For Art's Sake: Selected Works by Tiqui Atencio & Ago Demirdijan

For Art’s Sake

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Selected Works by Tiqui Atencio & Ago Demirdjian

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Selected Works by Tiqui Atencio & Ago Demirdjian

“For me, it’s first emotion, then my eye, then my head.

I live with what I love.”

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Contents

Collecting with Purpose Structural Sensibilities

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Tobias Ostrander

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Tiqui and the YBAs

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Selected Works

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Selected Design

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21st Century Evening Sale

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Post-War and Contemporary Art Day Sale

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Design Sale: Highlights

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Sale Information

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Selected Works by Tiqui Atencio & Ago Demirdjian

Collecting with Purpose

For Tiqui Atencio and Ago Demirdjian, art functions as a catalyst for conversation: a conversation between an artist and the world, between an artist and the public, and between the public and the society they inhabit.

“[Artists] are the antennas of the world,” Tiqui says “picking up on the energy and transforming it into their own vocabulary for us to appreciate, to see, to feel.” For the Venezuelan-born collector and taste maker, those conversations began when she was in her early 20s and her beloved uncle started taking her to galleries and museums all over the world. Enthralled by the works of art that she saw, Tiqui set out to learn as much as she could, sparking what would become a lifetime endeavor. The product of these visits, along with countless other conversations, is this dynamic selection of works that encapsulates the artistic zeitgeist of past decades. These paintings, sculptures and examples of twentieth-century design represent the groundbreaking work that was being done by the most exciting artists of their generation, in mediums that reflect the spirit of contemporary innovation. In addition to this remarkable collection, Tiqui’s highly refined eye has resulted in her becoming a sought after advisor to museums around the world, and together she and Ago have served on influential committees such as the International Council of the Tate Gallery in London, the Solomon R. Guggenheim Museum in New York, the Musée d’Art Moderne de Paris and the Nouveau Musée National de Monaco. Tiqui’s passion to communicate the joy she found in art has also led to her authoring several critically acclaimed books including Could Have, Would Have, Should Have (Art/Books, 2016), For Art’s Sake: Inside the Homes of Art Dealers (Rizzoli, 2020), and Inside the Homes of Artists: For Art’s Sake (Rizzoli, 2024).

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The works in For Art’s Sake have been selected by Tiqui and her husband Ago from a collection owned by Artapar Ltd and Mayfair Oeuvres d’Art Ltd. Atencio and Demirdjian are a couple who have spent a lifetime convening artists and philanthropists in the service of celebrating artistic creativity. Breadth of their connoisseurship is reflected in the inclusion of some of the most well-known names in Western Contemporary art plus emerging artists representing a diverse range of locations, styles and mediums. Important works by Ed Ruscha and Cecily Brown form the cornerstones of the collection and reflect its international scope, while significant works by Louise Bourgeois, and Damien Hirst, Tracey Emin and other members of the YBAs (Young British Artists) attest to the importance of London as the hotbed of creative endeavor during the 1990s, and a place that was the couple’s home for many years. The work of YBA artists holds a special place in their heart and together they became pioneers in this respect, admiring the young artists shortly after arriving in the British capital and before it gained the critical attention of collectors. “I became very emotional when I first saw their works,” Tiqui says, “I was determined to find out why I was feeling this way, and that led to a prolonged period of studying these groundbreaking artists.” The collection’s YBA grouping is led by Damien Hirst’s I-Chloro-2, 4-Dinitrobenzene, acquired early in the artist’s career, an example of the openness to new ideas, inherent shock value, and a risk-taking attitude that became characteristic of the time.

Another important early acquisition was Cecily Brown’s 1999 painting Bedtime Story which exemplifies the core values of the collection in reflecting the conversations and dialogues that Tiqui and Ago seek out. A resolutely Contemporary artist, the British-born but Brooklyn-based Brown engages in a dialogue with art history.

Much of her inspiration comes directly from the Old Master artists she admires, but in the case of the present work, Brown looks to the more recent past, and her interest in the work of the DutchAmerican Abstract Expressionist painter Willem de Kooning, to explore the cross-generational and cross-cultural references to abstraction and figuration.

The painting also speaks to Tiqui’s belief in what she terms “traveloguing,” whereby she links art with a particular time and place, not only as a way of marking a moment in the couple’s lives, but also as a way of helping them understand a people and their history.

“For me, collecting is a product of where I’ve been, what I’ve seen, and what I’ve learnt,” she says. Thus, works presented in For Art’s

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Sake invoke a distinct sense of place, and reflect the couple’s role as enthusiastic and dedicated patrons of the international art world. “I live with these works and they are part of my life, but there are always works out on loan to museums and galleries to further the conversation.”

“Art has the power to build bridges between people, between nations, between cultures, and between countries,” Tiqui continues.

“Being part of that world makes us better.” At Tate Modern in

Selected Works by Tiqui Atencio & Ago Demirdjian

London, Tiqui has sought to expand the institution’s collection into underrepresented areas of art. She is Trustee Emeritus of the Tate’s American Foundation and chaired the Tate’s Latin American Acquisitions Committee, which she started over 23 years ago. It was the museum’s first committee to proactively shift the institution’s art historical narratives beyond a U.S.-Eurocentric canon. During her tenure over 300 works by 100 different artists from the region have been acquired for the museum’s permanent collection.

In this she continues a tradition she first began as Chair of the International Directors Council of the Solomon R. Guggenheim Museum in New York. Here, she was a close confidante of the museum’s Directors Thomas Krens and Richard Armstrong, and has served as an Ex-Officio Trustee. She shares the institution’s vision that art should engage both local and international audiences in order to explore ideas across cultures. “If you have a passion for something,” she says, “there is nothing more rewarding than sharing it with others.”

Keen to expand the focus of scholars and collectors beyond the traditional art centers of New York, London, Paris and Hong Kong, in 2024 Tiqui and Ago launched the Caribbean Contemporary Art Show and Prize. Located on the island of Mustique, this biennale is a transformative initiative that champions and empowers artists of Caribbean origin, connecting them with the wider art world. In addition to the exhibition, a major juried art prize celebrates and provides tangible support for emerging local artists, helping to foster a vibrant and sustainable art ecosystem in the region.

This passion for education is also reflected in Tiqui’s books, which not only describe her own collecting journey but also open the door on the notoriously secretive art world. She interviews both artists and dealers in order to share knowledge and attempts to democratize the art world in the process, hoping to encourage a whole new generation of collectors.

For Art’s Sake: Selected Works by Tiqui Atencio & Ago Demirdjian reflects the couple’s lifelong conversation with art. It displays their holistic approach to collecting, and their belief that art should be something that teaches us about the world in which we live. It should reflect the times and places in which it was created, challenging our assumptions, and exposing us to new ideas. It should be admired, loved, and experienced. But most of all it should bring us together.

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“It was very important to find out what the protagonist in the art world had to offer. I wanted to learn from them, to delve into their homes and their souls and why they were collecting or why they were creating.

I asked them a thousand questions and I became more informed of how they thought, how they lived, how they exposed their arts, how they put their furniture together. It gave me a view into their souls, into their passions.”

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Structural Sensibilities Tobias Ostrander

Estrellita B. Brodsky Curator at Large, Latin America Tate Modern

Ago Demirdjian and Tiqui Atencio Demirdjian have been passionate about art for over four decades, building an international collection that includes an outstanding representation of Latin American artists.

Through their pioneering spirit, generosity, inquisitive instincts and deep belief in the structure and role of public institutions, both Ago and Tiqui have played transformative roles within several of the world’s leading museums. Together they became members of the International Directors Council at the Guggenheim in 1990, with Tiqui becoming the chairwoman of the committee in 2000. At the Musée d’Art Moderne de Paris they have been on the International

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Committee since 2014. Together they are members of the International Council at Tate, where Tiqui was the founding chair of the Latin American Acquisitions Committee in 2002. For over two decades at Tate, Tiqui has fostered the acquisition of hundreds of Modern and Contemporary works of Latin American Art, establishing Tate as an institutional leader in the study and presentation of art from the region. While their tastes and interests are global, their connection to

Selected Works by Tiqui Atencio & Ago Demirdjian

Latin American Art is at the core of their collecting and is closely tied to Tiqui’s Venezuelan roots. Ago and Tiqui are also active patrons of the Nouveau Musée National de Monaco.

