In the lead-up to Christie's fall auction, we've highlighted record-breakers and oddities from Phaidon's Going Once, a compendium of 250 legendary, strange, or otherwise remarkable paintings, prints, and objects from Christie's two-and-a-half century history. Before you bid on this week's lots, take a look back at the groundbreaking and remarkable auctions for now-renowned contemporary artists like Jasper Johns, Rachel Whiteread, Tracey Emin, Damien Hirst, and more, for whom mainstream auction success can signal or inspire widespread acceptance of once controversial methods and movements.

1. THE HOME OF THE BRAVE

Jasper Johns, Flags I, 1973. Sold on May 10, 1995 for $101,200.

Flags I by American artist Jasper Johns is widely regarded to be one of his greatest prints. It depicts two star-spangled banners side by side, reversed and rotated ninety degrees, so that if they were the right way up the stars would be top right rather than top left.

As with so many of his best works, it is Johns’s unorthodox technique that makes Flags I stand out when compared to screen prints by other artists. Andy Warhol had introduced Johns to this process in 1960, but the latter was slow to see how it would suit his work: the flat expanses of color produced in screen prints suited Warhol, but not the intense mark-making that Johns had made into his signature style.

Johns recalled how he made this screen print alongside master printer Hiroshi Kawanishi at Simca Artist Prints Inc., one of the legendary New York print studios of the 1970s. “By adding a rather large number of screens, and having the stencil openings follow the shapes of brushstrokes, I have tried to achieve a different type of complexity,” Johns said at the time. “One in which the eye no longer focuses on the flatness of the colors and the sharpness of the edges. Of course, this may constitute an abuse of the medium, of its true nature.”

The American flag has become the image most associated with Jasper Johns. In a New York art scene dominated by Abstract Expressionism, with its emphasis on ineffable, sublime themes and maximum emotion, to depict something as humdrum as a flag was a radical gesture. Part of a deliberate tactic by Johns to look at things “the mind already knows,” it allowed him to focus on the experimental use of materials. “One night I dreamed that I painted a large American flag,” Johns said of his painting Flag (1954–5), now in the Museum of Modern Art in New York. “The next morning I got up and I went out and bought the materials to begin it.”

In reworking the image time and time again, Johns found that he could rejuvenate it: “With a slight re-emphasis of elements, one finds that one can behave very differently toward [an image], see it in a different way.” He was able to do just that in this print, working from a photograph of his own painting Two Flags (1973), and bringing a genuinely unique energy and intensity to a medium known for cool flatness. It sold for $101,200 in 1995; an impression of Flags I sold at Christie’s for nearly $1.45m in November 2015, showing that the market for Johns’s prints has risen significantly in recent years.

Rachel Whiteread, Untitled (Square Sink), 1990. Sold on December 8, 1998 for $220,805.

As the history of the Young British Artists (YBAs) is refracted through retelling over time, Rachel Whiteread’s role in the emergence of this talented generation has, arguably, become underplayed. Whiteread, in both her work and her public persona, might now seem remote from some of her peers, but—like that of Damien Hirst—her work appeared in the very first of the Young British Artists exhibitions at the Saatchi Gallery in 1992, a show that gave the group its name.

Untitled (Square Sink) was among the works on view, as well as one of Whiteread’s masterpieces, Ghost (1990). Both reflect the poetic power of the sculptures that propelled the artist to huge success in the 1990s. Ghost was a true breakthrough; a cast from a room in a house on London’s Archway Road, much like the one Whiteread grew up in, in which she sought to “mummify the air in a room.” The result was a Minimalist-inspired sculpture and a lyrical paean to the emotion and memory contained in domestic spaces. The air within and around all manner of other quotidian objects and spaces was also “mummified,” from the space under a bed to the inside of a hot-water bottle. Like her works involving baths, Untitled (Square Sink)—a sculpture of the space found underneath a household sink—has an almost funereal, monumental solidity.

Characteristically, this work conjures not just the object but also its wider cultural use. Just as Whiteread’s sculptures of beds inevitably prompt thoughts of birth, sex, and death, so the cast of the sink becomes a font, a testament to water as a symbol of life, as an element in human ritual. It is also a profoundly strange object, confirming the artist’s ability to find the magical in the most humdrum things and places.

The work was one of the top lots in a sale in 1998 of pieces from Charles Saatchi’s collection, sold to benefit students and graduates of four London art schools—Chelsea, Goldsmiths, the Royal College of Art and the Slade. Christie’s auction raised a total of £1.6m ($2.7m; equivalent to £2.6m/$3.6m today), and, in retrospect, was one of several signifiers of a shift in the London art scene. If the exhibition of Saatchi’s collection at the Royal Academy of Arts in London in 1997, “Sensation,” marked the apex of the YBAs’ notoriety, the sale, which took place a year later, indicated that Saatchi’s interest in them had begun to cool. Other collectors were therefore able to buy early YBA works from Saatchi’s collection retrospectively, allowing him to fund his passion for supporting new artists coming through in the YBAs’ wake.

Damien Hirst, Acetic Anhydride, 1991. Sold on December 8, 1998 for $202,600.

When Damien Hirst’s first spot painting came up for sale in 1996—the first of his works to reach auction—many commentators and journalists wondered out loud if this was the start of a new era. “Art market superbrat makes his auction debut this week,” wrote The Independent. “The appearance of a Hirst at Christie’s is a first swallow indicating greater confidence in the post-recession contemporary art auction market.”

For once the art-world speculation and newspaper hype proved correct. The previous year, buyers had been playing it relatively safe at auction, buying works by Yves Klein and Robert Rauschenberg. The catalogue for the sale in 1996, however, was populated with young newcomers of whom Hirst was the best known. He was already well-known for his formaldehyde-preserved sharks and cows, which addressed the relationship between art, science, and mortality. His ‘Pharmaceutical Paintings’, comprising immaculate grids of colored dots, spoke to the same theme: each titled after individual chemical compounds, their molecular structures sought to distill the dialogue between order and chaos that underpins our existence.

Hard on the heels of this first sale came the “Sensation” exhibition of 120 works from the collection of Charles Saatchi at the Royal Academy of Arts in London in 1997. Then, in 1998, an auction was held of works from that same collection—many of them by the YBAs or “Young British Artists”: Rachel Whiteread, Jenny Saville, Dinos and Jake Chapman, Tracey Emin, Sarah Lucas, Chris Ofili.

With all this very visible activity, prices for contemporary art began to rocket. In 1996, Hirst’s dealer Jay Jopling had declared that he would be happy to see that first-time-on-the-block spot painting make £10,000. Two years later, Acetic Anhydride sold for £122,500. A decade after that, Hirst felt able to ask a cool £50m ($100m) for a single work—a platinum skull encrusted with over 8,000 diamonds called For the Love of God (2007). It was a grand gesture, as if the price tag were as much a part of the work of art as the object.

