5 Artists on Our Radar in June 2026 https://ift.tt/Dl3LIz8

Friend zone II, 2026
Marin Majić
NINO MIER GALLERY

“Artists on Our Radar” is a monthly series focused on five artists who have our attention. Utilizing our art expertise and Artsy data, we’ve determined which artists made an impact this past month through new gallery representation, exhibitions, auctions, art fairs, or fresh works on Artsy.

Maya Seas

B. 1991. Lives and works in Los Angeles.

Late May, 2026
Maya Seas
Rajiv Menon Contemporary

Artist Maya Seas creates dreamy worlds where women bathe, rest, and converse, lost in serene reveries. These scenes are inspired, in part, by Indian miniatures. Seas works across an unlikely mash-up of materials, including oil stick, acrylic, charcoal, 24-karat gold, and even molding paste, giving the surfaces of her work textural depth.

“The main emotion I’m always looking for is the feeling of safety,” the artist said in an interview about her work. “If I make something and I feel like it’s not giving me that feeling, or if any of the figures feel like they don’t feel safe, then I destroy it. I won’t let it exist.”

The Los Angeles–based artist’s works were recently included in “Imagining Elsewhere” at Rajiv Menon Contemporary in Los Angeles, a group show that brought together artists exploring landscapes through experiences of fantasy, memory, and desire. Her works were also recently on view in a group show at Half Gallery in New York. In 2023, Seas had a breakthrough debut solo show, “Currents,” at Anna Zorina Gallery in Los Angeles.

Marin Majić

B. 1979, Frankfurt, Germany. Lives and works in New York City.

Negative attention, 2026
Marin Majić
NINO MIER GALLERY

Brooklyn-based artist Marin Majić creates small, atmospheric paintings with iridescent surfaces. The Frankfurt-born Croatian artist layers colored pencil, wax, oil paint, and marble dust to build these luminous fields. Marble dust is employed almost sculpturally, giving the appearance of the traditional metalwork and enamel technique of cloisonné.

The artist’s solo exhibition, “discodisco” is now on view at Nino Mier Gallery in New York through June 13th, marking his third solo exhibition with the gallery. In these works, Majić delves into imagery from the ’70s. Disco balls, lounges, and dancers in the ecstatic release appear through hazy veils of light. In Moving me moving you (2026), for instance, the strobing lights and gyrating bodies on a dance floor are pictured from the perspective of a DJ booth.

Other paintings capture a fantastical natural world. In Negative Attention (2026), a spider web, seemingly made of crystals, glitters in a clearing between tropical-looking plants, against a colorful dawn sky. These sublime visions of nature are reminiscent of the great 19th-century Romantic artists such as Frederic Edwin Church and John Martin, whom Majić admires, and who sought transcendent divinity in the world around them.

Majić’s intimately scaled paintings can feel like portals between worlds, with motifs in one reappearing in others. In these new paintings, a recumbent nude figure, a pair of hands, a pigeon, and a string of pearls reemerge, creating a hypnotic sense of rhythm.

Elif Saydam

B. 1985, Calgary, Canada. Lives and works in Berlin.

Dagger, 2026
Elif Saydam
Galerie Rüdiger Schöttle

Shield (Are you safe), 2026
Elif Saydam
Galerie Rüdiger Schöttle

Artist Elif Saydam makes the mundane mystical. In the Berlin-based artist’s paintings, everyday objects (like wrenches or a candleholder) are rendered in gold leaf and silver leaf, or ornamented with chiffon or nylon, transforming them into precious objects. Saydam’s approaches draw from miniature painting and illuminated manuscript traditions.

Often, their works include snippets of text or comic book elements, and Saydam also experiments with nontraditional materials and bases, including antique bathroom stall doors, anti-shoplifting mirrors, and kitchen sponges. In their current show, “Glory,” on view at Munich’s Galerie Rüdiger Schöttle through July 31st, the artist presents miniature works alongside a new series of larger works in oil, collage, and silver leaf. These new works have a meditative quality, with circular forms acting like little mandalas at their centers.

