Pablo Picasso’s long-hidden portrait of Dora Maar sells for $37 million in Paris. https://ift.tt/KHsuWer

Pablo Picasso’s long-hidden portrait Buste de femme au chapeau à fleurs (Dora Maar) (1943) was sold for €32.01 million ($37.15 million) by the auction house Lucien Paris on October 24th. (All prices include fees.) The sale, held at the Hôtel Drouot in Paris, marked the first time the work was shown since its acquisition in 1944.

For more than 80 years prior to this month’s sale, Buste de femme au chapeau à fleurs (Dora Maar) had remained in the private collection of the family that originally acquired it. The work was previously known to the public only through a photograph by French Hungarian artist Brassaï and a black-and-white reproduction in Christian Zervos’s catalogue raisonné for the artist. The portrait depicts Surrealist artist Dora Maar, Picasso’s muse and romantic partner throughout the 1930s and ’40s. Though long overshadowed by Picasso, Maar has recently received wider recognition for her own artwork.

This work is part of Picasso’s “Woman in a Hat” series, completed during the final years of his relationship with Maar and under the constraints of wartime Paris. For this series, Picasso also painted French model Marie-Thérèse Walter and his wife Jacqueline Roque. Maar was also featured in Picasso’s “Weeping Woman” series, which was completed in 1937.

“To rediscover such a work, in all its authenticity and intensity, and to see it take flight under the hammer at Drouot, is a rare privilege and a moment of pure grace for any auctioneer—and for all art lovers,” Christophe Lucien, who conducted the sale, said in a statement.

Over the course of a 35-minute bidding war, approximately 18 bidders from Europe, Asia, and the United States competed for the work before an international collector in the room made the winning bid.

“This is a well-deserved result for what I consider a true Mona Lisa of the 20th century,” Picasso specialist Agnès Sevestre-Barbé said in a statement.

This sale marks the highest auction result of the year in France and the second-highest price ever achieved for Picasso in the country. The highest price for a Picasso sold in France was set by Les Noces de Pierrette (1905), sold for $51.35 million by Binoche et Godeau in 1989. Picasso’s auction record is held by Les Femmes d’Alger (Version “O”) (1955), which sold for $179.36 million at Christie’s New York in 2015.

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The Hidden Queer History of Modernism https://ift.tt/Ds8oRlP

In Bank Holiday Monday (1937), queer desire unravels in plain sight within a crowded carnival ground. The kaleidoscopic painting, by British nonbinary artist Gluck, centers on two fashionable, androgynous figures: One, with close-cropped brown hair (like the artist’s own), looms over her peroxide-blond partner’s shoulder, seductive and sinister. The two are physically present in the scene, standing in the trash-strewn grass, but seem to exist in a bubble—speaking a language of forbidden yearning and coded self-expression.

These are the visual cues on view throughout “Queer Modernism: 1900 to 1950,” a comprehensive new exhibition of over 130 works by 34 artists at the Kunstsammlung Nordrhein-Westfalen’s K20 space in Düsseldorf, Germany. Rewriting a half-century of Western art history through a queer lens is noble—and necessary. Although modernism was defined by its rejection of traditional values and embrace of experimentation, it was a cadre of straight, white, male artists like Pablo Picasso and Vincent van Gogh who came to dominate the canon. The new exhibition reframes modernism as a movement shaped by queerness, not merely touched by it.

The vibrancy of Bank Holiday Monday helps to define the show. It’s also a moment of new visibility for the mononymic British painter who dropped their given name, Hannah Gluckstein, in 1918, and became one of England’s most prominent gender-defying artists. This inclusion reflects a broader trend across the art world, where galleries and institutions have sought to reevaluate historical movements in recent years to recognize the impact of marginalized artists.

Of the 331 participating artists and collectives in the main exhibition of the 2024 Venice Biennale, for instance, there were dozens for whom queerness was central to their practice. The art market has also begun to catch up: early queer icon Rosa Bonheur’s Emigration de Bisons (Amérique) (1897) sold for $773,500 in 2019, while other artists represented in the exhibition, including Richmond Barthé, Leonor Fini, Beauford Delaney, and Paul Cadmus, have also sold works in the upper six figures or higher at auction in recent years.

There is a growing appetite for this long-overlooked history, and “Queer Modernism” makes a persuasive case for rewriting it. “It cannot only be about integrating seemingly marginalized artists into the center of the discourse on modernism,” said curator Anke Kempkes. “An exhibition like this is changing our perspective on the history of modernism, which has usually been told linearly. We see now that the whole picture is so much broader and more complex and complicated.”

The exhibition contains work from across five decades, when queer artists turned to the very materials of modernism—abstraction, fragmentation, and reduction—to encode desire and difference in plain sight. At the very start of the show is Untitled (Seated Man, Multiple Images) (1927), by Russian Surrealist painter Pavel Tchelitchew, whose partner, Charles Henri Ford, co-wrote The Young and Evil, a salacious (and quickly banned) novel about New York’s gay underground scene in the 1930s.

The moody, cerebral portrait shows a lone figure in a shabby gray suit, his face split into three overlapping expressions as his limbs abnormally intertwine. The faces suggest layers of identity, while the tangle of limbs can be read as either a lover’s embrace or a desperate struggle to reconcile a fractured identity.

