[bw] art + auction magazine (january 2010)

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FINE PORTRAIT MINIATURES

by appointment 1600 Arch Street· Suite 1603' Philadelphia, VA 19103' 215-587..a000

www.PortraitMiniatures.com



MASTER PAINTINGS J ANUA RY 1 8 - FEB RUA R Y 12

G<.:S TAVE CO URBET (,g''r,lIn) ,\laJ..mt EmtJ/ "'''''' O il 00 can ...... , 241>} '7~ In<he< (6, bf 44 (rn.l

JACK KILGORE & 15 4 EAST 7[ H STREET NE'«' YORK , NY 1002 1

CO. T LL (~r 2) 6)0-" 4 9 F AX ( 2 J 2 ) 6)0-' }1I9 I~FO~ KI L l.i O lifLALLE. ' .(,: O M



IN THE STUDIO

36 Ewar'l Gibbs builds his drawings with dense patterns of circles arld slashes_ BV .... ARINA CASHOAN

SOUREN MELIKIAN

45 The November Impressionist and modern sales 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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PLEASE VISIT US AT

THE AMERICAN INTER:\ATlONAL FI:\E ART FAIR

PALM BEACH, FEBRUARY 3"8, 20lQ

BOOTH # 302

Worgt 1k1lows (1882·1925) UPP" Broadway. 190" (D1:HH_) Oil on ( ,oIllns mourHed on board 1l1.'.X ISll(inches Signed I\lWtf rigtu: Gco. ikllov.'5

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JANUARY 2010 VOLU~E XXXIII NO. 5

M.d,a Bart olucci EDITORIAL DIREC TO R

Meghan Dailey EXEC UTIVE EDITOR

Stephan ie McBride Van. mee MANAGING EDITOR (0. ''''')

Etlen foi, I N TERI ~ M AN AGING EDITOR

Judd Tully EDITOR A T LAR GE

Souren Melikian INTERNA TIONAL ED ITO R

Sa rahOougl. , SEN IOR C ORRESPONOENT

OUld Sp .. lding ,,-SIA CO RRES PON DEN T

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Ca rn elia G.,cia EDITORIA L ASS ISTANT

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L.uraRie ra AR T DIRE CTO R

David .... Ie'ander Arnold PIlOTO EDITOR

Mafia Fa u<l.lvana Mo'gan IN TE RNS

ART+ AUCTION

CONTRIBU TING EDITORS .... nn E. Be ,man, EHog al e Blauer , Margare t B Caldwetl. Chlrles Danz iger, Thomas C, D.nZl ger. Dav id D'Arc y. Abilla il R. [ ,man, Jo, i Finkel. CM~ Greenberg, Judith Gur~, Christine Schwa,lz Har He y. Simon He wiH.Anne Ho rton, Clin Ion R. Howell. P. ul Je'omack. Jonalho n Keats, Car olK ino, Lee Mindel. Susan Moore. Amy P.ge . Ju n Bo nd Rafferty . Ba"ymore Lau rence Sche re' , .... 1I.n Schwart zma n, Plula We ldeger. An9 U' Wilk ,e

Mel vyn R. Levent ha l LEG AL CO UNSEl

EDITORIAL ADV ISORY e OA RO Ti~ ui Atencio, ROU Blec kn e r. Fra ncesco Clemen te, Paota C"ssi. Alexis Gregory , H,R.H, Prince Jean de luxem b<>" rQ, H. E, J . ime de M.r ic h.tar, Duke of Lugo, Pete r Morino , Sydney Picasso, O •• id Salle, Su,an We oe r Soros , Ro oe rl W,lson

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GEOFFREY DINER GALLERY 1730 - 21ST NW WASHINGTON DC 20009 DINERGALLERY.COM

PIERRE CHAREAU, 1927 Exhibited: Pierre Chareau Retrospective Centre George Pompidou.Paris 1993-1994

Exhibiting at the Winter Antiques Show 2010



THEREPORTER

Label Conscious fai led to se ll. HNobody ques· labeled works. adds, "To te ll a

l ioned Ihe authent icity," says person who Silent $100,000 AT LEAST NINE SIGNED FRANZ

Klines that ha~e traded o~er the past five years at major auction houses-including Christie's London and New

York; Ko ller, in Zurich; and

Tajart in Paris-may be fakes.

possib le cons ignment. After Hindman. on a work that ii's worthless he cas! doubt on the labels, The Kline is now back is pretty harSh,k

Martin turned down the deal. on Raimondi's wall. ~I sti ll It may seem strange "I remember those,H confirms think it's great: he says, that so much doubt is possi'

Martin. "They came from though he does recall Ihal he ble aboul lhe oeuvre of so Italy, and there was a ba tch was initially dubious of the its well-known an artist. But, of them.~ authenticity because CobbS remarkably for someone of

All are untitled ink-on-paper The priciest of the is belter known for an tiques than for postwar art. But the

Kline's stature, he has no catalogue ra isonne and his works from the early 19505, disputed Klines, Untilled.

and all have identical block- 1953. brought E;S2.850

leiter Kline signatures.On Ihe reverse of each is a label from I he Grace Borgenicht

Gallery. at 1018 Madison Avenue. in New York.

Are fake Klines selling on the open market?

{SI65.000j at Christie's

London in July 200S. (The ar tist's works on paper wi th other provenances have

fetched as much as S665,OOO at auction.) In 2004 two olhers went for more than SIOO,OOO each in

separate sales at Christie's New York. "Christie's upholds the highest standards when

firm's owner assured him that estate is not active. This the work was from a reputa

ble collector. Two more of the

suspect Klines have

appeared at Cobbs since Raimondi's acqu isit ion, includ ing one that was hammered down at S25,000

in July 2009 and another that sold for S28.750 in October 2009. The July

Tha t provenance is suspect, according to William

Mac Chambers, a New York priva te dealer who was a Borgenicht employee for 23 years. "The label is not our label." he states. "It's a fake

labeL" Chambers will not provide a facsimile of the genu ine article. explaining

that that would make further forger ies easier. He notes,

however, that Ihe size and t ypeface of the ones on the

Klines are incorrect. In any case, a former colleague of his recently examined the gallery's so ld-works arChive

and no Klines were recorded during its existence, from 1951 to 1995 (Grace Borgenicht died in 2001).

establishing the authenticity buyer returned the drawing

leaves the held vulnerab le to disreputable deal ing. "There are a lot of troubled Klines in

the market. and nobody knows where they're from. It's a buyer-beware si tua

tion: says New York dealer David McKee. who repre

sented the Kline es tate in the 70s and for years, together with the late New York dealer

Allan Stone, informally ve i led the artist's works for Christie's and Sotheby's.

Chambers, who has alerted several auction houses when Klines bearing the Borgenicht label have

come up for sale. says he found out about the putat ive coun lerfeits by chance several years ago when the New York dealer Mary-Anne

Martin called him about four SUCh works that had been

brought to the gallery for

of the wor ks that we se ll and Iodate has not received any concerns quest ioning Ihe provenance of any of these

works, " says a spokesperson for I he firm. "We are investigat ing the malter fur ther."

Last November, a Kline with the Borgenicht prove

nance was withdrawn by the se ller at the 11th hour f rom a

sale at Vienna's Doro theum. Another of the suspect Klines sold in October 2007 for approximately S5.000 at

the Cobbs Auctioneers, in Pe terborough, New Hampshire_ The buyer was

the Massachuselts pr ivate dealer John Raimondi. He subsequenlly consigned Ihe drawing to New York's L 6: M Arts, where. aggreSSively

pr iced at S250,OOO, it found no buyer. He I hen consigned it to the Chicago auc t ioneer Leslie Hindman, which made

the work Ihe cover lot of it s December 2008 sale. Estimated at S50,OOO to

$70,000, the drawing again

www ~""NFO.CO'" I JAN uARy 2010 ~RT • • uCT IO"

to the house on Ihe advice of the New York dealer Armand Bartos. who had seen another Kline with the same

provenance in the booth of an American dealer at Art Basel in 2007 and found the

label unconvincing. Cobbs took the piece back but

resold it to a buyer whom CFO

Dudley Cobb Charac terizes

as "one of the major New York art dealers: who had missed it at I he July sale.

"The firs t buyer said he

didn't want to put it in his collect ion with that label on it." says Cobb. "If we thought

something was signed Kline and was bogus, we wouldn't handle it "

"The trade in Kl ine

forgeries is extensive, and there have been a lot of Klines offered by major auction houses that are extremely questionable:

says the Kl ine scholar and au thor Stephen Foster. who whi le declining to comment on any of the Borgenicht-

"What we are left with now is opinions, because

there's no consti tuted enti t y Ihat can wri te certificates for Kline: says Foster. "I hope

that changes in the fu ture. tfl JUDO TUllY

Thl. work"" paprr.i<OId . 1 Chrl'lle"Now Vorkln 2004 ... Fran,Kline. may ""I be .ulhenllc_



THEREPORTER

Desert Intrigue Yet wi thout some firm faith that sales would be

for a series of "hyperphotos" 01 the monumental Sheikh Zayed mosque by photographer Jean-fran~ois Rauzier.

IN NOVEMBER 2007, the oil

riCh emirate of Abu Dhabi

launched a contemporary

art fair in conjunction with Art Paris. In 2008, amid Ihe global financial meltdown, the fa ir experienced such poor sales and low allendance that last June, with the

world 's econom ies still ailing.

the French partners canceled the upcoming event. Seemingly immune to the

debt crisis and eager to fan the media attention surrounding its estimated 527 billion Saadiyat Island cultural complex. where the

Guggenheim Abu Dhabi and

"It's about learning how things work here. It has

taught us patience." Louvre Abu Dhabi are now

under construction, the emir

ate directed ils Tourism Development and Investment Company (TDIC) and the Abu

Dhabi Authority lor Culture and Heritage (ADCH) to

launch their own fair. Billed as a "cultural platlorm: the hastily assembled-and thus

all the more impressive-Abu Dhabi Art which ran from November 19 to 22, featured such blue-chip galleries as

Aquavella, LSo M Arts and White Cube, plus al'l array of panel discussions, exhibi

tions and desigl'l workshops. Although some events appeared to have been recy

cled from recent editions of Art Basel, they were fresh to the region. There was also a stellar patrons committee, among whose members were

Norman foster, the architect of the emirate's soon-to-bebuilt Zayed National Museum

and the zero·carbon city,

Masdar; Jeff Koons, whose made, how could galleries large sculpture Diamond justify the cost of transport-(Red), 2006, anchored the ing some of their most

Gagosian Gallery's stand; va luable works so far in this fran~ois Pinault,the mega- economy? PaceWildenstein, collector and ownerof for instance, spent some Christie's; and Anupam 5100,000 to Ship Alexander

Poddar, India's leading Calder's monumental 1969 collector of contemporary mobile Ordinary. Priced at art. What role the patrons 545 million, it didn't sell, but

played no one involved would another of the gallery's say, which only added to the Calder mobiles,the event's air of mystery, 5B.5 million La douche, did

Most of the top exhibi- find a buyer, which was

tors, who traveled with prized rumored to be the inventory pieces to thislar- Guggenheim Abu Dhabi. flung destination, may be As to the emirate's assumed to have expected to elite, it has only begun to

At fairs like Art Basel,

most big sales happen on the first day; here deals weren't finalized untit the last hours, and exhibitors remain cagey

about them.Gagosian has announced the sale of a Willem de Kooning painting

and a work by Anselm Reyle but won't say to whom,

Hauser," Wirth reports that an Asian collector acquired a

Roni Horn sculpture and another buyer a Gerhard Richter, Thaddaeus Ropac, who says he sold the TDIC a

Tony Cragg sculpture and a Philip Taaffe painting and that another collector is

interested in commissioning a Cragg, deems the fair "a good experience, but diffi

cult. There are a lot of

middlemen", [Were it not for theTDlc sales], we

wouldn't be as happy." Other dealers are phil

osophic, "Th is isn't really about sales,N remarks Hauser

'" Wirth's Florian Berktold. Ma ..... an RKhmloul'slnstlllaUon Beirut C.oulc~ouc,at DlsORIENTatlonsli. "It's about learning how

make major sales to the TDIC and AOCH or to the ruling alNahyan family, although Rita Aoun-Abdo, the TDIC'S cultural-division head, denies

that assurances were given. Dealers certainly didn't seem

fazed by the Guggenheim Abu Dhabi's claim that its acquisitions committee was still being formed, possibly

because they were satished that the Louvre Abu Dhabi was actively buying. Last February the museum paid

nearly 528 million for Mondrian's 1922 Composition with Blue, Ffed.

Yel/ow and81ack at the Saint Laurent-Berge sale.

take an interest in art. To demystify the held for all the novice aficionados from MENAsA- the acronym for the

Middle East, North Africa, and South Asia region-a

panel discussion was held on

collecting in which the usually elusive iiberdealer La rry Gagosian pa rticipated.

New collectors were

also targeted by some smaller exhibitors, such as London's Waterhouse So Dodd, which brought art priced from 55,000 to

51.1 mil1ion. According to Ray Waterhouse, he sold "a lot" and received two commiS

sions from state entities, one

things work here.N Declaring Abu Dhabi a future "cultural hub: a booster ish Mathias Rastorfer, of Zurich's Galerie

Gmurzynska, says, "The TOIC has taken this over and made it into a majorfair, It's a 10-year plan.N

Just days later, neigh

boring Dubai panicked global

financial markets by asking for a six-month moratorium

on its impending 54 billion debt payment. Will Abu Dhabi bailout its fellow emirate' At press time, the U.S. was on

Thanksgiving holiday, Muslims were celebrating Eid, and the world remained

in suspense. + SARA H DOUGLAS

ART' AUCT ION JANUARV 2010 I WWW.ARTlNFO.COM

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DATEB J, NUA R'y 2010 TH 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

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."

