Phillips to Offer Marc Chagall’s Le Père in the New York Evening Sale of 20th Century & Contemporary Art !

Phillips to Offer Marc Chagall’s Le Père in the New York Evening Sale of 20th Century & Contemporary Art    The Most Significant Early Painting by the Artist to Appear on the Market in Decades   Recently Restituted to the Heirs of David Cender in a Landmark Decision by the French National Assembly   Marc Chagall Le Père, 1911 Estimate: $6-8 Million   NEW YORK – 6 OCTOBER 2022 – On 15 November, Phillips will offer Marc Chagall’s Le Père in the New York Evening Sale of 20th Century & Contemporary Art. Executed in 1911, during a transformative period in the artist’s career, the painting is among fifteen works of art that the French Government have restituted earlier this year — part of an ongoing effort to return works in its museums that were wrongfully seized by the Nazi Party during World War II. A long-treasured part of the collection of David Cender, a musical instrument-maker from Łódź, Poland, the work was taken from him in 1940 before he was sent to Auschwitz with his family. By 1966, it had been reacquired by Chagall himself, who held a particular affinity for the painting, as it portrays his beloved father. In 1988, the Musée national d’art moderne, Centre national d’art et de culture Georges-Pompidou in Paris received the painting by dation from Chagall’s estate. Estimated at $6-8 million, this is the first work from this group of fifteen restituted artworks to appear at auction.   Jeremiah Evarts, Deputy Chairman, Americas, and Senior International Specialist, 20th Century & Contemporary Art, said, “Phillips is honored to play a role in the incredible journey that this painting has taken over the last century. Chagall’s legacy is vital to the history of Western art, with Le Père standing as a masterwork within the art historical canon. The heart-wrenching and compelling history of the painting after its completion, all leading to the wonderful news of its return to the Cender Family makes the story of Le Père all the more fascinating. We commend the French government for their dedication in returning such important works in their collection to the families of their rightful owners.”   Le Père is a rare, dynamic portrait which signifies the artist’s pivotal transition from art student in Saint Petersburg to one of the defining figures of European Modernism. During the winter of 1911-1912, Chagall moved into La Ruche, an artists’ commune on the outskirts of Montparnasse. The works he created over the next three years are among the most highly regarded of his career, with his portraits bearing particular significance. Throughout his lifetime, Chagall revitalized the inherited traditions of portrait painting. He painted dreamy and fantastical portraits of lovers, religious figures, villagers, and his beloved family throughout his seven-decade career.  Le Père is an intimate portrait of the artist’s father Zahar, a quiet and shy man who spent his entire life working in the same manual labor job. Portraits of the artist’s father are rare within Chagall’s oeuvre. Far from the generalized symbols of lovers that dominated much of his later paintings, this early work is a remarkably personal and heartfelt depiction.   The early owner of this painting, David Cender, was a prominent musical instrument maker in Łódź, Poland who created pieces of the highest class for the eminent musicians of the era, as well as being a musician and music teacher in his own right. In 1939, David married Ruta Zylbersztajn and soon after their daughter Bluma was born. Prior to 1939, 34% of Łódź's 665,000 inhabitants were Jewish, and the city was a thriving center of Jewish culture. In the spring of 1940, David Cender and his family were forced to leave their home and move into the ghetto, leaving behind numerous valuable possessions including their collection of artwork and musical instruments. While David survived the war, his wife, daughter, and other relatives were killed at Auschwitz.   Chagall reacquired the work by 1966 and it remained in his personal collection through the remainder of his life. In 1988, Musée national d’art moderne, Centre national d’art et de culture Georges-Pompidou in Paris received by dation from the Chagall estate Le Père along with 45 paintings and 406 drawings and gouaches. Ten years later, the work was deposited into the Musée d'art et d'histoire du Judaïsme in Paris, where it was been on view for twenty-four years.   Earlier this year, on 25 January 2022, the French National Assembly unanimously passed a bill approving the return of the fifteen works of art; the bill was then passed by its Senate on 15 February. The Minister of Culture, Roselyne Bachelot, praised the decision saying that not restituting the works was “the denial of the humanity [of these Jewish families], their memory, their memories.” The historic passing of this bill marks the first time in more than seventy years that a government initiated the restitution of works in public collections looted during World War II or acquired through anti-Semitic persecutions.   On April 1, 2022, Le Père was returned to the heirs of David Cender by the Parlement français in Paris.   Coming to auction for the first time, Le Père is a treasured and rare example from the artist’s early oeuvre. It’s inclusion in this landmark restitution signifies a historic moment in cultural history.     Auction: 15 November 2022, 432 Park Avenue, New York, NY Click here for more information: https://www.phillips.com/auctions/auction/NY010722