Raised during the extraordinary postwar years when connections between Venezuela and the international art world were consolidated, Tiqui began collecting at a very young age. Her attraction to Geometric Abstraction reveals an acute aesthetic sensibility that was fostered within her country of origin, evidenced through her acquisition of impressive works by Jesús Rafael Soto and Gego. Soto’s rhythmic, optically engaging reliefs and penetrables, as well as Gego’s organic drawing and sculptural experiments with line, find close formal and conceptual companion pieces with Brazilian Neo-Concreto artists, specifically Helio Oiticica, Lygia Clark and Mira Schendel. Representing interests in exploring the older origins of these forms of abstraction in Latin America are the mobiles and shaped canvases by Uruguayan-Argentine Carmelo Arden Quin and Argentine Raúl Lozza. Expanding into other regional contexts engaged with geometries during the 1950s and 60s, the collection includes works by the German-Mexican Mathias Goeritz and the Cuban painter Carmen Herrera.

A commitment to subsequent generations of artists is evidenced through works from the 1990s and 2000s by the Brazilians Cildo Miereles and Jac Leirner and the Venezuelans Magdalena Fernández and Elias Crespin. Interests in Cuban-born artists Felix Gonzalez-Torres and Yoan Capote reveal personal connections to the Caribbean, specifically Ago and Tiqui’s decades-long connection with the island of Mustique. These interests have led to recent philanthropy on the island, through the establishment of the Mustique Caribbean Contemporary Art Show in 2024, which showcased artists from throughout the Caribbean.

Structural geometries, developed within tropical contexts, is a characteristic of many of the Latin American works represented in this collection, and while the depth of Ago and Tiqui’s acquisitions from this region have been exceptional and ground-breaking, one should additionally understand them within the wider context of their entire collection. It is important to recognize how specifically placing these works in dialogue with renowned US and European artists has been part of their larger strategy of structuring international visibility and sustained recognition for Latin America Art.

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“Great art should shock. Confuse. Unsettle.

At first, people criticize what they don’t know— and then, they get used to it. They begin to understand. That’s how you know it’s working.”

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Tiqui and the YBAs

From their earliest days in London, Tiqui Atencio and Ago Demirdjian were committed supporters of a group of artists who became known as the YBAs or Young British Artists.

Comprised of graduates from Goldsmiths, University of London and the Royal College of Art, the group was characterized by their often confrontational nature, their use of non-traditional materials, and an attitude that was both “oppositional and entrepreneurial” (K. Bush, “Young British art: Kate Bush in the YBA sensation,” Artforum, October 2004, online [accessed: 4/6/2025]). It was precisely this unconventional approach which first garnered Tiqui and Ago’s attention. “It was eye-popping” Tiqui has said, “and I would get emotional when I saw the works. I needed to know more about them and their groundbreaking approach.”

Out of this curiosity has grown a comprehensive collection containing work by some of the most important artists to have

emerged from the YBA movement. One of the leading figures was Damien Hirst, whose brightly colored spot paintings were first exhibited at what is now regarded as the birth of the movement, an exhibition called Freeze organized by Hirst and held in a disused government building in July 1988. Hirst’s I-Chloro-2, 4-Dinitrobenzene is emblematic of these early paintings and forms the centerpiece of this important group of YBA works. Its groundbreaking appearance could, at first glance, be seen to reflect the widely held belief that by the 1980s painting was dead (as espoused by Douglas Crimp in his influential 1981 essay), but at its heart these canvases were the result of Hirst’s need to paint, but not quite knowing what to commit to canvas.

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Hirst’s remarkable body of work as represented in this collection—which incorporates butterflies, dead flies, and pharmaceutical products—alludes to post-industrial Britain at the time. Also represented within this group is the work of Sarah Lucas, whose photography, collage, and sculpture tackles head on the social issues of the day. Together with examples of work by Tracey Emin, Gary Hume and Rebecca Warren, the members of the YBA movement used their art to convey a powerful message about the society in which they lived.

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As a result, London became the capital of the art world for the first time in centuries. The talent and energy of this new generation made Contemporary art “cool” again for the public at large, and suddenly going to see art in a gallery became an acceptable pastime for a whole generation of young people. The works selected by Tiqui Atencio and Ago Demirdjian reflect this sense of excitement, reinforcing Ago and Tiqui’s belief that artists are a unique powerful voice in the world. “Art is a powerful method of communication,” Tiqui says, “and the often provocative work of these young British artists was among the most powerful I’ve seen.”

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“If you have a developed eye, and you trust yourself—or have someone you trust—you’re safe.

But the key is trust and time. I work hard.

I research. And I listen.”

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Selected Works New York | 14 & 15 May 2025

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“The skeins of wool are a friendly refuge, like a web or a cocoon. The caterpillar gets the silk from his mouth, builds his cocoon and when it is completed he dies. The cocoon has exhausted the animal. I am the cocoon. I have no ego.

I am my work.”

LOUI SE BOURG EO I S

LOU ISE BOU RGEOIS (1911-2010) Untitled incised with the ar tist's initials 'LB' (on the side of the base) fabric, aluminum, steel, wood and glass head and base: 14 x 113/4 x 12 in. (35.6 x 29.8 x 30.5 cm.) vitrine: 70 x 24 x 24 in. (177.8 x 61 x 61 cm.) Executed in 2000.

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“The infinity of three-dimensional geometry is equal to that of organic forms.

The network is life.”

G EG O

GEGO (1912-1994) Untitled bronze 211/4 x 241/2 x 25 in. (54 x 62.2 x 63.5 cm.) Executed in 1977.

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“There is no danger for me to get stuck, because with each line I draw, hundreds more wait to be drawn.”

G EG O

GEGO (1912-1994) Original Drawing signed and dated 'gego 69' (lower right) ink on paper 107/8 x 115/8 in. (27.6 x 29.5 cm.)

Executed in 1969.

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“By abandoning the traditional four corner composition, we free ourselves from imposed constraint, and an infinite number of shapes can be invented. These forms carry in them a deeper expression of our psyche.

That is my belief.”

C AR MELO AR DEN Q UIN

CA R MELO A R DEN QU IN (1913-2010) Hexagone signed, inscribed, titled and dated 'A R DEN QUIN 'HEX AGONE' PA R IS 1950' (on the reverse) oil on shaped wood 183/4 x 161/8 in. (47.6 x 41 cm.) Executed in 1950.

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“It is not about staying within the limits of four regular angles, but overcoming and visually integrating the space adjacent to the objects created by the tensions of lines and planes of composition.

It is about getting to the discovery of form.”

C AR MELO AR DEN Q UIN

CA R MELO A R DEN QU IN (1913-2010) Lignes Noires 2 (Forme Galbée) signed, inscribed, titled and dated 'Arden Quin 'LIGNES NOIR ES 2 (FOR ME GA LBÉE)' 1952 Paris' (on the reverse) oil on wood 191/4 x 107/8 in. (48.9 x 27.6 cm.) Painted in 1952.

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“In sculpture, the elements—volumes or voids— unite in different ways, forming a rich variety of plastic combinations. Everything here is geometric and non-figurative. Elements present in their simple state of nature, without realist additions.”

C AR MELO AR DEN Q UIN

CA R MELO A R DEN QU IN (1913-2010) Móvil incised with the ar tist's monogram and date 'A 49' (on the central horizontal element) hanging mobile—wood, metal and monofilament 11 x 181/4 x 107/8 in. (27.9 x 46.4 x 27.6 cm.) Executed in 1949.

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“Art is not for the masses. It is for the spirit.”

