(BW) Art + Auction Magazine (January 2010)

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MASTER PAINTINGS
J ANUA RY 1 8 - FEB RUA R Y 12
G<.:S TAVE CO URBET (,g''r,lIn) ,\l aJ..mt EmtJ/ "''''''

O il 00 can ...... , 241>} '7~ In<he< (6, bf 44 (rn.l
JACK KILGORE & CO.

15 4 EAST 7[ H STREET NE'«' YORK , NY 1 002 1
T LL (~r 2) 6)0-" 49 F AX ( 2 J 2 ) 6)0-' }1I9 I~FO~ KI L l.i O lifL ALLE. ' .(,: O M

IN THE STUDIO
Ewar'l Gibbs builds his drawings with dense patterns
36 of circles arld slashes_ BV .... ARINA CASHOAN
SOUREN MELIKIAN
The November Impressionist and modern sales
45 pointed to a shift in aesthetic pre ferences.
MARKETFILE
73 Artist Dossier: Emile-Jacques Ruhlmann
77 Jori Finkel
78 Auction Reviews
88 Databank

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JANUARY 20 10 VOL U~ E XXXIII NO. 5
M.d,a Ba rt olucci USA LOUISE BLOUIN MEDIA

EDITOR IAL D IREC TO R Kote Shanley
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GEOFFREY
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GALLERY
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WASHINGTON DC 20009
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PIERRE CHAREAU, 1927

Exhibited:
Pierre Chareau Retrospective
Centre George Pompidou.Paris 1993-1994
Exhibiting at the Winter Antiques Show 2010

THEREPORTER
Label Conscious
AT LEAST NINE SIGNED FRANZ possib le cons ignment. After
fai led to se ll. HNobody ques·
l ioned Ihe authent icity," says
Hi ndman.
labeled works. adds, "To te ll a
person who Silent $ 100,000
on a work that ii's worthless
Klines that ha~e traded o~er he cas! doubt on the labels, The Kline is now back is pretty ha r Sh ,k
the past five years at major Martin turned down the deal. on Raimondi's wall. ~I sti ll It may seem strange
auction houses-including "I remember those,H confirms think it's grea t: he says, that so much doub t is possi'
Christie's London and New Martin. "They came from though he does recall Ihal he ble aboul lhe oeuvre of so
York; Ko ller, in Zurich; and Italy, and there was a ba tch was initially dubious of the its well-known an artist. But,
Tajart in Paris-may be fakes. of them.~ au thenticity because CobbS remarkably for someone of
All are untitled ink-on-paper The priciest of the is belter known for an ti ques Kline's stature, he has no
works from the early 19505, disputed Klines, Untilled. than for postwar art. Bu t the catalogue ra isonne and his
and all have identical block- 1953. brought E;S2.850 firm's owner assured him tha t estate is not active. This
leiter Kline signatures.On {SI65.000j at Ch ristie's the work was from a reputa- leaves the held vulnerab le to
Ihe reverse of each is a label London in July 200S. (The ble collector. disreputable deal ing. "There
from I he Grace Borgenicht ar tist's works on paper wi t h Two more of the are a lot of troub led Klines in
Gallery. at 1018 Madison other provenances have suspect Klines have the market. and nobody
Avenue. in New York. fetched as much as appeared at Cobbs since knows where they're from.
S665,OOO at auction.) In Raimond i's acqu isit ion, It's a buyer-beware si tua-
Are fake Klines selling 2004 two ol hers went for i nclud ing one that was tion: says New York dealer
more than SIOO,OOO each in hammered down at S25,000 David McKee. who repre-
on the open market? separate sales at Christie's i n July 2009 and another sented the Kline es tate in the
Tha t provenance is New York. "Christie's upholds that sold for S28.750 in 70s and for years, together
suspect, accord ing to William the highest standards when October 2009. The July with the late New York dealer
Mac Chambers, a New York establishing the authenticity buyer returned the drawing Allan Stone, informally
priva te dealer who was a of the wor ks t hat we se ll and to the house on Ihe advice of ve i led the artist's works for
Borgenicht employee for 23 Iodate has not received any the New York dealer Armand Christie's and Sotheby's.
years. "The label is not our concerns ques t ioning Ihe Bartos. who had seen "What we are left with
label." he states. "It's a fake provenance of any of these ano ther Kline with the same now is opinions, because
labeL" Chambers will no t works, " says a spokesperson provenance in the booth of there's no consti t uted enti t y
provide a facsimile of the for I he firm. "We are investi- an American dealer at Art Ihat can wri te certificates for
genu ine article. explaining ga t ing t he malter f ur t her." Basel in 2007 and fou nd t he Kline: says Foster. "I hope
that that would make further Last November, a Kline label unconvincing. Cobbs that changes in the fu t ure. tfl
forger ies eas ier. He notes, with the Borgenicht prove- took the piece back but JUDO TUllY
however, that Ihe size and nance was withdrawn by the resold it to a buyer whom CFO
t ypeface of the ones on the se ller at t he 11th hour f rom a Dud ley Cobb Charac terizes
Klines are incorrect. In any sale at Vienna's Doro theum. as "one of the major New
case, a former colleague of Another of the suspect York art dealers: who had
his recently examined t he Klines so ld in October 2007 missed it at I he July sale.
gallery's so ld-works arChive for approxima tely S5.000 at " The firs t buyer said he
and no Klines were recorded the Cobbs Auctioneers, in didn't want to put it in his
during its existence, from Pe terborough, New collect ion with that label on
1951 to 1995 (Grace Hampshire_The buyer was it." says Cobb. "If we thought
Borgenicht died in 2001). the Massachuselts pr ivate something was signed Kline
Chambers, who has dealer John Raimondi. He and was bogus, we wouldn't
alerted several auction subsequen lly consigned Ihe handle it "
houses when Klines bearing drawing to New York's L 6: M " The trade in Kl ine
the Borgenicht label have Arts, where. aggreSSively forgeries is extensive, and
come up for sale. says he pr iced at S250,OOO, it found there have been a lot of
found out abou t the putat ive no buyer. He I hen consigned Klines offered by major
coun l erfe its by chance it to the Chicago auc t ioneer auction houses that are
several years ago when the Leslie Hindman, which made extremely questionable:
New York dealer Mary-Anne the work Ihe cover lot of it s says the Kl ine scholar and
Martin called him about four December 2008 sale. au t hor Stephen Foster. who
SUCh works that had been Estima ted at S50,OOO to whi le declining to comment Thl. work"" paprr.i<OId . 1 Chrl'lle"Now Vorkln 2004
brought to the gallery for $70,000, the drawing again on any of t he Borgenicht- ... Fran,Kline. ma y ""I be .ulhenllc_
www ~" " NFO.CO'" I JAN uARy 20 10 ~RT • • uCT IO"

THEREPORTER
Desert Intrigue
IN NOVEMBER 2007, the oil- Masdar; Jeff Koons, whose
Yet wi thout some firm
faith that sales would be
made, how could galleries
for a series of "hyperphotos"
01 the monumental Sheikh
Zayed mosque by photogra-
riCh emirate of Abu Dhabi large sculpture Diamond justify the cost of transport- pher Jean-fran~ois Rauzier.
launched a contemporary- (Red), 2006, anchored the ing some of their most At fairs like Art Basel,
art fair in conjunction with Gagosian Gallery's stand; va luable works so far in this most big sales happen on the
Art Paris. In 2008, amid Ihe fran~ois Pinault,the mega- economy? PaceWildenstein, first day; here deals weren't
global financial meltdown, collector and ownerof for instance, spent some finalized untit the last hours,
the fa ir experienced such Christie's; and Anupam 5100,000 to Ship Alexander and exhibitors remain cagey
poor sales and low allen- Poddar, India's leading Calder's monumental 1969 about them.Gagosian has
dance that last June, with the collector of contemporary mobile Ordinary. Priced at announced the sale of a
world 's econom ies still ailing. art. What role the patrons 545 million, it didn't sell, but Willem de Kooning painting
the French partners canceled played no one involved would another of the gallery's and a work by Anselm Reyle
the upcoming event. say, which only added to the Calder mobiles,the but won't say to whom,
Seemingly immune to the event's air of mystery, 5B.5 million La douche, did Hauser," Wirth reports that
debt crisis and eager to fan Most of the top exhibi- find a buyer, which was an Asian collector acquired a
the media attention tors, who traveled with prized rumored to be the Roni Horn sculpture and
surrounding its estimated inventory pieces to thislar- Guggenheim Abu Dhabi. another buyer a Gerhard
527 billion Saadiyat Island flung destination, may be As to the emirate's Richter, Thaddaeus Ropac,
cultural complex. where the assumed to have expected to elite, it has only begun to who says he sold the TDIC a
Guggenheim Abu Dhabi and Tony Cragg sculpture and a
Philip Taaffe painting and
"It's about learning how that another collector is
things work here. It has interested in commissioning
a Cragg, deems the fair "a
taught us patience." good experience, but diffi-
Louvre Abu Dhabi are now cult. There are a lot of
under construction, the emir- middlemen", [Were it not
ate directed ils Tourism for theTDlc sales], we
Development and Investment wouldn't be as happy."
Company (TDIC) and the Abu Other dealers are phil-
Dhabi Authority lor Culture osophic, "Th is isn't really
and Heritage (ADCH) to about sales,N remarks Hauser
launch their own fair. Billed '" Wirth's Florian Berktold.
as a "cultural platlorm: the Ma..... an RKhmloul'slnstlllaUon Beirut C.oulc~ouc,at DlsORIENTatlonsli. "It's about learning how
hastily assembled-and thus make major sales to the TDIC take an interest in art. To things work here.NDeclaring
all the more impressive-Abu and AOCH or to the ruling al- demystify the held for all the Abu Dhabi a future "cultural
Dhabi Art which ran from Nahyan family, although Rita novice aficionados from hub: a booster ish Mathias
November 19 to 22, featured Aoun-Abdo, the TDIC'S MEN AsA- the acronym for the Rastorfer, of Zurich's Galerie
such blue-chip galleries as cultural-division head, denies Middle East, North Africa, Gmurzynska, says, "Th e TOIC
Aquavella, LSo M Arts and that assurances were given. and South Asia region-a has taken this over and made
White Cube, plus al'l array of Dealers certainly didn't seem panel discussion was held on it into a majorfair, It's a 10-
panel discussions, exhibi- fazed by the Guggenheim collecting in which the year plan.N
tions and desigl'l workshops. Abu Dhabi's claim that its usually elusive iiberdealer Just days later, neigh-
Although some events acquisitions committee was La rry Gagosian pa rticipated. boring Dubai panicked global
appeared to have been recy- still being formed, possibly New collectors we re financial markets by asking
cled from recent editions of because they were satished also targeted by some for a six-month moratorium
Art Basel, they were fresh to that the Louvre Abu Dhabi smaller exhibitors, such as on its impending 54 billion
the region. There was also a
stellar patrons committee,
was actively buying. Last
February the museum paid
London's Waterhouse So
Dodd, which brought art
debt payment. Will Abu Dhabi
bailout its fellow emirate' At
,
among whose members were
Norman foster, the architect
nearly 528 million for
Mondrian's 1922
priced from 55,000 to
51.1 mil1ion. According to Ray
press time, the U.S. was on
Thanksgiving holiday, l
of the emirate's soon-to-be- Composition with Blue, Ffed. Waterhouse, he sold "a lot" Muslims were celebrating
built Zayed National Museum Yel/ow and81ack at the Saint and received two commiS- Eid, and the world remained
and the zero·carbon city, Laurent-Berge sale. sions from state entities, one in suspense. + SARA H DOUGLAS
ART' AUCT ION JANUARV 2010 I WWW.ARTlNFO.COM

DATEB
J, NUA R'y 2010 T H IS MONTH'S CULTU RAL AGEN
THE BEST DISGUISE

If you ever wondered why modern artists were so taken with tribal
art. don't miss "MASKS. MYSTERIOUS FORCES," a show of 40
rare examples from Africa, Oceania, Asia and the Americas, dating
from 100 s.c. to the 19th century, on view at Tambaran Gallery
through January 31. Each face demonstrates how a simple carved
line or the shape of an eye can convey e)( traordinary expressive
power. The pieces, which gallery owner MAUREEN ZAREMBER
has been assembling for more than a quarter of a century, range in
price from S15,000 to $500,000. -ca,-",,-aGarcia
'7
to hunt deer. The head and the antlers, one

of which was lost. were carved separately from
hardwood, then assembled. "It's soold that the
patina has the look of bronze," says Zarember.
" Carved by the Songye people of the Democratic Republic of

Congo, this 19th-century mask is an exquisite example of a male
Kifwebe, which would have been worn by the society of the same
name in sacred ceremonies to interact with gods. "Anyone who has
seen this mask thinks it's a Picasso from the 1920s to '40s," Zarember
says. "It's really a masterpiece of the 19th century."

,
.... IM.,:!!
The Stuff of Legends

A SEASON O F OL D MASTE R AND 19TH - CENTURY SHOWSTOPPERS IN MANHATIAN
MASTER DRAWINGS
NEW YORK
/ANUARY ~3 T1lROUGII 30
For Ihis weeklong event, now in
its fou rth year, 22 Uppe r East
Side galleries- including Addison
Fine Arts, Simon Dickinson,
Crispia n Riley- Sm ith and David
Tunick - are bringing out their
best works on paper, from the
SOTHEBY'S 16th through the 20th centuries.
Old Master Dr aw ings, JANUA"Y ~7 First-limer Didier Aaron, of Pa ris,
Importa nt Old Master Paintin gs, Including London and New York, is show-
European Work s 01 Art, JANUARY ~s ing 50 18th-century examples
Important Old Master and 19th-Century I rom France. look for 18th'cen-
Pa intin gs, jM'UARV 30 tury tre asu res at Stiebel, Ltd. as
One of the ricr.est offerings in these three sa les weU, including Ihe French artist
is Anthonv Van Dyck 's unusual Two Studies of Charles Parrocel's watercoklr
a Bearded Man, above, depicting the same ~gure Mlrriage Ceremony al a Mili/dry
in two distinct moods. Painted around 1620, whi le Encampment, above
I r.e arlist was working in Rubens's studio, it is
" estImated at S5 mimon to S7 millio n. Also on the
block is Ihe Outch painter Hendrick Goltz lus's
Jupiter and Antiope, painted in 1612, atlhe height
of the artist's ca reer. Re<:enlly restituted by the
Oul ch government to the heirs of Abraha m Adels'
i)erger, irs estimated at S8 mi llion to 512 million. !
CHRISTIE ' S MOREnl FINE ART

i
Important Old - From the Gothic Tradition to the Early Renal. -
Master sance,~ JM'U~RV r9 TIIRQuGII FF.RRUARV r ~
Paintin gs & The Fklrence-based gallery's thi,d New York exhibition
19th-Century Ar t si~ce openiog ils doors o~ Manhattan's Upper East
JANUARY 17 Side in 2007 features around 20 lIalian devotiona l
One of the many paintings trom the 15th and 16th centuries. The oldest
gems in this sa le of of Ihe 20 works, the mid-14th-century $ainl Allthony
arour>d 300 lots is Abbot abo_e, by Taddeo Gadd l, Glotlo's pupil, is CARLTON HOBBS I;
Bacclous allhe Wine priced al 51.5 million. Jusl around Ihe corne r, i~ the JEAN -lUC BARONI
Val, 1530, right, by Metropolitan Museu m, is Gaddi's Saini Julian. a simi - - In th e Grand Mann er"
Lucas Cranach th e larly sized panel that may have once accompanied the JANUARY ~, T11ROUGII
Elder , estimated ga llery's pIcture in ~ triptych. FEBRUARY ~
al S25 million to As pa rt of Master Drawings
53,S million. -He's New York.. Lo~don Old Masters
i)een very much JACK KILGORE I; CO .. INC. dealer Jean -Loc Baroni is team-
sought after in the "Master Paint ings· ing up with antiques purveyor
past ~ve yea rs: JANUARY r 8 T1IROUGH FEBRUARY r , C~rllon Hobb~, displ~ying works
says Nicholas Hall, Cnnstie's in- Among Ihe Outch and Flemish Old Masters and 19th- on paper along with impor-
ternationa l head of Old Maslers century works is Saint Jerome, circa 1630, i)elow, by Hen- tant paintings and furniture at
and 19th-cenlury art -perhaps dr ick Bloemaert of Ulrechl depicting the Bible translator Hobbs's Upper East Side gallery.
because his forms are pared engrossed in his reading, The show also indudes The Leap Look for Giovanni Batti sta
down and stylized and slightly of Marcus Curtius. 1850-55, by Tl epolo's Portrait of a Lady
mode rn.- Also noleworthy are J ean-Leon Gerome, portray- as Flora. circa 1762, above,
two works by J an Brl,Ieghel ing the Roman soldier who, ac- recenHr discovered in the aUic
the Youn ger, and TIre Entrance cording to legend, jumped into of a French cMteau, where it
to file Turkish Garden Cate, & chasm in the Forum so the had been stashed more than
1812, by Lou ls-L ~ opold Boilly,
depicting more I han 60 ~gur es,
gods would close it "II's very
academic for Gerome: says
200 years ~go because it was
con~ide red too n~que 10 ha ng.
,
including himself. and esti maled
al 53 million to 55 mil~on,
Jack Kilgore, "and will undoubt -
edly go to a museu m,- ,~
A RTt~UCT I ON JANUUV 2010 I WWW.AR TlNf O.CO"

R'g/ol R..,hel
Whte ...... O'-...,"lI
leN W. , ., ro ....., I.
19918011_ F........
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Naked
Ambition
PREVIEW: RYAN
MCGINLE Y AT
THE BREEDER
GALLERY
To some, the name Ryan Mc- I'()" I
()~ \ '11 \\
Ginley is inseparable from the
freewheeling group of down-
town New York artists that 1"!·MWit
included the late Dash Snow.
To others, he is the creator of
sub tly cap tivating photos of Best known for transforming empty spaces into solid
his friends. The 32-year-old masses, the British artist Rachel Whlleread. 46, rose to
photographer lal"lded on the stardom in the 1990$ with her etherea l resin casts. Now
R'y.n j,jcO",Jc/y', E,~, art world map several years her two-dimensional pieces are gelling their first airing
porl,.,t _yeo . ....
A/OO~,_".,Uoe.o .., ago with images of figures in "Rachel Whiteread: Drawings," on view at the Hammer
borh C·", ... " ,,_ that elegantly meld a Sllap-
20090Ith. Museum, in Los Angeles, from January 31 through May
..U.nl"...", shot approach with an astute 3. Featuring work s on paper, sculpture al"ld other objects ~
sense of timing and structure. spanning more than two decades, the show will travel from ~
From January 14 through Feb-
ruary 20, McGinley makes his
Grecian debut at the Breeder
LA. to Dallas's Nasher Sculpture Center and then the
Tate Britain in London. lis curator, Allegra Pesenll, of the
Hammer Museum, spoke with Andrew Russeth.
,,
•!
o
Gallery, in Athens, with a
show of 40 color and black- Whlte.ead It though t 01 u a scutptor, but irs ne~r b«n disclosed that
drawing it II(t .... ty a YI IIII ~r l of her prIKtiee. 1n he< studio, she e~n ha,
I
and-white pictures from three !
recent series. In "Road Trips·
he captures his friends on the
two separa te rooms-one for sculpting. one lor drawing-and she work,
in tire two medIums in pa.al\el though indepen<!entIV. In the caSf! 01 ~
Water Tower. 1998, lor In dance, she USM drawings to show how to cast
,,•
go, while in wMoonmilk" they tI1 e work. l' lI!1 tport it and color tI1 e resin, but $he also drew very beaulolul
appear in unusual, dramati- images 01 it on lop 01 photoo;;raphs 01 Ih e build ing against the s\(y~ne. !
These draw i.... s serve a s her inlimate diary. Many of her site'specill<: •
cally lit locations, such as in
caves, Of the more formal,
work s nave been des lroyed, ~ke House. 1993, or displaced, "ke Plinth,.
2oot. wtIrch moved Irom Trafalgar Square to ttorage. so her drawongs ,
l
penetrating black-and-white
portraits in the third series,
can help trIKe her career dewetopment While l'isiting her london studio
in prepara tion lor tI1l$ exhibrtion, I learned tha i $he accumulatet ICUId
objectt Illat ., Iorm her work. ranging from streks 10 dental casts to shoe
,
F
some are conventional head strelc hPf$, m<my 01 which she J>ick M up on trips wrlll her la ther. who Wat ;
a geogra phy teache •. !
shots, while others focus on
different sections of the body.
such as a naked torso of a
Rachel has compared the"" found and cotlected obtech to ske tch-
oook s, They thus belong to an e xtended notion 01 draftsmanship, whe re by
·,!
jumping slender male.
>
lhe act ollhinklng . nd preparirog a
wor~ of . rl is not only e xpressed on
paper but it "so reflected in three '
·!
1
d,mensio ..., objKh. The study
extenas Irom paper to objKt For
Rachel the$e obtecb act as me-morlel.
in muc:~ the $lime way as hPf Oraw'
i.... s do, and irl iluence her sc ulpture
Sl mila ~y. More Illan 200 of these
very pe rs.onal, broo;;raphical ltems a re
shown in oilri n-e, . alongside sculptures
Irom local coketors.
~ R T · ~ue"o .. J ~" U~RV 2010 I www ~ R "Nro co ..

