm.); Estimate:
$1,000,000 - $1,500,000
— A 1920 gouache-and-pencil-on-paper work
by Pablo Picasso titled “Deux Nus,”
measured at 25 x 18 in. (63.5 x 45.7 cm.);
Estimate: $800,000 - $1,200,000
— A 1938 charcoal-on-paper work by Henri
Matisse (1869-1954) titled “Jeune Fille
Accoudée,” measured at 25 x 15 1/2 in. (63.5
x 39.4 cm.); Estimate: $900,000-
$1,200,000
— A 1939 charcoal-on-paper work by Henri
Matisse titled “Jeune Fille Dormant à la
Blouse Roumaine,” measured at 14 1/2 x 18
1/4 in. (36.8 x 46.4 cm.); Estimate:
$1,200,000 - $1,800,000
— A 2001 stainless steel work by Anish
PHILLIPS/ PHILLIPS.COM

Kapoor (b.1954) named “Untitled (Random

Triangle Mirror),” measured at 90 1/2 x 90
1/2 x 18 in. (229.9 x 229.9 x 45.7 cm.);
Estimate: $700,000 - $1,000,000.

For details, visit www.phillips.com

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

AUCTION PREVIEWS
Jeune fille dormant à la blouse
roumaine, circa 1939, Henri Matisse
(1869-1954). Charcoal on paper, 36.8
X 46.4 cm. From the collection of Anne
Marie and Julian J. Aberbach. Estimate:
$1,200,000 – $1,800,000.

PHILLIPS/ PHILLIPS.COM
ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM
 149

Portrait de femme endormie. III, October 31,

1946, Pablo Picasso (1881-1973). Crayon on
paper, 48.9 X 65.4 cm. From the collection of
PHILLIPS/ PHILLIPS.COM

Anne Marie and Julian J. Aberbach. Estimate:

$1,000,000 - $1,500,000

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 AUCTION PREVIEWS

150

Deux nus, May 5,

1920, Pablo Picasso
(1881-1973). Gouache

PHILLIPS/ PHILLIPS.COM
and pencil on paper,
63.5 X 45.7 cm.
From the collection
of Anne Marie and
Julian J. Aberbach.
Estimate: $800,000 -
$1,200,000

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 151

Untitled (Random Triangle Mirror),

2011, Anish Kapoor (born 1954).
Stainless steel, 229.9 X 229.9 X
45.7 cm.
Estimate: $700,000 - $1,000,000
PHILLIPS/ PHILLIPS.COM

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 AUCTION PREVIEWS

152

Jeune fille
accoudée, 1938,
Henri Matisse
(1869-1954).
Charcoal on
paper, 63.5 X
39.4 cm. From
the collection

PHILLIPS/ PHILLIPS.COM
of Anne Marie
and Julian J.
Aberbach.
Estimate:
$900,000 -
$1,200,000

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Notre Dame de Paris, around 1840,
Vincent Chevalier. Full plate daguer-
réotype, 19.7 X 14 cm (sight area), 31.5
Mystified, 1997, Shirin Neshat X 25.5 cm (object). Estimate:
(born 1957). Silver print and €100,000 - €150,000
ink, 23 X 34 cm (image), 49 X
59.6 cm (frame). Estimate:
€7,000 - €9,000

153

Chapel de Notre
Sotheby’s 40.6 x 30.5 cm., 16 x 12 in., each card 20 Dame du Haut
Photographies, Paris, x 16 in. 50.8 x 40.6 cm. ©Estate of I, 1998, Hiroshi
November 10 Bernd Becher &Hilla Becher. Estimate: Sugimoto (born
1948). Silver print,
€80,000 - €120,000 ($93,844 - flush-mounted to
What: Sale of photography $140,766) card, 58.6 X 47.2
Where: Sotheby’s, 76, rue du Faubourg — Florian Maier-Aichen, “Untitled,” 2005. cm. Ed. 8/25.
©Hiroshi Sugimoto.
Saint-Honoré, CS 10010, 75384 Paris Chromogenic print flush-mounted to Estimate: €8,000 -
When: 10 November, 7p.m. board. On the reverse, signed, dated and €12,000
numbered 2/6 in black felt tip pen.
Top Lots of the Sale: Framed. 183 x 230 cm..; 72 x 90in. ©
— Vincent Chevalier, “Notre Dame de Florian Maier-Aichen, Courtesy of the
Paris,” around 1840. Full-plate artist and Blum & Poe, Los Angeles/New
COURTESY SOTHEBY’S/ ART DIGITAL STUDIO

daguerréotype. Sight area: 19.7 x 14 cm., York/Tokyo. Estimate: €60,000 -

7 ¾ in.x 5½ object: 31.5 x 25.5 cm., 12.2 €80,000 ($70,383 - $93,844)
x 9.8 in. Estimate: €100,000 - €150,000 —Pieter Hugo, “Jattowith Mainasara,”
($117,305 - $175,957) Ogere-Remo, Nigeria, From “Gadawan
— Bernd and Hilla Becher, “Water Tower Kura —The Hyena Men Series II,” 2005-
Typology,” Six silver prints. Four vintage 2007. Chromogenic print, flush-mounted
silver prints flush-mounted to card, to aluminum. With a signed certificate.
signed by both artists in pencil on the Edition 5/9. Framed. Image 100 x 100
reverse. Two printed later, signed by cm.; 39 x 39 in. Frame 116 x 118 cm.;
Hilla Becher in pencil on the reverse. 45½x 46¼ in. © Pieter Hugo. Courtesy
Individually framed. Each print about of Stevenson, Cape Town/Johannesburg

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 AUCTION PREVIEWS

Untitled, 2005, Florian Maier-Aic-

hen (born 1973). Chromogenic print
flush-mounted to board, 183 X 230 cm.
Estimate: €60,000 - €80,000

CLOCKWISE FROM TOP LEFT: © PIETER HUGO. COURTESY OF STEVENSON, CAPE TOWN/JOHANNESBURG AND YOSSI MILO, NEW YORK; © FLORIAN MAIER-AICHEN, COURTESY OF THE ARTIST
AND BLUM & POE, LOS ANGELES/NEW YORK/TOKYO; © ESTATE OF BERND BECHER & HILLA BECHER. SOTHEBY’S/ ART DIGITAL STUDIO
154 Jatto with Mainasara, Ogere-Remo, Nigeria,
from “Gadawan Kura - The Hyena Men”
series II,” 2005-2007, Pieter Hugo (born
1976). Chromogenic print flush-mounted to
aluminium, 100 X 100 cm (image), 116 X 118
cm (frame). Ed 5/9. Estimate:
€15,000 - €20,000

and Yossi Milo, New York. Estimate: €15,000

- €20,000 ($17,595 - $23,461)
— Hiroshi Sugimoto. “Chapel De Notre Dame
du Haiti,” 1998. Silver print, flush-mounted
to card. Signed in pencil on the card. Edition
number “8/25” and reference “932” blind
stamp on the lower margin. Mounted to
passe-partout. 58,6 x 47,2 cm.; 23 x 18½. in.
© Hiroshi Sugimoto. Estimate: €8,000
- €12,000 ($9,400 - $14,000)
— Shirin Neshat, “Mystified,” 1997. Silver
print and ink. On the reverse, signed, titled,
dated and numbered AP. Image: 23 x 34
cm.; 9 x 13¼in. Frame: 49 x 59.6 cm.; 19½x
23½ in. Estimate: €7,000 - €9,000 ($8,200
- $10,600).

Water Tower Typology, by Bernd and

Hilla Becher. Six silver prints, each
approx. 16 X 12.5 in. Estimate:
€80,000 - €120,000

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Curated by BlouinShop

Suzanne Syz Art Jewels

Purple Wrap Ring

The Art of Living, Curated by Our Editors

 AUCTION PREVIEWS
Voltri Bolton X,
1962, by David
Smith (1906-
1965). Steel,
81 1/4 X 42 X 11
1/4 in. Estimate:
$6 million -
$8 million.

Sotheby’s
Contemporary Art
Evening Auction, New
York,
November 16

What: Sale of Contemporary art

Evening Auction
Where: Sotheby’s, 1334 York Avenue,
New York 10021 US
When: November 16, 6:30 p.m.

Top lots of the sale:

— Property from the Collection of
Yoko Ono. Jean-Michel Basquiat.
156 “Cabra,” signed, titled and dated
81-82 on the reverse. Acrylic and oil
stick on canvas. 60 1/4 in. by 60 1/4
in. (152 cm. X 152 cm.) Estimate: $9
million - $12 million;
—Property from the Jerome & Ellen
Stern Collection. David Smith, “Voltri
Bolton X,” 1962. Signed and dated
12.22.62. Steel. 81 ¼ in. x 42 in. x 11
1/4 in. (206 cm. X 107 cm. X 29)
Estimate: $6 million - $8 million;
—Property from the Jerome & Ellen
Stern Collection. Marlene Dumas,
“Magdalena,” 1995. Oil on canvas. 78
in. x 39 in. (198 cm. X 99 cm.)
Estimate: $3 million - $4 million;

JEROME & ELLEN STERN COLLECTION. COURTESY SOTHEBY’S

—Property from an important
collection. Jean Dubuffet, “Maison
Fondée,” signed and dated 61; signed,
titled and dated mars/avril 61 on the
reverse. Oil on canvas. 45 3/4 in. by
35 in. (116 cm. X 89 cm.) Estimate: $12
million - $18 million;
—Property from a private New York
collection. Roy Lichtenstein, “Female
Head,” Signed and dated 77 on the
reverse. Oil and magna on canvas. 60
by 50 inches. (152 cm. X 127 cm.)
Estimate: $10 million - $15 million.
For details, visit www.sothebys.com

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 157
© 2017 ESTATE OF JEAN DUBUFFET/ ARTISTS RIGHTS SOCIETY (ARS), NEW YORK, NY

Maison Fondée,
by Jean Dubuffet
(1901-1985). Oil
on canvas, 45 3/4
X 35 in. Estimate:
$12 million - $18
million. Property
from an important
collection

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 AUCTION PREVIEWS

158 Le Tramway De Notre

Enfance (Mémoires),
Sotheby’s Impressionist & Modern 1955, Paul Delvaux
Art Day Sale, New York, November 15 (1897-1994). Oil on
board in artist’s frame.
51.7 X 123.5 cm. Prop-
What:Impressionist & Modern art sale erty from a private
Where:Sotheby’s, 1334 York Avenue, New York 10021 US collection, Penn-
When: 15 November, 10 a.m. sylvania. Estimate:
$400,000 - $600,000

