{"id":233379,"date":"2026-05-16T00:53:15","date_gmt":"2026-05-16T00:53:15","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ny\/233379\/"},"modified":"2026-05-16T00:53:15","modified_gmt":"2026-05-16T00:53:15","slug":"what-to-buy-at-new-york-marquee-week-galerie-editors-weigh-in","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ny\/233379\/","title":{"rendered":"What to Buy at New York Marquee Week? Galerie Editors Weigh In"},"content":{"rendered":"

Galerie editors love to window shop and dream just like everyone else, and we are graced with access to one of the world\u2019s best places to do so: New York City. Marquee Week<\/a>, when the auction houses break out their blockbusters in tandem with NYC Design Week<\/a>, Frieze Week, TEFAF New York<\/a>, and ICFF, is a case in point. The editors of Galerie asked ourselves: If I were to take any artwork or three home from Marquee Week to cherish and look at every day for the rest of my life, what would I choose?<\/p>\n

Here\u2019s our shopping list of the things that we most wanted to add to our homes from the Marquee Week auctions at Christie\u2019s, Phillips and Sotheby\u2019s.<\/p>\n

\t\t\t\t\t\"Cerise\"Cerise<\/p>\n

\t\t\t\t\t\t\tCerise, Kikuo Saito.
\n\t\t\t\t\t\t\tPhoto: Courtesy of Phillips<\/p>\n

Kikuo Saito Cerise, (2009) | Phillips<\/p>\n

Petra Kobayashi, Creative Director<\/p>\n

I would be thrilled to find a place for Kikuo Saito<\/a>\u2019s 2009 painting Cerise in my apartment. His works of lyrical abstraction and expressive washes of color have fascinated me since I visited his former studio, the KinoSaito Arts Center, in a former school in Westchester, New York. The abstract Japanese American painter, a former assistant to Helen Frankenthaler<\/a>, Larry Poon, and Kenneth Noland, found his own language of abstraction that is poetic and playful.<\/p>\n

\t\t\t\t\t\"Dana\u00efde,\"Dana\u00efde,<\/p>\n

\t\t\t\t\t\t\tDana\u00efde, Constantin Brancusi.
\n\t\t\t\t\t\t\tPhoto: Courtesy of Christie\u2019s<\/p>\n

Constantin Brancusi Dana\u00efde, (1913) | Christie\u2019s<\/p>\n

Jacqueline Terrebonne, Editor In Chief<\/p>\n

I was just in Rome<\/a>, where I saw the most incredible Brancusi show at Mercati di Traiano\u00a0Musei dei Fori Imperiali. Titled \u201cThe Origins of Infinity,\u201d the exhibition left me with an even deeper appreciation of the artist\u2019s work after seeing his sculptures situated in the ancient spaces.\u00a0Dana\u00efde (1913), from the collection of S.I. Newhouse<\/a>, part of a sale on May 18 at Christie\u2019s, encapsulates everything I love about the artist\u2019s work\u2014how he dives into what he called\u00a0\u201cthe essence of things\u201d\u00a0and how the resulting work has a timeless quality of elegant\u00a0refinement.<\/p>\n

\t\t\t\t\t\"The\"The<\/p>\n

\t\t\t\t\t\t\tMichaela Yearwood-Dan The girls take their places, (2024).
\n\t\t\t\t\t\t\tPhoto: Courtesy of Phillips<\/p>\n

Michaela Yearwood-Dan The girls take their places, (2024) | Phillips<\/p>\n

Jill Sieracki, Executive Managing Editor<\/p>\n

I had the pleasure of meeting Michaela Yearwood-Dan<\/a> several years ago when a select group of Sarabande Foundation<\/a> artists introduced a collaboration with The Rug Company. Not only is she wonderful in person, I just absolutely loved her painterly rug and instantly started following her work. I could easily stare at her abstracts all day, finding something new in the swirling pools of color enhanced with beautiful multidimensional facets. I particularly like this work<\/a> as it is part of a series that responds to Monet<\/a>\u2019s gardens, which were the artworks that really sparked my love of art. And the title of Yearwood-Dan\u2019s painting speaks to me on a personal level\u2014who doesn\u2019t want a little extra girl power in their life?<\/p>\n

\t\t\t\t\t\"Abstract\"Abstract<\/p>\n

\t\t\t\t\t\t\tMark Rothko, No. 15 (Two Greens and Red Stripe).
\n\t\t\t\t\t\t\tPhoto: Courtesy of Christie\u2019s<\/p>\n