“Tchelitchew criticized Picasso’s analytical Cubism and sterile modernism for being lifeless and for not being able to capture life, sexuality, desire, and physical forms of embodiment,” said Kempkes. Elsewhere in the show, works explore the expression of queer identities in the early 20th century, when homosexuality was still criminalized for men and socially taboo for women across Europe and the U.S. In Glyn Warren Philpot’s Penelope (1923)—a standout painting, which sold for over £337,000 at auction in 2021—queer desire is camouflaged in Greek mythological imagery. Though the title refers to Odysseus’s wife from Homer’s Odyssey, Penelope almost recedes into the canvas as she’s depicted on a chair, weaving a shroud.

Instead, Philpot focuses on the three male suitors surrounding her—particularly one whose barely covered backside dominates the foreground, with his groin just inches from her upturned gaze. The work simmers with repressed sexuality, reflecting the artist’s own conflict as both a gay man and a practicing Roman Catholic. By rendering homoeroticism through gazes and the male form, Philpot navigated the tension between desire and the moral codes of this era.

Greek mythology as a lens for queerness recurs most vividly in the story of Narcissus, the handsome young man who falls in love with his own reflection in a pool of water. This became particularly salient due to Freud’s dominating influence on 20th-century thought. The psychoanalyst famously pathologized homosexuality as a kind of “misdirected love of the self.” But artists of the time took that diagnosis and flipped it, navigating their same-sex desires not through shame, but reclamation.

This reversal is made explicit in a work by Harlem Renaissance figurehead Richmond Barthé. Barthé’s Black Narcissus (1929), on view in the show, features a young nude figure in bronze, one hand on his hip, as another holds a small mirror which he confidently gazes down at. Elsewhere, Swedish painter Nils Dardel’s The Dying Dandy (1918) depicts a young man lying weakly against a pillow, one hand clutching his heart while the other holds a mirror to himself. Whereas Barthé’s muted bronze depicts a lone man, Dardel has painted four colorful mourners surrounding the central dandy. Viewed through the lens of the dominant Freudian analysis, the tableau feels almost biting in its sarcasm: Here lies the extravagant, dying man, surrounded by love but in a world of his own as he passes away from an excess of vanity.

Though Dardel’s theatrical, colorful satire offers a moment of levity, it can also be read as a melancholic reflection on the pressure of trying to express yourself. This struggle for acknowledgment still plays out today. Queer modernists may finally be getting their flowers and some market recognition, yet their legacies remain vulnerable to misrepresentation. “There were two instances where the estate side or the holders of an archive, not necessarily legal heirs, were trying to influence the interpretation of the queer legacy of the artist in a way that would make it less visible or less explicit,” Kempkes shared. It’s a reminder that art doesn’t exist in a vacuum; what makes it onto museum walls must still navigate real-world prejudice.

In the exhibition’s “Epilogue” section, Sonja Sekula’s Silence (1951) provides a quietly powerful close. Dedicated to her friend John Cage, the painting was created during the Lavender Scare, when paranoia about homosexuality in the U.S. government fueled widespread repression. Beside it, a wall text quotes Cage: “I have nothing to say, and I am saying it.” The pairing underscores a larger truth: queerness has always existed in tandem with suppression. For Kempkes, today’s resurgent conservatism gives the exhibition added urgency: “In a time when queer life is increasingly threatened, it is particularly important to make visible the rich and far-reaching history of queer culture.”

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Looking at art reduces stress, according to major scientific study. https://ift.tt/FsNlWCE

The Costume of Painter - at the studio-hm in the red m, 2020
Bae Joon Sung
Gallery Grimson

Looking at original artworks can produce immediate, positive effects on the body, according to a new study led by King’s College London and commissioned by the Art Fund, a British charity. The research, conducted in partnership with the Psychiatry Research Trust, claims to provide the strongest physiological evidence to date that art can lower stress while also stimulating emotional engagement.

The study followed 50 adults aged 18 to 40 between July and September 2025, who viewed original works by Édouard Manet, Vincent van Gogh, and Paul Gauguin at The Courtauld Gallery in London. The same participants were also shown reproductions of the work in a controlled environment. Participants were monitored using digital wrist sensors and saliva samples to measure heart activity, skin temperature, and hormone and immune markers.

The results showed that cortisol—the body’s primary stress hormone—fell by an average of 22% among the participants who viewed the original artworks, compared with 8% for those who saw reproductions. Levels of pro-inflammatory cytokines (stress-related proteins) dropped by nearly a third in the gallery group.

“From a scientific perspective, the most exciting outtake is that art had a positive impact on three different body systems—the immune, endocrine, and autonomic systems—at the same time,” Dr. Tony Woods, researcher at King’s College London, said in a statement. “This is a unique finding and something we were genuinely surprised to see.”

Researchers also found that participants demonstrated physiological signs of excitement as well as a reduction in stress when viewing art. Dips in skin temperature, more variation in heartbeat patterns, and higher overall heart rates were all observed in the trials, indicating bursts of what researchers called “emotional arousal.”

“This study proves for the first time what we've long felt at Art Fund – that art really is good for you,” Art Fund director Jenny Waldman said in a statement.

Notably, the responses were not influenced by participants’ personalities or emotional intelligence, pointing to broad, universal benefits. This study builds on an increasing body of research indicating that engaging with art is good for you, mentally, socially, and physically.

“In short, our unique and original study provides compelling evidence that viewing art in a gallery is ‘good for you’ and helps to further our understanding of its fundamental benefits,” Woods continued. “In essence, Art doesn’t just move us emotionally—it calms the body too.”

