Christie's Modern British and Irish Art Evening Sale
Created at a pivotal time in Hepworth's career, this is a landmark example of the artist's pioneering approach to carving, colour and space
Dame Barbara Hepworth, Sculpture with Colour (Eos), carved and painted in 1946. Estimate: £5,000,000-8,000,000
“Harmony comes with the discovery of the most direct way of carving each material according to its nature.” - Dame Barbara Hepworth
LONDON - Christie's will present Dame Barbara Hepworth's defining masterwork, Sculpture with Colour (Eos) (estimate: £5,000,000-8,000,000) as the lead highlight of the Modern British and Irish Art Evening Sale, taking place on 21 October 2026 in London.
Carved from a single piece of pale Hopton Wood stone, Sculpture with Colour (Eos) rises from its base as an organic ovoid form, balanced delicately on its narrowest point. The sculpture was created in 1946, a pivotal year for Hepworth, in which she reached new levels of experimentation and development in her work, with colour emerging as an integral element of her sculptural language. One of just three known stone sculptures from 1946 to feature the application of painted colour to its form, the piece is among the most complex and inventive works Hepworth created in this vein. Sculpture with Colour (Eos) also featured in a photograph Lee Miller took of the artist in her studio for Vogue shortly after its completion, illustrating its importance as a key example of her most recent work.
The sculpture powerfully illustrates Hepworth's long-held commitment to 'truth to materials' and direct carving – responding to the essential character of her chosen materials, she produced unique works that came solely from tools she wielded in her own two hands. “I have always preferred direct carving to modelling,” the artist explained, “because I like the resistance of the hard material and feel happier working that way. Carving is more adapted to the expression of the accumulative idea of experience and clay to the visual attitude. An idea for carving must be clearly formed before starting and sustained during the long process of working… harmony comes with the discovery of the most direct way of carving each material according to its nature.”
The landscape of Cornwall also strongly influenced Hepworth's sculpture through this period. She had moved from London to St Ives in Cornwall with the artist Ben Nicholson and their young family in 1939 at the outbreak of the Second World War and lived in Carbis Bay from 1942 to 1949. The bright Cornish light, sea, cliffs, and ancient stones became central to her artistic practice, and influenced the evolution of her thoughts on adding colour to her sculptures. She believed that light and space were as integral to a finished work as materials such as stone and wood, an effect which could be accentuated and enhanced by the addition of particular hues of paint to certain features.
Across the surface of Sculpture with Colour (Eos), three delicately shaped hollows have been accentuated with paint – ranging from deep, rich blue, to a subtle pale grey and an off-white. Together, these tones evoke the luminous hues of daybreak, while the vibrant blue also calls to mind the depths of the ocean, the boundless sky and the infinite reaches of the cosmos. The choice of colours also connects to the subtitle Hepworth granted the sculpture, Eos, which invokes the ancient Greek goddess of dawn, who symbolised the start of a new day and was associated with light, renewal, and rebirth. In this context, the sculpture's swelling, organic form may suggest similar themes of emergence, awakening, and renewal: the sense of a new world gradually coming into being.
Formerly in the collection of philanthropists David and Geraldine Pincus, Sculpture with Colour (Eos) has an exceptional exhibition history, having been included in a number of important shows dedicated to Hepworth's art, from the artist's first solo-show following the Second World War, held at the Lefevre Gallery in London in 1946, to the seminal retrospectives of her work at the Whitechapel Gallery in London in 1954 and the Tate in 1968, as well as the celebrations of the artist's centenary in 2003 in her adopted home of St. Ives. It most recently featured in the exhibition Hepworth in Colour at The Courtauld Gallery, London, which took place between June and September 2026 and celebrated the artist's dynamic use of colour.
Alice Murray, Head of Modern British and Irish Art, Christie's London: “Hepworth carved Sculpture with Colour (Eos)the year the world began again, and gave it the name of the dawn. Shortly after its completion, Lee Miller photographed her in the studio for Vogue, with the sculpture beside her. Three hollows, painted blue, grey and white, catch the light like the first minutes of morning. From the Lefevre Gallery in 1946 to the Courtauld this summer, it has been at the heart of Hepworth's story for eighty years. Christie's longstanding expertise in Hepworth's work, and its leading position in the market for the artist, provide a fitting context for presenting this exceptional sculpture. We are delighted to offer it as the highlight of our Modern British and Irish Art Evening Sale, and to help it find its next home.”