Zeng Fanzhi, Mask Series 1996 No. 6, 1996. Sold on May 24, 2008 for $9,660,020.

In 1993, at the age of twenty-nine, the artist Zeng Fanzhi travelled from Wuhan, the city of his birth, to Beijing. The Chinese capital was experiencing the early stages of its transition to capitalism and the creation of a new social world. Zeng’s response was to begin his “Mask” series, of which Mask Series 1996 No. 6, a vast diptych, is perhaps the most striking of all.

Mask Series 1996 No. 6 features a line of eight figures informally posed as if for a snapshot on a happy occasion. However, while there are smiles on their faces and the background is painted in a breezy yellow, the picture is profoundly disturbing. The masks symbolize personal and political concealment, representing the idea that honest emotions and true character are hidden during social interaction, as well as being oppressed by the state. The neckerchiefs worn by the figures represent membership of the Communist Party, a sign of collective loyalty, although the masks make it impossible to judge the sincerity of this symbol. Despite having strings to fix them to the figures’ heads, the masks seem to be part of the group’s faces, indicating the permanence of the concealment. The use of a photograph as source material for this painting is also significant; Zeng has spoken of the “simulated posture” we all adopt when being captured on camera.

Zeng draws on both Chinese traditional painting and Western art movements in his work, and Mask Series 1996 No. 6 is a synthesis of the techniques learned in his homeland and the expressionist and existentialist art he saw from the West in reproduction. Francis Bacon’s flayed skin and the broad brushwork of German Expressionism, for example, are evoked in his painterly language.

Christie’s has sold Chinese art for more than 200 years, but the first decade of the twenty-first century has seen interest reach new heights, with numerous records set for works in multiple disciplines and from various epochs. At the time, the highest total for any series of sales in Asia—HK$2.1b (£1.4m/$2.7m)—was achieved in 2007 when Christie’s celebrated twenty-one years of auctions in Hong Kong.

The stage was therefore set for contemporary art to make a splash, and the inaugural evening sale for twentieth-century and contemporary Asian art took place in May 2008, helping to establish Hong Kong as a global centre in the art world. That night, Zeng Fanzhi’s painting set a world auction record for the artist and for Chinese contemporary art. The series, which remains his most highly regarded body of work to date, is seen as a key moment in the development of new art in China.

Jeff Koons, Tulips, 1994 – 2004. Sold on November 14, 2012 for $33,682,500.

In 2012, Jeff Koons hit the headlines with the sale of his sculpture Tulips, which set a world auction record for the artist at that time. The sculptural installation—created in five versions between 1995 and 2004, and comprising of seven stainless-steel blooms coated in bright colors—is part of Koons’s “Celebration” series and was consigned by Norddeutsche Landesbank.

The series evolved from Koons’s desire to represent a child’s ecstatic enjoyment of the world. His forms recall Constantin Brancusi’s streamlined sculptures as well as children’s toys. Koons has explained that, “[The ‘Celebration’ series] is about a calendar year and how we perceive different things within the course of a year. You can look at [...] the Tulips sculpture and maybe it will make you think of spring. You can look at Hanging Heart and think of Valentine’s Day, or Cracked Egg and you think of Easter. If you look at Party Hat, you might think of a birthday. There are different forms of celebration within a cycle of time.” Balloon Dog (Orange) (1994–2013), from the same series, was sold for $58,405,000 (£36,270,000) in November 2013, and remains the highest price paid at auction for a living artist. It is now situated at the Wynn casino in Las Vegas.

Tulips looks shiny and weightless, but in reality it weighs more than three tons. “I started to work with polished steel in 1986,” Koons has said. “Polishing the metal lends it a desirous surface, but one that also gives affirmation to the viewer. It’s about telling him, ‘You exist!’ When you move, it moves.” The work was originally installed outside the Norddeutsche Landesbank in Hanover, Germany, over a reflective surface that enhanced the sculpture’s flawless sheen. When it came to Christie’s New York, this presentation was emulated by displaying Tulips on a purpose-built water-filled plinth located in the Rockefeller Plaza, where it became a much-admired temporary feature.

Cai Guo-Qiang at work on Homeland at the Union Church, Shanghai, 2013. Sold the next day, on September 26, 2013 for $2,445,000.

In his gunpowder drawings and outdoor explosion events, the Chinese multimedia artist Cai Guo-Qiang aims to “investigate both the destructive and the constructive nature of gunpowder, and to look at how destruction can create something as well.” Born in southeast China, Cai grew up during the tumultuous years of the Cultural Revolution (1966–76). In the 1980s, when he started to become aware of Western contemporary art, he found the cultural climate in China to be too repressive and moved to Japan in search of better opportunities. He began to work with gunpowder in China, then expanded this use in his drawings in Japan and also experimented with explosives on a massive scale. Cai now lives in New York, and works and exhibits internationally.

To create his gunpowder drawings, Cai first sketches a design on sheets of specially made paper placed on the floor. He then scatters gunpowder on top and arranges fuses to form silhouetted designs on the paper’s surface. Pieces of cardboard are laid here and there to disperse the patterns that result from the explosion, and bricks are used to weigh everything down and intensify the blast. When the process is complete, Cai ignites the leading fuse with a stick of burning incense. With a series of flashes and loud bangs, the gunpowder rips across the paper, following the line of fuses. When the clouds of smoke disperse, and stray embers have been stamped out, the drawing is hung up for inspection.

This procedure, which Cai calls an “open production,” took place on 25 September 2013 at the Union Church in Shanghai, during the creation of Homeland. This vast drawing, which is more than 22 feet long, depicts Cai’s home town, the ancient city of Quanzhou, with its pagodas, banyan trees, and distant mountains seen against the ghostly outline of Frank Gehry’s design for the as yet unbuilt Quanzhou Museum of Contemporary Art (an ambitious project that Cai is overseeing).

Homeland was commissioned to celebrate Christie’s first auction in mainland China, which was held the next day. Witnessing the creation of the drawing was an audience of invited guests, many of whom recorded the explosions on their mobile phones. The event, which took Cai, his team, and eight student volunteers three hours to prepare, lasted seven seconds and burned through 66 lb of gunpowder. The excitement continued at the auction itself, with over 200 international clients logged in to Christie’s live to watch proceedings online. The sale achieved RMB154m (£15.7m/$25.1m).

7. THE TENSION BETWEEN CHANCE AND CONTROL

Gerhard Richter, Abstraktes Bild, 1989. Sold on February 13, 2014 for $32,563,225.

“When I paint an abstract picture,” Gerhard Richter has said, “I neither know in advance what it is meant to look like, nor, during the painting process, what I am aiming at and what to do about getting there. Painting is consequently an almost blind, desperate effort, like that of a person abandoned, helpless, in totally incomprehensible surroundings.”