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Gerhard Richter and Maya Lin among artists tapped for J.P. Morgan’s New York headquarters. https://ift.tt/2b61AoB

JPMorganChase commissioned major works from American sculptor Maya Lin, German painter Gerhard Richter, American artist Leo Villareal, British architect Norman Foster, and digital art pioneer Refik Anadol for its new global headquarters at 270 Park Avenue in New York. These works were revealed when the building, designed by architecture firm Foster + Partners, officially opened this month.

At street level, Maya Lin’s A Parallel Nature is a focal point for a new public plaza on Madison Avenue. The stone installation draws from New York’s geological foundation, referencing the city’s natural bedrock and the rock formations throughout Central Park. Inside the tower, though visible from the street, Gerhard Richter’s large-scale paintings Color Chase One and Color Chase Two line the Park Avenue lobby. Each work is composed of interlocking geometric shapes made from aluminum..

Leo Villareal’s light installation Celestial Passage crowns the 1,388-foot building’s exterior, while Norman Foster’s Wind Dance, a 3-D printed bronze column containing a flag synchronized with the airflow outside, is positioned in the lobby. Nearby, Anadol’s Living Building transforms the elevator banks into dynamic, AI-driven light displays.

The new headquarters is one of New York’s largest office developments in recent years. The five newly commissioned artworks will be experienced by an office population of some 10,000 employees, plus thousands of daily visitors to the 2.5-million square-foot building.

JPMorganChase’s official art collection was started in 1959 by David Rockefeller, who served as the company’s CEO from 1969 to 1980. Today, the collection boasts more than 30,000 works of art, including pieces by Vietnamese artist Dinh Q. Lê, Native American artist Jeffrey Gibson, and American photographer Thalia Gochez, among many others. A selection of the collection, including work by Josef Albers, Jean-Michel Basquiat, and Jenny Holzer, was presented in an exhibition at the Bronx Museum in 2009.

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Tastemaking art fair Paris Internationale to launch Milan edition in 2026. https://ift.tt/pJNWL17

The art fair Paris Internationale will debut a new Milan edition in April 2026, organizers announced just before the opening of the fair’s 11th iteration last week. The inaugural event will coincide with miart, Milan’s tentpole annual contemporary art fair, though specific details on the venue and participating galleries have yet to be confirmed.

“Milan boasts a long-standing tradition in contemporary art, which in recent years has further strengthened thanks to an increasingly dynamic and interconnected cultural ecosystem,” Tommaso Sacchi, deputy mayor for culture in Milan, said in a statement. “Today, the city can rely on a solid network where institutions, galleries, fairs, artists, and audiences engage in an ever more vibrant and international dialogue.”

Paris Internationale was founded in 2015 as a platform for emerging international galleries in Paris. This intimate art fair has earned a reputation for its artist-focused program, appealing to young collectors and curators from around the world.

The decision adds momentum to Milan’s increasing status as a European art hub. Leading international galleries, including Thaddaeus Ropac and Ben Brown, have recently opened outposts in the city, and the Italian government this summer announced that value-added tax on art sales would be reduced to a competitive 5 percent.

Nernina Ciaccia, one of Paris Internationale’s founders and founder of Milan- and Paris-based Ciaccia Levi Gallery, told Il Sole 24 that, while miaart “lacks nothing” on an institutional level, “what is perhaps lacking in Milan is an alternative proposal, which is a fair, but also a cultural event.”

The 2025 edition of Paris Internationale ran from October 22nd to 26th, featuring 55 galleries in a new venue on the Champs-Élysées. The fair was part of several satellite events that last week coincided with Art Basel Paris 2025.

“We are delighted that Paris Internationale has chosen Milan for its very first edition outside of France—a sign of trust in the city’s cultural vitality and an opportunity to deepen the bonds between our artistic communities,” Saachi continued.

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What Sold at Art Basel Paris 2025 https://ift.tt/s0LadVu

Art Basel Paris 2025 concluded on Sunday, October 26, bringing six days of dealmaking to a close at the Grand Palais. Some 206 galleries from 41 countries participated in this year’s edition, which was characterized by a positive attitude and strong reported sales from exhibitors.

“What truly stood out this week was the atmosphere,” said Brussels dealer Xavier Hufkens, whose booth “nearly sold out” by the end of the fair. “People came to Paris to look, to feel, and to fall in love with art all over again,” he added.

Most galleries in the main section of the fair opted for group presentations, choosing to flex the breadth of their programs and the strength of their inventories. Other sections included Emergence, which featured emerging artists exhibited by young galleries, and Premise, which highlighted historical curated presentations.

This year’s Art Basel Paris got underway with a newly launched “Avant Première” preview on Tuesday afternoon, when a smaller pool of select invitees was welcomed to the Grand Palais a day before its standard “First Choice” VIP opening. The result of the move—intended to prioritize galleries’ most important clients—created an immediate tone that was more serious and transaction-focused from 3 to 7 p.m., with deals being struck at a more efficient pace than at recent comparable art fair preview days.

“Art Basel Paris was very intense from the first 30 minutes of the Tuesday preview,” said Paris-based dealer Almine Rech. “That energy was present every single day.” Several galleries noted sustained business throughout the week, reporting that many clients present on Tuesday returned to the fair in the days that followed to confirm prospective purchases.

Art Basel Paris 2025 capped a lively week for the French capital’s art scene. Noteworthy satellite fairs included Paris Internationale and Design Miami.Paris, as well as a growing number of smaller, community-oriented fairs, including Place des Vosges and 7 rue Froissart. Buzzy museum shows were perhaps the most frequent topics of conversation, including Gerhard Richter’s retrospective at the Fondation Louis Vuitton—which surely influenced sales of the artist’s works noted below—and the “Minimal” survey at the Pinault Collection’s Bourse de Commerce.

