Issuu

“For me, it’s first emotion, then my eye, then my head. I live with what I love.”

TIQUI

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).

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

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

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.

“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.”

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

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

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.

“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.” TIQUI

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.

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.

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.”

“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.”

TIQUI

Selected Works

New York | 14 & 15 May 2025

“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.”

LOUISE BOURGEOIS

BOURGEOIS (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.

LOUISE

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

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

GEGO

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

in 1969.

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

GEGO

“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.”

CARMELO ARDEN QUIN (1913-2010) Hexagone signed, inscribed, titled and dated 'ARDEN QUIN 'HEXAGONE' PARIS 1950' (on the reverse) oil on shaped wood 183/4 x 161/8 in. (47.6 x 41 cm.) Executed in 1950.

CARMELO ARDEN QUIN

“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.”

CARMELO ARDEN QUIN (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.

CARMELO ARDEN QUIN

“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.”

CARMELO ARDEN QUIN (1913-2010) Móvil incised with the artist'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.

CARMELO ARDEN QUIN

“Art

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

MATHIAS GOERTIZ

with the title 'MENSAJE

edge); signed with the artist's initials 'MG' (on the reverse) gold leaf and gesso on wood diameter: 201/8 in. (51.1 cm.) Executed circa 1960.

MATHIAS GOERITZ (1915-1990) Mensaje a Lupe incised

A LUPE' (lower

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

CARMEN HERRERA (1915-2022) Horizontal signed, titled and dated 'Carmen Herrera HORIZONTHAL [sic.] 1965' (on the reverse), signed again 'Carmen Herrera' (on the stretcher) acrylic on canvas 391/4 in. (99.7 cm.) diameter Painted in 1965.

CARMEN HERRERA

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

MIRA 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.

MIRA SCHENDEL

“I am perhaps beginning a more silent phase... Listening to silence. Listening for liberation.”

MIRA SCHENDEL

MIRA 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.

“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.”

MIRA SCHENDEL

MIRA 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.

“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.”

LYGIA CLARK (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.

LYGIA CLARK

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

LYGIA CLARK (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.

LYGIA CLARK

“I

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

JESÚS RAFAEL SOTO

wooden structure

installation dimensions: 90 x 293/4 x 293/4 in. (228.6 x 40 x 40 cm.) Executed in 1968.

JESÚS RAFAEL SOTO (1923-2005) Sculpture Suspendu Bleu et Noir painted iron bars suspended in

“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.”

ELLSWORTH KELLY

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

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

ANTHONY CARO (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.

ANTHONY CARO

“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.”

on panel

LYGIA PAPE (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

231/2 x 231/2 in. (59.7 x 59.7 cm.) Executed in 1984.

LYGIA PAPE

“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 BALDESSARI

JOHN BALDESSARI (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.

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

JOHN MCCRACKEN

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

“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.”

CARL ANDRE

103/4 in. (33.9 x 27.3 cm.) installation dimensions variable Executed in 1964.

CARL ANDRE (1935-2024) Blue...Step signed and dated 'carl andre 7-11-64' (on the first sheet) typewriter carbon on paper, in seven parts, in artist's frames each: 133/8 x

“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 OITICICA

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

HÉLIO OITICICA (1937-1980)

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

HÉLIO OITICICA

in 1958.

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

“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 RUSCHA

ED RUSCHA (B. 1937) Blast Curtain signed and dated 'Ed Ruscha 1999' (on the reverse) acrylic on canvas 64 x 64 in. (162.6 x 162.6 cm.) Painted in 1999.

“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 RUSCHA

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

“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.”

CILDO MEIRELES (B. 1948) Jode de Velha XA/OP 8B signed, titled and dated 'Cildo Meireles 'SERIE B 8 XA/OP' 93/4' (on the reverse) acrylic on carpenter rulers mounted on panel 247/8 x 243/4 in. (63.2 x 62.9 cm.) Executed in 1993-1994.

CILDO MEIRELES

“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.”

CILDO MEIRELES

CILDO MEIRELES (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 parts each: 97/8 x 21/4 x 21/4 in. (25.1 x 5.7 x 5.7 cm.) Executed in 1970-1988.