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The Stuff of Legends A SEASON OF OLD MASTER AND 19TH-CENTURY SHOWSTOPPERS IN MANHATIAN

SOTHEBY'S Old Master Drawings, JANUA"Y ~7 Important Old Master Paintings, Including European Work s 01 Art, JANUARY ~s Important Old Master and 19th-Century Pa intings, jM'UARV 30 One of the ricr.est offerings in these three sa les is Anthonv Van Dyck 's unusual Two Studies of a Bearded Man, above, depicting the same ~gure in two distinct moods. Painted around 1620, whi le I r.e arlist was working in Rubens's studio, it is estImated at S5 mimon to S7 million. 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 Abraham Adels' i)erger, irs estimated at S8 mi llion to 512 million.

CHRISTIE 'S Important Old Master Paintings & 19th-Century Ar t JANUARY 17 One of the many gems in this sa le of arour>d 300 lots is Bacclous allhe Wine Val, 1530, right, by Lucas Cranach the Elder , estimated al S25 million to 53,S million. -He's i)een very much sought after in the past ~ve years: says Nicholas Hall, Cnnstie's in-ternationa l head of Old Maslers and 19th-cenlury art -perhaps because his forms are pared down and stylized and slightly modern.- Also noleworthy are two works by Jan Brl,Ieghel the Younger, and TIre Entrance to file Turkish Garden Cate, 1812, by Lou ls-L ~opold Boilly, depicting more Ihan 60 ~gures,

including himself. and estimaled al 53 million to 55 mil~on,

MOREnl FINE ART - From the Gothic Tradition to the Early Renal. sance,~ JM'U~RV r9 TIIRQuGII FF.RRUARV r ~ The Fklrence-based gallery's thi,d New York exhibition si~ce openiog ils doors o~ Manhattan's Upper East Side in 2007 features around 20 lIalian devotional paintings trom the 15th and 16th centuries. The oldest of Ihe 20 works, the mid-14th-century $ainl Allthony Abbot abo_e, by Taddeo Gaddl, Glotlo's pupil, is priced al 51.5 million. Jusl around Ihe corne r, i~ the Metropolitan Museum, is Gaddi's Saini Julian. a simi larly sized panel that may have once accompanied the ga llery's pIcture in ~ triptych.

JACK KILGORE I; CO .. INC. "Master Paint ings· JANUARY r 8 T1IROUGH FEBRUARY r , Among Ihe Outch and Flemish Old Masters and 19thcentury works is Saint Jerome, circa 1630, i)elow, by Hendr ick Bloemaert of Ulrechl depicting the Bible translator engrossed in his reading, The show also indudes The Leap

of Marcus Curtius. 1850-55, by Jean-Leon Gerome, portraying the Roman soldier who, according to legend, jumped into & chasm in the Forum so the gods would close it "II's very academic for Gerome: says Jack Kilgore, "and will undoubt edly go to a museum,-

,

MASTER DRAWINGS NEW YORK /ANUARY ~3 T1lROUGII 30 For Ihis weeklong event, now in its fou rth year, 22 Upper East Side galleries- including Addison Fine Arts, Simon Dickinson, Crispian Riley- Smith and David Tunick - are bringing out their best works on paper, from the 16th through the 20th centuries. First-limer Didier Aaron, of Paris, London and New York, is showing 50 18th-century examples I rom France. look for 18th'century treasures at Stiebel, Ltd. as weU, including Ihe French artist Charles Parrocel's watercoklr Mlrriage Ceremony al a Mili/dry Encampment, above

CARLTON HOBBS I; JEAN-lUC BARONI - In the Grand Manner" JANUARY ~, T11ROUGII FEBRUARY ~ As part of Master Drawings New York.. Lo~don Old Masters dealer Jean-Loc Baroni is teaming up with antiques purveyor C~rllon Hobb~, displ~ying works on paper along with impor-tant paintings and furniture at Hobbs's Upper East Side gallery. Look for Giovanni Batti sta Tlepolo's Portrait of a Lady as Flora. circa 1762, above, recenHr discovered in the aUic of a French cMteau, where it had been stashed more than 200 years ~go because it was con~ide red too n~que 10 hang.

A RTt~UCT I ON JANUUV 2010 I WWW.AR TlNf O.CO"

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....... Naked Ambition PREVIEW: RYAN MCGINLEY AT THE BREEDER GALLERY To some, the name Ryan McGinley is inseparable from the freewheeling group of downtown New York artists that included the late Dash Snow. To others, he is the creator of subtly captivating photos of his friends. The 32-year-old photographer lal"lded on the art world map several years ago with images of figures that elegantly meld a Sllapshot approach with an astute sense of timing and structure. From January 14 through February 20, McGinley makes his Grecian debut at the Breeder Gallery, in Athens, with a show of 40 color and blackand-white pictures from three recent series. In "Road Trips· he captures his friends on the go, while in wMoonmilk" they appear in unusual, dramatically lit locations, such as in caves, Of the more formal, penetrating black-and-white portraits in the third series, some are conventional head shots, while others focus on different sections of the body. such as a naked torso of a jumping slender male.

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Best known for transforming empty spaces into solid masses, the British artist Rachel Whlleread. 46, rose to stardom in the 1990$ with her etherea l resin casts. Now her two-dimensional pieces are gelling their first airing in "Rachel Whiteread: Drawings," on view at the Hammer Museum, in Los Angeles, from January 31 through May 3. Featuring works on paper, sculpture al"ld other objects spanning more than two decades, the show will travel from 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.

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, 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 Indance, she USM drawings to show how to cast tI1 e work. l' lI!1 tport it and color tI1 e resin, but $he also drew very beaulolul images 01 it on lop 01 photoo;;raphs 01 Ih e build ing against the s\(y~ne.

These draw i .... s serve as her inlimate diary. Many of her site'specill<: works nave been des lroyed, ~ke House. 1993, or displaced, "ke Plinth,. 2oot. wtIrch moved Irom Trafalgar Square to ttorage. so her drawongs can help trIKe her career dewetopment While l'isiting her london studio in prepara tion lor tI1l$ exhibrtion, I learned tha i $he accumulatet ICUId objectt Illat ., Iorm her work. ranging from streks 10 dental casts to shoe strelc hPf$, m<my 01 which she J>ick M up on trips wrlll her la ther. who Wat a geogra phy teache •.

Rachel has compared the"" found and cotlected obtech to ske tchoooks, They thus belong to an extended notion 01 draftsmanship, whe reby

lhe act ollhinklng . nd preparirog a wor~ of . rl is not only expressed on

> paper but it "so reflected in three ' 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 Slmila ~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 ..

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KAATERS KILL FAllS AT DUS K 24 X 36 INCHES OIL ON CANVAS

ERIK KOEPPEL THE AMERICAN LANDSCAPE

EX HIBITI ON ON V I EW DE CEMBER 2 00 9

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Christie's holds its Americ~n Oecor~

lioe Arts, Siloer ~ Chinese Ex~rt Porcelain sale ooer th ree days: JMUary 21_ 22 Md 2!i Margot Rosenberg, tlead of Ame.-ican fumiture and folk ~rl al the auction house, is especially excited aboul a rare circa 1855 lulHenglh double ~rl r~it 01 Theron Simpson Ludinglon and his sister Virginia Ludington, above right by

Amml Phillips, estimated at S300,OOO to S500,000. "The picture has descended through the same fami ly, plus the sitters are identihed, and you have a winning combination with cute kids ~nd a dog: she says. Also signih cant is a 19th-century mounted scrimsl1aw wha le tooth. le ft, estima ted at S30,000 to S50,OOO, with enormous sentimental

appeal. "It transcends nautical collecting: e.plains Rosenberg, · with patriotic images including an eagle, a star and a wha ling scene and an inscribed note to Bokl Yankee Whalemen'

The Americana sa les at Sotheby's, slated lor January 22 and 23, include Chinese e.~rt ~rcel ain Irom the prioate collection 01 the late Pennsylvania dealer Elinor Gordon. Among tm. other lots is a Chippendale hgured-mahogany stant-front desk, circa 1170, far right. from Marblehead, 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 Turner and Caleb Humiston Tumer, right. by J. Brown, is estimated at S30,OOO to S60,OOO.

Doveta iling with the auctions. the 56th e<!ition ol lhe Winter Antiqu es Show runstrom January 22 through 31 at the Park Avenue Armory. This yea ' a third of the fair's exhibitors have Americana as their focuS, and the special loan exhi"'tion is ·Colonial to M(}dern: A Century 01 Collec~n9 at Historic New England: showcasing 36 works f,om the esteemed Boston organization. Returning after a IS-year absence is C. L PriCkett, of Yardley, Pennsylvania, who is bringing a Federal mahogany O-sl1aped card table with elaborate inlay, made in New York between 1790 and 1805. The New York dealer Bernard Goldberg, who specializes in American decorative and hne arts trom 1900 to 1950, is ollering Martha's Vineyard, a circa 1950 oil on tin by Thomas Hart Benton, left, lor $225,000. James and Nancy GI!ller, 01 Ma;ne, plan to oller a sma ll re<!ware bud vase, circa 1840, I rom Pennsylvania, priced betweeo S45,OOO aod S50,OOO. The couple has worke<! the Winter Show ,;nce 1976-an auspicious "',entennial year lor all Ihi .... s American_

A RTtAUCT ION JANUUV 2010 I WWW.AR Tl NfO.CO ..

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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 Augustine's three-year term

was up, the J\l)AA appointed Lucy Mitchell-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 years she spent at Sotheby's in lead ing positions in the contemporary-art, Latin

American art and print departments-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.

What are lhe most pressing Issues nght now ror the ..oM? Ro land did a 101 during his lenure. Our .isions are pretty parall el, and I'm able 10 pick up where he lefl off. One of the things we will continue to do is his 50 Arlists fOf 50 States initiative,

For Ihat. 50 li.,ng American arlls" will don.le work$ to one museum in each state upon pusa9t of legislation g,.ing Ihe creators 01 art the .. me tu benehh a. colleelors. Yes. We wanl to raise national aware' ness. II's critically importanl Ir.at arlish be able to give works to museums and recei.e the same benehis as you or I. Atlhe moment, museums an acroSS this country are lOSing oul. I'm working with people in Wa<JIington, in the arts and in the National Endowment f()r the Arts,

But what are the i.,ues of concern to the ..oM'S memben? Supporl at a lime when Ihe markel is r.ard to fathom and understand.

How Cln the association help? I am .. "y keen on improving ccmmunications and creating a general level of coll egial trust When I was Ihinking aboot becoming head of the ..oU, I asked myse lf whall stand for as an art dealer in the secondary marl<el. I had a year to refled on Ihat ques' l ion, and the things I think are "meal for dealers are experlise, integrity and the highest possible standards

cf excellence-kncwing mcre Ihan anyone else about lhe artists you are in.olloed wilh. Thai kind of knowledge runs deep in thi, organizallon, and bfinging that in formation to the attention of the public is whall see as one of lhe pressing tasks of the ACM right now-raising the proh le of all the members_

The auclion houses "e increasingly

en9&ging in private sales, previously the sole pumew of dealers, Might your experience at Sotheby'. enable you to help the assodation', member$ grapple with this? Yes, because I know the differences betw~n wr.at auctioneefs do and what dealers do, Again, it's about expertise and knowledge in the dealer community. And again, my cha ll enge is to make collectors aware of this, to connect them with oo r membership so they can form relalionships and educate Ihemse lves and know whatthe:;e soorces are. Inlegrity i~ rea lly important beuuse all a dealer rea lly has, in addition to how much he knowS. is how much he Of she can be trusled. Bonds of trusl belween dealers afld collectors are what bring conectors back to us.

During hi$ tenure as president Roland AUlrJstrne started an ethic. committee. Are you contrnu'ng ,t? Yes, it'~ something I reel extremely strongly about, because a dealer's

elhical practice is pretty critical. We have a standards· and-practices code 01 elhics Ihat was initiated duro ing Roland'~ tenure. Now when you become a member, yoo have to sign it. and it wi" be printed this year in our membership book, whic~ ccmes out althe time of the AIt Show [the ..ou's annual fairL in March

What ~re some or the things outlined in this document? Warranties: When we se ll a wo rk, under New York Slate law our invoice is also a warranty of ,ts authenticity Clear title- that's a very important issue; the auction houses ha.e teams of people dealing with that. Condition 01 work s 01 art Our commitments to artists, in the form of e ,hibition~,

publica~ons, fostering scholarship on Iheir work, Keeping r&ords of the arlists' wOfk. Payments to arlists: Protecting artists' estates. Nol Con' signing an artisl's work 10 auction with the intenlion at acquiring it meMing you can't bid on your Own WOfk, And if you guarantee a work t~a\'s consigned to audion. you have to disc lose Ihis to bidders.

Spea~ing of the Art Show, h .. there been ,ny further lalk about dOing a ,«ond annUli show ,n the Park Avenue Armory? Yes. II gal tabled in October or 200S. I woold love to do it and at the right

moment we will. It wift be done in lhe fall, and it w~1 be an invitationa l, but il has 10 wait. wilh Ihe economy.