Top lots of the sale:

— Property from an important private collection, New York.
Pierre-Auguste Renoir, “Paysage Du Midi.” Signed Renoir
(lower right). Oil on canvas, 14 3/8 by 21 3/4 in. (36.5 by
55.2 cm. Estimate: $600,000 - $800,000
— Property from a private American collection. Marc
Chagall, “Fleurs.” Signed Chagall and dated 1911 (lower left).
Oil on canvas, 26 1/4 in. by 22 1/2 in. (66.6 cm. by 57.1 cm.)
Painted in 1911. Estimate: $600,000 - $800,000
— Pablo Picasso, “Le Sauvetage.” Signed Picasso (upper
left). Pencil on paper, 26 ½ in. by 32 1/2 in. (67.3 cm. by
82.5 cm.) Executed in Paris in 1932. Estimate: $450,000 -
$650,000
— Property from a private collection, Pennsylvania. Paul
Delvaux, “Le Tramway De Notre Enfance (Mémoires).”
Signed P. Delvaux and dated 9-55. (lower right). Oil on board Fleurs, Marc Chagall
in artist’s frame. 20 3/8 in. by 48 5/8 in. (51.7 by 123.5 cm.) (1887-1985), 1911.
Painted in September 1955. Estimate: $400,000 - Oil on canvas,

COURTESY SOTHEBY’S
66.6 X 57.1 cm.
$600,000 Property from a
— Property from a private American collection. Yves private American
Tanguy,“Sans Titre.” Signed Yves Tanguy and dated 31 Collection. Esti-
mate: $600,000
(lower right). Oil on glass. 7 1/2 in. by 7 1/2 in. (19 cm. by 19
- $800,000

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 159

Oreste E Pilade,
1987, Giorgio de
Chirico (1888-
1978). Oil on
canvas, 50.8 X
40.6 cm. Property
from the
collection of
Marshall and Wallis
Katz. Estimate:
$250,000 -
$350,000
COURTESY SOTHEBY’S

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 AUCTION PREVIEWS

160
COURTESY SOTHEBY’S

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 161
COURTESY SOTHEBY’S

Nu à la chaise, 1928, by Tsuguharu

Foujita (1886-1968). Oil on canvas, 45.7
X 38.1 cm. Property from a South Ameri-
can private collector. Estimate:
$200,000 - $300,000

cm.) Painted in 1931. Estimate: Chirico, “Oreste E Pilade.” Signed G. de

$320,000 - $380,000 Chirico (center left); inscribed ‘questa
— Property from a private collection. pittura metafisica: ”Oreste e Pilade” è
Henri Laurens, “La Mère.” Inscribed with opera autentica de ma seguita e firmata
Les Falaises De the artist’s monogram, numbered E.A and signed giorgio de chirico (on the
Fécamp, 1914, by
Gustave Loiseau and stamped with the foundry mark C. reverse).’ Oil on canvas. 20 in by 16 in.
(1865-1935). Oil on Valsuani Cire Perdue. Bronze. Height: 23 (50.8 cm. by 40.6 cm.) Painted in 1957.
canvas, 60 X 92 1/2 in. (59.6 cm.) Conceived in 1935; this Estimate: $250,000 - $350,000;
cm. Property from
a private New York example cast during the artist’s lifetime. — Property from a South American
collector. Estimate: Estimate: $300,000 - $400,000; private collector. Tsuguharu Foujita. “Nu
$100,000 - — Property from the collection of À La Chaise.” Signed Foujita and in
$150,000
Marshall and Wallis Katz. Giorgio de Japanese and dated 1928 (lower left);

BLOUINARTINFO.COM | NOVEMBER 2017 ART+AUCTION

 AUCTION PREVIEWS
La Calanque à la Ciotat 1906-1907, by
Émile Othon Friesz (1879-1949). Oil on
canvas, 38.7 X 45.7 cm. Property from a
private collection, California. Estimate:
$200,000 - $300,000
La Mère, by Henri
Laurens (1885-
1954), conceived in
1935, this example
was cast during the
artist’s lifetime.
Bronze, 59.6 cm.
Property from a
private collection.
Estimate:
$300,000 -
$400,000

162

Le Sauvetage, 1932,
Paris, by Pablo Picasso
(1881-1973). Pencil on
paper, 67.3 X 82.5 cm. Ed.
48/60. Estimate:
$450,000 - $650,000
signed, dated and inscribed in Japanese
(on the stretcher). Oil on canvas. 18 in.
by 15 in. (45.7 cm. by 38.1 cm.) Painted
in 1928. Estimate: USD $200,000 -
$300,000
— Property from a Texas estate. Wassily
Kandinsky. “Untitled (Composition
Lyrique).” Signed with the artist’s
monogram and dated 22 (lower left).
Watercolor and brush and ink on paper.

COURTESY SOTHEBY’S
12 3/8 in. by 14 3/4 in. (31.4 cm. by 37.4
cm.) Executed on December 3, 1922.
Estimate: $200,000 - $300,000.
For details, visit www.sothebys.com

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

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Sans Titre, 1931,

by Yves Tanguy
(1900-1955). Oil
on glass, 19 X 19
cm. Property from
a private Amer-
ican collection.
Estimate:
$320,000 -
$380,000

164

COURTESY SOTHEBY’S

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 AUCTIONCALENDAR

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ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

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Osian’s Sungari International Capitolium Art Rago Arts and Auction Delorme & Collin du
Paddle8 Susanin’s Chayette & Cheval Center Bocage
Phillips Swann Auction Galleries Christie’s RoGallery.com Deutscher and Hackett
Piasa Sworders Clars Auction Gallery Shapiro Auctions Dobiaschofsky
Pierre Bergé & Associés Tajan Cornette de Saint Cyr Sotheby’s Dorotheum
Poly International Auction Thierry de Maigret De Vuyst Stephan Welz & Co. Doyle
Pook & Pook Auctioneers Tiancheng International Delorme & Collin du Stockholms Auktionsverk Dreweatts & Bloomsbury
Inc. Tiroche Auction House Bocage Swann Auction Galleries Auctions
Porro & Co. Art Consulting Treadway Toomey Dobiaschofsky Tajan DuMouchelles Fine Arts
Profiles in History Auctions Dorotheum Uppsala Auktionskammare Auctioneers & Estate
170
Pundole’s Uppsala Auktionskammare Doyle Van Ham Appraisers
Quittenbaum Van Ham Dreweatts & Bloomsbury Durán Arte y Subastas
Rago Arts and Auction Veritas Auctions WORKS ON Eldred’s Auction Gallery
Center Versailles Enchères Perrin- Durán Arte y Subastas PAPER & PRINTS Ewbank’s
Ravenel International Art Royère-Lajeunesse Finarte Fine Art Auctions Miami
Group Vincent Wapler Fine Art Auctions Miami Abell Auction Company (FAAM)
Ritchies Vladey (FAAM) Ader Fischer
RoGallery.com Vltavín Auction Hall Freeman’s Auctioneers & Art Europe Auctions Fraysse et Associés
Rongbaozhai (Shanghai) Waddington’s Appraisers Artam Antik A.S. Freeman’s Auctioneers &
Auction Walker’s Fine Art & Estate Galartis Artcurial Appraisers
Ross’s Auctioneers & Auctioneers Galerie Bassenge Aspire Auctions Galartis
Valuers Wannenes Gaston & Sheehan Audap & Mirabaud Galerie Bassenge
Rossini Weschler’s Auctioneers Auktionshaus Michael Galerie Kornfeld
Ruef Kunstauktionen Whyte’s Germann Auktionshaus Zeller Gelos Auction House
Saffronart Woolley & Wallis Grisebach Beaussant Lefèvre Germann Auktionshaus
Salcedo Auctions Xiling Yinshe Auction Co. Guernsey’s Auctions Beijing Council Guernsey’s Auctions
Santa Fe Art Auction Zhong Cheng Auction Hagelstam & Co. International Hartung & Hartung
SBI Art Auction Heritage Auctions Auction Heritage Auctions
Schloss Ahlden PHOTOGRAPHY Hôtel des Ventes Genève Bernaerts iGavel Auctions
Schuler Auktionen iGavel Auctions Bid & Hammer Fine Art Jackson Hole Art Auction
Scottsdale Art Auction Ader Jeschke van Vliet Auctioneers Jeschke van Vliet
Seoul Auction Aguttes Kahn-Dumousset Binoche et Giquello Kabinet Auktion
Shannon’s Fine Art Art Europe Auctions Kaminski Auctions Blanchet et Associés Karl & Faber
Auctioneers Art+Object Koller Auktionen Blomqvist Kestenbaum & Company
Shapiro Auctioneers Artcurial Leclère–Maison de Ventes Boisgirard–Antonini Koller Auktionen
Shapiro Auctions Aspire Auctions Lempertz Bonhams Leclère–Maison de Ventes
Shinwa Art Auction Aste Boetto Leonard Joel Brunk Auctions Leonard Joel

