Christie's London is preparing for a significant Modern British and Irish art sale on March 18, featuring a meticulously curated collection of 26 artworks. This event follows a highly successful modern and contemporary evening sale, which generated an impressive £197.5 million ($265 million). The upcoming auction will highlight pivotal pieces from acclaimed artists Frank Auerbach, Lynn Chadwick, and Barbara Hepworth, drawing considerable attention from collectors and art enthusiasts alike.
Among the standout lots is Frank Auerbach's 'Christmas Tree at Mornington Crescent' (2004-05), estimated to fetch up to £2 million ($2.6 million). This painting showcases Auerbach's distinctive style, characterized by its thick impasto and commanding scale, reflecting his deeply tactile engagement with landscape. Mornington Crescent, a location close to Auerbach's studio in Camden, repeatedly served as a muse for the artist over many decades, demonstrating his enduring connection to specific locales in North London.
Another eagerly anticipated piece is Lynn Chadwick's bronze sculpture, 'Back to Venice' (1988), which is making its first appearance at auction from the esteemed collection of Dr. Robert Holton. Created more than thirty years after Chadwick received the International Prize for Sculpture at the 1956 Venice Biennale, this work profoundly illustrates the artist's enduring relationship with Venice, a city instrumental in establishing his global reputation. Given Christie's recent record-breaking sale of a Henry Moore bronze for £26.3 million ($35.2 million), there is considerable anticipation for Chadwick's work to achieve similar success.
Adding to the sale's prestige is Henry Moore's 'Working Model for Hill Arches' (1972) bronze, which is expected to reach an estimated £600,000 ($805,000). Alice Murray, Christie's head of modern British and Irish art, commented on Chadwick's sculpture, stating that it represents a pinnacle in the artist's later career. She emphasized its connection to his transformative relationship with Venice, especially timely with the upcoming Biennale. The monumental sculpture, approximately 10 feet wide, has remained in a private collection for nearly three decades, adding to its allure.
The auction also includes two significant works by Barbara Hepworth: 'Curved Form' (1960), a walnut carving, and 'Solitary Form' (1971), a white marble sculpture. These pieces carry high estimates of £1 million ($1.3 million) and £700,000 ($900,000) respectively, further enriching the sale's diverse offerings. Postwar paintings are also strongly represented, including Bridget Riley's 'Recollection' (1986), valued at up to £1.2 million ($1.6 million). Murray noted that this painting captures Riley at a crucial point in her career, where she explored tessellating zigzag parallelograms to create dynamic color rhythms, influenced by a pivotal trip to Egypt.
British Pop art pioneer Peter Phillips contributes 'Motorpsycho/Ace' (1962), a piece from the collection of Italian curator Enrico Crispolti, which has never before been offered at auction. Glyn Philpot's luminous portrait, 'Balthazar' (1929), fresh from a Chicago exhibition, is also a notable entry, described by Murray as potentially the strongest work by the artist to enter the market. Murray expressed confidence in the sale's reasonable estimates and looked forward to the market's response, highlighting the sustained international bidding and growing global interest in modern British and Irish art, particularly from the United States.
The upcoming Christie's London sale underscores the vibrant and expanding international market for Modern British and Irish art. With a carefully selected array of works from influential artists like Frank Auerbach, Lynn Chadwick, and Barbara Hepworth, the auction promises to be a significant event. The inclusion of pieces with compelling histories, such as Chadwick's 'Back to Venice' and Auerbach's 'Christmas Tree at Mornington Crescent,' alongside highly anticipated works by Henry Moore, Bridget Riley, and Peter Phillips, is set to attract a diverse global audience. Christie's strategy of presenting reasonably estimated yet historically significant artworks is poised to capitalize on the robust demand observed in this flourishing category, confirming London's enduring appeal as a central hub for art commerce.