The late South African artist Gerard Sekoto has once again proven his lasting impact on the art world, with his masterpiece The Artist’s Brother selling for an astonishing £406,000 ($528,000) at Bonhams’ Modern & Contemporary African Art sale—more than four times its original estimate of £100,000-150,000 ($130,000-195,000).
A recent auction at Bonhams in London showcased the dynamic and rising value of Modern and Contemporary African Art, concluding with total sales of £2,439,400 (approximately $2,976,068). The event featured prominent works, including William Kentridge’s Monument I, which soared past expectations, selling for £483,000 (about $589,260) against its estimate of £200,000–£300,000. Kentridge’s evocative charcoal piece, rooted in his Drawings for Projection series, epitomizes his narrative-driven approach that intertwines historical introspection with striking visual artistry. Irma Stern’s Zululand and significant pieces by Ben Enwonwu and Marlene Dumas further emphasized the auction’s success, underscoring the burgeoning global recognition and deepening collector interest in African art’s profound heritage and contemporary vibrancy.
Kay first met Basquiat in late 1978, amid the vibrant, chaotic energy of Manhattan’s Lower East Side. Their bond was immediate, forged through shared passions for art, poetry, and the city’s electric atmosphere. “It was great fun,” Kay recalls, emphasizing the serendipitous nature of their connection in a community where “everyone knew everyone.” This deep friendship put Kay in a unique position to witness Basquiat’s meteoric rise firsthand.
Phillips is set to command the art world’s attention with its upcoming November Evening Sale of Modern & Contemporary Art in New York. The highly anticipated event, scheduled for November 19 at their prestigious 432 Park Avenue location, will present 33 carefully curated works that bridge the gap between celebrated modern masters and contemporary visionaries. The sale is headlined by Jackson Pollock’s Untitled, circa 1948, a landmark piece from his groundbreaking drip painting period, and features rare double self-portraits by both Jean-Michel Basquiat and Andy Warhol, offered together for the first time at auction. Additional highlights include Cy Twombly’s mythologically charged Crimes of Passion I and a striking array of works by Pablo Picasso and Joan Miró, making this event a must-see for collectors and art enthusiasts worldwide.
The spotlight shines brightly on the monumental 1982 masterpiece, estimated to fetch a staggering $40-60 million. This captivating piece, dubbed ‘Untitled (ELMAR),’ commands attention with its sheer scale and intricate symbolism. Acquired by the Pellizzi Family just two years after its creation, this eight-foot-wide marvel stands as a testament to Basquiat’s transformative journey from street art prodigy to gallery luminary. Rich in iconography and imbued with self-referential imagery, ‘Untitled (ELMAR)’ offers a profound exploration of duality within the artist’s identity, encapsulating the essence of Basquiat at the zenith of his creative prowess.
Christie’s annual auction of Important Americana in New York has exceeded all expectations, totaling an impressive $9,294,784. This figure marks a significant milestone, more than doubling last year’s total, and surpassing the low estimate by a striking 122%. With 80% of lots sold, the auction showcased the robust demand for Americana collectibles. Notably, over 25% of buyers and bidders were new to the category at Christie’s, indicating a growing interest in this niche market.
Robert S. Duncanson (1821-1872), was a Black Hudson River School artist who painted the American South before the Civil War. Widely famous during his lifetime, this artist’s forgotten courageous journey through the antebellum South has never been exhibited or researched until now. Duncanson brilliantly created captivating landscape paintings that come alive to the viewer, by focusing on the minute details of nature and of the stories he wished to communicate. Robert Duncanson’s American scenes of the South often included Underground Railroad imagery and the mountain ridge lines that could be followed as pathways to the North. Many of his paintings were highly landmark driven with details that make these vistas identifiable today. Is it possible that Duncanson painted these historical landmarks to lead the enslaved people of America to freedom? Art historian Michael Meyer believes it is possible.
