Rare $3 million David Hockney painting of his dog heading to auction at Christie’s London. https://ift.tt/mDOtehB

A rare painting by David Hockney of his beloved dachshund Stanley is heading to auction at Christie’s, where it carries a high estimate of £2.5 million ($3.3 million).

The work, Dog Painting 17 (1995), shows Stanley curled up asleep on a cushion and is one of more than 40 paintings Hockney made in 1994 and 1995 for his “Dog Series,” devoted entirely to his two dachshunds. It is the first painting from the series ever to come to auction. “This is such an exciting painting for us,” said Tessa Lord, Christie’s head of postwar and contemporary art. “The rarity is kind of extraordinary.”

Christie’s believes only six paintings from the series are in private hands, with the rest held by the David Hockney Foundation. The consignor acquired the work after it appeared in a “Dog Series” exhibition at the L.A. Louver gallery in Venice, California, a show that reportedly drew 7,000 visitors in four days. According to Hockney, many brought their own dogs along.

Stanley, named after silent film star Stan Laurel, was chosen as a puppy by Hockney in 1987 and rarely left his side. He later adopted a second dachshund named Boodgie. The dogs became fixtures of Hockney’s famously social Hollywood Hills home, where, according to his authorized biographer Christopher Simon Sykes, the artist was untroubled by their lack of house training. One friend, Jonathon Brown, recalled the dogs relieving themselves in Hockney's shoes, and, on one occasion, on the floor of actor Dennis Hopper’s Frank Gehry–designed house in Venice. Hockney's response, as Brown told it, was characteristically unbothered, “Oh, it'll be dry in the morning, luv, and you can just pick it up.” Hopper, Brown said, “chose silence, but he looked like murder.”

Hockney began painting Stanley and Boodgie at a difficult moment, after losing several friends to AIDS-related illness and, in particular, following the death of his close friend, the curator Henry Geldzahler, from pancreatic cancer. Hockney later said he had wanted “desperately to paint something loving.” Lord described the “Dog” Series” in similar terms, saying “He felt such a loss of love; this was kind of a catharsis for him.”

Of Dog Painting 17 specifically, she pointed to its “incredible spontaneity” and “fluidity of brushstrokes,” noting the texture built up beneath the cushion and “that slight flick of the ear that really animates Stanley.” She added: “I love the fact that there is this kind of innocence to it, but it is so much more than that. There’s a universality to it… It's so much more than just a portrait of a dog.”

Hockney was hardly alone among artists in finding inspiration in a pet dachshund—both Andy Warhol and Pablo Picasso doted on the breed. Picasso's dachshund Lump appears in his studies for his painting Las Meninas (1957), and Warhol was frequently photographed with his own. ”

“Dog Painting 17” carries an estimate of £1.5 million to £2.5 million ($1.99 million to $3.3 million) and will be sold on October 14, during Frieze Week in London, following the artist’s death this past June at 88. The painting will go on public view, free of charge, at Christie's London galleries beginning October 8th.

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What Sold at The Armory Show 2026 https://ift.tt/Ux8ET1N

The Armory Show wrapped up its 2026 edition on Sunday, September 27th, following four days at the Javits Center that brought some 50,000 visitors to the fair. This year’s edition arrived later than usual on New York’s art world calendar, shifting from its traditional early September slot to the end of the month, and expanded to 242 exhibitors from more than 30 countries. Under director Kyla McMillan, the fair also grew its Presents and Solo sections, devoted to emerging galleries and single-artist presentations, respectively.

There were several other firsts. The fair debuted Armory After Hours (a carnival-inspired procession through the aisles led by a DJ and live percussionists), and staged its largest prize program to date. That included new acquisition initiatives with Pérez Art Museum Miami and the Bronx Museum, the latter of which acquired Zoë Pulley’s Elegance No. 1 (2026) for $14,000 from Superposition Gallery, one of Artsy’s best booths from the fair.

Elegance No. 1, 2026
Zoë Pulley
Superposition

Spring (81), 2026
Zoë Pulley
Superposition

This year’s edition featured sales across a particularly wide range of price points. The most expensive disclosed transaction was a Jackson Pollock painting sold by Hollis Taggart for between $3 million and $3.5 million, while several galleries reported seven-figure sales by artists including Joan Mitchell, Tracey Emin, and Jean-Michel Basquiat.

The fair also placed an emphasis on the Caribbean and its diaspora, with booths and large-scale installations addressing migration, memory, and regional identity, including presentations by artists such as Gio Swaby, Kachelle Knowles, Lizania Cruz, Joshua Nazario, and Bony Ramirez.

