The lots that the English auction house is offering come from many excellent Italian collections. Phillips will be auctioned next autumn in London and exhibited this week, together with a selection of works available for private negotiations, in the historic Visconti Palace in Milanwhere Phillips opened its first Italian branch. Confirming a presence that aims to be enjoyable and welcoming to customers, but also to the public and art enthusiasts.
On show in Milan the works to be auctioned by Phillips in London next autumn
In the interiors redesigned by Luigi Caccia Dominioni and in view of the next sessions of Modern & Contemporary Art in London (10-11 October 2024) there will be space in Milan, from 17 to 19 September 2024, for the museum-scale work The Blue Knight (1952) by Marine Marines (est. £600,000-900,000), with its iconic and recurring figures of the horse and rider.” The idea of the horse and the rider was not born now, it was born a long time ago, it is a need for a certain architectural form that at a certain moment satisfies your spirit”the artist explained in an interview with Rai.
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Sam Francis, Los Angeles, 1971. Courtesy Phillips
2 / 5 Carla Accardi, Black Signs, 1967. Courtesy Phillips
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Francesca Mollett, Untitled, 2020. Courtesy Phillips
4 / 5 Marino Marini, The Blue Rider, 1952. Courtesy Phillips
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Andy Warhol, Guns, 1981. Courtesy Phillips
Phillips’ works for auction preview in Milan
Then there are Black Signs (1967) by Carla Accardi (est. £80,000-120,000) and Hidalgo Point (circa 1990) of Salvo (estimate £50,000-70,000), but also, of small size and great interest, Guns (1981) by Andy Warhol and a work on paper by Jean-Michel Basquiat.
The protagonist artist da Phillips
Many and of great impact are the works by female artists that will be the protagonists of this autumn auction session at Phillips and of the private sales in the near future. From Francesca Molletin catalogue in London with Untitled of 2020 (est. £20,000-30,000), to the Californian artist Ariana Papademetropoulos (also currently on display, for the first time in Italy, in the Massimo De Carlo gallery), with a painting with a post-surrealist flavour in which, in an upper-middle-class interior, the presence of nature bursts out from a crack. In private treaty like Papademetropoulos also a work by Chloe Wisea woman’s face on a red background – which recalls, due to its posture and facial expression, theEcstasy of Saint Teresa of Avila of Gian Lorenzo Bernini and in general the iconographic tradition of female saints in religious abductions – and the representation of a post-apocalyptic and dystopian world of Marguerite Humeau.
Julia White
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