Sculpture with Colour (Eos) will be on view at Christie's London until 14 October 2026 as part of the 20/21 Marquee week view, and subsequently from 17 to 21 October 2026 during the Modern British and Irish Art Sales exhibition, both moments free to all. More information on christies.com.
Bonhams will present its live American Art sale on November 3 in New York at its U.S. flagship galleries, 111 West 57th Street. Spanning 107 lots, the fall sale traces the breadth of American art, from important 19th century Hudson River School paintings to celebrated examples of the Ashcan School and Modernism. Notable artists featured within the sale include John Frederick Kensett (1816–1872), Newell Convers Wyeth (1882–1945), John Sloan (1871–1951), John Marin (1870–1953), Milton Avery (1885–1965), and Mary Cassatt (1844–1926) among others.
Leading the sale is Scene Near Greeley, Colorado, a rare and monumental Western landscape painted circa 1870-72 by John Frederick Kensett (1816–1872), one of the foremost painters of the Hudson River School. Estimated at $120,000 – 180,000, the painting returns to the market for the first time in nearly two decades and belongs to a small but significant group of paintings inspired by Kensett's travels in the American West. Distinguished by its exceptional scale, the painting depicts the sweeping plains near Greeley, Colorado, with the Rocky Mountains stretching across the horizon, rendered with Kensett's signature luminosity and serene sense of space.
Another notable work this season is Newell Convers Wyeth's (1882–1945) fresh-to-market painting, The Vigil. Estimated at $100,000 – 150,000, the present work was created for the Scribner's edition of author Marjorie Kinnan Rawlings' (1896–1953) Pulitzer Prize-winning novel The Yearling and depicts one of the book's most poignant moments. As one of thirteen illustrations commissioned for the publication, the work exemplifies Wyeth's remarkable gift for visual storytelling and carries exceptional provenance.
Also featured in the sale is Landscape Sketch and Brunette Nude, Striped Blanket: A Double-Sided Work by John Sloan (1871–1951), a rare double-sided canvas that brings together two compositions from distinct chapters in Sloan's oeuvre. Estimated at $70,000 – 100,000, the work pairs a Gloucester landscape painted in 1917 with a female nude executed more than a decade later, circa 1928–30. Uniting these otherwise disparate moments on a single canvas, the painting offers a unique record of Sloan's stylistic development and is further distinguished by its exhibition history at the Brooklyn Museum and the National Gallery of Art.
Further highlights rounding out the sale include John Marin's (1870–1953)Village, Maine, an accomplished 1923 watercolour executed during the artist's celebrated Maine period, estimated at $60,000 – 80,000; Milton Avery's (1885–1965)Nude with Upraised Arms, a striking late-career work exemplifying the artist's celebrated use of bold colour and simplified form, estimated at $60,000 – 80,000;
and Mary Cassatt's (1844–1926)Baby Charles: Head and Arms, a sensitive study reflecting the renowned American Impressionist's enduring fascination with themes of childhood and intimacy, estimated at $40,000 – 60,000.
Along with Diego Velázquez and Bartolomé Esteban Murillo, Francisco de Zurbarán ranks among the most important Spanish painters of the 17th century. Initially viewed as a follower of Caravaggio characterized by monastic asceticism, he came to be recognized in the 20th century as a prodigious colorist and was celebrated for a highly distinctive style that combines simplified forms with striking naturalism.
Although the artist has been the subject of several exhibitions over the past decade, his work has not been the focus of a large-scale international presentation since the monographic exhibition held at the Metropolitan Museum of Art and the Grand Palais in 1987–1988.
The National Gallery in London, the Musée du Louvre, and the Art Institute of Chicago have therefore joined forces to present a retrospective that will allow visitors to discover or rediscover his paintings, gain a deeper understanding of his work, and marvel at the modernity and visual power of his compositions. The Louvre exhibition places great emphasis on the monumental paintings commissioned by monasteries in Andalusia—works that established Zurbarán’s renown—as well as on his portraits and still lifes, while also giving pride of place to the brief body of work produced by his son, Juan de Zurbarán (1620–1649).