MATHIA S G OERTIZ

M ATHI AS GOER ITZ (1915-1990) Mensaje a Lupe incised with the title 'MENSA JE A LUPE' (lower edge); signed with the ar tist's initials 'MG' (on the reverse) gold leaf and gesso on wood diameter: 201/8 in. (51.1 cm.) Executed circa 1960.

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“I never met a straight line I did not like.”

C AR MEN HER R ER A

CA R MEN HER R ER A (1915-2022) Horizontal signed, titled and dated 'Carmen Herrera HOR IZONTH A L [sic.] 1965' (on the reverse), signed again 'Carmen Herrera' (on the stretcher) acr ylic on canvas 391/4 in. (99.7 cm.) diameter Painted in 1965.

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“The back of transparency lies in front of you and the ‘other world’ turns out to be this one.”

MIR A SC HENDEL

MIR A SCHENDEL (1919-1988) Graphic Object oil and graphite on rice paper, metal hardware and acr ylic sheets 195/8 x 195/8 in. (49.9 x 49.9 cm.) Executed in 1967.

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“I am perhaps beginning a more silent phase...

Listening to silence. Listening for liberation.”

MIR A SC HENDEL

MIR A SCHENDEL (1919-1988) Untitled signed and dated 'Mira 84' (on the reverse) oil on panel 14 x 10 in. (35.6 x 25.4 cm.)

Painted in 1984.

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“My work constitutes an attempt to immortalize fleeting moments and confer meaning to ephemeral things… for this endeavor I must seize the very instant in which the living experience seeps onto the symbol.”

MIR A SC HENDEL

MIR A SCHENDEL (1919-1988) Untitled [Two Works] signed and dated 'Mira, 71' (lower right of each panel) ink on paper printed on Formica each: 191/2 x 253/8 in. (49.5 x 64.5 cm.) Executed in 1971.

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“It’s a living organism, an essentially active work…

A passive attitude is impossible between you and the Bicho, either on its part or on yours.”

LYG IA C L AR K

LYGI A CLA R K (1920-1988) Bicho aluminum installation dimensions variable 153/4 x 153/4 x 153/4 in. (40 x 40 x 40 cm.) Executed in 1960.

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“What I wanted was to express space itself, not to compose within it.”

LYG IA C L AR K

LYGI A CLA R K (1920-1988) Planos em superficie modulada n° 94 paper collage on paper 113/4 x 113/4 in. (29.8 x 29.8 cm.) Executed in 1957.

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“I wondered what would happen if I could put myself inside the vibration.”

JESÚS R AFAEL SOTO

JESÚS R A FA EL SOTO (1923-2005) Sculpture Suspendu Bleu et Noir painted iron bars suspended in wooden structure installation dimensions: 90 x 293/4 x 293/4 in. (228.6 x 40 x 40 cm.) Executed in 1968.

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“I couldn’t use strong color with these— it gets in the way of the form. I had to bring the color way down so it wouldn’t take over.”

ELL S WORTH K ELLY

ELLSWORTH K ELLY (1923-2015) Gray Panel II oil on canvas 90 x 98 in. (228.6 x 248.8 cm.) Painted in 1977.

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“I think it’s my job to try to push sculpture forward, to keep it moving, keep it alive.”

ANTH ONY C ARO

A NTHON Y CA RO (1924-2013) Candy Mill welded bronze and brass 183/4 x 13 x 12 in. (46.5 x 33 x 30.5 cm.) Executed in 1988-1990.

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“My concern is always invention. I always want to invent a new language that’s different for me and for others too… I want to discover new things.

Because, to me, art is a way of knowing the world.”

LYG IA PAPE

LYGI A PA PE (1927-2004) O olho do guará n° 13 signed, titled and dated 'Lygia Pape/84 'O olho do guará n° 13'' (on the reverse) synthetic fur, gesso and neon light fixture mounted on panel 231/2 x 231/2 in. (59.7 x 59.7 cm.) Executed in 1984.

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“I’m interested in what gets us to stop and look as opposed to simply consuming images passively.

If there is anything political in my work then it is to be found in the ability of my images to question the nature of imagery itself.”

JOHN BALDESSAR I

JOHN BA LDESSA R I (1931-2020) Study for Blasted Allegories: Return... signed, titled and dated 'STUDY FOR BLASTED A LLEGOR IES: R ETUR N... BA LDESSA R I '78' (lower edge) seven color photographs with paint marker and pencil on board overall: 16 x 361/8 in. (40.6 x 91.6 cm.) Executed in 1978.

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“In distilling my ideas I was doing something analogous to making poetry—trying, in a way, to say the most with the least.”

JOHN MCC R AC K EN

JOHN MCCR ACK EN (1934-2011) Glacier signed, titled and dated 'John McCracken 88 "Glacier"' (interior lower edge) resin, fiberglass and ply wood 93 x 183/4 x 291/2 in. (236.2 x 47.6 x 74.9 cm.) Executed in 1988.

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“What the idea of ‘minimal art’ means to me is that the person has drained and rid himself of the burden, the cultural over-burden that stands shadowing and eclipsing art. I think art is quite apart from that and you have to really rid yourself of those securities and certainties and assumptions and get down to something, which is closer and resembles some kind of blankness. Then one must construct again out of this reduced circumstance.”

C AR L ANDR E

CA R L A NDR E (1935-2024) Blue...Step signed and dated 'carl andre 7-11-64' (on the first sheet) t y pewriter carbon on paper, in seven par ts, in ar tist's frames each: 133/8 x 103/4 in. (33.9 x 27.3 cm.) installation dimensions variable Executed in 1964.

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“The experience of color, the exclusive element of painting, became for me the very axis of what I do, the way I begin a work.”

HÉLIO O ITIC IC A

HÉLIO OITICICA (1937-1980) Metaesquema n° 229 gouache and ink on board 165/8 x 191/4 in. (42.2 x 48.9 cm.) Executed circa 1956-1958.

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“I am interested in the expressive potential of color and structure, not as representation, but as experience.”

HÉLIO O ITIC IC A

HÉLIO OITICICA (1937-1980) Metaesquema gouache on board 121/4 x 13 in. (31.1 x 33 cm.) Executed in 1958.

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“I like the idea that the anxiety of modern life could be hiding behind any given mountain, and the sounds of the city and everything. ‘Blast Curtain’ comes from those walls, those steel walls that you see at airports to cut down on sound. And I thought that this had to be painted so I could gammer down these words.

And then the idea of some kind of fantasy mountains with the palindromic idea began to like say there’s some sort of crazy metaphor for glory.”

ED RUSC HA

ED RUSCH A (B. 1937) Blast Curtain signed and dated 'Ed Ruscha 1999' (on the reverse) acr ylic on canvas 64 x 64 in. (162.6 x 162.6 cm.)

Painted in 1999.

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“I didn’t like oil painting anymore. I had gotten interested in the idea of staining things instead, and then it began to seem natural to stain things with things that really stain. It seemed simple—the direct way between A and B—as opposed to trying to illustrate a stain using traditional illustrator’s tools.”

ED RUSC HA

ED RUSCH A (B. 1937) Devil or Angel red cabbage stain on canvas 54 x 60 in. (137.2 x 152.4 cm.) Executed in 1973.

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“The sensation of the isolation of the individual was something that I only appreciated when the work was finished... As if the subject had been reduced to just another algorithm.”

C ILD O MEIR ELES

CILDO MEIR ELES (B. 1948) Jode de Velha X A/OP 8B signed, titled and dated 'Cildo Meireles 'SER IE B 8 X A /OP' 93/4' (on the reverse) acr ylic on carpenter rulers mounted on panel 247/8 x 243/4 in. (63.2 x 62.9 cm.) Executed in 1993-1994.

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“The Insertions into Ideological Circuits [in part] arose from the recognition of two fairly common practices: chain letters (letters you receive, copy and send on to other people) and messages in bottles, flung into the sea by victims of shipwrecks.”

C ILD O MEIR ELES

CILDO MEIR ELES (B. 1948) Inserções em Circuitos Ideológicos: Projeto Coca-Cola inscribed 'C.M. 5-70' (on transfer text) transfer text on Coca-Cola glass bottles, in three par ts each: 97/8 x 21/4 x 21/4 in. (25.1 x 5.7 x 5.7 cm.) Executed in 1970-1988.