Abstraktes Bild is one of a large number of paintings that emerged from what is surely the German painter’s most prolific period of making abstract works, between 1988 and 1992. Richter’s process is well known: he applies layer after layer of color, often wet into wet, using a squeegee to pull the paint across the surface in various directions. This is where he ventures into the unknown: he can predict the kind of mark he can create, but cannot be certain what forms and effects will emerge from each of the individual movements with the squeegee. He describes this as a form of chance “that is always planned, but also always surprising.” With typical mischievous modesty, Richter adds that he is “often astonished to find how much better chance is than I am.”

The tension between chance and control has been at the center of Richter’s work since he began to establish himself as a leading artist in the early 1960s. His memorable show at Tate Modern in London in 2011, which subsequently toured to Berlin and Paris, emphasized this push and pull in his work, so that rooms full of abstracts would be punctuated by paintings based on photographs. Everything was ultimately a form of abstraction, even the most representational images.

Richter’s abstracts inevitably inspire interpretations that stray into the figurative world, from molten lava to the Northern Lights and wooded landscapes. The artist has made it clear that he does not set out to depict anything, but neither does he discourage such readings, saying that the paintings show “scenarios, surroundings, and landscapes that don’t exist, but they create the impression that they could exist.” It is this quality that makes them so beguiling and so enveloping, and by far the most popular of his paintings at auction: only one of his top ten highest prices was for a figurative painting.

Abstraktes Bild was sold for nearly £20m in 2014. In that same year Christie’s staged a private selling exhibition featuring Richter alongside his compatriot and former collaborator Sigmar Polke (1941–2010), their first joint show in almost fifty years.

Tracey Emin, My Bed, 1998. Sold on July 1, 2014 for $4,365,680. 

Tracey Emin had shown My Bed twice before it made its European debut in the Turner Prize exhibition at Tate Gallery, London, in 1999. It was first exhibited in Tokyo and then in New York, although Japanese customs had attempted to destroy it, not believing it was an artwork. Emin later revealed it was her slippers that the Japanese public found to be particularly risqué. But as soon as the Turner Prize show opened, the story of My Bed exploded in the press. Possibly only the furore around Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living (1991), his iconic shark in formaldehyde, rivaled the reception for My Bed. They were the two provocative artworks that bookended a decade in which the Young British Artists (YBAs) transformed contemporary art.

My Bed made for a striking entrance to that Turner Prize show in 1999: there it was, in the first room, a ruffled and stained unmade bed, surrounded by detritus that included condoms, a tampon, a vodka bottle, and cigarette ends. It was a memorial to four days during which Emin had stayed in bed, heartbroken at the end of a relationship. She talked of contemplating death while lying there, but says that she chose life, and went to get a drink of water. Initially disgusted by the bed, she returned to it and found it strangely beautiful. It was then that she conceived the idea of transporting it in its entirety to the art gallery. Utterly emblematic of its maker, it is a deeply personal, starkly confessional, expressionist subject married to a tough, post-Duchampian approach to the art object.

My Bed, in becoming a genuine icon, has often been misunderstood and caricatured, with its very real evocation of depression being missed. It was first shown with a noose, which was removed only when it was exhibited at the Tate, and few commentators mention the suitcases bound together with a chain that sit alongside the work: one was the suitcase Emin carried when she left Margate as a teenager; the other a new one she bought when she decided to change her life after the bed episode. Binding them together symbolized the transition Emin made from the past into a new, “internationalist” future, as she called it.

After the Turner Prize show, My Bed was bought by Charles Saatchi. In 2014, he put the work up for auction to benefit the Saatchi Gallery Foundation, and it reached £2.5m, which remains the auction record for a work by Emin. The work was acquired by the Duerckheim Collection and is now on long-term loan to Tate, seventeen years after its first appearance.

Chris Ofili, The Holy Virgin Mary, 1996. Sold on June 30, 2015 for $4,532,945.

Few works of art have been more misunderstood than The Holy Virgin Mary by the British artist Chris Ofili. The painting was included in “Sensation” (1997) at the Royal Academy of Arts in London, the exhibition that featured work by Young British Artists from Charles Saatchi’s collection. When the show toured to the Brooklyn Museum in New York, Ofili’s painting prompted a fierce debate that led Rudy Giuliani, then mayor of New York, to threaten to withdraw the museum’s subsidy and even evict it if the museum did not cancel the entire exhibition (the museum won the lawsuit that followed).

“The idea of having so-called works of art in which people are throwing elephant dung at a picture of the Virgin Mary is sick,” Giuliani exclaimed. Nothing in that statement is accurate, but it set the tone for the debate: reports in leading newspapers claimed the painting was stained, covered, smeared or splattered with excrement. In fact, the dung balls, one of the trademarks of Chris Ofili’s early style, had been used sparingly: to prop up the canvas (the words “Virgin” and “Mary” are written on the balls using map pins) and, on the canvas itself, as the Virgin’s right breast.

Ofili’s use of dung was inspired by a trip to Zimbabwe in 1992, as were some of the decorative patterns in his work, which related to cave paintings he saw in that country. Indeed, across twenty-five years of painting Ofili has consistently explored African identity, meaning that his work can be seen in multiple contexts, including the history of British art and that of the African diaspora. For him, the dung has a multitude of meanings, among them fertility, hence its use for the Virgin’s breast.

Some writers have speculated that the real problem for those offended by Ofili’s painting was that in it Mary is a black woman. Ofili, who was brought up a Catholic, said: “As an altar boy I was confused by the idea of a holy Virgin Mary giving birth to a young boy. Now when I go to the National Gallery and see paintings of the Virgin Mary, I see how sexually charged they are.” His was a “hip-hop version,” he said, that explored “the way black females are talked about in contemporary gangsta rap.” Hence the presence of buttocks cut from porn magazines, equivalents to the putti in Renaissance depictions of the Virgin. “I wanted to juxtapose the profanity of the porn clips with something that’s considered quite sacred,” Ofili said.

With these multiple layers—contemporary black pop culture, historical African influences, and witty and knowing takes on art history—it’s no wonder that Ofili was resistant to commenting on the furore. “The people who are attacking this painting are attacking their own interpretation, not mine,” he said at the time. He later expressed regret at its notoriety because it is, he said, “a very beautiful painting to look at.”

This combination of notoriety and visual seduction have made the painting one of Ofili’s best-known works. It formerly belonged to Charles Saatchi and was later purchased by David Walsh, the Australian collector and founder of the Museum of Old and New Art in Hobart, Tasmania. When the museum sold the work with Christie’s in 2015, it established a record price for Ofili’s work at auction, selling for nearly £2.9m.

Louise Bourgeois, Spider, 1997. Sold on November 10, 2015 for $28,165,000.

