Provenance

Annina Nosei Gallery, New York
Elaine Dannheisser (acquired from the above)
Francesco Pellizzi, New York (acquired from the above via Annina Nosei Gallery in 1984)
Acquired from the above by the present owner

Auction History

Phillips New-York: 14 May 2024
Estimated: USD 40,000,000 – 60,000,000
USD 46,479,000

Jean-Michel Basquiat – Modern & Contempor… Lot 5 May 2024 | Phillips

 

Jean-Michel Basquiat’s monumental painting, Untitled (ELMAR), created in 1982, is a paradigmatic representation of the artist’s genius, making its auction debut after remaining in private hands for four decades. At nearly eight feet wide, this tour-de-force is a cornerstone of Basquiat’s golden year, during which he transitioned from street art to gallery success. Emblematic of Basquiat’s best works, Untitled (ELMAR) is rich with historic and mythical iconography, intertwined with the artist’s invented symbols and graphic marks that accentuate the physical, gestural nature of his creative process. Boasting an equally impressive provenance and exhibition history, the present work was exhibited at Gagosian Los Angeles in 1998, as part of a memorial exhibition commemorating the 10-year anniversary of the artist’s death. Untitled (ELMAR) was notably featured on the cover of the accompanying catalogue. More recently, the work was prominently exhibited in the artist’s historical 2018 retrospective at the Fondation Louis Vuitton in Paris. This sale marks the first time that this important work is being offered publicly.

Formerly part of the original collection of Francesco Pellizzi, the present work was acquired by the renowned historian and collector from Annina Nosei in 1984, just two years after its creation, and remained in his collection for decades. An inspired collector and friend of the artist, Mr. Pellizzi acquired timeless works that underscore Basquiat’s enduring significance and artistic vision, as they continue to inspire and provoke thought forty years later. Reflecting on his 40-year friendship with Francesco and the acuity of his perceptiveness, American painter David Salle remarked, “Francesco [was] always full of vitality and interests and witty observations and warmth and engagement, the same sense of deep inquiry, and also imagination.[…] And there was something else too: a quality I can only call wisdom, a macro way of seeing things at the same time as the tiniest detail… he had the close-up view and the overview, he saw the particulate and the flow. He could combine ‘like with like’, and also ‘like with not-quite-like’, which is more rare, and all the more so when done seemingly without effort.”

Francesco Clemente, Andy Warhol, and Jean-Michel Basquiat at the Pellizzi residence in New York, NY, 1984. Photo by Francesco Pellizzi. Image: © Francesco Pellizzi

In 1982, often hailed as Basquiat’s “Golden Year,” the 22-year-old artist produced approximately 200 significant works on canvas. Untitled (ELMAR), stands out for its raw, colorful, and direct style, epitomizing the lauded traits of this prolific period in Basquiat’s career. Characteristic of the work produced at this moment, the present painting constitutes a more confident prelude to the meticulous curation and self-consciousness of Basquiat’s later compositions, instead exuding an air of daring openness. Significantly, Untitled (ELMAR) was executed in the same year Basquiat was first introduced to Andy Warhol, a paramount encounter that would later lead to collaboration between the two artists. 1982 also marked Basquiat’s transition from “SAMO©”—the pseudonym under which he operated as a street poet and tagger, to an influential figure in the art world. Indeed, we see the influence of Warhol in Basquiat’s canvases from this year, the present work included.  In contrast to the pictorial abundance of many of his earlier compositions, in Untitled (ELMAR), Basquiat allows ample breathing room in which the implied connections between his signs and symbols can be lucidly drawn. This sense of spaciousness engenders an ambiguity within the painting that lends it a distinctly Warholian effect in that, despite his use of bold colors, frenetic brushwork, and dense layers of imagery, there is often an openness and expansiveness to Basquiat’s presentation. Untitled (ELMAR) incorporates space in unconventional ways, with areas of intense activity punctuated by less vigorously worked areas and even glimpses of raw canvas that can appear spare in comparison but are by no means passive. Basquiat orchestrates a dynamic tension that allows viewers to navigate through the artwork and interpret its various elements at their own pace. In doing so, he provides a space for pausing and, in turn, for emphasis.