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“The act of making the sculpture and the sculpture itself create a sort of meaning machine that, when the work is good, is hard, if not impossible, to turn off.”

C HAR LES R AY

CH A R LES R AY (B. 1953) Hand Holding Egg porcelain 31/4 x 8 x 31/2 in. (8.3 x 19.7 x 8.9 cm.) Executed in 2007.

This work is number three from an edition of five plus one ar tist's proof.

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For Art’s Sake

“I’ve reached the point, in any case, of finding myself by now incapable of living a normal life. If that’s what I wanted I’d have to give up making art.

Everything you present to the world is something you have to stand by.”

MARTIN K IPPENB ERG ER

M A RTIN K IPPENBERGER (1953-1997) Mirror for Hang-Over Bud numbered 'No. 6/7' (on the reverse) wood, metal, casting resin, aluminium and foil 58 x 381/4 x 8 in. (147.3 x 96.8 x 20.3 cm.) Executed in 1990. This work is number six from an edition of seven unique variants plus three unique ar tist's proofs.

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For Art’s Sake

“I think some of the things I am interested in—like bringing metaphor into a minimal language or bringing the question of faith back into art—are things that most people aren’t interested in. Artists spent decades getting rid of the connotations of faith being married to art.”

ROB ERT G OB ER

ROBERT GOBER (B. 1954) Untitled signed and dated 'Gober 2006-7' (on the reverse) gy psum polymer and watercolor 12 x 103/4 x 4 in. (30.5 x 26.2 x 10.2 cm.) Executed in 2007.

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For Art’s Sake

“Even in its darkness, water has this picturesque element.

It’s something about the human condition. It’s not the water itself—it’s humanity’s relationship to water. It’s a human need, that water be a positive force.”

RONI H OR N

RONI HOR N (B. 1955) Opposite of W hite, v.2 solid cast glass with as-cast surfaces 18 x 36 x 36 in. (45.7 x 91.4 x 91.4 cm.)

Executed in 2007.

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For Art’s Sake

“My work is very conceptual and it takes years to develop and produce. Things are happening that have no manifestation for a long time.”

RONI H OR N

RONI HOR N (B. 1955) W hite Dickinson, THE MIND IS SUCH A NEW PL ACE, L AST NIGHT FEELS OBSOLETE stamped with the ar tist's initials and number 'ED 1/3 R H' (on the underside) aluminum and solid cast plastic 1073/4 x 2 x 2 in. (272.5 x 5.1 x 5.1 cm.) Executed in 2006. This work is number one from an edition of three.

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For Art’s Sake

“Things are suggested or alluded to discreetly. The work is untitled because ‘meaning’ is always shifting in time and place. Also, this isn’t really my language, but the language I learned. So I’m reluctant to give something a name imposed on me. You have to deal with who your public is. Who are you making these days for?

Who are you trying to establish a dialogue with?”

FELI X G ONZ ALE Z-TOR R ES

FELIX GONZA LEZ-TOR R ES (1957-1996) Untitled (Bloodwork - Steady Decline) signed 'Felix Gonzalez-Torres' (on a paper label on the reverse) graphite and gouache on paper 143/4 x 107/8 in. (36.3 x 27.2 cm.) Executed in 1994.

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99

For Art’s Sake

“Above all else, it is about leaving a mark that I existed: I was here. I was hungry.

I was defeated. I was happy.

I was sad. I was in love.

I was afraid. I was hopeful.

I had an idea and I had a good purpose and that’s why I made works of art.”

FELI X G ONZ ALE Z-TOR R ES

FELIX GONZA LEZ-TOR R ES (1957-1996) "Untitled" (March 5th) #2 light bulbs, porcelain light sockets and electrical cords height: 113 in. (287 cm.) Executed in 1991. This work is number three from an edition of t went y plus t wo ar tist's proofs and is accompanied by a cer tificate of authenticit y signed by the ar tist.

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For Art’s Sake

“There was a sequence of events that occurred— a noticing of the web: in nature, in different places where I would come upon it and notice it. It folded nicely into many thoughts I was having about time and vulnerability and the paradox that it presents.

It just fit for me.”

JIM H OD G ES

JIM HODGES (B. 1956) Trembling with Joy white brass chains installation dimensions variable approximately: 59 x 118 in. (150 x 300 cm.)

Executed in 1994.

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103

For Art’s Sake

“I am interested in seeing how a certain situation can develop with potential accidents. I am inspired by the acts of potential collaborators. I am very clear about the rules of the game, but once it’s launched, I don’t intervene at all.”

FR ANC I S ALŸS

FR A NCIS A LŸS (B. 1959) Untitled (i) enamel on sheet metal signed and dated 'FR A NCIS A LŸS JUA N GA RCI A 1996' (on the reverse) 361/4 x 471/2 in. (92 x 119.4 cm.) (ii) enamel on sheet metal signed and dated 'F. A LŸS ENR IQUE HUERTA 1996' (on the reverse) 353/4 x 251/2 in. (91 x 64.8 cm.) (iii) enamel on sheet metal 353/4 x 251/2 in. (91 x 64.8 cm.) (iv) oil on canvas mounted on panel signed and dated 'Francis A lÿs 1996' (on the reverse) 73/4 x 113/4 in. (19.5 x 30 cm.) (v) oil on canvas mounted on panel signed and dated 'Francis A lÿs 1996' (on the reverse) 7 x 81/4 in. (17.8 x 21 cm.) (vi) oil on canvas mounted on panel signed and dated 'Francis A lÿs 1996' (on the reverse) 43/4 x 71/4 in. (12 x 18.4 cm.) (vii) oil on canvas mounted on panel 43/4 x 71/4 in. (12 x 18.4 cm.) Painted in 1995-1996.

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105

For Art’s Sake

“In silent ways, materials tell their stories.”

JAC LEIR NER

JAC LEIR NER (B. 1961) Little Light electric wire, nails and lamp 71 x 24 in. (180.3 x 61 cm.) Executed in 2014.

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107

For Art’s Sake

“You have to like everything that you’re painting.

Maybe on a narrative level it seems harsh... but I like everything in all my paintings.”

JOHN CUR R IN

JOHN CU R R IN (B. 1962) The Danes signed and dated 'John Currin 2007' (on the reverse) oil and shellac over etching on paper image: 71/8 x 83/4 in. (18 x 21.1 cm.) sheet: 111/8 x 141/4 in. (28.2 x 35.8 cm.) Executed in 2006-2007.

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109

For Art’s Sake

“My artistic work is interested in women; not French women or Arab women, but all women, because it is a universal cause and struggle.”

G HADA AMER

GH A DA A MER (B. 1963) Untitled (W hite) signed and dated 'Ghada amer 99' (right turning edge) embroider y and acr ylic on canvas 721/8 x 631/4 in. (183.1 x 160.3 cm.) Executed in 1999.

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111

For Art’s Sake

“Instability has been a common thread in my research... allowing the work to be prepared for a possible transformation.”

MAG DALENA FER NÁNDE Z

M AGDA LENA FER NÁ NDEZ (B. 1964) 6e000 stainless steel 76 x 22 x 22 in. (193 x 55.9 x 55.9 cm.) Executed in 2000.

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113

For Art’s Sake

“All memories stop here, and together we become every memory that has ever been.”

UG O RONDIN ONE

UGO RONDINONE (B. 1964) Get up girl a sun is running the world cast aluminum and white enamel 1791/8 x 1441/2 x 130 in. (455 × 367 × 330 cm.) Executed in 2006. This work is the ar tist's proof from an edition of three plus one ar tist's proof.

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115

For Art’s Sake

“What interests me most in art is its inherent slowness. I associate slowness with the possibility of being able to be. When things are going slowly, the scale of measurement and values itself begins to dissolve.”

UG O RONDIN ONE

UGO RONDINONE (B. 1964) nude (x x x x x x) cast wax and ear th pigments 251/2 x 25 x 19 in. (65 x 63.5 x 48.3 cm.)