“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.”

CHARLES RAY

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

CHARLES RAY (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.

“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 KIPPENBERGER

MARTIN KIPPENBERGER (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 artist's proofs.

“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.”

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

ROBERT GOBER

“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 HORN

RONI HORN (B. 1955) Opposite of White, 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.

“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

HORN

1955) White Dickinson, THE MIND IS SUCH A NEW PLACE, LAST 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.

RONI HORN (B.

“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?”

FELIX GONZALEZ-TORRES

FELIX GONZALEZ-TORRES (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.

“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.”

FELIX GONZALEZ-TORRES

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 twenty plus two artist's proofs and is accompanied by a certificate of authenticity signed by the artist.

FELIX GONZALEZ-TORRES (1957-1996) "Untitled" (March 5th) #2

“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 HODGES

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.

“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.”

FRANCIS ALŸS

FRANCIS ALŸS (B. 1959) Untitled

(i) enamel on sheet metal signed and dated 'FRANCIS ALŸS JUAN GARCIA 1996' (on the reverse) 361/4 x 471/2 in. (92 x 119.4 cm.)

(ii) enamel on sheet metal signed and dated 'F. ALŸS ENRIQUE 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 Alÿs 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 Alÿs 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 Alÿs 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.

“In silent ways, materials tell their stories.”

JAC LEIRNER

JAC LEIRNER (B. 1961) Little Light electric wire, nails and lamp

71 x 24 in. (180.3 x 61 cm.) Executed in 2014.

“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 CURRIN

JOHN CURRIN (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.

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

GHADA AMER (B. 1963) Untitled (White) signed and dated 'Ghada amer 99' (right turning edge) embroidery and acrylic on canvas 721/8 x 631/4 in. (183.1 x 160.3 cm.) Executed in 1999.

GHADA AMER

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

MAGDALENA FERNÁNDEZ

MAGDALENA FERNÁNDEZ (B. 1964) 6e000 stainless steel 76 x 22 x 22 in. (193 x 55.9 x 55.9 cm.) Executed in 2000.

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

UGO RONDINONE

from an edition of three plus one artist's proof.

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 artist's proof

“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.”

251/2

Executed in 2010. This work is number two from an edition of three plus two artist's proofs.

UGO RONDINONE (B. 1964) nude (xxxxxx) cast wax and earth pigments

x 25 x 19 in. (65 x 63.5 x 48.3 cm.)

UGO RONDINONE

“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 GALLAGHER

ELLEN GALLAGHER (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.

“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.”

ELIZABETH PEYTON (B. 1965) Jarvis and Liam Smoking signed, titled and dated 'Jarvis 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.

ELIZABETH PEYTON

“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 HIRST

DAMIEN 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.

“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 HIRST

DAMIEN HIRST (B. 1965) Untitled butterflies and household gloss on canvas

x 481/2 in. (76.4 x 122.2 cm.)

“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 HIRST

DAMIEN 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.

“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.”

CHRIS OFILI

CHRIS OFILI (B. 1968) Within Reach 2 signed and dated 'CHRIS OFILI 2002' (on the reverse) charcoal, gouache and gold leaf on paper, in artist'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.

“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.”

CECILY BROWN

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.

“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 MEHRETU

JULIE MEHRETU (B. 1970) Kabul acrylic and graphite on linen 95 x 144 in. (241.3 x 365.8 cm.) Executed in 2013.

“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 MEHRETU

JULIE MEHRETU (B. 1970) Untitled ink on vellum over paper 19 x 22 in. (48.3 x 55.9 cm.) Executed in 2002.

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

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

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.)

LIZA LOU

“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 GUYTON

WADE GUYTON (B. 1972) Untitled signed and dated 'Wade Guyton 2008' (on the overlap) Epson UltraChrome inkjet on linen 841/4 x 69 in. (213.6 x 175.3 cm.) Executed in 2008.

“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 CAPOTE (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.

YOAN CAPOTE

“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.”

HERNAN BAS

HERNAN BAS (B. 1978) The Giant (Grooming) signed with the artist'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.