Jean-Michel Basquiat, Boy and Dog in a Johnnypump, 1982. Private Collection. Formerly in the collection of The Brant Foundation, Greenwich, Connecticut. Image: Archivart / Alamy Stock Photo, Artwork: © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York

In Untitled (ELMAR), Basquiat’s visual cadence akin to instinctive and visceral melodies, combined with his incorporation of handwritten text elements, is also evocative of Cy Twombly’s poetic incorporation of handwritten script and calligraphic marks. In its shared engagement with classical antiquity, Greek and Roman mythology, and the malleability of language, the present work exhibits intriguing parallels with a series Twombly produced in the 1960s featuring titles indicative of famous mythological couples. Here, Basquiat infuses urban culture with references to iconic figures and symbols of ancient lore, such as Icarus and possibly Apollo, the ancient Greek god of archery, weaving a cautionary tale that illustrates a similar fascination with the intersection of ancient myth and contemporary expression. Basquiat further blurs the boundaries between text and image, creating a richly layered work that evokes emotion, memory, and the timeless resonance of classical literature and history.

From a technical standpoint, Untitled (ELMAR) is an incredible example of Basquiat’s early style that incorporated visible pentimenti. Traditionally, a pentimento is a moment within a painting in which a previous compositional choice or image can be seen through the top paint layer.  Basquiat utilized this concept to his advantage, frequently painting with a mixture of thick and thin layers that intentionally revealed the underlying strata. This is particularly evident in the anatomy of the warrior figure, where the body is composed of overlapping swathes of red and white paint, black oilstick, and gold spray paint. The expansive blue sea also provides hints of what lies beneath its surface, with indiscernible gestures peeking through. Moreover, Basquiat asserts his process and presence by incorporating visible footprints that metaphorically ground his artistic expression. He often worked his canvases horizontally on the floor, reminiscent of New York’s earlier Abstract Expressionist painters like Jackson Pollock and Helen Frankenthaler.

In Untitled (ELMAR), Basquiat conjures a large-scale warrior figure, using vigorous brushstrokes in the style of Jean Dubuffet’s art Brut and subtly exposing its skeletal structure in a nod to his own enduring fascination with anatomy. Constructed with a mix of red flesh and oilstick bone, reinforced by metallic gold spray paint, Basquiat’s creation resembles a modern-day Frankensteinian fighter, assembled with unmistakable strength. The figure is enveloped in a haloed aura (coming from the Latin “aurea” for “golden”), a vivid burst of yellow forming something loosely akin to a mandorla—an almond-shaped motif often associated with Christian iconography depicting scenes from the life of Christ—or an aureole. Adding to the sense of sanctity, Basquiat’s use of gold embellishments and a haloed figure set against a bright background mirrors the shimmering gold accents often found in similar scenes, as illustrated in Medieval illuminated manuscripts.

[Left] Rock art at Wadi Abu Wasil, Eastern Desert of Egypt, prior to 3000 BC.
[Right] Unknown artist/maker, The Crucifixion, begun after 1234–completed before 1262, The J. Paul Getty Museum, Los Angeles. 

Extending from the warrior’s raised arms are a flurry of arrows and a bow, complemented by a crown of thorns atop his head, establishing a delicate equilibrium between European monarchical and African tribal power symbols. Basquiat’s inspiration here likely draws from Burchard Brentjes’ 1969 text, African Rock Art, a volume he was known to keep in his studio. The rich array of photographs and diagrams therein appealed to Basquiat for their cultural significance, aligning with his preference for a raw and unschooled style of drawing, as well as his affinity for graffiti, with cave art arguably serving as its earliest manifestation.