Executed in 2010. This work is number t wo from an edition of three plus t wo ar tist's proofs.

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117

For Art’s Sake

“What was exciting for me, here, was that what happens as whimsy in the drawings or as a decision made with an improvisational spirit.”

ELLEN G ALL AG HER

ELLEN GA LLAGHER (B. 1965) Untitled signed and dated 'Ellen Gallagher 1998' (on the reverse) oil, ink and paper collage on canvas mounted on panel 48 x 48 in. (122 x 122 cm.) Executed in 1998.

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119

For Art’s Sake

“No one is famous when they wake up in the morning, so it’s nice seeing people in moments when they’re just being themselves.”

ELIZ AB E TH PE Y TON

ELIZA BETH PEYTON (B. 1965) Jarvis and Liam Smoking signed, titled and dated 'Jar vis and Liam Smoking 1997 Elizabeth Pey ton' (on the overlap) oil on canvas 121/8 x 91/8 in. (30.8 x 23.2 cm.) Painted in 1997.

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121

For Art’s Sake

“I wanted to create a system where whatever decisions you make within a painting, the paintings end up happy. And I came up with spot paintings.”

DAMIEN HIR S T

DA MIEN HIRST (B. 1965) 1-Chloro-2, 4-Dinitrobenzene household gloss on canvas 511/4 x 471/4 in. (130 x 120 cm.) Painted in 1997.

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123

For Art’s Sake

“I had them [butterflies] in my bedroom... I got wooden frames and nylon mesh and I made a huge box in my bedroom. It took up half the bedroom... I found out where you could buy the pupae and all that kind of stuff and I got them all. I got them all in my bedroom and I bred them in my bedroom. I remember it because I was so cramped. There was only room for my bed and the box, and we were in the same room.”

DAMIEN HIR S T

DA MIEN HIRST (B. 1965) Untitled butterf lies and household gloss on canvas 301/2 x 481/2 in. (76.4 x 122.2 cm.) Executed in 2000.

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125

For Art’s Sake

“I once said that the spot paintings could be what art looks like viewed through an imaginary microscope... If you look closely at any one of these paintings a strange thing happens: because of the lack of repeated colours, there is no harmony... So in every painting there is a subliminal sense of unease; yet the colours project so much joy it’s hard to feel it, but it’s there.”

DAMIEN HIR S T

DA MIEN HIRST (B. 1965) Arg-Glu signed 'D. Hirst' (on the reverse) household gloss on canvas 23 x 21 in. (58.4 x 53.3 cm.)

Executed in 1994.

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127

For Art’s Sake

“For me, drawing is first out of the trenches. The intimacy means it’s always a lot closer to you, so in a way it’s much more precise a statement. In painting, there’s this kind of oceanic lift and moonlight depression just to get the thing to move at times, whereas a drawing is like the wind brushing a leaf along the ground.”

C HR I S OFILI

CHR IS OFILI (B. 1968) Within Reach 2 signed and dated 'CHR IS OFILI 2002' (on the reverse) charcoal, gouache and gold leaf on paper, in ar tist's frame sheet: 121/4 x 61/4 in. (30.7 x 15.5 cm.) frame: 18 x 111/2 in. (45.7 x 29.2 cm.) Executed in 2002.

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129

For Art’s Sake

“I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer.

The more time you give to the painting, the more you get back.”

C EC ILY B ROWN

CECILY BROWN (B. 1969) Bedtime Story signed 'Cecily' (lower left); signed and dated 'Cecily Brown 1999' (on the reverse) oil on linen 751/4 x 751/4 in. (191.1 x 191.1 cm.) Painted in 1999.

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131

For Art’s Sake

“The earlier, more analytic impulse was to use very rational but kind of absurd techniques or tendencies—mapping, charting, and architecture— to try and make sense of who I was in my time and space and political environment.”

JULIE MEHR E TU

J U LIE MEHR ETU (B. 1970) Kabul acr ylic and graphite on linen 95 x 144 in. (241.3 x 365.8 cm.) Executed in 2013.

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133

For Art’s Sake

“The structure, the architecture, the information and the visual signage that goes into my work changes in the context of what’s going on in the world and impacting me. Then there’s this other subconscious kind of drawing, this other activity that takes place, that is interacting with everything that is changing, and it’s the relationship between the two that really pushes me.”

JULIE MEHR E TU

J U LIE MEHR ETU (B. 1970) Untitled ink on vellum over paper 19 x 22 in. (48.3 x 55.9 cm.) Executed in 2002.

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135

For Art’s Sake

“It’s important that art, especially visual art, defends itself without anyone there talking about it.”

LIZ A LOU

LIZA LOU (B. 1969) American Idol I (black) fiberglass resin, 3-cut antique glass beads and steel 991/2 x 16 x 10 in. (251.7 x 40.6 x 25.4 cm.)

Executed in 2007-2009. This work is a unique variant from a series of four.

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137

For Art’s Sake

“I’ve become interested in when something starts as an accident and then becomes a template for other things, or reproduces itself and generates its own logic until something else intervenes to change it.”

WADE G UY TON

WA DE GU YTON (B. 1972) Untitled signed and dated 'Wade Guy ton 2008' (on the overlap) Epson UltraChrome inkjet on linen 841/4 x 69 in. (213.6 x 175.3 cm.) Executed in 2008.

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Selected Works by Tiqui Atencio & Ago Demirdjian

139

For Art’s Sake

“I wanted to use thousands of fishhooks to create a surface that would be almost tangible to the viewer upon their approach; this would become the tactile experience of standing in front of a metal fence.”

YOAN C AP OTE

YOA N CA POTE (B. 1977) American Appeal (Aerial) signed, titled and dated 'Capote 'A MER ICA N A PPEA L (A ER I A L)' 09-10' (on the verso) oil, fish hooks and nails on canvas mounted on panel 613/8 x 613/8 in. (155.9 x 155.9 cm.) Executed in 2010.

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Selected Works by Tiqui Atencio & Ago Demirdjian

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For Art’s Sake

“A lot of my work [is about] having a curiosity about everything, and a lot of that curiosity lends itself to mysteries of unknown and the paranormal world.”

HER NAN BA S

HER NA N BAS (B. 1978) The Giant (Grooming ) signed with the ar tist's initials and dated 'HB 05' (lower right) oil on paper 301/8 x 223/8 in. (76.5 x 56.6 cm.) Painted in 2005.

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For Art’s Sake

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Selected Works by Tiqui Atencio & Ago Demirdjian

Selected Design To be offered in Design Paris | 21 May 2025

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For Art’s Sake

JEA N PROU V É (1901-1984) Pair of ‘Visiteur à lattes’ armchairs, circa 1945 painted folded steel sheet and tube, ash and oak ; four fabric cushions each : 87 x 71 x 91 cm / 341/4 x 277/8 x 357/8 in (2) 146

Selected Works by Tiqui Atencio & Ago Demirdjian

147

For Art’s Sake

JEA N PROU V É (1901-1984) Sideboard ‘BA 12’, model created circa 1946 folded steel sheet and tube, aluminium sheet and oak 99 x 200,5 x 44,9 cm / 39 x 79 x 173/4 in 148

Selected Works by Tiqui Atencio & Ago Demirdjian

149

For Art’s Sake

CH A R LOTTE PER R I A ND (1903-1999) Long sofa, designed for the cafeteria at the headquarters of Sandoz pharmaceutical laboratories, Rueil-Malmaison, circa 1967 sipo, sapele and fabric 72,5 x 365 x 64,5 cm / 28Ω x 1433/4 x 243/8 in 150

Selected Works by Tiqui Atencio & Ago Demirdjian

151

For Art’s Sake

CH A R LOTTE PER R I A ND (1903-1999) Coffee table, circa 1960 par tially stained ash 38 x 226 x 84 cm / 15 x 89 x 33 in 152

Selected Works by Tiqui Atencio & Ago Demirdjian

153

For Art’s Sake

GEORGE NA K ASHIM A (1905-1990) ‘Minguren II’ dining table, 1990 American walnut 72 x 268 x 158 cm / 283/8 x 1053/4 x 621/8 in Signed George Nakashima and dated 1990 This table, designed in 1988 and completed on 11 May 1990, is one of the ar tist’s last creations.