“The energy at The Armory Show this year was palpable,” McMillan told Artsy. “Collectors, dealers, curators, and visitors alike returned with optimism and excitement for the fall art season. We saw this translate into enthusiastic attendance throughout the fair. From opening day, galleries reported a buoyant energy that led to incredibly productive conversations and sales over the course of the fair.”

Here, we round up sales reported by galleries at the fair.

Top sales at The Armory Show 2026

Untitled, 1951
Jackson Pollock
Hollis Taggart

In addition to the Pollock sale, Hollis Taggart also reported:

• Basquiat’s Untitled (Figure Holding Up Fish) (1981) for $1.4 million–$1.6 million.
• Michael West’s Untitled (1947) for $180,000–$220,000.
• Pablo Atchugarry’s Untitled (2026) for $150,000–$200,000.
• Stuart Davis’s Quinciette (1964) for $120,000–$140,000.
• Karel Appel’s Untitled (1973) for $40,000–$50,000.
• Norman Carton’s Green Landscape for $10,000.

Michael Rosenfeld Gallery—another of Artsy’s best booths from the fair—sold a painting by Joan Mitchell for “more than” $2 million to a private collection. Further reported sales included:

• Two works on paper by Benny Andrews for $50,000–$100,000 each.
• A bronze by Richmond Barthé for $100,000–$250,000.
• A collage by Louise Nevelson for $100,000–$250,000.
• A mixed-media collage by Hannelore Baron for $10,000–$25,000.

Almine Rech’s reported sales were led by two Scott Kahn paintings for between $400,000 and $500,000 each. Further sales included:

• Two Larry Poons paintings for $250,000–$400,000.
• A George Condo work on paper for $200,000–$225,000.
• A Tom Wesselmann work on paper for $150,000–$175,000.
• A Joe Andoe painting for $90,000–$110,000.
• A Taryn Simon work for $30,000–$40,000.

Edwynn Houk Gallery sold a László Moholy-Nagy gelatin silver print for $320,000, as well as a Ron Norsworthy print for $9,500.

Robert Mapplethorpe, 1983
Andy Warhol
MARUANI MERCIER GALLERY

Maruani Mercier sold Andy Warhol’s Robert Mapplethorpe (1983) for between $250,000 and $350,000. It also sold Jaclyn Conley’s Drawing in Green (2026) for $30,000–$35,000, Morning Woman (2025) for $8,000–$12,000, and Von Wolfe’s The Dollhouse and the Dusk (2025) for $80,000–$100,000.

Marc Straus reported more than 20 sales, ranging from $8,000 to $250,000, with works acquired by six museums. The gallery sold five chair sculptures by Lucia Hierro for $85,000 each, three of which went to museums.

More key sales from The Armory Show 2026

Almost Grown, 2001
Peter Doig
Galerie Maximillian

Gazelli Art House placed a painting by Lilly Fenichel with a private European museum for “around” $200,000.

Galerie Maximillian sold Rashid Johnson’s Untitled (Large Mosaic) (2025) for “around” $175,000 in the first hour of the fair. It also sold Jonas Wood’s Five Bonsais (2024) for “around” $125,000 and Peter Doig’s Almost Grown (2001) for “around” $45,000.

Nara Roesler sold a Sheila Hicks work for $120,000–$280,000. The gallery also placed Abraham Palatnik’s W-600 (2014) for $60,000, Marco A. Castillo’s Wakamba con facciones cartesianas 2 for $50,000, and two works by Manoela Medeiros for $9,000 and $22,000 each.

Mennour “nearly sold out” its booth, selling eight paintings by Dhewadi Hadjab for $110,000 each.

Miles McEnery Gallery’s sales were led by Inka Essenhigh’s Matisse’s Window (2026) for $110,000–$120,000. Other works included:

• Karin Davie’s Trespasser no. 2 (2025) for $80,000–$90,000.
• Two Jacob Hashimoto works for $75,000–$85,000 each.
• Tom LaDuke’s The River Doesn’t Move Like That (2026) for $55,000–$65,000.
• James Siena’s Hayes Pond (2026) for $35,000–$45,000.
• Raffi Kalenderian’s Christine Reading (2025) for $14,000–$24,000.

Matisse's Window, 2026
Inka Essenhigh
Miles McEnery Gallery

Trespasser no. 2, 2025
Karin Davie
Miles McEnery Gallery

Ludorff sold Henry Moore’s Reclining Figure: Small Head (1980) for €100,000 ($113,890), alongside two Josef Albers screenprints for $11,000 and $13,000, an Imi Knoebel for $22,000, a Katharina Fritsch resin work for $17,000, and a Frank Stella lithograph for $12,000.