A total of 65 paintings have been brought together, the vast majority (50) being works by the master himself. A few paintings dating from the late 19th and early 20th centuries serve as an epilogue, highlighting Zurbarán’s significance for the French avant-garde (Édouard Manet, Pablo Picasso, Juan Gris). Organized into seven sections, the exhibition explores the various facets of Zurbarán’s painted oeuvre through a chrono-thematic approach that does justice to the trajectory of his long career, while occasionally stepping outside strict chronology to group works together.
The "Zurbarán" exhibition is presented in the Hall Napoléon alongside the exhibition "Sculpting Color: Masterpieces from the National Museum of Sculpture, Valladolid."
Although these are two distinct projects—each with its own curatorial concept and layout—there are clear echoes between them, as both feature works and artists from the same historical and cultural context.
The 17th century represents one of the golden ages of Spanish art. The reign of the Spanish Habsburgs—particularly that of Philip IV (1621–1665), known as the "Planet King"—was defined by the might of the Catholic monarchy. The Spanish Crown controlled numerous territories in Europe, such as Naples and the Spanish Netherlands, as well as a vast empire spanning the Americas and Asia. Yet, this era was also marked by economic decline and major catastrophes, such as the plague that struck Seville in 1649. Against the backdrop of the Counter-Reformation, the Catholic Church sought to reassert its authority in the face of Protestantism across Europe. Sacred art took on a new role: paintings and sculptures were commissioned to stir the emotions of the faithful and strengthen their belief.
The two exhibitions thus complement one another, offering visitors a comprehensive view of the richness, diversity, and points of convergence that characterized Spanish artistic creation in the 17th century. This approach highlights the interplay between painting and polychrome sculpture, as well as the constant dialogue and collaboration between painters and sculptors—particularly regarding religious commissions.
A major work by Zurbarán—*The Holy Face* (from the Valladolid Museum)—immediately introduces the visitor to one of the great challenges faced by 17th-century Spanish painters and sculptors: depicting, with the utmost precision and naturalism, the intrusion of the celestial realm into simple, everyday reality—in this instance, the fleeting, miraculous imprint of Christ’s face upon the cloth offered to Him by Saint Veronica.
Charlotte Chastel-Rousseau, Chief Curator, Department of Paintings, Musée du Louvre, in collaboration with Francesca Whitlum-Cooper and Daniel Sobrino Ralston (National Gallery, London) and Rebecca Long (Art Institute of Chicago).
EXHIBITION CATALOGUE
Edited by Charlotte Chastel-Rousseau. Co-published by Musée du Louvre and Éditions du Seuil; 21.5 x 28.5 cm, hardcover, 336 pages, 180 illustrations, €45 (to be confirmed).
EXHIBITION COMPANION BOOKLET
By Charlotte Chastel-Rousseau. Co-published by Musée du Louvre and Gallimard (Gallimard Découvertes series); 12 x 17 cm, hardcover, 64 pages, 34 illustrations, €11.50. 5 - LOUVRE MUSEUM
Zurbarán ranks among the most important Spanish painters in the history of art. His major painting cycles created for religious orders, his figures of elegant female saints, and his still lifes impress and move the viewer through their highly expressive use of light and their sculptural quality. This exhibition traces his long and brilliant career, which unfolded primarily in Seville and Madrid. It pays tribute to his distinctive style, which combines simplified forms and uncluttered compositions with a virtuoso technique for rendering reality. With immense talent, he captures on canvas the expression of a face, the richness of a fabric, the fall of drapery, the texture of objects, and the softness of a lamb’s fleece.
Seville 1626–1634: Painter to the Religious Orders
Since the late 16th century, Seville had been bustling with the intense commercial activity of its port on the Guadalquivir River. Its wealth relied chiefly on the flow of gold and silver from territories in the Americas controlled by the Spanish Crown. The city was also home to numerous religious communities. Painters and sculptors were commissioned to embellish churches and convents and to give visual form to the Christian message.
In 1626, Zurbarán returned to Seville. A commission from the Dominican friars for the church of San Pablo el Real gave him the opportunity to demonstrate his virtuosity: the monumentality, sculptural power, and restrained emotion of his *Christ on the Cross* made a profound impression. Following this triumph, major commissions for several convents earned the artist great renown and led to his appointment as *maestro pintor* (master painter) by the city. The Convent of the Shod Order of Mercy in Seville
The religious Order of Our Lady of Mercy was founded in 1249 by Peter Nolasco (1181–1256). Its members—the Mercedarians—were charged with the mission of liberating Christians held captive by Muslims, whether through military action, the payment of ransoms, or by surrendering themselves as hostages to take the captives' place.