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For Art’s Sake

M ATHIEU M ATÉGOT (1910-2001) ‘Santiago’ table, model created circa 1954 painted metal and glass 72,3 x 97 x 80,5 cm / 28Ω x 381/8 x 32 in 156

Selected Works by Tiqui Atencio & Ago Demirdjian

157

For Art’s Sake

RON A R A D (BOR N IN 1951) ‘Blo-Void III’ armchair, Gallery Mourmans edition, circa 2006 polished coloured steel and mesh steel 78 x 126 x 60 cm / 303/4 x 495/8 x 235/8 in Signed Ron Arad and numbered A P1

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For Art’s Sake

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Selected Works by Tiqui Atencio & Ago Demirdjian

21st Century Evening Sale New York | 14 May 2025

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For Art’s Sake

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Selected Works by Tiqui Atencio & Ago Demirdjian

FR A NCIS A LYS (B. 1959) Untitled enamel on sheet metal and oil on canvas mounted on panel installation dimensions variable Painted in 1995-1996. $250,000-350,000

LOU ISE BOU RGEOIS (1911-2010) Untitled incised with the artist's initials 'LB' (on the side of the base) fabric, aluminum, steel, wood and glass head and base: 14 x 113/4 x 12 in.

(35.6 x 29.8 x 30.5 cm.) vitrine: 70 x 24 x 24 in.

(177.8 x 61 x 61 cm.)

Executed in 2000. $600,000-800,000

CECILY BROWN (B. 1969) Bedtime Story signed 'Cecily' (lower left); signed and dated 'Cecily Brown 1999' (on the reverse) oil on linen 751/4 x 751/4 in. (191.1 x 191.1 cm.)

Painted in 1999. $4,000,000-6,000,000

LYGI A CLA R K (1920-1988) Bicho aluminum installation dimensions variable 153/4 x 153/4 x 153/4 in.

(40 x 40 x 40 cm.)

Executed in 1960. $400,000-600,000

GEGO (1912-1994) Untitled bronze 211/4 x 241/2 x 25 in.

(54 x 62.2 x 63.5 cm.)

Executed in 1977. $150,000-250,000

FELIX GONZA LEZ-TOR R ES (1957-1996) "Untitled" (March 5th) #2 light bulbs, porcelain light sockets and electrical cords height: 113 in. (287 cm.)

Executed in 1991. This work is number three from an edition of t went y plus t wo ar tist's proofs and is accompanied by a cer tificate of authenticit y signed by the ar tist. $500,000-700,000

CA R MEN HER R ER A (1915-2022) Horizontal signed, titled and dated 'Carmen Herrera HOR IZONTH A L [sic.] 1965' (on the reverse), signed again 'Carmen Herrera' (on the stretcher) acr ylic on canvas 391/4 in. (99.7 cm.) diameter Painted in 1965. $900,000-1,200,000

DA MIEN HIRST (B. 1965) 1-Chloro-2, 4-Dinitrobenzene household gloss on canvas 511/4 x 471/4 in. (130 x 120 cm.)

Painted in 1997. $600,000-800,000

JIM HODGES (B. 1956) Trembling with Joy white brass chains installation dimensions variable approximately: 59 x 118 in.

(150 x 300 cm.)

Executed in 1994. $400,000-600,000

RONI HOR N (B. 1955) Opposite of W hite, v.2 solid cast glass with as-cast surfaces 18 x 36 x 36 in.

(45.7 x 91.4 x 91.4 cm.)

Executed in 2007. $700,000-1,000,000

ELLSWORTH K ELLY (1923-2015) Gray Panel II oil on canvas 90 x 98 in. (228.6 x 248.8 cm.)

Painted in 1977. $2,000,000-3,000,000

J U LIE MEHR ETU (B. 1970) Kabul acr ylic and graphite on linen 95 x 144 in. (241.3 x 365.8 cm.)

Executed in 2013. $3,000,000-5,000,000

ELIZA BETH PEYTON (B. 1965) Jarvis and Liam Smoking signed, titled and dated 'Jar vis and Liam Smoking 1997 Elizabeth Peyton' (on the overlap) oil on canvas 121/8 x 91/8 in. (30.8 x 23.2 cm.)

Painted in 1997. $800,000-1,200,000

UGO RONDINONE (B. 1964) Get up girl a sun is running the world cast aluminum and white enamel 1791/8 x 1441/2 x 130 in.

(455 × 367 × 330 cm.)

Executed in 2006. This work is the ar tist's proof from an edition of three plus one ar tist's proof. $500,000-700,000

ED RUSCH A (B. 1937) Blast Curtain signed and dated 'Ed Ruscha 1999' (on the reverse) acr ylic on canvas 64 x 64 in. (162.6 x 162.6 cm.)

Painted in 1999. $4,000,000-6,000,000

ED RUSCH A (B. 1937) Devil or Angel red cabbage stain on canvas 54 x 60 in. (137.2 x 152.4 cm.)

Executed in 1973. $2,500,000-3,500,000

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Post-War and Contemporary Art Day Sale New York | 15 May 2025

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For Art’s Sake

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Selected Works by Tiqui Atencio & Ago Demirdjian

GH A DA A MER (B. 1963) Untitled (W hite) signed and dated 'Ghada amer 99' (right turning edge) embroider y and acr ylic on canvas 721/8 x 631/4 in. (183.1 x 160.3 cm.)

Executed in 1999. $30,000-50,000

CA R L A NDR E (1935-2024) Blue...Step signed and dated 'carl andre 7-11-64' (on the first sheet) t y pewriter carbon on paper, in seven par ts, in ar tist's frames each: 133/8 x 103/4 in.

(33.9 x 27.3 cm.) installation dimensions variable Executed in 1964. $60,000-80,000

CA R MELO A R DEN QU IN (1913-2010) Hexagone signed, inscribed, titled and dated 'A R DEN QUIN 'HEX AGONE' PA R IS 1950' (on the reverse) oil on shaped wood 183/4 x 161/8 in. (47.6 x 41 cm.)

Executed in 1950. $40,000-60,000

CA R MELO A R DEN QU IN (1913-2010) Lignes Noires 2 (Forme Galbée) signed, inscribed, titled and dated 'Arden Quin 'LIGNES NOIRES 2 (FORME GALBÉE)' 1952 Paris' (on the reverse) oil on wood 191/4 x 107/8 in. (48.9 x 27.6 cm.)

Painted in 1952. $40,000-60,000

CA R MELO A R DEN QU IN (1913-2010) Móvil incised with the ar tist's monogram and date 'A 49' (on the central horizontal element) hanging mobile—wood, metal and monofilament 11 x 181/4 x 107/8 in.

(27.9 x 46.4 x 27.6 cm.)

Executed in 1949. $40,000-60,000

JOHN BA LDESSA R I (1931-2020) Study for Blasted Allegories: Return... signed, titled and dated 'STUDY FOR BLASTED ALLEGORIES: RETURN...

BALDESSARI '78' (lower edge) seven color photographs with paint marker and pencil on board overall: 16 x 361/8 in.

(40.6 x 91.6 cm.)

Executed in 1978. $10,000-15,000

HER NA N BAS (B. 1978) The Giant (Grooming ) signed with the ar tist's initials and dated 'HB 05' (lower right) oil on paper 301/8 x 223/8 in. (76.5 x 56.6 cm.)

Painted in 2005. $20,000-30,000

YOA N CA POTE (B. 1977) American Appeal (Aerial) signed, titled and dated 'Capote 'AMERICAN APPEAL (AERIAL)' 09-10' (on the verso) oil, fish hooks and nails on canvas mounted on panel 613/8 x 613/8 in. (155.9 x 155.9 cm.)