Galerie Forsblom sold Hashimoto’s Ignition (2026) for $65,000, as well as three works by Iria Leino, two for $55,000, and the third for $62,000. Works by Rauha Mäkilä and Susanne Gottberg sold for $10,000 and $11,500, respectively.

Southern Guild sold an undisclosed number of works, including one by Roméo Mivekannin for $56,000 and another by Zanele Muholi for $52,000. It also sold a work by Amine El Gotaibi for $34,000, and one by Adebayo Bolaji for $28,000.

Aki Gallery reported approximately $210,000 in total sales from its presentation of works by Yang-Tsung Fan, Yih-Han Wu, Wei Lu, Willy Verginer, and Tsuchiya Yoshimasa.

Untitled, 2026
Pieter Vermeersch
P420

Ignition, 2026
Jacob Hashimoto
Galerie Forsblom

P420—another of Artsy’s best booths—led sales with Irma Blank’s Abecedarium, 7-2-91 (1991) for $160,000. The gallery also sold:

• Blank’s Gehen, Second life C-2, aprile 2018 (2018) for $12,000.
• Three Adelaide Cioni works for $5,000 each.
• Pieter Vermeersch’s Untitled (2026) for $35,000.
• Shafei Xia’s A toast to the past (2026) for $7,000.
• Xian Kim’s Object 401 (2026) for $15,000.

Other notable sales from The Armory Show 2026

Galerie Thomas Fuchs reported more than 30 sales, including three paintings by Rainer Fetting for $67,000–$85,000 each, five paintings by Yongchul Kim for $5,400–$21,600 each, 11 works by Carlo Krone for $1,700–$9,200 each, and 16 works by Logan T. Sibrel for $3,300–$16,500 each.

Rukaj sold paintings by Lester Johnson for $95,000, Roy Kiyooka for $65,000, Friedel Dzubas for $27,000, and William Perehudoff for $25,000.

Everard Read sold a Caryn Scrimgeour painting for $68,000, a work by Gerhard Marx for $30,000, and a Mary Sibande sculpture for $12,000.

Anat Ebgi sold Marisa Adesman’s Tug of War (2025) for $60,000 and Stargazer (2026) for $50,000, alongside three Marc Dennis paintings for $20,000, $28,000, and $55,000. It also sold two Tammi Campbell works for $25,000 each, an Erin Wright painting for $18,000, six Olive Diamond ceramics for $9,000–$18,000 each, and additional works by Anabel Juárez, Simon Haas, Ileana Garcia Magoda, and Veronica Fernandez for $4,500–$9,000 each.

Alzueta Gallery sold nine Maria Yelletisch paintings for $5,000–$15,000 each, five Claudia Valsells paintings for $2,500–$15,000 each, two Jordi Alcaraz resin works for $25,000–$30,000 each, and a Guim Tió Zarraluki painting for $35,000–$40,000.

Alisan Fine Arts sold works by Yang Yong Liang and Wesley Tongson for $25,000–$30,000 each, as well as two Li Hong Wei works for $16,000–$20,000 each.

Spinello Projects sold 13 works by Elliot & Erick Jiménez for prices ranging from “below” $10,000 to $20,000 each, in addition to an institutional placement in New York for $30,000–$50,000.

Suppoment Gallery sold six Hye Jo Kwon works for $3,000–$5,000 each, a Kong Mi Sook painting for $15,000, four Yoo Mi Seon works for $5,000–$15,000 each, and an Inseob Lee work for $7,000–$9,000.

EDJI Gallery placed the majority of the works it presented by Killion Huang, priced from $1,200 to $10,000.

As well as Zoë Pulley’s Elegance No. 1 (2026), Superposition sold Pulley’s Sandra (81) and Solid Winter (81) for $6,000 each.

Victoria Miro sold 18 works priced between $20,000 and $70,000 each by artists including Clare Woods, Tal R, Celia Paul, and Doron Langberg.

TERN Gallery sold three Gio Swaby works for $18,500–$65,000 each, alongside four Kachelle Knowles works for “around” $5,000 each. JO-HS sold three Morten Slettemeås paintings for “around” $20,000 each.

De Buck sold “multiple” large-scale paintings by Gommaar Gilliams in the $20,000–$30,000 range, along with works by Devan Shimoyama for $20,000–$60,000 and a Shirley Yang Crutchfield work for $10,000–$20,000.