Standing more than 10 feet tall, Spider, Louise Bourgeois’s mammoth bronze arachnid, cannot help but conjure the fear stoked by cult American science-fiction films of the late 1950s. However Bourgeois always intended her spiders to have a more ambiguous role, acting as the embodiment of her own turbulent autobiography. They symbolize the artist’s mother; indeed, a different version, in which ceramic eggs sit in a pouch beneath the spider’s body, is called Maman (1999). “My best friend was my mother and she was [as] deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and useful as a spider,” Bourgeois recalled. The French-American artist’s formative years remained a constant source of inspiration throughout her seven-decade career. “My childhood has never lost its magic,” she explained. “It has never lost its mystery, and it has never lost its drama. All my work of the last fifty years, all my subjects, have found their inspiration in my childhood.” The fact that her mother repaired textiles for a living was significant; Bourgeois identified the spider as a healing creature as much as an aggressor or a symbol of fear.

Bourgeois made her first drawings of a spider in the 1940s, having spent time in the orbit of such exiled Surrealists as André Breton and Joan Miró in New York during the Second World War. She was the link between Surrealism and movements such as Post-Minimalism that appeared in the 1960s, a period when she began to gain long-deserved attention. By straddling the two movements, Bourgeois developed an entirely unique language that made her one of the most influential artists of the late twentieth and early twenty-first centuries. Her work earned great acclaim from the 1980s until her death.

Although Spider was made in 1997, it was only after the showing of one of the Maman sculptures in Tate Modern’s Turbine Hall in London in 2000 that it came to be regarded as one of her greatest works. While Bourgeois spoke about its relationship to her mother, its gothic, threatening and yet simultaneously nurturing presence also reflected her own personality which, she said, went “from one extreme to the other.” Thus, Spider has come to be regarded as an emblem for Bourgeois and her work. In November 2015, it broke the auction record for a sculpture by a woman artist (almost tripling her own previous record) when it sold for more than $28m.

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provide User Content that you do not have the right to submit, unless you have the owner's permission; this includes material covered by someone else's copyright, patent, trade secret, privacy, publicity, or any other proprietary right; forge headers or manipulate other identifiers in order to disguise the origin of any User Content you provide; provide any User Content that contains lies, falsehoods or misrepresentations that could damage us or anyone else; provide User Content that is illegal, obscene, defamatory, libelous, threatening, pornographic, harassing, hateful, racially or ethnically offensive, or encourage conduct that would be considered a criminal offense, give rise to civil liability, violate any law, or is otherwise inappropriate; impersonate anyone else or lie about your affiliation with another person or entity in your User Content; use meta tags or any other "hidden text" utilizing any of our or our suppliers' product names or trademarks in your User Content; or provide User Content which disparage us or our vendors, partners, contractors, galleries, artists, institutions, distributers, representatives and affiliates. Except as otherwise specifically provided, if you post content or submit material to the Site, you grant us a nonexclusive, royalty-free, perpetual, irrevocable, and fully sub-licensable right to use, reproduce, modify, adapt, publish, translate, create derivative works from, distribute, and display such content throughout the world in any media. You represent and warrant that you own or otherwise control all of the rights to the content that you post; that the content is accurate; that use of the content you supply does not violate these Terms or any law or regulation; and the content will not cause injury to any person or entity. We have the right but not the obligation to monitor and edit or remove any activity or content. User Content comes from a variety of sources. We do not endorse, or support any views, opinions, recommendations, or advice that may be in User Content, nor do we vouch for its accuracy or its reliability, usefulness, safety or intellectual property rights of any User Content. We take no responsibility and assume no liability for any User Content posted by you or any third party.

The Seller is responsible for accurately describing and pricing the Items it is offering for sale. The Buyer is solely responsible for determining the value, condition and authenticity of the Items being purchased and for paying the purchase price to the Seller including any sales tax, VAT or import/export duties.

The role of Artspace is expressly limited as set forth in the clause above entitled “The Role of Artspace”. Artspace relies on the sellers for such information and is not responsible in any way for the description or pricing of Items on the Site provided by the seller. Artspace is not responsible for the delivery of payment from you to the Seller unless we explicitly agree to be.

All Items displayed on the Site are offered for sale subject to availability. Some Items displayed on the Site are unique and are offered by Sellers that usually have retail opportunities for the sale of the Item independent from Artspace, and therefore some Items may no longer be available.

The Site is designed to provide the Buyer access to Items as the Sellers present them. Accordingly, Artspace does not verify any information provided by the Seller (or its representative selling an Item) and Artspace makes no representations or warranties with respect to the Seller, the Item or the information related to the Item.

All Items displayed on the Site are sold “As-Is” and “With All Faults”. Neither the Seller nor Artspace makes any guarantee, warranty or representation, expressed or implied, to any Buyer with respect to any Item, including without limitation, its condition, merchantability, fitness for a particular purpose, quality, rarity, importance, provenance, designer or creator, exhibitions, literature, historical relevance, or as to whether the Buyer acquires any reproduction right or other intellectual property right in any Item. No statement anywhere, whether oral or written, shall be deemed any such guarantee, warranty or representation.

Artspace may make available the Artspace Auctions where sellers may offer goods for sale by auction to the highest bidder. Artspace is independent from the buyers and sellers that participate in the Artspace Auctions and no agency, partnership, joint venture, employee-employer or franchiser-franchisee or fiduciary relationship is intended or created by the operation of the Artspace Auctions. Artspace may, but is not obligated to provide intermediary services between the buyer and sellers using Artspace Auctions. Artspace reserves the right in its sole discretion and at any time including during an auction to refuse or revoke permission for sellers to offer goods or for buyers to submit bids.

All bids shall be in United States Dollars. Participating sellers and buyers may be required to register on the site, may select a username and password, and must agree to be bound by these terms. Buyers must register a valid credit card with Artspace and agree to pay a buyer’s premium to Artspace which shall be added to the successful bid price. The buyer’s premium shall be equal 15% of the successful bid price for bids on some auction items. The successful bidder shall pay the purchase price plus the buyer’s premium as the final purchase price. The agreements between the buyers and sellers shall not be governed by the U.N. Convention on Contracts for the International Sale of Goods, the application of which is expressly excluded.

Bids are submitted by clicking the “bid” button on the site; all bids are final and cannot be amended or retracted once submitted. All bids will be recorded by Artspace and such recording shall constitute the final and conclusive determination and record of each bid and the highest bid.

Sellers may set a minimum price for an auction item (“Reserve Price”). A Seller is not required to accept any bids for less than the Reserve Price. If bids are placed below the seller’s Reserve Price, the bidder will be notified that the bid is below the Reserve Price.

Artspace may, through employees, submit bids on auction items that are subject to a Reserve Price. Artspace may (1) submit the opening bid on behalf of the seller at the Reserve Price, (2) place single or successive bids on behalf of the seller in response to other bids that are below the Reserve Price. In no circumstances will Artspace place a bid that is above the Reserve Price.

