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  • Four Trends in Art Buying That Dominated 2025

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    David Hockney, The Poet, from The Blue Guitar, 1976-77. Courtesy of Adam Baumgold Gallery

    Auction results are usually the only public data available for reading the art market, even though they reflect only the secondary sphere. Art fair sales reports can hint at how the primary market is behaving and what collectors are circling, but even those numbers are unstable, shaped by discounts, negotiations and the many variables that can shift between an invoice being issued and a wire arriving. Artsy, widely regarded as the largest online marketplace for art, recently released its first Buyer Trends Report based on the searches and primary-market transactions on its platform, offering a clearer picture of what collectors were buying in 2025.

    “This report reinforces the patterns we identified in Artsy’s Art Market Trends 2025: collectors are becoming more selective, and that discipline is directing demand toward the primary market—especially mid-tier and emerging artists,” Artsy CEO Jeffrey Yin told Observer, noting that works priced under $10,000 are benefiting as buyers look for strong entry points that do not rely on speculation. “Even as the top end recalibrates, the fundamentals remain healthy. People are acquiring art they genuinely want to live with, at price points that feel responsible in today’s market.”

    Trend 1: Smaller paintings at smaller prices

    Small paintings have dominated recent gallery shows and fairs, particularly on the emerging side. Pocket-sized works encourage a more intimate and emotional relationship with the subject, but they are also easier to live with—lighter to ship, simpler to frame and far less punishing when it comes to storage or relocation. In cities like New York and London, where aggressive real estate markets make long-term leases a luxury, collectors are increasingly opting for art that can move with them.

    Artsy’s users in 2025 were actively seeking art on a micro scale, with searches for “micro,” “mini” and “small” rising 40 percent, 47 percent and 49 percent. Forty percent of all purchases on the platform were for small works, and acquisitions tagged as “miniature and small-scale paintings” increased 66 percent year over year.

    A pocket size painting of a book in a white cube spaceA pocket size painting of a book in a white cube space
    Installation view: Olivia Jia’s “Mirror stage” at Margot Samel in the spring of 2025. © Matthew Sherman 2025

    These numbers may be predictable for an online marketplace, where buyers tend to trust digital transactions for lower price tiers rather than multimillion-dollar blue-chip masterpieces that require in-person due diligence. Still, the pattern aligns with the 2025 Art Basel & UBS Art Market Report, which noted that while the highest-end segment contracted sharply (sales above $10 million fell steeply in both number and total value), works priced below $50,000 accounted for roughly 85 percent of dealer transactions in 2024. Smaller galleries—those with under $250,000 in annual turnover—reported a 17 percent increase in sales. The report also confirmed steady growth in the sub-$5,000 range, mirroring Artprice’s recent data showing a rise in transactions under $10,000. Hiscox’s 2024 Online Art Trade Report found that 60 percent of online buyers purchased works under $5,000, with the fastest-growing bracket under $1,000. At the fair level—from NADA Miami and Untitled Art, which just closed, to Independent New York and Future Fair—small-format works were often among the first to sell out, frequently within VIP day, as both younger and seasoned collectors favored accessible entry points that fit urban apartments.

    The design world is echoing the same preference. Artsy identified the rise of “gallery wall” and salon-style décor as a key trend, with interiors favoring densely hung arrangements of small pieces over single statement works. Publications from Elle Decor to The New York Times have likewise pointed to small-format art as the next major wave in collecting—easier to buy, easier to place and uncannily suited to the economic and spatial realities of 2025.

    As collectors lean toward more affordable, manageable formats, editions and drawings are also gaining popularity, particularly for those who want to access established and blue-chip names otherwise out of reach. Artsy’s report dedicates a spotlight to David Hockney, who, after a few landmark years of museum shows, saw a spike in demand not only for paintings but also for prints available at more accessible price points. Searches for his name were up 46 percent on Artsy in 2025, making him the third most searched artist on the platform, with strong demand for his more “popular-priced” etchings.

    Trend 2:  Blue’s growing appeal

    In a time of uncertainty and global turmoil, collectors have been turning toward the calming psychological pull of blue. Searches for “blue” on Artsy were up 20 percent year over year, with a particular preference for cobalt, a deep, vivid shade. Searches for “cobalt” rose 131 percent year over year, while purchases tagged “bright and vivid colors” increased 22 percent.

    Large blue monocrome paintingLarge blue monocrome painting
    Yves Klein, California (IKB 71), 1961. Sold for €18.4 million ($21.4 million). Christie’s

    As water becomes more precious and record-hot summers force us to reckon with its growing scarcity, blue has gained traction for its association with water. Works depicting swimming pools, waves and open seas have seen growing interest, with searches for “ocean,” “sea” and “water” rising by 33 percent, 28 percent and 24 percent, respectively. This trend has been visible at fairs over the past few years and in the auction market—most notably with Yves Klein’s California (IKB 71) (1961), a monumental museum-grade masterpiece that sold for €18.37 million ($21.34 million) at Christie’s Paris in October.