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Los Angeles Modern Bonhams Cowan’s Auctions Aspire Auctions Appraisers
Auctions China Guardian Auctions Delorme & Collin du Aste Boetto Galerie Arcimboldo
Louiza Auktion Christie’s Bocage Auctionata Gros & Delettrez
Lyon & Turnbull Delorme & Collin du Deutscher and Hackett Audap & Mirabaud Hampel Fine Art Auctions
Millon Bocage Dorotheum Auktionshaus Herr/ Heritage Auctions
Neal Auction Company Dorotheum DuMouchelles Fine Arts Lauritz.com Hosane
New Orleans Auction Doyle Auctioneers & Estate Beaussant Lefèvre Hôtel de Ventes
Galleries Est-Ouest Auctions Appraisers Beijing ChengXuan Vanderkindere
Odalys Farsettiarte Fischer Auctions Hôtel des Ventes Genève
Paddle8 Fraysse et Associés Fraysse et Associés Beijing Council I.M. Chait Gallery
Phillips Galartis Freeman’s Auctioneers & International iArt Auction
Piasa Gorny & Mosch Appraisers Auction iGavel Auctions
Pierre Bergé & Associés Heritage Auctions Galartis Beijing Hanhai Auction Jackson’s Auctions
Profiles in History Hermann Historica Heritage Auctions Beijing JiuGe International James D. Julia, Inc.
Rago Arts and Auction Hôtel des Ventes Genève Kaminski Auctions Auction Kaminski Auctions
Center iGavel Auctions Leclère–Maison de Ventes Binoche et Giquello Koller Auktionen
RoGallery.com Il Ponte Casa d’Aste Lempertz Blanchet et Associés Larasati Auctioneers
Shannon’s Fine Art Im Kinsky Leonard Joel Boisgirard–Antonini Lark Mason Associates
Auctioneers K Auction McKenzies Bonhams Leclère–Maison de Ventes
Skinner Leclère–Maison de Ventes Menzies Fine Art Borobudur Fine Art Lempertz
Sloans & Kenyon León Gallery Auctioneers & Valuers Auction Leonard Joel
Sotheby’s Marc Labarbe Millon Bruun Rasmussen Leslie Hindman 171
Stockholms Auktionsverk McKenzies Mossgreen Auctioneers Auctioneers
Subastas Segre Meeting Art Mossgreen-Webb’s Cambi Casa d’Aste Lyon & Turnbull
Susanin’s Millon Pierre Bergé & Associés Capitolium Art Macau Chung Shun
Swann Auction Galleries Osian’s Quittenbaum China Guardian Auctions International Auctions
Uppsala Auktionskammare Poly International Auction Rossini Christie’s Mainichi Auction
Van Ham Porro & Co. Art Consulting Skinner Clars Auction Gallery Marc Labarbe
Vincent Wapler RoGallery.com Sloans & Kenyon Cornette de Saint Cyr Michaan’s Auctions
Vltavín Auction Hall Saffronart Slotin Folk Art Cowan’s Auctions Millon
Walker’s Fine Art & Estate Schuler Auktionen Sotheby’s Dallas Auction Gallery Mossgreen
Auctioneers Shapiro Auctions Sotheby’s Australia Delorme & Collin du Mossgreen-Webb’s
Weschler’s Shinwa Art Auction Waddington’s Bocage Nagel Auktionen
Whyte’s Sloans & Kenyon Walker’s Fine Art & Estate Dobiaschofsky New Orleans Auction
Wright Sotheby’s Auctioneers Dorotheum Galleries
Xiling Yinshe Auction Co. Stephan Welz & Co. Woolley & Wallis Doyle Piasa
Uppsala Auktionskammare Dreweatts & Bloomsbury Poly International Auction
ANTIQUITIES ASIAN ART & Auctions Pundole’s
TRIBAL ANTIQUES DuMouchelles Fine Arts Rago Arts and Auction
Artcurial ART Auctioneers & Estate Center
Beaussant Lefèvre 33 Auction Appraisers Ravenel International Art
Beijing Council Art+Object Abell Auction Company Duo Yun Xuan Auctions Group
International Artcurial Ader Eldred’s Auction Gallery Ritchies
Auction Auktionshaus Herr/ Aguttes Eric Pillon Enchères RoGallery.com
Bid & Hammer Fine Art Lauritz.com AlBahie Est-Ouest Auctions Rongbaozhai (Shanghai)
Auctioneers Binoche et Giquello Art+Object Ewbank’s Auction
Binoche et Giquello Bonhams Artcurial Fischer Ruef Kunstauktionen
Blanchet et Associés Christie’s Arts & Antiques Group Fraysse et Associés Seoul Auction
Boisgirard–Antonini Clars Auction Gallery (AAG) Freeman’s Auctioneers & Shapiro Auctioneers

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 TOPAUCTIONHOUSES

Shinwa Art Auction Sotheby’s Christie’s Jeschke van Vliet Rago Arts and Auction
Skinner Clars Auction Gallery John Moran Auctioneers, Center
Sloans & Kenyon ANTIQUES & Cornette de Saint Cyr Inc. Ravenel International Art
Sotheby’s DECORATIVE ARTS Cowan’s Auctions K Auction Group
Sotheby’s Australia Dallas Auction Gallery Kabinet Auktion Rippon Boswell & Co.
Stockholms Auktionsverk Abell Auction Company De Veres Art Auctions Kahn-Dumousset Ritchies
Stuker Ader Delorme & Collin du Kaminski Auctions RoGallery.com
Sungari International Aguttes Bocage Kedem Auction House Ross’s Auctioneers &
Susanin’s AlBahie Dobiaschofsky Keno Auctions Valuers
Sworders Ansorena Dom Aukcyjny Ostoya Koller Auktionen Rossini
Tajan Art Europe Auctions Dorotheum Lark Mason Associates Ruef Kunstauktionen
Thierry de Maigret Art+Object Doyle Leclère–Maison de Ventes Salcedo Auctions
Tiancheng International Artcurial Dreweatts & Bloomsbury Lempertz Schloss Ahlden
Tiroche Auction House Arts & Antiques Group Auctions León Gallery Schuler Auktionen
Uppsala Auktionskammare (AAG) DuMouchelles Fine Arts Leonard Joel Seoul Auction
Van Ham Aspire Auctions Auctioneers & Estate Leslie Hindman Shapiro Auctioneers
Veritas Aste Boetto Appraisers Auctioneers Shapiro Auctions
Waddington’s Auctionata Durán Arte y Subastas Lewis & Maese Shinwa Art Auction
Walker’s Fine Art & Estate Audap & Mirabaud Egozi Gallery Los Angeles Modern Simpson Galleries
Auctioneers Auktionshaus Herr/ Eldred’s Auction Gallery Auctions Skinner
Wannenes Lauritz.com Eric Pillon Enchères Louiza Auktion Sloans & Kenyon
172 Weschler’s Auktionshaus Michael Est-Ouest Auctions Lyon & Turnbull Sotheby’s
Woolley & Wallis Zeller Fischer Macau Chung Shun Sotheby’s Australia
Xiling Yinshe Auction Co. Bali Müzayede Fraysse et Associés International Auctions Stephan Welz & Co.
Zhong Cheng Auction Beaussant Lefèvre Freeman’s Auctioneers & Mainichi Auction Stockholms Auktionsverk
Beijing Council Appraisers Marc-Arthur Kohn Strauss & Co.
MIDDLE EASTERN International Galartis McKenzies Stuker
ART & ANTIQUES Auction Galerie Arcimboldo Mealy’s Subastas Segre
Bernaerts Gelos Auction House Meeting Art Sungari International
Ader Bid & Hammer Fine Art Gorny & Mosch Michaan’s Auctions Susanin’s
Aguttes Auctioneers Grogan & Company Millon Sworders
AlBahie Binoche et Giquello Gros & Delettrez Morton Subastas Tajan
Artcurial Blanchet et Associés Guernsey’s Auctions Mossgreen Thierry de Maigret
Audap & Mirabaud Blindarte Hagelstam & Co. Mossgreen-Webb’s Tiroche Auction House
Bonhams Blomqvist Hampel Fine Art Auctions Nagel Auktionen Treadway Toomey
Capitolium Art Boisgirard–Antonini Heffel Neal Auction Company Auctions
Christie’s Bonhams Heritage Auctions Neumeister Uppsala Auktionskammare
Delorme & Collin du Brunk Auctions Hôtel de Ventes Horta New Orleans Auction Van Ham
Bocage Brussels Art Auctions Hôtel de Ventes Galleries Veritas
Egozi Gallery Bruun Rasmussen Vanderkindere Nişantaşı Müzayede Versailles Enchères Perrin-
Freeman’s Auctioneers & Auctioneers Hôtel des Ventes Genève Northeast Auctions Royère-Lajeunesse
Appraisers Bukowskis I.M. Chait Gallery Osenat Vincent Wapler
Grogan & Company Camard & Associés iArt Auction Paddle8 Waddington’s
Hôtel des Ventes Genève Cambi Casa d’Aste iGavel Auctions Piasa Walker’s Fine Art & Estate
Il Ponte Casa d’Aste Campo & Campo Il Ponte Casa d’Aste Pierre Bergé & Associés Auctioneers
Kedem Auction House Castells Im Kinsky Poly International Auction Wannenes
Matsart Auctioneers & Charlton Hall Auctions Jackson’s Auctions Pook & Pook Auctioneers Weschler’s
Appraisers Chayette & Cheval James Adam & Sons Inc. Woolley & Wallis
RoGallery.com China Guardian Auctions James D. Julia, Inc. Quittenbaum Xiling Yinshe Auction Co.