Additional sales at The Armory Show 2026

Other sales reported by galleries at the fair included:

• Harper’s sold Marc Dennis’s Dragonslayer (2026) for $75,000.
• Perrotin sold six works by Kathia St. Hilaire for between $5,000 and $45,000 apiece.
• Vielmetter Los Angeles reported 10 sales ranging from $2,500 to $48,000.
• Gallery Dasun sold Choi Young Wook’s Karma (2026) for $46,000.
• K Contemporary sold four Diego Rodriguez-Warner paintings for $18,000–$75,000 apiece.
• Newchild Gallery sold out its booth of Andrew Sendor works, priced between $17,500 and $85,000.
• Fridman Gallery sold two new Nate Lewis works for $20,000–$40,000 each, a Remy Jungerman panel for $37,000, and three Laurena Fineus works for $6,000–$16,000 each.

The Chattering, 2026
Diego Rodriguez-Warner
K Contemporary

Dolores in Silk Under Slow Trees, 2026
Diego Rodriguez-Warner
K Contemporary

• Catharine Clark Gallery sold eight works from its Katherine Vetne solo presentation for between $1,500 and $20,000.
• Tanya Weddemire Gallery sold seven paintings by Austin Uzor and O’Neil Scott for between $8,000 and $14,000 each.
• EBONY/CURATED placed six ceramic vessels by Lisa Ringwood for $6,000–$9,000 each.
• Mindy Solomon Gallery placed nine Yanira Collado works for $2,000–$20,000 each.
• re.riddle sold five Summer Mei Ling Lee works for $5,000, $5,500, $7,500, $10,000, and $11,300 each.

Self Potrait: K.A- 18.07.26, 1-3, 2026
Kesewa Aboah
Hannah Traore

Forget Me Not, Series, 2, 2026
Kesewa Aboah
Hannah Traore

• Hannah Traore sold out its entire booth, where works were priced between $2,500 and $27,000.
• Yiwei Gallery placed six works for $7,000–$16,000 each.
• Pangée sold the “majority” of its booth, with works priced between $5,000 and $16,000.
• Andrew Reed Gallery sold three Gonçalo Preto paintings for $4,500–$6,000 each.

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The 10 Best Booths at The Armory Show 2026 https://ift.tt/T4nYZFN

The Armory Show returned to the Javits Center, opening its VIP day on Thursday, September 24th. The 2026 edition landed later on the calendar than usual, pushed from its traditional early September slot to later in the month, running through Sunday, September 27th. There was a noted sense of anticipation in the air on the morning of the VIP day, and collectors met the fair with enthusiasm and energy.

Under fair director Kyla McMillan, this year’s edition has grown to 242 exhibitors from more than 30 countries, with expanded Presents and Solo sections dedicated to emerging galleries and solo artist presentations, respectively. A Caribbean thread ran through both the Focus section, curated by María Elena Ortiz, and the Platform section for large-scale artworks, curated by Jovanna Venegas.

A particular crowd-pleaser was Bony Ramírez’s mixed-media assemblage installation La Carta (2026) featuring a doll girl resting on a four-poster bed. Presented by regular norma as part of Platform, La Carta is a consideration of how we meet bad news and will change its configuration every day of the fair. Nearby, El Museo del Barrio staged another highlight, a participatory textile installation by Lulu Varona for the fair’s Spotlight program.

Several new developments accompany this year’s fair. On Friday, the fair will kick off its inaugural Armory After Hours, hosting a carnival-inspired procession, led by a DJ and live percussionists, through the aisles. This year also marked the biggest slate of prizes in The Armory Show’s history, including a new three-way Pérez Art Museum Miami Acquisition Prize and an inaugural Bronx Museum Acquisition Prize, awarded to Zoë Pulley for a work in Superposition’s booth.

Major collectors came out for opening day, including Beth DeWoody, Pamela Joyner, Jason and Michelle Rubell, and Susan and Michael Hort, along with curators Scott Rothkopf and Klaus Biesenbach, among others. Celebrities spotted among the booths included Jodie Foster, Paul Rudd, and Karl-Anthony Towns. Sales reported by galleries on the day were led by a Joan Mitchell painting for over $2 million at Michael Rosenfeld Gallery.

But among the fanfare, the real action really took place within the booths. Here are Artsy’s picks for the 10 best booths from The Armory Show 2026.

Spinello Projects

Booth F1

With works by Elliot & Erick Jiménez

Identical twins Elliot & Erick Jiménez transformed Miami gallery Spinello Projects’ booth into a meditation on transformation with “What We Are Becoming,” their first major body of work since their debut solo museum show in 2025, “El Monte” at the Pérez Art Museum Miami.