Su Yu-Xin 苏予昕

B. 1991, Hualien, Taiwan. Lives and works in Los Angeles.

Mountain Quakes and Crumbles in Green and Blue (Danda Mountain, Hualien), 2026
Su Yu-Xin 苏予昕
Albion Jeune

The Birth of a New Color (Mount St. Helens, Washington State), 2026
Su Yu-Xin 苏予昕
Albion Jeune

Los Angeles artist Su Yu-Xin believes painting is a witness to history, shaped by its wars, migrations, invasions, and trade routes. Her works specifically delve into the evolution of pigment from natural material to commercial product. The Taiwan-born artist collects, studies, and processes organic substances—including oyster shells, clam shells, lapis lazuli, and green soil—into pigments which she paints onto flax stretched over frames often formed to unusual shapes.

Her current exhibition, “Afterstone,” a pop-up in Venice during the Biennale hosted by Albion Jeune, features 19 new paintings. In one new work, The Birth of a New Color (Mount St. Helens, Washington State) (2026), the artist works with a pigment made from Helenite, an artificial glass, first made by accident when rock dust from the 1980 eruption of Mount St. Helens was superheated by salvage workers' torches. Helenite gemstones are now sold as souvenirs in the area and have a greenish hue.

Her materials become an almost geological layering of minerals, organic and synthetic, while her imagery evokes swirling, abstracted seascapes and horizons.

Jane Yang D’Haene

B. 1970, South Korea. Lives and works in New York City.

Untitled, 2026
Jane Yang D’Haene
Bienvenu Steinberg & C

Untitled, 2026
Jane Yang D’Haene
Bienvenu Steinberg & C

Brooklyn-based Korean artist Jane Yang D’Haene creates stoneware vessels that draw from Korean pottery forms, such as the dal hangari, or Korean moon jar. D’Haene melds these traditional forms with bright inflections of color and unexpected textures. Her most recent exhibition, “Love Letter,” her second at Bienvenu Steinberg & C included new porcelain wall works and vessels. In a poem accompanying the show, the artist wrote of her practice, “I don’t know if I chose clay, or if clay chose me. But we still write each other love letters.”

The artist’s fusion of tradition and invention has made her an influential force in the ceramics world. Recently, her works have been acquired by Harvard Art Museums, the Brooklyn Museum, and Sarmaya Arts Foundation, Mumbai. In February 2026, D’Haene was announced as a finalist for the Loewe Foundation Craft Prize.

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Photographer David Yarrow captures Norwegian men’s soccer squad in Viking-themed shoot. https://ift.tt/x2bvITd

Scottish photographer David Yarrow has turned his lens on the Norwegian men’s national soccer team ahead of their appearance at the 2026 FIFA World Cup.

Titled The Vikings are Coming (2026), the large-format photograph captures the Norwegian men’s national soccer squad dressed as Viking warriors beside a fjord. It features the full squad—including Manchester City striker Erling Haaland and Arsenal captain Martin Odegaard—posing with longships, weapons, and storm-gray Nordic light. The Viking longships were reportedly sourced by the Norwegian Football Association.

The project has roots in a 2023 solo shoot in which Yarrow photographed Haaland alone, waist-deep in an Oslo fjord, in full Viking dress. Having developed a rapport with the photographer, Haaland pushed for a full squad follow-up as part of Norway’s World Cup preparations. Odegaard, occupied with Arsenal's Champions League final, was photographed separately and composited into the image shortly after.

“If you had to choose one sportsperson in the world that doesn’t need much hair and makeup to look like a Viking, it’s Erling Haaland,” Yarrow told BBC Sport. “And so it was easy to shoot with him.”

Maradona, 1986
David Yarrow
Hilton Contemporary

Yarrow, who first came to prominence with his iconic 1986 photograph of Diego Maradona lifting the World Cup trophy at the Estadio Azteca in Mexico, drew a deliberate parallel to his Ryder Cup shoot last year. In that photograph, Team Europe posed in prohibition-era suits before the Manhattan Bridge, and the work went on to raise over $1 million for Irish charities. The Norway print will fundraise for Norwegian charities and hang at the squad’s World Cup base in Greensboro, North Carolina.

In the interview with the BBC, Yarrow said it was important not to allow any major figure, such as Odegaard and Haaland, to dominate the shoot. “The one thing that was important about that picture,” he said. “In the Norwegian squad, you’ve got someone that’s worth £200 million ($267 million) and [a]goalkeeper that’s worth £250,000 ($333,881)...that they both occupy the same amount of the frame,” he noted.