~: ART ~
WALLY FINDLAY § o
KAATERS KILL FAllS AT DUS K 24 X 36 INCHES OIL ON CAN VAS
ERIK KOEPPEL
THE AMERICAN LANDSCAPE
EX HIBITI ON ON V I EW DE CEMBER 2 00 9
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P A LM BE A CH ' NE W YORK ' LOS AN GELES ' B A RCELO NA

Christie's holds its A m eric~n Oeco r ~ Doveta iling with the auctions. the
lioe Arts, Siloer ~ Chi nese Ex ~rt 56th e<!ition ol lhe Winter Antiqu es
Porcelain sale ooer th ree days: JMU- Show runstrom January 22 through
ary 21_ 22 Md 2!i Margot Rosenbe rg, 31 at the Park Avenue Armory. This
tlead of Ame.-ican fumiture and folk yea ' a third of the fair's exhibitors
~rl al the auction house, is espe- have Ame ricana as their focuS, and
cially excited aboul a rare circa 1855 the special loan exhi"'tion is ·Colonial
lulHenglh double ~rl r~it 01 The ron to M(}dern: A Century 01 Collec~n9
Si mpson Ludingl on and his sister at Historic New England: showcas-
Virginia Ludington, above right by ing 36 works f,om the esteemed
Amml Phillips, esti- Boston organization. Returning after
mated at S300,OOO to a IS-year absence is C. L PriCkett, of
S500,000. "The picture Yardley, Pennsylvania, who is bringing
has descended through a Federal ma hogany O-sl1aped card
the same fami ly, plus the table with elaborate inlay, made in
sitters are identihed, and New York between 1790 and 1805.
you have a winning combi- The New York deale r Berna rd Gold-
nation with cute kids ~nd be rg, who specializes in Ame rican
a dog: she says. Also sig- decorative and hne arts trom 1900 to
nih cant is a 19th-century 1950, is ollering Martha's Vineyard, a
mounted scrimsl1aw wha le circa 1950 oil on tin by Thom as Hart
tooth. le ft, estima ted at Benton , left, lor $225,000. James
S30,000 to S50,OOO, with and Na ncy GI!ller, 01 Ma; ne, plan
enormous sentimental to oller a sma ll re<!ware bud vase,
appeal. "It tra nscends nautical collect- circa 1840, I rom Pennsylvania, priced
ing: e.plains Rosenberg, · with patri- betweeo S45,OOO aod S50,OOO. The
otic images including an eagle, a star cou ple has worke<! the Winter Show
and a wha ling scene and an inscribed ,;nce 1976-an auspicious "',e nten-
note to Bokl Yankee Whalemen' ni al year lor all Ihi.... s American_
The Americana sa les at Sotheby's,

slated lor January 22 and 23, include ,
i
I
Chinese e.~rt ~rce l a in Irom the
prioate collection 01 the late Penn-
sylvania dealer Elinor Gordon. Among
!
tm. other lots is a Chi ppendale
hgu red-mahogany stant-front de sk,
circa 1170, far right. from Marble-
head, Massachuse tts, whose high
estimale of SI million reflects the
edreme ra rity of its bomoo form. A
pair 01 late 18th-century ~rtrai l s
01 Anna Hopkins Turne r and Caleb
Humiston Tumer, right. by J. Brown,
is estimated at S30,OOO to S60,OOO.
A RT tAUCT ION JANUUV 2010 I WWW.AR Tl NfO.CO ..

LUCY MITCHELL-INNES
The 48-year-old Art Dealers Association of America (ADM) can
no longer be accused of being an old boys' club: In September,
when New York. dealer Roland Aug ustin e's three-year term
was up, the J\l)AA appointed Luc y Mitc hell-Innes as its first
woman president. Since 1996 she has been co-owner, with
husband David Nash, of Mitchell-Innes & Nash gallery, in New
York, Another item on her resume-the 13 yea rs she spent at
Sotheby's in lead ing positions in the contemporary-art, Latin
American art and print depart ments-cQuld prove valuable to
dealer members at a time when the auction houses are increas·
ingly competing for private sales. Sarah Douglas spoke with
Mitchell-Innes about integrity, ethics and why artists should gel
the same tax breaks as collectors.
'4
What are lhe most pressing Issues cf excellence-kncwing mcre Ihan elhical practice is pretty critical. We moment we will. It wift be done in lhe
nght now ror the ..oM? anyone else about lhe artists you are have a standards· and-practices code fall, and it w~1 be an invitationa l, but il
Ro land did a 101 du ring his lenure. Ou r in.olloed wilh. Thai kind of knowledge 01 elhics Ihat was initiated duro has 10 wait. wilh I he economy.
.isions are pretty pa rall el, and I'm runs deep in thi, organizallon, and ing Roland'~ tenure. Now when you
able 10 pic k up where he lefl off. One bfinging that in formation to the at- become a member, yoo have to sign The MAA hn seemed oriented much
of the things we will continue to do is tention of the public is whall see as it. and it wi" be printed this year in more toward contemporary art,n
his 50 Arlists fOf 50 States initiative, one of lhe pressing tasks of the ACM our membership book, whic~ ccmes recent ye~rs. Why is that?
right now-raising the proh le of all the out althe time of the AIt Show [the II's more Of less a fundion of Ihe
For Ihat. 50 li.,ng American arlls" members_ ..ou's annual fairL in March evolution of the market Arl of the
will don.le work$ to one museum in
Igth century and the hrst hall at the
each state upon pusa9t of legisla-
The auclion houses "e increasingly What ~re some or the things out- 20th century is rarer and rarer, II's
tion g,.ing Ihe creators 01 art the lined in this document?
en9&ging in private sales, previously more and mOre dif~cullto ~nd g'eat
.. me tu benehh a. colleelors. the sole pumew of dealers, Might Warranties: When we se ll a wo rk, e,amples. There's m()re and more
Yes. We wanl to raise national awa re' your experience at Sotheby'. enable under New York Slate law our invoice capital involved in having thai kind
ness. II's critically impo rtanl Ir.at
you to help the assodation', mem- is also a warranty of ,ts authenticity of work in your inventory, if you're a
arlish be able to give works to muse-
ber$ grapple with this? Clear title- that's a very important second ary -ma rket dealer. Yoo move
ums and recei.e the same benehis as
Yes, because I know the differences issue; the auction houses ha.e teams in a contemporary dir&tion lust
you or I. Atlhe moment, museu ms an betw~n wr.at auctioneefs do and of people dealing with that. Condition because of the dearth of material in
acroSS this country are lOSing oul. I'm ol her helds,
what dealers do, Again, it's about 01 work s 01 art Our comm itments
working with people in Wa<JIington, in
expertise and knowledge in the dealer to artists, in the form of e ,hibition~,
the arts and in the Nation al Endow-
commu nity. And again, my cha ll enge publica~ons, fostering scholarship on Don't you ~nd it slr~nge that the
ment f()r the Arts,
is to make collectors aware of this, Iheir work, Keeping r&ords of the ..ou ~s never before h~d. woman
But what are the i.,ues of concern to connect them with oo r me mber- arlists' wOfk. Payments to arlists: .t lhe helm, since some of ils most
to the ..oM'S memben? ship so they can form relalionships Protecting artists' estates. Nol Con' esteemed members Ife women?
Supporl at a lime when Ihe markel is and educate I hemse lves and know signing an artisl's work 10 Think of Pau la Cooper, Barbara
r.ard to fathom and understand. whatthe:;e soo rces are. Inlegrity i~ auction with the intenlion at Gladstone, Marian Goodman. Amaz-
rea lly important beuuse all a dealer acquiring it meMing you can't bid ing- an entire generation, real role
How Cln the association help? rea lly has, in addition to how much on your Own WOfk, And if you guar- models: I think iI's happenstance.
I am .."y keen on improving ccmmu- he knowS. is how much he Of she can antee a work t~a\'s consigned to I don't lhink the re was any deliberate
nications and creating a general level be trusled. Bonds of trusl belween audion. you have to disc lose Ihis efforl nol to have a woman lead. For
of coll egial trust When I was Ihin king de alers afld collectors are what bring to bidders. an art deale r, this is another en~ r e
aboot becoming he ad of the ..oU, I conectors back to us. job. Someone has 10 realty want to do
asked myse lf whall stand for as an Spea~ing of the Art Show, h .. this: But it's not uninte resting. What
art dealer in the secondary marl<el. During hi$ tenure as president there been ,ny further lalk about strikes me is just how gilted this
I had a year to refled on Ihat ques' Roland AUlrJstrne started an ethic. dOing a ,«ond annUli show ,n the group or people is. If ali i did
l ion, and the thi ngs I thin k are "mea l committee. Are you contrnu'ng ,t? Park Avenue Armory? was ma ke the public awa re of that
for dealers are experlise, integrity Yes, it'~ something I reel extreme ly Yes. II gal tabled in Octobe r or 200S. talent and enable people to tap inlo
and the high est possible stand ards strongly about, because a de aler's I woold love to do it and at the right it, rd be hawy.
A RTt~UCTION JANUUV 2010 I www.~RTlNro.co ..

EMIL NOLDE
Important Watercolours & Prints
17 January - 17 April 2010
GALERIE LUDORFF
KONIGSALLEE 22' 40212 DUSSELDORF· GERMANY· TEL. +49 (0) 211-}26566 ' FACSIM ILE +49 (0)211-323589
WWW.LUDORFFCOM . MAlI.@LUDORFFCOM

11&11111111'1111
BEACH BOUND
IT'S NOT JUSTTHESUN.
TWO SPARKLING FAIRS IN
PALM BEACH LURE COLLECTORS,
CURATORS AND DEALERS
TO FLORIDA
THE 13TH ED ITION OF

ART PALM BEACH
JANUARY 15 THROUGH 19,
PALM BEACH COUNTY
CONVENTION CENTER
In Ihe frigid deplhs of winler, dea lers, THE AMERICAN INTERNATIONAL
coQedors and cur~lors h~ve Iwo FINE ART FAIR
fairs 10 look forward 10, bolh Ofga- FEBRUARY 3 THROUGH 8,
nize<! by fair phenoms Da vid and Lee PALM BEACH COUNTY
Ann Lesler. First comes the 131h CONVENTION CENTER
edition of Arl Palm Beach, present· A few we<!ks laler, the American
ing a wide array of contemporary International Fin e Art Fair takes
art. ranging from photography to over. Now in its 14th year, the event
Latin American works to design. Fai. aUracts a well-r.eeled international
veteran Go-edhuls Contemporary, crowd with treasures that span lime
of New York and London, is bringing and space, from ancient obiects and
imporlant Asian pOeces, irw:ludi ng Ihe European an~ques to modern and
,6 Chinese ar ~st Oln Feng', Desire, contemporary ~rtworl<s. "It's probably
Landscape, 2008, rig ht. a work in the best and most beaubful fair in
ink, coffee and tea on paper. "We do South Florida: says Uoyd Macklowe,
Art Palm Beach because it rea ches of New York's Macklowe Gall ery.
the densest nudeus of wealth on the which is bringing a slunning flower
pla net: explainS Micha el Goedhuis, brooch. left, created in the 1950s by
who has pa rticipated since il started , Pierre Sterle. MS Rau Antiques. of
in 199& Fort Lauderdale's Verve New Orleans. has a charming 1916-17
Gallery is ""owing editione<! works bronte tNsl by Pl err e'Auguste
on JIo1per by Pop artists, among Ihem Renoir of his wife. Aline, while the
Robert Rausch enberg's Soviet! A m erkan-~rt specialist Hollis
American Array VI. top lef!. a signed Taggart Galleries, of New York, is
and numbered intaglio in 16 colors showing 19th- and 20th-century work,
from 1990 in an edition of including Delphic Shibboleth. 1959,
59, while Charon Kransen Arts, of top right. ~ moody oil by Theodoros
New York, is oltering unusual, in- Stamos, one of the origin~1 Abstr~d
novabve jewelry. E>pressionisls. --CG
RICHMOND, VA Heather Russell, an art adviser, art historian,

aod galleris!. is launching Russell Projects, a 1,500-squa'e-
foot space in a renovated warenouse. far rignt. in the city's
Mancnester ~rts district. 1 plan to bring a long-ove rd ue infu·
sion of work by emerging and midca ree r art ists to Virginia:
says Russell, who has worked at James C'*'an Gallery, in
New YOfk. Ir~ine CO<'1lemporary, in D.C, and Sotheby's New
York. The gallery opens 0<'1 Januar1 22 wilh painlings by Helena Wurzel. "I'm e~cited
to t>e in Inis industrial arM: sayS Russell. ' It's seeing rea l ren~bi l italion ~nd nistoric
preservation ~ nd ushe ring in a renaissance in a"isllofts and gall eries."
LONDON Tate Britain has na med Penelope Curti s as ils new director. Curl is, who
has been curator of the Henry Moore Institute since 1999. takes up her new post in April 2010. Simon Baker, an indepen-
dent curato' and chai r ot the e<!itorial group of Ihe Oxford Art JourM( has been appointed the hrst curalo' of pt1olograp!1y
~nd internationa l art at Ihe Tat e Brilain and Tale Modern. NEW YORK The Whitn ey Museum of American Art hired
Scoll Rothkopf, an independent curalor and senior e<litor at Arlforum. as a curator and promoted Dana Miller to the
position of curalor of I"" permanent collection. HONG KotIG Dealer Ben Brown, who has two spaces In london, is opening
a third branc h in HO<'1g Kong, to ""OW Western conte mporary art.
ARTtAUCT ION JANUUV 2010 I WWW .• RTlN fO .CO ..

lo:!lM.1'Ilt
Low Country, High Art

A PREVIEW Of TIlE BUST LI NG BRUSSELS AN Tl Q1!,.ES AND FINE ART FAIR
Now in its 55th edition, the anracts a more academic bny...r Umbellifcrae chair. botlOm left,
Bru ssels Antiques and Fine Art than some other fairs,~ which ,he An Nouveau maSler
Fair (BRAFA) has exploded in size BRAFA is ch""k ·fnll of superb made for himself, at Gale ri e
amI innucncr iothc fiw years paimings, including J a mes Tiny Esveld . ami a 1971 ink-on-
since it moved into the renovated Ensor's dramatically colorful The paper drawing of a woman , top
Tour & Taxis development in the Sellcn Deadly Sins, 19U, top ldt, by the Belgian painter Paul
ciIY'S center. Tonted as ,1 morc righI, priced ,u €7 50,000 , S I.ll Delva u ~, from Ga lerie Beres, of
affordable yet equally high-quality million ) at the booth of Ronny Paris, Also gracing this year'> fair
ahcrnmiw to TEFAF Maastricht. Van de Velde, of Amwerp; lA is an ilU10vation: m:asnres from
8NA~", which runs from January Parsie"''':, I 88o, righI, a depiction Liege mnsenms, bunring eight
21 through 31, hosts around 11.0 of all aCtreSS by the Belgian anist masterpi&ces by such names as
exhibitors, (""enly split octwttn Alfred Steyens, for €ljO,ooo Gauguin and Picasso,
,R Belgian and iUtcnlalional dealers. (Stl4,l56 ) ,{I ,he booth of ~The an tl1<{rkel has picked up,
This year'> panicipants Boon Gallery, of Brussels; and the fair is full of bigger galleries,
include "umerous .. eterans, such fernand Leger's beautifnlly and we have a waiting liSI,~ says
as Antwerp's Axel Vervoordt, balanced abstract lAudsUJpc, BRAFA president Bernard de LeyI',
known for his 13Std,,1 mix of 1919, below, from Barcelona's ~ H igh-qllality obiects continue 10
c"erything from ancient stawary Glileria Manuel Barbie. Other sell, There is more of a re<:ession in
to avant-garde painting, and the eyecatching works are a €S6,000 finding Ihem than in selling them,~
An 0«0 dealer Je ~n 'J aeq ues (S I1S,57} ) Emile Galle 1901 - Jean Bond Rlfteriy
Dutko, also of Paris. Attending as
well are 15 newcomers, among
them J ean'Paul Perrier, on ... of
four Bar",lona dealers exhibiting
for the first time; tribal · art expert
J acqu e s Germ ain. of Montreal;
and RenaisS311~e ·an dealer
J oanna Booth, of London , who
i, m"king her debut here because,
she says, ~BRAFA has a greal
reputJtion, known for qualil)'
and range of early pieces, and il
A RTtAUCT ION JANUUV 2010 I WWW .AR Tl NfO .CO ..

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7 5M.3ln I_ tt eAn.naB2 OVERLAND

487140 ee ')~: 'J 2 www.overlandQallery.cc.... GALlERV OF FINE ART

1 ~THE~
food as art: IS THIS A TREND? Gallerygoers hungry for the la test in con temporary art
are getting a taste of it li teral".. A resurgence in lood -
rela ted art projeds is whetting appet ites in New York.
It started last summer with Chinese performance art ist
,,i
~
Son g Dong i n~iting hiS aud ience to gorge themselves
on his sliced prosciutto, Jell roast pork and chocolate
landscapes at PaceWi lden sl ein's Wes t 25\h Street
e
branch. By fall many altlle art set Wf!(e well on their §
way to cutting more Rubenesque ~gures,
For the October open ing of Performa '09, art ,l
a~cionado. writer and hostess extraordinaire Jen-
niler Rubell threw Creation, top left, a massive feast ,~
)0 inspired by the Bible 5101)'. with choeo"' ! e Jeff Koons ;
•
bunnies and a ton each of ice, peanuts and por~ ribs. A
l ew days laler, also for Performa, Ihe Dulch des igner
M~rije VO !le l z~n!l slaged Pasta Sauna, in which
,
~
visitors relaxed in Ihe steam billow ing from bowlS 01 ~

nC>O<f leS.ln November haute design met haute Cuisine
in "Cake Happening" at Hauneh o f Veni son, for whiCh ,
1
~ve artisls. including Leandro Erlich and Miekalene !
Thoma s. teamed up with top pastry chets to produce
tasty trompe roeils, among them a replica of Min van
·•
0
;
der Rohe 's 1929 Barcelona couch. leit. whiCh attend·
ees devoured. Then. lor three Sundays in November, ~
~
the pa inter Will Cotton translermed Partn ers'
Spad e ga llery into a bakery (Iep right) selling real
versiens 01 Ihe cen lec\iens he depicts.
The partners beh ind "Cake Happening"- Kree mart,
,,,
!
dedica ted Ie letting "artists explore dessert as a medi"
urn: and Ameriean Patrons o f the Tate -are planning
a more elabora te edi tion for Paris in June. Rubell. who
,
has merged arl and nourishmenl at her parents' Miam i
!
museum. prom ises a future gastro'aeslhe tic projec t
100, "Food is la~ i ng a more cen tral role in our culture: ,i,
she says, "It also happens 10 make an ideal med ium for
ephemeral art: !
P.... RIS On "iew at Emmanllell'errOlin from Janlla~' '9 through l<1arch [3 is -Considffing Henr),," a show of new paintings by the
+
Miami·based contempora ry Roma",ic paimer Hernan Bas, • LONDON The New York-based scu lptor-filmmaker Manhew Barney
present' new drawings along with slO~'board, for hi,la[est work in prog ........ Anciem ft"nings , an opera based on Norman
Mailer', 198; ES"ptian IIMd, at Sadie CAles HQ from Jalluarv:>8 through March 6 . • NEW YORK Berlin· based .rriSl Tino Seh ·
gal, known for orchestrat; ng encounterS among people, hils the C"ggenhe;m's rotunda w;th partie;pan" tra;ned to ;nteract w;th
muse"m v;s;tors, from J.n"a~· '-9 through ,\ larch rO, • 011 Jalluar)' ,-8, Chr;S{;cs is offering 1,0 lot&, indud;ng painting!., f"m;.
rure and African and Oceanic art, from the collection of [he esteemed Li[chfield Counry, Connec,icut, anriques dealer l'eter Tillou,
W.... SHlNGTON. D,C. !n dumy Gallery of design opens January ,6 with an inaugural show of work in metal by 5hlo",0 HMmh,
AR TtAUCT 'ON JANUUV 2010 I WWW.AR TlN fO .CO ..