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 DESIGN Doyle Galleries Bukowskis Ader
Dreweatts & Bloomsbury Nişantaşı Müzayede Camard & Associés Aguttes
Abell Auction Company Auctions Odalys Campo & Campo Art+Object
Ader DuMouchelles Fine Arts Osenat Castells Artam Antik A.S.
Aguttes Auctioneers & Estate Phillips Christie’s Artcurial
AlBahie Appraisers Piasa Delorme & Collin du Aspire Auctions
Ansorena Eldred’s Auction Gallery Pierre Bergé & Associés Bocage Audap & Mirabaud
Art+Object Eric Pillon Enchères Porro & Co. Art Consulting Dorotheum Beaussant Lefèvre
Artcurial Ewbank’s Quittenbaum Dreweatts & Bloomsbury Beijing Hanhai Auction
Arts & Antiques Group Fischer Rago Arts and Auction Auctions Bernaerts
(AAG) Freeman’s Auctioneers & Center DuMouchelles Fine Arts Bid & Hammer Fine Art
Aspire Auctions Appraisers Ross’s Auctioneers & Auctioneers & Estate Auctioneers
Aste Boetto Galartis Valuers Appraisers Binoche et Giquello
Auctionata Gelos Auction House Rossini Egozi Gallery Blanchet et Associés
Audap & Mirabaud Gros & Delettrez Ruef Kunstauktionen Ewbank’s Boisgirard–Antonini
Auktionshaus Herr/ Guernsey’s Auctions Schloss Ahlden Fraysse et Associés Bonhams
Lauritz.com Hagelstam & Co. Schuler Auktionen Gaston & Sheehan Brunk Auctions
Auktionshaus Michael Hampel Fine Art Auctions Seoul Auction Auctioneers Bruun Rasmussen
Zeller Heritage Auctions Shapiro Auctioneers Guernsey’s Auctions Auctioneers
Bernaerts Hôtel de Ventes Skinner Heritage Auctions Bukowskis
Bid & Hammer Fine Art Vanderkindere Sotheby’s Hermann Historica Cambi Casa d’Aste
Auctioneers Hôtel des Ventes Genève Sotheby’s Australia Hosane Campo & Campo 173
Binoche et Giquello iGavel Auctions Stephan Welz & Co. iGavel Auctions Charlton Hall Auctions
Blindarte Il Ponte Casa d’Aste Stockholms Auktionsverk International Art Centre Chayette & Cheval
Blomqvist Im Kinsky Strauss & Co. Jackson’s Auctions China Guardian Auctions
Boisgirard–Antonini Jackson’s Auctions Stuker John Moran Auctioneers, Christie’s
Bonhams James Adam & Sons Susanin’s Inc. Christophe Joron-Derem
Brunk Auctions John Moran Auctioneers, Sworders Julien’s Auctions Cornette de Saint Cyr
Bruun Rasmussen Inc. Tajan Kaminski Auctions Delorme & Collin du
Auctioneers Kaminski Auctions Tiroche Auction House Kedem Auction House Bocage
Bukowskis Keno Auctions Treadway Toomey Leonard Joel Dorotheum
Camard & Associés Koller Auktionen Auctions Lewis & Maese Doyle
Cambi Casa d’Aste Leclère–Maison de Ventes Uppsala Auktionskammare Mossgreen Dreweatts & Bloomsbury
Campo & Campo Leonard Joel Versailles Enchères Perrin- Mossgreen-Webb’s Auctions
Capitolium Art Leslie Hindman Royère-Lajeunesse New Orleans Auction DuMouchelles Fine Arts
Castells Auctioneers Walker’s Fine Art & Estate Galleries Auctioneers & Estate
Charlton Hall Auctions Lewis & Maese Auctioneers Osian’s Appraisers
Chayette & Cheval Los Angeles Modern Wannenes Profiles in History Duo Yun Xuan Auctions
China Guardian Auctions Auctions Weschler’s Ravenel International Art Durán Arte y Subastas
Christie’s Louiza Auktion Woolley & Wallis Group Eldred’s Auction Gallery
Christophe Joron-Derem Lyon & Turnbull Wright RoGallery.com Eric Pillon Enchères
Clars Auction Gallery Marc Labarbe Salcedo Auctions Ewbank’s
Cornette de Saint Cyr Marc-Arthur Kohn COLLECTIBLES & Schuler Auktionen Fraysse et Associés
Cowan’s Auctions McKenzies MEMORABILIA Skinner Freeman’s Auctioneers &
Dallas Auction Gallery Meeting Art Susanin’s Appraisers
Delorme & Collin du Michaan’s Auctions Artcurial Whyte’s Galartis
Bocage Millon Bid & Hammer Fine Art Galerie Bassenge
Dobiaschofsky Mossgreen Auctioneers BOOKS & Gelos Auction House
Dorotheum New Orleans Auction Bonhams MANUSCRIPTS Guernsey’s Auctions

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 TOPAUCTIONHOUSES

Hartung & Hartung Vltavín Auction Hall Center Piasa Bruun Rasmussen
Heritage Auctions Xiling Yinshe Auction Co. Schuler Auktionen Ravenel International Art Auctioneers
Hôtel de Ventes Horta Shapiro Auctions Group Bukowskis
Hôtel des Ventes Genève MILITARIA Skinner Ritchies Camard & Associés
iGavel Auctions Sloans & Kenyon Schuler Auktionen Cambi Casa d’Aste
Il Ponte Casa d’Aste Ader Stockholms Auktionsverk Seoul Auction Capitolium Art
J.A. Stargardt Aguttes Tajan Shinwa Art Auction Castells
James Adam & Sons Artcurial Whyte’s Skinner Charlton Hall Auctions
Jean Elsen & ses Fils Audap & Mirabaud Woolley & Wallis Sotheby’s Chayette & Cheval
Jeschke van Vliet Auktionshaus Michael Stockholms Auktionsverk China Guardian Auctions
Kabinet Auktion Zeller WINE & SPIRITS Sworders Christie’s
Kahn-Dumousset Beaussant Lefèvre Tajan Christophe Joron-Derem
Kaminski Auctions Blomqvist Acker Merrall & Condit Thierry de Maigret Clars Auction Gallery
Kedem Auction House Boisgirard–Antonini Ader Waddington’s Cornette de Saint Cyr
Kestenbaum & Company Bonhams Aguttes Xiling Yinshe Auction Co. Cowan’s Auctions
Ketterer Kunst Bruun Rasmussen Artam Antik A.S. Zachys Wine Auctions Dallas Auction Gallery
Koller Auktionen Auctioneers Artcurial Delorme & Collin du
Leclère–Maison de Ventes Christie’s Arts & Antiques Group JEWELRY & Bocage
Leonard Joel Cowan’s Auctions (AAG) WATCHES Dobiaschofsky
Leslie Hindman Delorme & Collin du Auctionata Dorotheum
Auctioneers Bocage Audap & Mirabaud Abell Auction Company Doyle
174 Louiza Auktion Dom Aukcyjny Ostoya Blomqvist Ader Dreweatts & Bloomsbury
Lyon & Turnbull Dorotheum Boisgirard–Antonini Aguttes Auctions
Millon DuMouchelles Fine Arts Bonhams AlBahie DuMouchelles Fine Arts
Morton Subastas Auctioneers & Estate Bruun Rasmussen Ansorena Auctioneers & Estate
New Orleans Auction Appraisers Auctioneers Antiquorum Appraisers
Galleries Eric Pillon Enchères Christie’s Art Europe Auctions Duo Yun Xuan Auctions
Osian’s Ewbank’s Cornette de Saint Cyr Artam Antik A.S. Durán Arte y Subastas
Piasa Fischer Delorme & Collin du Artcurial Egozi Gallery
Pierre Bergé & Associés Fraysse et Associés Bocage Arts & Antiques Group Eldred’s Auction Gallery
Poly International Auction Freeman’s Auctioneers & Dreweatts & Bloomsbury (AAG) Eric Pillon Enchères
Profiles in History Appraisers Auctions Aspire Auctions Est-Ouest Auctions
RoGallery.com Galartis Est-Ouest Auctions Aste Boetto Ewbank’s
Rossini Gaston & Sheehan Fraysse et Associés Auctionata Fine Art Auctions Miami
Shapiro Auctions Auctioneers Galartis Audap & Mirabaud (FAAM)
Skinner Gelos Auction House Gelos Auction House Auktionshaus Michael Fischer
Sloans & Kenyon Gorny & Mosch Hart Davis Hart Wine Co. Zeller Fraysse et Associés
Sotheby’s Heritage Auctions Heritage Auctions Beaussant Lefèvre Freeman’s Auctioneers &
Stephan Welz & Co. Hermann Historica Hôtel de Ventes Horta Beijing Council Appraisers
Stockholms Auktionsverk Hôtel des Ventes Genève Hôtel des Ventes Genève International Galartis
Stuker Jackson’s Auctions Kahn-Dumousset Auction Gaston & Sheehan
Swann Auction Galleries James D. Julia, Inc. Kaminski Auctions Bid & Hammer Fine Art Auctioneers
Sworders Lewis & Maese Koller Auktionen Auctioneers Gelos Auction House
Tajan Lyon & Turnbull Leclère–Maison de Ventes Blanchet et Associés Grogan & Company
Uppsala Auktionskammare Millon Marc-Arthur Kohn Blindarte Gros & Delettrez
Veritas Piasa Millon Blomqvist Guernsey’s Auctions
Versailles Enchères Perrin- Pook & Pook Auctioneers Morton Subastas Boisgirard–Antonini Hagelstam & Co.
Royère-Lajeunesse Inc. Mossgreen-Webb’s Bonhams Hampel Fine Art Auctions
Vincent Wapler Rago Arts and Auction Osenat Brunk Auctions Heritage Auctions

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Hôtel de Ventes Horta Ravenel International Art Auctionata MONEY & STAMPS Inc.
Hôtel de Ventes Group Audap & Mirabaud Rago Arts and Auction
Vanderkindere Ritchies Beaussant Lefèvre Ader Center
Hôtel des Ventes Genève RoGallery.com Beijing Council Aguttes RoGallery.com
I.M. Chait Gallery Ross’s Auctioneers & International Beaussant Lefèvre Skinner
iArt Auction Valuers Auction Beijing ChengXuan Sotheby’s
iGavel Auctions Rossini Blomqvist Auctions Susanin’s
Il Ponte Casa d’Aste Ruef Kunstauktionen Bruun Rasmussen Bonhams
Sworders
Jackson’s Auctions Saffronart Auctioneers Bruun Rasmussen
Veritas
James Adam & Sons Salcedo Auctions Bukowskis Auctioneers
Waddington’s
James D. Julia, Inc. Schuler Auktionen Camard & Associés Campo & Campo
John Moran Auctioneers, Seoul Auction Campo & Campo Chayette & Cheval China Weschler’s
Inc. Shapiro Auctioneers China Guardian Auctions Guardian Auctions Whyte’s
Kahn-Dumousset Shinwa Art Auction Christie’s Delorme & Collin du Woolley & Wallis
Kaminski Auctions Skinner Cornette de Saint Cyr Bocage Xiling Yinshe Auction Co.
Keno Auctions Sloans & Kenyon Dallas Auction Gallery Dom Aukcyjny Ostoya
Koller Auktionen Sotheby’s Delorme & Collin du Dorotheum CARS &
Leclère–Maison de Ventes Sotheby’s Australia Bocage Doyle MOTORCYCLES
Leonard Joel Stephan Welz & Co. Dorotheum Dreweatts & Bloomsbury
Leslie Hindman Stockholms Auktionsverk Durán Arte y Subastas Auctions Abell Auction Company
Auctioneers Strauss & Co. Eldred’s Auction Gallery DuMouchelles Fine Arts Aguttes
Louiza Auktion Stuker Eric Pillon Enchères Auctioneers & Estate 175
Artam Antik A.S.
Lyon & Turnbull Subastas Segre Galartis Appraisers
Artcurial
Mainichi Auction Susanin’s Gros & Delettrez Egozi Gallery
Bonhams
Marc-Arthur Kohn Sworders Guernsey’s Auctions Eric Pillon Enchères
Chayette & Cheval
McKenzies Tajan Heritage Auctions Fraysse et Associés
Meeting Art Hôtel des Ventes Genève Clars Auction Gallery
Thierry de Maigret Gaston & Sheehan
Michaan’s Auctions Tiancheng International iGavel Auctions Auctioneers Coys
Millon Tiroche Auction House Il Ponte Casa d’Aste Gorny & Mosch Dorotheum
Morton Subastas Uppsala Auktionskammare Kaminski Auctions Heritage Auctions Fischer
Mossgreen Van Ham Koller Auktionen Hosane Gaston & Sheehan
Mossgreen-Webb’s Veritas Leclère–Maison de Ventes Hôtel de Ventes Horta Auctioneers
Neumeister Versailles Enchères Perrin- Leonard Joel iGavel Auctions Gooding & Company
New Orleans Auction Royère-Lajeunesse Leslie Hindman Auctioneers Il Ponte Casa d’Aste Hermann Historica
Galleries Vincent Wapler Millon Jackson’s Auctions iGavel Auctions
Nişantaşı Müzayede Waddington’s Mossgreen Jean Elsen & ses Fils Kaminski Auctions
Osenat Wannenes Mossgreen-Webb’s Kaminski Auctions Leclère–Maison de Ventes
Paddle8 Weschler’s New Orleans Auction Kedem Auction House Mecum Auctions
Phillips Woolley & Wallis Galleries Leclère–Maison de Ventes
Mossgreen
Piasa Xiling Yinshe Auction Co. Osenat Leonard Joel
Mossgreen-Webb’s
Pierre Bergé & Associés Profiles in History Lyon & Turnbull
Osenat
Poly International Auction FASHION & Ravenel International Art Michaan’s Auctions
Pook & Pook Auctioneers Group Millon RM Sotheby’s
ACCESSORIES
Inc. Sloans & Kenyon Mossgreen Skinner
Porro & Co. Art Consulting Abell Auction Company Stephan Welz & Co. Mossgreen-Webb’s Sotheby’s
Quittenbaum Aguttes Stockholms Auktionsverk Nomos AG Stephan Welz & Co.
Rago Arts and Auction Artcurial Susanin’s Poly International Auction Veritas
Center Aspire Auctions Sworders Pook & Pook Auctioneers Worldwide Auctioneers