Yarrow’s prints sell through galleries worldwide, including Hilton Contemporary in Chicago, Maddox Gallery in London, and Carousel Fine Art across the U.S. A selection of prints from the shoot will be exhibited and made available through Yarrow’s gallery partners later this year.

For Norway’s team, the image is a statement of intent. The national team has spent years on the fringes of major tournaments despite boasting a generation of talented players. This is the first World Cup Norway has participated in since 1998.

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How to Buy Manga Art https://ift.tt/xw0C7RQ

ATOM, 2020
Osamu Tezuka
Art in Dongsan

Its most famous characters include the likes of Astro Boy and Naruto Uzumaki, but manga is more than a cast of iconic heroes: It is an art form reaching new heights and fast becoming one of Japan’s fastest-growing cultural exports.

Evolving from serialized comics sold in domestic bookshops into a globally read medium with major franchises, manga is forecast to grow to a market value of $42 billion by 2029, according to a recent trade report. What was once a niche import is now the fourth-largest fiction category in the U.S.

Increasingly, this interest is filtering into the art market, as recent auction results have shown.

In March 2026, Christie’s held its first sale combining classical Japanese art with works rooted in subcultural movements. Titled “Anime Starts Here,” the sale included original manga drawings by Osamu Tezuka, anime cels from the 1984 film Nausicaä of the Valley of the Wind and vintage film posters of Godzilla. Also featured were works by contemporary artists such as Yoshitomo Nara and woodblock prints by Katsushika Hokusai.

The results were staggering, totaling 407% above the low estimate. Some 90% of lots sold, with 36% of buyers entirely new to Christie’s. “It significantly outperformed my initial expectations,” said Takaaki Murakami of the Asian art department at Christie’s.

Notably, some 35% of buyers were either Millennials or Gen Z, mirroring a shift seen by gallerists such as Eunha Chung, director of Art in Dongsan, which represents Japanese manga artist Sango Morimoto in Korea. “A new generation of collectors has grown up within a wide spectrum of visual culture—manga, animation, film, gaming, and fashion.”

The current market for manga art spans original manuscript pages, limited-edition prints, and manga-informed contemporary works, providing entry points for collectors and newcomers alike.

The following guide breaks down everything you need to know to get started.

What is manga?

Manga is an umbrella term for Japanese comic books, most commonly printed in black-and-white with a right-to-left reading format. Targeting all age groups, the medium covers almost every genre imaginable, from romance and fantasy to teen fiction, comedy, and horror. Manga is an umbrella term for Japanese comic books, most commonly printed in black-and-white with a right-to-left reading format. Targeting all age groups, the medium covers almost every genre imaginable, from romance and fantasy to teen fiction, comedy, and horror.

The origins of manga stretch back to 12th-century picture scrolls, designed to be read from right to left—just as manga is today. However, it was during the Edo period (1603–1868) that illustrated fiction truly took root. Cheap, woodblock-printed storybooks known as kibyōshi were produced for the masses, and the word ‘manga’ itself (roughly translating to ‘pictures made freely’) first entered the art lexicon in 1814, when Hokusai used the term to title a series of assorted sketches.

Eight Views of Ryukyu – Clearing Weather After Rain at Nagahashi/琉球八景: 長虹秋霽, 1832
Katsushika Hokusai
Aura Gallery

Following the Second World War and the rise of post-war artists like Osamu Tezuka (1928–1989), creator of Astro Boy and today known as the “god of manga,” the medium found its place as the mass cultural phenomenon we know today.

The 1980s and ’90s saw a golden age of manga, spawning some of today’s most-read series. These include the likes of One Piece, which has printed a weekly issue to this day since 1997.

How can collectors find manga art?

Although manga is a mass-produced product, with series published weekly and consumed at a pace, the medium offers original works of serious artistic value.

These are becoming increasingly available at auction houses and commercial galleries such as Art in Dongsan, Galerie Jacob Paulett, and Micheko Galerie that specialize in art informed by manga in aesthetics or subject matter.

According to Murakami of Christie’s, the value of original manga art is determined by a combination of factors: the significance of the artist, the subject depicted, the rarity of the volume, and the condition of the work, along with provenance, edition size, and where a piece sits within a series or publication history.

It is essentially the same evaluative framework applied to prints, photography, and most works on paper.