•
IS •
Salone Internazionale del Mobile

Eurocucina, International Kitchen Furniture Exhibition
International Bathroom Exhibition
International Furnishing Accessories Exhibition
Sa loneSatel1 ite
Milan Fairgrounds, Rho, 14(19.04.2010
Cosmil spa
Foro BuoMparte 6~
20121 Milano, Italy
+ 3902725941
+390289011563 fax
wwwcosm itit
e-ma il inlo@cosmit. it ..
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.£-_.!4.01t.-
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"I I
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WHAT YOU
NEED TO
KNOW
PaintingRx CQN'TTOUCHACRVUC
Con_empor.1)' plcl", ... ""rti<:ut.-.rty if done In K 'yllc. ""ould
not Hele .... d •• Ine. solv. nloun desl'oyl"" pllnt "WK ."I
",1n11ng. r" .y_·I,equl.e ... y~lndol,,,.c le .... I"'" N YI
In 2006 collector Sieve Wynn pu t his elbow tlltNew Yorlleon'lIfIj>Ot.ry·.rtcle ..... l ...1Ie' TonIr _ _ . "You
c.... . ..1Iy dull .... Inllngwllh .lealh... _ I ....• For eelUnll rI<I
through Le n'!ve, the 1932 Picasso for which he 01 HuH._ 1111 " .... Glvol",,"',uw. dry-cle.ning __ _
had paid $48.4 minion and was in the process of ..... t.-.I-"1/ ... _ .....' L 8utlor se. Io<II I I.IM .........·ee.
selling for a cool $139 million. Sounds lik.e a night- .. lIs __ ..... him ........ clell wlthllll I.o_.po,.-
"""yo. - ...... . ti ..... 'ou ju., ..... to b<1ng_h.wo,k bock 10 I""
mare. But, then, the tear was repaired. «Nothing

BEPIIEPAII[O
is hopeless,H says John Powell, co-owner of Col"cl ... l olten seelr oul prolellloulcon ..",.lo ... w""n
Chelsea Restoration Associates. in New York. ... ep.,lng 10jlUi p.lnllng. up lor ..... Buy .... sIrould lik. wl • •
Conlld,r h•• lng Ihl,d "".lIes ...ell polenll. 1pu,ch.s ... An
Good restorers can hx all kinds of minor •• p... I , •• lu. l lon 11 ... """I,11y Impo,l.nl on Ih. IKond.ry
m' ,k tt. AI H~I pol<1l s oul.by pUlling . C.n • •• undl r . n ull'..I....
damage. from chips, tears and scuffs to punc- .. I light. • conse",. lo. C.n Idl"" diller.nee b.,w.. n ... .... loUI
tures, dimples and stains. They ca n carefully ' .llo •• llon work I nd I c""ngem'de by I"" 1,1I11-.dl.tln<llon
wllhmljo. ,.ml~ co tlon.lo • • pointi ng·I .. "' • .
tighten canvas that has become loose on the
stretcher, get rid of the tiny white dandrufHke lOOK FOil THE RlGHTfIT
R.stor ..s' .....11111 • • , _ "om Old M. tt. rs ' oconl.mpo,.ry
dots that appear where paint is flaking from the lol ......... lionlsl s lo .. O<Ir oon"""",. AIIlroughcoaeclOfl c... ell
raised part of the canvas weave or tone down IMI .......... lor .eMc., T_ _ w .lsoougeelllcon.... tlf19
MU ....... I · cons..v. lion ••• 11. _ oHenm''' I .......... , . ... _
the yellow him thai decades 01 cigareUe smoke IIc .. OUI"'" ",.Ir 1n._~utIonL 1.1011 impoft.nt .dYl... HIII,.I0
can inflict on a painting. One thing that may be .... 101 • •• 1"" , ... Ior.llon ",oo ... LA" ....11,."" .. y.. tilt I""
IjNIC I.WoI I . ' . "hl9hty •• _cled . rtl. l. In 1",,1r own ' lgIIt."
irreparable is water damage. When exposed to
moisture, says Powell, Mthe canvas shrinks but
the paint doesn't." and paint begins t o pop off. II
A dozen res torers may have a dozen differ-
ent ways of fixing anyone problem. But one thing
they w ill all do is ensure that any repairs made
can be unmade. "It's the most important princi-
ple of restoration,~ says the New York restorer
Andrei Givotovsky. *No matter what you do-in
painting, patching, changing a varnish-it's got to
be reversible'- -RACHU 50 141>Sl[IN
BEAUTVISSKIN'OEEP
- An Inl.n .. Clnnlng-r.movlng I"" v. ,nl.h .nd oy .. p. lnl-po •••
Ihl mo. 1risk 10. polnllng. bee. uteln doing 00. con.."'... un
solvenl. lh ol CM . '1""1 1"" p. lnl .., ..... ,.c • •- tey. ~.'coGr ... l
• New Vork-tr ..ed conn",.IOr. GI.otovsky .uggesl. 11111 In mod
c•••• • IIgtrl surloc. 01 .... 1. . _ th.n nee ... . ry ,.1 her Illin lull
• • rn I.h r..,IC'".l lli ime-d.rke ned v.,nls h I.....1Iy m .. klng Ihe
I"""V •• howe ..... ,eslore. "",y c.,.lulty rlmov. lt.nd .pply
.no lh •• COlt. Oeco,tonilly. 100''''1", uw • •• nl.h wlltl>e
'e,lKed with onelllli I. ..... r.m." • • G.-•• sI ... d GI.olonk,
. .et 111111"" p. Klk. ol l ""C"""" new c...... to 1""_01
... OId_wilh glue or wu tlo ...... tt<'IbM. -som. r ... loren
1.. .....,._I""'_.lo'.. inloIcI ... lnhng .. bulit'. ju.lnol
I'ut." .. y.Glvolovlky. "Ilvokl ll ......... 'ou ..... 10 llell I""
_pllnll<>g._I""lag.. II.-
lESSISMORE
Th. gIft . .. 1con .. nsu .. mong con.."'.lo... . nd d...... 10 Ih.1
•• Iillie . hould be done . 1 po .. I...... - It som"h lng Il ju.I ""nging
Ihl ru nd 1.1>eIr1.1ng.1I·1 be.1 nollo Inl ..... n• •• •• , . Grol.1.
O..ld HIli. olNew Vo,k·. BI"y·HltlGI W. rl.l. I grett: -Cleaning
• p.lnll n g 10n'l pol iOh;" g Ito . k pleUI 01• ~.e, ." GIYoiov slry v.ri e.
hi •• ppro IC," In "".1 occo. dlnll 10 Ihe •• Iue . nd pu'po.e ollhe
plcl", •. "III" . . rei lly imporllnl .. orlo .... ./1 reeomm..,d IIIe mo.t
con ......" •• _,ooell. "h. . . YL ""Wsju" lor someon.' ,own
p...on.ltf'Ijoymenl . .... ml9hl domo' • •" Acco,dlng 10 Ken Mose ••
"".d of Ih.B'OOktyn Mutlum c.......... lloncle""rtmetll. ......."-
U... c ... lsh,-sloring. lurndllng. "'lpj>Ing.nd m ...... t l"9 •
.,...... In . .... n_' ... ' .......... Ih.tligllt. ....... ldity. _ t . nd
I.......... _"'.donol um_1t In I"" 11...1 pile • •
WWWA RllNroco .. I JANUARY ~OIO U,. A UCTIOH

Albert Allen III
Invisible Man II, 1999, mixed m€dia. 74121 inch€s
SHERRY l11LL YlN E ARTS 102 S, Tejon Street, Suite 1100 Colorado Springs. CO 80~3
719.685.1 S77 sherryhillfinearts.com

lNTHE '. " .' .. , . . . . .
STUDIO ,
_...
.-:-'" ~.",
. , ' . .' /
: .. -'. " ..
...... , ....... ' - , . ... . ,

--:..... ..., .:
" ... ... ,'
' " " ,
BY CASH DAN
MARIN!YANTONYCROOK
PHOTOGRAPHS

.. _Ie .,_".0 ...,1,• •

lNTHE
STUDIO
EWANG1HHS U VF.S IN A PINK HOUSEONTHEEOGEOF F<1rringdon,

England, a sleepy market townies> than two hou rs by .;ar from
London. The three -story early Georgian structure, where he
lil'es with his wife and the ir IWO young children, has all the
charaCteristics of its architectu ral era and charming eCCen -
trieities of its age: stai ned -glass w indows, erea ky floorboards,
hidden and odd!)" shaped doors, intricate moldings and sash
windows. The smalleST of the three top-floor rooms, which
hav e low, beamed ce ilings, is Gibbs's studio. ~It's actually
perfeCT, because I can't hear anything lip here . It's physically
a long way away,~ says Gibbs, who iscomposed and straight-
forward, with a gentle voice and a OO)'ishness that'senhanced
by his casual attire of striped sweater, jeans and sneaker>, "If
I want to get a Clip of tea, it's a long walk, and so that gives me
a mental break.»
The studio is small, with JUSt enough room for his
draw ing table, a chair and not much else, but the light on this
September afternoon pours through the dormer windows,
making it feci larger. A simple shelf is stacked with CDs-
Gibbs follows emerging indie hands like Fleet Foxes, Vampire
Weekend and Arcade Fire- and a C D player rests just behind
the adjustable tabletop where he works, beside a massive pile
of Faber-Castdl pencils. Tacked to the wa ll arc drawings of
such San Fran<.:isco landmarks as the Golden Gate Rridge and
theCoitTower. Soon, they will beshipped to the San Franci>co
MUSCIUll o f Modern Art, wh ich commissioned 18 draw ings
by the a ni st tocelebrate its 75th anniversa r y. A lso pinned up
are pictures by his fi\'e-yea r-old daughter, including a Fathers
Day card, as well as a bla<.:k-and-white photograph, ri pped
from a magazine, of an aging Edward Hopper sitting at his
easel. "llike that picture," Gibbs sa)'s, Mbecause it gi\'es you
hope - doing it fo r yourwhole li fe,~
At 36, he is already clearly de"oted to his craft. In addi -
tion to the SPMOMA exhibition, which rllns from J annar), 16
through J une ~o, a solo show of his work will be at Chicago's
Richard Gray Gallery in March and at the l ora Reynolds
Gallery, in Austin, this fall (he is re presented by the T imothy
Taylor ga ller y, in London, and also works with the Baldwin
Galler y, in Aspen). Gibbs made his name w ith unique gri saille
drawings of landscapes, hotel rooms and well -known bui ld-
ings. These potentiall y mundane subjects are transformed by
the way he renders them: On standard A4 paper (8.3 by J '.7
From top: nuee 01 inches), using a grid as a stru<.:ture, he
Glbb.· • ..ewg,.pIolte·
on· .... perdr ... lng ••
draws hundreds o f pen or pencil circles
u.:h~t~JedS"" and slashes, symbols recogn izable to
Fr6ftClsco,2OO'.I.
comm l•• lonedby anyone who has ever knit a sweater or
.... o .. ~ l or l t.75th a scarf. The image is thusdeconstruCied
. nn l ~ ... sa,y thl.y ... "
Cent ..., The.,tl.t tron- into someth i ng more pixilated, abst ract
""Ibu . pIoologr.phlc and sometimes so faintly rendered as to
Im_ .. to ......ie.of
be nearly absent.
Int,lclle "'"'~' blsed
on tllose In knlltlng Gibbs says the technique " found
Inst,,,,tlon s. " Iliked
hilt\~ wh~ n he was stuck in a rill while
Ih~loglc otthrm" ""
.. y. oflhr .ymbol •. sti ll a student Jt London'sGoldsmiths »
AR Tt AuC TI ON JANUARY 2010 I WW" .ARTl NFO.CO"

f
lNTHE
STUDIO
•
college, in 1996: "I was makingp"in{ings, and then I gOt in

this weird position where I knew I wanted to paint but I didn't
know what ! \\lJlIIcd to pailll o r holV, in what language. And
[felt like I was being really derivative of painters [admired at
the time, including Patrick Caulfidd and Lichtenstein and also
Ronnardand Vermeer.~ Then hefound a book Oil knitting pat-
lerns. Gibbs was imrigued by the way many of the instructional
sym on!s stood for colors of yarn, which, for his pu r poses, he
translated into tonal marks made with a pen"il. "1 liked the
logic of rhem," he says. "T hat was the turn ing point . ~
H is in itial knitting-symbol d rawings- in his fi rst ga llery
exhi bition, at Maureen Paley Imerim An, in London- were
based on photographs of hotel rooms he collected from vaca-
·t..
tion brochures. Bllt viewe rs insisted 011
Top: The I rtl.r • • tudlo.
interpret ing the pictures, rather than
,.,;:,"'
I tiny room"" t he third
ftOD< ol lhe r am b ~ n g
Ge<><gi . n house he
fo.;using, as he wished, On how they were ,
. h..es w ~hh l . l. mll y . created. "When r was doing the hotel
~
1,)Ii
Cloc~w l sefrom larle ft:
N~ wY"'k.2008;
Gibbs. tlklng ' bru k
In the~ounlry . ld. n . ...
inter iors, people would start analyzing
that they were aboUiloneliness or isola -
tion," he says. "lSoJ r moved to fa~ades,
,,
!
hi. house; . nolh., New
Yorlr drlwlnglrom thinking that they had less meaning." !
2008; I nd Typlc. 1 He followed those pictures with a series
Inl .... I<>I". 2006. oM
olhlsurlydeplc l lon. of baseball pitchers in balletic positions
olhotel roomsb.se<I [shown at the lora Reynolds Gallery in
on • • c. llo n broc hures.
Vlew... would.t. rt 2.008 ) and then with portraits of New
Inte rpre ting the d" ..... York, lOlldon and Paris lalldmarks,
Ings •• • bout lone line ss
or l. ol.llon. so. h. including the Chrysler Building, Big
u plol ln • • "lmo •• d Ben and the Eiffel Tower. These draw-
to l ~l de • • t hlnk lng
thl tlhe y had I.... ings, first shown at Timothr Taylor in
m,,"nlng : 2.008, have garnered Gibbs the most »
AR Tt AUC TI ON JANUARY 2010 I WWW .• RTl NFO.CO ..

~MERJCh\~
by The Art Newspaper

*****
• !. ••
Palm Beach I Feb 3-8, 2010

Preview Evening February a
Palm Beach County Convention Center
West Palm Beach, FL USA
+1 239 495 7293 I ww.aifaf.com I info@aifaf.com

lNTHE
STUDIO
recognition, induding a conlln;,- Gibbs's works a re clearly influ-

sion from the Arrnorr Show in New enced by those of Hopper and the
York to create the visual ident i ty for Photorealist pa imcr Roben BeehtJe,
its 2009 edition. "Drawingisa p rimal bur they alsof>'oke rhe delicate draw-
activ ity and, in Ewan's case, a p ains - ings by Vija Celmins, whom he cites
taking one ,~ says galler is! Taylor. Each as a ~huge inspiration.~ To a list of
drawing is the accretion of wecks and art·h istorical references that ma)' be
months of minute mark making, and detected in his pictures- rea li sm,
through thisbbor- and time -inrensive Pointillism, Minimalism- Gibbs
method, MGibbs also addresses the adds Pop, because of his lise of iconic
question of time. In a world ded icated images. ~I think of these almost like
to develop; og speedy com munication, celebr ity build i ngs,~ Gibbs q uips.
coupled with a desi re for higher cia rity His aim is to pre"em allycolltextllal
and definition, his d ra wings imr igu- emotional analysis; the images are so
ingly re present a Ill(Hnen{ of respite: familia r they almost lack mean ing.
The image is dissoking rathe r than Instead the drawings' power lies in
appearing." their intricate honeycomb patterns
and the irresistible nostalgia aroused
by the postcardlike SCeneS. Both engaging and mesme rizing,
they are ac<.:essi ble despi te their extraordi na ry complexity.
The artistgetsaspecial th rill from thedissociationof the
creat ion from its creator and the very act of creating. ~I think
it's interesting that with thisdrawing, for example,~ hesays as
he works, "that someone will look at this mark but not know
thatat this moment I was hal'ingacolll'ersat ion with you .~ No
maner what is going On around him, he continues, "the d raw-
ing remains constant .I·m nnt interested in telling people ahout
myself.] My work] is more to do with per<.:eption and the way
we look at pictures and how pictures are made- that's what
['Ill interested in, ratherthan some po litical idea.~
Gibbs now bases his drawings on photog raphs that he
takes himself,spendinga week or two ill a givelliocatioll with
tou rist books and a d igital camera. Despite such preparation,
he insists thJt his representJtions are nnt exact' "The wei rd
thing is that they kind of look prec ise, but they're not at all
precise; ill a way they're "e r y generaliled,~ If the re presenta-
tions lack precision, his approach does not: At h is drawing
board, with the graph pa per turned upside down, his pencils
neatly lined up Ilexttohim, usinga pointerrogu ide himsclf as
he meticulously makes the circles in varying pendl grades, he
appears engaged in a nearly sc ientific process .
... ·mM>llnl ....e.tedln He is at his drawing board by
lellingpeople a boul
myselt," Glbb • • a , .
9 ... . M. ead day and works, with small
olhl.pr.cllu.' My br eaks, until 5: ) 0 P,M. "The n we ha\'c
work II more lodo wllh
pere. ptlon ..... l he dinner and hangout wilh Ihe kids and
waywe loolo a l plctu , .. put them to hed, and I work from about
a ndllowi>clu, ..
. r. m. on.' Top:Th.
8 to 10:)0, ~ hesays. T he rontine doesn't
. rU I I.I"~"1Ilhrough appea r to him at all monotonous. "I've
• 1><>'11011001 hl . wor ~ ..
and . de t. 1I ollhe pile done it for '5 )"ears, and I sti ll feel as
otpe ncl l. he keep. ex<.:ited by it,M he says. '·While I don't
a l hl.drawlng ta ble.
Let t Sa n Fra r,cI",,,. change that much, the world ischanging
2009. around 1l1e . ~ If"
AR Tt AUC TI ON JANUARY 2010 I WWW .~ R Tl N F O . CO ..