Selected Design

To be offered in Design Paris | 21 May 2025

JEAN PROUVÉ (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)

JEAN PROUVÉ (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

CHARLOTTE PERRIAND (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

CHARLOTTE PERRIAND (1903-1999) Coffee table, circa 1960 partially stained ash 38 x 226 x 84 cm / 15 x 89 x 33 in

dining table,

American

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.

GEORGE NAKASHIMA (1905-1990) ‘Minguren II’

1990

walnut

MATÉGOT (1910-2001)

MATHIEU

‘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

RON ARAD (BORN 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 AP1

21st

Century Evening Sale

New York | 14 May 2025

FRANCIS ALYS (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

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

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

ELIZABETH PEYTON (B. 1965)

Jarvis and Liam Smoking signed, titled and dated 'Jarvis 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

LOUISE BOURGEOIS (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

FELIX GONZALEZ-TORRES (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 twenty plus two artist's proofs and is accompanied by a certificate of authenticity signed by the artist.

$500,000-700,000

RONI HORN (B. 1955)

Opposite of White, 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

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 artist's proof from an edition of three plus one artist's proof.

$500,000-700,000

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

CARMEN HERRERA (1915-2022)

Horizontal signed, titled and dated 'Carmen Herrera HORIZONTHAL [sic.] 1965' (on the reverse), signed again 'Carmen Herrera' (on the stretcher) acrylic on canvas 391/4 in. (99.7 cm.) diameter

Painted in 1965.

$900,000-1,200,000

ELLSWORTH KELLY (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

ED RUSCHA (B. 1937)

Blast Curtain signed and dated 'Ed Ruscha 1999' (on the reverse) acrylic on canvas 64 x 64 in. (162.6 x 162.6 cm.)

Painted in 1999.

$4,000,000-6,000,000

LYGIA CLARK (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

DAMIEN 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

JULIE MEHRETU (B. 1970) Kabul acrylic and graphite on linen 95 x 144 in. (241.3 x 365.8 cm.)

Executed in 2013.

$3,000,000-5,000,000

ED RUSCHA (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

Post-War and Contemporary Art Day Sale

New York | 15 May 2025

GHADA AMER (B. 1963)

Untitled (White)

signed and dated 'Ghada amer 99' (right turning edge) embroidery and acrylic on canvas

721/8 x 631/4 in. (183.1 x 160.3 cm.)

Executed in 1999.

$30,000-50,000

CARL ANDRE (1935-2024)

Blue...Step signed and dated 'carl andre 7-11-64' (on the first sheet) typewriter carbon on paper, in seven parts, in artist'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

CARMELO ARDEN QUIN (1913-2010)

Hexagone signed, inscribed, titled and dated 'ARDEN QUIN 'HEXAGONE' PARIS 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

CARMELO ARDEN QUIN (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

CARMELO ARDEN QUIN (1913-2010)

Móvil

incised with the artist'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 BALDESSARI (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

HERNAN BAS (B. 1978)

The Giant (Grooming) signed with the artist'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

YOAN CAPOTE (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

ANTHONY CARO (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

LYGIA CLARK (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 CURRIN (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

MAGDALENA FERNÁNDEZ (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

ELLEN GALLAGHER (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) gypsum 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

MATHIAS GOERITZ (1915-1990)

Mensaje a Lupe incised with the title 'MENSAJE A LUPE' (lower edge); signed with the artist'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 GONZALEZ-TORRES (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

WADE GUYTON (B. 1972)

Untitled signed and dated 'Wade Guyton 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

DAMIEN 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

DAMIEN HIRST (B. 1965)

Untitled butterflies 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 HORN (B. 1955)

White Dickinson, THE MIND IS SUCH A NEW PLACE, LAST 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

MARTIN KIPPENBERGER (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 artist's proofs.

$80,000-120,000

JAC LEIRNER (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

JOHN MCCRACKEN (1934-2011)

Glacier

signed, titled and dated 'John McCracken 88 "Glacier"' (interior lower edge)

resin, fiberglass and plywood

93 x 183/4 x 291/2 in. (236.2 x 47.6 x 74.9 cm.)

Executed in 1988.