Enter any bid amount as long as it is greater than or equal to the "Next Minimum Bid" (displayed below the bid field) and click on "Place Bid". This will automatically place a straight bid at the next increment and hold the bid you submitted (if higher than the "Next Minimum Bid") as your "Maximum Bid". You will receive an email confirmation of your bid and will be notified by email when you are outbid.

By placing a bid each buyer irrevocable authorizes Artspace to immediately charge Buyer’s registered credit card an amount equal to the buyer’s premium.

Please note that if the auction moves to a physical live event (the auction page will specify this and the bidder will be noticed as such by email), the highest bidder after the close of the online auction will be the opening bid at the event and will be notified within 48 hours after the event if the bid is the final winning bid or been outbid by someone at the event.

When placing a bid, enter the maximum amount you are willing to pay for the work. Entering your "Maximum Bid" does not necessarily mean you will pay that price, you may pay less. The Auction system will Proxy Bid on your behalf up to the amount of your Maximum Bid. Once you enter your Maximum Bid, your current bid displayed will be in the amount of the "Next Minimum Bid." As the auction proceeds, Artspace will compare your bid to those of other bidders. When you are outbid, the system automatically bids on your behalf according to the bidding increments established for that auction up to (but never exceeding) your maximum bid. We increase your bid by increments only as much as necessary to maintain your position as highest bidder. Your maximum bid is kept confidential until it is exceeded by another bidder. If your maximum bid is outbid, you will be notified via email so that you can place another bid.

If the auction is a benefit auction or an auction with a physical event (which will be noted on the auction page), all online bids will be transferred to that event and Artspace or the organization running the event will continue to monitor your bids in person and continue Proxy Bidding on your behalf up to your maximum bid. Winning bidders will be notified within 48 hours after the close of the auction. If you are not contacted by Artspace, you were not the highest bidder.

Upon the close of each auction Artspace shall separately confirm the highest bid to the seller and notify the buyer submitting the highest bid that the bid was successful and the amount of the buyer’s premium due to Artspace to be charged to buyer’s credit card. Artspace shall thereupon charge buyer’s credit card in the amount of the buyer’s premium.

Upon receipt of the buyer’s premium Artspace shall email both the successful buyer and seller and shall provide each with the name, address, telephone number and email address of the other; buyer and seller are thereafter solely responsible for arranging for the transmission of payment of the purchase price within 24 hours of the transmission of the Artspace email and for prompt shipment of the goods after receipt of good funds. If for any reason after Artspace’s initial confirmation of the successful bid the buyer cancels the transaction or fails to make payment to the seller, the buyer shall remain liable to Artspace for the full buyer’s premium and Artspace reserves the right to retain such buyer’s premium in addition to any other remedies it has at law or equity.

Any dispute with respect to the auction of any item shall be resolved between buyer and seller and without the participation of Artspace. Seller is solely responsible for collecting payment from the buyer. Artspace does not guaranty and is not responsible in any way for the performance of buyers or sellers participating in the auction.

Goods offered on Artspace Auctions must be tangible goods that meet the requirements of the Site. Sellers shall not offer any goods for sale or consummate any transaction initiated on Artspace Auctions that violates or could cause Artspace to violate any applicable law, statute, ordinance or regulation. Artspace shall have sole discretion as to whether a specific item meets the requirements of the Site, which determination is final.

Sellers offering goods shall post a description of the goods offered and may set a minimum reserve price, a minimum overbid amount and the termination of the auction of the goods. Sellers agree to accept the highest bid above their set reserve price and to deliver the offered goods to the buyer submitting such highest bid. Any goods offered using a seller’s registration log in information shall be deemed by Artspace and any bidding buyer as being offered or authorized by that seller. Sellers are solely responsible for the description, condition, authenticity, and quality of the goods offered. Sellers represent that they are in compliance with all applicable laws, including without limitation those regarding the transmission of technical data exported from the United States or the country in which the seller resides as well as the restrictions on import or export of goods from the seller’s country to the buyer’s country.

By posting goods on the Artspace Auctions each seller represents and warrants that he/she holds free and marketable title to the goods offered and that the sale to any buyer will be free and clear of any and all liens or encumbrances. Sellers agree that Artspace Auctions will publish images and information in English relating to the goods offered by sellers. Sellers are solely responsible for descriptions of goods and all other content provided to Artspace by seller. Each seller agrees that Artspace may reformat content submitted by sellers in order to best serve the needs and formatting of the Artspace Auctions. Sellers grant Artspace a perpetual, irrevocable, royalty-free license to use the listing information in other areas of the site in our sole discretion.

Sellers are responsible for shipment of goods to successful bidding buyers upon receipt of the purchase price. Sellers must make shipment promptly on receipt of good funds from buyers. Sellers are responsible for collecting any and all applicable taxes from the successful buyer and for remitting such taxes to the applicable taxing authority.

Buyers are responsible for determining the value, condition and authenticity of the goods. Buyers participating in the Artspace Auctions represent and warrant by placing any bid that they are ready, willing and able to pay the purchase price bid, all applicable taxes and the buyer’s premium all within 24 hours of the close of the auction if they are the successful bidder. Any bids submitted using a buyer’s registration log in information shall be deemed made or authorized by that buyer. Each buyer placing any bid represents and warrants that such bids are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state laws. Each buyer is responsible for payment of New York State and local sales tax, any applicable use tax, any federal luxury tax or any other taxes assessed on the purchase of the goods. The buyer is solely responsible for identifying and obtaining any necessary export, import, or other permit for the delivery of the goods and for determining whether the goods are subject to any export or import embargoes.

Sellers and buyers agree that Artspace is not responsible for and does not make any representations or warranties (express or implied) as to the goods offered, including without limitation as to merchantability, fitness for a particular purpose, the accuracy of the description of the goods, the physical condition, size, quality, rarity, importance, medium, provenance, whether the goods are subject to export or import restrictions or embargoes, shipment or delivery, packing or handling, the ability of the buyer to pay, the ability of the seller to collect the purchase price, or any other representation or warranty of any kind or nature. Artspace is not responsible for any errors or failures to execute bids placed online, including, without limitation, errors or failures caused by (1) loss of connection to the internet or to the online bidding software by any party, (2) a breakdown or failure of the online bidding software, or (3) a breakdown or failure of any seller’s or buyer’s internet connection or computer or (4) any errors or omissions in connection with the bidding process.

We may list open employment positions on this web site. These postings are for informational purposes only and are subject to change without notice. You should not construe any information on this Site or made available through Site as an offer for employment. Nor should you construe anything on this web site as a promotion or solicitation for employment not authorized by the laws and regulations of your locale.

In the course of your use of the Site, you may be asked to provide certain information to us. Our use of any information you provide via the Site shall be governed by our Privacy Policy available at here artspace.com/privacy. We urge you to read our Privacy Policy. You acknowledge and agree that you are solely responsible for the accuracy and content of such information.