The week was also supplemented by a raft of gallery shows, pop-ups, and other art events, which, taken together, reaffirmed Paris’s status as one of the world’s leading art capitals (not that anyone needed a reminder).

Here, we round up the sales reported by galleries at Art Basel Paris 2025.

Leading sales at Art Basel Paris 2025

Quiet Painting "The Reason Why", 2025
Rashid Johnson
Hauser & Wirth

Red, white and blue...almost, 2025
Henry Taylor
Hauser & Wirth

As well as the leading Richter sale, Hauser & Wirth reported the following transactions:

• Bruce Nauman’s Masturbating Man (1985) for $4.75 million.
• George Condo’s Multicolored Female Composition (2016) for $4.5 million and Femme de Monaco (2025) for $1.85 million.
• Lucio Fontana’s Concetto spaziale, Attese (1964–65) for €3,500,000 ($4.14 million).
• Francis Picabia’s Femme brune (ca. 1941–42) for €850,000 ($1 million).
• Pat Steir’s Blue with Red, Yellow, and Silver (2024–25) for $795,000.
• Rashid Johnson’s Quiet Painting “The Reason Why” (2025) for $750,000.
• Henry Taylor’s Red, white and blue…almost (2025) for $650,000.
• William Kentridge’s Morandi sculpture set (2025) for $550,000.
• Ed Clark’s Untitled (mid-1980s) for $500,000.
• Lorna Simpson’s Personal (2025) for $400,000.
• Firelei Báez’s Blooming in the Noise Of The Whirlwind (World’s Progress) (2025) for $325,000.
• María Berrío’s The Plot (2025) for $250,000.
• Three editions of Camille Henrot’s Mom Me (2025) for $225,000 each.
• Nairy Baghramian’s selves (2025) for €175,000 ($207,200).
• George Rouy’s Inertia (2025) for £120,000 ($163,800).
• Hélène Delprat’s TODAY XXVIII (2025) for €35,000 ($41,400).

White Cube led its reported sales with Julie Mehretu’s Charioteer (2007) for $11.5 million. Other sales included:

• Alexander Calder’s Eight Polygons (1973) for $4.85 million.
• Georg Baselitz’s Dresdner Frauen – Elke (1989/2023) for €2.5 million ($2.95 million).
• Luc Tuymans’s Bend Over (2001) for $1.35 million.
• Cai Guo-Qiang’s cAI™️ Dragon Year: Orange and Purple (2024) for $1.2 million.
• Richard Hunt’s Dogonese (1985) for $650,000.
• Josef Albers’s Study for Homage to the Square (1966) for €550,000 ($651,000).
• Howardena Pindell’s Space Frame #2 (1969) for $550,000.
• Danh Vō’s Untitled (2025) for €350,000 ($414,600).
• Three Francis Picabia works for €300,000 ($355,100), €65,000 ($76,000), and €38,000 ($45,000) apiece.
• Antony Gormley’s SMALL COMFORT (2024) for £250,000 ($341,200).
• An unspecified number of Park Seo-Bo works for $250,000 each.
• Marina Rheingantz’s Juma (2025) for $220,000.
• A Tracey Emin neon for £195,000 ($265,900), “several” drawings for £120,000 ($163,800) each, and the bronze Trying to forget II (2014) for £55,000 ($75,100).
• An unspecified number of Lygia Pape drawings for $180,000 each.
• Isamu Noguchi’s Small Wonder (1946) for $150,000.
• Emmi Whitehorse’s Tsin Tah II (Amidst Forrest) (1992) for $150,000.
• Works by Yoko Matsumoto, Julie Curtiss, Imi Knoebel, TARWUK, and Alia Ahmad also sold for five-figure sums.

Pace Gallery’s reported sales were led by Amedeo Modigliani’s Jeune fille aux macarons (1918), which sold for “just under” $10 million to a private European institution. Other sales included:

• Agnes Martin’s Children Playing (1999) for $4.5 million and Untitled (1977) for $250,000.
• Adrian Ghenie’s The Spanish Room 2 (2025) for €1.5 million ($1.77 million).
• Lee Ufan’s Response (2025) for $900,000.
• Emily Kam Kngwarray’s Alatji – Wild Yam (1992) for $550,000.
• Louise Nevelson’s Moon Garden Gate X (1973–75) for $500,000.
• Elmgreen & Dragset’s The Visitor (2025) for €270,000 ($319,600).
• Robert Nava’s Ability to Teleport (2024) for $250,000.
• Mary Corse’s Untitled (Blue Diamond with White Inner Band) (2025) for $225,000.
• Paulina Olowska’s The Day of Charlotte and Sparrows (2025) for $195,000.
• Robert Longo’s Untitled (Eagle Head Profile) (2025) for $125,000.
• Two Alicja Kwade works for $115,000 and €58,000 ($68,700) each.
• Gideon Appah’s Lovers Tale (2025) for $100,000.
• Arlene Shechet’s Together…(2025) for $80,000.
• Works by Marina Perez Simão, Loie Hollowell, Lauren Quin, Jiro Takamatsu, Max Hooper Schneider, and Pam Evelyn also sold for five-figure sums.

