2025 LIVE AUCTION

Join SFMOMA for Art Bash on Wednesday, April 23, 2025, for an unforgettable night at the museum, including a live auction led by Sotheby’s auctioneer Phyllis Kao. The Art Bash auction will feature works by Amy Sherald, Ruth Asawa, Charles Gaines, Christina Quarles, and Nicolas Party, plus a Ruth Asawa: Restrospective gallery experience at SFMOMA. Proceeds fund the museum’s community engagement and education programs.

Works will be on view at SFMOMA by appointment April 14–18, 2025. If you are interested in viewing the works or bidding, live or by phone, please contact Philanthropy Program Manager Alex Higgins at ahiggins@sfmoma.org,

Lot No. 1

Ruth Asawa

Untitled (TAM.1487, Black), 1965

Lithograph on paper
Edition: 12/20
50.8 x 67.31 cm / 20 x 26 1/2 inches
Outer framed dimensions: 30 1/2 x 24 x 1 1/2 inches

FMV: $15,000

Starting Bid: $7,500

The Tamarind Lithography Workshop, established in 1960 in Los Angeles, vastly expanded the possibilities of fine art lithography in the US. At the suggestion of her former teacher Josef Albers, Asawa was invited to serve as artist-in-residence in September through October 1965. When the second artist slated for the same term never arrived, Asawa had the full attention of all seven master printers, affording her the opportunity to explore a wide array of lithographic techniques for an ambitious group of single-color and multi-color prints. Over two months, Asawa made a remarkable 54 unique prints, including the two works on auction, featuring familiar subjects including family members, flowers, plane trees, and chairs, as well as abstractions.

American artist, educator, and arts advocate Ruth Asawa (1926–2013) is known for her extensive body of wire sculptures that challenge conventional notions of material and form through their emphasis on lightness and transparency. Born in rural California, Asawa first studied under professional artists while her family was displaced to incarceration camps in 1942, along with many other people of Japanese descent, in the wake of Executive Order 9066. After the end of World War II, she enrolled in Black Mountain College in North Carolina, then known for its progressive pedagogical methods and avant-garde aesthetic environment. Asawa’s time at Black Mountain proved formative in her development as an artist, and she was particularly influenced by her teachers Josef Albers, Buckminster Fuller, and the mathematician Max Dehn. She also met architectural student Albert Lanier, whom she would marry in 1949 and with whom she would raise a large family and build a career in San Francisco. Asawa continued to produce art steadily over the course of more than a half century, creating a cohesive body of sculptures and works on paper that, in their innovative use of material and form, deftly synthesizes a wide range of aesthetic preoccupations at the heart of postwar art in America.

Lot No. 2

Nicolas Party

Landscape, 2025

Soft pastel on linen
Artwork: 75 x 70 cm / 29 1/2 x 27 1/2 inches
Outer framed dimensions: 31 7/8 x 30 x 3 1/4 inches

FMV: $320,000 USD

Starting Bid: $225,000

Born in Lausanne in 1980, Nicolas Party is a figurative painter who has achieved critical admiration for his familiar yet unsettling landscapes, portraits, and still lifes that simultaneously celebrate and challenge conventions of representational painting. His works are primarily created in soft pastel, an idiosyncratic choice of medium in the 21st century, and one that allows for exceptional degrees of intensity and fluidity in his depictions of objects both natural and manmade. Transforming these objects into abstracted, biomorphic shapes, Party suggests deeper connections and meanings. His unique visual language has coalesced in a universe of fantastical characters and motifs where perspective is heightened and skewed to uncanny effect. Based in New York, Party studied at the Lausanne School of Art in Switzerland before receiving his MFA from Glasgow School of Art in Scotland.