Raised in an Afro Cuban household in the U.S., the Miami-based artists debuted photographic works in reliquary-like frames, while the booth’s walls were draped in floor-length deep green drapes. In the booth’s title piece, What We Are Becoming (2026), an archival pigment print shows a shadowy figure with eyes glancing out mournfully. The image is studded with custom silk organza butterflies. Another work, Babalú-Ayé (2026), honors the orisha of healing and disease through a canvas print embedded with found antique metal ex-votos.

Of the works on view, 7 sold within the fair’s first days, each priced between $10,000 and $20,000.

Superposition

Booth P10

With works by Zoë Pulley

Elegance No. 1, 2026
Zoë Pulley
Superposition

For her first-ever fair presentation and first New York gallery show, Brooklyn-based Zoë Pulley built her installation, collectively titled “A Conversation Had on February 27th,” around the archive of her grandmother, Sandra Olivia Moon Hightower. A self-taught fashion designer who staged independent runway shows in early 1980s Philadelphia, Hightower worked entirely outside the industry’s institutional record.

At the nomadic gallery Superposition’s booth, Pulley’s works function as reconstructed garments and alternative archives, incorporating image transfer, collage, and press clippings alongside her own handwritten notes. The presentation is anchored by A Conversation Had on February 27th (Tetraptych) (2026), four lit panels on milk crates, each bearing a line in Hightower’s own words: “I just wanted to put people on the runway who never got the opportunity to be on the runway.”

Another work, Elegance No. 1 (2026), won the fair’s inaugural Bronx Museum Acquisition Prize and sold for $14,000. Other works in the 23-piece booth ranged from $3,500 to $7,500. Including personal family ephemera and adaptations of Hightower’s now-vintage garments, this installation is poignant and playful at once.

Perrotin

Booth 100

With works by Kathia St. Hilaire

Artist Kathia St. Hilaire’s richly textured reduction-relief paintings offer a sumptuous start to the fair in a dedicated booth at Perrotin, located right at the fair’s entrance.

St. Hilaire builds her surfaces by carving and printing linoleum blocks onto collaged panels. She then sands away layers, incorporating shredded tires, banknotes, sugarcane bagasse, and even skin-lightening cream packaging alongside more traditional paint.

One work, Saintilus Bois Caïman (2025), depicts the artist as a child witnessing the Haitian artist Jean-Claude Saintilus retell the legend of the 1791 Bois-Caïman ceremony, framed by two caimans (an alligator-like reptile) and vegetation drawn from the artist’s Florida childhood. The gallery reported six works sold on opening day, ranging in price from $5,000 to $45,000.

Carvalho

Booth 133

With works by Élise Peroi, Rosalind Tallmadge, and Anoushka Mirchandani

Brooklyn gallery Carvalho’s booth offered a serene oasis amid the hubbub of the fair, with works by artists Élise Peroi, Rosalind Tallmadge, and Anoushka Mirchandani, offering a masterclass in material sensitivity.

Newly represented artist Peroi, an alum of The Artsy Vanguard 2026, reconfigures gouache-on-silk landscapes by cutting them into ribbons and reweaving them on a tapestry loom. Her Reflet bleu (2026), a translucent panel of silk, gouache, linen, and maple, sold during the fair’s opening hours. Meanwhile, Tallmadge’s Palingenesis (2026) layers mirrored mica over hand-painted silk in a large-scale panel that functions as much as sculpture as painting. Making her debut with the gallery, Mirchandani contributed multivalent, ethereal oil, oil stick, and oil pastel figurative paintings.

JO-HS

Booth P46

With works by Morten Slettemeås

Norwegian painter Morten Slettemeås filled New York gallery JO-HS’s booth with “VEKE” (all works 2026), seven large oil-on-canvas panels—each roughly 79 by 59 inches—drawn from the landscape of Gvarv, Telemark, where the artist grew up.

The title, meaning “week” in Norwegian, nods to the seven panels and the seven days it references, while a recurring horizontal line, evoking a candle’s wick, threads through the compositions as both a visual and temporal device.

Slettemeås moves fluidly between figuration and abstraction, compressing memory, place, and perception into single images where distinct moments seem to coexist. The gallery conceived the booth as an architectural, immersive environment rather than a conventional display. The seven panels were offered at a price on request.