Over the centuries, the Order’s organization and vocation evolved. Some religious members chose to live out their vows of poverty with greater austerity, going barefoot as a sign of this commitment; they became known as the "Discalced" (or barefoot) friars. Others remained faithful to the original rule and were known as the "Calced" (or shod) friars.
In 1628—the year Peter Nolasco was canonized—Zurbarán received a major commission for the convent of the Shod Mercedarians in Seville. It included, notably, twenty-two paintings illustrating the saint’s life for the small cloister and two paintings—including the moving *Saint Serapion*—for the convent’s mortuary chapel.
Francisco de Zurbarán, *Christ on the Cross* CC0 The Art Institute of Chicago
Devotion, Vision, and Illusion
The challenge of translating into paint the visionary experiences of holy figures and miraculous apparitions runs through Zurbarán’s entire body of work. How can the mental images described in mystical texts be made visible? What form should the supernatural irruption of the divine take? How can devotion be stirred in the faithful who view these paintings in a religious setting?
Through bold and inventive compositions, Zurbarán succeeds in bringing celestial manifestations into our earthly realm. His masterful handling of light renders the presence of these apparitions extraordinarily tangible. The painter plays with the boundary between mystery and reality, between illusion and representation. Are these mental visions or actual divine apparitions? The figures at prayer who witness these scenes guide our own response to these supernatural events: through a *mise en abyme* effect, they invite us to look at what they see.
Depicting the Immaculate Conception
In the early 17th century, devotion to the Immaculate Conception gained great popularity in Spain. A lively theological debate centered on the belief that the Virgin Mary was conceived "immaculate"—meaning "spotless"—free from original sin and untainted by human imperfection.
The depiction of this abstract concept draws inspiration from the Book of Revelation. In it, Saint John recounts a vision he experienced on the island of Patmos: a glorious woman standing upon the moon, clothed in the sun, and crowned with twelve stars. Given that devotion to the Virgin Mary lies at the heart of Sevillian piety, Zurbarán frequently painted the Virgin of the Immaculate Conception, following the example of Francisco Pacheco (1564–1644)—a painter, theorist, and proponent of this doctrine. Mary is depicted as very young, dressed in a white robe (symbolizing her purity) and a long blue mantle.
Madrid 1634: A Pivotal Sojourn in the Service of the King of Spain
In 1634, Zurbarán was summoned to Madrid, the capital of the Spanish kingdom, which was experiencing a major cultural and artistic flourishing under the reign of Philip IV (1621–1665). The painter was invited to contribute to the decoration of the new Buen Retiro Royal Palace. He likely secured this commission thanks to the support of Diego Velázquez (1599–1660)—a childhood friend and fellow Sevillian who had been appointed painter to the king in 1623.
In Madrid, Zurbarán discovered the magnificent royal collections, which were particularly rich in Italian and Flemish paintings. He tackled new historical and mythological subjects and met the finest artists of his day—men who, like him, painted for the king. By the time he returned to Seville, Zurbarán’s visual culture had been enriched, and his style had evolved toward more elaborate compositions, as evidenced by the exceptional series of paintings from the Charterhouse of Jerez de la Frontera. His background landscapes now teemed with figures and architectural elements, while his handling of light and color became even more subtle.
The Hall of Realms at the Buen Retiro Palace in Madrid
Commissioned by King Philip IV (1621–1665) and his minister, the Count-Duke of Olivares, the Buen Retiro ("Good Retreat") residence was conceived as a place for rest and recreation. Yet this new palace, designed by architect Alonso Carbonel, also served as a venue for royal display and state ceremony.
In the Great Hall—to which numerous artists contributed between 1630 and 1635—the paintings showcased the Spanish Habsburg dynasty and the power of the king. It takes its name—the "Hall of Realms" (Salon des royaumes)—from the twenty-four coats of arms painted on the vault, representing the territories under the control of the King of Spain.
For this prestigious commission, Zurbarán painted historical and mythological subjects—themes previously unseen in his body of work—including two large battle scenes and ten of the twelve labors of the Greek hero Hercules. Although the Buen Retiro Palace was largely destroyed, the Hall of Realms is one of the few spaces that has been preserved.