Photo: Adam Reich, courtesy the artist and Hauser & Wirth

Lot No. 3

Charles Gaines

Numbers and Trees: Palm Canyon, Palm Trees Series 4, 2021

Color aquatint and spitbite aquatint with printed acrylic box, 4 parts
AP5, Ed. of 35 + 12 AP
Each: 158.8 x 88.9 x 8.9 cm / 62 1/2 x 35 x 3 1/2 in

FMV: $250,000

Starting Bid: $150,000

By converting the forms of trees into a gridded geometry in his signature Plexiglas works, Charles Gaines has devised a distinctive process for charting and comparing differences. This approach invites viewers into the gap between what things appear to be and what they mean, while also challenging the dominance of subjectivity in artistic expression. Each individual palm tree in the set of four is named for the Tataviam, Kitanemuk, Chumash, and Acjachemen indigenous peoples who inhabited Southern California, including the Palm Canyon area where the trees were photographed, for up to 13,000 years.

A pivotal figure in the field of conceptual art, Charles Gaines engages formulas and systems in a body of work that interrogates relationships between the objective and the subjective realms. He lives and works in Los Angeles, where he was on the faculty at CalArts for over 30 years.

Artwork donation courtesy the artist and Hauser & Wirth.

Artworks © Charles Gaines; photo: Fredrick Nilsen, courtesy the artist and Hauser & Wirth

Lot No. 4

Ruth Asawa

Untitled (TAM.1487-II, Blue and Purple), 1965

Blue and purple ink on paper
50.8 x 66.99 cm / 20 x 26 3/8 inches
Outer framed dimensions: 30 1/2 x 24 x 1 1/2 inches

FMV: $15,000

Lot No. 5

Christina Quarles

Yew Don’t Wanna Pick From My Apple Tree, 2021

Acrylic on canvas
Artwork: 139.7 x 218.4 x 5.1 cm / 55 x 86 x 2 inches

FMV: $725,000 USD

Starting Bid: $325,000

Christina Quarles (b. 1985) is a Los Angeles–based artist whose practice works to dismantle and question assumptions and ingrained beliefs surrounding identity and the human figure. Born in Chicago and raised by her mother in Los Angeles, Quarles took art classes from an early age. She developed a solid foundation for a lifelong drawing practice through after-school programs and figure drawing classes at the Los Angeles County High School for the Arts.

In 2007, Quarles graduated from Hampshire College with dual BA degrees in Philosophy and Studio Art, then trained and worked in the field of graphic design. As her immersion in drawing progressed, she became well-versed in and heavily influenced by the imagery and painterly processes of art historical masters David Hockney and Philip Guston, among others. Seeking a vehicle for expressing feelings and experiences language alone cannot capture, Quarles went on to attend Yale University, where she received her MFA in 2016.

Photo: Don Ross

Lot No. 6

Amy Sherald

For Love, and for Country, 2024

70-color screenprint on Lana Aquarelle HP 640gsm
Edition: 4/20 + 5 AP
Image: 158.8 x 116.8 cm / 62 1/2 x 46 inches
Paper: 168.9 x 127 cm / 66 1/2 x 50 inches
Outer framed dimensions: 176.5 x 138.7 x 7 cm / 69 1/2 x 54 5/8 x 2 3/4 inches

FMV: $85,000 USD

Starting Bid: $35,000

Born in Columbus, Georgia, and now based in the New York City area, Amy Sherald documents contemporary African American experience in the United States through arresting, intimate portraits. Sherald engages with the history of photography and portraiture, inviting viewers to participate in a more complex debate about accepted notions of race and representation, and to situate Black life in American art. Sherald received her MFA in painting from Maryland Institute College of Art and her BA in painting from Clark-Atlanta University. She was the first woman and first African American to receive the grand prize in the Outwin Boochever Portrait Competition from the National Portrait Gallery in Washington, DC. In 2018, Sherald was selected by First Lady Michelle Obama to paint her official portrait for the National Portrait Gallery. Her work is held in esteemed public collections across the United States.

Photo: courtesy the artist and Hauser & Wirth

Lot No. 7

Ruth Asawa: Retrospective Gallery Experience at SFMOMA

Experience an intimate visit and catered dinner in celebration of Ruth Asawa: Retrospective at SFMOMA for you and your guests, joined by Janet Bishop, Thomas Weisel Family Chief Curator and co-curator of the exhibition, and Christopher Bedford, Helen and Charles Schwab Director.