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 TOPAUCTIONHOUSES

AUCTION HOUSES
BY COUNTRY
AFRICA & THE McKenzies JAPAN EUROPE Audap & Mirabaud
MIDDLE EAST Menzies Fine Art Beaussant Lefèvre
Auctioneers Augur Auction AUSTRIA Binoche et Giquello
ARMENIA & Valuers Est-Ouest Auctions Blanchet et Associés
Mossgreen iArt Auction Dorotheum Boisgirard–Antonini
Abraham Anna Auction Shapiro Auctioneers Mainichi Auction Im Kinsky Camard & Associés
Sotheby’s Australia Mallet Japan Kunstauktionen Chayette & Cheval
ISRAEL SBI Art Auction Hassfurther Christophe Joron-Derem
CHINA Shinwa Art Auction Cornette de Saint Cyr
Egozi Gallery BELGIUM Delorme & Collin du
Kedem Auction House Beijing ChengXuan NEW ZEALAND Bocage
Matsart Auctioneers & Auctions Bernaerts Eric Pillon Enchères
176 Appraisers Beijing Council Art+Object Brussels Art Auctions Fraysse et Associés
Tiroche Auction House International International Art Campo & Campo Gros & Delettrez
Auction Centre Hôtel de Ventes Horta Kahn-Dumousset
NIGERIA Beijing Hanhai Auction Mossgreen-Webb’s Hôtel de Ventes Leclère–Maison de
Beijing JiuGe Vanderkindere Ventes
Arthouse Contemporary International PHILIPPINES Jean Elsen & ses Fils Marc Labarbe
Auction Louiza Auktion Marc-Arthur Kohn
QATAR China Guardian León Gallery De Vuyst Millon
Auctions Salcedo Auctions Osenat
AlBahie Duo Yun Xuan Auctions CZECH REPUBLIC Piasa
Hosane TAIWAN Pierre Bergé & Associés
SOUTH AFRICA Macau Chung Shun Galerie Arcimboldo Rossini
International Auctions Kingsley Art Auction Vltavín Auction Hall Tajan
Stephan Welz & Co. Poly International Ravenel International Thierry de Maigret
Strauss & Co. Auction Art Group DENMARK Versailles Enchères
Rongbaozhai (Shanghai) Zhong Cheng Auction Perrin-
TURKEY Auction Bruun Rasmussen Royère-Lajeunesse
Sungari International SINGAPORE Auctioneers Vincent Wapler
Artam Antik A.S. Tiancheng International
Bali Müzayede Xiling Yinshe Auction Co. 33 Auction FINLAND GERMANY
Beyaz Müzayede Borobudur Fine Art
Nişantaşı Müzayede INDIA Auction Hagelstam & Co. Auctionata
Larasati Auctioneers Auktionshaus Herr/
ASIA & THE PACIFIC Bid & Hammer Fine Art FRANCE Lauritz.com
Auctioneers SOUTH KOREA Auktionshaus Michael
AUSTRALIA Osian’s Ader Zeller
Deutscher and Hackett Pundole’s K Auction Aguttes Galerie Bassenge
Leonard Joel Saffronart Seoul Auction Artcurial Gorny & Mosch

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 Grisebach POLAND Dreweatts & Bloomsbury UNITED STATES Kestenbaum &
Hampel Fine Art Auctions Auctions Company
Hartung & Hartung Dom Aukcyjny Ostoya Ewbank’s Abell Auction Lark Mason
Hermann Historica Lyon & Turnbull Company Associates
J.A. Stargardt PORTUGAL MacDougall’s Fine Art Acker Merrall & Leslie Hindman
Jeschke van Vliet Auctions Condit
Auctioneers
Karl & Faber Veritas Phillips Altermann Galleries
Lewis & Maese
Ketterer Kunst Ross’s Auctioneers & & Auctioneers
Lempertz RUSSIA Valuers Aspire Auctions Los Angeles Modern
Nagel Auktionen Sworders Brunk Auctions Auctions
Neumeister Gelos Auction House Woolley & Wallis Charlton Hall Mecum Auctions
Quittenbaum Kabinet Auktion Auctions Michaan’s Auctions
Rippon Boswell & Co. Vladey LATIN AMERICA Clars Auction Neal Auction
Ruef Kunstauktionen Gallery Company
Schloss Ahlden SPAIN ARGENTINA Coeur d’Alene Art New Orleans Auction
Van Ham Auction Galleries
Ansorena Galería Arroyo Cowan’s Auctions Northeast Auctions
IRELAND Durán Arte y Subastas Dallas Auction
Paddle8
Subastas Segre BRAZIL Gallery
Pook & Pook
De Veres Art Auctions Doyle
James Adam & Sons SWEDEN Bolsa de Arte DuMouchelles Fine Auctioneers Inc.
Profiles in History 177
Mealy’s James Lisboa Arts Auctioneers &
Morgan O’Driscoll Bukowskis Soraia Cals Escritório de Estate Appraisers Rago Arts and
Whyte’s Stockholms Auktionsverk Arte Eldred’s Auction Auction Center
Uppsala Gallery RoGallery.com
ITALY Auktionskammare MEXICO Fine Art Auctions Santa Fe Art Auction
Miami Scottsdale Art
Aste Boetto SWITZERLAND Morton Subastas Freeman’s Auction
Blindarte Auctioneers Shannon’s Fine Art
Cambi Casa d’Aste Antiquorum URUGUAY & Appraisers
Auctioneers
Capitolium Art Beurret & Bailly Gaston & Sheehan
Shapiro Auctions
Farsettiarte Auktionen Castells Auctioneers
Finarte Dobiaschofsky Gooding & Company Simpson Galleries
Il Ponte Casa d’Aste Fischer VENEZUELA Grogan & Company Skinner
Meeting Art Galartis Guernsey’s Auctions Sloans & Kenyon
Porro & Co. Art Consulting Galerie Kornfeld Odalys Hart Davis Hart Slotin Folk Art
Wannenes Galerie Widmer Wine Co. Sotheby’s
Germann Auktionshaus NORTH AMERICA Heritage Auctions Susanin’s
NETHERLANDS Hôtel des Ventes Genève I.M. Chait Gallery Swann Auction
Koller Auktionen CANADA iGavel Auctions Galleries
Art Europe Auctions Nomos AG Jackson Hole Art Treadway Toomey
Arts & Antiques Group Schuler Auktionen Heffel Auction
Auctions
(AAG) Stuker Levis Fine Art Auctions Jackson’s Auctions
Weschler’s
& Appraisals James D. Julia, Inc.
NORWAY UNITED KINGDOM Ritchies John Moran Worldwide
RM Sotheby’s Auctioneers, Inc. Auctioneers
Blomqvist Bonhams Waddington’s Julien’s Auctions Wright
Grev Wedels Plass Christie’s Walker’s Fine Art Kaminski Auctions Zachys Wine
Auksjoner Coys & Estate Auctioneers Keno Auctions Auctions

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 TOPAUCTIONHOUSES

TOP AUCTION
HOUSES
Each issue, we present a guide to some of the best auction houses around the globe