Executed in 2010. $20,000-30,000

A NTHON Y CA RO (1924-2013) Candy Mill welded bronze and brass 183/4 x 13 x 12 in.

(46.5 x 33 x 30.5 cm.)

Executed in 1988-1990. $20,000-30,000

LYGI A CLA R K (1920-1988) Planos em superficie modulada n° 94 paper collage on paper 113/4 x 113/4 in. (29.8 x 29.8 cm.)

Executed in 1957. $30,000-50,000

JOHN CU R R IN (B. 1962) The Danes signed and dated 'John Currin 2007' (on the reverse) oil and shellac over etching on paper image: 71/8 x 83/4 in. (18 x 21.1 cm.) sheet: 111/8 x 141/4 in.

(28.2 x 35.8 cm.)

Executed in 2006-2007. $40,000-60,000

M AGDA LENA FER NÁ NDEZ (B. 1964) 6e000 stainless steel 76 x 22 x 22 in.

(193 x 55.9 x 55.9 cm.)

Executed in 2000. $20,000-30,000

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ELLEN GA LLAGHER (B. 1965) Untitled signed and dated 'Ellen Gallagher 1998' (on the reverse) oil, ink and paper collage on canvas mounted on panel 48 x 48 in. (122 x 122 cm.)

Executed in 1998. $60,000-80,000

GEGO (1912-1994) Original Drawing signed and dated 'gego 69' (lower right) ink on paper 107/8 x 115/8 in. (27.6 x 29.5 cm.)

Executed in 1969. $30,000-50,000

ROBERT GOBER (B. 1954) Untitled signed and dated 'Gober 2006-7' (on the reverse) gy psum polymer and watercolor 12 x 103/4 x 4 in.

(30.5 x 26.2 x 10.2 cm.)

Executed in 2007. $200,000-300,000

M ATHI AS GOER ITZ (1915-1990) Mensaje a Lupe incised with the title 'MENSA JE A LUPE' (lower edge); signed with the ar tist's initials 'MG' (on the reverse) gold leaf and gesso on wood diameter: 201/8 in. (51.1 cm.)

Executed circa 1960. $40,000-60,000

FELIX GONZA LEZ-TOR R ES (1957-1996) Untitled (Bloodwork - Steady Decline) signed 'Felix Gonzalez-Torres' (on a paper label on the reverse) graphite and gouache on paper 143/4 x 107/8 in. (36.3 x 27.2 cm.)

Executed in 1994. $80,000-120,000

WA DE GU YTON (B. 1972) Untitled signed and dated 'Wade Guy ton 2008' (on the overlap) Epson UltraChrome inkjet on linen 841/4 x 69 in. (213.6 x 175.3 cm.)

Executed in 2008. $200,000-300,000

DA MIEN HIRST (B. 1965) Arg-Glu signed 'D. Hirst' (on the reverse) household gloss on canvas 23 x 21 in. (58.4 x 53.3 cm.)

Executed in 1994. $200,000-300,000

DA MIEN HIRST (B. 1965) Untitled butterf lies and household gloss on canvas 301/2 x 481/2 in. (76.4 x 122.2 cm.)

Executed in 2000. $150,000-200,000

RONI HOR N (B. 1955) W hite Dickinson, THE MIND IS SUCH A NEW PL ACE, L AST NIGHT FEELS OBSOLETE stamped with the artist's initials and number 'ED 1/3 RH' (on the underside) aluminum and solid cast plastic 1073/4 x 2 x 2 in.

(272.5 x 5.1 x 5.1 cm.)

Executed in 2006. This work is number one from an edition of three. $100,000-150,000

M A RTIN K IPPENBERGER (1953-1997) Mirror for Hang-Over Bud numbered 'No. 6/7' (on the reverse) wood, metal, casting resin, aluminium and foil 58 x 381/4 x 8 in.

(147.3 x 96.8 x 20.3 cm.)

Executed in 1990. This work is number six from an edition of seven unique variants plus three unique ar tist's proofs. $80,000-120,000

JAC LEIR NER (B. 1961) Little Light electric wire, nails and lamp 71 x 24 in. (180.3 x 61 cm.)

Executed in 2014. $30,000-50,000

LIZA LOU (B. 1969) American Idol I (black) fiberglass resin, 3-cut antique glass beads and steel 991/2 x 16 x 10 in.

(251.7 x 40.6 x 25.4 cm.)

Executed in 2007-2009. This work is a unique variant from an series of four. $120,000-180,000

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JOHN MCCR ACK EN (1934-2011) Glacier signed, titled and dated 'John McCracken 88 "Glacier"' (interior lower edge) resin, fiberglass and ply wood 93 x 183/4 x 291/2 in.

(236.2 x 47.6 x 74.9 cm.)

Executed in 1988. $120,000-180,000

J U LIE MEHR ETU (B. 1970) Untitled ink on vellum over paper 19 x 22 in. (48.3 x 55.9 cm.)

Executed in 2002. $30,000-50,000

CILDO MEIR ELES (B. 1948) Inserções em Circuitos Ideológicos: Projeto Coca-Cola inscribed 'C.M. 5-70' (on transfer text) transfer text on Coca-Cola glass bottles, in three par ts each: 97/8 x 21/4 x 21/4 in.

(25.1 x 5.7 x 5.7 cm.)

Executed in 1970-1988. $20,000-30,000

CILDO MEIR ELES (B. 1948) Jode de Velha X A/OP 8B signed, titled and dated 'Cildo Meireles 'SER IE B 8 X A /OP' 93/4' (on the reverse) acr ylic on carpenter rulers mounted on panel 247/8 x 243/4 in. (63.2 x 62.9 cm.)

Executed in 1993-1994. $100,000-150,000

CHR IS OFILI (B. 1968) Within Reach 2 signed and dated 'CHR IS OFILI 2002' (on the reverse) charcoal, gouache and gold leaf on paper, in ar tist's frame sheet: 121/4 x 61/4 in.

(30.7 x 15.5 cm.) frame: 18 x 111/2 in.

(45.7 x 29.2 cm.)

Executed in 2002. $6,000-8,000

HÉLIO OITICICA (1937-1980) Metaesquema gouache on board 121/4 x 13 in. (31.1 x 33 cm.)

Executed in 1958. $80,000-120,000

HÉLIO OITICICA (1937-1980) Metaesquema n° 229 gouache and ink on board 165/8 x 191/4 in. (42.2 x 48.9 cm.)

Executed circa 1956-1958. $40,000-60,000

LYGI A PA PE (1927-2004) O olho do guará n° 13 signed, titled and dated 'Lygia Pape/84 'O olho do guará n° 13'' (on the reverse) synthetic fur, gesso and neon light fixture mounted on panel 231/2 x 231/2 in. (59.7 x 59.7 cm.)

Executed in 1984. $150,000-250,000

JESÚS R A FA EL SOTO (1923-2005) Sculpture Suspendu Bleu et Noir painted iron bars suspended in wooden structure installation dimensions: 90 x 293/4 x 293/4 in.

(228.6 x 40 x 40 cm.)

Executed in 1968. $250,000-350,000

CH A R LES R AY (B. 1953) Hand Holding Egg porcelain 31/4 x 8 x 31/2 in.

(8.3 x 19.7 x 8.9 cm.)

Executed in 2007. This work is number three from an edition of five plus one ar tist's proof. $250,000-350,000

UGO RONDINONE (B. 1964) nude (x x x x x x) cast wax and ear th pigments 251/2 x 25 x 19 in.

(65 x 63.5 x 48.3 cm.)

Executed in 2010. This work is number t wo from an edition of three plus t wo ar tist's proofs. $50,000-70,000

MIR A SCHENDEL (1919-1988) Graphic Object oil and graphite on rice paper, metal hardware and acrylic sheets 195/8 x 195/8 in. (49.9 x 49.9 cm.)

Executed in 1967. $200,000-300,000

MIR A SCHENDEL (1919-1988) Untitled [Two Works] signed and dated 'Mira, 71' (lower right of each panel) ink on paper printed on Formica each: 191/2 x 253/8 in.

(49.5 x 64.5 cm.)