We control and operate the Site from our offices in the United States of America, and all information is processed within the United States. We do not represent that materials on the Site are appropriate or available for use in other locations. Persons who choose to access the Site from other locations do so on their own initiative, and are responsible for compliance with local laws, if and to the extent local laws are applicable.

You agree to comply with all applicable laws, rules and regulations in connection with your use of the Site. Without limiting the generality of the foregoing, you agree to comply with all applicable laws regarding the transmission of technical data exported from the United States or the country in which you reside.

As between you and Artspace (or other company whose marks appear on the Site), Artspace (or the respective company) is the owner and/or authorized user of any trademark, registered trademark and/or service mark appearing on the Site, and is the copyright owner or licensee of the Content and/or information on the Site, unless otherwise indicated.

Except as otherwise provided herein, use of the Site does not grant you a license to any Content, features or materials you may access on the Site and you may not modify, rent, lease, loan, sell, distribute or create derivative works of such Content, features or materials, in whole or in part. Any commercial use of the Site is strictly prohibited, except as allowed herein or otherwise approved by us. You may not download or save a copy of any of the Content or screens for any purpose except as otherwise provided by Artspace. If you make use of the Site, other that as provided herein, in doing so you may violate copyright and other laws of the United States, other countries, as well as applicable state laws and may be subject to liability for such unauthorized use. We do not grant any license or other authorization to any user of our trademarks, registered trademarks, service marks, other copyrightable material or any other intellectual property by including them on the Site.

The information on the Site including, without limitation, all site design, text, graphics, interfaces, and the selection and arrangements is protected by law including copyright law.

Product names, logos, designs, titles, graphics, words or phrases may be protected under law as the trademarks, service marks or trade names of Artspace LLC, or other entities. Such trademarks, service marks and trade names may be registered in the United States and internationally.

Without our prior written permission, you agree not to display or use our trademarks, service marks, trade names, other copyrightable material or any other intellectual property in any manner.

You may be able to link to third party websites ("Linked Sites") from the Site. Linked Sites are not, however, reviewed, controlled or examined by us in any way and we are not responsible for the content, availability, advertising, products, information or use of user information or other materials of any such Linked Sites, or any additional links contained therein. These links do not imply our endorsement of or association with the Linked Sites. It is your sole responsibility to comply with the appropriate terms of service of the Linked Sites as well as with any other obligation under copyright, secrecy, defamation, decency, privacy, security and export laws related to the use of such Linked Sites and any content contained thereon. In no event shall we be liable, directly or indirectly, to anyone for any loss or damage arising from or occasioned by the creation or use of the Linked Sites or the information or material accessed through these Linked Sites. You should direct any concerns to that site's administrator or Webmaster. We reserve the exclusive right, at its sole discretion, to add, change, decline or remove, without notice, any feature or link to any of the Linked Sites from the Site and/or introduce different features or links to different users.

Permission must be granted by us for any type of link to the Site. To seek our permission, you may write to us at the address below. We reserve the right, however, to deny any request or rescind any permission granted by us to link through such other type of link, and to require termination of any such link to the Site, at our discretion at any time.

You agree to defend, indemnify and hold Artspace LLC, its directors, officers, employees, agents, vendors, partners, contractors, galleries, artists, institutions, distributers, representatives and affiliates harmless from any and all claims, liabilities, damages, costs and expenses, including reasonable attorneys' fees, in any way arising from, related to or in connection with your use of the Site, your violation of any law, your violation of the Terms or the posting or transmission of any User Content, or materials on or through the Site by you, including, but not limited to, any third party claim that any information or materials you provide infringes any third party proprietary right. You agree to cooperate as fully as reasonably required in the defense of any claim. Your indemnification obligation will survive the termination of these Terms and your use of the Site.

YOU UNDERSTAND AND AGREE THAT:

THE SITE, INCLUDING, WITHOUT LIMITATION, ALL CONTENT, FUNCTION, MATERIALS AND SERVICES IS PROVIDED ON AN "AS IS," AND "AS AVAILABLE" BASIS, WITHOUT REPRESENTATIONS OR WARRANTIES OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION: (I) ANY WARRANTY FOR INFORMATION, DATA, DATA PROCESSING SERVICES OR UNINTERRUPTED ACCESS; (II) ANY WARRANTIES CONCERNING THE AVAILABILITY, ACCURACY, COMPLETENESS, USEFULNESS, OR CONTENT OF INFORMATION; (III) ANY WARRANTIES OF TITLE, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE; OR (IV) ANY REPRESENTATION OR WARRANTY REGARDING THE CHARACTER, REPUTATION OR BUSINESS PRACTICES OF THE SELLER. Artspace DOES NOT WARRANT THAT THE SITE OR THE FUNCTION, CONTENT OR SERVICES MADE AVAILABLE THEREBY WILL BE TIMELY, SECURE, UNINTERRUPTED OR ERROR FREE, OR THAT DEFECTS WILL BE CORRECTED. Artspace MAKES NO WARRANTY THAT THE SITE WILL MEET USERS' EXPECTATIONS OR REQUIREMENTS. NO ADVICE, RESULTS OR INFORMATION, OR MATERIALS WHETHER ORAL OR WRITTEN, OBTAINED BY YOU THROUGH THE SITE SHALL CREATE ANY WARRANTY NOT EXPRESSLY MADE HEREIN. IF YOU ARE DISSATISFIED WITH THE SITE, YOUR SOLE REMEDY IS TO DISCONTINUE USING THE SITE.

ANY BUYER MUST DIRECT ALL CLAIMS REGARDING ANY ITEM TO THE SELLER AND MUST RESOLVE ANY DISPUTE REGARDING ANY ITEM DIRECTLY WITH THE SELLER.

Artspace DOES NOT ENDORSE, WARRANT OR GUARANTEE ANY PRODUCTS OR SERVICES OFFERED OR PROVIDED BY OR ON BEHALF OF SELLERS ON OR THROUGH THE SITE. Artspace IS NOT A PARTY TO ANY TRANSACTION BETWEEN BUYERS AND SELLERS (UNLESS SPECIFICALLY REQUESTED AND NOTIFIED TO THE PARTIES IN WRITING).

ANY MATERIAL DOWNLOADED OR OTHERWISE OBTAINED THROUGH THE USE OF THE SITE IS DONE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGE THAT RESULTS FROM THE DOWNLOAD OF ANY SUCH MATERIAL.

Artspace DOES NOT ENDORSE, WARRANT OR GUARANTEE ANY PRODUCTS OR SERVICES OFFERED OR PROVIDED BY OR ON BEHALF OF THIRD PARTIES ON OR THROUGH THE SITE. Artspace IS NOT A PARTY TO, AND DOES NOT MONITOR, ANY TRANSACTION BETWEEN USERS AND THIRD PARTIES WITHOUT THE DIRECT INVOLVEMENT OF COMPANY.