Where manga diverges slightly is in the value placed on source materials. Drawings carry an authenticity that reproductions—however high in quality—simply cannot replicate. This can make them more expensive. “Original works inherently carry a unique value, and this principle applies equally to manga art,” said Murakami. “This helps explain the growing recognition of manga as a legitimate art form, as collectors increasingly value not only the imagery, but also the physical presence and authenticity of the original work.”

What you can currently buy on the market breaks down broadly into the following categories:

• Genga (hand drawings): Original manuscript drawings, often marked with corrections, studio stamps, or the artist’s annotations.
• Splash pages: Original drawings of full or double-page spreads for the most dramatic moments in a story. These are among the most ambitious and compositionally striking pages of a manga.
• Sketches: Character studies or compositional roughs.
• Promotional posters: Theatrical and promotional posters for manga and its anime adaptations.
• Artist-made prints: Limited-run prints made by manga artists, separate from publisher-produced merchandise.
• Fine art informed by manga: Work by artists who draw on manga aesthetics but operate within the gallery and auction system.

Understanding manga art in the contemporary art world

What’s Going On? (In the Floating World), 1999
Yoshitomo Nara
Upsilon Gallery

Bouquet in a Basket, 2024
Takashi Murakami
Baldwin

Recognized contemporary artists such as Nara and Takashi Murakami draw from manga aesthetics and have long commanded serious critical and commercial attention. What is new is the breadth of that influence and the growing number of galleries representing artists who work in this territory.

Munich-based Micheko Galerie specializes in Japanese contemporary art, and its co-founder, Keiko Tanaka, noted cases where fine art collectors notice manga-like expressions in works and develop an interest in them. “This shift occurs within the context of a deepening understanding of Japanese visual culture as a whole,” she said, “rather than stemming from a specific interest in manga.”

New Love Plan #18, 2013
Ai Kijima
Micheko Galerie

The rising appetite for manga-informed aesthetics, she suggests, is better understood as a broader reevaluation of a visual culture that has historically been treated as peripheral. Only now is it being reconsidered within a wider art-historical frame.

Still, Tanaka cautions about the limitations of the Western gaze. “We still see curators who are interested in recent Japanese contemporary art primarily because they are drawn to the ‘Cool Japan’ image, and who view the entire subject only very superficially—often with a certain underlying arrogance,” she said. “The fact that Japan also has a centuries-old tradition in the arts is overlooked or simply ignored.”

Pandasan 57-57 : Midnight Blooms in Tokyo Shadows, 2010
Hiro Ando
Galerie Jacob Paulett

Stephane A. Cohen of Japanese Neo-Pop specialist Galerie Jacob Paulett agrees. “Manga was an art form long before becoming the popular culture medium we know today,” he said, pointing out that through history, Japan has sustained a cultural ecosystem that simultaneously nurtures elite art alongside popular art for the masses.

As a result of these considerations, first-time buyers should approach manga art as part of a larger visual history rather than a contemporary trend. Looking beyond recognizable characters and blockbuster franchises and further back into its history can also open up a deeper understanding of the artistic lineages at play.

As both Tanaka and Cohen suggest, manga belongs to a broader continuum of Japanese image-making, where distinctions between pop culture and fine art have historically been more fluid than many Western audiences assume.

The golden rule for buying manga art

Astro Boy Anime Production Cel 鉄腕アトム (アニメ第2作), 1980s
Astro Boy
Tinny Art House

When asking for advice for first-time buyers, every gallerist and specialist returned the same answers: Follow your heart over anything else.

“In 99% of cases, there won’t be any increase in value—so buy what you love,” said Tanaka. Murakami echoes her advice: “Always ask yourself if you genuinely like the artwork.”

As for Cohen, “My advice to all buyers remains the same: let your heart speak. And if your heart has been nourished by manga culture for years, then even better.”

New collectors should spend time with the medium. Visit exhibitions, follow specialist galleries, study the history, and learn the distinctions between original drawings, prints, and manga-informed contemporary art.

As the market continues to evolve, knowledge will sharpen instincts, but ultimately, the work worth buying is always the pieces you are intuitively drawn to, whether that’s a favorite character or fresh discovery.

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KAWS designs limited-edition Sacher-Torte cake box for charity. https://ift.tt/LNWBOIX

American artist KAWS is putting his own spin on Austria’s famed chocolate cake, the Sacher-Torte.