Michael Rosenfeld Gallery

Booth 407

With works by Benny Andrews, Milton Avery, Hannelore Baron, Richmond Barthé, Mary Bauermeister, William Baziotes, Romare Bearden, Paul Cadmus, Barbara Chase-Riboud, Harold Cousins, Jay DeFeo, Beauford Delaney, Melvin Edwards, Claire Falkenstein, Jared French, Sam Gilliam, Nancy Grossman, William H. Johnson, Lee Krasner, Yayoi Kusama, Hughie Lee-Smith, Norman Lewis, Joan Mitchell, Alice Neel, Louise Nevelson, Alfonso Ossorio, Irene Rice Pereira, Jackson Pollock, Fairfield Porter, Betye Saar, Esphyr Slobodkina, Alma Thomas, Bob Thompson, George Tooker, Charmion von Wiegand, Charles White, Jack Whitten, and William T. Williams

While many booths at this year’s fair leaned into single-artist narratives, New York’s Michael Rosenfeld Gallery went the opposite direction, filling its booth with 112 works spanning more than three decades of American art history. The New York gallery’s presentation ranged across works by Lee Krasner, Jackson Pollock, Yayoi Kusama, Romare Bearden, Alice Neel, Louise Nevelson, Alma Thomas, and Jack Whitten, among dozens of others. A Joan Mitchell painting from the presentation sold for more than $2 million, the most expensive sale reported at the fair from its VIP day.

One particularly powerful segment of the booth was devoted to assemblage works, including works by late American artist Betye Saar, box assemblages by Holocaust survivor Hannelore Baron, and Barbara Chase-Riboud’s evocative Poet’s Letter on the Shoulder of His Mistress (1994).

Lyndsey Ingram

Booth 138

With works by Stephen Chambers, Kate Friend, Florence Houston, Fumi Imamura, Suzy Murphy, Heidrun Rathgeb, Liselotte Watkins, and Anne-Laure Zevi

London gallery Lyndsey Ingram brought eight artists together around themes of the natural world, identity, and small moments of daily beauty.

Artist Fumi Imamura makes her New York debut with large-scale floral collage and watercolor works, their intricate paper gardens rendered in rich earth tones. Kate Friend released new photographic outtakes from her “As Chosen By…” portrait series alongside a large-scale image from “There Are Always Flowers for Those That Want to See Them,” a series shot at Vatican-approved Marian apparition sites.

Florence Houston’s hyper-detailed paintings of an ornate Victorian jelly, a bar of soap, and a light switch imbued the everyday with unexpected sensuality, while Liselotte Watkins contributed six aerial-perspective compositions balancing decorative beauty with conceptual tension.

Hannah Traore

Booth P20

With works by Kesewa Aboah

New York gallery Hannah Traore gave over its booth to Ghanaian British artist Kesewa Aboah, who uses her own body as a printmaking tool. Aboah presses her fingerprints and limbs into magnesium plates originally designed for 20th-century letterpress printing, then frames the cold metal in warm, grained tulipwood, turning a commercial reproduction tool into a singular record of her body.

The presentation’s most ambitious work, Self Portrait: KA-18.07.26, 1-3 (2026), consists of 15 magnesium plates stamped over and over with her limbs, left deliberately unpolished so the reactive metal could tarnish unpredictably, “like a person,” as the artist put it. The booth sold out entirely within the fair’s opening hours, with works priced between $2,500 and $27,000.

P420

Booth 120

With works by Irma Blank, Adelaide Cioni, Victor Fotso Nyie, Xian Kim, Shafei Xia, Pieter Vermeersch, Riccardo Baruzzi, and Laura Grisi

P420, from Bologna, Italy, mixed generations and media across eight artists. These included works by the late Irma Blank, whose Radical Writings, Abecedarium, 7-2-91, 1991 (1991) trace the rhythm of her own breath across paper and canvas in a private, wordless script, alongside Untitled (1965–66) by Laura Grisi, an Italian pioneer whose 1960s abstractions bridged Pop, Conceptual, and kinetic art.

But the real draw of the booth is the delightful creations of rising contemporary artist Shafei Xia. Born in Shaoxing, China, and now based in Bologna, Xia paints and sculpts, creating playful works that take inspiration from Japanese shunga woodblock prints and 19th-century Chinese erotic painting.

In these works, Xia often casts herself as a tiger, a symbol of instinctual power in Chinese alchemy. Among the works on view were Summer time (2026), a large watercolor on sandalwood paper mounted on canvas, and Little girl (2026), a painted and glazed ceramic sculpture of a girl holding a tiger in her arms like a lap cat.

EBONY/CURATED

Booth 309

With works by Hugh Byrne, Wole Lagunju, Kimathi Mafafo, Senzeni Mtwakazi Marasela, and Lisa Ringwood

Cape Town and Franschhoek, South Africa, gallery EBONY/CURATED made its Armory debut with a five-artist presentation spanning painting, textile, and ceramic work from across the African continent.