The Carthusian monastery of Nuestra Señora de la Defensión (Our Lady of Defense) was founded in the 15th century near Jerez de la Frontera, approximately 90 km south of Seville. It stands on the site of a miraculous apparition of the Virgin Mary, which had enabled Christian armies to escape a Muslim ambush during the 13th or 14th century.
In 1636, the monastery’s prior decided to replace the medieval decoration of the church’s main altar and commissioned the architect Alejandro de Saavedra to design the new one. The sculptures were commissioned from José de Arce, and the paintings from Zurbarán. Tragically, this monumental ensemble was dismantled in the 19th century during the Napoleonic invasions. The paintings were subsequently sold and scattered; today, they are housed in various museums around the world. The series of Jacob and his sons, or the Twelve Tribes of Israel
According to Genesis, the first book of the Bible, the patriarch Jacob was the father of twelve sons, who were themselves the legendary founders of the twelve tribes of Israel. This theme—rarely depicted in painting—illustrates the broadening range of subjects Zurbarán addressed during the 1640s. While the circumstances surrounding the creation of this series remain unknown, the thirteen paintings were likely intended for the American market, where this subject was popular in the seventeenth century.
Indeed, a European belief held that the indigenous peoples colonized by Spain were distant descendants of the lost tribes of Israel, scattered following the Assyrian invasion. Seville traded extensively with the territories conquered in Central and South America; large numbers of works by Zurbarán and other Sevillian artists were shipped there.
Francisco de Zurbarán, *The Adoration of the Magi*
Isolated figures, character studies, or true portraits
Several portraits painted by Zurbarán have survived, such as the portrait of Juan Bazo de Moreda displayed in this room. This lesser-known aspect of his work testifies to the diversity of his output and his clientele, which extended beyond religious orders. His figures of saints possess the same presence and individuality as his portraits; indeed, the artist often employs the same representational conventions. The isolated figure is illuminated by side-lighting and stands out against a dark background; in most cases, the subject is depicted standing.
Some figures are life-size, making them all the more impressive. Zurbarán notably specialized in depicting magnificently dressed female saints. The colorful shimmer of their elegant attire, the refinement of their finery and hairstyles—combined with their individualized features and intense gazes—lend them an enigmatic presence. Some bear the martyr’s palm and can be identified by an attribute recalling the cruel circumstances of their deaths, such as Saint Lucy’s gouged-out eyes.
Seville’s prosperity during the first half of the 17th century fostered the growth of the art market. Influenced by Neapolitan and Flemish styles, still-life paintings were particularly prized by patrons who favored decorative and pleasing works. Recent research has highlighted the great diversity of this pictorial genre, which seeks to showcase the richness of table settings and the refinement of tableware, as well as the simple beauty of everyday objects.
By employing rigorously geometric compositions, Francisco de Zurbarán aligns himself with the tradition established in Spain by the painter Juan Sánchez Cotán (1560–1627). Despite the austerity of the depiction, the foodstuffs and utensils shown are precisely those that adorned the interiors of affluent homes. These still lifes offer the painter an opportunity to demonstrate his ability to imitate reality and to render the materiality of the objects presented for contemplation.
Zurbarán the Elder, or the silent presence of objects
Francisco de Zurbarán painted a few rare but striking still lifes. The objects are rendered with impressive economy of means. They stand out against a dark background, thanks to a sophisticated interplay of light and shadow that defines their volume.
The silent, motionless power of these compositions has prompted interpretations suggesting symbolic significance. This view was encouraged by the long-standing characterization of Zurbarán as "the painter of monks"—an artist whose output was exclusively religious. It is further reinforced by the fact that Francisco frequently incorporated still-life elements into devotional paintings depicting scenes from the childhood of Christ or the Virgin. Yet, should we view them solely through a lens of religious symbolism? Baskets of linen, plates of fruit, and pottery—all rendered with faithful attention to texture—also lend these scenes a touch of everyday reality. Juan de Zurbarán (1620–1649)
In Seville, Francisco de Zurbarán ran a workshop where several talented painters worked—artists whose identities are sometimes difficult to ascertain. It is known, however, that his son, Juan de Zurbarán, trained there and quickly specialized in still-life painting.