The MAA hn seemed oriented much more toward contemporary art,n recent ye~rs. Why is that? II's more Of less a fundion of Ihe evolution of the market Arl of the Igth century and the hrst hall at the 20th century is rarer and rarer, II's

more and mOre dif~cullto ~nd g'eat e,amples. There's m()re and more capital involved in having thai kind of work in your inventory, if you're a secondary -market dealer. Yoo move in a contemporary dir&tion lust because of the dearth of material in olher helds,

Don't you ~nd it slr~nge that the ..ou ~s never before h~d. woman .t lhe helm, since some of ils most esteemed members Ife women? Think of Pau la Cooper, Barbara Gladstone, Marian Goodman. Amazing- an entire generation, real role models: I think iI's happenstance. I don't lhink the re was any deliberate efforl nol to have a woman lead. For an art dealer, this is another en~ re

job. Someone has 10 realty want to do this: But it's not uninteresting. What strikes me is just how gilted this group or people is. If ali i did was make the public aware of that talent and enable people to tap inlo 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

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BEACH BOUND IT'S NOT JUSTTHESUN.

TWO SPARKLING FAIRS IN PALM BEACH LURE COLLECTORS,

CURATORS AND DEALERS TO FLORIDA

THE 13TH EDITION OF ART PALM BEACH JANUARY 15 THROUGH 19, PALM BEACH COUNTY CONVENTION CENTER In Ihe frigid deplhs of winler, dea lers, coQedors and cur~lors h~ve Iwo fairs 10 look forward 10, bolh Ofganize<! by fair phenoms David and Lee Ann Lesler. First comes the 131h edition of Arl Palm Beach, present· ing a wide array of contemporary art. ranging from photography to Latin American works to design. Fai. veteran Go-edhuls Contemporary, of New York and London, is bringing imporlant Asian pOeces, irw:luding Ihe Chinese ar~st Oln Feng', Desire, Landscape, 2008, right. a work in ink, coffee and tea on paper. "We do Art Palm Beach because it rea ches the densest nudeus of wealth on the planet: explainS Michael Goedhuis, who has participated since il started, in 199& Fort Lauderdale's Verve Gallery is ""owing editione<! works on JIo1per by Pop artists, among Ihem Robert Rauschenberg's Soviet! American Array VI. top lef!. a signed and numbered intaglio in 16 colors

from 1990 in an edition of 59, while Charon Kransen Arts, of New York, is oltering unusual, innovabve jewelry.

THE AMERICAN INTERNATIONAL FINE ART FAIR FEBRUARY 3 THROUGH 8, PALM BEACH COUNTY CONVENTION CENTER A few we<!ks laler, the American International Fine Art Fair takes over. Now in its 14th year, the event aUracts a well-r.eeled international crowd with treasures that span lime and space, from ancient obiects and European an~ques to modern and contemporary ~rtworl<s. "It's probably the best and most beaubful fair in South Florida: says Uoyd Macklowe, of New York's Macklowe Gallery. which is bringing a slunning f lower brooch. left, created in the 1950s by Pierre Sterle. MS Rau Antiques. of New Orleans. has a charming 1916-17 bronte tNsl by Plerr e'Auguste Renoir of his wife. Aline, while the Amerkan-~rt specialist Hollis Taggart Galleries, of New York, is showing 19th- and 20th-century work,

including Delphic Shibboleth. 1959, top right. ~ moody oil by Theodoros Stamos, one of the origin~1 Abstr~d

E>pressionisls. --CG

RICHMOND, VA Heather Russell, an art adviser, art historian, aod galleris!. is launching Russell Projects, a 1,500-squa'efoot space in a renovated warenouse. far rignt. in the city's Mancnester ~rts district. 1 plan to bring a long-overd ue infu· sion of work by emerging and midcareer 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 litalion ~nd nistoric preservation ~nd ushering in a renaissance in a"isllofts and gall eries." LONDON Tate Britain has named 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 independent curato' and chai r ot the e<!itorial group of Ihe Oxford Art JourM( has been appointed the hrst curalo' of pt1olograp!1y ~nd international art at Ihe Tate Brilain and Tale Modern. NEW YORK The Whitney 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 branch in HO<'1g Kong, to ""OW Western contemporary art.

ARTtAUCTION JANUUV 2010 I WWW .• RTlN fO .CO ..



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Low Country, High Art A PREVIEW Of TIlE BUSTLI NG BRUSSELS AN TlQ1!,.ES AND FINE ART FAIR

Now in its 55th edition, the Brussels Antiques and Fine Art Fair (BRAFA) has exploded in size

amI innucncr iothc fiw years since it moved into the renovated

Tour & Taxis development in the ciIY'S center. Tonted as ,1 morc affordable yet equally high-quality ahcrnmiw to TEFAF Maastricht. 8NA~", which runs from January

21 through 31, hosts around 11.0

exhibitors, (""enly split octwttn Belgian and iUtcnlalional dealers.

This year'> panicipants include "umerous .. eterans, such as Antwerp's Axel Vervoordt, known for his 13Std,,1 mix of c"erything from ancient stawary

to avant-garde painting, and the

An 0«0 dealer Je~n 'Jaeques

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 acque s Germain. 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

anracts a more academic bny ... r than some other fairs,~

BRAFA is ch""k·fnll of superb

paimings, including J ames Ensor's dramatically colorful The Sellcn Deadly Sins, 19U, top righI, priced ,u €7 50,000 ,S I.ll

million ) at the booth of Ronny Van de Velde, of Amwerp; lA

Parsie"''':, I 88o, righI, a depiction of all aCtreSS by the Belgian anist Alfred Steyens, for €ljO,ooo (Stl4,l56) ,{I ,he booth of

Boon Gallery, of Brussels; and fernand Leger's beautifnlly

balanced abstract lAudsUJpc,

1919, below, from Barcelona's Glileria Manuel Barbie. Other

eyecatching works are a €S6,000 (S I1S,57} ) Emile Galle 1901

Umbellifcrae chair. botlOm left, which ,he An Nouveau maSler

made for himself, at Gale ri e

Tiny Esveld . ami a 1971 ink-onpaper drawing of a woman, top

ldt, by the Belgian painter Paul Delvau ~, from Ga lerie Beres, of

Paris, Also gracing this year'> fair

is an ilU10vation: m:asnres from Liege mnsenms, bunring eight

masterpi&ces by such names as Gauguin and Picasso,

~The an tl1<{rkel has picked up,

the fair is full of bigger galleries, and we have a waiting liSI,~ says BRAFA president Bernard de LeyI',

~ High-qllality obiects continue 10

sell, There is more of a re<:ession in finding Ihem than in selling them,~

- Jean Bond Rlfteriy

ARTtAUCT ION JANUUV 2010 I WWW .AR Tl NfO .CO ..



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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 Song Dong i n~iting hiS audience to gorge themselves on his sliced prosciutto, Jell roast pork and chocolate landscapes at PaceWi ldensl ein's Wes t 25\h Street branch. By fall many altlle art set Wf!(e well on their way to cutting more Rubenesque ~gures,

For the October opening of Performa '09, art a~cionado. writer and hostess extraordinaire Jen-niler Rubell threw Creation, top left, a massive feast 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 designer M~rije VO!le lz~n!l slaged Pasta Sauna, in which visitors relaxed in Ihe steam billowing from bowlS 01 nC>O<f leS.ln November haute design met haute Cuisine in "Cake Happening" at Hauneh of Venison, for whiCh ~ve artisls. including Leandro Erlich and Miekalene Thomas. teamed up with top pastry chets to produce tasty trompe roeils, among them a replica of Min van der Rohe 's 1929 Barcelona couch. leit. whiCh attend· ees devoured. Then. lor three Sundays in November,

the pa inter Will Cotton translermed Partners' Spade gallery into a bakery (Iep right) selling real versiens 01 Ihe cen lec\iens he depicts.

The partners behind "Cake Happening"- Kreemart, dedica ted Ie letting "artists explore dessert as a medi" urn: and Ameriean Patrons of the Tate -are planning a more elabora te edi tion for Paris in June. Rubell. who has merged arl and nourishmenl at her parents' Miami museum. promises a future gastro'aeslhe tic projec t 100, "Food is la~ i ng a more cen tral role in our culture: she says, "It also happens 10 make an ideal medium 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. !ndumy 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 ..

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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

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PaintingRx In 2006 collector Sieve Wynn pu t his elbow through Le n'!ve, the 1932 Picasso for which he had paid $48.4 minion and was in the process of selling for a cool $139 million. Sounds lik.e a nightmare. But, then, the tear was repaired. «Nothing is hopeless,H says John Powell, co-owner of Chelsea Restoration Associates. in New York.

Good restorers can hx all kinds of minor damage. from chips, tears and scuffs to punctures, dimples and stains. They ca n carefully tighten canvas that has become loose on the stretcher, get rid of the tiny white dandrufHke dots that appear where paint is flaking from the raised part of the canvas weave or tone down the yellow him thai decades 01 cigareUe smoke can inflict on a painting. One thing that may be 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.

A dozen res torers may have a dozen different 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 principle 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 50141>Sl[IN

BEAUTVISSKIN'OEEP - An Inl.n .. Clnnlng-r.movlng I"" v. ,nl.h .nd oy .. p. lnl-po ••• Ihl mo. 1 risk 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 .nolh •• 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 ... 1 con .. nsu .. mong con .. "'.lo ... . nd d ...... 10 Ih.1 •• Iillie . hould be done . 1 po .. I ...... - It som"hlng 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 • •

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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 tlltNew Yorlleon'lIfIj>Ot.ry·.rtcle ..... l ... 1Ie' TonIr __ . "You c .... . .. 1Iy dull .... Inllngwllh .lealh ... _I .... • For eelUnll rI<I 01 HuH._ 1111 " .... Glvol",,"',uw. dry-cle.ning __ _ ..... t.-.I-"1/ ... _ ..... ' L 8utlor se. Io<II I I.IM ......... ·ee. """yo. - ...... . ti ..... 'ou ju., ..... to b<1ng_h.wo,k bock 10 I"" .. lIs __ ..... him ........ clell wlthllll I.o_.po,.-BEPIIEPAII[O Col"cl ... l olten seelr oul prolellloulcon .. ",.lo ... w""n ... ep.,lng 10jlUi p.lnllng. up lor ..... Buy .... sIrould lik. wl • • Conlld,rh •• lng Ihl,d "".lIes ... ell polenll. 1 pu,ch.s ... An •• 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 .... .. I light. • conse",. lo. C.n Idl"" diller.nee b.,w .. n ... .... loUI ' .llo •• llon work I nd I c""ngem'de by I"" 1,1I11-.dl.tln<llon wllhmljo. ,.ml~cotlon.lo • • pointi ng·I .. "' • .

lOOK FOil THE RlGHTfIT R.stor .. s' ..... 11111 • • ,_ "om Old M. tt. rs ' oconl.mpo,.ry lol ......... lionlsls lo .. O<Ir oon"""",. AIIlroughcoaeclOfl c ... ell IMI .......... lor .eMc., T __ w .lsoougeelllcon .... tlf19 MU ....... I · cons..v. lion ••• 11. _ oHenm''' I .......... , . ... _ IIc .. OUI"'" ",.Ir 1n._~utIonL 1.1011 impoft.nt .dYl ... HIII,.I0 .... 101 • •• 1"" , ... Ior.llon ",oo ... LA" .... 11,."" .. y .. tilt I"" IjNIC I.WoI I . ' . "hl9hty •• _cled . rtl. l. In 1",,1r own ' lgIIt."

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CASH DAN BY MARIN!YANTONYCROOK PHOTOGRAPHS



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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 chi ldren, has all the charaCteristics of its architectu ral era and charming eCCen

trieities of its age: stai ned-glass windows, erea ky floorboards, hidden and odd!)" shaped doors, intricate moldings and sash windows. The smalleST of the three top-floor rooms, which have low, beamed ceilings, 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 drawing 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 CDsGibbs 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, which commissioned 18 drawings by the a nist tocelebrate its 75th anniversa r y. Also 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 Jannar), 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 llery, in London, and also works with the Baldwin Galler y, in Aspen). Gibbs made his name with 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 Glbb.· • ..ewg,.pIolte· on· .... perdr ... lng •• u.:h~t~JedS"" Fr6ftClsco,2OO'.I. comm l •• lonedby .... o .. ~ lor lt.75th

.nnl~ ... sa,y thl.y ... " Cent ... , The.,tl.t tron-""Ibu . pIoologr.phlc Im_ .. to ...... ie.of Int,lclle "'"'~' blsed on tllose In knlltlng Inst,,,,tlons. " Iliked Ih~loglc otthrm" "" .. y. oflhr .ymbol •.

inches), using a grid as a stru<.:ture, he draws hundreds o f pen or pencil circles

and slashes, symbols recogn izable to anyone who has ever knit a sweater or a scarf. The image is thusdeconstruCied

into someth i ng more pixilated, abst ract and sometimes so faintly rendered as to be nearly absent.

Gibbs says the technique " found hilt\~ wh~n he was stuck in a rill while sti ll a student Jt London'sGoldsmiths »

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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 patlerns . Gibbs was imrigued by the way many of the instructional symon!s stood for colors of yarn, which, for his purposes, 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 . ~

His in itial knitting-symbol drawings- in his fi rst ga llery exhibition, at Maureen Paley Imerim An, in London- were based on photographs of hotel rooms he collected from vaca

tion brochures. Bllt viewers insisted 011 Top: The I rtl.r • • tudlo. I tiny room"" the third ftOD< ol lhe ramb~ ng Ge<><gi . n house he . h .. es w~hhl . l.mll y.

