James Gandia at work in the Christie’s galleries. Artwork: Oscar Florianus Bluemner, Farmyard, 1928-29 I got my job at Christie’s in 1999. At the time I was a supervisor for a company that used to install carpets and other things in Christie’s galleries, I started making suggestions of what their team could do differently. The manager called me upstairs and asked if I wanted to work for the auction house as an assistant supervisor. He talked me through the job and the job’s benefits, which were worth a lot to me as a single parent with three kids. Eventually I said, ‘You want me to take the job? Give me a red Ferrari and I’ll think about it.’

Flash forward two days later, I was officially working for Christie’s, and he came into the galleries and brought me a small Matchbox Ferrari. I still laugh about it. ‘I never in my life thought I would get to be close to some of the things we sell. Let alone hold or hang them.’ Artwork: Left: Byron Browne, Untitled #2, c. 1936. © Stephen B. Browne Testamentary Trust; Right: Man Ray, Nusch Éluard, c. 1930. © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2025 You really learn on the job. As soon as I started, I got a crash course on the Christie’s way. I had to learn by doing, everything from the standard measurements for hanging to what the right height is for paintings on a wall. Even when I train people now, I tell them: ‘I’m going to teach you how I do this, but you might figure out an easier way for you.’

You have to ask questions, and there’s always someone who can help you out and give you an answer.

One of the first exhibitions I worked on was Marilyn Monroe’s personal collection. A highlight of the sale was the dress she wore to sing Happy Birthday to President John F. Kennedy. Every night we had to take it off the mannequin and put it in a special climate-controlled room because of the delicate fabric.

The Marilyn sale also was also memorable because the people who came to the viewing really