The American artist was tapped for this year's Sacher Artists’ Collection, an annual charity initiative that invites contemporary artists to redesign the iconic dessert’s wooden box package. The collectible release is limited to 1,000 boxes and is available for €80 ($93) at Sacher hotel locations in Vienna and Salzburg, as well as through its online store

For his version, KAWS reimagined his 2021 work SPOKE TOO SOON, which features COMPANION, the artist’s most famous character known for its crossed-out eyes and Mickey Mouse–like silhouette. In the painting, COMPANION’s hands appear to be climbing out of a pile of rubble.

“When I was invited to this project, it was a great opportunity to do something good for charity. I like the idea of hands climbing out and moving forward,” said KAWS, whose real name is Brian Donnelly. “It adds a little humor to the idea of the cake.”

The Sacher-Torte is a sponge cake that combines chocolate sponge, apricot jam, and chocolate glaze. It was invented by 16-year-old apprentice chef Franz Sacher in 1832, when the court of Prince Metternich had requested a dessert for a special occasion. The original recipe, served at Hotel Sacher, has become one of Austria's most recognizable culinary exports.

KAWS has a well-known crossover appeal, mixing fine art, street culture, fashion, and design. The artist has a history of successful collaborations. In the fall of 2025, he was named the fashion brand UNIQLO’s first artist in residence. A 2019 design collaboration with the brand was met with fervent demand.

The collaboration marks the 18th edition of the limited edition collection, which launched in 2009. Past participating artists have included Robert Longo, Sarah Morris, Erwin Wurm, and Katherine Bernhardt. This year, all proceeds from the sale of the Sacher Artists’ Collection will be donated to NF Kinder, an Austrian nonprofit supporting children affected by neurofibromatosis. This rare genetic disorder can cause tumors, chronic pain, and neurological complications.

The collectible’s debut coincides with KAWS’s exhibition “Art & Comix” at the Albertina Museum in Vienna, on view through September 27th. The exhibition explores the interplay between comics, comic strips, cartoons, and fine art through KAWS’s work alongside a range of artists from Jean-Michel Basquiat and Raymond Pettibon to Joyce Pensato and Tschabalala Self.

“The collaboration with KAWS brings a new contemporary perspective to our house,” Alexandra Winkler, co-owner of Sacher, said in a statement. “As a family-run business, it is important to us to continually reinterpret tradition.”

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Chloe Wise paints Olivia Rodrigo for a new limited-edition album release. https://ift.tt/J9IHuhj

In a major music-art world crossover, pop star Olivia Rodrigo has enlisted artist Chloe Wise to create the cover art for the singer’s eagerly anticipated forthcoming album, you seem pretty sad for a girl so in love.

The collectible vinyl cover features Wise’s oil painting Carve our names (2026), a portrait of Rodrigo clad in a pink babydoll dress and holding a glinting knife with foreboding intensity. The collectible vinyl is exclusively available through the singer’s website ahead of the album’s June 12 release.

Wise, who first rose to fame in the 2010s with her sculptural “Bread Bags” that winked at consumer culture, has become, in recent years, known for her psychologically charged portraits. Her 2025 New York exhibition “Myth Information” at Almine Rech, her representing gallery, blended influences from film noir to extraterrestrial experience.

Wise, who first rose to fame in the 2010s with her sculptural “Bread Bags” that winked at consumer culture, has become, in recent years, known for her psychologically charged portraits. Her 2025 New York exhibition “Myth Information” at Almine Rech, her representing gallery, blended influences from film noir to extraterrestrial experience.

Carve our names is the only painting Wise has made in the past six months. When Rodrigo approached Wise about the commission, the Canadian artist had taken a hiatus from painting to focus on “Extrasensory,” her forthcoming video- and installation-based exhibition at Kulturstiftung Basel H. Geiger in Switzerland, which opens on June 12th. Still, Wise jumped at the opportunity, seeing affinities between Rodrigo’s creative world and her artistic practice.

Carve our names was inspired, in part, by a recent photograph of Rodrigo by photographer Chad Moore. Wise leans into a cinematic ambiguity in the scene. Is Rodrigo going to carve the name of her beloved into tree bark, a classic adolescent gesture, or is something more sinister afoot?

Rodrigo told Dazed that she’s a longtime admirer of Wise’s work and was “beyond excited” to collaborate. “She blew me away with what she created, and I can’t wait for fans to get this into their hands,” Rodrigo said.