YOU EXPRESSLY AGREE TO RELEASE Artspace, LLC., ITS AFFILIATES, OR ANY OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, PARTNERS, SUBSIDIARIES, DIVISIONS, SUCCESSORS, SUPPLIERS, DISTRIBUTORS, VENDORS, CONTRACTORS, AND REPRESENTATIVES (THE “RELEASED PARTIES”), AND EACH OF THE FOREGOING, FROM ANY AND ALL MANNER OF ACTION, CLAIM OR CAUSE OF ACTION OR SUIT, AT LAW OR IN EQUITY, AND FROM ANY AND ALL LOSSES, DAMAGES, COSTS OR EXPENSES, INCLUDING WITHOUT LIMITATION COURT COSTS AND ATTORNEYS’ FEES, WHICH YOU MAY HAVE AGAINST THE RELEASED PARTIES, OR ANY OF THEM, KNOWN OR UNKNOWN, DISCLOSED OR UNDISCLOSED, WHICH ARISE OUT OF OR RELATE IN ANY WAY TO A DISPUTE. YOU FURTHER WAIVE ANY APPLICABLE RIGHTS UNDER SECTION 1542 OF THE CALIFORNIA CIVIL CODE, AND ANY SIMILAR LAW OF ANY APPLICABLE JURISDICTION, WHICH STATES: "A GENERAL RELEASE DOES NOT EXTEND TO CLAIMS WHICH THE CREDITOR DOES NOT KNOW OR SUSPECT TO EXIST IN HIS FAVOR AT THE TIME OF EXECUTING THE RELEASE, WHICH IF KNOWN BY HIM MUST HAVE MATERIALLY AFFECTED HIS SETTLEMENT WITH THE DEBTOR."

IN NO EVENT SHALL Artspace, ITS AFFILIATES OR ANY OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, PARTNERS, SUBSIDIARIES, DIVISIONS, SUCCESSORS, SUPPLIERS, DISTRIBUTORS, AFFILIATES VENDORS, CONTRACTORS, GALLERIES, ARTISTS, INSTITUTIONS, REPRESENTATIVES OR CONTENT OR SERVICE PROVIDERS BE LIABLE FOR ANY INDIRECT, SPECIAL, INCIDENTAL, CONSEQUENTIAL, EXEMPLARY OR PUNITIVE DAMAGES ARISING FROM OR DIRECTLY OR INDIRECTLY RELATED TO THE USE OF, OR THE INABILITY TO USE, THE SITE OR THE CONTENT, MATERIALS AND FUNCTION RELATED THERETO, INCLUDING, WITHOUT LIMITATION, LOSS OF REVENUE, OR ANTICIPATED PROFITS, OR LOST BUSINESS, DATA OR SALES, OR COST OF SUBSTITUTE SERVICES, EVEN IF COMPANY OR ITS REPRESENTATIVE OR SUCH INDIVIDUAL HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY SO SOME OF THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU. IN NO EVENT SHALL THE TOTAL LIABILITY OF Artspace TO YOU FOR ALL DAMAGES, LOSSES, AND CAUSES OF ACTION (WHETHER IN CONTRACT OR TORT, INCLUDING, BUT NOT LIMITED TO, NEGLIGENCE OR OTHERWISE) ARISING FROM THE TERMS OR YOUR USE OF THE SITE EXCEED, IN THE AGGREGATE, $100.00. WITHOUT LIMITING THE FOREGOING, IN NO EVENT SHALL Artspace OR ITS RESPECTIVE OFFICERS DIRECTORS, EMPLOYEES, AGENTS, SUCCESSORS, SUBSIDIARIES, DIVISIONS, DISTRIBUTORS, SUPPLIERS, AFFILIATES OR THIRD PARTIES PROVIDING INFORMATION ON THIS SITE HAVE ANY LIABILITY FOR ANY DAMAGES OR LOSSES ARISING OUT OF OR OTHERWISE INCURRED IN CONNECTION WITH THE LOSS OF ANY DATA OR INFORMATION CONTAINED IN YOUR ACCOUNT OR OTHERWISE STORED BY OR ON BEHALF Artspace.

You hereby acknowledge that the preceding paragraph shall apply to all content, merchandise and services available through the Site.

You agree that the laws of the state of New York, excluding its conflicts-of-law rules, shall govern these Terms. Please note that your use of the Site may be subject to other local, state, national, and international laws. You expressly agree that exclusive jurisdiction for resolving any claim or dispute with Artspace relating in any way to your use of the Site resides in the state and federal courts of New York County, New York, and you further agree and expressly consent to the exercise of personal jurisdiction in the state and federal courts of New York County. In addition, you expressly waive any right to a jury trial in any legal proceeding against Artspace its parent, subsidiaries, divisions, or affiliates or their respective officers, directors, employees, agents, or successors under or related to these Terms. Any claim or cause of action you have with respect to use of the Site must be commenced within one (1) year after the claim arises.

By providing any personal information to the Site, all users, including without limitation users in the European Union, fully understand and unambiguously consent to the collection and processing of such information in the United States.

Any inquiries concerning these Terms should be directed to us at the address below.

The items purchased from our Site are shipped by a third-party carrier pursuant to a shipment contract. As a result, risk of loss and title for such items may pass to you upon our delivery to the carrier.

Artspace and its partners strive for complete accuracy in description and pricing of the products on the Site. However, due to the nature of the internet, occasional glitches, service interruptions or mistakes may cause inaccuracies to appear on the Site. Artspace has the right to void any purchases that display an inaccurate price. If the displayed price is higher than the actual price, you may be refunded the overcharge. If the displayed price is less than the actual price, Artspace will void the purchase and attempt to contact you via either phone or email to inquire if you would like the item for the correct price.

You acknowledge that temporary interruptions in the availability of the Site may occur from time to time as normal events. Also, we may decide to cease making available the Site or any portion of the Site at any time and for any reason. Under no circumstances will Artspace or its suppliers be held liable for any damages due to such interruptions or lack of availability.

Notices to you may be made via either email or regular mail. The Site may also provide notices of changes to the Terms or other matters by displaying notices or links to notices to you on the Site.

In the event of a dispute regarding the identity of the person submitting the entry, the entry will be deemed to be submitted by the person in whose name the e-mail account is registered. All drawings will be conducted under the supervision of Sponsor. The decisions of the Sponsors are final and binding in all matters relating to this contest. Sponsors reserve the right, at its sole discretion, to disqualify any individual it finds, in its sole discretion, to be tampering with the entry process or the operation of the Contest or the Website located at www.artspace.com; to be in violation of the Terms of Service of the Website; to be acting in violation of these Official Rules; to be acting in a disruptive manner, or with intent to annoy, abuse, threaten or harass any other person. If for any reason this Contest is not capable of running as planned due to infection by computer virus, bugs, tampering, unauthorized intervention, fraud, technical failures, or any other causes which, in the sole opinion of Sponsor, corrupt or affect the administration, security, fairness, integrity, or proper conduct of this Contests, Sponsor reserve the right to cancel, terminate, modify or suspend the Contest.