Deborah Oropallo
'11 !Utl ~
WlL!c)
"W1l.
f!J~
@ •
~ ~ ~
~B@W
January 8 - March 6 , Z010

SOUREN
MELIKIAN
AmoO>g the toplots at

the Solheby' ..ate .. as
1( "", .anDong en',
t9tOJ~un~A'. M,
whichbrouuhtl ln
SI3,8ml~lon with the
buye<" premlum.TlIe
prlcewas notonly a
wD<1d record torlh.
arll. I, bu l al", II><
second auction record
thatdlY for anartl,t
marked by the Fluylst
heritage.
The Punch of
Expressive Art
At the November Impressionist
and modern art sales, the market
took off like a Fauvist rocket.
THE GR EAT PA R A POX O F TH F; ART MAR ~ F.T was re"ea led to the
full last NO"ember atthe New York sales of Impression ist and 45
modern ar t- it is boo ming more than cver, as if the pers is-
tente~onOlll i c troub les had no bea ri ng on the urge to ~oll ect.
Underlining the paradox, it took one of th e casualties of the
recession to demonstrate its astonish ing bldlishness.
T he sensationa l Novem ber 4 auction at Sothe by's,
whe re S6 paintings and sculptu res rea li zed nearly $[ R ~ mil-
lion, incl uded an outstand ingco!!e<.:t ion wh ich, a<.:cord ing to
rumor in the art trade, tumb led on to the market as a result
o f a DutCh businessman's financia l problems. T he sa le con-
fi rmed beyond possi blc doubt that the o nly problem regarding
Impressionist and modern art, as in virtu a lly every other a rea
in the market, is the shortage o f supplies.
Unt il the N ovember sales, Imp ression ist and modern
wo rks o f art dese rv ing se rious attention c a me up in such sma ll
numbers following th e financial earth quake of autumn lo0 8,
that they made a ha lf-convincing case for the continued good
health of the market in one of its mo st important a reas. In psy-
cholog ica l ter ms, it is not easy toarguet hat a ll is well because
second-d i"ision pietu res continue to fetch higher prices than
thei r int ri nsic me rit wa rrants.
T he problem was il lustrated by the l\"O"em ber} sale at by Pau l Signa<.: in [9 ' ~' l\ana l in its <.:omposit ion. wh ich does
Chr istie's, whid inaugurated th e Impression ist and modern not rise abo" e the level o f a picture postcard, Thc Old Harbor
art wec k. Disturbingl), thin, the session yielded e"idcnce of at Calmes owes its vibrancy to thc brushwork that transforms
buyers' eagerness to pounce on anything worthwhile, but it Ihestructure.
hard ly allowed One to draw defin it;,'e co nclusions about the Remembering the distant days when he laid down the
o" crall upward tre nd. However, it pointed to an intc resting foundations of the Di" isionist movement, Signac juxtaposed
sh ift of aesthet ic preferences that the Sotheby's sale confi rmed Ihick dots and short strokes of color- pink, yellow, green and
on a spectacula r scale that followingnening. bille-that ma ke the seascape swa)' and sing. The Cannes scene
Fou r pictu res out of the 46 lots that camc up at Ch ri stie's shot up to $3.8 million. For a picture exe<.: uted }O years a fter
were of a suffi<.:ient cali ber to gh'e real s ign ificance to the ir the heyday of its style b)' a n artist who does not rank among
performance. The first to appe ar was a seaside "iew painted the most hig hly rated Impression ists, this is a stagger ing score.
www ~ " " NF().C()'" I JAN uARy 2010 ~ " ' t ~ UC " ()N

SOUREN
MELIKIAN
The exp ressiveness achieved by the swinging mo\"c ment and

the intensity of the prirnar ycolo rs did the nick.
The>econd significant work \Vasa pastel by Degas. When
Impres>ioniST art was still rel at;'"ely abundant, lJa"5euse5
would not have greatly impressed the attendance. Th isdraw-
illg of a Paris Opera dancer adjusting he r shoe was done in the
mid -t890S when the great master was nO IOllgfr in the full pos-
session of h is sk ills. The simplifi cation of the composition and
the roughly appl ied colors would once hal'<~ been pcrccil"<~d as
indications of the artisT's irreversible dedine. These character- in an embrace, is handled in Rodin's naturalistic style The
istics now pass for the exp ress ion of a n avant-sa ,de orientation ove ra ll effect has more than a touch of bou rgeois b"nality.
and sent the draw ing climbing (0 $10.7 million. The gigantic Butthethrustof thewornan 's body and the man's posture brnding
price is even more remarkabl e ifone bears in mind thnt works to kiss her !ips make the couple stri kingly ex pressive. Expected
on paper must nOt be exposed to light for m be sold for between $, .5 and $2 million, the bronze attraCted
longer than til ree con secutive months at the bids from every side and e"entually rose to an extraordinary
outs ide if they are TO retain the freshness of $6,4 million_
At SOt he by's the next day, the aesthetic trend d iscreetly
The Degas formed a strik ing hinted at by the Ch r istie's sa le was confirmed th ree times over.
contrast w ith the next big winne r of [n that sess ion all the top prices went to works of art that
the e'-ening. were su perlatively ex pressh'e, however dh'erse they might be
T arnara de Lempicka 's Portrait in style, medium or per iod.
du Marqujs Summj was painted in The smash hit was a large if extremely slender bronze by
19 15. Faint traces of Cubist influ - A lberro Giacometti. The title L 'homme quj ,hav;re echoes the
ence may be detected in the angu la r dramatic forward lurch of a character whoseems to ha'-e just
volumes. The pon rait could bechar- lost his balance. The almost curvilinear rendition of the body
acter iled as kitsch with a modernist em p hasizes the mO"ement and its imminent dramatic conse-
TOuch. It is gloomy wilh its p redomi - qllence- the fal l made ine\'itable by the precarious posture.
nantly da r k palette. But the p icture Conceived in 1950, the bronze was cast the folJowingyear in an
is highly ex pressi\'e and its dist inct ive ed itionofsix. Th isd id norsmp itfrom soaringm$'9'3 million,
style makes it instantly recogn izable. It fa r abo,-e the $8 to $ 11. m illi on estimate plus the sale cha rge.
was knocked down at $4.} million with Fou r lots down, an unusua l seaside landscape by Andre
the buyer's premium. Dera in painted a rolUld 1905 made quite an impressionon the
Salvador Dalf's Nu dmlS ia piaj,w room. Barqucs au port de Col/jOllrc is done in the palette of
de Rmas would be placed by some in the De rai n's Fauve pe r iod. But while the; ntense greens, reds, blues
same category of kitsch w ith a soph isticated and acid yellows are typicalof the rears 1904 to 1907. they are
TOuch. The sleek br ushwork and the pseudo- Hot appl ied in large juxtaposed areas as was often the case al
Na'd sty le give it a kinship of SOrtS w ith that (ime.lnstead, dots and shorr Strokes that a llow the pale
Walt D isney 's cartoons featu ring Bambi. ground tocome through make the landscape swim under the
But the incongruous combination of ele - viewers eyes. A pe r petual mo\'ement seems 10 run through
ments that wou ld never be associated the harbor view in contrast to the painter's llsually more static
in real life make it quintessential Dalf pictures. Ri,-eted, bidders sent the picture soar ing well aho\'e
production in its ear ly Surre"list the $8 million high esti m ate, to justo>"er $ r 4- million with the
phase. Too unrea l togo unnoticed, sale charge- a wo rld allction record for the artist.
the Dalf ascended to an astonish - B)' a coincidence that says ail about the o\'errid ing
ingly generous $4 million. importance now attached to su p reme Andrf Der~ ln'. . loOl
Yet the biggest surprise at expressi'"eness by those who go after 1'.105h,,""" oce ne
S.rqueu u"."tde
Christie's was not callsed Impressionist and modern art. the third Colllo ....u llrK le<I
,.,~. .- by a picture but by a highest price went to another picture ie,IOIls .tte ntl .... ,
The Fauolst work
scul pture. At first sight, indebted to the FJm'c t radition that is so ldlorluoloo.. ,
Rodin's b ronze Le baiser, also llllusuaL Jemie ArabI? was com - $14mlUion, . world
record for Ihe or llot.
moyell modde has little pleted by Kees van Dongen in 1910. T he AtbelloGlaco.rne11l 'o
in common with the three -quarter-length portrait shows l 'homme qlJl clulW,e,
c ..tlnI951, . tso
p astel o r the pa i ntings. the boy standing full front. H is head '"rne<! hu do, soorlng
The subject, a man and a is sl ightly tilted to the right and his to $19.3 milt ion, well
a booe ~ 0 $12m l "l on
woman in the nude locked nude TO r so gently sways. With his » hlgh e<llmale.
~ R T>~ llC tr<) N JANUA~Y 1010 I www ~~ tr N FO CO ~

SOUREN
MELIKIAN
left arm akimbo Jnd the other hanging down, the Arab boy and MiJd~) was painted by Kandinskyin 19}2. toward the end
seem~ about to speak. The intense brick-red color of the face of his Ihuhau$ period. With the contfJsting colors of abSt raCT
and {he torso, set off by a simp le bla"k outline and the solid for ms that see m to collide with each other, the picture com-
off-white background make the startling image leap off the mands instant attention. The biggest shape, a bla ck wedge
wal l. Unusually for \'an Dongen, the eyes are not rendered with a toned blue disk lodged in the top corner glares at the
natu raJislica lIy wilh a fierce Slare, bm painted a monochrome viewer as if it were an eye. It gil'es thecomposition a d istu rb -
ma roon that fills the eyelid. The hoy thus has a blind gale in ing Surrealist fed while betraying the austere Kandinsk(s
the mannerof Amedeo Modigliani, whose influence is IImni,- unexpected awareness of Joan Miro's impish interpretation
takable here, jusl as van Dongen 's awareness of Matisse's stylc of Surreali sm at the time . Krass !/Ild Alild rea lized an impres-
at that moment is blatant. Thu e is a hypnotic 'lua!;ty to Ihis sive $10.6 mill ion, again exceeding the upper estimate.
pictu re which, according to an i Ils.:riprion on the stretcher, was Pred ictably, M iro himself did extremely well. Fcmme.
exe.::uted in Egypt. Fascinated, b idders ran up Jelllle Arabe to Oiscau, an ultra -simpl ified abstract composition of blobs Jnd
SI}.8 mill ion, rOllgh ly 2.0 percentO\'er the high estimate. And cllf\'ingstrokes in wh ic h red and black dominate on the glar-
with that, a second auCtion record for an anist marked by the ingly white canvas brought nearly $ ... 8 million with the buyer's
Fauve tradition was set that evening. premiu m. T he picture was dashed off in a day sometime du ring
Proof that the defining factor of success that session was September 1972. when the Catalan-born artist seemed to be
the ex pressiveness of the work, regardless of the style, came spewing f lIry byspl urging color. Expressive is too weak a word
ha lfway through when the fourth highest price was pa id for a to convey the thrust of the brush or the shriek ing intensity of
composition of geometrical forms. Kra$5 ,,,,J M ilJ (~Dramatic itscolorscheme.
~ ..... The wildest excesses of Picassochurning out one-day car-
TOon-type pic tures were enthusiastica Ily fought over. Taking
seriousl)· pa intings produced hy the hardline Communist aftist
as a pro"ocation to the bou rgeois establ ish ment, bidders went
after a Buste d'/'ommc as if it had beensome \I nforgettable 1I1as-
terpiece. The bill for this ~ portrait,~ dated October 5, 1969,
was a prodigious $ [0,4 million
Later, another grimacingca ricarure by Picasso brought a
stll pendolls$8.1 million. Expedited by the arr iston Janliary 8,
1947, Femme a" chapeau verI has little to recommend it other
than a famous signature.
The intensified search for exp ressiveness is changing
the price scale in modern a rt. Until reecmly the work of Emil
Nolde was avidly sought whene,'er it predated the s)'stem-
atic destruction of his paintings ordered by the l'\ali regime
which branded his work as "'degenerate art.~ A picture such
as Uppiger Garrell (~Luxllria1lt Garden") painted in [945
would ha"e ins pired little interest. The d ose·up view of
flowers ismorecontrolled in its brushwork and more balanced
in its color scheme tha n the Expression ist artis!"s earl ier paint-
ings. Alrhollgh the colors of the flowers a re intense, it betrays
a search for ha nnon}' that runS counte r to the original aims
o f Exp ressionism. The result is magnificent. Although the
composition is well -balanced, the flaming reds of the anemo-
nes, set off by dark emerald greens and hy the delicate pale
pink of other fl owers, give it an explo-
The p.olel O.nuuoe ..
sive strength that remains highl)" d' .... nbyEdgarD ~ gao
expressil'e. This masterpiece from a In Ihe mld·tS90. when
he was no longer Illhe
prev iously neglected phJse of Nolde's he~hl ofhISI,II. II<
oeuv re matched the middle estimate as pow en .sllllm"" ~ ed
lodlmblo . ,e mlrl<-
it made $2..6 million . Nottoo long ago it a ble $10.7 mlIiIOfl. II',
might hal'e crashed lInwantcd. I sl ' IISIWr>g hgure
... !>en you conslde' 111 . 1
Anothe r case of shifting inter- paslelsunOfllybe
ests was offered by Fernand Leger's /.es d[sployed 101 sl>o,l
period s olilme
trois I11l1sicie>1s. Dated 19}Z, the scene is Ilihey .relo be
handled in a figll fJI , pseudo-Naif » .hleldedlrom b dlng.
~ R I>A lIC lI<) N JANUA~Y 1010 I WWW ~~ lI N FO CO ~

www.arlveras.com

SOUREN
MELIKIAN
style. The ins istent black outlines and rhe toned grays stand
Qut aga inst a solid acid -yellow background. The faces are
eerily simi laT. As an image , Le5 troi5 "'''5iden5 catches the
eye from [0 yards away. Leger is pa rticu la rly admired by
21st-century art collectors for his "cry different, abstract
"mechanical" pe riod, when he rd entlessly pa inted manu -
factu red machinery parts. On November 4. at S(}[hehy's,
the figural Uger triggered competition that sent it nying to
$5-7 million with sales charge, nearly double the expected
highof SJ million.
As expressiveness goes up, su btlety recedes. Pictu res
of c\'cry kind that would have pitched connoisseurs against
each other a generation or so ago a re nOlVeasily overlooked.
Some splend id acqu isitions could be made at the New York
autu mnsales.
At Christie's, a be autiful Paris \' iew of the Quai
Ma la quais on the Idt bank o f the Seine done by Pissarro in
'90., stood oul. The rive r is Seen from a h igh vantage point,
with the Institut de Fra nce \'isible far away. Countless touches
or pale colors daintily applied create a splendid atmosphe ric
eifect. A poetic melancholy pervadcs the sophisticated com-
pos ition. But ne ither melancholy nor sophistication are in
demand these days. The important landscape, wort hy o f any
50 great IllIISeUrn, did not even match the middle estimate 3S it
wem for $2.1 5 mi llion with buyers premium.
Anot her equally poetic lan dscape, th is time by the great
Corot, cost only $866,500. T he master-
o.spltelts gloom y
. sp«!. To marl de piece, done in the later 1860s ncar Ville work by a towering figure of mid-19th-cclllu ry French painting
le mplck. 'sl9lS d'Anay, where the a rrist Iived, is ill mint that is subdued, both in mood and cxe<.:ution.
Porlroll duMorqui'
S<lmml.chl..e<! I brl!- condition. Italso has a 10nghistOf)' in the At Sorheb(s, simila rly llIode ra te prices were paid for
~on t $4.3mllllon.Yet l U.S.,going at least as far back as its fi rst works of the same ilk. An adm irable Paris<.:ilysca pe pa inted
m . .lerlul lo n<lsc. peby
Corolw.. boul/hlfor auction appearance in New York at the by Pis sa rro in 1899, duly signed and dated, was a rea l cou p al
whit omounle<! to a Amer ican An Association on Januar)· $2.11 million, even though the price was substantially more
1lnl,lm Ht
$8665 00. Thai price 8, 191. 6. lts pri<.:ewasslightlymorethan than the high estimate. Nothingquitecompa res with the view
le.tlled to Ihe current Christie's high estimate, but Ihis simply of the southwest wing or the Louvre pabce and the Jardin des
"'lfIlncoltcto<l •• tt
from tile nuanc e<! to shows how low Ihe best experts' expec- Tui lerics seen in the misty white light of a snowy day. The Hear-
Iheu preulve. tations Can be when it <':(}Ines to a great impossi bil ity of conveying in a catalogue the pale light and the
mu ltiple nuancesof white and off-white with tou<.:hesof gray
and purplish brown may in part account for the cornparati\-e!y
lukewarm response that such a masterpiece elicited.
Howner, other failures to trigge r the kind of enthusi-
astic bidd ing that greeted the appea rance of cxpressive works
suggest thar the main cause for the modest performance o f the
admirable Pissarro lies in the art itself, not in the cata logue
re p rodu<.:tion. Moments earlier, a rare riverside landscape
in exquisitely del icate shades done by Sisley around 1870, as
Impressionism was beginning to emerge, sold below the low
estimate for S I.s million. You can almost fed the coolofeariy
spring in this spa ring!), painted gem.
Aesthetic perception has changed, renecting a broade r
cultural break with the past. Shades and nuances no longer
appea I in a world to wh ich COntemplation is al iell. The '1uest for
the instant punch delive red by expressiveness can on Iy intcnsify
as the attemionspan ofcontemporarysocietygets e\'ershorter. Ell
SOU~ E .... nl ~lA .. I S TH EI NTE~N' TIONA L EOITOR Of ARI+AUC TION
AR1>A lIC TiON JANUA~Y 1010 I WWW A ~ Tl N FO CO ~