# ADER ANSORENA Talimyeri Sok. No. 2 aspireauctions.com

France Spain Maçka Istanbul [email protected]
33 AUCTION 3 rue Favart Calle de Alcalá, 52 artamonline.com +1 216 231 5515
Singapore 75002 Paris 28014 Madrid [email protected]
27A Loewen Road ader-paris.fr ansorena.com +90 212 236 2460 ASTE BOETTO
Singapore 248839 [email protected] [email protected] Italy
33auction.com +33 1 53 40 77 10 +34 91 521 52 78 ARTCURIAL Mura dello Zerbino 10R
[email protected] France 16122 Genoa
+65 67 47 4555 AGUTTES ANTIQUORUM 7 Rond-Point des asteboetto.it
France Switzerland Champs-Elysées [email protected]
A 164 bis Avenue Charles 3 rue du Mont-Blanc 75008 Paris +39 494 44 52 53
de Gaulle 1201 Geneva artcurial.com
178
ABELL AUCTION 92200 Neuilly-sur-Seine antiquorum.com [email protected] AUCTIONATA
COMPANY aguttes.com [email protected] +33 1 42 99 20 20 Germany
United States [email protected] +41 22 909 28 50 Salesrooms: Paris; Monaco Franklinstrasse 13 D
2613 Yates Avenue +33 1 47 45 55 55 Salesrooms: 10587 Berlin
Los Angeles, CA 90040 Salesrooms: Geneva; New York; ARTHOUSE auctionata.com
abell.com Neuilly-sur-Seine; Lyon; Hong Kong CONTEMPORARY [email protected]
+1 323 724 8102 Paris; Deauville Nigeria +49 30 98 32 02 22
ART EUROPE AUCTIONS 26/New 36 Cameron Road
ABRAHAM ANNA ALBAHIE Netherlands Ikoyi AUDAP & MIRABAUD
AUCTION Qatar KNSM-Laan 121 Lagos 101233 France
Armenia Katara Cultural Village 1019 LB Amsterdam arthouse-ng.com 174 rue du Faubourg
Abovyan 16 Building 22C arteuropeauctions.com [email protected] Saint-Honoré
0001 Yerevan Doha info@arteuropeauctions. +234 1 774 0909 75008 Paris
aaauction.am albahie.com com audap-mirabaud.com
[email protected] [email protected] +31 085 876 99 77 ARTS & ANTIQUES GROUP contact@audap-
+374 60 52 72 99 +974 4408 0534 (AAG) mirabaud.com
ART+OBJECT Netherlands +33 1 53 30 90 30
ACKER MERRALL & ALTERMANN GALLERIES & New Zealand Lekstraat 63
CONDIT AUCTIONEERS 3 Abbey Street 1079 EM Amsterdam AUGUR AUCTION
United States United States Newton veilinghuisaag.com Japan
709 Executive Boulevard 345 Camino Del Monte Sol Auckland 1145 [email protected] 1-28-6 Shoto
Suites D & E Santa Fe, NM 87501 artandobject.co.nz +31 20 301 29 50 Shibuya-ku, Tokyo
Valley Cottage, NY 10989 altermann.com [email protected] 150-0046
ackerwines.com [email protected] +64 9 354 4646 ASPIRE AUCTIONS augur.jp
[email protected] +1 505 983 1590 United States [email protected]
+1 845 268 6370 Salesrooms: ARTAM ANTIK A.S. 2310 Superior Avenue +81 03 5428 2258
Salesrooms: Santa Fe; Scottsdale, Turkey #125
New York; Hong Kong Arizona Süleyman Seba Caddesi Cleveland, OH 44114

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 AUKTIONSHAUS HERR/ BEIJING COUNCIL [email protected] BLOMQVIST borobudur@
LAURITZ.COM INTERNATIONAL AUCTION +41 61 312 32 00 Norway singnet.com.sg
Germany China Tordenskiolds Gate 5 +65 67 45 6066
Kölner Strasse 60 23/F, Tower 1A BEYAZ MUZAYEDE 0160 Oslo
50859 Cologne Wangjing SOHO Turkey blomqvist.no BRUNK AUCTIONS
herr-auktionen.de No. 1 Futong East Avenue Teşvikiye Mahallesi [email protected] United States
[email protected] Chaoyang District Rumeli Caddesi No. 3 +47 22 70 87 70 117 Tunnel Road
+49 221 25 45 48 100102 Beijing 34371 Sişli/Istanbul Asheville, NC 28805
council.com.cn beyazart.com BOISGIRARD–ANTONINI brunkauctions.com
AUKTIONSHAUS [email protected] [email protected] France [email protected]
MICHAEL ZELLER +86 10 8440 0975 +90 212 290 7050 1 rue de la Grange Batelière +1 828 254 6846
Germany 75009 Paris
Bindergasse 7 BEIJING HANHAI BID & HAMMER paris.boisgirard- BRUSSELS
88131 Lindau AUCTION FINE ART antonini.com ART AUCTIONS
zeller.de China AUCTIONEERS boisgirard@club- Belgium
[email protected] 80 Liulichang East Street India internet.fr 7 & 9 Rue Ernest
+49 83 829 30 20 Xicheng 11, Whitefield Main Road +33 1 47 70 81 36 Allardstraat
Xuanwu District Bangalore 560 066 Salesrooms: 1000 Brussels
B 100050 Beijing bidandhammer.com Paris; Nice ba-auctions.com
hanhai.net [email protected] [email protected]
BALI MUZAYEDE [email protected] +91 80 3202 9681 BOLSA DE ARTE +32 2 511 53 24
Turkey +86 10 6318 2926 Salesrooms: Brazil
Süleyman Seba Caddesi Bangalore; New Delhi Rua Prudente BRUUN RASMUSSEN
179
Ciçek Apt. No:93/A BEIJING JIUGE de Moraes, 326 AUCTIONEERS
Maçka Istanbul INTERNATIONAL AUCTION BINOCHE ET GIQUELLO Ipanema Denmark
balimuzayede.com China France Rio de Janeiro-RJ Bredgade 33
+90 212 258 6162 28/F, Jian Wai SOHO 5 rue La Boéti bolsadearte.com 1260 Copenhagen K
No. 39 East San Huan 75008 Paris [email protected] bruun-rasmussen.dk
BEAUSSANT LEFEVRE Zhong Lu binocheetgiquello.com +55 21 2522 1544 info@ bruun-rasmussen.
France Chaoyang District [email protected] Salesrooms: dk
32 rue Drouot 100022 Beijing +33 1 47 42 78 01 Rio de Janeiro; São Paulo +45 88 18 11 11
75009 Paris jgauc.com
beaussant-lefevre.com [email protected] BLANCHET BONHAMS BUKOWSKIS
contact@beaussant- +86 10 5869 2808 ET ASSOCIES United Kingdom Sweden
lefevre.com Salesrooms: France 101 New Bond Street Västberga Allé 3
+33 1 47 70 40 00 Beijing; Shanghai 2 Boulevard Montmartre London W1S 1SR Hägersten
75009 Paris bonhams.com 126 30 Stockholm
BEIJING CHENGXUAN BERNAERTS blanchet-associes.com [email protected] bukowskis.com
AUCTIONS Belgium blanchet.auction@ +44 20 7447 7447 [email protected]
China Verlatstraat 16-22 wanadoo.fr Salesrooms: +46 8 614 08 00
26/F, Tower C 2000 Antwerp +33 1 53 34 14 44 London; New York; Los Salesrooms:
Central International Trade bernaerts.be Angeles; San Francisco; Stockholm; Helsinki
Center [email protected] BLINDARTE Hong Kong; Paris; Sydney
No. 6A Jianguomen Wai +32 3 248 19 21 Italy C
Avenue Via Caio Duilio 4d BOROBUDUR FINE ART
Chaoyang District BEURRET & BAILLY 80125 Naples AUCTION CAMARD & ASSOCIES
100022 Beijing AUKTIONEN blindarte.com Singapore France
ichengxuan.com Switzerland [email protected] 60 Ubi Crescent, #01-02 11 rue de Solférino
[email protected] Schwarzwaldallee 171 +39 81 239 52 61 Ubi Techpark 75007 Paris
+86 10 5887 0808 4058 Basel Salesrooms: Singapore 408569 camardetassocies.com
beurret-bailly.com Naples; Milan borobudurauction.com infoventes@camardet

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associes.com 33 rue du Faubourg COEUR D’ALENE DE VERES aukcjeostoya.pl

+33 1 42 46 35 74 Montmartre ART AUCTION ART AUCTIONS [email protected]
75009 Paris United States Ireland +48 22 839 24 06
CAMBI chayette-cheval.com 8836 North Hess Street 35 Kildare Street
CASA D’ASTE svv.chayettecheval@ Suite B Dublin 2 DOROTHEUM
Italy wanadoo.fr Hayden, ID 83835 deveres.ie Austria
Castello Mackenzie +33 1 47 70 56 26 cdaartauction.com [email protected] Dorotheergasse 17
Mura di San Bartolomeo 16 [email protected] +353 1 676 8300 1010 Vienna
16122 Milan CHINA GUARDIAN +1 208 772 9009 dorotheum.com
cambiaste.com AUCTIONS DE VUYST kundendienst@
[email protected] China CORNETTE DE Belgium dorotheum.at
+39 10 839 50 29 2-603 Henderson Center SAINT CYR Kerkstraat 22-54 +43 1 51 56 00
Salesrooms: 18 Jianguomennei Street France 9160 Lokeren
Genoa; Milan 100005 Beijing 6 Avenue Hoche de-vuyst.com DOYLE
cguardian.com 75008 Paris [email protected] United States
CAMPO & CAMPO [email protected] cornettedesaintcyr.fr +32 9 348 54 40 175 East 87th Street
Belgium +86 10 6518 2315 info@cornette- New York, NY 10128
Grote Steenweg 19 saintcyr.com DELORME & COLLIN doyle.com
2600 Antwerp CHRISTIE’S +33 1 47 27 11 24 DU BOCAGE [email protected]
campocampo.be United Kingdom France +1 212 427 2730
+32 3 218 47 77 8 King Street COWAN’S AUCTIONS 17 rue de Provence Salesrooms:
St. James’s United States 75009 Paris New York; Beverly Hills
CAPITOLIUM ART London SW1Y 6QT 6270 Este Avenue collindubocage.com
180 Italy christies.com Cincinnati, OH 45232 [email protected] DREWEATTS &
Via Carlo Cattaneo 55 [email protected] cowanauctions.com +33 1 58 18 39 05 BLOOMSBURY AUCTIONS
25121 Brescia +44 20 7839 9060 [email protected] United Kingdom
capitoliumart.it Salesrooms: +1 513 871 1670 DEUTSCHER AND Bloomsbury House
[email protected] London; New York; Salesrooms: HACKETT 24 Maddox Street
+39 30 207 22 56 Paris; Geneva; Milan; Cincinnati; Cleveland Australia London W1S 1PP
Amsterdam; Dubai; Zurich; 105 Commercial Road dreweatts.com
CASTELLS Hong Kong; Shanghai; COYS South Yarra VIC 3141 info@bloomsbury
Uruguay Mumbai United Kingdom +61 3 9865 6333 auctions.com
Galicia 1069 Manor Court, 237-241 55 Oxford Street +44 20 7495 9494
CP 11100 CHRISTOPHE Lower Mortlake Road Surry Hills NSW 2010 Salesrooms:
Montevideo JORON-DEREM Richmond upon Thames +61 2 9287 0600 London; Newbury
castells.com.uy France TW9 2LL deutscherandhackett.com
[email protected] 46 rue Sainte-Anne coys.co.uk info@deutscherand DUMOUCHELLES
+598 2900 7300 75002 Paris +44 208 614 7888 hackett.com FINE ARTS AUCTIONEERS
joron-derem.com & ESTATE APPRAISERS
CHARLTON HALL [email protected] D DOBIASCHOFSKY United States
AUCTIONS +33 1 40 20 02 82 Switzerland 409 East Jefferson Avenue
United States DALLAS AUCTION 30/32 Monbijoustrasse Detroit, MI 48226
7 Lexington Drive CLARS AUCTION GALLERY GALLERY 3011 Bern dumouchelle.com
West Columbia, SC 29170 United States United States dobiaschofsky.com admin@
charltonhallauctions.com 5644 Telegraph Avenue 2235 Monitor Street [email protected] dumouchelles.com
info@charltonhall Oakland, CA 94609 Dallas, TX 75207 +41 31 560 10 60 +1 313 963 6255
auctions.com clars.com dallasauctiongallery.com
+1 803 779 5678 [email protected] info@dallasauction DOM AUKCYJNY OSTOYA DUO YUN XUAN
+1 510 428 0100 gallery.com Poland AUCTIONS
CHAYETTE & CHEVAL +1 214 653 3900 Freta 25 China
France 00-227 Warsaw 3/F, Building No. 1