Experience details:

An after-hours private guided tour led by Janet Bishop, co-curator of Ruth Asawa: Retrospective.
Artisan cocktails on the garden terrace inspired by Asawa’s own garden, built by Habitat Horticulture.
A seated dinner with a meal crafted by a local celebrity chef adjacent to the galleries.
Dinner may include up to ten (10) guests, along with Janet Bishop and Christopher Bedford.
Experience will take place between June 1 and August 31, 2025, from 6–9 p.m.
SFMOMA will provide a preferred list of celebrated chefs to partner with for the dinner experience.
The hammer price covers all associated costs of the experience (after-hours SFMOMA staffing, catering, cocktail service, and florals).

Starting Bid: $150,000

On April 2, 2025, Ruth Asawa: Retrospective, curated by Janet Bishop and Cara Manes, opened to resounding critical acclaim. It will next travel to The Museum of Modern Art, New York; Guggenheim Bilbao, Spain; and Fondation Beyeler, Riehen/Basel, Switzerland, through January 2027. It is the first international institutional and posthumous retrospective of the artist’s work.

The SFMOMA presentation of Ruth Asawa: Retrospective is unique in its recreation of the Asawa family home studio and garden, which we invite you to join us in celebrating through this bespoke dinner party in support of the museum.

Photo: Drew Alitzer

OFFICIAL AUCTION PARTNER

Sotheby’s participation in the auction is by providing a volunteer auctioneer. Sotheby’s shall not be responsible for the suitability, functionality, or authenticity of any lots and/or property. Sotheby’s holds no responsibility for the management or organization of the auction and will not receive any sale proceeds from the auction.

Conditions of Sale — Art Bash 2025 Auction

Conditions of Sale – Art Bash 2025 Auction

These conditions of sale (“Conditions of Sale”) govern the sale of each lot described in the Catalogue (collectively the “Lots” and each, a “Lot”) to be offered by the San Francisco Museum of Modern Art (“SFMOMA”) for sale at the Art Bash 2025 Auction being held on April 23, 2025 (the “Auction”). Each Lot to be sold at the Auction has been donated to SFMOMA for resale for fundraising purposes. By bidding at the Auction, you agree to be bound by these Conditions of Sale. Questions may be addressed to Alex Higgins, Philanthropy Program Manager, by email, ahiggins@sfmoma.org.

1) No Warranty. Prospective bidders are responsible for making themselves aware of the condition of the Lots, and they are encouraged to examine the Lots that will be on view on the night of the Auction. Each Lot is sold “as-is and with all faults.” SFMOMA has not undertaken any independent research as to the authenticity or provenance of any work of art sold at the Auction. SFMOMA makes no representations or warranties of any kind or nature, express or implied, with respect to any Lot sold at the Auction, and in no event shall it assume any risk, be responsible or liable for the correctness of any such Lot, nor be deemed to have made any representation or warranty, express or implied, of quality, performance, merchantability, fitness for a particular use or purpose, description, genuineness, authenticity, attribution, identity, medium, or condition of any such Lot. No statement made at the Auction or in any bill of sale or invoice or elsewhere shall be deemed a representation or warranty, express or implied, as to whether the Purchaser (defined below) acquires any copyright or reproduction rights in any Lot.