THE MASTER'S
GAZE
WITH HIS KEEN EYE,
LONDON DEALER AND CO LLECTOR
DANIEL KATZ
HAS MADE A CAREER OUT OF
THE ART OF LOOKING.
By Judd Tully · Portraits by Laura Pannack
IN THE I.AH 196os, D.lllicl Kal~. "isired ;) tu re from , 893 that he acquired years ago at a
now-shutrered g.ll1cryon 571h Street in New Ch ristit'5 5:l lt in $cOlland.
York. He reca ll s Ill,HI'clinga! reproduct ions Daniel Katz Ltd. occu pies thtu f100f"S
of W;l g rcat Rogie r ,';In der Werden, a g reat of an d tgant , 8th.century lown hooSt
H ans Mcmling, a greal \'':111 Gogh, a greal that was formerl y horne to the famed I.eger
Frago nard and a grear Picas$Ow hanging 011 Gal leriesand, lon g bdort that, to priulighte r
5' the receptlOn-MCa wa lls bUllhcnlind ing, once Gen ticman Joon Jack50n's boJ(ing academy,
he passed through Ihcdooblc doors, Wnmh ing where, Katz tt ll s mt, Lord Byron famously
c"'c pliona l ... jusl some nice pin:cs of blC: knocked out another Eng li sh nobleman in the
16th-century fu rniture, a few Stile Epoqu c ea rly 19th cen tury. ThJt isoneof a Sirtam of
oo,n:tsand a Bouchcrdraw i ng.~ Wh ..1l' WCIl' anecdotes thai nowsdu ring my mtttings with
Ihe maslt'rpicccs on "jew out front? They had Katz, which lake place O\'ersel'eral days du(' 10
bun sold ),c3Tsago, ,hcga Jlery staffinf.:...med the dealer's ralherperipaletic schedu le. At 6 "
him. - I [houghl TO m),sdf,w hC5.1YS, -'What do Katz, a self-dCiCritxd polymath, with inf~I"C'SIS
they h,\\'(' to show for thcmscll'('S?'- ranging frollllllod~rn danc~ to Isla Illi, c~ra m·
Thai is one qucstion thaI, after 43 ics, isold·fa shioned and profc§SOtial. Eloquent
years bu ying and se llin g tht lin est Europc:an and with th(' silky ,'oic.: of an English SI3gt
scul ptu res, (rom 1{ tn ~i S5anCt bronzes to actor, hc has the ai r o f somconc from a nOI her
' 9th-century ma rbles, Kat~, need not 311swer. cCTliury. He is composed despite the mll sc ular
EI'idence o f th e London dea ler 's s ucce~s is tics associated with his Tourette's sy nd rome,
e\"erywhere in his sumptuous O ld Bond Street wh ieh he ac k nowledges offha nd ed ly.
quarters. 111 addition to the works on display If is th e summer aun ion seaso n in
in ex hibition spaccs, irwcmory itcmsa re scat- London, and Kat~ has d('cided to sho w at
te red here and there: a po lych romed- wood the gallery, for Ihe lirstt ime, se lections frorn
Mad o nn a and Ch rld on a chair :Itld a pan e l his own coll('({ioll. Sur prisin gly, it do('s not
from a circa ' 'ISO Florentintc<l$sOlle, or wed- contain Renaissanc(' or Old Ma ste r seu 11'-
ding chest, that K at~acquiftd ftcem l)" ftom a ture. -I never wanted IOcoliecl the same art
sma ll auc tion houSt in Stockho lm. I sit with as I dea lt in,~ he says. - BeC 3US(, if you do,
him ill his oflicr/stud)', whtrt ht is lean ing you nCI'(' r wa nt 10 se ll the grea t things YOoU
back in a wNthered Ittgt'"II;y itathe-r a rmchai r, ha,·('. and th<'rdore you don't have anYI h ing
his handscbsped beh ind h,s head and one kg grea[lOsd l. ~
comforubly propped on his an tique French He focused iniriaJI)'on ll:llian p;!i11lmgof
desk. A!x,.,e him hangs the statd), Portrll;t of th(' ' 5th a nd 16thcentu ries,lh('n Flemish and
all Architect, an ()l Ion ca nl'as anributed to the Gt rman pictu res. In thc('a rly 19805, he 11"('111
mid '7lh- to mid ,8th-centu ry Jul ian painte.. Ihrough a brief Frtnch hnpressio llIst phase.
FrancescoSohmtna. Kat1. ld ls mt Ihat it has Finall y, about 15 years ago he tx;:alll(' in ter-
dispbced, forrhe mOomem, William Nicholson's ested in loth -centu ry British a rt. Hebooght a
Yormg \'(IOIIIIlII;1I While, a Whi stkftsque pic- Waltt r Sicktrr nude, Dal'id Bomberg's redis-

covered 19 14 The Dancer, an carly Lucicn Show, where he will be bringing Carpeaux's
Freud and ~a lotofFrank Auerbach,~ nuanced portrait bust of thc painter Antoine
Katzwasborn in London butgrewupin Watteau,a '5th-century English polychromed
Be\'erly Hills, where he was fasci nated by the figure of Saint Aubert and a 17 th -century
homes of Hollywood mov ie stars, T he family ItaliancopyofMichclangelo'sallcgoricalfigure
moved b"ck to England, where hegot his pro- o f Day from the Medici chapel in Florence.
fes>ional start while still a teenager working ~Danny has an exceptionally good eye
in his father's antiques shop in Brighton, Katz and has built up extraordinary knowledge as
reca lls Dr. Michael Tral'ers, a noted book col- well,~ says the London Expressionist-artdulcr
lector and I1mscum patron, coming into the Richard Nagy, who is nOt known for lal"ish-
store and striking up a con"ersation. Travers ing p raise. "The gallery is a \'ery good cross
ga"c Katz a letter o f introduction to the art between the old-fashioned Old Masters duler
histor ian Sir John Pope-Hennessy, a friend and a COntcmporar)" dcalcr o f his time."
o f T ravers's who was then the director of the ANEClEcnCMIX, , LynnChadwlck'sSlrdIV, 1958. Katz's eye and knowledge have led him
Victoria & Albert Museum. Katz nel'er met r,om K.tz·, collection. 2 A 17th-cent ury terra-cott o on not-always -fru it fu Iquests to trace a piece's
mO<lel.f1erMichelangelo. 3 K.tz hol<ling Henri
Pope-Hennessy, but he did connect with a Gndler-Bnesk~·. Cot t914.0n hls<le ... are. Irom left
prol'enance or to prol'e that another has been
young V&A cu rator, Anthony Radcl iffc, now o small Oon.lello lIto,,",e pulloud ErlcGIII's Alp"""et misalTributed. In J uly '99', for example, he
the keeper emeritus of sculpture, whowasan ro"'ePot 1931. .. Apoty<hrome<l -woO<lMadoMI acqu ired a bronze statuette of Apollofromthe
..... Chikl,u. t45O. 5 Jcon-8.pti1teC.rpeaux·,
expert in Renaissance bronzes. t9,h-culu<ybu.tol AntoineWattuu. ' 8.rb.r. Sot he by's sa Ie of theestate of Peter Wilson, the
Hepwor'~" F",m, inMo.ement(C.IIi.,d) opus212,
"'We ix-camegreal fricndsandcol kagues," 1956. 7 Plelro lIccl', bronze S.lntS.N.tlo",
fabled Sotheby·sauctioueer. The piece bought
says Katz, "He took the time 10 show mc the u.1&oo . • Aporlr.llofu •• Ie<lI.dy,lnpl.. te<,I,om in at £ 1 ,joo lS ~,ooo). Thecatalogue dcscribed
11>0 French Sc~ool, CL t830.
col lection, and' spent days there look ing. 1was it as ··after the antique, late, 8th centu ry," but
hooked . ~ Kot long after their first meeting, a young guy. My wife thought I was going to Katz belie\'ed it was much earlier. Since th:It
Katz bought tWO bronzes with his winnings goctazy and buy planes and cars. 1didn't . I sa Ie, he has tried, so far in "ain, toconfimlthat
fmm a howling tournament and brought thcm JUSt gOl back to my stud)", tral"eled the whole thc figure is by thc North Ita lian Rena issance
to Radd iffe toel·aluate. One tu rned ouno be a o f Eu rope looki ng at works of a rt and sta ned sculptor Anton io Lombardo. Katz has kept it
m:ent fake and the other from the 17th centu ry_ buying French Impression ist pictures."' In close at hand to study but intends to put it on 55
The deale r's galle ry, opened in 1969, 1984 hc sold his Manets and Monets, a long loan soon at thc V&A . On one of my visits, the
specialized in Greek and Roman antiquities, with works by Mai 1101, Mod iglian i and Rodin, piece occu pied a corner of the dealers desk.
bur the number of forgeries in that fi eld con - at Sothebr's London "just before the big boom. '"I "'e been working on th is bronze for :0
vinced him to sw itch to periods with better We did OK but notgreat,~ he sa)'s. yea rs,~ hesars with some aTilazemem, ··and no
documcntat ion.ln 1994 hc opencd a grand Are there an)" dcalers, past or present, one'snacked it. 1sent itOI'erto Richard Stone
space on Jermyn Street, JUSt a stone's th row who hal'c influenced him? -'Every pcriod had Ia conservator at the Mctropolitan M USCUTTl,
from Christie·s. ~rt"s a funny world," he says. greatartdealers,~ Katznotes. ~rnthe' Sthcen- in New Yorkl, and he found that it was a d irect
"When I was young, I thought being an art tury there was Joseph Smith, who acquired art cast in the Mantuan style from around 1500.
dealer was a way to get into a world of ele - for the Eng lish in Venice, and Siegfr ied Bing It·s thc most I"aluable thing I own, and it will
gance - you know, the hand made shirts, the the Art Nouveaudealer in Paris. I 10"e thesto - stay atthe V&A as long<lslli\"e,andthen itwi ll
Gucci loafers. And I actuJ lIy got a 11 of that, I In riesofJoseph Du\'een,and when I was younger be gifted to the n:Ition," Notc\,eryone agrees
the '8os,1 1started mixing with artdea1ers,alld I kind of modeled mysel f after him . ~ with his assessmem, and e\'cn an cxpert as
I found that most of them wanted on ly m talk Like Lord DUl"een, Katz has had as d i- intuitil"e as Katz acknowledges that Cl" idcnce,
aoout art dealing. Then you start feeling inse - ents many prestigious institutions, such as like ~a rchi"al documentation o f the original
cure and say, 'I'\'e done bigger or better dea ls the Van Gogh Museum in Amsterdam and commission,~ is crucial ifhee"erwants tosell
than you, and this one's bad, and he has bad the National Gallery in Washington, D.C. itasanauthcnticwork_ "Asa wine connoisseur
paintings: I thought, 'That's nOt what I want. I .. N inety pcrcent of our busincss is with TIluse - friend told mc," hc remarks, " 'One look atthe
wantto learn something.' So I beg"n spending ums,~ he says. "That is something I"\"ealways label is bette r than : 0 years experience:"
time with people who had the life experience I wanted, because it prol'cs that the 1e\'e! of what Katz's thoughts turn to a piece he pur-
could learn from, he it an a rt historian, profes- I'm dcaling in is acceptable to them.~ chascd reccntly for himself from the London
sor, actor, neurologist or da ncer. ~ The buying power of museums, particu- dealer And rew Wyle: an exquisite sn",11 ,8:~
Katz cemented his reputation in '98:. larly American ones, is reduced these days, but John Constable cloud study o f Rri ghton, the
Ona tri p to Sweden in 1980, hehaddiscol'ered KJtz says he's "'buying and build ing up stock place Katz remtmbers fondly from his youth.
a marble portrait of Bathsheba that he believed aga in as much as possible aud hopefully will '"I'm thrilled with it," Katz says, beaming_
to bc by the Florcntinc maSter Giambologna. find somc newd i ents.~ In termsof individual ~I know I haven't talked much about
"I traced the history," he says, "managed to collectors, hc acknowledges that "ther often business," he says as we wind down the COll -
buy it from a country-house pri"ate collection go off on their own, because I'm not so good I'ersation, '"and I'm not sayingI'm beyond that,
and sold ittothcJ. Paul Getty Museum when at keeping contactlwith theml and offcring because ['TIl interested in making money and
itwas juststartingollt. It was their fi rst major things." H e does make his wares accessi ble, ru nn ing th is business, a nd I'm lasei nated with
acquisition, and it was a lot of money at the though, and collectors in New York this month prices achie\·ed. Bur:It the end of the dar, the
time - many millions of dollars- and Iwas can seck out his booth at the Winter Antiques thing for me is the object, the work of art." ff.
www A RIIN FO co ~ I JANUARy 2010 AR t'AUC TION

CAOCHANGDI, the Fifth Ring Road, and a visit to one
of the few art spaces here required mul -
ATHRIVINGARTSDISTRICTON tiple phone calls for directions. Today,
THE OUTSKIRTS OF BEIJING, a barrage of dual -language signs wd -
CONTINUES TO GROW comes visitors to Caochangdi Cu ltural
DESPITE RUMORS OF I ndustry and A rt District, pointing the
way to the more than 10 galleries that
ITS IMMINENT DESTRUCTION. have seT up shop alongside the artists'
BY DAVID SPALDING studios, holc-in·the·wall restaurants
,6 and produce stands that dot the village's
"WHEN A SILKWOR M produces sil k, it narrow Janes.
would neverdrra'" there is a Silk Road," Cao<;hangdi's expansion i,directly
the artist, architect and pronxateur Ai lin ked to the meteor ic rise of the Ch inese
Weiwe; said in an interview !ast year. contemporary-art market that took place
Quoting a ,'erst wrinen by hi~ father, from 1005 to 1008. Artists suddenly had
the poeT Ai Qing, he was re/leering on more mont)· to bui ld large and sometimes
the surpr ising growth of Caochangdi, Ia"ish studios in the area, while galleries
the bu rgeoning urban village and arts from China and abroad - priced out of
commun ity perched On the northeastern or turned off by the city's other art dis-
outskirts of Beijing. Not even someone tricts- began toopenupwith increasing
asshrewd as Ai Weiwe; could ha\"c imag- freqllency, hopeful that these newspaces
ined Ihe chain of events he would help would pay for themselves in sales. The
to set into motion when he moved to Chinese a rt llIarket was alllong the most
Caochangdi in 7.000, ultimately t rans- speculative and inAated until the down-
forming the q llier neighborhood into turn of 1008, andcon fidence in Chinese
one of the dry's creat;I'c hubs . And in comemporary art as a quick, high-retnrn
Ik ijing, where a top -down approach to im'esnnem has fallen, though many
urban planning and (COllom;" reform people feel that the market has simply
sometimes leaves people guessin g about undergone a natural correction.
their future, Ihe image of an unwitting Unli ke the more self-contained,
si lk worm seems particularly apt. san it ized and tour ist fr iendly 798 Art
Drawn to the area because of District, which is located in a forme r
its undeveloped land, Ai came to factory site about TO minutes away by
Caochangd i (which means ~grasslands~) cab, Caochangdi isstill a loose sprawl of
to build his studio and the China An unnamed and sometimes unpavcd mads,
Archives & Warehouse, one ofReijing's crisscrossed by dothesl i nes a nd studded
first artist-run exhibition spaces. Since with the mounds of gravel that accom -
then, the devdopmem of thedust)· hamlet pany the area's lIlanyconstrucrion sites.
has been nothing short of stunning. Not Yet it is precisely th is unique patchwork,
long ago, taxi drivers hesitated to "entu re plus a mix of residents that includes for-
into this uncharted territory just beyond eign and Ch inese art deakrs, primarily
ART tAU CTI ON JANUARY 2010 I WWW. ARTl NFO.CO ..

but notexdusivclyhalldlingChineseart, work ing in the area abut these rumors, I during the 1960s- challges outlilled in
as well as villagers, artists, day lahorers heardconfli(lingpredi(lions aboutwhat Caocha"gd;: 8e;;;"1{ /"sidc Out. a fasci-
and taxi drivers, that has fostered a sense the future holds. According wspeakers, nating new book bythearchitects Robert
ofcommunityin Caocha ngdi .lt'sa place plans mayor may not include.the leveling Mangurianand Mary-Ann Ray. Dllring
where artists Stop byeachothcr'sstudios of Jrchite(lurally significant buildings Deng Xiaopi ng's economic rdorms of
for a bee r and end up playing cards all designed by Ai- low, rectilinearst ruc- the late 1970s, farmers realized they
night, wh ere you can buy a pancake tures in gray brick that h,"'e become the could make more money as landlords
on the street for a quarter and then see area'ssignanlre- incIudinggalleriesand and began leasing their tracts to private
some of the most da ring and innovative the studios of such well-known art ists compan iesand,in the past decade, toart-
exhi bi tions in China. In the past sneral as He Yunchang (also called A Chang), istsandgallcrics. The buildings that now
years, manyofthecity's most important Li Songsong and Wang Qingsong. T he stand on these leased properties, how-
aH spaces have set up operations here, demolition could happen immediatcl y, el'er, may not be legal, because they were
including Boc rs-Li Gallery, Chambers sincc a la nd assessor had already come built without proper permits and autho-
rizations, a nd the fa rmers can always sell
the land to de\'eIopers who have other
pIans for its use,
Amid the rising tide of hearsay
and innuendo within the 3rt commu-
nit)", I found one person who spoke
definitively about the siTUation. "First
fine Art, Gale rie Urs Meile, Platfo rm you need to understand that the gene ral
Ch ina, Pekin Fine A TIS, ShanghA RT and policy announcement from wh ich the
Three Shadows Photography Art Centre, rumors sta rted is a prohousing po!icy,~
making the I' illage a mandatory dcstina- exp laincd Meg Maggio, the foundcrof
tion for arts profess ionals I'isiting the city Pek in Fine Arts and a longtim e Beijing
and for local collectors and enthusiasts. resident. The idea, she said, is '"to get
Some Eu ropean artists hal'e ar ri ved, people living on the city outsk irt s OUt
indudingNOI Vital, who JUSt completed to measu re some of the spaces and dctcr- of makeshift P;"I{ (all); (literally "flat
a lavish new stud io com pound. Ch ina's mine the e xact sile of the lots. Then houses,~ often one-story shanties I and
Peoples Dailyrecentlycalled the d istrict again, it might start within the next few into newly constructed 1011 (aug (Ill lilti-
~one of the nation's artistic hotbeds. ~ years, or nOl at all. I n other words, many story( buildings. That is a grcat housing
But despite its local prominence people eithe r were not pril'YIO informa- program of the Beijing city gOl'ernment ,
and international ,'isibility, rumors have tion that would d irect l)" affect them or and will improve many people's !il'es. We
i,
been circulating in recent months that
much of Caochangdi (a long with other
wondered if a decision made today might
be reversed tomorrow.
a re told by ourdeveIoper and A i Weiwei
that while there was init ial concern that ,
artist I'illages and STUdio compounds Change is nothing new in Cao- this new prohousing polic y would affect l
in northeast Beijing) are being cons id- changdi, a neighborhood which has us, it is now clear that it will not.~
,~
ered for demolition 10 make way for
nCw gOl'ernment pro je(ls and b usiness
been redefined continually ol'cr the past
50 years by a series of political agcndas
Meanwhile, just nort h of Cao-
changdi in the Bcigao studio complex, ",
development- including, oddl)" enough, and econom ic shi fts. Once the site of the mood this past fall was less opti-
a "cultural d istrict." Last fa ll, when imperi3 t gra"es and ga rdens, it was trans- mistic. The artist Liu Ding told me that
I asked artists and deale rs li"ing alld formed intoa farming vill age sometime because of plans to build J theater and
ART tAUC TI ON JANUARY 2010 I WWW .• RTl NFO.CO ..

other construction projccts, h is studio was caught up in a bizarre chain of c\"ems
and others there, which have been leased including the galler),'s land lord, whose
on a long-term basis and renovated, are d i,-orce proceedings led to a dispute over
likely to Ire: torn down within the next the income generated by the property.
twO ),ears. In nearb)' Changdian village, Twent)· thugs, allegedly hired by the
the Taiwanese artist Peng H ung-Chih land lord's wife, took the ga ll ery by force,
fin ished construction on his studio stabbing a security guard and occupy'
recently on ly to learn that he might not ing the space for seve ra l days. When I
get to use it for long. "T here are still alot stopped b), shorrl), a fterward, the police
of fUlllors,~ said Pengo ~[heard that the had cleared out the gang, but a notice
fa rmers wa nt reasonable compensation had been posted on the door informing
Ifrom the govcrnment for the landl. If I'KM that it must remove its belongings
they get that, the dest runion will goon. immediatel),. A Ithough the paper looked
I th ink m)' problem is not over ),et." official, the galle ry director was 'lues-
Peng, it turns out, was right. By
mid -Nol'ember, the plan to destroy
the stud ios was proceeding rapidl),.
Residents were given three da)'s to move
out, but they hired a la wyer and were
trying to ncgotiatc with thc landlord for
more time and for compens.uion. At press tioning its ,-alidity and the situation was
time it was uncertain how much respite far from being resolved.
tht)' had bcen granted - thc first cI'ic- The recent confusion aboUT who
tion deadline had passed and a new one has the right to rent, to build and to
had not)'et been set. Although there was destroy in Caochangdi demonstrates
alread)' snow on (he ground, heat had how uneven and minimally regulated
been cut and running water was interm it- dcvelopment, coupled with shifting or
tent. Anists lila), be reimbursed the rent confl icting nJtional, municipal and "ii -
they paid in advance, but itwill be much lage agendas, have allowed sud districts
harde r to recoup the money they spent to thri\'c but ha\'c also made their long-
on renovation. For their part, the artists term sUf" i"al uncertain. At the same
knew that sinking mone)' into property {i me, ru mors or no rumors, Caochangdi
theydidn'town wasa gamble, especially shows no sign of slowing down. Studios
considering that if land is deemed desir- are still being built, and new galleries
,, able for other uscs, cI'en long·termlrases are launching, including Taibng Top
,; can be broken. Space (formerly located in the 79R

Because of the lack of clea rl)' esmb- Art District) and C-space. While silk-
, lished lcgal gu idelines, chaos can arise worms may not dream of thc Silk Road
when disputes between tenantS and or e,-en of an Hennes scarf, they llIay
landlords escala te. [n an extreme inci- find that spinn ing even the most beaut i-
dent a few months ago, the Caochangdi fu Icocoon may not always insulate them
branch of Seoul's reputable I'KM Gallery from forces beyond thcircontro1. lF
www ~ " toNF() . C() '" I JANuARy 2010 ~ " t t ~UCto() N

CHANGING
I-
FROM ABOVE,
~~J!!JIl!! >' Th~lIug.
">'C, 1980.in"'ic~a ~ 1
Hoeh' . collectlon;
Andrt.Ut<>!cldJiJD'. 5.
200T . r>dChr!sloph
Bac~ e l'sX - MA5TR£f:
(Unplu~~ e d},2007 ,
both in the collection 01
Stn eandCh i<l r.
Rosenblum,
OPf>OSITt:,
Mlchl el Ho e ~ amid hi s
collecllon . .. ~ic~
Inclvdeu number ol
photograph. along
w l l~conc e pludv
orl"",tedpl e<:es,
,,,
!
!