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 593 West Yan’an Road +81 3 5791 3131 FRAYSSE ET ASSOCIES [email protected] GOODING &
200050 Shanghai Salesrooms: France +49 30 893 80 29 0 COMPANY
www.duoyunxuan.com Tokyo; Hong Kong 16 rue de la Banque United States
[email protected] 75002 Paris GALERIE KORNFELD 1517 20th Street
+86 21 6122 9066 EWBANK’S fraysse.net Switzerland Santa Monica, CA 90404
United Kingdom [email protected] Laupenstrasse 41 goodingco.com
DURAN ARTE Y Burnt Common +33 1 53 45 92 10 3008 Bern [email protected]
SUBASTAS Auction Rooms kornfeld.ch +1 310 899 1960
Spain London Road FREEMAN’S AUCTIONEERS [email protected]
Calle de Goya, 19 Woking, Surrey GU23 7LN & APPRAISERS +41 31 381 46 73 GORNY &
28001 Madrid ewbankauctions.co.uk United States MOSCH
duran-subastas.com antiques@ewbank 1808 Chestnut Street GALERIE WIDMER Germany
duran@duran- auctions.co.uk Philadelphia, PA 19103 Switzerland Maximiliansplatz 20
subastas.com +44 14 8322 3101 freemansauction.com Unterstrasse 11 80333 Munich
+34 91 577 60 91 info@freemans 9001 St. Gallen gmcoinart.de
F auction.com galeriewidmer.com [email protected]
E +1 215 563 9275 [email protected] +49 89 24 22 64 30
FARSETTIARTE +41 71 227 68 68
EGOZI GALLERY Italy G Salesrooms: GREV WEDELS PLASS
Israel Viale della Repubblica St. Gallen; Zurich AUKSJONER
Weizmann Street 4 59100 Prato GALARTIS Norway
Tel Aviv farsettiarte.it Switzerland GASTON & SHEEHAN Gamle Logen
egozigallery.com [email protected] Bois-Genoud 1 AUCTIONEERS Grev Wedels Plass 2
[email protected] +39 574 57 24 00 1023 Crissier/Lausanne United States 0151 Oslo 181
+972 3 527 7282 galartis.ch 1420 Highway 685 gwpa.no
FINARTE [email protected] Pflugerville, TX 78660 [email protected]
ELDRED’S AUCTION Italy +41 21 695 25 25 txauction.com +47 22 86 21 86
GALLERY Via Brera 8 [email protected]
United States 20121 Milan GALERIA ARROYO +1 512 251 3002 GRISEBACH
1483 Route 6A finarte.it Argentina Germany
East Dennis, MA 02641 [email protected] Arroyo 830 GELOS Fasanenstrasse 25
eldreds.com +39 02 36 56 91 00 1007 Buenos Aires AUCTION HOUSE 10719 Berlin
[email protected] galarroyo.com Russia grisebach.com
+1 508 385 3116 FINE ART AUCTIONS [email protected] 1st Botkinsky Proezd 2/6 auktionen@
MIAMI +54 11 4325 0947 125284 Moscow grisebach.com
ERIC PILLON ENCHERES United States gelos.ru +49 30 885 91 50
France 4141 NE 2nd Avenue GALERIE [email protected]
13 Avenue de Saint-Cloud Suite 106A ARCIMBOLDO +7 495 945 44 10 GROGAN
78000 Versailles Miami, FL 33137 Czech Republic Salesrooms: Moscow; & COMPANY
pillon.auction.fr faamiami.com Malostranské St. Petersburg; Kiev United States
pillon-encheres@ [email protected] náměstí 37/23 20 Charles Street
wanadoo.fr +1 305 573 4228 110 00 Prague 1 GERMANN Boston, MA 02114
+33 1 39 02 40 40 arcimboldo.cz AUKTIONSHAUS groganco.com
FISCHER [email protected] Switzerland [email protected]
EST-OUEST AUCTIONS Switzerland +420 603 811 873 Stockerstrasse 38 +1 617 720 2020
Japan Haldenstrasse 19 8002 Zurich
2-5-15 Higashigotanda 6006 Lucerne GALERIE BASSENGE germannauktionen.ch GROS & DELETTREZ
Shinagawa-ku, Tokyo fischerauktionen.ch Germany art@germann France
141-0022 [email protected] Erdener Strasse 5A auktionen.ch 22 rue Drouot
est-ouest.co.jp +41 41 418 10 10 14193 Berlin +41 44 251 83 58 75009 Paris
[email protected] bassenge.com gros-delettrez.com

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contact@gros- HEFFEL HOTEL DE VENTES Via Pontaccio 12 info@jacksons

delettrez.com Canada VANDERKINDERE 20121 Milan auction.com
+33 1 47 70 83 04 2247 Granville Street Belgium ponteonline.com +1 319 277 2256
Vancouver, British Chaussée d’Alsemberg [email protected]
GUERNSEY’S Columbia V6H 3G1 685-687 +39 02 86 31 41 JAMES ADAM & SONS
AUCTIONS heffel.com 1180 Brussels Ireland
United States [email protected] vanderkindere.com IM KINSKY 26 Saint Stephen’s Green
65 East 93rd Street +1 604 732 6505 [email protected] Austria Dublin 2
New York, NY 10128 Salesrooms: +32 2 344 54 46 Palais Kinsky Freyung 4 adams.ie
guernseys.com Vancouver; Toronto; 1010 Vienna [email protected]
[email protected] Montreal HOTEL DES VENTES imkinsky.com +353 1 676 0261
+1 212 794 2280 GENEVE [email protected]
HERITAGE AUCTIONS Switzerland +43 1 532 42 00 JAMES D. JULIA, INC.
H United States Rue Prévost-Martin 51 United States
3500 Maple Avenue 1205 Geneva INTERNATIONAL ART 203 Skowhegan Road
HAGELSTAM & CO. 17th Floor hoteldesventes.ch CENTRE Fairfield, ME 04937
Finland Dallas, TX 75219 [email protected] New Zealand jamesdjulia.com
Tehtaankatu 36 ha.com +41 22 320 11 77 202 Parnell Road [email protected]
00150 Helsinki [email protected] Auckland 1052 +1 207 453 7125
hagelstam.fi +1 877 437 4824 I international
[email protected] Salesrooms: artcentre.co.nz JAMES LISBOA
+358 9 6877 990 Dallas; Beverly Hills; I.M. CHAIT GALLERY info@international Brazil
New York; San Francisco United States artcentre.co.nz Rua Dr. Melo Alves, 397
182 HAMPEL FINE ART 9330 Civic Center Drive +64 9 379 4010 Cerqueira Cesar
AUCTIONS HERMANN Beverly Hills, CA 90210 São Paulo-SP
Germany HISTORICA chait.com J leilaodearte.com
Schellingstrasse 44 Germany [email protected] [email protected]
80799 Munich Linprunstrasse 16 +1 310 285 0182 J.A. STARGARDT +55 11 3061 3155
hampel-auctions.com 80335 Munich Germany
office@hampel- hermann-historica.de IART AUCTION Xantener Strasse 6 JEAN ELSEN & SES FILS
auctions.com contact@hermann- Japan 10707 Berlin Belgium
+49 89 28 80 40 historica.com 5-14-10, 3F Shinbashi stargardt.de Avenue de Tervueren 65
+49 89 54 72 64 90 Minato-ku, Tokyo [email protected] 1040 Brussels
HART DAVIS HART 105-0004 +49 30 882 25 42 elsen.eu
WINE CO. HOSANE ise-art.co.jp [email protected]
United States China [email protected] JACKSON HOLE +32 2 734 63 56
1511 West 38th Street 6/F, No. 34 East +81 3 6402 5333 ART AUCTION
Chicago, IL 60609 Yan’an Road United States JESCHKE VAN VLIET
hdhwine.com 200002 Shanghai IGAVEL AUCTIONS 130 East Broadway Germany
+1 312 482 9996 hosane.com United States Jackson, WY 83001 Lehrter Strasse 57
[email protected] 887 Cross Street jacksonholeart 10557 Berlin
HARTUNG +86 21 2328 6888 New Braunfels, TX 78130 auction.com jvv-berlin.de
& HARTUNG igavelauctions.com coordinator@jacksonhole [email protected]
Germany HOTEL DE VENTES HORTA office@igavel artauction.com +49 30 22 66 77 00
Karolinenplatz 5a Belgium auctions.com +1 866 549 9278
80333 Munich Avenue de Roodebeek +1 212 289 5588 JOHN MORAN
hartung-hartung.de 70/74 JACKSON’S AUCTIONEERS, INC.
auctions@hartung- 1030 Brussels IL PONTE United States United States
hartung.com horta.be CASA D’ASTE 2229 Lincoln Street 145 East Walnut Avenue
+49 89 28 40 34 [email protected] Italy Cedar Falls, IA 50613 Monrovia, CA 91016
+32 2 741 60 60 Palazzo Crivelli jacksonsauction.com johnmoran.com

