{"id":675483,"date":"2026-05-31T05:58:38","date_gmt":"2026-05-31T05:58:38","guid":{"rendered":"https:\/\/www.newsbeep.com\/us\/675483\/"},"modified":"2026-05-31T05:58:38","modified_gmt":"2026-05-31T05:58:38","slug":"christies-presents-beyond-ordinary-then-now-next-works-from-the-zabludowicz-collection","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us\/675483\/","title":{"rendered":"Christie’s presents\u00a0Beyond Ordinary – Then. Now. Next. Works from the Zabludowicz Collection"},"content":{"rendered":"

Celebrating this pioneering international collection. Highlights include major works by Philip Guston, Richard Prince, Damien Hirst, Mark Bradford, Yoshitomo Nara, Albert Oehlen, Antony Gormley, and Rose Wylie, among others<\/p>\n

From left to right: Beatriz Milhazes,\u00a0Moinho vermelho\u00a0(1999-2000) (estimate: \u00a3600,000-800,000); Henry Taylor,\u00a0untitled (jade in white),\u00a02012 (estimate: \u00a3120,000-180,000); Richard Prince,\u00a0Untitled (Cowboy)\u00a0(1994) (estimate: \u00a3800,000-1,200,000); Rose Wylie,\u00a0Sailing Boat\u00a0(2015) (estimate: \u00a3150,000-350,000) and Philip Guston,\u00a0Mirror Head\u00a0(1977) (estimate: \u00a33,500,000-5,500,000).<\/p>\n

LONDON – Christie’s presents\u00a0Beyond Ordinary – Then. Now. Next. Works from the Zabludowicz Collection\u00a0as the highlight of its London Summer Season at King Street. The collection, comprising 106 lots and with an overall estimate\u00a0in the region of \u00a315 million will be offered in two dedicated auctions: a live sale on 25 June, alongside a dedicated online sale (running from 18 June to 30 June).<\/p>\n

Founded by Anita and Poju Zabludowicz in 1994 at a transformative moment in the British art scene, the Zabludowicz Collection has, for over three decades, been a pioneering force in contemporary art. Renowned for its passionate philanthropic support of institutions and emerging artists, particularly historically underrepresented voices as well as artists experimenting with new technologies and media, it championed young artists at a time when few collectors were committed to doing so, quickly establishing itself as a vital international platform for innovation, experimentation, and creative ambition. The Collection’s North London non-profit project space, established in 2007, became known for a trailblazing exhibition programme showing artists at pivotal moments in their careers, and introducing significant international talent to UK audiences.<\/p>\n

Now encompassing over 5,000 works, the Zabludowicz Collection stands as a touchstone for the visual culture of its time, and continues to lend widely and generously to museums, guided by a deep and intuitive knowledge of contemporary art.\u00a0As a living, active collection, it remains oriented towards the future \u2013 presently shifting its focus to the next generation and the artists who will shape the course of contemporary art. This sale marks a considered moment in that ongoing evolution: a renewal that both sustains the Collection’s ability to support artists in meaningful ways and creates space for new acquisitions and future initiatives.<\/p>\n

Almost entirely fresh to the auction market, with many acquired shortly after their creation, the works presented at Christie’s this summer embody the key threads that have come to define the Zabludowicz Collection.<\/p>\n

One of its central pillars is the British art scene of the 1990s: the landscape in which it first took shape. This period saw the emergence of the so-called Young British Artists, united by their embrace of subversive media and conceptual approaches to art-making. A leading highlight of the Collection is\u00a0Damien Hirst’s\u00a0I Love You\u00a0(1994-1995)\u00a0(estimate: \u00a3600,000-800,000). Completed in 1995, it is one of twelve for which the artist was awarded the prestigious Prix Eliette von Karajan that year, shortly before his receipt of the Turner Prize. With examples held in institutions including the Astrup Fearnley Museum, Oslo, and the Fondazione Sandretto Re Rebaudengo, Turin, this remarkable suite of paintings followed on from Hirst’s seminal installation\u00a0In and Out of Love\u00a0(1991). Another highlight is an early commissioned work by\u00a0Antony Gormley,\u00a0Quantum Cloud XXXII\u00a0(2000)\u00a0(estimate: \u00a3300,000-500,000),\u00a0from the artist’s celebrated series of the same name,\u00a0in which branching networks of steel extend into space to dissolve the human form at the sculpture’s core,\u00a0creating a dynamic, visual experience.<\/p>\n

Art’s ability to illuminate the human condition is a theme that resounds throughout the selection.\u00a0Philip Guston’s\u00a0Mirror Head\u00a0(1977)\u00a0(estimate: \u00a33,500,000-5,500,000) is a stunning large-scale example of his late figurative works,\u00a0filled with uncertainty, self-questioning, and a sense of existential unease. His influence reverberates in\u00a0Rose Wylie’s\u00a0Sailing Boat\u00a0(2015)\u00a0(estimate: \u00a3150,000-350,000): the painting is based on memories of a flat-pack model of the Mayflower the artist received for Christmas as a child, with\u00a0the boat itself taking on an almost anthropomorphic quality through Wylie’s playful handling. The artist recently had a successful retrospective at the Royal Academy of Arts, London.<\/p>\n