ABOUT PHILLIPS Phillips is a leading global platform for buying and selling 20th and 21st century art and design. With dedicated expertise in the areas of 20th Century and Contemporary Art, Design, Photographs, Editions, Watches, and Jewelry, Phillips offers professional services and advice on all aspects of collecting. Auctions and exhibitions are held at salerooms in New York, London, Geneva, and Hong Kong, while clients are further served through representative offices based throughout Europe, the United States and Asia. Phillips also offers an online auction platform accessible anywhere in the world.  In addition to providing selling and buying opportunities through auction, Phillips brokers private sales and offers assistance with appraisals, valuations, and other financial services. Visit www.phillips.com for further information.   *Estimates do not include buyer’s premium; prices achieved include the hammer price plus buyer’s premium.   PRESS CONTACTS:             NEW YORK – Jaime Israni, Public Relations Director, Americas     jisrani@phillips.com   LONDON – Katie Carder, Head of Press, Europe                            kcarder@phillips.com     PHILLIPS NEW YORK – 432 Park Avenue, New York, NY 10022 PHILLIPS LONDON – 30 Berkeley Square, London, W1J 6EX PHILLIPS HONG KONG – 14/F St. George’s Building, 2 Ice House Street, Central Hong Kong

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This week’s Art Basel Stories, featuring leading voices from the art world and beyond.

This week’s Art Basel Stories, featuring leading voices from the art world and beyond   Paris+ par Art Basel director Clément Delépine: ‘Emerging galleries are the fair’s center of gravity’ by Coline Milliard Read now In Tunis, the Kamel Lazaar Foundation is pushing the boundaries of what’s possible by Melissa Gronlund Read now Innovation, history, and collaboration at Art Week Tokyo 2022 by Tianyi Wang Read now Artist Mimosa Echard: ‘Plant sexuality has always fascinated me’   Watch now Rokhaya Diallo responds to Alice Neel’s portrait of the porno-feminist Annie Sprinkle by Rokhaya Diallo Read now Artist Zoe Leonard: ‘My studio a place for focus, for thinking, and for looking’ Watch now My Paris: gallerist Jérôme Poggi shares his highlights   Read now

Catinca Tabacaru Gallery OPENING OCT 13 | Daniela Palimariu: All the Rumors are True

ALL THE RUMORS ARE TRUE by Daniela Pălimariu     Opening Reception: October 13, 2022 | 6-10pm  with afterparty by Dan Basu   Galeria Catinca Tabacaru  Calea Giulești 14, etaj 3, Bucharest Catinca Tabacaru Gallery is pleased to present All The Rumors Are True, a solo exhibition of new works by Daniela Pălimariu. This marks the artist’s first solo exhibition with the gallery after numerous group and curatorial collaborations since 2020. The opening will take place on October 13, 2022, 6-10PM, and will be followed by an afterparty with Dan Basu on the occasion of DoiJoi. Daniela Palimariu’s laser-cut stainless steel forms interlock into grand multifarious sculptures that occupy the vast Catinca Tabacaru industrial gallery space on the 3rd floor of the former ISAF building, a Communist-era railway components factory located at Calea Giulesti 14. Polished to a mirror patina, the works dissolve into their surroundings, treading a precarious balance between presence and mirage. They serve as slender foundations for delicate arcs, ribs, slices and sections of ceramics and porcelain objects. The labyrinth-like arrangement of the ceramics offer the same support to one another as do the mammoth forms underneath, but more subtle somehow, more long-term. Here, Pălimariu experiments with the possibilities proposed by the unseen, the images invoked by what might be hidden. Swirling irregular shapes drift atop the mirrored surfaces, shielding ghosts of unknown objects, but simultaneously revealing the hollowness of expectation. Throughout the installation, Pălimariu spotlights the neglected space of the inbetween, the  residual from the whole, the potential of the unintended.  There, within the dizziness of the mirrored love-seat, we share our nausea and embrace its rumors. Daniela Pălimariu (b. 1986) is a visual artist and co-founder of Sandwich art space in Bucharest. Her practice includes livable environments and objects, installations, public and semi-private events, all of which understate the ambiguity of human relations, the need for personal space, play and daily subversions. Alongside her art practice, she is co-directing the Sandwich programming and curating since 2016. Her works were recently shown at Nida Art Colony (LT), Billytown in The Hague, LISTE in Basel, CLC Gallery Venture and C5CNM in Beijing, Maverick Chelsea in New York, and in Bucharest at Catinca Tabacaru, Nicodim, and Ivan galleries; also in numerous institutional and curatorial spaces around Bucharest including the National Museum of Contemporary Art, Tranzit, Salonul de Proiecte, and as part of the collaborative exhibition VIDEO+RADIO+LIVE, collateral to Art Encounters Biennial 2021. She has created works for public spaces in Beijing, Innsbruck and Bucharest, and she co-curated the Staycation Symposium and exhibition with CTG Collective. Her works are part of the MNAC and the ING Global Art Collections. All the Rumors are True is part of the the October Edition of DoiJoi, the collaborative initiative by Bucharest's contemporary art galleries, institutions and alternative spaces. In support of its bourgeoning art scene, on the second Thursday of each month, galleries offer extended visiting hours 18.00 - 22.00, with multiple Happenings taking place across the City. #DOIJOI Project co-financed by the Bucharest City Hall through ARCUB within the Affective Bucharest Program 2022.The project does not necessarily represent the position of the Bucharest City Hall or ARCUB.