2) Limited Liability. If SFMOMA, or any third party involved in providing any accommodation, goods, or services related to any Lot, is prevented by a “force majeure” occurrence or other occurrence beyond SFMOMA’s or such third party’s control, or any other reason whatsoever (including, but not limited to, war, public emergency or calamity, strike, labor disturbance, fire, interruption of transportation service, casualty, physical disability, illness, earthquake, flood, pandemic, epidemic, act of God, other disturbance, or any governmental restriction) that prevents SFMOMA or such third party from delivering or providing any Lot to the Purchaser or a sale otherwise cannot be completed, or SFMOMA or any such third party cannot otherwise fulfill its obligations under these Conditions of Sale on time or at all, SFMOMA’s and such third party’s obligations may be deferred or waived. In any such case, such third party shall have no liability to Purchaser and SFMOMA’s liability shall be limited to the sum actually paid to SFMOMA for the Lot by the Purchaser and shall in no event include any compensatory, incidental, punitive, or consequential damages. In regard to any Lot in which any third party is providing any goods or services (e.g., hotels and other accommodations, air and ground transportation, apprenticeships, performances, special conditions required by artists, etc.), the Purchaser must comply with all terms and conditions and policies and procedures and provide all waivers, releases, consents, and similar undertakings, as required by any such third-party provider.

3) Right of Withdrawal/Addition; Reserves. SFMOMA may withdraw, in its sole discretion, any Lot from the Auction without liability at any time before the final sale of such Lot. SFMOMA may add, in its sole discretion, additional Lots to the Auction. One or more Lots may be subject to a reserve. SFMOMA may add duplicates of any Lot at any time, including during the Auction, and SFMOMA may offer that duplicate to bidders at a price that may be equal to or lower than the price to be paid by the highest bidder for the initial Lot offered.

4) Final Authority. SFMOMA reserves the right to reject a bid from any bidder. In the event of any dispute between bidders, SFMOMA shall have sole and final discretion either to determine the successful bid or re-offer the Lot in dispute. If any dispute arises after the sale, SFMOMA’s sale records shall be conclusive in all respects. ALL SALES ARE FINAL.

5) Payment. Immediately after the Auction, SFMOMA will contact all Purchasers to make arrangements for payment, which must be made by cash, check, or wire transfer. Payment via credit card is not accepted due to processing fees. Checks must be payable to “San Francisco Museum of Modern Art.” All payments must be in U.S. dollars and drawn on a U.S. bank. Processing information for wire transfers will be supplied upon request. SFMOMA will not accept any payments from private foundations and/or donor advised funds (in part or in full).

6) Purchase and Taxes. At the close of bidding for each Lot, the highest bidder accepted by the auctioneer (the “Purchaser”) shall be deemed to have purchased such Lot and to have entered into a contract for sale with respect to such Lot subject to all of the conditions set forth herein, and thereupon shall (i) assume full risk and responsibility for such purchased Lot, (ii) sign a confirmation of purchase thereof, and (iii) pay the full purchase price, together with sales tax, if applicable, before the Lot shall be released or redeemed.

(a) Sales taxes will be collected on all Lots where required. Lots will not be released until all sales taxes (if applicable) have been paid. Sales tax will be calculated on the full amount of the successful Auction bid. Deliveries outside of California may be subject to the tax of another state and, where a duty of collection is imposed by law, SFMOMA will require payment of all such taxes.

(b) Until payment has been received in full from the Purchaser, the following will not occur: title to property (Lots 1, 2, 3, 4, 5 and 6) will not transfer and experiences (Lot 7) will not be redeemed.

(c) If the Purchaser fails to make payment for, take possession of, or pay any costs for which the Purchaser is responsible in relation to a purchased Lot, SFMOMA, at its option, in addition to any other remedies available to SFMOMA, including without limitation the right to hold the Purchaser liable for the bid price and incidental damages, may cancel the sale, retain all payments made by the Purchaser, and reoffer and resell the Lot publicly or privately, at SFMOMA’s discretion. Purchaser shall be liable for payment of any deficiency between the final bid and later resale price, and any incidental damages.

7) Pick-Up/Delivery of Property and Redemption of Experience.

(a) Property Lots. Without limiting SFMOMA’s right to not deliver any Lot until all conditions set forth above have been fulfilled, Purchaser of Lots 1, 2, 3, 4, 5 and 6 must arrange for their respective Lots to be picked up and/or delivered within sixty (60) days of the Auction. Purchaser is solely responsible for the packing, shipping, insurance, and other direct out-of-pocket costs for delivery of such Lots, which costs are separate from and in addition to the purchase price. Purchaser may choose to arrange shipping through UOVO or make arrangements through Purchaser’s own carrier. Please contact Ellen Brancart at ebrancart@sfmoma.org to make such arrangements. SFMOMA shall bear the risk of loss of or damage to the Lot until the Lot is picked up by the Purchaser’s chosen shipper for delivery to the Purchaser. Upon pick up by the Purchaser’s chosen shipper, the risk of loss or damage to the Lot shall transfer to the Purchaser.