Wole Lagunju’s Homage to Eshumare (2026), a large oil painting steeped in Yoruba iconography, anchored the booth and was offered at $38,500. Kimathi Mafafo’s hand- and machine-stitched embroideries drew attention, as did Senzeni Mtwakazi Marasela’s red-thread-on-cotton Waiting for Gebane 1 (year), part of an ongoing series that follows a fictional alter ego through South African history. Lisa Ringwood’s hand-built, delicate, sgraffito-decorated ceramic vessels, meanwhile, were the breakout of the booth. Six of her works sold within the fair’s opening hours, priced between $6,000 and $9,000 each.

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$2 million Joan Mitchell painting leads opening sales at The Armory Show 2026. https://ift.tt/NcdYjFa

The Armory Show 2026 opened its VIP preview on Thursday, September 24th, at the Jacob K. Javits Convention Center in New York. Galleries across the fair’s 242 international exhibitors reported swift sales in the early hours, with momentum building throughout the day. Notable attendees included actors Jodie Foster, Paul Rudd, and Piper Perabo, alongside collectors Beth DeWoody, Pamela Joyner, and Jason and Michelle Rubell.

The headline transaction reported by galleries at the fair came from Michael Rosenfeld Gallery, which sold a painting by Joan Mitchell for over $2 million to a private collection. The gallery also placed a bronze by Richmond Barthé and a collage by Louise Nevelson, each in the range of $100,000–$250,000, and two works by Benny Andrews at $50,000–$100,000 each.

The Armory Show 2026 runs until September 28th and is organized across four sections: Galleries, Focus, Presents, and Platform.

Check back for our full sales report after the fair closes. In the meantime, these are the leading sales reported from opening day of The Armory Show 2026.

Matisse's Window, 2026
Inka Essenhigh
Miles McEnery Gallery

• Galerie Maximillian sold Rashid Johnson’s Untitled (Large Mosaic) (2025) for $175,000 in the first hour of the fair, along with Jonas Wood’s Five Bonsais (2024) for $125,000 and Peter Doig’s Almost Grown (2001) for $45,000.
• Gazelli Art House placed a painting by Lilly Fenichel with a major private European museum for “around” $200,000.
• Miles McEnery Gallery sold Inka Essenhigh’s Matisse’s Window (2026) for $110,000–$120,000, Karin Davie’s Trespasser no. 2 (2025) for $80,000–$90,000, and two works by Jacob Hashimoto in the range of $75,000–$85,000 each.
• Mennour “nearly” sold out its booth, placing seven paintings by Dhewadi Hadjab for $110,000 each.
• Marc Straus reported 10 sales ranging from $8,000 to $250,000, including four chairs by Lucia Hierro at $85,000 each.
• Hollis Taggart sold a work by Stuart Davis for over $100,000.
• Southern Guild sold a work by Roméo Mivekannin for $56,000, a work by Zanele Muholi for $52,000, and works by Amine El Gotaibi and Adebayo Bolaji for $34,000 and $28,000, respectively.
• Nara Roesler sold Marcelo Silveira’s Seeds VII (2025–2026) for $45,000 alongside five works by Jonathas de Andrade, ranging from $12,000 to $22,000.
• Perrotin sold six works by Kathia St. Hilaire, ranging from $5,000 to $45,000.
• Anat Ebgi sold a painting by Marc Dennis for $55,000, a painting by Marisa Adesman for $50,000, and additional works by Tammi Campbell, Erin Wright, and Olive Diamond for undisclosed prices.
• Hannah Traore sold out its entire booth, with works priced from $2,500 to $27,000.
• Vielmetter Los Angeles reported 10 works sold, ranging in price from $2,500 to $48,000.
• Maruani Mercier Gallery sold Von Wolfe’s The Dollhouse and the Dusk (2025) for $80,000–$100,000.
• Everard Read sold Caryn Scrimgeour’s work for $68,000, a work by Gerhard Marx for $30,000, and a sculpture by Mary Sibande for $12,000.
• Harper’s sold a work by Marc Dennis for $75,000.
• Carvalho sold two works by Élise Peroi for $30,000 and $18,000 each, two works by Rachel Mica Weiss for $29,000 and $22,000 each and another for $22,000. It also sold a work by Heath Wae for $14,500.
• Red Arrow Gallery sold three oil paintings by Brianna Bass for $17,000, $16,500, and $1,540.
• Yiwei Gallery sold six works, each in the range of $7,000 to $16,000.
• Pangée sold the “majority” of works in the booth. Prices were in the range of $5,000 to $16,000 apiece.
• Mindy Solomon Gallery sold three works by Yanira Collado, each in the range of $2,000 to $20,000.
• Tanya Weddemire Gallery sold four paintings by Austin Uzor and O’Neil Scott, each in the range of $8,000 to $10,500.
• Spinello Projects sold seven works by Elliot and Erick Jiménez in the range of “under” $10,000 to $20,000 each.
• Alzueta Gallery sold four paintings by Maria Yelletisch for a range of $12,000 to $15,000, a painting by Claudia Valsells in a range of $7,000 to $10,000, a resin work by Jordi Alcaraz in a range of $25,000 to $30,000, and a painting by Guim Tió Zarraluki in a range of $35,000 to $40,000.
• Alisan Fine Arts sold a work by Yang Yong Liang in the range of $25,000 to $30,000, a work by Wesley Tongson in the range of $25,000 to $30,000, and two works by Li Hong Wei in the range of $16,000 to $20,000 each.
• K Contemporary sold a work by Diego Rodriquez-Warner for $18,000.
• Superposition sold Elegance No. 1 (2026) by Zoë Pulley for $14,000 for the Bronx Museum Acquisition Prize,
• Newchild Gallery sold out its booth of works by Andrew Sendor for undisclosed prices.
• Uffner & Liu sold a sculpture by Curtis Talwst Santiago for a price in the range of $14,000 and $20,000.
• EDJI Gallery sold nine paintings as well as 15 drawings by Killion Huang. Prices ranged from $1,200 to $10,000 each.