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Eileen Agar, Wings of a Child 1983, Acrylic on canvas, 41 x 61 cm;

Gallery Wendi Norris Announces Representation of the Estate of Eileen Agar  In 2023 the gallery will mount the first US solo exhibition of Agar's work SAN FRANCISCO, October 4, 2022.  Gallery Wendi Norris is proud to announce its representation of the estate of Eileen Agar (1899-1991).   An artist whose life spanned nearly the entire 20th century, Eileen Agar was a radical woman of her times: transcontinental worldliness simultaneously deeply informed and belied her highly personal, unconventional artworks. Born in Argentina to Scottish and American parents, Agar was, from the outset, a traveler. With her formative youth spent in South America and adulthood in the United Kingdom and Europe, her external travels were mirrored by internal explorations, mining her own and society’s unconscious to produce works that consistently align and juxtapose the recognizable with the mysterious.   “I am honored to work with this important material, '' said Wendi Norris. “In 2023 my gallery will present the first solo exhibition for Eileen Agar in the United States. We will introduce her work to our global audience at Frieze Masters in the form of an homage to Agar’s use of nature as her muse, alongside similarly-themed paintings and drawings by peers Leonora Carrington, Remedios Varo, Leonor Fini, and Dorothea Tanning.”   Agar is often categorized as a surrealist, but her vast oeuvre reveals both her versatility and her dedication to a variety of forms and contexts that make this nomenclature too constrained. In fact, the artist Shezad Dawood has said of her, “She is so much more than one artist. She is at least five artists in one,” a statement which not only refers to her ability to shape-shift, but also makes her enormously relevant to the many contemporary artists who are committed to a transdisciplinarity that she fully embraced.   Indeed, Agar engaged in painting, drawing, collage, bricolage, photography, and the production of a journal titled The Island that, tellingly, combined nature and mysticism, enduring themes for the artist. Agar’s form of surrealism is one that creates sparks between unrelated objects and forms. Rather than cultivating an interest in autonomism, Agar’s selections were highly intentional and bore a formal and spiritual relationship to one another. From pinning actual starfish and other items from the sea to collages and into sculptures, to embedding crocheted elements into paintings, Agar produced images and forms that are both recognizable and mysterious.   For example, her Marine Object from 1939 conjoins a fragment of an amphora she found in fishermen’s nets amidst their haul, which she combined with shells and other flotsam from the sea. She balances this with a ram’s horn to create an object that melds the terrestrial with the oceanic, in a characteristically awkwardly balanced form. It seems to be at once something that could be found on the beach, a relic of another time, or a devotional object.   Agar also melded organic forms with geometries and abstraction, most visible in paintings that figured both. Take, for instance, her 1963 painting Apocalyptic Head, which combines a contoured face staring out of the panel within a frame of abstraction. Starburst forms invade the forehead while two brown and beige verticals create an architecture that holds the head in place. This is surrounded by other starbursts and squiggles in blue, green, and black, as well as a familiar shell form, which together give the impression of a turbulent sea surrounding the distraught portrait. The combination of abstraction with organic and figural elements, both real and imagined, together create a possibility of alternate worlds, conjoining surrealism and abstraction in ways more integrated than typically acknowledged in mainstream art history. Eileen Agar, Homage to the Scissor, n.d., Sculpture, 25 x 11 cm; About Eileen Agar   Born in Buenos Aires, Agar moved to England aged seven and went on to study art at the Brook Green School and then at the Slade before relocating to Paris in 1928. Over the course of her career, Agar would associate with artists including Henry Moore, Andre Breton, Pablo Picasso, and Paul Nash, and with writers such as Joseph Bard, Ezra Pound, and Paul Eluard. Throughout the 1930s, she produced a series of sculptures and assemblages that were inspired by the discarded shells, bones, and bits of plankton she would collect while beachcombing on the French coast. One of her most notable assemblages from this time was Ceremonial Hat for Eating Bouillabaisse, a painted basket topped with pieces of bone, coral, lobster, and a starfish. Captured on film, Agar famously walked along the streets of London wearing this bizarre creation.   