(b) Third Party Carriers or Packers. SFMOMA shall not be liable for the acts or omissions of third-party storage companies, carriers, or packers of the Lots, whether engaged by SFMOMA or by any Purchaser.

(c) Redemption of Lot 7. Purchaser shall be responsible for contacting SFMOMA in order to make arrangements, as applicable, for redemption of the Lot. All costs and arrangements for redemption of purchased Lots are the responsibility of the Purchaser. Travel expenses, including but not limited to airfare and accommodations, are not included.

8) Release and Indemnity. Each Purchaser of a Lot hereby acknowledges that such Purchaser is liable for and releases SFMOMA and its successor and affiliated entities and each of their respective trustees, directors, officers, members, agents, and employees (collectively, the “SFMOMA Indemnitees”) and the applicable Lot’s donor(s) from all losses, injuries, claims, costs, and damages, whether to persons or property (collectively, “Losses”), arising from or in connection with each such Purchaser’s use and enjoyment of Purchaser’s Lot, including without limitation all Losses arising from or in connection with traveling in connection with the Lot, and that each such Purchaser will defend and hold the SFMOMA Indemnitees and the applicable Lot’s donor(s) harmless from and against any and all such Losses.

Sotheby’s participation in the Auction is by providing a volunteer auctioneer. Sotheby’s shall not be responsible for the suitability, functionality, or authenticity of any Lots and/or property. Sotheby’s holds no responsibility for the management or organization of the Auction and will not receive any sale proceeds from the Auction.

9) Failure to Take Possession or to Redeem a Lot. If a Purchaser of a Lot who has paid in full has neither claimed nor made arrangements with SFMOMA for delivery or redemption of such Lot within the times set forth in the Catalogue and in these Conditions of Sale, the Purchaser will forfeit the purchase price and right to own or redeem such Lot, in consideration of SFMOMA’s storage, handling, and safeguarding of the Lot. SFMOMA may then dispose of such Lot in any manner of its choosing.

10) Fair Market Value/Tax Consequences. Purchaser may be entitled to a tax deduction in connection with the purchase of a Lot, but only to the extent that the Auction price exceeds the fair market value of the Lot being acquired. SFMOMA will provide a receipt to the Purchaser with SFMOMA’s good faith estimate of the fair market value of the Lot. However, SFMOMA makes no representations or warranties with respect to the tax consequences of the purchase of any Lot at Auction. Bidders and purchasers are advised to consult with their accountants or legal or tax advisors regarding any such tax consequences and any other tax questions.

11) Documentation and Disclosure. If the Purchaser purchases a Lot that is an artwork, Purchaser acknowledges and agrees that SFMOMA may provide documentation to the artist who created the Lot or such artist’s heirs or representatives, if requested to do so, including Purchaser’s name, contact information, and the purchase price.

12) Choice of Law; Venue and Jurisdiction. These Conditions of Sale, as well as the Purchaser’s and SFMOMA’s respective rights and obligations hereunder, shall be governed by, and construed and enforced in accordance with, the laws of the State of California without regard to principles of conflicts of laws. By bidding at the Auction (whether in person, by agent, or by other means), Purchaser shall be deemed to have consented to the exclusive jurisdiction of the courts of the County of San Francisco, California. Any case, controversy, suit, action, or proceeding arising out of, related to, or in connection with (a) a bid, by telephone, in writing, or any other means, (b) the Auction, or (c) these Conditions of Sale shall be brought in any federal or state court located in San Francisco County, California, and the Purchaser hereby waives any objections that the Purchaser may have to personal jurisdiction in these courts.