David Zwirner led its sales with a $7.5 million sculpture by Ruth Asawa, whose retrospective opened at the Museum of Modern Art in New York just a few days prior. The gallery also reported the following sales:

• A Martin Kippenberger painting for $5 million.
• A Gerhard Richter painting for $3.5 million and 16 editions by the artist for $400,000 each.
• A Joan Mitchell painting for $3 million.
• A Marlene Dumas painting for $2.5 million.
• A Bridget Riley work on paper for $2.2 million and a painting for £750,000 ($1.02 million).
• A Robert Ryman painting for $1.2 million.
• An Elizabeth Peyton painting for $1 million and a work on paper for $220,000.
• A Dana Schutz painting for $900,000.
• An Oscar Murillo painting for $380,000.
• Two Andra Ursuța sculptures for $300,000 each.

Thaddaeus Ropac—one of Artsy’s best booths from the fair—led its reported sales with Alberto Burri’s Sacco e oro (1953), which sold for €4.2 million ($4.96 million). Other sales included:

• Georg Baselitz’s Cowboy (2024) for €3.5 million ($4.14 million); Bei Willem (2009) and Geste Winken (1995) for €1.2 million ($1.42 million) each; Noch Mützen trug man (2023) for €1 million ($1.18 million); and Elke (2017) for €850,000 ($1 million).
• Elizabeth Peyton’s The Solemn Entry of Louis XIV 1667 (2016) for $1.3 million.
• Antony Gormley’s STAND (2023) for £600,000 ($818,800) and MEME XCIX (2010) for €120,000 ($142,100).
• Joan Snyder’s Whole segments (1970) for $600,000.
• Sean Scully’s Blue Bird (2024) for $500,000.
• Daniel Richter’s A Pleasure Drowning (2018) for €450,000 ($532,200).
• Martha Jungwirth’s 7. Oktober II (2023) for €430,000 ($509,000), Untitled (2025) for €340,000 ($402,500), Hier die ersehnten Masse meines Juwels (2025) for €75,000 ($88,800), and Ohne Titel (2020) for €190,000 ($225,900).
• Tony Cragg’s Incident (Solo) (2023) for €325,000 ($384,700).
• A work by Pierre Soulages for €280,000 ($331,500).
• Sturtevant’s Warhol Black Marilyn (2004) for €275,000 ($325,600).
• Liza Lou’s Anaphora (2025) for $250,000.
• Tom Sachs’s Standing Woman (2025) for $225,000.
• Imi Knoebel’s Etcetera CC (2025) for €200,000 ($236,800).
• Miquel Barceló’s La Mar gran (2018/2019) for €110,000 ($130,200).Works by Robert Longo, Zadie Xa, Oliver Beer, and Jordan Casteel also sold for five-figure sums.

Karma’s reported sales were led by Matthew Wong’s White Wave, Black Sand (2017), which sold for $3.5 million. Other sales included:

• Manoucher Yektai’s Still Life with “France-Soir” (1960) for $750,000.
• A Richard Mayhew painting for $550,000.
• Gertrude Abercrombie’s Little Interior (1960) for $450,000.
• Reggie Burrows Hodges’s Kelley’s Work (2024) for $350,000.
• Ulala Imai’s Breakfast (2014) for $120,000.
• Works by Calvin Marcus, Jeremy Frey, Jacob Littlejohn, Jane Dickson, Ann Craven, Marley Freeman, Xiao Jiang, and Randy Wray also sold for five-figure sums.

Sprüth Magers’s reported sales were led by George Condo’s Smiling Profile (2025) and The Fool (2025), which sold for $1.8 million each. Condo recently opened a major retrospective at the nearby Musée d’Art Moderne de la Ville de Paris. Other sales included:

• Rosemarie Trockel’s Untitled (1985) for €300,000 ($355,100) and Touchstone (2012) for €200,000 ($236,800).
• Louise Lawler’s Locus Solus (2007/2009) for $90,000.
• Hyun-Sook Song’s Brushstrokes-Diagram (2009) for €70,000 ($82,900).
• Salvo’s Primavera (2007) for €58,000 ($68,700).
• Gala Porras-Kim’s 1 case C.33.A… (2025) for $60,000.
• Henni Alftan’s Ace (2025) for $50,000.
• Works by David Salle, Gretchen Bender, and Andreas Schulze also sold for five-figure sums.

Cardi Gallery led its sales with Lucio Fontana’s Concetto Spaziale, Natura (1962–63) which had an asking price of €1.5 million ($1.77 million). Other sales included:

• Jannis Kounellis’s Untitled (2015) for €300,000 ($355,100).
• Pier Paolo Calzolari’s Untitled (1968) for an asking price of €350,000 ($414,600).
• Mimmo Rotella’s Senza Titolo (1958) for an asking price of €130,000 ($153,900).
• Agostino Bonalumi’s Bianco (1975) for an asking price €130,000 ($153,900).
• Vincenzo de Cotiis’s UNTITLED 24 (1997) for €95,000 ($112,500).