Cloc~wlsefrom larle ft: N~wY"'k.2008; Gibbs. tlklng ' bru k In the~ounlry.ld. n . ... hi. house; . nolh., New Yorlr drlwlnglrom 2008; I nd Typlc. 1 Inl .... I<>I". 2006. oM olhlsurlydeplc l lon. olhotel roomsb.se<I on • • c. llo n broc hures. Vlew ... would.t. rt Inte rpre ting the d" ..... Ings •• • bout lone liness or l. ol.llon. so. h. u plol ln • • "lmo •• d to l~lde • • thlnk lng thl tlhey had I .... m,,"nlng :

interpret ing the pictures, rather than fo.;using, as he wished, On how they were created. "When r was doing the hotel inter iors, people would start analyzing that they were aboUiloneliness or isolation," he says. "lSoJ r moved to fa~ades,

thinking that they had less meaning." He followed those pictures with a series of baseball pitchers in balletic positions [shown at the lora Reynolds Gallery in 2.008) and then with portraits of New York, lOlldon and Paris lalldmarks, including the Chrysler Building, Big Ben and the Eiffel Tower. These drawings, first shown at Timothr Taylor in 2.008, have garnered Gibbs the most »

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~MERJCh\~

***** by The Art Newspaper

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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 [email protected]



lNTHE STUDIO

recognition, induding a conlln;,sion from the Arrnorr Show in New York to create the visual ident i ty for its 2009 edition. "Drawingisa primal activ ity and, in Ewan's case, a painstaking one ,~ says galler is! Taylor. Each drawing is the accretion of wecks and months of minute mark making, and through thisbbor- and time-inrensive method, MGibbs also addresses the question of time. In a world ded icated to develop; og speedy com munication, coupled with a desi re for higher cia rity and definition, his d rawings imriguingly re present a Ill(Hnen{ of respite: The image is dissoking rathe r than appearing."

Gibbs's works a re clearly influenced by those of Hopper and the Photorealist pa imcr Roben BeehtJe, bur they alsof>'oke rhe delicate drawings by Vija Celmins, whom he cites as a ~huge inspiration.~ To a list of art·h istorical references that ma)' be detected in his pictures- realism, Pointillism, Minimalism- Gibbs adds Pop, because of his lise of iconic images. ~I think of these almost like celebr ity build i ngs,~ Gibbs q uips. His aim is to pre"em allycolltextllal emotional analysis; the images are so familia r they almost lack mean ing. Instead the drawings' power lies in their intricate honeycomb patterns and the irresistible nostalgia aroused

by the postcardlike SCeneS. Both engaging and mesmerizing, they are ac<.:essi ble despi te their extraordi na ry complexity.

The artistgetsaspecial th r ill 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 rawing 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 political idea.~

Gibbs now bases his drawings on photographs 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 precise, but they're not at all precise; ill a way they're "ery generaliled,~ If the re presentations lack precision, his approach does not: At h is drawing board, with the graph paper turned upside down, his pencils neatly lined up Ilexttohim, usinga pointerroguide 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 , . olhl.pr.cllu.' My work II more lodo wllh pere. ptlon ..... l he waywe loolo a l plctu , .. andllowi>clu, .. . r. m. on.' Top:Th. .rUII.I"~"1Ilhrough • 1><>'11011001 hl. wor~ .. and . de t . 1I ollhe pile otpencl l. he keep. a l hl.drawlng table. Let t San Fra r,cI",,,. 2009.

9 ... . M. ead day and works, with small breaks, until 5: ) 0 P,M. "The n we ha\'c dinner and hangout wilh Ihe kids and put them to hed, and I work from about 8 to 10:)0, ~ hesays. T he rontine doesn't appea r to him at all monotonous. "I've done it for '5 )"ears, and I sti ll feel as ex<.:ited by it,M he says. '·While I don't change that much, the world ischanging around 1l1e . ~ If"

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Deborah Oropallo

'11 !Utl ~ WlL!c)

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~B@W January 8 - March 6 , Z010



AmoO>g the toplots at the Solheby' .. ate .. as 1("", .anDongen', t9tOJ~un~A'.M, whichbrouuhtl ln SI3,8ml~lon with the buye<" premlum.TlIe prlcewasnotonlya 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 RA POX O F TH F; ART MAR ~ F.T was re"ea led to the full last NO"ember atthe New York sales of Impressionist and modern ar t- it is booming more than cver, as if the pers istente~onOlll i c troubles had no bearing on the urge to ~oll ect.

Underlining the paradox, it took one of the casualties of the recession to demonstrate its astonish ing bldlishness.

T he sensationa l November 4 auction at Sotheby's, where S6 paintings and sculptu res rea lized nearly $[ R ~ million, included an outstandingco!!e<.:t ion which, a<.:cord ing to rumor in the art trade, tumbled on to the market as a result of a DutCh businessman's financia l problems. T he sa le confi rmed beyond possi blc doubt that the only problem regarding Impressionist and modern art, as in virtu a lly every other a rea in the market, is the shortage of supplies.

Unt il the November sales, Impressionist and modern works of art deserv ing serious attention c a me up in such small numbers following the financial earthquake of autumn lo08, that they made a ha l f-convincing case for the continued good health of the market in one of its most important a reas. In psychologica l terms, it is not easy toarguethat a ll is well because second-d i"ision pietu res continue to fetch higher prices than thei r int ri nsic merit wa rrants.

T he problem was il lustrated by the l\"O"ember} sale at Christie's, whid inaugurated the Impression ist and modern art weck. Disturbingl), thin, the session yielded e"idcnce of buyers' eagerness to pounce on anything worthwhile, but it hard ly allowed One to draw defin it;,'e co nclusions about the o" crall upward trend. However, it pointed to an intc resting shift of aesthet ic preferences that the Sotheby's sale confi rmed on a spectacular scale that followingnening.

Four pictu res out of the 46 lots that camc up at Christie's were of a suffi<.:ient caliber to gh'e real s ignificance to their performance. The first to appear was a seaside "iew painted

www ~ ""NF().C()'" I JAN uARy 2010 ~ " ' t ~ UC"()N

by Paul Signa<.: in [9 ' ~' l\ana l in its <.:omposit ion. wh ich does not rise abo" e the level of a picture postcard, Thc Old Harbor at Calmes owes its vibrancy to thc brushwork that transforms Ihestructure.

Remembering the distant days when he laid down the foundations of the Di" isionist movement, Signac juxtaposed Ihick dots and short strokes of color- pink, yellow, green and bille-that ma ke the seascape swa)' and sing. The Cannes scene shot up to $3.8 million. For a picture exe<.: uted }O years after the heyday of its style b)' an artist who does not rank among the most highly rated Impressionists, this is a stagger ing score.

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The expressiveness achieved by the swinging mo\"c ment and the intensity of the prirnarycolo rs did the nick.

The>econd significant work \Vasa pastel by Degas. When Impres>ioniST art was still relat;'"ely abundant, lJa"5euse5 would not have greatly impressed the attendance. Thisdraw

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 characteristics now pass for the express ion of a n avant-sa ,de orientation

and sent the drawing climbing (0 $10.7 million. The gigantic price is even more remarkable ifone bears in mind thnt works

on paper must nOt be exposed to light for longer than til ree con secutive months at the

outs ide if they are TO retain the freshness of

The Degas formed a strik ing contrast with the next big winner of

the e'-ening. T arnara de Lempicka 's Portrait

du Marqujs Summj was painted in

19 15. Faint traces of Cubist influ

ence may be detected in the angu la r volumes. The ponrait could becharacter iled as kitsch with a modernist

TOuch. It is gloomy wilh its p redominantly da rk palette. But the p icture

is highly ex pressi\'e and its dist inct ive style makes it instantly recognizable. It was knocked down at $4.} million with

the buyer's premium. Salvador Dalf's Nu dmlS ia piaj,w

de Rmas would be placed by some in the

same category of kitsch with a sophisticated TOuch. The sleek brushwork and the pseudoNa'd sty le give it a kinship of SOrtS with Walt Disney 's cartoons featu ring Bambi.

But the incongruous combination of elements that would never be associated

in real life make it quintessential Dalf production in its ear ly Surre"list

phase. Too unrea l togo unnoticed, the Dalf ascended to an astonish

ingly generous $4 million. Yet the biggest surprise at Christie's was not callsed

,.,~ .. - by a picture but by a

sculpture. At first sight, Rodin's b ronze Le baiser, moyell modde has little in common with the p astel o r the pa intings.

The subject, a man and a woman in the nude locked

in an embrace, is handled in Rodin's naturalistic style The overa ll effect has more than a touch of bourgeois b"nality. Butthethrustof thewornan 's body and the man's posture brnding

to kiss her !ips make the couple stri kingly expressive. Expected m be sold for between $, .5 and $2 million, the bronze attraCted bids from every side and e"entually rose to an extraordinary $6,4 million_

At SOt he by's the next day, the aesthetic trend d iscreetly hinted at by the Chr istie's sa le was confirmed th ree times over. [n that sess ion all the top prices went to works of art that

were superlatively expressh'e, however dh'erse they might be in style, medium or per iod.

The smash hit was a large if extremely slender bronze by A lberro Giacometti. The title L 'homme quj ,hav;re echoes the

dramatic forward lurch of a character whoseems to ha'-e just lost his balance. The almost curvilinear rendition of the body emp hasizes the mO"ement and its imminent dramatic conse

qllence- the fal l made ine\'itable by the precarious posture. Conceived in 1950, the bronze was cast the folJowingyear in an ed itionofsix. Thisdid norsmp itfrom soaringm$'9'3 million, fa r abo,-e the $8 to $ 11. million estimate plus the sale charge.

Four lots down, an unusua l seaside landscape by Andre

Derain painted a rolUld 1905 made quite an impressionon the room. Barqucs au port de Col/jOllrc is done in the palette of

Derai n's Fauve pe r iod. But while the; ntense greens, reds, blues

and acid yellows are typicalof the rears 1904 to 1907. they are Hot appl ied in large juxtaposed areas as was often the case al that (ime.lnstead, dots and shorr Strokes that a llow the pale ground tocome through make the landscape swim under the

viewers eyes. A perpetual mo\'ement seems 10 run through the harbor view in contrast to the painter's llsually more static pictures. Ri,-eted, bidders sent the picture soar ing well aho\'e the $8 million high estimate, to justo>"er $ r 4- million with the sale charge- a world allction record for the artist.

B)' a coincidence that says ail about the o\'errid ing

importance now attached to sup reme Andrf Der~ ln' .. loOl

expressi'"eness by those who go after 1'.105h,,"""ocene S.rqueuu"."tde

Impressionist and modern art. the third Colllo .... u llrK le<I

highest price went to another picture indebted to the FJm'c t radition that is

also llllusuaL Jemie ArabI? was completed by Kees van Dongen in 1910. T he three-quarter-length portrait shows the boy standing full front. H is head

is sl ightly tilted to the right and his nude TO rso gently sways. With his »

ie,IOIls .ttentl .... , The Fauolst work so ldlorluoloo .. , $14mlUion, . world record for Ihe or llot. AtbelloGlaco.rne11l 'o l 'homme qlJl clulW,e, c .. tlnI951, . tso '"rne<! hu do, soorlng to $19.3 milt ion, well abooe ~ 0$12ml"lon hlghe<llmale.

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SOUREN MELIKIAN

left arm akimbo Jnd the other hanging down, the Arab boy seem~ about to speak. The intense brick-red color of the face and {he torso, set off by a simple bla"k outline and the solid off-white background make the startling image leap off the wal l. Unusually for \'an Dongen, the eyes are not rendered natu raJislica lIy wilh a fierce Slare, bm painted a monochrome maroon that fills the eyelid. The hoy thus has a blind gale in the mannerof Amedeo Modigliani, whose influence is IImni,takable here, jusl as van Dongen 's awareness of Matisse's stylc at that moment is blatant. Thu e is a hypnotic 'lua!;ty to Ihis picture which, according to an i Ils.:riprion on the stretcher, was exe.::uted in Egypt. Fascinated, b idders ran up Jelllle Arabe to SI}.8 mill ion, rOllgh ly 2.0 percentO\'er the high estimate. And with that, a second auCtion record for an anist marked by the F auve tradition was set that evening.

Proof that the defining factor of success that session was the expressiveness of the work, regardless of the style, came ha lfway through when the fourth highest pr ice was paid for a composition of geometrical forms. K ra$5 ,,,,J M ilJ (~Dramatic

~ .....

and MiJd~) was painted by Kandinskyin 19}2. toward the end of his Ihuhau$ period. With the contfJsting colors of abSt raCT forms that seem to collide with each other, the picture commands instant attention. The biggest shape, a black wedge with a toned blue disk lodged in the top corner glares at the viewer as if it were an eye. It gil'es thecomposition a d isturbing Surrealist fed while betraying the austere Kandinsk(s unexpected awareness of Joan Miro's impish interpretation of Surrealism at the time. Krass !/Ild Alild rea lized an impressive $10.6 mill ion, again exceeding the upper estimate.

Predictably, M iro himself did extremely well. Fcmme. Oiscau, an ultra -simpl ified abstract composition of blobs Jnd cllf\'ingstrokes in which red and black dominate on the glaringly white canvas brought nearly $ ... 8 million with the buyer's premiu m. T he picture was dashed off in a day sometime du ring September 1972. when the Catalan-born artist seemed to be spewing f lIry bysplurging color. Expressive is too weak a word to convey the thrust of the brush or the shrieking intensity of itscolorscheme.