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French Artist Prune Nourry to Stage Major Exhibition at Paris’s Petit Palais in October. https://ift.tt/r3pOFeg

Paris museum Petit Palais has invited French artist Prune Nourry to take over its galleries for “Visionaries,” an exhibition opening October 20th and running through January 24, 2027. The show will unfold across the Petit Palais’s permanent collection galleries, its outer esplanade, and its gardens, creating a dialogue between Nourry’s new work and the museum’s holdings.

The exhibition grows out of a year-long research project in which three art historians compiled the writings and photographic portraits of 18 women sculptors from the late 19th and early 20th centuries who have been overlooked by official art history. Among them are Käthe Kollwitz, Nancy Elizabeth Prophet, Hélène Bertaux, Jane Poupelet, Consuelo de Saint-Exupéry, Selma Hortense Burke, Daria Gamsaragan, and Sarah Bernhardt.

Inspired by their work and the strength of their commitment, Nourry sculpted a portrait of each—some 18 new busts ranging from around two to 11 feet in height—working primarily in plaster. The material resonates with the Petit Palais collection, in which nearly 70 percent of sculptures are studio plasters: casts that were never intended for museums, yet have outlasted the bronze versions they document.

The show begins on the museum’s forecourt with Mothership, a hybrid figure suspended between a pregnant woman and the rusted hull of a ship. Inside the sculpture gallery of the North Pavilion, the eighteen portraits animate the memory of the sculptors they represent. Presented throughout the display are some twenty earlier works from Nourry’s “Holy Daughters” and “Venus” series, in scales running from around eight inches to 90 feet, alongside a recurring motif: white marble eyes with black pupils embedded in Nourry’s plaster busts and in the pedestals of the museum’s own works alike, prompting a visual comparison across the eras the collection spans.

Mini Atys, 2023
Prune Nourry
Templon

The exhibition addresses a structural gap in the Petit Palais’s own holdings: of all the works in its collection, barely four percent were made by women, and only four female sculptors are represented.

Born in Paris in 1985, Nourry lives and works between Paris and New York. A graduate in wood sculpture from the École Boulle, she works across sculpture, installation, and performance, combining fieldwork with specialists in genetics, sociology, anthropology and archaeology to develop projects that raise ethical questions about the body, demographic imbalance, and the interdependence of living species.

Clay is the core of Nourry’s practice, though she regularly collaborates with craftspeople to explore new materials and techniques. She is perhaps best known for “Terracotta Daughters,” an army of sculpted adolescent girls, directly referencing the buried warriors of Xi’an. The works toured Shanghai, Paris, New York, and Mexico City between 2013 and 2015, before being buried in an undisclosed location in China where they await excavation in 2030.

In 2016, Nourry was diagnosed with breast cancer, an experience that redirected her practice inward; her 2019 documentary Serendipity, executive produced by Angelina Jolie and Darren Aronofsky, premiered at the Berlinale and opened MoMA’s Doc Fortnight festival. She is represented by Galerie Templon.

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