Xavier Hufkens’s reported sales were led by a Tracey Emin painting for £1.2 million ($1,637,600). Other sales included:

• An Alice Neel painting for $1 million.
• Two Thomas Houseago sculptures for $575,000 and $250,000.
• A Louise Bourgeois sculpture for $500,000.
• A Thierry De Cordier painting for €250,000 ($296,000) and two works on paper for €30,000 ($35,500) each.
• A John Chamberlain sculpture for $285,000.
• A George Condo work on paper for $250,000.
• A Qiu Xiaofei painting for $225,000.
• A Lesley Vance painting for $180,000.
• A Leon Kossoff painting for £120,000 ($163,800).
• Three Tatiana Trouvé sculptures each for prices in the €25,000–€175,000 ($29,600–$207,200) range.
• A McArthur Binion painting for $150,000.
• Four Mark Manders sculptures in the range of €115,000–€130,000 ( $136,000–$153,900) apiece.
• Additional works by Emin, Matt Connors, Nathanaëlle Herbeli, Constantin Nitsche, and Robert Mapplethorpe sold for five-figure sums.

elfterjulizweitausendfünfundzwanzig, 2025
Ugo Rondinone
Mennour

Mennour’s reported sales were led by a $1.3 million Andy Warhol work. Other sales included:

• Two Lee Ufan paintings for $1 million each.
• A Gerhard Richter work for $280,000.
• A Ugo Rondinone painting for $240,000.
• An Adam Pendleton work for $225,000.

David Kordansky Gallery’s reported transactions were led by Jonas Wood’s Japanese Garden View (2025), which sold for $1.1 million. Other sales included:

• Mary Weatherford’s Veil of Veronica (2024–25) for $300,000.
• Shara Hughes’s Hidden Pretty (2019) in the $225,000–$275,000 range.
• Hilary Pecis’s Sitting Room (2025) for $180,000.
• Jennifer Guidi’s A Never-Ending Whirl of Evanescence (2025) for $170,000.
• Betty Woodman’s Balustrade Relief Vase: 08-1 (2008) for $150,000.
• Lucy Bull’s 16:55 (2025) for a price in the $100,000–$145,000 range.
• Odili Donald Odita’s Sundown (2025) for $100,000.
• Works by Joel Mesler, Ivan Morley, Michael Williams, Kyungah Ham, Maia Cruz Palileo, Tristan Unrau, Mai-Thu Perret, Tom of Finland, Huma Bhabha, Sam McKinniss, Ricky Swallow, and Jared Buckhiester also sold for five-figure sums.

Other reported seven-figure sales included:

• Tornabuoni Art sold Giorgio Morandi’s Nature Morte (c. 1950) for €2 million ($2.36 million).
• Yares Art sold Frank Stella’s Sacramento Mall Proposal #5 (1978) for $4 million.

Notable blue-chip sales at Art Basel Paris 2025

Several galleries at the fair reported a string of sales for works priced in the high six-figure range. Highlights from these exhibitors are as follows.

Kukje Gallery’s reported sales were led by Lee Ufan’s Response (2025) for a sum in the $850,000–$1,020,000 range. Other sales included:

• Park Seo-Bo’s Écriture No. 220202 (2022).
• Ha Chong-hyun’s Conjunction 24-52 (2024) and Conjunction 23-64 (2023), each for a price in the $250,000–$300,000 range.
• Ugo Rondinone’s fünfzehnternovemberzweitausendundvierundzwanzig (2024) for a price in the $70,000–$84,000 range.
• Jae-Eun Choi’s When We First Met (2024) for a price in the $50,000–$60,000 range.
• A Kwon Young-Woo work for a price in the $44,000–$53,700 range.
• Works by Daniel Boyd, Kim Yun Shin, Lee Kwang-Ho, and Chong-hyun also sold for five-figure sums.

Almine Rech’s reported sales were led by a James Turrell work for a price in the $900,000–$1 million range. Other sales included:

• An Ewa Juszkiewicz painting for a price in the $700,000–$800,000 range.
• A Pablo Picasso work on paper for a price in the $500,000–$600,000 range.
• Ha Chong-hyun and Tom Wesselmann paintings each for prices in the $250,000–$300,000 range.
• Joël Andrianomearisoa’s Les Herbes folles du vieux logis (2020–2025) for a price in the €200,000–€250,000 ($237,000–$296,000) range.
• “Several” Claire Tabouret paintings each priced in the $150,000–$180,000 range.
• A Mehdi Ghadyanloo work for a price in the €130,000–€150,000 ($153,900–$177,600) range.
• Works by Youngju Joung, Oliver Beer, Ji Xin, Joël Andrianomearisoa, and Brian Calvin also sold for five-figure prices.

Tabula, 1975
Simon Hantaï
Galerie Christophe Gaillard

Lisson Gallery’s reported sales were led by Leiko Ikemura’s Usagi Greeting (440) (2025), which sold for €800,000 ($947,000). Other sales included:

• Anish Kapoor’s Oriental Blue to Black (2025) for £600,000 ($818,800).
• Two prints of Hiroshi Sugimoto’s Bay of Sagami, Enoura (2025) for $400,000 each and three “Opticks” works (2018/2022/2023) for $250,000 each.
• Huguette Caland’s Untitled (1978) for $350,000.
• Ryan Gander’s The storyteller… (2025) for £200,000 ($273,000).
• Otobong Nkanga’s Cadence – Dominance (2025) for €130,000 ($153,900).
• Hélio Oiticica’s Untitled (1955) for $100,000.
• Ikemura’s Paris Almost Midday (2025) for €90,000 ($106,600).
• Laure Prouvost’s Jasper (2024) for €40,000 ($47,400).

Galerie Christophe Gaillard—another Artsy best booth from the fair—led reported sales with Simon Hantaï’s Tabula (1975), which sold in the range of €800,000–€850,000 ($947,000–$1 million). Other sales included:

• A work by Hélène Delprat for €180,000 ($213,100) and another for €38,000 ($45,000).
• Hantaï’s Untitled (1955) for a price in the range of €150,000–€180,000 ($177,600–$213,100).
• Eric Baudart’s Papier millimétré (Skyline) (2024) in the range of €30,000–€35,000 ($35,500–$41,400), and Papier millimétré (2023) for €20,000 ($23,700).
• Additional works by Richard Nonas, Julien Des Monstiers, and Anita Molinero for five-figure sums.