Wise is the most recent in a string of contemporary women artists to be tapped for a pop star portrait. In 2025, Lily Allen commissioned a portrait from rising artist Nieves González for the cover of her album West End Girl. Artist Issy Wood, meanwhile, painted Charli XCX’s portrait for the November 2025 cover of Vanity Fair.

Wise is delighted by the Rodrigo collaboration, but, for now, is focused on installing her Basel show, which mines the intersection of consumerism, religious worship, and the supernatural.“It’s a crazy roller coaster through all of these different realms,” she said. “There are angels and Victoria's Secret angels. Stay tuned.”

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Artist Kara Walker stars in Loewe anniversary campaign. https://ift.tt/NHAmd4Q

Kara Walker, the New York–based artist known for her large-scale explorations of American history and race, has appeared in Loewe’s 180th anniversary campaign, shot by photographer Talia Chetrit.

Walker joins a cast that includes actresses Sissy Spacek, Julia Garner (who is also a global brand ambassador for Loewe), Kara Wai, and Salma Abu Deif, along with K-pop star Giselle from the group aespa. The campaign, which marks the anniversary of the Spanish house’s founding in 1846, features each subject alongside iconic Loewe bags across the decades: the Flamenco clutch (1980s), the Puzzle (2015), and the new Amazona 180.

A capsule collection, which arrived in stores and on Loewe’s website on June 3rd, includes bags, small leather goods, and ready-to-wear clothing featuring lion motifs—a nod to “Loewe,” the German word for lion. An animated film narrated by Antonio Banderas accompanies the campaign, tracing key moments in the house’s history.

Walker rose to prominence in the mid-1990s with her cut-paper silhouettes. Her large-scale works include A Subtlety, or the Marvelous Sugar Baby (2014) at the Domino Sugar Refinery in Brooklyn and Fons Americanus, the 2019 Hyundai Commission at Tate Modern in London. She received a MacArthur Fellowship in 1997 and is represented by Sikkema Malloy Jenkins and Sprüth Magers.

A special publication, 180 Years of Craft, will be released as a supplement to Loewe Magazine Issue 11, available free in Loewe stores and partner bookstores from June 15th.

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$3.7 million Cecily Brown painting to lead upcoming Christie’s London sale. https://ift.tt/kw75eyC

Cecily Brown’s painting The Haunter (2010) will headline Christie's upcoming Post-War to Present sale in London on June 25th, carrying an estimate of £2.2 million–£2.8 million ($2.95 million–$3.76 million).

The Haunter was acquired in 2011 and has since remained in the same private collection. The Christie’s sale coincides with a major exhibition of Brown’s work at London’s Serpentine Galleries. In November 2025, a new record was set for Brown’s work when her painting High Society (1997–98) sold for $9.81 million at Sotheby’s New York, soaring past its estimate of $4-6 million.

Over her three-decade career, Brown has defined a style of painting that moves fluidly between figuration and abstraction, synthesizing references from art history, literature, and memory.

The Haunter evokes what the auction house describes as a convergence of “the human, the natural and the supernatural.” In the work, Brown cites diverse influences from Francis Bacon’s portraits of Vincent van Gogh and Georg Baselitz’s fractured “heroes” to the gothic fiction of American author Shirley Jackson.

Born in London in 1969, Brown studied at the Slade School of Fine Art amid the rise of the Young British Artists in the early 1990s. By 1994, she relocated to New York City, and her major breakout moment came in 1997 with “*Spectacle*” her debut solo exhibition at Deitch Projects. The show was famously purchased, in its entirety, by Charles Saatchi.

Today, Brown is regarded as one of the most influential painters of her generation. Her work is held in major museum collections including the Museum of Modern Art, the Tate, and the Centre Pompidou. In 2023, she was the subject of a major institutional show at the Metropolitan Museum of Art.

Other highlights from the Christie’s sale include Howardena Pindell’s Webb (2023) one of the artist’s celebrated ‘spray dot’ paintings (estimate: £180,000–£250,000 ($241,000–$335,000)); Andy Warhol’s Jackie from 1964 (estimate: £400,000–$600,000 ($537,000–$805,000); and Christo’s collage L’Arc de Triomphe Wrapped (Project for Paris) Place de l’Etoile – Charles de Gaulle (2020) (estimate: £400,000–$600,000 ($537,000–$805,000) one of the final works completed by the artist during his lifetime.

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