Executed in 1971. $40,000-60,000

MIR A SCHENDEL (1919-1988) Untitled signed and dated 'Mira 84' (on the reverse) oil on panel 14 x 10 in. (35.6 x 25.4 cm.)

Painted in 1984. $40,000-60,000

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JEA N PROU V É (1901-1984) Pair of ‘Visiteur à lattes’ armchairs, circa 1945 painted folded steel sheet and tube, ash and oak ; four fabric cushions Each : 87 x 71 x 91 cm / 341/4 x 277/8 x 357/8 in (2) €150,000-200,000

JEA N PROU V É (1901-1984) Sideboard ‘BA 12’, model created circa 1946 painted folded steel sheet and tube, folded steel sheet and tube, aluminium sheet and oak 99 x 200,5 x 44,9 cm / 39 x 79 x 173/4 in €100,000-150,000

JEA N PROU V É (1901-1984) Bahut 'BA 12', le modèle créé vers 1946 painted folded steel sheet and tube, aluminium sheet and oak 39 x 783/4 x 173/4 in. (99 x 200 x 45 cm.) €100,000-150,000

CH A R LOTTE PER R I A ND (1903-1999) Long bench, designed for the cafeteria at the headquarters of Sandoz pharmaceutical laboratories, Rueil-Malmaison, circa 1967 sipo, sapele and fabric 72,5 x 365 x 64,5 cm / 281/2 x 1433/4x 243/8 in €80,000-120,000

CH A R LOTTE PER R I A ND (1903-1999) Coffee table, circa 1960 par tially stained ash 38 x 226 x 84 cm / 15 x 89 x 33 in €50,000-70,000

GEORGE NA K ASHIM A (1905-1990) ‘Minguren II’ dining table, 1990 American walnut 72 x 268 x 158 cm / 283/8 x 1053/4 x 621/8 in Signed George Nakashima and dated 1990 This table, designed in 1988 and completed on 11 May 1990, is one of the artist’s last creations. €100,000-150,000

GEORGES JOU V E (1910-1964) ‘Cylindre’ vase, circa 1955 glazed ceramic 33,5 x 36 cm / 131/4 x 141/4 in Signed Jouve and with the ar tist’s cy pher €40,000-60,000

M ATHIEU M ATÉGOT (1910-2001) ‘Santiago’ table, model created circa 1954 painted metal and glass 72,3 x 97 x 80,5 cm / 281/2 x 381/8 x 32 in €40,000-60,000

RON A R A D (BOR N IN 1951) ‘Blo-Void III’ armchair, Gallery Mourmans edition, circa 2006 polished coloured steel and mesh steel 78 x 126 x 60 cm / 303/4 x 495/8 x 235/8 in Signed Ron Arad and numbered A P1 €30,000-50,000

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“What better to go to the source of collecting, to the source of why artists do what they do, why collectors collect, and why dealers sell.”

TIQ UI

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SA LE CONTACTS

ACK NOW LEDGMENTS

Co-Head of 21st Century Evening Sale Isabella Lauria +1 347-803-0224 ilauria@christies.com

Art Director Kent A lbin Copyright Anne Homans Sebastien Grimbaum

Specialist, Design Capucine Tamboise +33 6 12 52 17 70 ctamboise@christies.com

Writers Tobias Ostrander Stephen Jones

Junior Specialist, Post-War and Contemporary Art Flavia Poccianti +1 347-224-8851 fpoccianti@christies.com

Special Thanks Viviana Barberi Mallor y Burrall Quinn Carlisle V lad Golanov Kate Lawlor William Lee Gin Lin John Lyons Kelsy O’Shea Rust y R iker Frank Romano Will Shen George Sutton Anndrew Vacca

Junior Specialist, Post-War and Contemporary Art William Featherby +1 917-825-9294 w featherby@christies.com Cataloguer, Latin American Art Olivia Sherman +1 917-242-8557 osherman@christies.com Sale Coordinator Nicholas Michael +1 917-521-9353 nmichael@christies.com

ILLUSTR ATION CR EDITS Page 1: A r t work: © Damien Hirst and Science Ltd. A ll rights reser ved / DACS, London / A RS, N Y 2025; © Ed Ruscha; © Estate of Mar tin K ippenberger, Ga lerie Gisela Capitain, Cologne; © Wade Guy ton; © Gabriel Orozco; © Ellswor t h Kelly Foundation, cour tesy Mat t hew Marks Ga ller y.

Page 2: A r t work: © Cecily Brow n; © Sara h Lucas; © José Damasceno.

Page 4: Artwork: © Guillermo Kuitca; © Roni Horn, courtesy Hauser & Wir t h; © Estate Feli x Gonza lez-Torres, cour tesy of The Feli x Gonza lez-Torres Foundation.

Page 5: A r t work: © Ugo Rondinone, cour tesy of Gladstone.

Pages 6-7: A r t work: © Carlos Garaicoa; © Ed Ruscha; © Raúl Lozza.

Page 8: A r t work: © Dav id A ltmejd.

Pages 10-11: A r t work: © A ntony Gorm ley; © Damien Hirst and Science Ltd. A ll rights reser ved / DACS, London / A RS, N Y 2025; © Ed Ruscha; © Estate of Mar tin K ippenberger, Ga lerie Gisela Capitain, Cologne.

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Pages 12, 14-15: Photographs cour tesy of t he consignor.

Page 13: Photograph cour tesy of t he consignor.

A r t work: © Cecily Brow n.

Page 16: A r t work: © Damien Hirst and Science Ltd. A ll rights reser ved / DACS, London / A RS, N Y 2025; © Gabriel Orozco; © Ellswor t h Kelly Foundation; © 2025 Barford Sculpt ures Ltd. / A r tists R ights Societ y (A RS), New York / DACS, London.

Page 28: A r t work: © A ntony Gorm ley; © Damien Hirst and Science Ltd. A ll rights reser ved / DACS, London / A RS, N Y 2025.

Page 32: A r t work: © Elizabet h Pey ton; © Mira Schendel.

Page 34: A r t work: © 2025 The Easton Foundation / Licensed by VAGA at A r tists R ights Societ y (A RS), N Y; © 2025 Barford Sculpt ures Ltd. / A r tists R ights Societ y (A RS), New York / DACS, London.

Page 19: A r t work: © Carmen Herrera; © Estate of Carmelo A rden Quin.

Page 140: © Cecily Brow n.

Pages 22, 25, 30, 14 4: A r t work: © Damien Hirst and Science Ltd. A ll rights reser ved / DACS, London / A RS, N Y 2025.

Page 132: A r t work: © Ellswor t h Kelly Foundation; © 2025 Barford Sculpt ures Ltd. / A r tists R ights Societ y (A RS), New York / DACS, London.

Pages 24, 31: A r t work: © Sara h Lucas.

Page 26: A r t work: © Cerit h Wy n Evans.

Page 27: A r t work: © Tim Noble and Sue Webster. A ll R ights Reser ved, DACS, London / A RS, N Y 2025.

Page 136: A r t work: © Ugo Rondinone, cour tesy of Gladstone; © A ntony Gorm ley.

Page 137: A r t work: © Ugo Rondinone, cour tesy of Gladstone; © Sara h Lucas.

Selected Works by Tiqui Atencio & Ago Demirdjian

AUCTIONS 21st Centur y Evening Sale New York | 14 May 2025 Post-War and Contemporar y Ar t Day Sale New York | 15 May 2025 Design Paris | 21 May 2025 20 Rockefeller Plaza New York, N Y 10020

EX HIBITION For more information, please contact: info@christies.com +1 212 636 2050 christies.com

FURTHER INFOR M ATION This is not a sale catalogue. Christie’s has a direct financial interest in the proper t y, and for cer tain lots, Christie’s has funded all or par t of our interest with third par t y guarantors.

These lots will be noted with symbols on their lot pages on christies.com. The sale of these lots are subject to the Conditions of Sale, Impor tant Notices and Explanation of Cataloguing Practice which are set out online, with other impor tant sale information at christies.com.

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