    But the blue trend extends well beyond the art world. Pantone’s Spring 2025 palette featured multiple saturated blues, with Strong Blue among its most circulated seasonal shades. Vogue declared cobalt the “new it-color,” as designers Tommy Hilfiger and Loewe leaned into deep blues in their spring/summer 2025 runway shows. Miu Miu, Balenciaga and Ferragamo pushed electric and ultramarine blues in recent campaigns, while beauty and consumer culture followed suit: Glossier and Rare Beauty launched cobalt liners, Dyson released cobalt-violet appliances that became TikTok fixtures and Apple’s deep-blue iPhone finish emerged as the most ordered shade of its cycle.

    Trend 3: A return to nature

    This widespread desire to disconnect and return to the essence has also fueled a renewed longing for nature—something many rediscovered during the pandemic. This “bucolic escapism,” a contemporary take on the idyll, has taken hold in gallery shows and fair presentations through dreamy landscapes, rolling hillsides, lush gardens and flower compositions, as well as scenes of horses.

    Art history offers precedent: renewed fascination with pastoral imagery tends to surface during moments of political fatigue or cultural volatility. In Ancient Rome, pastoral ideals emerged amid expansion, civil war and social anxiety, as poets and painters projected fantasies of rustic simplicity—Virgil’s Arcadia being the archetype. After the turmoil of the Napoleonic era, European painters embraced a neoclassical pastoral vocabulary as an antidote to upheaval and imperial overreach. The pastoral has long served as a stabilizing fiction—a world governed by harmony rather than conflict, by timeless nature rather than chaotic politics. Today’s appetite for harmonious landscapes, garden scenes and atmospheric horizons reflects similar pressures: climate dread, digital overload and geopolitical tension.

    A lone figure stands beside a waterfall under the glow of a rainbow, bathed in mystical light, creating an atmosphere of quiet awe and connection with nature.A lone figure stands beside a waterfall under the glow of a rainbow, bathed in mystical light, creating an atmosphere of quiet awe and connection with nature.
    Caleb Hahne Quintana, A Flicker in the Ancient Rhythm (detail), 2025. Flashe and drybrush on linen, 74 x 54 in. Courtesy the artist and Anat Ebgi, Los Angeles / New York. Photo by Shark Senesac

    On Artsy, purchases of works tagged “landscapes and waterscapes” were up 35 percent year over year, “flora” up 44 percent and “earth tones” up 29 percent. Searches for related topics also accelerated: “picnic” rose 208 percent, “outdoors” 80 percent, “nature” 30 percent and “landscapes” 19 percent.

    Once again, the trend extends beyond the art world, with organic, nature-inspired shapes, earth tones and natural light dominating collectible design and interiors—fueling continued momentum for the Lalannes—and echoing lifestyle culture more broadly. Biophilic design, from indoor gardens to moss-green upholstery and stone surfaces, has become a recurring feature in architecture and retail, while fashion and wellness brands lean into materials and palettes that promise grounding and retreat in an increasingly unstable, urbanized world. Pinterest’s 2025 summer trend report highlighted a sharp rise in nature-oriented searches tied to the “digital detox” narrative. Airbnb reported a 100 percent increase in searches for countryside stays and a 50 percent rise for national park stays, with Gen Z driving a 26 percent surge in fall travel searches—Vermont ranked as a top foliage destination. TripAdvisor and other booking data indicate that smaller, nature-adjacent cities are outperforming major metropolitan destinations, and the U.S. National Park System logged roughly 332 million visits in 2024, confirming that nature-based travel and outdoor engagement have become defining trends of 2025.

    Trend 4: The return of domestic tableus

    With the pandemic, for better or worse, people rediscovered the pleasures of staying home, reviving interest in domestic rituals such as cooking and shared meals. Unsurprisingly, the final key trend Artsy identified is the rising popularity of still lifes that depict this comforting domesticity, along with scenes of people eating together. Purchases of works tagged “food” were up 61 percent year over year, while searches for “dinner” and “food” each rose 44 percent, “dining” 38 percent, “meal” 28 percent and “table” 18 percent.