In a similar fashion to other large-scale single figure paintings from the period, such as Boy and Dog in a Johnnypump, 1982, formerly in the collection of the Art Institute of Chicago, in Untitled (ELMAR) Basquiat conveys his warrior’s strength anatomically. Curator and art historian Richard Marshall suggests that Basquiat may have been influenced to incorporate such boldness and aggression into his canvases upon encountering Picasso’s “Avignon” paintings, displayed at the Pace Gallery in New York in the winter of 1981. In the works on view, Picasso returned to drawing anatomically graphic and distorted figures in bold colors, an expressive style Basquiat undoubtedly felt an affinity for, given his lifelong admiration of the Spanish artist. Reflecting on his early exposure to Picasso’s work, Basquiat once stated that, “seeing Guernica was my favorite thing as a kid.” Indeed, a parallel can easily be drawn between the figure at the far right of Guernica, crying out to the heavens with arms raised, illuminated by the jagged light of a burning house behind them—along with the faded dove, a symbol of peace obscured amidst the unfolding violence—and the heroic figure in the present work, confronting their winged target.

Pablo Picasso, Guernica, 1937. Museo Reina Sofía, Madrid. Image: Bridgeman Images, Artwork: © 2024 Estate of Pablo Picasso / Artists Rights Society (ARS), New York 

In the present work, a “fallen angel” figure at left, birdlike and adorned with the recurring crown-of-thorns motif—which doubles as a halo—hovers above a luminous blue sea of scribbled waves and the text “ELMAR”, suggesting a modern-day Icarus on the verge of descent. Through this lens, Basquiat’s archetypal warrior at right takes on an additional layer of meaning, signaling the angel’s imminent downfall. Basquiat often used variations of the fallen angel motif in his art to delve into themes of identity, power dynamics, and societal alienation. Throughout art history, artists have employed this image, notably seen in Alexandre Cabanel’s eponymous painting, The Fallen Angel, 1847, at the Musée Fabre in Montpellier, to depict a majestic yet sorrowful figure symbolizing rebellion, spiritual downfall, and the eternal struggle between divine and mortal realms. In Untitled (ELMAR), Basquiat continues this tradition, portraying the figure caught between heaven and earth, poised for a fall. This concept reflects his own experiences as a Black artist navigating a white-dominated art world, where he felt a perpetual sense of alienation and a fear of losing relevance.

The winged figure in Untitled (ELMAR) also resonates with Basquiat’s recurring bird motif, notably observed in his monumental painting created the same year, Untitled (LA Painting), 1982. Basquiat’s birds embody bravery and freedom, doubling as messengers from celestial realms. They evoke symbolism akin to ancient Roman culture where open-winged birds represented power and divine communication, their movements believed to reflect the will of the gods. Additionally, the bird figure may be a veiled reference to one of Basquiat’s heroes, the prominent American jazz saxophonist Charlie Parker. Parker, nicknamed “Bird”, was a leading figure in the development of bebop, whose improvised style greatly influenced Basquiat.^x The artist was known to listen to Parker’s music in the studio.

One of the key motifs in the present painting is a depiction of a skull or human head, which originates from an important oilstick on paper drawing entitled Untitled (Indian Head). Now in the collection of Museo Jumex in Mexico City, this image later became a recurring feature in several of Basquiat’s major works. In his poem titled J.M.B.’s Dehistories, Trinidadian-Bahamian poet Christian Campbell provides insightful interpretations of recurring visual motifs, such as the skulls and human heads that inhabit Basquiat’s oeuvre. He asserts that, “Basquiat’s heads are cartooned, spooked, fried, shocked, damaged. Strange as it may seem, I hear these heads laughing.” He describes them as if cackling in a mad chorus but concludes that, “They see us to the bone, just as we see them. They are witnesses. They are messengers. They have something true to tell us.”