Mark Rothko Brown and Black in Reds, (1957) | Christie\u2019s<\/p>\n

Ryan Waddoups, Deputy Editor, Design<\/p>\n

I recall being utterly transfixed by a similar Rothko<\/a> at the Centre Pompidou during an all-too-short Paris outing several years ago, right before the pandemic surged. The museum was presenting a major exhibition on Francis Bacon which I found to be emotionally ravaging yet revelatory, and he has been my favorite artist without question ever since. The Rothko felt like a palette cleanser\u2014there\u2019s a certain honest and clarity imbued in his abstractions that gives pause and brought my heart rate down after tripping over the triptychs. Rothko\u2019s work can run the emotional gamut; this one is tinged with a dash of danger, a reminder to run into the fire.<\/p>\n

\t\t\t\t\t\"Gerhard\"Gerhard<\/p>\n

\t\t\t\t\t\t\tKerze (Candle), Gerhard Richter
\n\t\t\t\t\t\t\tPhoto: Courtesy of Christie\u2019s<\/p>\n

Gerhard Richter Kerze (Candle) | Christie\u2019s<\/p>\n

Rena Gross, Web Editor<\/p>\n

Confession: the first thing that drew me to Kerze was that it is from the same Gerhard Richter<\/a> series of 27 Kerze paintings as the cover art for the masterpiece Sonic Youth album Daydream Nation, which introduced my enthusiastic younger self to Richter in conjunction with avant post-punk. But whatever I thought I knew about Gerhard Richter was blown out of the water by seeing the candle painting in real life. It is luminous. The color of the flame is beyond what pixels can easily convey, set off by a symphony in neutrals. The painting was an honored centerpiece in the home of legendary art dealer Marian Goodman<\/a> for decades.<\/p>\n

\t\t\t\t\t\"Abstract\"Abstract<\/p>\n

\t\t\t\t\t\t\tLee Bontecou, Untitled, ($694,000 final price).
\n\t\t\t\t\t\t\tPhoto: Courtesy of Sotheby\u2019s<\/p>\n

Lee Bontecou Untitled | Sotheby\u2019s <\/p>\n

Lee Bontecou was the first abstract artist who really spoke to me. My university art history studies leaned toward ancient and Renaissance art<\/a>, and I went to her 2004 MoMA<\/a> retrospective with no idea what I was walking into. I have loved her ever since. Bontecou exhibited with Leo Castelli in the same midcentury<\/a> era as Jasper Johns<\/a>, Frank Stella<\/a> and Robert Rauschenberg<\/a>. Untitled is from the same period as her monumental industrial canvas and steel framework sculptures, and is reminiscent of another Untitled by her that hangs in the lobby of New York City Balle<\/a>t\u2019s Lincoln Center Headquarters, where I lose myself in its depths every time I pass by. But there\u2019s often a difference between a work that is amazing to visit in a museum, and a work that harmonizes in a domestic setting. This Untitled drawing is perfect for frequent personal contemplation within a city apartment while retaining some of the themes and moods that fascinate me in Bontecou\u2019s large wall sculptures.\u2014RG<\/p>\n

\t\t\t\t\t\"Abstract\"Abstract<\/p>\n

\t\t\t\t\t\t\tPhoto: Courtesy of Sotheby\u2019s<\/p>\n

Wassily Kandinsky Rote Tiefe (Red Depth) | Sotheby\u2019s<\/p>\n

Since my other two New York Marquee week choices are small, with a restrained palette, I would want something that contrasts them to hang opposite in my apartment. What could be better than a big red Kandinsky? Rote Tiefe (Red Depth) dates from Wassily Kandinsky<\/a>\u2019s prime years at the Bauhaus<\/a> and is up for auction for the first time in 65 years.\u2014RG<\/p>\n

\t\t\t\t\t\"Sculptural\"Sculptural<\/p>\n

\t\t\t\t\t\t\tRene\u0301 Magritte, Femme-bouteille, (1955)
\n\t\t\t\t\t\t\tPhoto: Courtesy of Sotheby\u2019s<\/p>\n