    A 1969 painting titled Candy Counter by Wayne Thiebaud displays an orderly confectionery display with lollipops, wrapped candies, and sweets on trays, set against a clean background with a scale and glass jar.A 1969 painting titled Candy Counter by Wayne Thiebaud displays an orderly confectionery display with lollipops, wrapped candies, and sweets on trays, set against a clean background with a scale and glass jar.
    Wayne Thiebaud, Candy Counter, 1969. 120.7 x 91.8 cm., from a private collection. © Wayne Thiebaud VAGA at ARS, NY and DACS, London 2025

    Once again, the trend extends across lifestyle and communication. Etsy reported that searches for “dining ware” and “supper club,” driven by table-setting categories, surged by 1,000 percent. Social platforms are flooded with cooking tutorials, dinner-party events and images of dining—often at home. On TikTok, “dinner parties” content views were up 70 percent year over year and #CookingTok remained one of the most active tags, while on Instagram, posts tagged #tablescape increased over 35 percent. On YouTube, cooking videos saw a 25 percent increase in watch time, and Eventbrite reported a 45 percent rise in cooking-class bookings in 2024-2025. As eating out becomes more expensive and people feel more disconnected and alienated, the rediscovery of cooking and sharing food reflects a contemporary nostalgia as much as a desire to reconnect with the essence—what truly nourishes body and soul.

    Now, if we think of art as both symptom and palliative, these buying patterns begin to read as something larger than market behavior. They reveal a broader societal undercurrent—a map of what people are seeking, avoiding or trying to soothe. In this sense, what collectors gravitate toward becomes a quiet proxy for the contemporary condition, a way of understanding not only what is selling but what people feel they need.

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    Four Trends in Art Buying That Dominated 2025

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    Elisa Carollo

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  • At Salon Art + Design 2025, Innovation, Form and Function Meet Market Enthusiasm

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    Salon Art + Design’s 14th edition runs through Monday, November 10, 2025. Miguel McSongwe/BFA.com

    Beautifully curated and seamlessly uniting art and design, Salon Art + Design 2025 unfolded once again within the grand setting of the Park Avenue Armory, offering a natural elegance few fairs achieve. It’s an event that never feels forced or overly eclectic; here, 50 global exhibitors assembled a calibrated and elegant mix celebrating craftsmanship at the crossroads of tradition and innovation. The fair maintains the thrill of discovery, offering rare and exquisite objects that require no connoisseur’s credentials to appreciate—especially when the Upper East Side crowd begins shipping champagne. As former director now Chairwoman Jill Bokor told Observer “The atmosphere of the Park Avenue Armory is perfect for an event like Salon, because it, in itself, is a curated work of design.”

    At opening night on November 6, that atmosphere—along with the fair’s hallmark elegance—was palpable in every corner, from the Art Deco treasures at Bernard Goldberg Fine Art radiating the charm of the Belle Époque across continents (several of which sold by the opening night) to the ancient South Arabian and Byzantine pieces at Ariadne, which extended the fair’s reach far beyond the 20th Century into the timeless spirituality of the ancient world.

    Although design and furniture have been among the collectible categories most affected by Trump’s tariffs—some of which are set to rise to 50 percent in January 2026—dealers at Salon are still presenting an impressive array of modern and contemporary design from across geographies. Several gallerists admitted that their participation was possible only because their pieces had already been imported, noting that the U.S. market is likely to feel the full impact of the new duties in the coming months. Under the executive order signed by Trump on September 29, a 25 percent tariff applies to wood imports and derivative products—including upholstered furniture and kitchen cabinets—effective starting October 14. Imports of softwood timber and lumber face a 10 percent rate, while upholstered wooden products incur a 25 percent duty. Kitchen cabinets and their components are likewise taxed at 25 percent per order, with rates set to climb in January 2026 to 30 percent for upholstered furniture and 50 percent for cabinetry and related parts. This comes at a moment of remarkable strength for the market for collectible design and decorative arts: according to ArtTactic, the category grew 20.4 percent in 2025 to reach $172 million, up from $143 million the previous year.

    Visitors seated around a large wooden table amid warm lighting and vintage furniture during Salon Art + Design 2025.Visitors seated around a large wooden table amid warm lighting and vintage furniture during Salon Art + Design 2025.
    Salon Art + Design showcases the pinnacle of design, presenting the world’s finest vintage, modern and contemporary pieces alongside blue-chip 20th-century artworks. Miguel McSongwe/BFA.com

    High attendance at Salon Art + Design’s opening night reaffirmed not only the enduring allure of the fair’s finely curated intersection of art and design but also the growing breadth of its audience—one increasingly active within this more fluid and inclusive space where disciplines meet. The evening drew an exceptional roster of collectors, curators and tastemakers, described by many as “a who’s who of design and art.” The aisles buzzed with familiar figures from the worlds of culture and collecting, including Jeremy Anderson, Paul Arnhold, Alex Assouline, Jill Bokor, Elizabeth Callender, Rafael de Cárdenas, Lady Liliana Cavendish, Beth Rudin DeWoody, Linda Fargo, Alessia, Fe and Paola Fendi, Douglas Friedman, John and Christine Gachot, Monique Gibson, Nathalie de Gunzburg, Maja Hoffmann, Mathieu Lehanneur, Dominique Lévy, Ben and Hillary Macklowe, Lee Mindel, Carlos Mota, Dr. Daniella Ohad, Mary-Kate and Ashley Olsen, Claire Olshan, Bryan O’Sullivan, Nina Runsdorf, Irina Shayk, Robert Stilin, Sara Story, Indré Rockefeller, Emmanuel Tarpin, Jamie Tisch, Nicola Vassell, Stellene Volandes, Emily Weiss and Charles and Daphne Zana, among many others.