SPONSOR DOES NOT ASSUME RESPONSIBILITY FOR ANY ERROR, OMISSION, INTERRUPTION, DELETION, DEFECT, DELAY IN OPERATION OR TRANSMISSION, COMMUNICATIONS LINE FAILURE, THEFT OR DESTRUCTION OR UNAUTHORIZED ACCESS TO ITS WEBSITES. SPONSOR IS NOT RESPONSIBLE FOR ANY PROBLEMS OR TECHNICAL MALFUNCTION OF ANY TELEPHONE NETWORK OR TELEPHONE LINES, COMPUTER ON-LINE SYSTEMS, SERVERS, COMPUTER EQUIPMENT, SOFTWARE, FAILURE OF ANY E-MAIL OR ENTRY TO BE RECEIVED BY SPONSOR ON ACCOUNT OF TECHNICAL PROBLEMS, HUMAN ERROR OR TRAFFIC CONGESTION ON THE INTERNET OR AT ANY WEBSITE, OR ANY COMBINATION THEREOF. SPONSOR IS NOT RESPONSIBLE FOR ANY INCORRECT OR INACCURATE CAPTURE OF INFORMATION OR THE FAILURE TO CAPTURE SUCH INFORMATION, WHETHER CAUSED BY WEBSITE USERS, TAMPERING OR HACKING, OR BY ANY OF THE EQUIPMENT OR PROGRAMMING ASSOCIATED WITH OR UTILIZED IN THE CONTEST. SPONSOR IS NOT RESPONSIBLE FOR INJURY OR DAMAGE TO PARTICIPANTS’ OR TO ANY OTHER PERSON’S COMPUTER RELATED TO OR RESULTING FROM PARTICIPATING IN THIS CONTEST OR FROM OR USE OF THE WEBSITE. IN NO EVENT WILL SPONSOR, OR THEIR PARENT COMPANIES, DISTRIBUTORS, AFFILIATES, SUBSIDIARIES, OFFICERS, VENDORS, AND AGENCIES, EACH OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, REPRESENTATIVES AND AGENTS, BE RESPONSIBLE OR LIABLE FOR ANY DAMAGES OR LOSSES OF ANY KIND, INCLUDING DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES ARISING OUT OF YOUR PARTICIPATION IN THIS CONTEST, ACCESS TO AND USE OF THE WEBSITE OR THE DOWNLOADING FROM AND/OR PRINTING MATERIAL DOWNLOADED FROM THE WEBSITE. WITHOUT LIMITING THE FOREGOING, EVERYTHING ON THE WEBSITE AND IN THIS CONTEST IS PROVIDED “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT. SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATIONS OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES OR EXCLUSION OF IMPLIED WARRANTIES SO SOME OF THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. CHECK YOUR LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York. In the event of a dispute as to the identity of the winner based on an e-mail address, the winning entry will be declared made by the authorized account holder of the e-mail address submitted at time of entry. “Authorized account holder is defined as the natural person who is assigned to an e-mail address by an Internet access provider, on-line service provider or other organization (e.g., business, educational, institution, etc.) that is responsible for assigning e-mail addresses for the domain associated with the submitted e-mail address

To contact us with any questions or concerns in connection with this Agreement or the Site, or to provide any notice under this Agreement to us please go to Contact Us or write to us at:

Artspace LLC 65 Bleecker St. 8th Floor New York, NY, 10012 Email: service@artspace.com Fax: 646-365-3350

The Terms constitute the entire agreement between you and Artspace and govern your use of the Site, superseding any prior agreements between you and Artspace. You also may be subject to additional terms and conditions that are applicable to certain parts of the Site.

You agree that no joint venture, partnership, employment, or agency relationship exists between Artspace and you as a result of this Agreement or your use of the Site.

Any claim or cause of action you may have with respect to Artspace or the Site must be commenced within one (1) year after the claim or cause of action arose.

Our failure to exercise or enforce any right or provision of the Terms shall not constitute a waiver of such right or provision. If any provision of the Terms is found by a court of competent jurisdiction to be invalid, the parties nevertheless agree that the court should endeavor to give effect to the parties' intentions as reflected in the provision, and the other provisions of the Terms remain in full force and effect.

You may not assign the Terms or any of your rights or obligations under the Terms without our express written consent.

The Terms inure to the benefit of Artspace's successors, assigns and licensees. The section titles in the Terms are for convenience only and have no legal or contractual effect.

© Copyright 2021 by Artspace LLC All rights reserved.

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How Masterpieces Get Sold: Behind 10 Contemporary Art Icons That Went Under the Hammer at Christie’s

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For first-time buyers and avid collectors alike, a personal Artspace Art Advisor can assist you in learning about, discovering and falling in love with an artwork.

Collector Services will contact you within two business days.

To place a bid, enter the maximum amount you are willing to pay for the work. Artspace will accept a bid at the next increment, and save any excess amount as a maximum bid. If you are outbid, we will continue bid on your behalf up to your maximum bid.

Bidding increments increase at the following intervals:

You will receive an email confirmation of your bid and when you are outbid.

If you are the winning bidder, you will be contacted 48 hours after of the close of the auction.

Every bid submitted is treated as a maximum bid. You should always bid the maximum you are willing to spend for a work, though this does not necessarily mean you will pay that price. As the auction unfolds, we will increase your bid by increments to ensure you remain the highest bidder. If the winning amount is less than your maximum bid, you will pay the current increment. If your maximum bid no longer exceeds the current bid, you will receive an outbid notification email, and have the option to bid again.

In the case of multiple bidders placing the same maximum bid, the first person to place the maximum amount takes precedence as the highest bid until another bidder exceeds the maximum amount.

For Artspace Auctions winning bidders are charged a 15% Buyer's Premium on top of the hammer price. For Artspace Benefit Auctions, Buyer's Premiums are not applied. If they are, this will be clearly noted. Purchases made from all auctions, including benefit auctions, are subject to sales tax.

Winning bidders will be contacted within 48 hours to arrange shipping and to provide final price including commission, shipping, and taxes and duties when applicable. Promotion codes cannot be applied to auction works.

In order to secure a bid, please enter your credit card details below. We will not charge your card but only use it to validate your bid. We only need to validate your card once. You will be notified that you are the winning bidder before your card is charged, and you will have the option to change your payment method at that time.

All our frames are manufactured in the USA, using eco-friendly & sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

For images up to 30" x 40"

For sheet sizes larger than 30” x 40”