Drawing for Felix in Exile (Felix in Flooding Room), 1994
William Kentridge
Goodman Gallery

Goodman Gallery—another Artsy best booth—led reported sales with William Kentridge’s Drawing for Felix in Exile (Felix in Flooding Room) (1994), which sold for $600,000 to a U.S. museum. Other sales included:

• Kentridge’s Sobriety, Obesity and Growing Old (1991) for $450,000.
• Kapwani Kiwanga’s A Coincidence of Wants: Silver-Blue (2024) and Silver-Purple (2024) for €120,000 ($142,100) each.
• Yinka Shonibare’s Hybrid Mask (Walu Dogon) II (2024) for £60,000 ($81,900).
• Atta Kwami’s Atideka (triptych) (2010) for £22,000 ($30,000).

Loevenbruck’s reported sales were led by Gilles Aillaud’s Intérieur et hippopotame (1970), which sold for €500,000 ($592,000). Other sales included:

• François Morellet’s Untitled (1951) for €200,000–€300,000 ($237,000–$355,100).
• Two drawings by John Cage for €70,000 ($82,900) combined.
• A sculpture by Daniel Dewar and Grégory Gicquel for €50,000 ($59,200).
• chloé royer’s O (2025) for €25,000 ($29,600).

More six-figure sales at Art Basel Paris 2025

Perrotin led its reported sales with a Pierre Soulages gouache for €400,000 ($472,000). The gallery also reported the following transactions:

• A work by Takashi Murakami for $550,000.
• A painting by Chen Fei for $280,000.
• A painting by Claire Tabouret for a price between $180,000–$210,000.
• Two paintings by Mr. and Murakami for $150,000–$170,000 each.
• A painting by Bharti Kher for €140,000 ($165,200).
• A work by Emily Mae Smith for €135,000 ($159,300).
• A painting by Mr. for a price between €130,000–€140,000 ($153,400–$165,200).
• Two works by Daniel Arsham for prices between $95,000–$150,000 each.
• “More than” a dozen Maurizio Cattelan works from three different series priced between €90,000–€180,000 ($106,200–$212,400) each.
• Works by Otani Workshop, Sophie Calle, GaHee Park, Emily Kuraya, Nick Goss, and Lynn Chadwick also sold for five-figure sums.

Casey Kaplan’s reported sales were led by a Jordan Casteel work for $380,000. It also reported the following:

• An Amanda Williams work for $110,000.
• A Caroline Kent work for $65,000.
• Three Kevin Beasley works for $35,000 each.
• A Sydney Cain work for $28,000.
• A Kaveri Raina work for $25,000.

Untitled, 2025
Katharina Grosse
Galerie nächst St. Stephan Rosemarie Schwarzwälder

The Relentless Pursuit, 2025
Jordan Casteel
Casey Kaplan

Galerie nächst St. Stephan Rosemarie Schwarzwälder’s reported sales were led by Katharina Grosse’s Untitled (2024), which sold for €215,000 ($254,500). Other sales included:

• Grosse’s Untitled (2009) for €130,000 ($153,900).
• Sheila Hicks’s Recherche Intérieure (2025) for €120,000 ($142,100) and Views avec moi (2025) for €40,000 ($47,400).
• Bernard Frize’s Harthy (2025) for €116,000 ($137,400).
• Walter Swennen’s Old Magic (2017) for €40,000 ($47,400).
• Jongsuk Yoon’s Hill Landscape (2025) for €35,000 ($41,400).
• Additional works by Herbert Brandl, Jiyeen Lee and Isa Melsheimer for five-figure prices.

Templon led its reported sales with a €200,000 ($236,800) Anthony Caro work. It also reported the following sales:

• A François Rouan work for €165,000 ($195,300).
• Two Chiharu Shiota works for €130,000 ($153,900) each and another for €120,000 ($142,100).
• “Several” Kehinde Wiley works for $85,000–$125,000 each.
• Two Omar Ba works for €100,000 ($118,400) each and another for a price in the range of €95,000–€100,000 ($112,500–$118,400).
• Two Gérard Garouste works for €85,000 each ($100,600 each).
• Works by Philippe Cognée, Jeanne Vicerial, and Nazanin Pouyandeh for five-figure prices.

Radical Writings, Abecedarium 7-4-91, 1991
Irma Blank
Mai 36 Galerie

Sometimes I lie sometimes I don’t , 2025
Raphael Hefti
Mai 36 Galerie

Mai 36 Galerie’s reported sales were led by Irma Blank’s Radical Writings, Abecedarium 7-4-91 (1991), which sold for €135,000 ($159,800). Other sales included:

• Matt Mullican’s Untitled (Behind that Person) (2011) for €45,000 ($53,300).
• Magnus Plessen’s Untitled (2025) for €40,000 ($47,400).
• Blank’s Radical Writings, Il corpo del silenzio (1983) for €40,000 ($47,400).
• Thomas Ruff’s untitled#20 (2022) for €30,000 ($35,500).
• Works by Maia Ruth Lee, Blank, Raphael Hefti, and Jacopo Benassi also sold for five-figure sums.