    In one of the first rows, Converso Modern’s booth paired Alexander Calder’s vibrant tapestries—crafted in Guatemala and Nicaragua—with a tribute to Pennsylvania’s New Hope Modern Craft Movement, the 1960s community that bridged traditional craftsmanship with modern design. Highlights included sculptural metal and carved wood pieces by Phillip Lloyd Powell and Paul Evans, shown alongside the elemental modernism of George Nakashima.

    Awarded this year’s Best Booth, the London-based Crosta Smith Gallery presented a moody, cinematic homage to 1930s Art Deco—refined, atmospheric and irresistibly elegant. Marking the centenary of the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, the defining event of the Art Deco era, the gallery presented a selection of impeccably preserved works in wood, lacquer and galuchat celebrating a century of decorative mastery. Each piece reflected the sophistication of the 1920s and 1930s, including exquisite creations by Émile-Jacques Ruhlmann, Katsu Hamanaka and Clément Rousseau. Particularly striking was a pair of lacquer panels by Hamanaka depicting Adam and Eve dancing in nature with quintessential Deco elegance—the sinuous lines and subtle symbolism balanced by the sensual tension of intertwined snakes. Equally rare was Ruhlmann’s méridienne in amboyna burl wood, gilt bronze and silk bourrette upholstery—a unique variant of the Marozeau model commissioned by the Borderie family, epitomizing his sculptural refinement. Founded in 2018 by Marine Edith Crosta and Daniel Smith after collecting Art Deco while furnishing their home in the south of France, the gallery is now participating in all leading design fairs, including PAD London.

    Crosta Smith Gallery’s Art Deco installation at Salon Art + Design 2025 featuring lacquer panels of Adam and Eve, vintage furniture, and soft lighting.Crosta Smith Gallery’s Art Deco installation at Salon Art + Design 2025 featuring lacquer panels of Adam and Eve, vintage furniture, and soft lighting.
    Crosta Smith Gallery at Salon Art + Design 2025. Crosta Smith Gallery

    Nearby, Downtown-based Bossa Furniture continued to serve as a bridge between the U.S. and Brazil, showcasing the warmth of modernist Brazilian design through an intergenerational dialogue between Joaquim Tenreiro—one of the founders of modern Brazilian design—and contemporary designer Lucas Recchia, accented with a vintage stool by Lina Bo Bardi. Returning for their second year at the fair and fresh from Design Miami/Paris, Bossa sold a unique chaise by Joaquim Tenreiro during the preview, priced at $90,000, along with two pieces by Recchia.

    Many exhibitors adopted a curatorial approach that seamlessly integrated art and design, blurring distinctions between collectible furniture, fine art and historical masterpieces. At Incollect, a captivating juxtaposition paired modernist and contemporary design with an Anish Kapoor reflective sculpture and playful Picasso ceramics, creating a lively dialogue between modern icons.

    Elsewhere, Galerie Gabriel skillfully paired modern design with works by Sam Falls, while several booths leaned fully into fine art. Opera Gallery, with its global presence, offered an interior-friendly selection of blue-chip names designed to appeal to Salon’s broad audience. Standouts included a striking George Condo drawing priced around $100,000, a sensuous Picasso work on paper and sculptures by Manolo Valdés—among them a wooden reinterpretation of his Menina series inspired by Velázquez. Another highlight was Carlos Cruz-Diez’s optically mesmerizing Physichromie Panam 112, shown alongside pieces by Juan Genovés, Thomas Dillon, Keith Haring, Cho Sung-Hee, Jae Ko and André Lanskoy.

    The 60-year-old Galerie Gmurzynska, specializing in 20th-century modern and contemporary classics, impressed with a monumental Louise Nevelson work, City Series (1974), spanning an entire wall and exemplifying her mature phase of assemblage sculpture. The booth also included three mixed-media collages by Nevelson, a rare early wood panel by Robert Indiana from his Coenties Slip period and Yves Klein’s F 48 (1961), a luminous piece from his Monochrome und Feuer exhibition. A rare surviving box construction by Dan Basen from the 1960s New York avant-garde rounded out the presentation. “We love taking part in Salon Art + Design. The blend of art, design and jewelry is truly exceptional, a great experience. The opening was extremely well attended, and we have sold one work so far,” said gallery director Isabelle Bscher, who represents the third generation of the Swiss-born Gmurzynska family at Salon Art + Design 2025.