The wildest excesses of Picassochurning out one-day carTOon-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 1I1asterpiece. The bill for this ~portrait,~ dated October 5, 1969, was a prodigious $ [0,4 million

Later, another grimacingca ricarure by Picasso brought a stllpendolls$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 expressiveness 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)'stematic 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 inspired 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 paintings. Alrhollgh the colors of the flowers a re intense, it betrays a search for hannon}' that runS counter to the original aims o f Expressionism. The result is magnificent. Although the composition is well -balanced, the flaming reds of the anemones, set off by dark emerald greens and hy the delicate pale pink of other fl owers, give it an explosive strength that remains highl)" expressil'e . This masterpiece from a previously neglected phJse of Nolde's oeuvre matched the middle estimate as it made $2. .6 million . Nottoo long ago it might hal'e crashed lInwantcd.

Anothe r case of shifting interests was offered by Fernand Leger's /.es

trois I11l1sicie>1s. Dated 19}Z, the scene is handled in a figll fJI , pseudo-Naif »

The p.olel O.nuuoe .. d' .... nbyEdgarD~gao In Ihe mld·tS90. when he was no longer Illhe he~hl ofhISI,II. II< powen.sllllm""~ed lodlmblo . ,emlrl<able $10.7 mlIiIOfl. II', I sl ' IISIWr>g hgure ... !>en you conslde' 111 . 1 paslelsunOfllybe d[sployed 101 sl>o,l period s olilme Ilihey .relo be .hleldedlrom b dlng.

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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 particula rly admired by 21st-century art collectors for his "cry different, abstract "mechanical" period, when he rd entlessly painted manufactu 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, subtlety 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 splendid acquisitions could be made at the New York autu mnsales.

At Christie's, a beautiful Paris \' iew of the Quai Malaquais on the Idt bank of 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 atmospheric eifect. A poetic melancholy pervadcs the sophisticated composition. But ne ither melancholy nor sophistication are in demand these days. The important landscape, worthy of any great IllIISeUrn, did not even match the middle estimate 3S it wem for $2.1 5 mi llion with buyers premium.

A not her equally poetic landscape, th is time by the great

o.splteltsgloomy . sp«!. Tomarl de lemplck. 'sl9lS Porlroll duMorqui' S<lmml.chl .. e<! I brl!-

Corot, cost only $866,500. T he masterpiece, done in the later 1860s ncar Ville d'Anay, where the a rrist I ived, is ill mint condition. Italso has a 10nghistOf)' in the

~on t $4.3mllllon.Yet l U.S.,going at least as far back as its fi rst m .. lerlul lo n<lsc . peby Corolw .. boul/hlfor whit omounle<! to a 1lnl,lmHt $866500. Thai price le.tlled to Ihe current "'lfIlncoltcto<l •• tt from tile nuanc e<! to Iheupreulve.

auction appearance in New York at the Amer ican An Association on Januar)· 8, 191.6. lts pri<.:ewasslightlymorethan Christie's high estimate, but Ihis simply shows how low Ihe best experts' expectations Can be when it <':(}Ines to a great

work by a towering figure of mid-19th-cclllu ry French painting that is subdued, both in mood and cxe<.:ution.

At Sorheb(s, simila rly llIodera te prices were paid for works of the same ilk. An admirable Paris<.:ilyscape pa inted by Pis sarro in 1899, duly signed and dated, was a rea l coup al $2.11 million, even though the price was substantially more than the high estimate. Nothingquitecompares with the view of the southwest wing or the Louvre pabce and the Jardin des T ui ler ics seen in the misty white light of a snowy day. The Hearimpossibil ity of conveying in a catalogue the pale light and the multiple 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 enthusiastic bidding that greeted the appea rance of cxpressive works suggest thar the main cause for the modest performance of the admirable Pissarro lies in the art itself, not in the catalogue re produ<.: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 sparing!), painted gem.

Aesthetic perception has changed, renecting a broader 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 .. IS TH E I NTE~N' TIONA L EOITOR Of ARI+AUC TION

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5'

THE MASTER'S GAZE

WITH HIS KEEN EYE, LONDON DEALER AND COLLECTOR

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 ;) now-shutrered g.ll1cryon 571h Street in New York. He reca lls Ill,HI'clinga! reproduct ions of W;l g rcat Rogier ,';In der Werden, a g reat Hans Mcmling, a greal \'':111 Gogh, a greal Fragonard and a grear Picas$Ow hanging 011

the receptlOn-MCa walls bUllhcnlinding, once he passed through Ihcdooblc doors, Wnmhing c"'cpliona l ... jusl some nice pin:cs of blC: 16th-century fu rniture, a few Stile Epoquc oo,n:tsand a Bouchcrdraw i ng.~ Wh .. 1l' WCIl'

Ihe maslt'rpicccs on "jew out front? They had bun sold ),c3Tsago, ,hcgaJlery staffinf.:...med him. - I [houghl TO m),sdf,w hC5.1YS, -'What do they h,\\'(' to show for thcmscll'('S?'-

Thai is one qucstion thaI, after 43 years buying and selling tht linest Europc:an sculptu res, (rom 1{ tn ~i S5anCt bronzes to ' 9th-century marbles, Kat~, need not 311swer. EI'idence of the London dea ler 's s ucce~s is e\"erywhere in his sumptuous O ld Bond Street quarters. 111 addition to the works on display in exhibition spaccs, irwcmory itcmsare scatte red here and there: a po lychromed-wood Madonna and Ch rld on a chair :Itld a pane l from a circa ' 'ISO Florentintc<l$sOlle, or wedding chest, that Kat~acquiftd ftcem l)" ftom a small auc tion houSt in Stockho lm. I sit with him ill his oflicr/stud)', whtrt ht is leaning back in a wNthered Ittgt'"II;y itathe-r a rmchai r, his handscbsped behind h,s head and one kg comforubly propped on his an tique French desk. A!x,.,e him hangs the statd), Portrll;t of all Architect, an ()l Ion canl'as anributed to the mid '7lh- to mid ,8th-centu ry Jul ian painte .. FrancescoSohmtna. Kat1. ldls mt Ihat it has dispbced, forrhe mOomem, William Nicholson's Yormg \'(IOIIIIlII;1I While, a Whistkftsque pic-

tu re from , 893 that he acquired years ago at a Ch ristit'5 5:l lt in $cOlland.

Daniel Katz Ltd. occupies thtu f100f"S of an d tgant , 8th.century lown hooSt that was formerly horne to the famed I.eger Gal leriesand, long bdort that, to priulighter Genticman Joon Jack50n's boJ(ing academy, where, Katz tt ll s mt, Lord Byron famously knocked out another Eng lish nobleman in the ea rly 19th century. ThJt isoneof a Sirtam of anecdotes thai nowsduring my mtttings with Katz, which lake place O\'ersel'eral days du(' 10 the dealer 's ralherperipaletic schedule. At 6" Katz, a self-dCiCritxd polymath, with inf~I"C'SIS ranging frollllllod~rn danc~ to Isla Illi, c~ra m· ics, isold·fa shioned and profc§SOtial. Eloquent and with th(' silky ,'oic.: of an English SI3gt actor, hc has the ai r o f somconc from a nOI her cCTliury. He is composed despite the mllscular tics associated with his Tourette's synd rome, wh ieh he ack nowledges offha ndedly.

If is the summer aunion season in London, and Kat~ has d('cided to show at the gallery, for Ihe lirstt ime, se lections frorn his own coll('({ioll. Surprisingly, it do('s not contain Renaissanc(' or Old Master seu 11'ture. -I never wanted IOcoliecl the same art as I dea lt in,~ he says. - BeC3US(, if you do, you nCI'(' r want 10 se ll the grea t things YOoU ha,·('. and th<'rdore you don't have anYI h ing grea[lOsd l. ~

He focused iniriaJI)'on ll:llian p;!i11lmgof th(' ' 5th and 16thcenturies,lh('n Flemish and Gt rman pictu res. In thc('a rly 19805, he 11"('111 Ihrough a brief Frtnch hnpressio llIst phase. Finally, about 15 years ago he tx;:alll(' in terested in loth-century British a rt. Hebooght a Waltt r Sicktrr nude, Dal'id Bomberg's redis-



covered 1914 The Dancer, an carly Lucicn Freud and ~a lotofFrank Auerbach,~

Katzwasborn in London butgrewupin Be\'erly Hills, where he was fascinated by the homes of Hollywood movie stars, T he family moved b"ck to England, where hegot his profes>ional start while still a teenager working in his father's antiques shop in Brighton, Katz reca lls Dr. Michael Tral'ers, a noted book collector and I1mscum patron, coming into the store and striking up a con"ersation. Travers ga"c Katz a letter of introduction to the art histor ian Sir John Pope-Hennessy, a friend of T ravers's who was then the director of the Victoria & Albert Museum. Katz nel'er met Pope-Hennessy, but he did connect with a young V&A curator, Anthony Radcl iffc, now the keeper emeritus of sculpture, whowasan expert in Renaissance bronzes.

"'We ix-camegreal fricndsandcol kagues," says Katz, "He took the time 10 show mc the col lection, and' spent days there looking. 1 was hooked . ~ Kot long after their first meeting, Katz bought tWO bronzes with his winnings fmm a howling tournament and brought thcm to Radd iffe toel·aluate. One tu rned ouno be a m:ent fake and the other from the 17th century_

The deale r 's galle ry, opened in 1969, specialized in Greek and Roman antiquities, bur the number of forgeries in that fi eld con vinced him to switch to periods with better documcntat ion.ln 1994 hc opencd a grand space on Jermyn Street, JUSt a stone's th row from Christie·s. ~rt"s a funny world," he says. "When I was young, I thought being an art dealer was a way to get into a world of ele gance- you know, the handmade shirts, the Gucci loafers. And I actuJ lIy got a 11 of that, I In the '8os,1 1 started mixing with artdea1ers,alld I found that most of them wanted only m talk aoout art dealing. Then you start feeling inse cure and say, 'I'\'e done bigger or better deals than you, and this one's bad, and he has bad paintings: I thought, 'That's nOt what I want. I wantto learn something.' So I beg"n spending time with people who had the life experience I could learn from, he it an a rt historian, professor, actor, neurologist or da ncer. ~

Katz cemented his reputation in '98:. Ona tri p to Sweden in 1980, hehaddiscol'ered a marble portrait of Bathsheba that he believed to bc by the Florcntinc maSter Giambologna. "I traced the history," he says, "managed to

buy it from a country-house pri"ate collection and sold ittothcJ. Paul Getty Museum when itwas juststartingollt. It was their fi rst major acquisition, and it was a lot of money at the time- many millions of dollars- and Iwas

www A RIINFO co ~ I JANUARy 2010 AR t'AUC TION

ANEClEcnCMIX, , LynnChadwlck'sSlrdIV, 1958. r,om K.tz·, collection. 2 A 17th-century terra-cott o mO<lel.f1erMichelangelo. 3 K.tz hol<ling Henri Gndler-Bnesk~·. Cot t914.0n hls<le ... are. Irom left o small Oon.lello lIto,,",e pulloud ErlcGIII's Alp"""et ro"'ePot 1931. .. Apoty<hrome<l -woO<lMadoMI ..... Chikl,u. t45O. 5 Jcon-8.pti1teC.rpeaux·, t9,h-culu<ybu.tol AntoineWattuu. ' 8.rb.r. Hepwor'~" F",m, inMo.ement(C.IIi.,d) opus212, 1956. 7 Plelro lIccl', bronze S.lntS.N.tlo", u.1&oo . • Aporlr.llofu •• Ie<lI.dy,lnpl .. te<,I,om 11>0 French Sc~ool, CL t830.

a young guy. My wife thought I was going to goctazy and buy planes and cars. 1 didn't . I JUSt gOl back to my stud)", tral"eled the whole of Eu rope looki ng at works of a rt and sta ned buying French Impressionist pictures."' In 1984 hc sold his Manets and Monets, a long with works by Mai 1101, Modiglian i and Rodin, at Sothebr's London "just before the big boom. We did OK but notgreat,~ he sa)'s .

Are there an)" dcalers, past or present, who hal'c influenced him? -'Every pcriod had greatartdealers,~ Katznotes. ~rnthe' Sthcentury there was Joseph Smith, who acquired art for the English in Venice, and Siegfr ied Bing the Art Nouveaudealer in Paris. I 10"e thestoriesofJoseph Du\'een,and when I was younger I kind of modeled myself after him . ~

Like Lord DUl"een, Katz has had as d ients many prestigious institutions, such as the Van Gogh Museum in Amsterdam and the National Gallery in Washington, D.C. .. N inety pcrcent of our busincss is with TIluseums,~ he says. "That is something I"\"ealways wanted, because it prol'cs that the 1e\'e! of what I'm dcaling in is acceptable to them.~

The buying power of museums, particularly American ones, is reduced these days, but KJtz says he's "'buying and building up stock aga in as much as possible aud hopefully will find somc newd i ents.~ In termsof individual

collectors, hc acknowledges that "ther often go off on their own, because I'm not so good at keeping contactlwith theml and offcring things." He does make his wares accessible, though, and collectors in New York this month can seck out his booth at the Winter Antiques

Show, where he will be bringing Carpeaux's nuanced portrait bust of thc painter Antoine Watteau,a '5th-century English polychromed figure of Saint Aubert and a 17 th-century ItaliancopyofMichclangelo'sallcgoricalfigure of Day from the Medici chapel in Florence.