Jean-Michel Basquiat, Untitled (Indian Head), 1981, Museo Jumex, Mexico City, Mexico. Artwork: © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York

In Untitled (ELMAR), Basquiat’s replacement of the painted head with an intricate, additive rendering marks a stark complexity compared to the gestural lines created through painting, spraying, and drawing. Alongside his use of fragmented written language, inspired by William Burroughs’ cut-up technique, Basquiat employed collage elements to counteract both formally and materially with his intense painterly work. This integration of collage evokes parallels with the Constructivist and Cubist movements, particularly in the way Picasso and others utilized fragmented imagery to challenge traditional notions of representation. Similarly, Basquiat’s approach resonates with Robert Rauschenberg’s combines, where disparate elements are amalgamated to blur the lines between painting and sculpture. By incorporating collage into his oeuvre, Basquiat not only expands upon the rich legacy of assemblage but also engages in a broader artistic dialogue that spans across movements and generations. In Untitled (ELMAR), a torrent of imagery—ranging from symbols and diagrams to words—dances across the canvas against a backdrop of boundless blue and electric yellow. This chaotic yet controlled display manifests Basquiat’s recurring themes of identity, existentialism, and societal disillusionment. It synthesizes life, death, history, and mythology into a vibrant tapestry, where Basquiat’s insatiable hunger for knowledge and boundless creativity blur the lines between street art and the established norms of the traditional art world.

Central to Basquiat’s practice was representing seemingly conflicting aspects of human experience within a single work. Whether contrasting opposing colors, depicting scales of justice, or exploring themes like “God and Law,” the artist was consistently concerned with duality and reconciling opposing forces. In Untitled (ELMAR), Basquiat portrays the duality of the hunter and the hunted, alongside the notion of ascent followed by inevitable decline, echoing his own rise in the art world. Basquiat’s fascination with stardom and “burnout” becomes apparent in references to artists like Charlie Parker. Caught between a desire for fame and a fear of being consumed or exploited, the present work captures Basquiat’s apprehension of flying too close to the sun, symbolized by the pregnant moment before the hero’s downfall. Here, the winged figure soars like Icarus toward the heavens, defying limitations in pursuit of freedom. “Only one thing worries me,”

In Untitled (ELMAR), a torrent of imagery—ranging from symbols and diagrams to words—dances across the canvas against a backdrop of boundless blue and electric yellow. This chaotic yet controlled display manifests Basquiat’s recurring themes of identity, existentialism, and societal disillusionment. It synthesizes life, death, history, and mythology into a vibrant tapestry, where Basquiat’s insatiable hunger for knowledge and boundless creativity blur the lines between street art and the established norms of the traditional art world.

While rooted in New York City, Basquiat transcended his environment, grappling with a history and identity extending beyond its confines. This duality extends beyond personal identity, reflecting complex social, political, and cultural dynamics, particularly the struggle for equilibrium between black and white worlds. Basquiat explores duality through various lenses, juxtaposing people and objects, words and images, and reimagining concepts of black and white, light and dark, challenging conventional notions of good and evil.

Central to Basquiat’s practice was representing seemingly conflicting aspects of human experience within a single work. Whether contrasting opposing colors, depicting scales of justice, or exploring themes like “God and Law,” the artist was consistently concerned with duality and reconciling opposing forces. In Untitled (ELMAR), Basquiat portrays the duality of the hunter and the hunted, alongside the notion of ascent followed by inevitable decline, echoing his own rise in the art world. Basquiat’s fascination with stardom and “burnout” becomes apparent in references to artists like Charlie Parker. Caught between a desire for fame and a fear of being consumed or exploited, the present work captures Basquiat’s apprehension of flying too close to the sun, symbolized by the pregnant moment before the hero’s downfall. Here, the winged figure soars like Icarus toward the heavens, defying limitations in pursuit of freedom. “Only one thing worries me,” Basquiat once told his father, “Longevity.”