    New York-based Onishi Gallery, known for championing contemporary Japanese art and design, presented “Clay, Iron, and Fire: The Bizen and Setouchi Heritage,” a striking tribute to Japan’s enduring craft traditions. The exhibition celebrated the intertwined legacies of Bizen ceramics—born 900 years ago from the region’s iron-rich clay and revered by tea masters for their organic textures—and Osafune swordmaking, famed for its refined curvature, subtle grain and balance. With works ranging from a $2,900 sword to ceramic masterpieces priced between $30,000 and $50,000, the booth embodied Japan’s devotion to transforming natural materials into lasting beauty, infused with the timeless aesthetics of wabi-sabi and ichi-go ichi-e.

    Similarly devoted to the Japanese spirit of craftsmanship, the minimalist, clean booth of Ippodo Gallery explored the meeting point between Eastern sensibility and Western material practice, featuring Ymer & Malta’s pioneering resin light sculptures (Paris), Akira Hara’s intricate Murrine glass works (Venice) and Andoche Praudel’s tactile ceramics (Loubignac). Examining materiality as a universal language, their works dissolved the boundary between art and function, finding beauty in tactile intelligence. By the close of opening day at 9 p.m., the gallery had sold more than $60,000 worth of art. “The preview event drew a large number of enthusiastic visitors, and it’s clear that the fair has grown and evolved since last year,” Churou Wang, the gallery’s associate director, told Observer. “We’re looking forward to seeing how the coming days unfold.”

    Minimalist gallery display with neutral walls, ceramic vessels on white pedestals, and soft organic lighting at Salon Art + Design 2025.Minimalist gallery display with neutral walls, ceramic vessels on white pedestals, and soft organic lighting at Salon Art + Design 2025.
    Ippodo Gallery. Courtesy Ippodo Gallery

    On the contemporary design front, London’s Gallery FUMI stood out with a presentation celebrating its new representation of San Francisco-based artist and designer Jesse Schlesinger, coinciding with his first-ever design exhibition, Pacific, at the gallery’s London flagship. Ahead of a dedicated presentation at FOG Design + Art in San Francisco, FUMI showcased Schlesinger’s sculptural furniture—works merging nature, philosophy and material consciousness. A second-generation carpenter deeply rooted in the Bay Area, Schlesinger crafts with locally salvaged wood, blending ceramics, bronze, glass and wood into meditations on texture, surface and function.

    London’s Charles Burnand Gallery, which specializes in collectible design and lighting, presented a captivating booth that reflected the growing shift in taste toward design rooted in organic sensitivity and material depth. Its curated presentation, “Liminal Monuments: The Edge of Becoming,” unfolded as an elegant choreography of designers across geographies, exploring form in a state of becoming—continuous growth, evolution and transformation. Every object in the booth felt interconnected and evocative of natural structures, from plant life to geology, offering a contemporary design language that draws inspiration from nature to rediscover the soul of materials and humanity’s relationship with them.

    Particularly outstanding among the booth’s luminous creations was Midnight Tulip by Ian Milnes—a meditation on the transience of beauty, capturing a fleeting moment suspended between bloom and disintegration. Inspired by the 16th-century phenomenon of “broken tulips” and crafted from sycamore, walnut, cherry and resin, its marquetry petals appeared to drift outward in slow motion, their blackened, watercolor-like surfaces evoking both bloom and decay—embodying a space where fragility and radiance coexist. Equally striking were the organically graceful, cocoon-like wire-crochet lamps by Korean designer Kyeok Kim, floating in the corner like luminous cellular formations that connected the micro- and macrocosmos through shared patterns and order. Handcrafted from fine metal mesh, these sculptural lights existed in a liminal space—both soft and metallic, airy yet architectural—expressing fragility and endurance in perfect balance.

    Gilded bronze Roman bust displayed in Phoenix Ancient Art’s booth at Salon Art + Design 2025, surrounded by classical sculptures and reliefs.Gilded bronze Roman bust displayed in Phoenix Ancient Art’s booth at Salon Art + Design 2025, surrounded by classical sculptures and reliefs.
    Alexander the Great as Apollo, 1st century B.C.-1st century A.D, presented by Phoenix Ancient Art. Gilded bronze, obsidian and gypsum alabaster eyes. Photo: Elisa Carollo

    And as always, Salon Art + Design offered museum-quality treasures at the top tier of the market. A standout among them was Alexander the Great, presented by Phoenix Ancient Art—a gilded bronze Roman sculpture from the 1st Century with obsidian and alabaster eyes that radiated the aura of a rediscovered world. Believed to be one of only two known portraits of Alexander—the other housed in Herculaneum—the work was a rare masterpiece of ancient craftsmanship.

    Todd Merrill Studio’s booth also bridged designers across geographies, uniting leading artists from North America, Europe and South Korea, reaffirming the gallery’s reputation for material innovation and sculptural form. Highlights included Amsterdam-based Maarten Vrolijk’s Sakura Pendant Lighting—a luminous evolution of his Sakura Vessels—and German artist Markus Haase’s new bronze and onyx works, including a monumental chandelier and reimagined Circlet series pieces that merged sculpture and illumination through exceptional craftsmanship.

