Contemporary Day Auction

Yayoi Kusama b. 1929 Butterflies signed and dated 2001 (on the reverse) stuffed sewn synthetic fabric, feathers and iron mirror 27 ½ by 21 ½ by 8 ¼ in. 69.9 by 54.6 by 21 cm. Executed in 2001.

butterflies

Every Day I Pray For Loveacrylic on canvassigned YAYOI KUSAMA, titled EVERY-DAY I PRAY-FOR LOVE, and dated 2022 on the reverse80.3 by 65.2 cm. 31 5/8 by 25 5/8 in.90.4 by 75.6 cm. 35 5/8 by 29 3/4 in. (framed)Executed in 2022

Every Day I Pray For Love

Monkeysigned and dated 1980collage with acrylic, pastel, ink and felt pen on papercm 65,8x51,2

Monkey

A dizzying poster of Kusama's iconic polka-dotted soft sculptures, advertising the opening of the 1965 installation at the Castellane Gallery of her first ever mirror room, hand-addressed by Kusama in 1965 to the Museum of Modern Art.<ul><li>Produced by Castellane Gallery in 1965.</li><li>Hand-addressed by the artist to the Museum of Modern Art on verso, with 1965 Grand Central Station postmark.</li><li>This work is presented unframed.</li></ul> Kusama's exhibition, titled in full "Infinity Mirror Room —Phalli's Field (Floor Show)," was documented in a series of photographs of the artist reclining on her own "phallus meadow" in a red leotard — the most famous and striking images of her work from that era. In her autobiography, Kusama describes the installation that marked the beginning of arguably her best-known and most popular series of works: "The walls of the room were mirrors, and sprouting from the floor were thousands of white canvas phallic forms covered with red polka dots. The mirrors reflected them infinitely, summoning up a sublime, miraculous field of phalluses. People could walk barefoot through the phallus meadow, becoming one with the work and experiencing their own figures and movement as part of the sculpture. Wandering into this infinite wonderland, where a grandiose aggregation of human sexual symbols had been transformed into a humorous, polka-dotted field, viewers found themselves spellbound by the imagination as it exorcised sexual sickness in the naked light of day." The New York Times described Kusama's mid-'60s work as the "awful vision of a self-perpetuating infinity," but they meant they liked it. The verso of the poster is addressed by Kusama to MoMA, which now holds numerous works by the artist in their permanent collection and mounted her site-specific installation Narcissus Garden at PS1 in 2018. An important association of this scarce document for an early and landmark show from this major artist — distinctly rare addressed by Kusama.

Floor Show Exhibition Poster

Louis Vuitton Yayoi Kusama Paint Dot Zippy Card Holder Black Hardware, 2022<ul><li>The interior is lined in a tonal coated canvas</li><li>Includes dust bag and box</li><li>This item is final sale and not eligible for return</li></ul>

Yayoi Kusama Paint Dot Zippy Card Holder Black Hardware, 2022

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