Ren\u00e9 Magritte Femme-bouteille, (1955) | Sotheby\u2019s<\/p>\n

Gogo Taubman, Editorial Assistant<\/p>\n

I have always been obsessed with the bowler hats, apples, clouds, pipes, bottoms, and piples of Ren\u00e9 Magritte<\/a>, depictions so jarringly hyper-surrealistic that I\u2019m sure many of his paintings would today be accidentally labeled \u201cAI-generated content\u201d on social media. But my favorite category of his work is the femme-bouteilles, a handful of wine bottles he painted directly onto in the 1950s as gifts for friends. It\u2019s the kind of Magritte I\u2019d actually want to live with on a shelf in my apartment amongst a random assortment of trinkets to let people notice or not\u2014no big white wall or museum lighting required.<\/p>\n

\t\t\t\t\t\"Surreal\"Surreal<\/p>\n

\t\t\t\t\t\t\tLeonora Carrington,
\nLa naguala (1975).
\n\t\t\t\t\t\t\tPhoto: Courtesy of Sotheby\u2019s<\/p>\n

Leonora Carrington La naguala, (1975) | Sotheby\u2019s<\/p>\n

\u201cNaguala\u201d is the feminine of \u201cnagual,\u201d the Mesoamerican shapeshifter who slips between human and animal. A shapeshifter of sorts herself, Leonora Carrington<\/a> fled the Nazis at 22, got locked in an institution in Spain, washed up in Mexico City<\/a>, and spent the rest of her life reconditioning female magicians, sorceresses, and witches into figures of dignity. By 1975, she\u2019d lived several lives and built her own visual religion alongside Remedios Varo. I love a painting where everyone is on their way to being something else. And for the best part: there\u2019s an unfinished painting on the reverse that one of her cats scratched up while it was wet, forcing her to flip the canvas and start over. A painting about animal-human transformation, co-authored by a cat.\u2014GT<\/p>\n

\t\t\t\t\t\"Surrealist\"Surrealist<\/p>\n

\t\t\t\t\t\t\tLeonor Fini, La Chambre d\u2018echo, (1974).
\n\t\t\t\t\t\t\tPhoto: Courtesy Christie\u2018s.<\/p>\n

Leonor Fini La chambre d\u2019\u00e9cho, (1974) | Christie\u2019s<\/p>\n

This painting steps away from Fini\u2019s earlier Mannerist elongations and overt Surrealist<\/a> props for something stranger, a sealed echo chamber where figures\u2019s hair lifts off shoulders and marigold and chartreuse glow against the dark like stage lights. Fini painted it in 1974, deep into her own private mythology, having long since turned down Andr\u00e9 Breton\u2019s invitation to formally join the Surrealists because she had no interest in his rules. She lived openly with two men, kept a clowder of Persian cats, designed Elsa Schiaparelli<\/a>\u2019s\u00a0Shocking\u00a0bottle, and showed up to parties in men\u2019s tailoring or a feathered cape and white boots. All this to say, I really want to know what the gossip here was all about.\u2014GT<\/p>\n

\t\t\t\t\t\"Two\"Two<\/p>\n

\t\t\t\t\t\t\tJean-Michel Basquiat, Museum Security (Broadway Meltdown), (1983).
\n\t\t\t\t\t\t\tPhoto: Courtesy of Sotheby\u2019s<\/p>\n

Jean-Michel Basquiat Museum Security (Broadway Meltdown), (1983) | Sotheby\u2019s<\/p>\n

Alexandria Sillo, Digital Director <\/p>\n

What a thrill it would be to live with a Jean-Michel Basquiat<\/a> masterpiece that once belonged to a 12-piece series now partly featured in the Whitney Museum of American Art<\/a>\u2019s permanent collection. Museum Security (Broadway Meltdown) has been on display all over the world, from Los Angeles<\/a> to Seoul<\/a>, and features Basquiat\u2019s signature graffiti that confronts viewers with societal issues still relevant today. The work was completed a few years before Basquiat\u2019s untimely death at just 27 years old, and was first debuted at his historic solo exhibition at Larry Gagosian Gallery<\/a>. A bit of history that stands the test of time.<\/p>\n","protected":false},"excerpt":{"rendered":"Galerie editors love to window shop and dream just like everyone else, and we are graced with access…\n","protected":false},"author":2,"featured_media":233380,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[1149,33452,22080,91592,9,11,10,22081,13851],"class_list":["post-233379","post","type-post","status-publish","format-standard","has-post-thumbnail","category-new-york","tag-art","tag-auction","tag-christies","tag-marquee-week","tag-new-york","tag-new-york-headlines","tag-new-york-news","tag-phillips","tag-sothebys"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/posts\/233379","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/comments?post=233379"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/posts\/233379\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/media\/233380"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/media?parent=233379"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/categories?post=233379"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/tags?post=233379"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}