ART+AUCTION NOVEMBER 2017 | BLOUINARTINFO.COM

 [email protected] KARL & FABER KOLLER AUKTIONEN leclere-mdv.com LEVIS FINE ART AUCTIONS
+1 626 793 1833 Germany Switzerland [email protected] & APPRAISALS
Amiraplatz 3 Hardturmstrasse 102 +33 4 91 50 00 00 Canada
JULIEN’S AUCTIONS 80333 Munich 8031 Zurich Salesrooms: 1739 10 Avenue SW
United States karlundfaber.de kollerauktionen.ch Marseille; Paris Calgary, Alberta T3C 0K1
741 North La Cienega [email protected] office@koller levisauctions.com
Boulevard +49 89 22 18 65 auctions.com LEMPERTZ [email protected]
Los Angeles, CA 90069 +41 44 445 63 63 Germany +1 403 541 9099
juliensauctions.com KEDEM AUCTION HOUSE Salesrooms: Neumarkt 3
[email protected] Israel Zurich; Geneva 50667 Cologne LEWIS & MAESE
+1 310 836 1818 58 King George Street lempertz.com United States
Jerusalem 9426223 KUNSTAUKTIONEN [email protected] 1505 Sawyer Street
K kedem-auctions.com HASSFURTHER +49 221 925 72 90 Houston, TX 77007
[email protected] Austria Salesrooms: lmauctionco.com
K AUCTION +972 77 514 0223 Hohenstaufengasse 7 Cologne; Berlin; [email protected]
South Korea 1013 Vienna Brussels +1 713 869 1335
Art Tower 23 KENO AUCTIONS hassfurther.at
Eonju-ro 172-gil United States [email protected] LEON GALLERY LOS ANGELES MODERN
Gangnam-gu 127 East 69th Street +43 1 533 41 74 Philippines AUCTIONS
Seoul New York, NY 10021 G/F Eurovilla 1 United States
k-auction.com kenoauctions.com L Rufino Corner 16145 Hart Street
[email protected] [email protected] Legazpi Street Van Nuys, CA 91406
+82 2 3479 8888 +1 212 734 2381 LARASATI Legazpi Village lamodern.com
AUCTIONEERS Makati City +1 323 904 1950
183
KABINET AUKTION KESTENBAUM & COMPANY Singapore leon-gallery.com
Russia United States 15 Scotts Road #09-03 [email protected] LOUIZA AUKTION
Krymskiy Val. 10, Off. 1 242 West 30th Street Thong Teck Building +632 856 2781 Belgium
119049 Moscow 12th Floor Singapore 228218 Place Stéphanie 6
kabinet-auktion.com New York, NY 10001 larasati.com LEONARD JOEL 1050 Brussels
[email protected] kestenbaum.net [email protected] Australia louizaauktion.com
+7 499 238 14 69 [email protected] +62 21 315 8636 333 Malvern Road [email protected]
+1 212 366 1197 Salesrooms: South Yarra VIC 3141 +32 2 503 66 45
KAHN-DUMOUSSET Singapore; Jakarta; leonardjoel.com.au
France KETTERER KUNST Hong Kong; Amsterdam [email protected] LYON & TURNBULL
15 rue de Tocqueville Germany +61 3 9826 4333 United Kingdom
75017 Paris Joseph-Wild-Strasse 18 LARK MASON Salesrooms: 33 Broughton Place
kahn-dumousset.com 81829 Munich ASSOCIATES Melbourne; Sydney Edinburgh EH1 3RR
contact@kahn- kettererkunst.com United States lyonandturnbull.com
dumousset.com infomuenchen@ketterer 229 East 120th Street LESLIE HINDMAN info@lyonand
+33 1 47 70 82 66 kunst.de New York, NY 10035 AUCTIONEERS turnbull.com
+49 89 55 24 40 larkmason United States +44 131 557 8844
KAMINSKI AUCTIONS associates.com 1338 West Lake Street
United States KINGSLEY ART AUCTION office@larkmason Chicago, IL 60607 M
117 Elliott Street Taiwan associates.com lesliehindman.com
Beverly, MA 01915 No. 233, Fuxing N. Road +1 212 289 5524 [email protected] MACAU CHUNG SHUN
kaminskiauctions.com Songshan District +1 312 280 1212 INTERNATIONAL AUCTIONS
info@kaminski Taipei City 10545 LECLERE–MAISON Salesrooms: China
auctions .com kingsleyauction.com DE VENTES Chicago; Denver; Av. de Praia Grande
+1 978 927 2223 kingsley.auction@ France Milwaukee; St. Louis; No. 405
hotmail.com 5 rue Vincent Courdouan Palm Beach China Law Building, 2/F
+886 2 2719 6555 13006 Marseille 999789 Macau

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macaucsa.com MATSART Kensington NSW 2033 mortonsubastas.com 80799 Munich

macaucsa@ AUCTIONEERS menziesartbrands.com atencion.clientes@ neumeister.com
yahoo.com.hk & APPRAISERS art@menzies mortonsubastas.com [email protected]
+86 853 2833 0583 Israel artbrands.com +52 55 5283 3140 +49 89 231 71 00
21 King David Street +61 2 8344 5404 Salesrooms:
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Garth Weiser: New paintings,
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Heritage Auctions Howard Greenberg Gallery Lehmann Maupin
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Since 1976, Heritage has held Marian Goodman Gallery
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Heritage Auctions “Re-weaving Migrant
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478 Jackson Street Inscriptions,” October 26- Marlborough
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December 20 40 West 57th Street
San Francisco, CA 94111 [email protected]
USA www.hirschlandadler.com 2nd Floor
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Robert Natkin (1930-2010): “And 41 East 57th Street
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the days are not full enough,” 8th floor
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Heritage Auctions has experts and an array of free-floating [email protected]
USA
in more than 34 unique forms, the work of Robert Natkin www.marlboroughgallery.com
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categories, including California (1930-2010) is sensuous, playful, [email protected] Alice Aycock, October 18-
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November 11 Keith Mayerson, Gary Panter,
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 Skarstedt
8 Bennet Street
London SW1A 1RP
UK
+44 207 499 5200
[email protected]
SAM GILLIAM skartstedt.com
Temple Fire, 1970,
acrylic on canvas with de Kooning: Late Paintings,
beveled edge, 50 x
110 x 3.25 inches (127 x through November 25
279.4 x 8.3 cm),
Photography Tom
Powel Imaging. Van Doren Waxter
Artwork © 1970 Sam
Gilliam all rights 195 Chrystie Street
reserved. On view at New York, NY 10002
Mnuchin Gallery, New
York, NY USA
+1 212 982 1930
[email protected]
Mnuchin Gallery PACE Richard Nagy Ltd www.vandorenwaxter.com
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[email protected]
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Mezzanine level
Sam Gilliam: 1967-1973, Agnes Martin and Richard Tuttle, Alfred Kubin: “Munich 1898-1906. New York, NY 10065
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Since its inception in 1983, Neal
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Merlin Carpenter: Do Not Open
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listings, contact [email protected].
Southern regional material.
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ALINE VIDAL GILLES PEYROULET PACI VU’
ANITA BECKERS GITTERMAN PARIS-BEIJING XIPPAS
ANNET GELINK GREGORY LEROY PARROTTA YANCEY RICHARDSON
ASYMETRIA GRIMM PARTICULIÈRE YOSSI MILO
ATLAS HAMILTONS - FOUCHER-BIOUSSE YUMIKO CHIBA
AUGUSTA EDWARDS HANS P. KRAUS JR. PETER FETTERMAN
BAUDOIN LEBON HOWARD GREENBERG PHOTO&CONTEMPORARY BOOK SECTOR - PUBLISHERS
BENDANA | PINEL IN CAMERA POLARIS & ART BOOK DEALERS
BENE TASCHEN INGLEBY POLKA
BENRUBI JAMES HYMAN PROJECT 2.0 21ST EDITIONS
BERNHEIMER JEAN-KENTA GAUTHIER PURDY HICKS ACTES SUD
BERTRAND GRIMONT JOAN PRATS RICHARD SALTOUN AKIO NAGASAWA
BEYOND JOHANNES FABER ROBERT HERSHKOWITZ ANDRÉ FRÈRE
BINOME JORGE MARA - LA RUCHE ROBERT KLEIN APERTURE FOUNDATION
BLINDSPOT JUANA DE AIZPURU ROBERT KOCH BENRIDO
BO BJERGGAARD JULIAN SANDER ROBERT MANN BESSARD
BRUCE SILVERSTEIN KALFAYAN ROBERT MORAT BOOKSHOP M
BRYCE WOLKOWITZ KARSTEN GREVE ROCIO SANTA CRUZ CONTRASTO
CAMERA OBSCURA KICKEN ROLF ART DAMIANI
CAMERA WORK KLEMM’S RX DELPIRE
CARLIER | GEBAUER KOW SAGE DEWI LEWIS
CARLOS CARVALHO LE RÉVERBÈRE SCHOOL OLIVIER CASTAING FILIGRANES
CAROLINE SMULDERS LELONG SEE+ GOLIGA
CATHARINE CLARK LES DOUCHES SHOSHANA WAYNE HARPER’S
CHARLES ISAACS LES FILLES DU CALVAIRE SIES + HÖKE HATJE CANTZ
CHELOUCHE LIA RUMMA SILK ROAD KEHRER
CHRISTOPHE GAILLARD LOOCK SIT DOWN KERBER
CHRISTOPHE GUYE LOUISE ALEXANDER SOPHIE SCHEIDECKER KOMIYAMA
CLAIREFONTAINE LUISOTTI SPRINGER LA FÁBRICA
CONTINUA LUMIÈRE DES ROSES STALEY-WISE LES YEUX OUVERTS
DANIEL BLAU M97 STEPHEN BULGER LIBRAIRIE 213
DANIEL TEMPLON M BOCHUM STEPHEN DAITER LIVRARIA MADALENA
DANZIGER MAGNIN-A STEVEN KASHER MACK
DIEHL MAGNUM STEVENSON ONLY PHOTOGRAPHY
DIX9 - HÉLÈNE LACHARMOISE MARTIN ASBÆK SUZANNE TARASIEVE PHOTOSYNTHÈSES
DU JOUR AGNÈS B. MAUBERT TAIK PERSONS RM
EAST WING MÉLANIE RIO TAKA ISHII SUPER LABO
EDWYNN HOUK MEM TANIT STEIDL
EMMA MOLINA MICHAEL HOPPEN TASVEER
TASCHEN
ERIC DUPONT MITTERRAND TEMNIKOVA & KASELA
TEXTUEL
ESTHER WOERDEHOFF MIYAKO YOSHINAGA THESSA HEROLD
XAVIER BARRAL
ETHERTON NAILYA ALEXANDER THOMAS ZANDER
FIFTY ONE NAP TOLUCA Index 31 August 2017
FILOMENA SOARES NATHALIE OBADIA TOM CHRISTOFFERSEN Subject to modification

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