~Danny has an exceptionally good eye and has built up extraordinary knowledge as well , ~ says the London Expressionist-artdulcr Richard Nagy, who is nOt known for lal"ishing praise. "The gallery is a \'ery good cross between the old-fashioned Old Masters duler and a COntcmporar)" dcalcr of his time."

Katz's eye and knowledge have led him on not-always-fru it fu I quests to trace a piece's prol'enance or to prol'e that another has been misalTributed. In July '99', for example, he acquired a bronze statuette of Apollofromthe Sot he by's sa Ie of theestate of Peter Wilson, the fabled Sotheby·sauctioueer. The piece bought in at £ 1 ,joo lS ~,ooo). Thecatalogue dcscribed it as ··after the antique, late, 8th century," but Katz belie\'ed it was much earlier. Since th:It sa Ie, he has tried, so far in "ain, toconfimlthat thc figure is by thc North Ita lian Renaissance sculptor Antonio Lombardo. Katz has kept it close at hand to study but intends to put it on loan soon at thc V&A . On one of my visits, the piece occupied a corner of the dealers desk.

'"I " 'e been working on th is bronze for :0 yea rs,~ hesars with some aTilazemem, ··and no one'snacked it. 1 sent itOI'erto Richard Stone I a conservator at the Mctropolitan M USCUTTl, in New Yorkl, and he found that it was a d irect cast in the Mantuan style from around 1500. It·s thc most I"aluable thing I own, and it will stay atthe V&A as long<lslli\"e,andthen itwi ll be gifted to the n:Ition," Notc\,eryone agrees with his assessmem, and e\'cn an cxpert as intuitil"e as Katz acknowledges that Cl" idcnce, like ~a rchi"al documentation of the original commission,~ is crucial ifhee"erwants tosell itasanauthcnticwork_ "Asa wine connoisseur friend told mc," hc remarks, " 'One look atthe label is better than : 0 years experience:"

Katz's thoughts turn to a piece he purchascd reccntly for himself from the London dealer Andrew Wyle: an exquisite sn", 11 ,8:~ John Constable cloud study of Rrighton, the place Katz remtmbers fondly from his youth. '"I'm thrilled with it," Katz says, beaming_

~I know I haven't talked much about business," he says as we wind down the COll I'ersation, '"and I'm not sayingI'm beyond that, because ['TIl interested in making money and ru nn ing th is business, a nd I'm lasei nated with prices achie\·ed. Bur:It the end of the dar, the thing for me is the object, the work of art ." ff.

55



,6

CAOCHANGDI, ATHRIVINGARTSDISTRICTON THE OUTSKIRTS OF BEIJING, CONTINUES TO GROW DESPITE RUMORS OF ITS IMMINENT DESTRUCTION. BY DAVID SPALDING

"WHEN A SILKWORM produces silk, it would neverdrra'" there is a Silk Road," the artist, architect and pronxateur Ai Weiwe; said in an interview !ast year. Quoting a ,'erst wrinen by hi~ father, the poeT Ai Qing, he was re/leering on the surpr ising growth of Caochangdi, the burgeoning urban village and arts community perched On the northeastern outskirts of Beijing. Not even someone asshrewd as Ai Weiwe; could ha\"c imagined Ihe chain of events he would help to set into motion when he moved to

Caochangdi in 7.000, ultimately t ransforming the q llier neighborhood into one of the dry's creat;I'c hubs. And in Ik ijing, where a top-down approach to urban planning and (COllom;" reform sometimes leaves people guessing about their future, Ihe image of an unwitting si lkworm seems particularly apt.

Drawn to the area because of its undeveloped land, Ai came to Caochangdi (which means ~grasslands~) to build his studio and the China An Archives & Warehouse, one ofReijing's first artist-run exhibition spaces. Since then, the devdopmem of thedust)· hamlet has been nothing short of stunning. Not long ago, taxi drivers hesitated to "entu re into this uncharted territory just beyond

the Fifth Ring Road, and a visit to one of the few art spaces here required multiple phone calls for directions. Today, a barrage of dual -language signs wdcomes visitors to Caochangdi Cu ltural Industry and A rt District, pointing the way to the more than 10 galleries that have seT up shop alongside the artists' studios, holc-in·the·wall restaurants and produce stands that dot the village's narrow Janes.

Cao<;hangdi's expansion i,directly lin ked to the meteor ic r ise of the Ch inese contemporary-art market that took place from 1005 to 1008. Artists suddenly had more mont)· to bui ld large and sometimes Ia"ish studios in the area, while galleries from China and abroad- priced out of or turned off by the city's other art districts- began toopenupwith increasing freqllency, hopeful that these newspaces would pay for themselves in sales. The Chinese a rt llIarket was alllong the most speculative and inAated until the downturn of 1008, andconfidence in Chinese comemporary art as a quick, high-retnrn im'esnnem has fallen, though many people feel that the market has simply undergone a natural correction.

Unli ke the more self-contained, sanit ized and tour ist fr iendly 798 Art District, which is located in a former factory site about TO minutes away by cab, Caochangdi isstill a loose sprawl of unnamed and sometimes unpavcd mads, crisscrossed by dothesl i nes a nd studded with the mounds of gravel that accompany the area's lIlanyconstrucrion sites. Yet it is precisely th is unique patchwork, plus a mix of residents that includes foreign and Chinese 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 fasciand taxi drivers, that has fostered a sense the future holds. According wspeakers, nating new book bythearchitects Robert ofcommunityin Caochangdi .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 beer and end up playing cards all designed by Ai- low, rectilinearst ruc- the late 1970s, farmers realized they night, where 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 companiesand,in the past decade, toartexhibi 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, howaH spaces have set up operations here, demolition could happen immediatcly, el'er, may not be legal, because they were including Bocrs-Li Gallery, Chambers sincc a land assessor had already come built without proper permits and autho

fine Art, Gale rie Urs Meile, Platform Ch ina, Pekin Fine A TIS, ShanghA R T and Three Shadows Photography Art Centre, making the I' illage a mandatory dcstination for arts profess ionals I'isiting the city and for local collectors and enthusiasts. Some Eu ropean artists hal'e ar rived, indudingNOI Vital, who JUSt completed a lavish new studio compound. China's Peoples Dailyrecentlycalled the d istrict ~one of the nation's artistic hotbeds. ~

But despite its local prominence and international ,'isibility, rumors have been circulating in recent months that much of Caochangdi (a long with other artist I'i llages and STUdio compounds in northeast Beijing) are being considered for demolition 10 make way for nCw gOl'ernment pro je(ls and business development- including, oddl)" enough, a "cultural d istrict." Last fa ll, when I asked artists and deale rs li"ing alld

to measu re some of the spaces and dctcrmine the exact sile of the lots. Then again, it might start within the next few years, or nOl at all. I n other words, many people either were not pril'YIO information that would d irect l)" affect them or wondered i f a decision made today might be reversed tomorrow.

Change is nothing new in Caochangdi, a neighborhood which has been redefined continually ol'cr the past 50 years by a series of political agcndas and econom ic shi fts. Once the site of imperi3 t gra"es and ga rdens, it was transformed intoa farming village sometime

rizations, a nd the fa rmers can always sel l the land to de\'eIopers who have other pIans for its use,

Amid the rising tide of hearsay and innuendo within the 3rt communit)", I found one person who spoke definitively about the siTUation. "First

you need to understand that the general policy announcement from which the rumors started is a prohousing po!icy,~ explaincd Meg Maggio, the foundcrof Pek in Fine Arts and a longtime Beijing resident. The idea, she said, is '"to get people living on the city outskirt s OUt

of makeshift P;"I{ (all); (literally "flat houses,~ often one-story shanties I and into newly constructed 1011 (aug (Ill lilti story( buildings. That is a grcat housing program of the Beijing city gOl'ernment and will improve many people's !i l'es. We are told by ourdeveIoper and A i Weiwei that while there was init ial concern that this new prohousing policy would affect us, it is now clear that it will not.~

Meanwhile, just north of Caochangdi in the Bcigao studio complex, the mood this past fall was less optimistic. The artist Liu Ding told me that because of plans to build J theater and

ART tAUC TI ON JANUARY 2010 I WWW .• RTl NFO.CO ..

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other construction projccts, h is studio and others there, which have been leased on a long-term basis and renovated, are likely to Ire: torn down within the next twO ),ears. In nearb)' Changdian village, the Taiwanese artist Peng H ung-Chih fin ished construction on his studio recently only to learn that he might not get to use it for long. "T here are still alot of fUlllors,~ said Pengo ~[heard that the

fa rmers wa nt reasonable compensation Ifrom the govcrnment for the landl. If they get that, the dest runion will goon. I th ink m)' problem is not over ),et."

Peng, it turns out, was right. By mid-Nol'ember, the plan to destroy the studios was proceeding rapidl),. Residents were given three da)'s to move out, but they hired a lawyer and were trying to ncgotiatc with thc landlord for

more time and for compens.uion. At press time it was uncertain how much respite tht)' had bcen granted- thc first cI'iction deadline had passed and a new one had not)'et been set. Although there was alread)' snow on (he ground, heat had been cut and running water was intermittent. Anists lila), be reimbursed the rent they paid in advance, but itwill be much harder to recoup the money they spent on renovation. For their part, the artists knew that sinking mone)' into property theydidn'town wasa gamble, especially considering that if land is deemed desirable for other uscs, cI'en long·termlrases can be broken.

Because of the lack of clea rl)' esmblished lcgal guidelines, chaos can arise when disputes between tenantS and landlords escala te. [n an extreme incident a few months ago, the Caochangdi branch of Seoul's reputable I'KM Gallery

www ~ " toNF() . C()'" I JANuARy 2010 ~ " t t ~UCto()N

was caught up in a bizarre chain of c\"ems including the galler),'s landlord, whose d i,-orce proceedings led to a dispute over the income generated by the property. Twent)· thugs, allegedly hired by the landlord's wife, took the ga llery by force, stabbing a security guard and occupy' ing the space for several days. When I stopped b), shorrl), afterward, the police had cleared out the gang, but a notice had been posted on the door informing I'KM that it must remove its belongings immediatel),. A Ithough the paper looked official, the galle ry director was 'lues-

tioning its ,-alidity and the situation was far from being resolved.

The recent confusion aboUT who has the right to rent, to build and to

destroy in Caochangdi demonstrates how uneven and minimally regulated dcvelopment, coupled with shifting or confl icting nJtional, municipal and "ii lage agendas, have allowed sud districts to thri\'c but ha\'c also made their longterm sUf"i"al uncertain. At the same {i me, ru mors or no rumors, Caochangdi shows no sign of slowing down. Studios are still being built, and new galleries are launching, including Taibng Top Space (formerly located in the 79R Art District) and C-space. While silkworms may not dream of thc Silk Road or e,-en of an Hennes scarf, they llIay find that spinning even the most beaut ifu I cocoon may not always insulate them from forces beyond thcircontro1. lF



FROM ABOVE, ~~J!!JIl!!>' Th~lIug.

">'C, 1980.in"'ic~a~1 Hoeh' . collectlon;

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Stn eandCh i<l r. Rosenblum,

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CHANGING

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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

A few years back, Michael Hoeh e-mailed a

well-known New York dealer inquiring about

the work 01 an equa lly well-known ar tist. In

return he received a message clearly meant for

another gallery staffer, sent to him by mistake

when the dealer hit Reply instead of Forward.

It sa id, more or less, "I can't believe another

newbie wants in on this art ist."

"I t was a real slap in the face," saysHoeh,

a mutual-fund portfo lio manager in New York.

"The guy was unapologetic about it \00," But

at least it was a response. At the height of the

boom, galleries tended to snub budding collec

tors like Hoeh. Despite these neophytes' act ive

membership in young collectors groups at

museums, their annual pilgrimages to ar t fairs

in Basel and Miami and their mounting acqu i

sit ions, dealers reserved their allention and

their stock for the 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 Ileries and aue tion houses claw th eir way

out of an unpredictable and business-changing

year, they are accommodating young patrons

as never before. ~We've seen a number of new

people," says Alexandre Carel, the head of the

First Open sales at Christ ie's New Yor k_ ~And

I'm hoping [they)will drive the market a bit more

in the future."

www ~""NF().C()'" I JANuARy 2010 ~" l t ~ UC Tl()N

40-S0METHINGS ARE AT THE HEAD OF THE LINE. BY RACHEL WOLFF PORTRAITS BY ROSE CALLAHAN



6,

Many in the business welcome this shift in Ihe art world's center of gravity. "One thing Ihat's really noticeable for me,

having participated in some of the lairs since the crash of A, G and Lehman Brothers, is

that the speculator is gone: says the New York dealer Jack Shainman. ·We used to have to be so guarded, so carelul-

especially at art fairs. We were trying to be savvy enough that we weren't selling to someone

who was going to turn around and flip it at an auction house. It's back to the real collector now. It's not so muchabout the money investment as it is about the art. And Ihat's kind of reassuring."

Neal Meltzer, a private art dealer in New York and a former Christie's vice president. has also noted the revival of connoisseurship. "Serious collectors lelt lorced out 01 the market because of

withdrawn. as have those who made, and then lost fortunes in real estate. In their place.

says Meltzer. are "a number of individualS in fonance whO benefited during the credit crisis. Now they're enjoying a buffet

of deals-opportunities with less competition'-

Galleries and auction houses conform that most art

buyers are still from the hnance industry. But they are also seeing new-media and creative

types. "People are coming to tile market who not only made money in the hnancial world but in the Internet world as welt" says Carel. of Christie·s. himself a

beginning collector. One of these Web-wealthy collectors is Steve Rosenblum.

tile Paris-based founder of Pixmaniacom. Europe's answer to 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

NOW, SAYS DEALER JACK SHAINMAN "IT'S NOT SO MUCH ABOUT THE MONEY INVESTMENT AS IT IS ABOUT ABOUT THE ART."