$120,000-180,000

CHRIS OFILI (B. 1968)

Within Reach 2 signed and dated 'CHRIS OFILI 2002' (on the reverse) charcoal, gouache and gold leaf on paper, in artist'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

JESÚS RAFAEL 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

JULIE MEHRETU (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

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

CHARLES RAY (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 artist's proof.

$250,000-350,000

MIRA 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

CILDO MEIRELES (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 parts 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

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

UGO RONDINONE (B. 1964) nude (xxxxxx)

cast wax and earth pigments

251/2 x 25 x 19 in. (65 x 63.5 x 48.3 cm.)

Executed in 2010. This work is number two from an edition of three plus two artist's proofs.

$50,000-70,000

MIRA 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

CILDO MEIRELES (B. 1948)

Jode de Velha XA/OP 8B

signed, titled and dated 'Cildo Meireles 'SERIE B 8 XA/OP' 93/4' (on the reverse)

acrylic 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

LYGIA PAPE (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

MIRA 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

Design Sale: Highlights

Paris | 21 May 2025

JEAN PROUVÉ (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

JEAN PROUVÉ (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

JEAN PROUVÉ (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

CHARLOTTE PERRIAND (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

CHARLOTTE PERRIAND (1903-1999)

Coffee table, circa 1960 partially stained ash 38 x 226 x 84 cm / 15 x 89 x 33 in

€50,000-70,000

GEORGE NAKASHIMA (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 JOUVE (1910-1964)

‘Cylindre’ vase, circa 1955

glazed ceramic

33,5 x 36 cm / 131/4 x 141/4 in

Signed Jouve and with the artist’s cypher

€40,000-60,000

MATHIEU MATÉGOT (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 ARAD (BORN 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 AP1

€30,000-50,000

“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.”

TIQUI

Page 1:

SALE CONTACTS

Co-Head of 21st Century Evening Sale

Isabella Lauria

+1 347-803-0224 ilauria@christies.com

Specialist, Design

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

Junior Specialist, Post-War and Contemporary Art

Flavia Poccianti

+1 347-224-8851 fpoccianti@christies.com

Junior Specialist, Post-War and Contemporary Art

William Featherby +1 917-825-9294 wfeatherby@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

Artwork: © Damien Hirst and Science Ltd. All rights reserved / DACS, London / ARS, NY 2025; © Ed Ruscha; © Estate of Martin Kippenberger, Galerie Gisela Capitain, Cologne; © Wade Guyton; © Gabriel Orozco; © Ellsworth Kelly Foundation, courtesy Matthew Marks Gallery.

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Artwork: © Guillermo Kuitca; © Roni Horn, courtesy Hauser & Wirth; © Estate Felix Gonzalez-Torres, courtesy of The Felix Gonzalez-Torres Foundation.

Page 5:

Pages 6-7:

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Pages 10-11:

Pages 12, 14-15:

Photographs courtesy of the consignor.

Page 13:

Photograph courtesy of the consignor.

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Artwork: © Damien Hirst and Science Ltd. All rights reserved / DACS, London / ARS, NY 2025; © Gabriel Orozco; © Ellsworth Kelly Foundation; © 2025 Barford Sculptures Ltd. / Artists Rights Society (ARS), New York / DACS, London.

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Pages 22, 25, 30, 144:

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ACKNOWLEDGMENTS

Art Director

Kent Albin

Sebastien Grimbaum

Writers

Tobias Ostrander

Stephen Jones

Special Thanks

Viviana Barberi

Mallory Burrall

Quinn Carlisle

Vlad Golanov

Kate Lawlor

William Lee

Gin Lin

John Lyons

Kelsy O’Shea

Rusty Riker

Frank Romano

Will Shen

George Sutton

Anndrew Vacca

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AUCTIONS

21st Century Evening Sale

New York | 14 May 2025

Post-War and Contemporary Art Day Sale

New York | 15 May 2025

Design Paris | 21 May 2025

20 Rockefeller Plaza

New York, NY 10020

EXHIBITION

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

FURTHER INFORMATION

This is not a sale catalogue. Christie’s has a direct financial interest in the property, and for certain lots, Christie’s has funded all or part of our interest with third party 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, Important Notices and Explanation of Cataloguing Practice which are set out online, with other important sale information at christies.com.