Sales from Tina Kim Gallery’s solo booth of works by Lee ShinJa in the fair’s Premise section were led by a 1970s tapestry for $200,000. Other sales included one textile work for $150,000, two textile works for $90,000 each, and another for $70,000.

Magnin-A’s reported sales were led by Billie Zangewa’s Disarming mars (2010) for a price in the range of €100,000–€150,000 ($118,400–$177,600). Other sales included:

• JP Mika’s Le sourire du bonheur (2024) for a price in the €40,000–€50,000 ($47,400–$59,200) range.
• Moke’s Sans titre (1978) and Estevão Mucavele’s Sans titre (c. 1990) each for a price in the €15,000–€20,000 ($17,800–$23,700) range.
• Ana Silva’s Guardiãs 029 (2025) for a price in the range of €15,000–€20,000 ($17,800–$23,700) and Guardiãs 033 (2025) for a price in the range of €10,000–€15,000 ($11,800–$17,800).

P420’s reported sales were led by Irma Blank’s Avant-testo 29-7-99 (1999), which sold for €130,000 ($153,900). Other sales included:

• Filippo de Pisis’s Vaso di fiori con ventaglio (1942) for €100,000 ($118,400) and Vaso di fiori (1950) for €65,000 ($77,000).
• An unspecified number of Irma Blank works each ranging €10,000–€60,000 ($11,800–$71,000).
• Works by Rodrigo Hernández also sold for five-figure sums, and a work by Adelaide Cioni sold for €3,500 ($4,100).

Fortes D’Aloia & Gabriel led its sales with Lucia Laguna’s A Paisagem nº 169 (2025) for $190,000. Other sales included:

• A work by Leda Catunda for $175,000.
• Two works by Janaina Tschäpe—a work on paper for $47,000 and a painting, Winter Rose (2025)—for $150,000.
• Works by Valeska Soares, Sophia Loeb, Erika Verzutti, Frank Walter, Marcia Falcão, Antonio Társis, Luiz Zerbini, and Rivane Neuenschwander also sold for five-figure sums.

Other sales at Art Basel Paris 2025

Lehmann Maupin reported sales for a number of works at prices in the range of $20,000–$650,000 apiece. These included works by McArthur Binion, Teresita Fernández, Catherine Opie, Cecilia Vicuña, and David Salle.

Semiose—another Artsy best booth from the fair—led its reported sales with Moffat Takadiwa’s Future cars (2025) and Pasi panodya, Earth consumes (2025) for €35,000 ($41,400) each. Other sales included:

• Another work by Takadiwa for €16,000–€20,000 ($18,900–$23,700).
• An unspecified number of Françoise Pétrovitch bronzes for €12,000–€16,000 ($14,200–$18,900) apiece.
• Five paintings by Xie Lei for €14,000 ($16,600) each.

Parlor, 2025
Kyle Dunn
P.P.O.W

Athr’s reported sales were led by Sarah Abu Abdallah’s Untitled (2025), which sold for SAR62,300 ($16,600). Other sales included:

• Asma Bahmim’s 4 Marriage Contracts II (2024) for SAR31,750 ($8,500) and 4 Marriage Contracts I (2024) for SAR30,000 ($8,000).
• Hayfa Algwaiz’s Forever Home (2025) for SAR28,500 ($7,600); Sheathing (2025) for SAR17,500 ($4,700); Everything Is Connected Around Corners in a Periscopic Way (2025) for SAR16,500 ($4,400); A Woman’s Body (2025) for SAR15,500 ($4,100); Waiting Room (2025) for SAR12,500 ($3,300).
• Lulua Alyahya’s Untitled (2025) for SAR19,500 ($5,200) and Untitled (2025) SAR10,500 ($2,800); Unknown Caller (2025) for SAR10,500 ($2,800).

P•P•O•W sold works by Kyle Dunn, Hilary Harkness, Dinh Q. Lê, and Carolee Schneemann for a combined total “north of” $700,000.

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James Turrell to open his largest museum “Skyspace” in Denmark. https://ift.tt/7hK2Jvs

James Turrell, a pioneering member of the Light and Space movement, has announced an ambitious new work set to open at ARoS Aarhus Art Museum in Denmark on June 19, 2026. The work, titled As Seen Below — The Dome, is part of Turrell’s famous series of “Skyspace” installations, which consist of enclosed spaces containing apertures opening to the sky and natural elements. The new installation is part of the museum’s 10-year expansion project, and will become the largest “Skyspace” installed in a museum.

Measuring approximately 50 feet in height and 130 feet in diameter, As Seen Below – The Dome invites visitors through a subterranean, light-filled corridor that opens into a vast domed chamber. The installation will feature an oculus at the center of its dome framing the open sky, with timed light sequences that will transform the space at sunrise and sunset.

“With As Seen Below, I shape the very experience of seeing, rather than simply delivering an image,” Turrell said in a statement. “The architecture brings the sky close, so you recognise that the act of looking is itself the work.”

In a statement, Rebecca Matthews, director of ARoS, described the new “Skyspace” as “an extraordinary work that invites visitors to slow down, lift their gaze and experience light, time, and space in deeply moving ways.”

Turrell, now 82, created the first “Skyspace” in 1974, following earlier experiments in controlling and shaping light within architectural space. Turrell has created more than 85 “Skyspaces” around the world.

The opening of As Seen Below will follow the opening of the ARoS’s Salling Gallery, an underground exhibition space dedicated to contemporary art commissions. The museum will also debut a new permanent outdoor art area.

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