Few figures have shaped the trajectory of contemporary art quite like Tony Shafrazi. Born in Iran and educated at the Royal College of Art in London, Shafrazi made his mark in the New York art world in the 1970s and '80s, where his fearless eye and relentless advocacy helped launch the careers of now-iconic artists like Jean-Michel Basquiat, Keith Haring, and Kenny Scharf. As both a dealer and curator, Shafrazi championed the graffiti and neo-expressionist movements before they had institutional validation, establishing his gallery as a hub of energy, rebellion, and innovation. Beyond being a tastemaker, he played a historic role in assembling one of the most important collections of Western modern art for the Tehran Museum of Contemporary Art under the Shah of Iran. His career has been as provocative as it is visionary, a legacy built on artistic risk-taking, cultural insight, and a commitment to new voices.
That legacy was front and center at Sotheby’s Contemporary Day Auction on May 16, 2025, where highlights from Shafrazi’s personal collection were offered to the public — many for the first time in decades. The sale featured cornerstone works by artists with whom Shafrazi maintained deep, personal, and professional ties, most notably Jean-Michel Basquiat, Keith Haring, and Christopher Wool. These works were not only rare; they were filled with the history and provenance of a dealer who helped define their place in the cultural canon.
A standout was Keith Haring’s Untitled (1987), a vibrant yellow and blue composition, estimated at $3 million to $4 million. Acquired by Shafrazi in 1995, the piece captured the spirit of Haring’s pop-inflected activism and remains symbolic of the artist’s most celebrated era. Jean-Michel Basquiat’s Untitled (1984), a white-on-black silkscreen from an edition of 10, also drew strong attention, with an estimate of $2.5 million to $3.5 million. Christopher Wool’s bold, abstract untitled silkscreen from 2000 rounded out the trio, underscoring the breadth of Shafrazi’s collecting vision.
Other works from the auction further reflected the influence of Shafrazi’s gallery and circle. Keith Haring’s Dog (1986) achieved $320,000, while a group of unique works on paper with provenance tracing back to the Tony Shafrazi Gallery brought in a combined hammer total of $980,000, a testament to the enduring strength and desirability of pieces touched by his curatorial hand.
While the auction itself was part of Sotheby’s broader May sales, this grouping stood apart. It was not just a collection of blue-chip names; it was a slice of art history, offered by someone who didn’t just collect the movement — he helped shape it.