Phillips New York, 15 November: 20th Century and Contemporary Art
At Phillips contemporary evening sale in New York last night (15 November), gasps could be heard as its star lot, a small drip painting by Jackson Pollock and sold without a guarantee, failed to find a buyer at $17.5m (est $18m-$25m). Bonhams, too, had a few sale highlights that went unsold such as Max Liebermanns portrait of the German-Jewish collector Robert Neumann (1925), which was estimated to fetch $50,000-$70,000.
But in a week full of sales where several top lots bought in at both Christies and Sothebys, the auction houses were in good company. Both, however, struggled to hit their total estimates for the sales. Bonhams post-war and contemporary evening sale (14 November) netted $3.9m (with fees), just over its $3.8m low estimate for the evening but with only 64% of its lots sold. With an average 82% sell-through rate by lot, Phillips realised $88.5m (with fees) of its pre-sale estimate of more than $100m, due in large part to the Pollock flop.
A few bidding busts
Pollocks No. 16 (1950) was already a fraught lot before it fizzled on the auction block. It was deaccessioned from the collection of the Rio de Janeiros Museum of Modern Art (MAM) and first garnered attention in March this year, when the Brazilian Institute of Museums, among other leading cultural institutions in the country, criticised MAM for selling off the only Pollock on public view in Brazil. The museum contested that the sale of the work, which was estimated to make in the region of $18m-$25m, would cover its operating costs for at least three decades. The painting was donated to the museum in 1954 by Nelson Rockefeller.
In a statement to The Art Newspaper, a Phillips spokesperson says the painting “failed to reach its predetermined reserve price, but we much believe in this masterwork", adding that the house intends to find a buyer privately "so the museum can continue its important mission of preserving its 16,000 works and expanding its collection of Modern and contemporary Brazilian art”.
At Bonhams, two highlight paintings in its post-war and contemporary sale by the French Art Brut artist Jean Dubuffet failed to find buyers. The textured abstract works, Mangeur à la fourchette (est $250,000-$350,000) and Le Ravin (est $100,000-$150,000), were both made in 1952, during a decade that is considered seminal in Dubuffets career. Yet they are less colourful than his paintings from the 1960s, which have made the artists top four auction records.
Christina Quarles, Pull on Thru Tha Nite (2017)
Phillips sees big booms
Phillips can be credited with some important new artist records, which wouldn't have been achieved without pushing the envelope. Foremost is a new record for the Cuban centenarian hard-edge painter Carmen Herrera; her Blanco y Verde (1966) for $2.2m ($2.65m with fees), which more than doubled her previous auction record of $1.2m at Phillips.
Pull on Thru Tha Nite (2017), the first work by the Los Angeles-based painter Christina Quarles to be offered at auction, blew by it its $30,000-$50,000 estimate, selling for $180,000 ($225,000 with fees), reflecting the artists meteoric rise since her first solo exhibition in 2017. Her recent institutional visibility likely played no small part in driving up the price, either. Earlier this year, Quarless work was included in the New Museums exhibition Trigger: Gender as a Tool and a Weapon and the Hammer Museums biennial exhibition Made in LA; she currently has a solo exhibition at the Berkeley Museum of Art.
The auction house also set a new record for the American street artist Kaws, whose acrylic painting Untitled (Fatal Group, 2004) sold for $2.7m ($2.9m with fees), well over its $900,000 high estimate; later in the evening a painting by the artist also sold at Christies for $2.4m including fees, quadrupling its high estimate. Strong sales also rolled in for abstract painter Amy Sillman, whose oil painting U (2008) fetched $855,000, and the French sculptor Henri Laurenss white marble work La Lune (1946) took in $2.1m, with fees.
Keith Haring, Mother and Child, 1986
Niche lots buoy Bonhams
The star lot of Bonhams contemporary evening sale was Keith Harings monolithic aluminium sculpture Mother and Child (1986), the first edition of just three and one of the few large-scale sculptures the artist created in his career. The work doubled its estimate of $600,000-800,000, realizing $1m ($1.3m with fees).
A vibrant oil painting, Bird (1965), by British artist Frank Bowling was fresh to market and sold for $80,000 ($100,000 with fees), tripling its high estimate. Jeremy Goldsmith, the auction houses vice president and director of the Americas post-war and contemporary art department, says theres been “a steady uptick in Bowlings market, particularly with his upcoming retrospective at the Tate Modern”, which opens in March of next year. Last year, Swann Galleries in New York made the record for the artist with a larger acrylic painting that made $161,000 (est $60,000-$90,000).
The sale also offered some quirky pieces such as an early brass wire hair comb by Alexander Calder made in the mid-1950s, which unfortunately sold for half its low estimate at $16,250 (with fees). The artists Red, Black and Blue (1968), a maquette for a mobile commissioned by American Airlines in Dallas, sold for just over its estimate at $552,500 (with fees). Perhaps the lots could have fared better if they had been offered after two Calder mobiles raked in more than $27m (with fees) at Christies contemporary sale the following night.