    While some of the biggest names in collectible design—Carpenters Workshop, Friedman Benda, Salon 94 and Nilufar—were absent this year, likely due to the proximity of the Paris and Miami fairs, their absence was hardly felt. Instead, Salon Art + Design 2025 unfolded with a rare sense of cohesion and restraint, offering a stage where eras and disciplines engaged in a fluid dialogue that held at its center a timeless sense of beauty born from the convergence of material awareness, craftsmanship and innovation—qualities that defined the fair’s most striking functional yet evocative objects.

    A gold-walled booth at Salon Art + Design 2025 featuring sculptural lighting, curved cream sofas, abstract paintings, and collectible design pieces.A gold-walled booth at Salon Art + Design 2025 featuring sculptural lighting, curved cream sofas, abstract paintings, and collectible design pieces.
    Todd Merrill Studio at Salon Art + Design 2025. Miguel McSongwe/BFA.com

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    At Salon Art + Design 2025, Innovation, Form and Function Meet Market Enthusiasm

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    Elisa Carollo

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  • London Sees Its Best Evening Auction Results in Years

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    The October evening sales brought the London auction houses their highest totals in years. Courtesy of Sotheby’s

    Sales aren’t just buoyant at Frieze this week—London’s auction houses also saw their strongest results in years, signaling renewed confidence at the top of the market. Kicking off the action, Christie’s 20th/21st Century London Evening Sale on October 15 achieved a robust £106,925,400 ($142,852,000), marking the auction house’s best Frieze Week evening sale in more than seven years. The total was up 30 percent from last year, with 92 percent sold by lot and 90 percent sold by value. Katharine Arnold and Keith Gill, vice-chairmen of 20th/21st century art, Christie’s Europe, reported entering the week with confidence and “carefully priced material,” noting a “spirited and well-attended” public viewing at King Street. “We are proud to have realized such a solid outcome during Frieze Week, a moment that highlights the energy and cultural vitality of London’s art scene,” they told press.

    Leading the sale was Peter Doig’s monumental Ski Jacket (1994), which sold for £14,270,000 ($19,064,720) against a £6,000,000-8,000,000 estimate after more than 13 minutes of fierce bidding between six contenders. Carrying a third-party guarantee, the painting had been acquired in 1994 by Danish collector Ole Faarup, and 100 percent of the proceeds will now go to his foundation. This unusual arrangement also helped Christie’s secure two additional Doigs, despite the artist having become a rare presence at auction.

    With an extensive exhibition history, Doig’s Country Rock (1998-1999) nearly hit seven figures in sterling—though it comfortably did so in dollars—achieving £9,210,000 ($12,304,560). A third, more abstract and heavily textured work, also acquired by Faarup in 1994, sold a few lots later just shy of its high estimate at £635,000. The strong results coincided with the opening of Doig’s new show at the Serpentine in London, further fueling demand.

    Christie’s evening opened with a standout result for Domenico Gnoli, whose hyperrealistic painting fetched £977,000, doubling its low estimate. Immediately after, a more impressionistic landscape by René Magritte landed at £762,990—well above expectations—reinforcing both continued momentum for the artist and the broader strength of surrealism. Later in the sale, Magritte’s drawing La veillée (The Vigil) exceeded its £500,000 high estimate, selling for £812,800.

    Auctioneer gestures from the Christie’s podium during the sale of Peter Doig’s Ski Jacket, with the painting and multi-currency price list displayed on large screens behind him.Auctioneer gestures from the Christie’s podium during the sale of Peter Doig’s Ski Jacket, with the painting and multi-currency price list displayed on large screens behind him.
    The 20th/21st Century: London Evening Sale at Christie’s resulted in several new artist records. Photo: Guy Bell | Courtesy of Christie’s

    Picasso, as usual, delivered dependable results, with several works selling above or within estimate, including the £2,002,000 oil and ink on panel Chevalier, pages et moine. The modern and impressionist offerings also performed within expectations, largely due to the quality of the material: a Marc Chagall painting fetched £2,246,000, while a lyrical bucolic scene by Nabis painter Maurice Denis sold for £1,697,000. Meanwhile, a horizontal abstract work by Hurvin Anderson exceeded expectations, fetching £3,222,000.

    The sale also set several new world auction records, underscoring the ongoing momentum for women artists and long-overlooked names being rediscovered. Paula Rego’s Dancing Ostriches from Walt Disney’s “Fantasia” (1995) soared to £3,466,000 ($4.63 million), setting a new landmark record for the artist. Suzanne Valadon’s Deux nus ou Le bain (1923) followed with a £1,016,000 ($1.36 million) record. Contemporary sculptor Annie Morris’s Bronze Stack 9, Copper Blue (2015) achieved £482,600 ($644,754), while Danish artist Esben Weile Kjær set his first auction record with Aske and Johan upside down kissing in Power Play at Kunstforeningen GL STRAND (2020), which sold for £25,400 ($33,934).