IN THIS BUYER'S ART MARKET, BIG-NAME WORKS ARE
AVAILABLE FOR THE ASKING-EVEN AT A DISCOUNT.
AND A NEW BAND OF ART-LOVING 30- AND
40-S0METHINGS ARE AT THE
HEAD OF THE LINE.
BY RACHEL WOLFF PORTRAITS BY ROSE CALLAHAN
A few years back, Michael Hoeh e-mailed a

we ll-known New Yor k dealer inquiring about
the wo rk 01 an equa lly we ll-known ar tist. In
return he received a message clearly meant for
another gallery staffer, sent to him by mistake
when the dealer hit Rep ly ins te ad of Forward.
It sa id, more or less, "I can't believe another
newbie wants in on thi s artist."
"It was a real slap in the face," saysHoeh,
a mu tual-fund portfolio manager in New York.
"The guy was unapologetic about it \00," But
at least it was a response. At the height of the
boom, galleriestended to snub budding collec-
tors like Hoeh. Despite these neophy tes' active
members hip in young co llectors groups at
museums, th eir annual pilgrimages to ar t fairs
in Basel and Miami and their moun ting acqu i-
sit ions, dealers reserved their allention and
their stock for th e megaplayers: free-spending
hedge-fund types, oligarchs and speculators_
All that changed last year. The bu rst ing
of the art wor ld bubb le has led to increased
access for 30- and 40-somelhing ahcionados.
As ga Ileri es and aue tion houses claw th eir way
out of an unpredictable and business-changing
year, they are accommodating young pa trons
as never be fore. ~We've seen a number of new
people," says Alexandre Carel, the head of th e
First Open sales at Christie's New Yor k_~And
I'm hoping [th ey)will drive the market a bit more
in the future."
www ~""NF().C()'" I JANuARy 2010 ~" l t ~ UC Tl ()N

Many in the business welcome withdrawn. as have those who
this shift in Ihe art world's made, and then lost fortunes
center of gravity. "On e thing in real estate. In their place.
Ihat's really noticeable for me, says Meltzer. are "a number of
having participated in some individualS in fonance whO ben-
of the lairs since the crash of efited during the credit crisis.
A, G and Lehman Brothers, is Now they're enjoying a buffet
that the speculator is gone: of deals-opportunities with less
says the New York dealer Jack competition'-
Shainman. ·We used to have Galleries and auction
to be so guarded, so carelul- houses conform that most art
especially at art fairs. We were buyers are still from the hnance
trying to be savvy enough that industry. But they are also
we weren't selling to someone seeing new-media and creative
who was going to turn around types. "Peopl e are coming to
and flip it at an auction house. It's back to the real collector now. tile market who not only made money in the hnancial world but
It's not so muchabout the money investment as it is about the art. in the Internet world as welt" says Carel. of Christie·s. himself a
And Ihat's kind of reassuring." beginning collector.
Neal Meltzer, a private art dealer in New York and a former One of these Web-wealthy collectors is Steve Rosenblum.
Christie's vice president. has also noted the revival of connoisseur- tile Paris-based founder of Pixmaniacom. Europe's answer to
ship. "Serious collectors lelt lorced out 01 the market because of Amazon.com. He and his wife. Chiara. started collecting in 2002.
how high the prices moved. But many of them are back: he says. focusing on a crop 01 international emerging artists. Like other
The change in buyers' attitude has been accompanied by relatively recent entrants, they have upped their buying in tile
a change in their sourcesof capital. The emerging-economy bil- past year. going after works by more-recognizable names. such
lionaires who dominated the market during the boom have largely as Christian Boltanski and Christoph Buchel, alld items previously
6,
NOW, SAYS DEALER

JACK SHAINMAN "IT'S
NOT SO MUCH ABOUT
THE MONEY INVEST-
MENT AS IT IS ABOUT
ABOUT THE ART."
••••
• •
fROMTO~
.-.ndy W.rlloI'. FI_.n.
196"; .nd IIlIflilNfo"
SIeve"", 8ou"".1. T991.
boltls.old In •• ecenl Flnl
Open . . .1 ClwIlIl.'L
OPPOMTL
CLOCKWISl:fRO"T~
~'.S~ddenlJr,1"
Z007 ,. wo,~ belo"1lI"1l10
Je<emy Sl eln ~ .; G.ego.
Hlideb •• I>dr. TMende
J<J,1en<J(·R .."""dlng
V""lh ·1.2009;.nd
tbtlstopbel Wool',
Untllled,2009,
bolh.mongtlle
R""",blum" holdl"1lL
un~y~;lable to ttlem
in termsof plite and ~cce$$, iru;luding a mas'
sive CtlfistopherWoot painting, which they bought last June at the
Alt Basel booth ot New YOlk's Luhring Augushne galiery,
"It's undeniable tha t the market change has affected mv
coliecting: saysJelemy E. Steinke, a story editor and consu ltant
to leading hlmmakers, who primarily acquires work by young art-
isis such as Paul Chan and Kalup Linzy, "Bu t I collected more last
year than I did in the hve years betore the boom,"
Having run out of space to display hiHOliection in his sizable
BrOOklyn brownstone, Steinke lends artwork s to friends, rather
than relegate them storage. Hoeh. who has expanded lIis focus
from black-and'white photogr aplly to iru;tude conceptual works,
is laced wilha similar space crunch in his downtown Manhattan
lolt. To remedy the situation, he has placed some of his 1,000
works-including pieces by Spencer Finch, NanGoldin, Vik Muniz
and Wolfgang Tillmans-in storage but has also lenl pieces to
institutions like the Museum 0 1 Contemporary Photography in
Tokyo and the Contempor ar y Arl Galleries at the University 01
Connecticut's Storrs campus.
Steinke and Hoeh are t ypical 01 their generation in their
commitment 10 arl and art makers, and to keeping pieces in public
view, "Aside from buying those works on their wiSh list that they
didn't have access to orlost inbidding wars. these collectors are
realiy interes ted in commissions and special unique works: says
Oavid Maupin, of New York's Lehmann Maupin gallery. "I\'s about

having that experience with the artist and not just with the gallery.
lI's dillerent than past generations. and different from the sort of
normal arH air transactions."
Auctioneers and dealers want a role in shaping this gen-
eration of aficionados' tastes. The former have been ramping up
eftort5 to a\lract new blood into their 5atesrooms by making the
process less forbidding. overcoming the perception thaI, as one
collector put it. "the gallery is a relationship; the auction house is
the bailie." To that end, the houses have introduced user-friendly
tech tools, such as iPhone apps that alert clients when their favor' ,
ile artisls' worh are com ing up for sale. They've started inviting a
larger number of younger collectors to their cock tail parties and ,,
meet -and-greets and have continued to mount more-specialized
moderately priced sales. Since 2005, Phillips de Pury Ii: Company
has been offering relat ively lower estimated works at its entry-
level Saturdays@Phillipssales.heldlourtimesperyear.Those
sales are even le5s expensive now
and have been aplly renamed
No Reserve. Other houses have
CLOCKWISE
AlOMABOVE, also launched events targeted
Colledo, Je,emy Sielnke
to appeal to emerging contem-
al ""me;M",l in Ed e~' .
Oue/ltl,2005,ltom porary -art buyers. Nearly five
Ch,i.t1c'. Fir<1 Open; and
years ago. Christie's began its
MyHouse/',2000, .
Chllllophe<.wool in First Open sales olless-e xpen-
Slcinke'. hoMway.
sive works by younger arli5ls;
OPPOSITt:, FIIO,. LEFT:
at the session last September.
6IkliJla.Otmlg~'. Family
TrH,2007;.ond prices ranged from 52.250.
Jonalhan Von Dyke" The lor a Martin Eder drawing.
msapp .. ring Core, 2009,
I>olh belonging 10 Slelnke. to S242,OOO, for a Roni Horn
sculplure. wilh the one outlier
being a coveted 1964 Warhol
Flowers silkscreen that brought
just over SI million.
For their parI, deaters are
turning losocial nelworking and
smart phone-friendly tools to
draw young collectors . Maupin.
who sends images. films and exhi-
bition walk Ihroughs 10 clients via
e-mail. claims this has been cru '
.
cial in helping the gallery to
maintain and enlarge its mainly
international clientele through
the reces5ion and plans 10 add
,,,
~
such features as artist intervieW5 !

IT CAN BE EASIER TO FIND NEW BLOOD
THAN IT IS TO LURE BACK A CLIENT WHO
WASN ' T COMMITTED IN
THE FIRST PLACE .
.'
6,
I liS tolletlors trim Itleir lisls of dealers.

" It's /I lot ellsier to bring newer blood on
lind have morl! control ollh.!lt rel8tionship
than it is to try to lure back II colleclor
who WlIS"'! necessarily committed to you
in the hrs l pillce: she says. "They aren'l
entering at t he slime kind of price pOints
that new collectors once were, but ii 's
'. about getting them on board wilh your
program lind getting them really support-
ive 01 an arlist."
Other initiatives for attracting cli-
ents are more old-school. Cooney and
and studio visits to the Web sile. The Chelsea dealer Daniel Cooney fellow New York dealers Pllut Amador, Brian Cilimp. Michael Foley
has been putting workS by erne'lling artis t s from his stable, l ike and Sashll Wolf have joined forces to produce Project 5. a series
photographers Dan Estabrook and Francesea Romeo. up at th e 01 S2.500Iimited-editionphoto portloliosand related salon-style
online auc tioneer iGavel.com. where prices start at jus t 5200. gatherings.Goll -+-RosenthalgaJleryis planning tohosteveningsin
hopinll to hook new Clients. One he landed was the New York arclli- whicllestabli5hed coliectOls oller advice to Ihose just breaking in.
Ie<t John Spencer. who. since buying Irom Cooney's online Aware that people lire looking 10 lorge deeper relationsllips willi
inventory. has gone on \opurchase some 50 works by some 30 lewer galleries. dealers are also being more transparent about
arlists in the past 18mon\1I5. back stock and availabihly-andmoretle~lble in pricing. with even
-There's an online presence that had to happen: says mllior names like Larry Gagosian oltering 25 to 40 percent dis-
Cassie Rosenlhili. the codirector of Golf -+- Rosenthal gallery. in counts as well as innovahve hnllrlting .
New York . - Facebook. Twitter-we've lIad so much more tralhc - The hOl'lesty. the forthcomingness. giving you op tions,
as a result of haVing thllt prohle . 1t reaelles out 10 more people. payment plans. the discounts. even bringing [artllo your house
and the kind of people who are coming in and buying,- Rosenthal themselves-I've seen il aM pulled ou t in the last year: Steinke says.
argues that cultivallng neophytes is the key to galleries'fulure -There's noway they can mllinillin thllt tllilored service if the art
success, especially for smal ler spaces, whiell have 1051 clients world starts booming again, Bull like to think that tlley witllry'- 1£
www ~RrlNro co .. I JANU'~V 1(110 AOTHUCflON

+- MARKET
FILE THE BUSINESS OF ART

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Emile-Jacques Ruhlmann
When connoisseurs think of French Art Deco furniture, the name
Ruhlmann is invariably the first to come to mind. More than 75 years
after his death, the Parisian designer's exquisite, ultra-elegant pieces
are still at the top of many collectors' lists. By Judith Gura
TO MANY, THE NAME R uhlmann is synonymous with Collectionneu r, a supremely soph isticated series of
French Art Deco. The preeminent furniture designer of interiors, brought him international fame, as well .
his time and rhe lasl great ebenisre, he worked in the Much of the furnilU re b ter served as models fo r
tradition of such 18th-centur)· exemplars as Andre - pie<.:es he crafted for clients, generally with slight
Cha rles Roull e and Jean - Henri Riesener. H is graceful variations in wood and ornament.
forms, howel'cr, we re distinctly modern, appealing to Toward the end of his career, Ruhlmann
rhe era', style SfrlerS, including Baron Henri l elt: Ac!<ca1925 transilioned illlo more modern designs,
de Rothschild, the maha raja of Indo re and wolnutcabine!with many using metal, but it is his gleaming
iyory deta itofrom
the couturiere Jeanne Pa quin. '·Rllhlmann,~ De loreruoG.nery wood creations that Jre most sought
pronounces Philippe Garner, internalional huRuhlm.nn '. after today. The finest examples were
head of ::,olh-cemu r,· des ign at Chr istie's, InnovaUvefu.uu executed between 191 6 and 1925, in
legs-contlnuou. to the
~is beyond fashion ." cabin. tra !h", than materials such a, Brazilian ro,ewood,
Born and raised in Paris, Emile-Jacques (or Jacques-Emile, .Uac,,"d. Bek>w:The
de. ;gner·. ivory Macassar ebony, tortoiseshell and i"ory. 73
sourcesdiffer) Ruhlmann took over the family pa inting and dec- marque try coblnet His designs a rc nOlable (or their tedmi-
orating business upon his falher·s d eath, in ' 907. Although ne,·er :~~~r~9.~~~:~~~~' cal demands. Ruhlmann insisted Ihathis
trained as a designe r, he began sketching furniture as ear ly as .round$2million. drawings be translated with the utmost
1897 and first showed his work pub- precision, and often ,he crafts-
lidy in the 1911 Salon d·Automne men had to invent new tech
exh ibilion, where he scored an niques 10 real ize his visions, such
instant hit with the Parisian upper as the rl/,eal/ leg, continuous to
class. In 19 19 he and decorator the cabinet frame. Fluting, rib -
Pierre Laurelll founded thedesign bing, bead ing and inlay were his
hrlll Etablisselllenr Ruhlman n primary decorative accent"
& Laurent. Tothe profession born, although he made use of figured
the designe r knew his audience lIla rq ueuy, as in Ihe 19l[ ama-
frOllllhesta n . ~Li keitor nCl,sTyle ranth wood co rner cabinet
i, fa,h ion. And the lower classes adorned with ivory flowers that
ne'·er set fashion, ~ he told the mag- sold at Christie's Paris in 2006
azine Art ct Decoratioll in 19::.0. for f l .S8 million (S! mi lli on),
In itially using outs ide con - the auclion record for his work.
tractors, the compa ny began doi ng The ma rket for luxu ry
its own work in 19::'}, ultimately goods collapsed around the time
employing a staff o( skilled cabi- of Ruhlmann's dcalh, in 19J} ,
neullake rs, finishers, upholste rers with the world in the mid,t o f
and draft"'1Cn in two locations the Great Depres,ion and design
and expanding into all aspects of becoming mass -mark et. Art
ime rior decor, from lighting and Dcco fell out of fashion shortly
mirrors to textiles and flatware, afler. Its re,·ival hegan in ' 97~,
By the time of the legendary '9~5 with Drouot"s auct ion in Par is
Exposition desArts DecorJtifs et ofco\ltllrier Jacques Doucet"s
Industriels Modernes «(or which collection, the first sale to focus
An Deco was nallled) Ruh lmann exclus ively on Art Deco. In
was the foremost designer ill May 1979, Christie's New York
Paris. AI the fai r, his Pavilion d'ull offered its first Ruhlmann pieces,
WWW ARr' NfOCO", I JU'UARV 20'O ARr . Aucr 'ON

incl ud ing a cha ise longue for $8,500 and a coiffeuse, or vanity rabie, for dominates the designer's market, selling most of
$5,500. It look ~everal years for the markfC to de,-dop, hut keycolJccrors his pieces in Pa ris. The auCt ion of the collection of
traveled to Paris to visit dealers like Cheska and Roben Vallois, who had French Art I)eco aficionados Claude and Simone
been sell ing the designer's objects since their ga lIery opened, in [97 I. W hen Dray in J une ::'006 at Christie's Paris featllred more
restaurateur Michael Chow and his wife, Tina, sold their A rt Deco col- than +0 Ruhlmann items, several of which brought
lection, in 1988, New York dealer Tony Del orenzo snapped up around more thall S r million e ach. Among these was the
roo items, and his eponymous gallery became the first in the U.S. to focus record -setting 19~ T i"ory-marquctrycabinct, which
on Ruhlmann and his period. "In the 'Sos some European dealers visited topped the designer's prn'iolls high of SI ,876,000,
my l ong Island ga llery. specia lizing in T i ffany lamps, and were especia lIy achieved at Chr istie's New York in J une 1000 by
interested in the Ruhlmann pieces I'd acqu ired on my first buying trip to a '929 Tardieu desk. ~Prices had been escalating
France, in 1979_ Their enthusiasm got me to rethink my direction as an ste adily, bllt after the Dray sale they rose exponen -
amiques dealer," says Delorenzo. ~I began to research Ruhlmann and tially," says Cheska Vallois, of Vallois Gallery in
becamecom'inced that he was the bestoi the best. I'm still convinced." Paris and Friedman & Vallois in New York.
T hat view has been shared by some of the top tastema kers of the ::.oth Whi le Ruhlmann's major piece s garne r hun -
cenulry, such as Karl lage rfdd and Andy Warhol, not to ment ion Yves d reds of thousands, or e,'en millions, of dol la rs, some
Saint lau rentand Pierre Berge, whosetro'-e ofarT and antiques, auctioned of his smaller tables and decorath'e objects can be
at Christie's Paris laSt February, contained, ::. Ruhlmann pieces. Christie's purchased for/he .figure sums. The Chr istie's Par is
sale of l oth-<.:entu ry de<.:orative a rts and design
held on November l6 (after this issue went to press)
RUNm.nn's w,~ st'~I .ted
featured 11 Ruhllllann lots, including an alabas -
that . fter h" death h" ~rm ter pendant lamp (eSt. E30 - 40,000; S45 - 60,000)
be dissolved upon and a black la<.:quer desk estimated at El OO,OOO
completing e'''ti .., orders.
U'MJS enwnng the quality to €300,000 (S 198- 4+7,000). Through January 5,
and limitong the quanti ty 1010, Friedman & Vallois is showing 10 exceptional
of the objects produced . Ruhlmanns, including a 1919 Macassar-ebony
1n 2oo4 t he Metropolitan cabinet made for the maharaja of Indore's mod -
Musetrn of Arlin New Yorl<
74 Crty-whkh in 1923 """.me
the Irst inst it ution to
ernist palace in India, and a coiffeuse designed for
the actress Jacqueli ne Francdl, from 1930. T heexhi·
purch.<;e one 01 hi. pO<'Ce,-
organiled "Ruhlmann;
bition is a rare treat; th e designe r s top works are
Gen"'ofArtDeco- not easy to<.:ome by. The collectors who land them
Simo"" and Claude Orav will likely agree with An Deco specialist Alastair
foofld the ,<'Cord'holding Duncan: ~I wouldn't say that I would trade m)' chil-
rna,,:pJet,vcabinet , t a
Pa,,,1tea ma"'et in 1990.
dren for thenl,~ he remarks, referr ing to pieces he
purchased in the 1980s. ~Rutthcy are very special. M
Cloc kwi... from top,

Ruhlm, nn designed
Ih i. '930d rus; ng
fable lor an I ctres ..
IIght w<>Od l cc "" t sthe
rich oma ranth of thit
19261ripod l i b '" al
Friedm. n ' Vo llo i o;! ,,"
dulgner olle n
detailedhl• .,orh ,
with lorlolsew Ul nd ,
'. ot)'.u1<1th ls
Mac .... 'ebony ;
ca bi net/rom 1926 . 1 •
Delorenzo G<olle ry.
~
1
!
!
ARt 'AUCTION JANUAR v 2010 I WWW.A RTINf OCO"

LA LIBERATION DE LA FORME
French women ceramists arourld the 1950's
GALERIE ANNE SOPHIE DUVAL mouvements modernes

5 qUill M.llIqulIi • . 75006 Pari . Exhibition from Dec e mber 10 , 2009 to Janullry 23 , 2010