Agar was one of only a handful of women artists who took part in the seminal International Surrealist Exhibition at London's New Burlington Galleries in 1936, a landmark show that launched Surrealism in Britain. This was followed by inclusion later that year in Fantastic Art, Dada and Surrealism at the Museum of Modern Art, New York. By the end of the decade, Agar had created one of her most important works, Angel of Anarchy, a blind-folded plaster head to which she added feathers, fabric, and diamante stones. Based on an earlier plaster head, Agar described wanting to make this new work "more powerful, more astonishing, more malign."   Aside from a solo show at the Redfern in 1942, Agar largely ceased exhibiting and making work during and just after World War II. A trip to Tenerife in 1953 instantly renewed and catalyzed her aesthetic powers. She completed a series of watercolors while there and, upon returning home, committed herself to the exploration of new subject matter and to new ways of making pictures. Henceforth working primarily as a painter, Agar experimented with automatism and became interested in the textural properties of paint. At some point in the late 50s, she began dripping and pouring enamel paint onto canvas or glass, resulting in a series of beguiling, abstracted images.   In 1965, Agar turned her hand to the fast-drying medium of acrylics, allowing her to further experiment with pigment and color combinations. Among the most notable of her acrylic paintings are those inspired by the famous rocks of Ploumanach. Agar had initially documented the rocks in 1936 with a series of haunting black and white photographs that emphasized their strange, anthropomorphic qualities. Several decades later, Agar employed heightened color, jarring juxtapositions, and altered perspectives in her reinterpretation of these rocks. Publishing an autobiography and winning election to the Royal Academy on either side of her ninetieth birthday, she remained imaginatively and productively undiminished to the very end.   Since her death in 1991, Agar’s influence and reputation have continued to deepen. Agar retrospectives have been held at the Scottish National Gallery of Modern Art, Pallant House Gallery, the Jerwood, and the Whitechapel Gallery. In the past two years, Agar’s work has been included in the 59th Venice Biennale and Surrealism Beyond Borders at the Metropolitan Museum of Art, New York, and the Tate Modern, London. Eileen Agar, Figures Under Water, 1962, Oil on board, 30 x 40 cm   About Gallery Wendi Norris   Gallery Wendi Norris is a leading international art gallery with headquarters in San Francisco, California. The gallery holds decades-long relationships with 20th century luminaries such as Leonora Carrington, Dorothea Tanning, Wolfgang Paalen, Remedios Varo, and Alice Rahon, artists whose nomadic and visionary practices interrogated the aesthetic, scientific, and philosophical movements of their times. The gallery also represents María Magdalena Campos-Pons, Chitra Ganesh, Julio César Morales, Ranu Mukherjee, Eva Schlegel, Peter Young, and other contemporaries, artists whose work similarly flows across disciplines, continents, and generations as they speculate on the present moment.   Opened in 2002, Gallery Wendi Norris remains committed to its founding principles of rigorous programming, development of artists’ legacies, public accessibility, and cultural significance.To those ends, the gallery hosts visiting academics, sponsors artist talks, and publishes highly-researched books with original contributions from international scholars. The gallery actively supports artists in engaging new audiences through influential commercial, biennial, and institutional collaborations. Pioneering an offsite exhibition model in 2017, the gallery produces public-facing artworks and shows wherever they might reach the widest viewership and provide the deepest impact. Working in concert with major museums, private collectors, and innovative curators, Gallery Wendi Norris builds enduring, well-represented collections for its respected array of international clients. For more information visit www.gallerywendinorris.com      CONNECT WITH US

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