Equally central to the Collection is the work of the ‘Pictures Generation’, who emerged in New York in the 1970s and 1980s.\u00a0Richard Prince’s\u00a0Untitled (Cowboy)\u00a0(1994)\u00a0(estimate: \u00a3800,000-1,200,000) belongs to his most iconic series, which used images from Marlboro cigarette adverts to interrogate the construction of American cultural tropes. Cropping out text to focus on the brand’s signature lone ranger, Prince invited the viewer to reconsider America’s ultimate heroic archetype: a cinematic symbol of masculinity and bravery, embedded in the popular imagination. Other works broach the idea of appropriation from very different contexts.\u00a0Neo Rauch, raised under Communism in East Germany, apes the language of Socialist Realism in his surreal, dystopian panorama\u00a0Z\u00e4hmung\u00a0(2011)\u00a0(estimate:\u00a0\u00a3500,000-700,000), while\u00a0Takashi Murakami\u00a0borrows elements from Japanese manga and anime in\u00a0Mushroom Painting #4\u00a0(2000)\u00a0(estimate: \u00a330,000-50,000) – an early example of his ‘superflat’ aesthetic.<\/p>\n

Other artists in the selection explore human experience through meditations on history and culture, many\u00a0confronting racial, and social concerns through distinct material vocabularies.\u00a0Mark Bradford’s\u00a0monumental\u00a0Farther South and Elsewhere\u00a0(2016) (estimate: \u00a31,000,000-1,500,000) made by layering saturated carbon paper onto canvas, takes its title from a chapter in\u00a0Runaway Slaves: Rebels on the Plantation\u00a0(2000) by historians John Hope Franklin and Loren Schweninger, its swirling composition reminiscent of a geological rupture. In Rashid Johnson’s\u00a0Untitled Broken Crowd\u00a0(2021)\u00a0(estimate: \u00a3800,000-1,200,000), twenty-eight faces emerge from ceramic tile and mirror in a composition charged with the chaos and energy of contemporary urban life.\u00a0Lubaina Himid\u00a0\u2013 currently representing Britain at the Venice Biennale – is also included in the sale with\u00a0Free Healthcare or Free Birdsong\u00a0(2014)\u00a0(estimate: \u00a320,000-30,000), a work in which the artist engages with the politics of representation.<\/p>\n

Uniting the Collection is also a deep fascination with the new – a desire to see the world in ways it has never been seen before.\u00a0Yoshitomo Nara’s\u00a0Your Dog\u00a0(2002)\u00a0(estimate: \u00a3550,000-850,000), one of the artist’s most beloved works,\u00a0captures this feeling especially well.\u00a0\u00a0It towers over the viewer with Alice-in-Wonderland magic, recalling the world as seen through the eyes of a child. Spotted at an art fair and acquired long before it was considered an icon, the giant fibreglass dog is instantly engaging yet full of complex, enigmatic feeling.<\/p>\n

The Collection’s curatorial foresight is reflected in its early engagement with\u00a0Albert Oehlen, whose radical approach reshaped contemporary painting. In 2013, the Zabludowicz Collection held a major two-part exhibition pairing his work with younger painters including Tauba Auerbach, Sam Falls and Rosy Keyser, anticipating renewed international interest in Oehlen’s work and igniting a conversation across generations.\u00a0Untitled\u00a0(1989)\u00a0(estimate: \u00a3400,000-600,000),\u00a0included in the present selection, captures the artist’s pivotal turn towards abstraction, clashing colour and form with visceral energy. A work by\u00a0Per Kirkeby, meanwhile, serves as a reminder of the family’s long-standing links with Scandinavia.<\/p>\n

Throughout the Collection, further moments of conversation emerge for both figuration and abstraction:\u00a0Charline von Heyl\u00a0\u2013\u00a0who lived around the corner\u00a0from Albert Oehlen as a student – poses fundamental questions about the nature and purpose of image-making with\u00a0DAYDRINKING\u00a0(2016)\u00a0(estimate: \u00a3150,000 -350,000), while\u00a0Beatriz Milhazes’\u00a0Moinho vermelho\u00a0(1999-2000) (estimate: \u00a3600,000-800,000) fuses the legacies of European Modernism with the vibrant colours and textures of her native Brazil. \u00a0<\/p>\n

Anita\u00a0Zabludowicz, Co-founder of the Zabludowicz Collection:\u00a0“What began as a personal passion became a lifelong commitment \u2014 a way of living shaped by curiosity, instinct, and an openness to experimentation. The Collection grew dynamically and without fixed boundaries: it was never about following a single narrative, but about embracing discovery, dialogue, and risk.\u00a0We are now in a period of reflection, preparing for the next generation and for future projects yet to be ignited. I feel incredibly proud to have arrived at this moment, where we can truly open up and share the collection with those who wish to continue its journey, giving other collectors and museums the opportunity to offer some of these works a new home and a new life. Art has no beginning and no ending \u2014 it is a story that continuously evolves. That is how I see the future: Then, Now, Next.\u201d<\/p>\n

Tiffany Zabludowicz, Director of the Zabludowicz Collection:\u00a0\u201cThis collection has always been driven by a belief in the future – in supporting artists at pivotal moments in their careers and creating space for new ideas, voices, and cultural movements to emerge. Growing up within it, I learned from my mother that collecting is not simply about ownership, but about stewardship: a long-term commitment to artists, ideas, and the cultural conversations that shape our time. Today, the Collection stands at a particularly exciting moment in its evolution \u2014 one where the\u00a0significance of many of the artists within it is only continuing to unfold, and where the strongest chapters are still ahead. This moment is therefore not only a celebration of legacy, but of momentum, continuity, and the vision for what is still to come.\u201d<\/p>\n

Katharine Arnold, Vice-Chairman 20\/21, Christie’s:\u00a0\u201cThe Zabludowicz Collection is a globally renowned collection of contemporary art, defined by its vision and the calibre of the works themselves. Built over decades of deeply engaged patronage, it reflects a longstanding and personal commitment to contemporary culture. The works presented in this sale mark important moments in the careers of many artists, offering collectors a rare opportunity to acquire works of lasting cultural significance.\u201d<\/p>\n

All information available on christies.com<\/a><\/p>\n

Collection Highlights<\/p>\n

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