    Among the few unsold works of the night were Yoshitomo Nara’s drawing Haze Days, which failed to find a buyer at its ambitious £6.5-8.5 million estimate, and a gray monochrome by Gerhard Richter—even with the artist opening a major survey at the Fondation Louis Vuitton during Paris Art Week. A black Blinky Palermo also went unsold, while a colorful but slightly less iconic Nicholas Party work, Tree Trunks, was withdrawn ahead of the sale.

    Notably, Christie’s reported that 56 percent of buyers in the evening sale came from Europe, the Middle East and Africa, with only 28 percent from the Americas and 16 percent from the Asia-Pacific region. This confirms revived demand in the regional market, as also evidenced earlier in the day by the heavy attendance at Frieze.

    A £17.6M Bacon headlined at Sotheby’s

    Led by a £17.6 million Francis Bacon, Sotheby’s Contemporary Evening Auction closed at $63.5 million. While the total was less than half of Christie’s the night before, the comparison needs context: this was Sotheby’s third major London evening sale since March—whereas it was Christie’s first of the season. Sotheby’s has already staged two major white-glove sales this year—the £101 million Karpidas collection auction in September and the £84 million Summer Evening Sale—meaning that with last night’s results, the house has now sold £233 million worth of modern and contemporary art in London since March. Moreover, the £63.5 million total marked the highest October evening sale result since 2023, up 25 percent from the previous year.

    A Sotheby’s auctioneer leans on the podium in front of Francis Bacon’s painting, with a Basquiat work partially visible beside it and an audience seated in the foreground.A Sotheby’s auctioneer leans on the podium in front of Francis Bacon’s painting, with a Basquiat work partially visible beside it and an audience seated in the foreground.
    Since March, Sotheby’s has sold £240 million worth of Modern and Contemporary art in London. Courtesy Sotheby’s

    “Frieze is always a special time for London, with so many collectors in town whose presence we always feel in our sales,” Ottilie Windsor, co-head of contemporary art, Sotheby’s London, told Observer. “It was great to have them with us tonight and to see so much live action in the room, helping sustain the strong momentum we’ve built over the past few seasons here.”

    The Francis Bacon result came after 20 minutes of suspense and fierce bidding across multiple phone specialists and a bidder in the room, pushing the final price to nearly double its £6-9 million estimate. In U.S. dollars, the hammer plus fees rose to $17.6 million. For comparison, the last notable Bacon—Portrait of Man with Glasses II—sold at Christie’s in March for £6,635,000 ($8.4 million), and that work was almost a third smaller. Another, smaller Bacon, closer in scale to Christie’s example, sold here for £5,774,000 ($7.3 million). Bacon’s record still stands at $142.4 million, set at Christie’s New York in 2013 with his triptych Three Studies of Lucian Freud.

    The sale opened strong, with solid results for several younger contemporary artists who have recently drawn both market and institutional attention. At lot one, a painting by Ser Serpas landed at £27,940 ($35,700)—just under estimate but still enough to set a new auction record for the artist. The California-born painter, who studied in Switzerland and gained early recognition there, was recently included in a MoMA PS1 exhibition and held a solo show at Kunsthalle Basel during the June fairs.

    Two of the hottest rising names in recent auctions—driven largely by Asian demand and limited primary-market availability—followed. An abstract by Emma McIntyre, now a Zwirner favorite, sold for £50,800 ($65,000), and Yu Nishimura achieved the same price. Both works carried estimates of £40,000-60,000, reflecting the tight competition at this level.

    In between, a 2009 painting by Hernan Bas acquired from Perrotin sold just above its low estimate, likely to its guarantor, at £254,000 ($323,000). Momentum continued for Lucy Bull, whose kaleidoscopic abstraction from 2021—originally acquired from Paris gallery High Art—more than doubled its top estimate of £500,000 ($635,000), landing at £1,260,000 ($1.6 million) after being chased by five bidders, most from Asia.

    Overall, the auction confirmed the ongoing strength of the market for women artists, all of whom sold above estimate. Sotheby’s also posted strong results for Paula Rego: her pastel on paper Snow White Playing with her Father’s Trophies sold within estimate for £900,000 (about $1.15 million), while Jenny Saville’s charcoal study exceeded its high estimate, selling for £533,000 (around $675,000).

    Among other notable six-figure results, a monumental El Anatsui sold just shy of its high estimate at £1,999,000 (about $2.53 million). Jean-Michel Basquiat’s Untitled (The Arm) from 1982—a pivotal year in the artist’s rise—landed squarely within estimate at £5,530,000 (approximately $7 million). Andy Warhol’s Four Pink Marilyn (Reversal) followed, selling within estimate for £4,326,000 (about $5.5 million).