• •

• • • •



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196"; .nd IIlIflilNfo" SIeve"", 8ou"".1. T991.

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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, "But 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 artworks 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 01 Contemporary Photography in

Tokyo and the Contemporary 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 interested in commissions and special unique works: says

Oavid Maupin, of New York's Lehmann Maupin gallery. "I\'s about



CLOCKWISE AlOMABOVE,

Colledo, Je,emy Sielnke al ""me;M",l in Ede~' .

Oue/ltl,2005,ltom Ch,i.t1c'. Fir<1 Open; and

MyHouse/',2000, . Chllllophe<.wool in

Slcinke'. hoMway.

OPPOSITt:, FIIO,. LEFT: 6IkliJla.Otmlg~'. Family

TrH,2007;.ond Jonalhan Von Dyke" The msapp .. ring Core, 2009, I>olh belonging 10 Slelnke.

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 [email protected] sales are even le5s expensive now and have been aplly renamed

No Reserve. Other houses have also launched events targeted to appeal to emerging contemporary-art buyers. Nearly five

years ago. Christie's began its

First Open sales olless-expensive works by younger arli5ls;

at the session last September. prices ranged from 52.250. lor a Martin Eder drawing. 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 exhibition 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 .

. '

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 the 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 the 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

6,



+- 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 Ruhlmann is synonymous with French Art Deco. The preeminent furniture designer of his time and rhe lasl great ebenisre, he worked in the

Collectionneu r, a supremely sophisticated series of interiors, brought him international fame, as well . 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 Roulle and Jean-Henri Riesener. H is graceful variations in wood and ornament. forms, howel'cr, were distinctly modern, appealing to Toward the end of his career, Ruhlmann rhe era', style SfrlerS, including Baron Henri l elt: Ac!<ca1925

de Rothschild, the maharaja of Indore and wolnutcabine!with iyory deta itofrom DeloreruoG.nery huRuhlm.nn '.

the couturiere Jeanne Paquin. '·Rllhlmann,~ pronounces Philippe Garner, internalional head of ::,olh-cemu r,· des ign at Christie's, InnovaUvefu.uu

legs-contlnuou. to the ~is beyond fashion ." cabin. tra !h", than

Born and raised in Paris, Emile-Jacques (or Jacques-Emile, .Uac,,"d. Bek>w:The de. ;gner·. ivory

sourcesdiffer) Ruhlmann took over the family painting and dec- marque try coblnet

orating business upon his falher·s death, in ' 907. Although ne,·er :~~~r~9.~~~:~~~~' t rained as a designe r, he began sketching furniture as ear ly as .round$2million.

1897 and first showed his work pub-lidy in the 1911 Salon d·Automne exh ibilion, where he scored an instant hit with the Parisian upper class. In 19 19 he and decorator Pierre Laurelll founded thedesign hrlll Etablisselllenr Ruhlmann & Laurent. Tothe profession born, the designer knew his audience frOllllhesta n . ~Li keitor nCl,sTyle i, fa,h ion. And the lower classes ne'·er set fashion, ~ he told the magazine Art ct Decoratioll in 19::.0.

In itially using outs ide contractors, the compa ny began doi ng its own work in 19::'}, ultimately employing a staff o( skilled cabineullakers, finishers, upholste rers and draft"'1Cn in two locations and expanding into all aspects of imerior decor, from lighting and mirrors to textiles and flatware, By the time of the legendary '9~5 Exposition desArts DecorJtifs et Industriels Modernes «(or which An Deco was nallled) Ruhlmann was the foremost designer ill Paris. AI the fai r, his Pavilion d'ull

WWW ARr' NfOCO", I JU'UARV 20'O ARr . Aucr 'ON

transilioned illlo more modern designs, many using metal, but it is his gleaming wood creations that Jre most sought after today. The finest examples were executed between 191 6 and 1925, in materials such a, Brazilian ro,ewood, Macassar ebony, tortoiseshell and i"ory. His designs a rc nOlable (or their tedmical demands. Ruhlmann insisted Ihathis drawings be translated with the utmost

precision, and often ,he craftsmen had to invent new tech niques 10 real ize his visions, such as the rl/,eal/ leg, continuous to the cabinet frame. Fluting, rib bing, beading and inlay were his primary decorative accent" although he made use of figured lIla rqueuy, as in Ihe 19l[ amaranth wood corner cabinet adorned with ivory flowers that sold at Christie's Paris in 2006 for f l .S8 million (S! mi llion), the auclion record for his work.

The market for luxury goods collapsed around the time of Ruhlmann's dcalh, in 19J} , with the world in the mid,t o f the Great Depres,ion and design becoming mass-market. Art Dcco fell out of fashion shortly afler. Its re,·ival hegan in ' 97~,

with Drouot"s auct ion in Par is ofco\ltllrier Jacques Doucet"s

collection, the first sale to focus exclusively on Art Deco. In May 1979, Christie's New York offered its first Ruhlmann pieces,

73



74

includ ing a chaise longue for $8,500 and a coiffeuse, or vanity rabie, for $5,500. It look ~everal years for the markfC to de,-dop, hut keycolJccrors traveled to Paris to visit dealers like Cheska and Roben Vallois, who had been sell ing the designer's objects since their ga lIery opened, in [97 I. W hen restaurateur Michael Chow and his wife, Tina, sold their A rt Deco collection, in 1988, New York dealer Tony Del orenzo snapped up around roo items, and his eponymous gallery became the first in the U.S. to focus on Ruhlmann and his period. "In the 'Sos some European dealers visited my l ong Island ga llery. specia lizing in T i ffany lamps, and were especia lIy interested in the Ruhlmann pieces I'd acqu ired on my first buying trip to

France, in 1979_ Their enthusiasm got me to rethink my direction as an amiques dealer," says Delorenzo. ~I began to research Ruhlmann and becamecom'inced that he was the bestoi the best. I'm still convinced."

T hat view has been shared by some of the top tastema kers of the ::.oth cenulry, such as Karl lagerfdd and Andy Warhol, not to ment ion Yves Saint laurentand Pierre Berge, whosetro'-e ofarT and antiques, auctioned at Christie's Paris laSt February, contained, ::. R uhlmann pieces. Christie's

RUNm.nn's w,~ st'~I.ted that . fter h" death h" ~rm be dissolved upon completing e'''ti .., orders. U'MJS enwnng the quality and limitong the quanti ty of the objects produced.

1n 2oo4 the Metropolitan Musetrn of Arlin New Yorl< Crty-whkh in 1923 """.me the Irst inst itution to purch.<;e one 01 hi. pO<'Ce,organiled "Ruhlmann; Gen"'ofArtDeco

Simo"" and Claude Orav foofld the ,<'Cord'holding rna,,:pJet,v cabinet , t a Pa,,,1tea ma"'et in 1990.

dominates the designer's market, selling most of his pieces in Paris. The auCt ion of the collect ion of French Art I)eco aficionados Claude and Simone Dray in June ::'006 at Christie's Paris featllred more than +0 Ruhlmann items, several of which brought more thall S r million each. Among these was the record-setting 19~ T i"ory-marquctrycabinct, which topped the designer's prn'iolls high of SI ,876,000, achieved at Christie's New York in June 1000 by a '929 Tardieu desk. ~Prices had been escalating steadily, bllt after the Dray sale they rose exponentially," says Cheska Vallois, of Vallois Gallery in Paris and Friedman & Vallois in New York.

Whi le Ruhlmann's major pieces garner hund reds of thousands, or e,'en millions, of dol la rs, some of his smaller tables and decorath'e objects can be purchased for/he .figure sums. The Christie'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) featured 11 Ruhllllann lots, including an alabaster pendant lamp (eSt. E30- 40,000; S45- 60,000) and a black la<.:quer desk estimated at El OO,OOO to €300,000 (S 198- 4+7,000). Through January 5, 1010, Friedman & Vallois is showing 10 exceptional Ruhlmanns, including a 1919 Macassar-ebony cabinet made for the maharaja of Indore's modernist palace in India, and a coiffeuse designed for the actress Jacqueline Francdl, from 1930. T heexhi · bition is a rare treat; the designe r s top works are not easy to<.:ome by. The collectors who land them will likely agree with An Deco specialist Alastair Duncan: ~I wouldn't say that I would trade m)' chil 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 Ictres .. IIght w<>Od l cc "" t sthe rich omaranth of thit 19261ripod l i b '" al Friedm. n ' Vollo io;! ,," dulgner olle n detailedhl • .,orh with lorlolsewUl nd '.ot)'.u1<1th ls Mac .... 'ebony cabi net/rom 1926 . 1 Delorenzo G<olle ry.

ARt 'AUCTION JANUAR v 2010 I WWW.A RTINf OCO"

, , ; • ~ 1 ! !



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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WHEN I WORKED ATT HI S .I' AGAZINE 11,"1' years ago, I edited a profile of Gabriel Orozco that has stuck wilh me cI'er since. The artist described his morc ephemeral projeCTs- such as when he rolled a g ray pbsr;c;nc hall tha!weighed as much as he did th rough the streets of New York, or when he asked neighbors of the Museum of Modern Art, where he had a show in 199}, TO plant oranges on their windowsills for anyone to happen to sec.

He distinguished these works from the big, expensive art productions of the 19805. M] wanted rodtange thescale,and that meant giving in to small things, to intimate gcstures,~ he said. "A 10\'1' affa ir that lasts one weekend Can much you morc deeply than nne that lasts 10 yea rs."

His hopelessl)' romantic statement I think gets at the poWfr of artistic gestu re, to ,udden Iy overwhelm u , - the co"I' de {o"dre feeling of bei ng boulrversee that the Frellch hal'e so many terms for. And I\'e been thinking about what hf sa id nOw that MaMA is staging its big Orozco rflrospf(li\"f. For me the success of the ,how wi II depend in large pa rt on its abi lity to rec ' ognize the artist as more than a SClllptor who reinvents objects (the Citroen DS he famously tJ"J.lIsiormed into La D.S., 1993, or his Pillg Pond Table, '998, which reim-ellled the fam il iar table -tennis game). Thf mUSfUln" rea I challenge will be tocapture some of the arti,!"s moree\'ane>eent, poet ic, Cage-like and koa n-worthy exper iments. For Orozco might be a sculptor, photographer, draftsman and painteron occasion, bm his ephemeral work made of humblf, somftimes homely, stuff is Ithink his most powerful.

The question that I keep circ Ii ng around is how, or why. W hat makes an ephemcJ"J.1 exper ience like the sight o f oranges on windowsi lis so powerful? Wh)' did itseem so r ight when Orozco first nailed a flimsy plastic )'ogurt lid toa wall? Howcan a chance encounter re,onate for many years?

That la,t que,tion is the ,tuff of e legiac poetry, from lamentations for the loss of good men in Old English sea balbds to Rilke's rumination on unearth Iy desi re. R ilke's Duilm Elegies especially points us in an imeresting di rection because o f its fmphasis On transifncf: experiences fadi ng to the point where life is one big ,'auishing act, with lovers trying toshicld thcmselves from the void with each other 's face andeach of us, "no maner what we do, always in the poslUre of someone JUSt departing.n

[n the art context, 1U0, the fleeting gesture has some of this poignancr- power not just from the p resence of that gesture, but from the absellceof so much else.

WWW ARr' NfOCO", I JU'UARV 2010 ART , AuC tiON

JORl FINKEL

Gestures aren't made to hang on museum walls- o r are made not to hang there.

GeSlUrfs cannot be colie(lfd. They operate outside the art market. They tease the art collector.

And gestures cannot be repeated . To quote Robert Irwin, a great artist of the prrsem-tense (who, it should be ,aid, colonized leftover or unsanctioned MOMA spaces decades before Orozco): "A lways changing, ncvCf twiee the same.~

Gestures, in short, cannot last- and getting back to Kilke, they a re honest aOOm thfir impermanence in a way that great oil paintings and bronze sculptures, with tbeir claims to monumenta lity, immortality or generations-old provenance, are nOt.

Which just might be why we kee p trying to

prese,,"ethem anywar. b oer since Tristan TZJfa and Ihe Dada gang CUt their hair onstage in the name of art, art historians ha,'e been busy swefping up the loose ,t rands tosee what they could make of it . And various artists have figured OUI a war to profit from it-with Tino Sehgal sdlingnonobjects like performances as works of art, and Orozco se lling highly disposable thing" like yogurt lids, for a price.

Theseartists know a fleetinggeslure fuclsour nostalgia- not for whal was, but for what was promised but neverdeli"ered: the idea l (not rea l) relationsh ip promised by the ,hon-lived affair, or the unadulterated happiness promised by a flash ofbeamy.

So it's hard to say exactly how MOMA should acknowledge thf oranges that Orozco used some '5 years ago to momentarily br ighten the days o f some passersby. Butit'sdear what the muscumshould not do: ffplicat e or reSlJgf the work. The oranges have long since been thrown away. Only the ghost of the image remains true to color- a ghost that arguably haunted the artwork from its "ery inception. !f!