In 1639, at the age of nineteen or twenty, Juan signed a magnificent painting of grapes on a plate—executed on copper—which bears witness to his talent for imitating nature. His paintings soon distinguished themselves from his father’s through their more abundant and highly decorative compositions. They were likely intended for a wealthy clientele and reflected the family’s aspirations for social advancement, facilitated by the fine education Juan received and his marriage to Mariana de Cuadros, the heiress of a wealthy merchant. Juan’s career was cut short in 1649 when he succumbed, at the age of twenty-nine, to the plague that struck Seville.
Juan de Zurbarán, *Flowers and Fruit in a Porcelain Bowl*
Seville and Madrid: The Final Years (1650–1664)
In 1649, the plague struck Seville, claiming nearly half the city's population. It triggered a severe economic crisis that caused a lasting slowdown in trade with the Americas and deprived artists of a portion of their clientele. Zurbarán lost his son Juan to the epidemic. When he returned to painting after this bereavement, he had to turn to new subjects aimed at a private clientele seeking works conducive to devotion. The Sevillian market was beginning to see an influx of Italian paintings with Baroque characteristics, as well as works by the young Bartolomé Esteban Murillo (1617–1682), who was gaining renown for his tender depictions of the Virgin and Child.
In 1658, Zurbarán moved permanently to Madrid, where he continued to paint until 1662. There, he reunited with his childhood friend Diego Velázquez and testified on his behalf when Velázquez sought admission to the Order of Santiago. He may also have crossed paths with Murillo, who was staying in Madrid between 1658 and 1660. Zurbarán died in 1664 at the age of 65.
A Style of Later Years?
The final years of Zurbarán’s career were marked by a profound stylistic evolution. From 1650 onwards, the painter moved away from his monumental style and simplified forms in favor of more elaborate compositions featuring theatrical touches in the spirit of the Italian Baroque. His holy figures became less sculptural, gaining instead in elegance and delicacy. Zurbarán introduced new themes into his painting, such as scenes of domestic intimacy featuring the Christ Child and the Virgin Mary, accompanied by Saint Joseph. While he continued to paint subjects typical of his career—such as the Immaculate Conception or Christ on the Cross—he rendered the light and the modeling of faces and bodies with greater nuance. This stylistic evolution demonstrates the aging artist's capacity for renewal.
Murillo / Zurbarán
Bartolomé Esteban Murillo (1617–1682) stands alongside Zurbarán and Velázquez as one of the most brilliant figures of Sevillian painting. His career flourished in Seville and later in Madrid during the 1650s. Nineteen years younger than Zurbarán, he appealed to a private clientele whose relationship with religion was becoming more sensitive and personal. He achieved great success with his depictions of the Immaculate Conception—surrounded by clouds of angels—and his Virgin and Child compositions, which were imbued with a delicate humanity.
Although the relationship between Murillo and Zurbarán is poorly documented, the two artists influenced one another; their paths almost certainly crossed in Seville and Madrid. It was long assumed that rivalry with Murillo forced Zurbarán to leave Seville; today, however, Zurbarán’s late style is viewed instead as part of a broader shift in devotional practices and the tastes of his patrons. 13 - Louvre Museum
Zurbarán and France: From the Romantic Imagination to the Avant-Garde
With a few exceptions—such as the impressive *Saint Francis* in the Lyon museum—Zurbarán’s early paintings did not reach France until the 19th century, following the depredations of Napoleon’s armies in Seville. Between 1808 and 1814, French officers carried off numerous paintings. In 1838, Louis-Philippe, King of the French (1830–1848), established a Spanish Gallery at the Louvre, sparking a passion for Spain and, in particular, for Zurbarán. The generation of Romantic painters and writers discovered his figures of monks and female saints with great enthusiasm; he thus became known as the painter of the mystical.
After the Revolution of 1848, the works from the Spanish Gallery—considered the personal property of the deposed king—were auctioned off in London in 1853 and scattered across Europe. At the turn of the 20th century, artists seeking renewal and modernity, such as Pablo Picasso and Juan Gris, viewed Zurbarán—and the strict geometry of his compositions—as a precursor. This avant-garde perspective on his work continues to shape our perception of his paintings, which are highly prized today for the sculptural power of their forms and the effective simplification of their compositions.