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JORl
FINKEL
WHEN I WORKED ATT HI S .I' AGAZINE 11,"1' years ago, I edited a profile of Gestures aren't made to hang on museum
Gabr iel Orozco that has stuck wilh me cI'er since. The artist described his walls- o r are made not to hang there.
mo rc ephemeral projeCTs- such as when he rolled a g ray pbsr;c;nc hall GeSlU rfs cannot be colie(lfd. They operate
tha!weighed as much as he did th r ough the streets of New York, or when outside the art market. They tease the art collector.
he asked neighbors of the Museum of Modern Art, where he had a show in And gestures cannot be repeated . To quote 77
199}, TO plant oranges on their windowsills for anyone to ha ppen to sec. Robert Irwin, a great artist of the prrsem-tense (who,
He distinguished these works from the big, expens ive art produc- it shou ld be ,aid, colonized leftover or unsanctioned
tions of the 19805. M] wanted rodtange thescale,and that meant giving in MOMA spaces decades before Orozco): "A lways
to sma ll things, to intimate gcstures,~ he said. "A 10\'1' affa ir that lasts one changing, ncvCf twiee the same.~
weekend Can much you morc deeply than nne that lasts 10 yea rs." Gestures, in short, cannot last- and getting
His hopelessl)' romantic statement I think gets at the poWfr of artistic back to Kilke, they a re honest aOOm thfir imperma -
gestu re, to ,udden Iy overwhelm u , - the co"I' de {o"dre feeling of bei ng nence in a way that great oil paintings and bronze
boulrversee that the Frellch hal'e so many terms for. And I\'e been thinking scu lptures, with tbeir claims to monumenta lity,
about what hf sa id nOw that MaM A is staging its big Orozco rflrospf(li\"f. immortality or generations -old provenance, are nOt.
For me the success of the ,how wi II depend in large pa rt on its abi lity to rec ' Which just might be why we kee p trying to
ognize the artist as more than a SClllptor who reinvents objects (the Citroen prese,,"ethem anywar. b oer since Tristan TZJfa and
DS he famously tJ"J.lIsiormed into La D.S., 1993, or his Pillg Pond Table, Ihe Dada gang CUt their hair onstage in the name of
'998, wh ich reim-ellled the fam il iar table -tennis game). Thf mUSfUln" rea I art, art historians ha,'e been busy swef pi ng up the
challenge will be tocapture some of the arti,!"s moree\'ane>eent, poet ic, loose ,t rands tosee what they could make of it . And
Cage -like and koa n-worthy exper iments. For Orozco might be a sculptor, various artists have figured OUI a war to profit from
photographer, draftsman and pai nteron occasion, bm his ephemeral work it-with Tino Sehgal sdlingnonobjects like perfor-
made of humblf, somftimes homely, stuff is Ithink his most powerful. mances as works of art, and Orozco se lling highly
The question that I keep circ Ii ng around is how, or why. W hat makes disposable thing" like yogurt lids, for a price.
an ephemcJ"J.1 exper ience like the sight o f oranges on windowsi lis so power- Theseartists know a fleetinggeslure fuclsour
ful? Wh)' did itseem so r ight when Orozco first nailed a flimsy plastic )'ogurt nostalgia- not for whal was, but for what was prom -
lid toa wall? Howcan a chance encounter re,onate for many years? ised but neverdeli"ered: the idea l (not rea l) relationsh ip
That la,t que,tion is the ,tuff of e legiac poetry, from lamentations promised by the ,hon-lived affair, or the unadulter-
for the loss of good men in Old English sea ba lbds to Rilke's rumination ated happiness promised by a flash ofbeamy.
on unearth Iy desi re. R ilke's Duilm Elegies especially points us in an imer- So it's hard to say exactly how MOMA should
esting di rection because o f its fmphasis On transifncf: expe riences fadi ng acknowledge thf oranges that Orozco used some '5
to the point where life is one big ,'auishing act, with lovers trying toshicld years ago to momentarily br ighten the days o f some
thcmselves from the void with eac h other's face andeach of us, "no maner passersby. Butit'sdea r what the muscumshould not
what we do, always in the poslUre of someone JUSt departing. n do: ffplicat e or reSlJgf the work. The oranges have
[n the art context, 1U0, th e fleeting gesture has some of this poi- long since been thrown away. Only the ghost of the
gnancr- power not just from the p resence of that gesture, but from the image remains true to color- a ghost that arguably
absellceof so much else. haunted the artwork from its "ery inception. !f!
WWW ARr' NfOCO", I JU'UARV 2010 ART , AuC tiON

New Yo rk I O"crall, Ihe falilmprcssioll1sl and modun the artists' lifetimes- fared particu-
sa les fa r exccedrd expeclJlions, injecting a much-needed larl)' well. The most successful was
shot of oprirnism inw {he aunion world, al though the AlIglisle Rodin's SIIp< rb I.e baiser,
wed: gOI off 10 a somewhat slow start at Ch rist ic's 011 moye" modCle dlt • Taille de /a
No,"ember J. No aruS! records were set but there wert rorle~ (//Iude/e al'u base simpli{iee)
some except iona l pr kes, rOPP'C'd by The o;o\"er lot, Edga r 'Il bron1.C wilh b rown patina and cast
Degas's clr<:3-1896 pastel O(w$C"st:s, which sold to an belween 1887 and 190', wh ich fetched
anonymous Asian bidder on the telep hone for a perky all im press;ve 56,3504,500, more than
S [0.71.1.,500 (Cst. $7-9 mill ion). three t imes its est imate of 5 1.5 m ill ion
Russians are bade in the lnarkel, buying up Su rrea list to 52 mi ll ion. The Rodin [astsold at
works and the morc glitzy Ar! Deco-e ra pieces, such as Sothe by's Parke- Bernet in Octobe r
Tama r;1 de Lcmpicka's high ly stylized, slickly executed 1975 for 53 I ,000; this time around it
Por/relit dl/ Marquis SOIllIll;, 192.5, wh ich sold 10 a tele- weHl to Ihe New Yo r k pr ivate dea ler
r phone bidder for $4.3}8,500 (eST. $2.-3 m illion), Sa k ador

Dall 's N II JI.lIIS 111 p/lli"edc Rosas, all ea rl yoil from 1941
measu r ing 10 inches squa re, wh ich made a whopp ing
$4,001,500 (CSt. h-3 mi ll ion), a lso wem 10 a Ru ssian
Ch r is Eykyn o f rhe tag-tea m Ne w
York/London fi r lH Eykyn M acl ean .
Of the re jected lots, the pr ic iest
c asu" lt y w as Pab lo Picasso 's sta r klr
bure •. T he sel ler mOSl certa in ly sa w a handsome return: Chr is tie 's modern Tcrede (e", ,,,e, frolH O ctober
The painting lasl sold al Ch r istie's London in june 1001 40lotsoffered '943, which was estimated at 57 mi l-
for £468,650 (5697,J95)' 565.674.000 oolcl 101,1 li on 10 5,omillion but flopped wit hout
30 ~"ent unsojd by lot
Impressionist lots Ilad a mixed rece pt ion, wilh 29 I"'fCent UMOld by __ IuI :I singlebid.1t had beensbopped around
Claude Monet's preHy (read: comme rc ia l) Vethellil, privJ tel)", and as often happens, it ca me
~ttet de soleil, 1901, selling to another tele phone bidder Soth e by 's
to 3uetion with too much baggage. An
56lot~otte<ed
for 55,558,500(eSt. 55-7 million) and Cam ille Pissarro's impreSSive though rather shopworn
SI8t760.000 sold 'olal
Le Quai Malaq.wis el n"slillll, 190J, l11Jkinga modest 15 uMOld by 101 Piet Mond r ian, C.-",.positio" II, wilh
5:, I54,500(eSt. 51.S-q mill ion). The Pissarrohad adra- 7 percent unwId byvalue Red, t916 (eS t. 54.5-6.5 mi ll ion). a[$O
made bad::story: Confiscated bYlhe Nazis in 19J8, it was clleiled no bids.
recentl)' rcp:ll ri ated to the hci rs of itsowner allhe lime, Samuel Fischer. His Gi,'en the less-than-stellar lineup, Christie's
family had acquirt'd the picwrt' in '907. fou r rea rs a fter Pissarro'sdeath. brt'd surprlsmgl)' we ll , though as ThomasSerdoux,
Some fresh-to-market scul ptures- especially those cast during Ihe fi r m's 101' Imp ression ist and modern executi"e
put ii, ~There's clearly not cnollgh good material
to go arollnd for twO sa les between Christie's and
5otheby's. WhOtverdCN:S11 't gel lhe right material is in
IrOllble. [t was a I'ery d ifficu lt sale to put toge t he r.~
Indeed, the C h ristie's sa lesroom had plenty
o f empty seats, and no one Ihere was rea ll y ex pect-
ing a mi racle. MI dOn'llhink th is is a good measu re
o f w here rhe market is , Msays j onathan Binstock ,
o f Cit i Private Ilank Art Advisory, who was an unde r-
bidde r on the Pau l Signaco il Vieux purl de Cmmc$ ,
which went on 10 m a ke 5J,778,500 (est. 5 ~-} mi[ -
lion). MTllere wasn'tenough ~ppea l ing work for l rulr
M
di>ce r ning col 1cctors.
J\utthe shortage of great pieces made way for
$Ome Olhns Ihal might hal'e gone unnot iced in a
Ia rger, l)tner poPll[ated sa le, such as Picas$O's wa rm
and fll7.1.y 191.5 Mere et ellta"" a tiny, page-si1.e
ii
can\'us Ihal sold 10 Ihe London deale rs Theoba ld
i
j enn ings for 5 1,08l,SOO (es t. 5600-800,0(0), ••
Mit 's a charnu 1\g li tt le th ing,M said Guy J ennings. i
who nabbed the piclu re for a elient. Mit didn'l sf'l l
when it was offered laSI year f,omtop: ... t
!
al Chlls!ie's With a 51 m illion Clviol ...·.. R...n,,·.
105 1.S r!lill ion estunate. Tonight
L .. " " _....'
... , ...... 1887 ... d
·,
it nude the price it should 1901. ...... ' 01
$6.3s...500. while
!
hal·emade.~
SOl he by's more Illuscula r .I,
K"...n ~"
•• i
·
,9(l.<1 .... d.onw
.... C¥JOUUM... ougt.t
sa le the fol low ing night proved ... 52.098.500. i
ARI, AIICIION JANUARY 2010 1 WWW A~IINrO.C(l"

IMPRESSIONIST & MODERN ART
Fromrlght: ... t 10 be a I8o-degree turnaround for the market. It

Solheb~·. , PI< ....,' .
1969 8ust ~ d 'homm~,
blasted Out o f the stan ing gate with Salvador Dali',
sold tor 510.386.500. enigmatic 193 7 gouache and char<.:oal on pa per,
and a PI...... o
< 1I ~sc.pe. one 01
Girafc en (ell. which sold to a telephone bidder for
seven ....rk ... tflNed $, ,1I7~,SoO lest. $, 50-200,(00), as seven other bid -
b~t""D .. r."'HI ... t
forn ily./etched
dersdased the piece.
57.026.500. Th e London jewelry magnate Lauren"c Gra ff
nabbed Picasso's femme assise Jails 1111 (al/tellil,
another work on paper, from 19}8 for S90l,soo(esl. SSOO-700,OOO), and
the Swiss private dealer Beda Jed licka wOn A Iberm Giacmnetti's B"ste de
Diego, a 13Xinch-high h ronzeconceh"cd and cast in 1961 (est. $1.5- 2.l11il-
lion) for $1,65°,500.
That sa le seemed like a bargain compared with the evening's w p
lor, Giacollletti's rare painted bronz e Chomme qui ,havire, con<.:eived in
1950 (in plaster) and cast in 195 1, which sold afte r fevered bidding from
four tele phone bidders for a whop ping $19,346,500 (est. $8- 11 million).
Hailing from an fd ition of six, it was thf onl)" cast in thf edition to be hand -
painted by the artist. The<.:oJle<.:tor and publishing titan S. I. NewhouseJr.
had reportedly decided to offer the piece after shopping it th rough dealer
Lar ry Gagosian at a pricf belie\'cd to be in the ho mill ion rangc . The
lowball fstimatf sffmfd, On paper, co suggest that numbfr was way tOO
high. The market disagreed.
A spectacular result was also achieved for a color-charged Fau\'e
paiming by And re Derain, Barques au pori de Collioure, circa 1905,
es[ima[fdat$6 million to $Rmillion, which sold cothe pril"atedfaler Guy
Hennen-the re<.:ent former head of the Ch ristie 's New York Impression ist
and modern department- for a record $14,081,500. Iknnett decl ined 10 recently settled la wsuits w ith th ree separate banks 79
comment on [he purchase, cl aiming he didn't waIllIO grandstand about ove r loans and liquidated the trove to regain some
his new role as a dealer-at least not yet. finan<.:ial footing.
Another o\'erachiel'er- and there we re p lenty- was the sex)" Impressionist pictures also sparkled during
cover 101, Kccs van Dongen's sultry and bare-chestcdjcullc Arabc, 19 10, the marathon sale, topped by Camille Pissarro's
which sold 10 an anonymous [d f p hone biddfr for a record $ 1],Hol,SOO stunning cityscape Lc pont noiddicu et la gare
(est. $7- 10 million). The painting was parr of a rich no,'f of somf d'Or/can$, Rouen, $oleil, from 1898, Onf of Sfl"fn
14 works designated as p roperty ~from an important European col, works p ut on the blo<.:k by the fallli l}"of the fabled
Jcction . ~ The group made $S8.S million against a presale estimate of Frenchdealer Paul Du rand-Ruel. ltsoldtothe artist's
$]S.6 [0 $S' million. The seller, Dutch financier Lou is Rci jtenbagh, had grfat-grandson liond PissarTO, of the Nfw York and
Paris private dea lership Gi raud Pissarro Segalot, for
a hefty $7,016,500 (est. h - 3 million), "It's a big
price but the picture couldn't be more fresh to the
market,coming from [hf Jrtist's studio to Durand-
Ruel," Pissar ro s<lid shortly after the sale.
Of the eight Picassos offered dllring the n'e -
Hing, !'emmeau c.hapeau vert, from 1947, shot past
its high fstimate of $6 million, thanks 10 a quirky
telephone bidder who played a kind of cat-and-lllouse
gallle, JUIllPing bids at S400,000 inc rements when
il was nfCfssary to bid on ly $100,000 highcr. The
bids were taken by the private client spe<.:ialist Xing
Li, who houghtthreemoreworks for thesallleclient,
including another Picasso, Claude.) deuxans, 1949,
one of the tWO so,cal led irrevocable-bid properties.
I[ madf S6,64 2,sooon estimatfsof SS to S7 million.
Opinions seemed crystal clear as bidders and view-
ers ex ited the salesroom, trying to catch up with the
World Series or latf dinnf r resf Tl·ations .
.. It looks like the rich have fully recovered ,"
said the seasoned private New York dealer Paul
Herring_ ffl JUOO IUllV

New York I A massivd),suceessful week of comemporary an sales in
New York in November signaled a n commerce is hack after the yea rlong
d rought broughton by the world financial n isis.
Christie'ssale on November 10 got off to a rollicking start with six
Abstract Expressionist and early Pop properties frorn the estates of the
modern dance legend Merce Cun ninghatn and his partner, the pioneeri ng
min ima list composer Joh n Cage, to benefi t the M erce Cun ningham Trust.
The New York dealer Lawrence Luhring of the Luhring Augustine gal ·
lery nabbed Robcn Rauschcnbcrg's Untitled , a page-size work on paper
from '95' (est. $'00- 150,000), fora whopping $93R,soo,anda telephone
bidder won jasper j ohns's oil on canvas Dan ce rs on a Pial/c, 1980- 81
(esT. $1 .5-1 mill ion ), for $4,33 8,500,
Getting the bad newS (wer early, Christie's twO top-estimated lots
bombed without bidders as Jean-Michcllhsqu iat"s Rrother Sa"sage, six
hinged panels from 1983 (est. $9- 11 million ) and AndyWarhol"s TIII/a{ish
Disaster, 1963, in silkscreen ink and silver painton line n (est. $6- 8 mil·
lion), both consigned by the newsprint magnate Peter Bram, /lopped. ~If
you push an estimate too mud in this tlMrket, you suffer, ~ noted Robert
Ma nley, head of contempora ry a rt at Ch r istie's New York, moments after
the sale. "If you get it wtong, they won't bid . ~
Luckily, Christie's got most of it right, as n idenced h)' Jeff Koons's
iiber-dC<.:orati'·e I.arge VaseofHoU/er!;, '991, in polrchromed wood; from 1989, it brought S506,000- a tenth of this season's
an edition of three pillS one artist's proof, it hai led from the collection of the price. Sam FrancissJapan Lil/e(est. $1.5- 1 million),
luxury art·book publisher Benedikt Taschen. It went to Dominique Levy a huge 1957 canl'as measuring 86 by 176 inches and
of New York's L & M Ansfor $ s,6Rl,soo(est. S4- 6million). Back in J une consigned from theestate of the Los Angelescollec-
~ooo, the piece b rought i66},7S0($999.} 11) at Christie's London. tor Betty Freeman , sold to j onathan Binstock ofCiti
80 Also offered by Taschen, Koons's early New Shelton \Vetl Private Bank A rt Advisory for $1 ,762,5°0.
Dr)' s -Gallon, New Hoover Convertible DOllbledecker, 1981- 87 "You can look at the market in two different
(cst. h-} million), which sold to the New York pri"ate deale r Philippe wars," said the New York adv iser Todd Levin. ~It
Segalot of Giraud, Pissarro, Sega lot for $3, I 06,500, It last sold at Christie's has done really well, bllttwO yea rs ago the estimates
NelV York in May 2000 for just $358,000. would hal'e been 10010600 pcrcenthigherthanthey
The e\"ening'~ highlight, remin iscent of the bubble days, was the arenow,and you'd ha\"e 70 to 80 lots in the sale. The
Top:Jel nDubul,el', Wi ld West- st)·le shootouc for Peter Doig's magisterial Ref/ection auction hou~es have gOtten realistic.~
Trhll!~-C".mp,- (What I)oes Yo"r 50,,1 f. ook Uke), 1996 (est. $4- 6 million), which At Sotheby's the following "'ening, only twoof
£Jy<k< Irom 1961
(eot. S<I~ minion) sold OVCf the phone for $ 10, 161,500. At least six bidders chased the the 54 lots offered failed msdl,suggestinga breath-
1.'c"'dS6.13{>'~OO prize. The tota l came dose to breaking the Doig auction record of takingly rapid recovery from the carnage wimes~ed
.ISolhebY·5,tn
aucllonrecordlorlhe is,?} 1,000($ ,1 ,1.8},464),set at Sothebr's London for The White in Novembe r 2008. The admirable sale total was
NlI.'.Belo..:"" Canoe in February 1007. pushed by the gonzo priceachiC\'ed by Warhol's zoo
PIIiNip.dePuryEd
Ru",,..,·. "".n acrylic Rare - to - market wo rks fared particularly well, with One Dollar Bills, 1961, a prime piece that brought
Mun . , Hell. 2002. Joan Mitchell's Ab -Ex composition Untitled, from circa 19SR in a whopping and unex pected S43,76l,soo.
nearly hil i" hlil'
e,'lmlle. brlnglnga (est. $5- 7 mi Ilion), sell ing to a telephone bidder for $ 5,4 58,500. !nits Record pri~es were achie"ed for four a rtists,
lidy S590.500. last appearance on the block, atSotheb}"s New York in NO"ember inciliding Alice Ned , whose funky though mas -
terfu l double -portrait Jackie Curtis alld
ChristIe's Rita Red. from 1970 (eSt. $400- 500,000),
46 101<olfered attracted a half-dozen bidde rs and made
S74 .1S4. 500 ,""ld 10Iai $1,65°,5°0, The Ned wasone of lo lotsfrom
18 percenl u",""ld by,,'ue
15 perceol uo,""ld by lot the single-owner Trove of the late St. Louis
<.:ollectors Mary Schiller Myers and I.ouis
Sotheby's Mye rs, which made $24,491,5°0 against a
54 101<on. red p resale estimate of $1 7- 14 million. T hose
$134,438.000,""ldlot.,
2 pe r,.nl un<oId by value works sold unde r a global reserve, mean -
4 percenl un ,oid by 101 ing that high -performing lots (Ii ke the Ned)
Phillips de Pury allowed others to sneak in at low prices, such
Ii: Company as the el'ening 's greaTest ba rgain, Alexander
40 lot <offered Calder's Extreme Cantilever. 194o,anearly
S7.099.25O sold 101. 1
14 percenl un,oId by ,. 'ue standing mobile (cst. $1- 1.5 million ), which
22 percenl un sold by 101 went to the New York dealer j effrey Deitch
for$84 1,500_
ARTt AUC ll ON JANUARy 2010 I WWW .ARII NFO.CO ..