    The masters also held firm. Both of Auguste Rodin’s monumental sculptures from his seminal series The Burghers of Calais sold within estimate to a collector in the room: Jean de Fiennes, vêtu, Grand Modèle achieved £762,000 ($1 million), while Pierre de Wiessant, vita, Grand Modèle, vêtu sold for £889,000 ($1.2 million).

    The market for Lucio Fontana also showed signs of recovery—at least for major works. His rare blue 14-slashed Concetto spaziale, Attese sold just above estimate at £2.8 million (about $3.7 million) following a fierce bidding war among four potential buyers. The deep blue of the canvas was inspired by Yves Klein’s IKB pigment—but Klein’s own Untitled Fire Colour Painting (FC 28), which appeared one lot earlier, surprisingly went unsold after failing to meet its £1.8-2 million estimate ($2.3-2.5 million), despite both an irrevocable bid and a guarantee.

    Other unsold works of the night included paintings by Frank Auerbach and Daniel Richter. Still, Sotheby’s achieved a healthy 89 percent sell-through rate by lot.

    On October 17, Sotheby’s also staged a single-owner sale of 17 iPad drawings by David Hockney from his celebrated series The Arrival of Spring. The results were remarkable: the group doubled its high estimate to reach £6.2 million ($8.3 million), achieving a white-glove sale and setting a new auction record for the artist. With this result, Sotheby’s London has now brought in £240 million (approximately $304 million) since March. Notably, American buyers accounted for 40 percent of the purchasers in the Hockney sale, underscoring the continued global demand for blue-chip British artists.

    A £2,374,000 Basquiat tops Phillips’ London Evening Sale

    On October 16 at 5 p.m., Phillips hosted its London Modern & Contemporary Evening Sale, achieving a total of £10,332,200 ($13,884,410) across 22 lots. The auction was more modest—and less successful—than the others, posting a 32 percent drop compared to last year after four lots failed to sell and four others were withdrawn before the start. The evening was led by a new auction record for Emma McIntyre: Seven types of ambiguity (2021) sold for £167,700 ($225,355) from a modest £50,000-70,000 estimate, edging past her previous record of $201,600 set in May 2025 at Phillips Hong Kong. The second-highest lot of the night was Jean-Michel Basquiat’s Untitled (Pestus) (1982), which comfortably met its pre-sale estimate at £2,374,000 ($3,190,181).

    A Phillips auctioneer points to the room beside screens displaying Jean-Michel Basquiat’s Pestus and its current bids in multiple currencies.A Phillips auctioneer points to the room beside screens displaying Jean-Michel Basquiat’s Pestus and its current bids in multiple currencies.
    An energetic moment from Phillips’s London Modern & Contemporary Art Evening Sale. Courtesy Phillips

    Once again, contemporary women artists confirmed their momentum at Phillips, reaching a high point after Emma McIntyre’s record-setting result when Flora Yukhnovich’s My Body knows Un-Heard of Songs (2017) fetched £1,276,000 ($1,714,689) against a £900,000-1,500,000 estimate.

    Opening the sale was a purple-and-pink abstraction by Martha Jungwirth—now a familiar presence across Thaddaeus Ropac’s fair booths—which exceeded expectations at £180,600. A few lots later, an early work by Sasha Gordon sold just shy of its high estimate at £116,100. Demand for Gordon has been reignited by her blockbuster solo debut at Zwirner in New York, which made her the youngest artist represented by the mega-gallery. Painted in 2019 during her studies, Drive Through marks a transitional moment in her shift toward the more discursive, cartoon-inflected style that catapulted her into the global spotlight.

    Later in the sale, Noah Davis’s Mitrice Richardson (2012) found a buyer within estimate at £451,500 ($606,726), while Derek Fordjour’s Regatta Pattern Study (2020) fetched £528,900 ($710,736), surpassing its high estimate of £500,000. Other notable results included Sean Scully’s Wall of Light Summer Night 5.10 (2010), which achieved £967,500 ($1,300,127) against a £600,000-800,000 estimate, and Robert Rauschenberg’s Gospel Yodel (Salvage Series), which sold for £709,500 ($953,426), more than doubling its £350,000-550,000 estimate. A 2012 sculpture by Bernar Venet fetched £516,000 ($693,401) from a £250,000-350,000 estimate, reflecting the artist’s rising demand—particularly in Asia.

    Not everything landed. A Warhol-inspired Banksy portrait of Kate Moss, estimated at £700,000-1,000,000, failed to find a buyer, while a cacophonic abstract work by Sigmar Polke from 1983-84 also went unsold, likely due to its overly ambitious £600,000-800,000 estimate relative to current market demand for the artist.

    For Olivia Thornton, Phillips’s head of modern and contemporary art, Europe, the overall positive auction reflected “the vibrancy of contemporary collecting” and reaffirmed London’s enduring magnetism: “London remains the cultural crossroads of the global art market.”

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    Elisa Carollo

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