CONTEMPORARY ART
Warhol's ::.o-inch-square Self-Portrait, 1965, which had Ileen con- The fashion IegendValenrino picked up Clockwise /rom
~igned by Cath), Naso, who worked as a reception ist for Warhol's famed David Hockney's iconic though somewhat cenler:A tC~, I.lift".
DOMldh~d ' .!968
Factory while a teenager, sold for a hefty $6, T}0,500 (est. $ ' - ' .5 million ) awkward Califomia Art Collector, 1964, Ufttllle<l(DS$120)
to the jewelrr titan Laurence Graff. The artist had gi\'e n it to Naso as a for $5,'58,500 (est. $5 - 7 million), $Old/orS4.898.500
ondJoonMll<M!I',
token of appreciation for he r service. ~The star~ ali gned ton ight because of Utttllle<l!958ol1
Warhol ruled then'ening, as a work on pa per, Untitled ( Roll of the material," sa id the Sotheby's senior spe- brought S5.4S8.500,
whilethesl... t
Dollar Bills), T961. (est. $l.s - }.s mil- cialist Anthony Grant. Sotheby' •• Andy
lionl,sold to the dealer Larry Gagosian PhiJlipsde Pury & Company wrapped WuhPr, 2000ne
DoII. rsm .. 19&Z.
for $4,n6,500. A smalle r version of up the week with a minor though lively auc- . cored. v<rtlglnou.
the artist's painting Trmafish Disaster, tionon Novemller I l.. ThetOp-lor honor was S4l.7&2.500.
found a bnyer- New York art trad - shared by Yayoi Kusam a'sdensely abstract [llfillit)'
ers Jose Mugrabi and his sons - for Nets (T. \V.A.), ::'000, which sold to the Paris col-
$ 1,l.Ol.,500 (est. $1.S - l. million). leccor Marc Simoncini for S R41.,SOO, and Warhol'S
Rnt the main attraction of the 1964 single Rrillo Soat' Pad Box scul pture in silk-
evening- and the entire season- was screen ink and house painton plywood, which sold
Warho]"s sil kscreen portraying his fa\'or- to a telephone bidder. Simonci ni carne back to nab
iteco mmodity, the almighty doll ar. The Ed Ruscha's small l.OOl. acrylic On cam'as Mea" as
opening bid for 1000ne Dollar Bills Hell (est. $400 - 600,000), for $590,500.
(est. $8 - !Z million) was $6 million. Wh i!e most of the low-key action was con-
Instantly, the Sotheby's special ist Alex fined to anonymous telcphone bidding, there were
Rotter shouted ~$11. million~ from his a few familiar faces in the salesroom, including twO
telephone bidder and a rapid a scent New York dealers: Paub Cooper, who bought Dan
began, in million -dollar increments, to Walsh's Vlltitled, 199 1, a la rge-scale and decidedly
the hammer price oi$39 million. minimal abstraction (cst. $30- 50,000) for $37,500;
The anonymous seller, ru m ored and Edwa rd Tyler Nahem, who grabbed Hernan
to be Pauline Karpidas, the London - Bas's lushly fignrati\'e ~ 006 canvas The to"ely
based col lector known for showing her Martian for $98,5°0 (est. $80- 1::'0,000).
conrempora ry art trove on the Greek One of the strongesT showings was a rare-
island of Hydra, acquired the pai nting to-market grou p of five framed black-and-white
for $385,000 at the Robert Scull estate photographs de picting birds in flight by Fel ix
salein Nm'emocr 1986. T heSculis- col- Gon za lez·Torres from 1994, which realized
lectors who made their fortune with a SS41.,500 (CSt. $l.SO - 3S0,OOO).
Checker taxicab /leet known as the Sculls A stunning installation by Olafur Eli asson,
Angels- boughtthework from Richard , "'J light, composed of halogen lights, steel stands,
Bellamy's Grecn Galler), around 196::. and a fog machine and included in his survcy show at
for an unknown but no doubt minus - the Museum of Modern An laSt yea r, sold to a teie -
cule price. One l\"ew York- based trade phone bidder for S}61,500 (est. hOO - 500,000).
sonrce close to the Warhol market said Despite Ihe sa Ie's modest total, Phi nips's auc -
the buyer was the Greek shipping heir tioneer and chairman Simon de Pury said afterward:
and collector Phi li p Nia rchos. ~It's a distinct ly Ilener mood.~ f£ JUDD TUl l Y

INTERNATIONAL AUCTIONS IN BRIEF
LONDON N[W YORK

CH.OSTI ."S SOTH U Y· .
NOV. 5: IMPORTANT EAIlLV NOV. 2: RUSSIAN ART
E;UROPEAN F\IRNITURE. 98 LOTS SOlDFO~ S13,794.275
SCULPTUR€' T.o.PESTR1ES TOP LOT: Boris Dmil riev,ch
129LOTS SOLO FOREV59.125 Grigori..'s 1918 pa inllng M<>ll>er
(S4,5 MILLION) andC/>ildlelche<j SI.3 70.500
TOP LOT, A rnelaf-m(H.Jnled GrigQriev wa<a memberol
morquet ry cab'nel ma"" 'n I he Rus.ia', Wr i. ~u"fy~ move -
lale 161h cenlury in I"" So ul h ment. who$e membe"aimed 10
German lown of Aug .burQ. pre.. rve folk ort. mostly
.pa rkeda bidding wa r among porlraying scenes 01 counlry
mu.""ms, deale" ond collec- I'fe Th.. fresh-Io-ma rkel picture
lors, who t ogelher pushed Ihe was acquired directly f rom
price up loan aslounding I"" arl i,t and kepI in a privale
EI.127,650($ 19 million). more Europea n collecllOfl unl il
t ha n 10 hmes the cobinet's h'gh
es!>ma te 01 EIOO,OOQ
1"" .. le.
($164,OOO),fresh lo the NEW YORK
market. I he piece was di,cov' DOVLE
ered in a palano in Milon, NOV. 15: MODERN &
CONTEMPORARY AND
EUROPEAN & AI.I(RICAN ART
NEW YORK. SAN rU,NCISCO 168 LOTSSOLD FOR 52,893,171
AND lOS ANGElES TOP LOT: LO$I~ndFound,
BONNANS 1958. by I he Ilaha n arlist Afro
NOV.1Q: PHOTOGIIAPHS (n~ Afr08 ... ldella), achieved a
'DOLOlS SOLDFORS70a,393 remarkable 5362.500, The
TOP LOT, In San Franci«Q. a mi.ed -media-on -canvas wor\<
gela10n print 01 Edward Weston', wa, , " own al I lle galler y of Mills
Nude, 1936. e<ceeded il, hl\jh College. where Afro taught"'
estimate 01 $90,000 with a en arlosl in residence, and at the
'."ion-high ~""I peke 01 5anla Barbara Museum 01 ilrt
SI09.800. We.ton," cofounder
0111&4-3 groop 01 mostlv San lDINBURGH
F,anc;,co photog'. phef' whose LVON S TURHBULL
cri,p "V" contra,le d with t he LONDON NOV. 11: OECORATIVE ARTS
hazy, lmpressioni.tlC ,mage. of .ONH.... S «4 LOTS SOLDFOR~l1J.462
tile pIC!"';' Ii,1'-W3' renowned NOV. 5: fiNE JAPANESE ART (51900,000)
forhiHlude. 245 101H<>Id lor El.749,OOO TOP LOT, A circa 1900 bookca$e
(S29m,lIlOfI) by George Walton brougnt
PA RIS TOP LOT: A rare, ornale cloi- ~ 13.500(S22.6 00 ) The piece
'.1111'1 ,on";-enamel l}'J,hogIJfOJma, or wa, f oond In a Glasgow , Ilop
NOV_8, SUNOIlYS"lE o, -dra wn carriage, fet ched wil houl il< doors. which were
AT '''JAN ~252, OOO (S415.5 00), nearly 10 d i,cove red hidden", a nearby
90lCT$ SOLD fOil £194.081 limes ils high e$l,maleol cupboard. The Ixlye r, an anony-
(S288.905) ~30 . 000(S49 , 500), Made of m(H.J' caUeclor, characleri,es
TOP LOT, Pinches K rem"9ft.'s inlricat ely cralled ' ~ ver and gill hi , pri,e as "I he nne,1 ",amp le
'lrca 1950 Vuede Clirel w ire a nd decoraled wilh IIoral o f work by Ono 01 lhe besl
brooght €6.3 75 ($9.500). The motlis , Ihem inialure Meiji- Glasgow Sly le deSIgners I hal l
Jewish arti.t fled t he p09rom. perIOd carl, who.. back door have seen to dat . :
of hIS nati,,, Belarus in 1912. o pens 10 revea l t hree drawers. is
"""nlva l.... seWing i n Colrel, a a ttr ibut ed 10 Kawaguchi
' onV town in the French Ba unzaemon. 01 Nagoya. PHILADlLPH'A
F';'reoees. w ith his f r iend \ he F.n .... N·S
pomler Cha,m$ool,ne. Thi. NOV. 14: AMER1CAN
piclure hkely repre<>enl < Ihe fURNITURE &
view from t he ortlSt·, balcony OECORATIVE
ARTS
"UNICH ANDIlDy,oN. FR"NeE 345 LOIS SOLD
1t~.""NNHI S TORIC" fORS925.000
NOV 12 - U: L~ PERC~E TOPlOT: A 1901
O'~VR~NCHES WWII MUSEUM Ti fl any ~ Co
700LOTS SOLD FOR "lver- and-enamel
£1 ,300.000 (S1.9 MILLION) vase ,el wllh cil rine,
TOP LOT: The funct ion ing ondg.rnels ond
Volkswagen Schwl mmwagen eqUIpped w,lh Cell ic-
ro l ed oyer t he com petIt ion 10 HEIDElBERG i n s~" r ed ha ndle. sold for
l elch a besl·of·""Ie-€103.320 WINTE.BE.O $1 15.000,lhree!>mes il s
(5155.000), The amphibious NOV. 7: AUCTION 79 high estima te. The lam(H.JS
vehic le. whose name I ran,lates 53LOTS SOLD FORE376.165 Tif fany de,igner George
a. · swim car,' waSused by ($561.000) Pauld ing Fa rnha m. whoal age
lheGerma n .d urlng TOP LOT: Johaoo "'nlon 27 direcledlhe 'rm', jewelry
Wo rkf Wa r ~ i n RambOU"s 19th-cenlof)' lil ho- deparlment. crea t ed Ihe piece
campaIgn • ., Africa g raph of I he MUOIch brolhe.. f or t he 1901 Pan- "'merican
and Normandy. Kon rad and Fra"" Eberhard, a E'PO< ition in Buflalo. New Yorl'-
Fewer lhan 200 are pa'nler ond 0 sculplor, sold for The ",pos,ioon also fea tured a
known louist t oday. (:15.500 ($38.000) ThedQuble .im i l~ rt y des'gned tea <ervoce by
and no more than 13 porlrO l1wo, exhib,led at the Fam hamlhal isnow,n lhe
h..e <urvi"ed in .uch Wa llraf-Richart' Museum. in permanenl cotlecl ion 01 I""
pri.tine con ,lItoon. C<>Iogno, in 1969, Newark MUSeum. in New Jorsey

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Fi9ari, Gra,.,cko, Le Pare, Malta,
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SaturdaY,10-6p.m.
Hl rsc h l & Ad le rGa li eries

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IMpression:st ,Barbizon, Academ<c Adler Modern Welcomes FiYe New
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Barnett Newman, an d a host of then-
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Jo~eph Come~ andJo hn Graha"'1. The from Five Centuries. Saturday,Janua rv Mitchell, Motherwell, Nevelson,Reid.
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Me re dith Ward Fi ne Art
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Jan Kru g lerG ali er y 4 4East74 thSt reet
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Featuring Original Art from theGolde n Irrlportant English and Continental ViclorHugo, Theodore Gericault. at Jolin Marin arid Larry Day
Age of American Il lustration; Norman Furniture and Decorations includip,g Old Od~o n Redon and Pablo Picasso
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Jar)Uary5 t hrough 30; Michael Moorse, In as~ociation with Judd Fourld at on, Caus ey Conle m pora ry
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RecentWork Sebastian + Barquet >s plea~ed to 293GrandStreet
Look Again, a groupe<h bit,on rurated Brooklyn
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NarlcyHoffman Gall ery
inqUlries@brucesi lve" t eln.com include important e a~y e,a"'Ples 01 hi~ Painlingsby KX2. December 10through
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www.brucesilverstein.com furniture ina varie ty 01 woods, colored Ja nuary 30 Pub Iic Recept ion J aflU~ ry
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Martin Denker ; Absolute Zero, plywood, ena meled aluminum arid 8.6'9p.m
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is honored t o present Chi nese art .st Yourlgerman Kogeln ik, Koons, Kostabi,l awrence,
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o pen'rIg Rece ptio n: Thu rsday, Ja nuary Ramos, $charI. Sultan, Ting. Vasarely,
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ing 1 8'1/2'~14'1O'xI 0'11-1/2', that has Bet ween26th& 27thStreeh
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February 13 the Anllu' provi.-.::e Arlan Hvan9, Ted Kurahara, Sa"IUel D nnerii:AMOYIe5how, Thursday,
Mon nier, Mark Sengbusch and Bruna at 7: S:ra nge. di~COyered lost films
Da v idZwirner PaceWildenl t ei" a nd Pacel Stude exhibited w;thworksof art fro m with goormet d nner $12.lnnovative
524 We st 19th Street MacGIII the He~e ni ~lic period throuyh t he 19th gallery and performa nce space w,t h
+1 2 127272070 534West25thStreet centuryol Europea n, Oceanic an d New groundbrea kin gwork ,n tradit.o nal and
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exhibition Inlorma1ion Richard ~\.srach , Januar~ 15t~oogh ex hi b;tion .nformation
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DavidZwirner PaceWiideJ1';teonare plea>ed '0 present 30Eas t 10th Street
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t"'I1lde w it hOlJlIi I m.l}s;",) a stil te -0 1-
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the art dig·talcaMera, Misrach creates
Mi nimalism 1960-1970 leatur;r.g Peter 20th-ce nt uries, with an emphas'son
ray shi"') Image ,of landseapesarld
Alexander, Larrv Bell. MaryCor~e, early to mid 20t h-centurydes,gn . rhe
seasea pe S~'Sir.g a rever sed wier spec '
Rohert Irwin, Cra' g Kauffman,John gallery also offer~ a li ne selection of
McCracken,James rl)l'rell. De Wain tru m.L"ht areas become dark spaces,
D ani~han d Fre nch cera", cs and
and vice versa, arid Misrach 's subjects
'!alentine, Doug Wheeler and others. ' taliang [a~~
aretran,formed in:ootherworkj~yet
Jar)Uary 8 t hrOlJgh February 6
whollyrecognilab!ep'acesas a re>ult cI
this process, Thepllotograp hsrange '"
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An AwardsE. hi hition, regio nal e.hibi- Dece mber 14 through Janua ry 15 activitywithin the SCAD COMMI.Jn ity. rary European develop ments, and
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Stei ger and Dan Walsh.January 15,
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Receptionat 6p.m
A Revolut ionary '",age: Thoma, Suny's At lan l a,GA
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February 20. Printsand Politics in 20 4 3 Nor th Miam i Avenue The SCADe~hibitio nsdeparl"'e nts
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January 24
1600 Peac htree Street
Zugunruhe,an insta lalion by Rachel
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C.n" •• , I . t ~ 19th/u .1y 20th c~ ntu'Y .
Horse Powe r, Exhibition by Greg M .f bl ~> .tl~. I ~ Hindman Auction'
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Dece mber 18 th rough Febrwry 28

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the work of st udents who have studied Joh n 8ankston ' New York , January 14
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Feh ru ary 12through March6. Joe t he WaltersArt MuseuP'l, including so me
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Lodato, Steve Joy, Zachar"h Reike, pa ntings byDe'acroix, Ing r e~, Degas,
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Global Art'~try of Leo and Diane Dillon
20HawthorneSt reet and learn' ng, and the re are two focuses
A RetrospectIve, t hroog h Ja nu ary 24
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in Dupree Lobbv; Sculpture Garden- San Francis(o
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11"10.., lisl"'ll" c""l"ct Connie Goon. 1
Repr ese nt ing; Jean Pr oUYe, Char iolle +1 &46153 9090
Perr,arnJ, Pierre Jeanneret, Le
CarOOSler andJean Royere

CONFUCIAN VALUES
In China never count out tradition. While contemporary Chinese art was aUthe rage for most of the naughts,
the globa l financial crisis set off a cultura l revolution among the mainland's fledgling collectors, who placed
fresh value on their own rich imperia l heritage, expressed in jade, porcelain and wood furnishings. The hunger
of these buyers for art is not to be underestimated. Their spending sprees since Sotheby's and Christie's set up
shop in Hong Kong have in a few short years turned the island fmancial center into the world's third-largest
auction market. Last October auction sales of the country's traditional art fetched an impressive
SHK1.3 billion (5166 million), thanks largely to mainland buyers. To see just how wel l these classic examples
have fared despite the agitprop for China's rising stars, we examined the prices earned by the top Chinese-art
lots in Hong Kong for each year since Sotheby's and Christie's began holding sales there. Our research
revealed that although contemporary sales briefly skyrocketed, they have since tapered to a fraction of their
highs. In fact, other flgures show that Chinese traditional art has emerged as one of the strongest markets
globa lly during the recession. Of course, some collectors will eventually regain their appetite for new art. But
the imminent domination of the world art market by contemporary Chinese artists no longer seems a given.
By Natasha Gural and Marisa Bartolucci
L~. r¥e blue·

a "'Whitedr"'lon
moonllasl<with
O~rrwk 2009
Sothe sHongKor>g
October2009
"
1111139.1 60.000
($5.1 ml ion)
Sothebv"s Chinese
• Co ntemporaryArt
2008
• SothebV'sChinese
Cerarrucsfi:
WO""ksof Art
ChrISt",,·SChnese
• Cc ntemporaryArt
Ca tGl,lo·Qllng
Tr.-eeWC<"ks f rom 2007
the serie-;'FOOJteen • Chlistie'sCtwese
Dra·"i~ forAsia·
Cerarmcsfi:
Poclf.c cO'\OmlC Worksof Art
Co·operation..'2001
Chris!ie'S~Kor>g
November 7
111117".300.000
($9.5mU/on) 2006
SHK 5.000.000 10.000.000 15.000.000 20.000.000
ZengFanzht
Mask SenesNo. 6
Ov"isti~'s Hong Kong
May2008
$/I1I75 ."16.SOO
(S97mlion)
An.mperi,..yeIlow-
jadebow\I'.i\h
Oiir1loogrrwk
Sothe by' sHong Kor>g
October2009
$IIK12,gIO, OOO
($1.7m. ioo)
A R1'AUCTII)N JANUARY 1010 I WWWA RTlN FO.CO"

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Fh r 1'IIp. AOIIIo Ltlii for Arredo!ut•• llaly,l'150s I W, 111 Ihh.Angelo Ltlii (or Armlolutf. h.l)'.19~ I fit \, " . Fnlllco Debooi.llaly.Cootmlpoolf)

(BW) Art + Auction Magazine (January 2010)

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