77



r

New York I O"crall, Ihe falilmprcssioll1sl and modun sa les fa r exccedrd expeclJlions, injecting a much-needed shot of oprirnism inw {he aunion world, al though the wed: gOI off 10 a somewhat slow start at Ch rist ic's 011 No,"ember J. No aruS! records were set but there wert some except ional prkes, rOPP'C'd by The o;o\"er lot, Edgar Degas's clr<:3-1896 pastel O(w$C"st:s, which sold to an anonymous Asian bidder on the telephone for a perky S [0.71.1.,500 (Cst. $7-9 mill ion).

Russians are bade in the lnarkel, buying up Surrealist works and the morc glitzy Ar! Deco-era pieces, such as Tamar;1 de Lcmpicka's high ly stylized, slickly executed

Por/relit dl/ Marquis SOIllIll;, 192.5, which sold 10 a telephone 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 rlyoil from 1941 measu r ing 10 inches square, wh ich made a whopping

$4,001,500 (CSt. h-3 mi ll ion), a lso wem 10 a Ru ssian bure •. T he sel ler mOSl certa in ly saw a handsome return: The painting lasl sold al Ch r istie's London in june 1001

for £468,650 (5697,J95)' Impressionist lots Ilad a mixed rece pt ion, wilh

Claude Monet's preHy (read: comme rc ia l) Vethellil, ~ttet de soleil, 1901, selling to another tele phone bidder

for 55,558,500(eSt. 55-7 million) and Camille Pissarro's Le Quai Malaq.wis el n"slillll, 190J, l11Jkinga modest 5:, I54,500(eSt. 51.S-q mill ion). The Pissarrohad adra

made bad::story: Confiscated bYlhe Nazis in 19J8, it was

Chr is tie 's 40lotsoffered 565.674.000 oolcl 101,1 30 ~"ent unsojd by lot 29 I"'fCent UMOld by __ IuI

Sothe by's

56lot~otte<ed

SI8t760.000 sold 'olal 15 uMOld by 101 7 percent unwId byvalue

the artists' lifetimes-fared particu

larl)' well. The most successful was AlIglisle Rodin's SIIp<rb I.e baiser, moye" modCle dlt • Taille de /a rorle~ (//Iude/e al'u base simpli{iee) 'Il bron1.C wilh b rown patina and cast belween 1887 and 190', which fetched

all impress;ve 56,3504,500, more than three t imes its est imate of 5 1.5 mill ion to 52 mi ll ion. The Rodin [astsold at Sotheby's Parke-Bernet in October

1975 for 53 I ,000; this time around it weHl to Ihe New Yo rk pr ivate dea ler Ch r is Eykyn o f rhe tag-team New York/London fi r lH Eykyn M aclean .

Of the re jected lots, the pr ic iest

c asu" lt y was Pab lo Picasso 's sta rklr modern Tcrede (e", ,,,e, frolH October

'943, which was estimated at 57 mi llion 10 5,omillion but flopped without :I singlebid.1t had beensbopped around privJ tel)", and as often happens, it came

to 3uetion with too much baggage. An impreSSive though rather shopworn Piet Mondrian, C.-",.positio" II, wilh Red, t916 (eS t. 54.5-6.5 mill ion). a[$O clleiled no bids.

recentl)' rcp:ll ri ated to the hci rs of itsowner allhe lime, Samuel Fischer. His family had acquirt'd the picwrt' in '907. fou r rea rs a fter Pissarro'sdeath.

Gi,'en the less-than-stellar lineup, Christie's

brt'd surprlsmgl)' we ll , though as ThomasSerdoux, Ihe fi rm'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.~

Some fresh-to-market sculptures- especially those cast during

Indeed, the Ch ristie's sa lesroom had plenty

o f empty seats, and no one Ihere was rea lly expect

ing a mi racle. MI dOn'llhink th is is a good measu re o f where rhe market is , M says j onathan Binstock , o f Cit i Private Ilank Art Advisory, who was an unde r

bidde r on the Paul Signacoil Vieux purl de Cmmc$ , which went on 10 ma ke 5J,778,500 (est. 5 ~-} mi[ lion). MTllere wasn'tenough ~ppea l ing work for l rulr di>ce rning col 1cctors.M

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 can\'us Ihal sold 10 Ihe London deale rs Theobald 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 Jennings. 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,,·.

L .. ""_ .... ' 105 1 .S r!lill ion estunate. Tonight

it nude the price it should hal·emade.~

SOl he by's more Illuscula r sa le the fol lowing night proved

... , ...... 1887 ... d 1901 . ...... ' 01 $6.3s...500. while K" ... n~" .I, •• ,9(l.<1 .... d.onw .... C¥JOUUM ... ougt.t ... 52.098.500.

ARI, AIICIION JANUARY 2010 1 WWW A~IINrO.C(l"

i i i • • i

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IMPRESSIONIST & MODERN ART

Fromrlght: ... t Solheb~·., PI< .. ..,' .

1969 8ust~ d'homm~, sold tor 510.386.500.

and a PI ...... o < 1I~sc.pe. one 01

seven .... rk ... tflNed b~t""D .. r."'HI ... t

forn ily./etched 57.026.500.

10 be a I8o-degree turnaround for the market. It blasted Out of the staning gate with Salvador Dali', enigmatic 193 7 gouache and char<.:oal on paper, Girafc en (ell. which sold to a telephone bidder for $, ,1I7~,SoO lest. $, 50-200,(00), as seven other biddersdased the piece.

The 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 bronze Chomme qui ,havire, con<.:eived in 1950 (in plaster) and cast in 195 1, which sold afte r fevered bidding from four telephone bidders for a whopping $19,346,500 (est. $8- 11 million). Hailing from an fd ition of six, it was thf onl)" cast in thf edition to be handpainted 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 Andre Derain, Barques au pori de Collioure, circa 1905, es[ima[fdat$6 million to $R million, 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 comment on [he purchase, claiming he didn't waIllIO grandstand about his new role as a dealer-at least not yet.

Another o\'erachiel'er- and there were p lenty- was the sex)" cover 101, Kccs van Dongen's sultry and bare-chestcdjcullc Arabc, 19 10, which sold 10 an anonymous [d f p hone biddfr for a record $ 1],Hol,SOO (est. $7- 10 million). The painting was parr of a rich no,'f of somf 14 works designated as property ~from an important European col, Jcction . ~ The group made $S8.S million against a presale estimate of $]S.6 [0 $S' million. The seller, Dutch financier Louis Rci jtenbagh, had

recently settled lawsuits w ith th ree separate banks over loans and liquidated the trove to regain some finan<.:ial footing.

Impressionist pictures also sparkled during the marathon sale, topped by Camille Pissarro's stunning cityscape Lc pont noiddicu et la gare d'Or/can$, Rouen, $oleil, from 1898, Onf of Sfl"fn works put on the blo<.:k by the fallli l}"of the fabled Frenchdealer Paul Durand-Ruel. ltsoldtothe artist's 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 DurandRuel," Pissar ro s<lid shortly after the sale.

Of the eight Picassos offered dllring the n'eHing, !'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 only $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 viewers exited 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

79



80

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 johns's oi l on canvas Dancers 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-Michcllhsquiat"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 linen (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 Chr 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 an edition of three pillS one artist's proof, it hai led from the collection of the luxury art·book publisher Benedikt Taschen. It went to Dominique Levy of New York's L & M Ansfor $s,6Rl,soo(est. S4- 6million). Back inJune ~ooo, the piece brought i66},7S0($999.} 11) at Christie's London.

Also offered by Taschen, Koons's early New Shelton \Vetl Dr)' s -Gallon, New Hoover Convertible DOllbledecker, 1981- 87 (cst. h-} million) , which sold to the New York pri"ate deale r Philippe Segalot of Giraud, Pissarro, Sega lot for $3, I 06,500, It last sold at Christie's NelV York in May 2000 for just $358,000.

The e\"ening'~ highlight, remin iscent of the bubble days, was the Top:Jel nDubul,el', Wi ld West- st)·le shootouc for Peter Doig's magisterial Ref/ection

Trhll!~-C".mp,- (What I)oes Yo"r 50,,1 f.ook Uke), 1996 (est. $4- 6 million), which £Jy<k< Irom 1961 (eot. S<I~ minion) sold OVCf the phone for $ 1 0, 161,500. At least six bidders chased the

1.'c"'dS6.13{>'~OO prize. The tota l came dose to breaking the Doig auction record of .ISolhebY·5,tn

aucllonrecordlorlhe is,?} 1,000($ ,1 ,1.8},464),set at Sothebr's London for The White NlI.'.Belo .. :""

PIIiNip.dePuryEd Ru",,..,·. "".n acrylic Mun. , Hell. 2002.

nearly hil i" hlil' e,'lmlle. brlnglnga

lidy S590.500.

Canoe in February 1007. Rare- to-market works fared particularly well, with

Joan Mitchell's Ab-Ex composition Untitled, from circa 19SR (est. $5- 7 mi Ilion), sell ing to a telephone bidder for $ 5,4 58,500. ! nits last appearance on the block, atSotheb}"s New York in NO"ember

ChristIe's 46 101<olfered S74.1S4.500 ,""ld 10Iai

1989, it brought S506,000- a tenth of this season's price. Sam FrancissJapan Lil/e(est. $1.5- 1 million), a huge 1957 canl'as measuring 86 by 176 inches and consigned from theestate of the Los Angelescollector Betty Freeman , sold to jonathan Binstock ofCiti Private Bank A rt Advisory for $1 ,762,5°0.

"You can look at the market in two different wars," said the New York adviser Todd Levin. ~It has done really well, bllttwO years ago the estimates would hal'e been 10010600 pcrcenthigherthanthey arenow,and you'd ha\"e 70 to 80 lots in the sale. The auction hou~es have gOtten realistic.~

At Sotheby's the following "'ening, only twoof the 54 lots offered failed msdl,suggestinga breathtakingly rapid recovery from the carnage wimes~ed in November 2008. The admirable sale total was pushed by the gonzo priceachiC\'ed by Warhol's zoo One Dollar Bills, 1961, a prime piece that brought in a whopping and unexpected S43,76l,soo.

Record pri~es were achie"ed for four a rtists, inciliding Alice Ned , whose funky though mas

terfu l double-portrait Jackie Curtis alld Rita Red. from 1970 (eSt. $400- 500,000), attracted a half-dozen bidde rs and made

18 percenl u",""ld by ,, 'ue 15 perceol uo,""ld by lot

$1,65°,5°0, The Ned wasone of lo lotsfrom the single-owner Trove of the late St. Louis <.:ollectors Mary Schiller Myers and I.ouis Myers, which made $24,491,5°0 against a presale estimate of $1 7- 14 million. T hose

Sotheby's 54 101< on. red $134,438.000,""ldlot., 2 pe r,.nl un<oId by value 4 percenl un ,oid by 101

Phill ips de Pury Ii: Company 40 lot<offered S7.099.25O sold 101. 1 14 percenl un,oId by ,. 'ue 22 percenl un sold by 101

works sold under a global reserve, meaning that high-performing lots (Ii ke the Ned) allowed others to sneak in at low prices, such as the el'ening 's greaTest ba rgain, Alexander Calder's Extreme Cantilever. 194o,anearly standing mobile (cst. $1- 1.5 million), which went to the New York dealer j effrey Deitch for$84 1,500_

ARTt AUC ll ON JANUARy 2010 I WWW .ARII NFO.CO ..



Warhol's ::.o-inch-square Self-Portrait, 1965, which had Ileen con~igned by Cath), Naso, who worked as a receptionist for Warhol's famed Factory while a teenager, sold for a hefty $6, T }0,500 (est. $ ' - ' .5 million) to the jewelrr titan Laurence Graff. The artist had gi\'en it to Naso as a token of appreciation for he r service.

Warhol ruled then'ening, as a work on paper, Untitled (Roll of Dollar Bills), T961. (est. $l.s- }.s millionl,sold to the dealer Larry Gagosian for $4,n6,500. A smaller version of the artist's painting Trmafish Disaster, found a bnyer- New York art traders Jose Mugrabi and his sons - for $ 1,l.Ol.,500 (est. $1.S- l. million).

Rnt the main attraction of the evening- and the entire season- was Warho]"s sil kscreen portraying his fa\'oritecommodity, the almighty dollar. The opening bid for 1000ne Dollar Bills (est. $8- !Z million) was $6 million. Instantly, the Sotheby's special ist Alex Rotter shouted ~$11. million~ from his telephone bidder and a rapid a scent began, in million -dollar increments, to the hammer price oi$39 million.

The anonymous seller, rumored to be Pauline Karpidas, the Londonbased col lector known for showing her conremporary art trove on the Greek island of Hydra, acquired the pai nting for $385,000 at the Robert Scull estate salein Nm'emocr 1986. TheSculis- collectors who made their fortune with a Checker taxicab /leet known as the Sculls Angels- boughtthework from Richard Bellamy's Grecn Galler), around 196::. for an unknown but no doubt minuscule price. One l\"ew York- based trade sonrce close to the Warhol market said the buyer was the Greek shipping heir and collector Phi lip Niarchos.

CONTEMPORARY ART

The fashion IegendValenrino picked up Clockwise /rom David Hockney's iconic though somewhat cenler:A tC~, I.lift".

DOMldh~d'.!968 awkward Califomia Art Collector, 1964, Ufttllle<l(DS$120) for $5,'58,500 (est. $5- 7 million), $Old/orS4.898.500 ondJoonMll<M!I',

~The star~ aligned ton ight because of Utttllle<l!958ol1

the material," sa id the Sotheby's senior spe- brought S5.4S8.500, whilethesl ... t

cialist Anthony Grant. Sotheby' •• Andy

PhiJlipsde Pury & Company wrapped WuhPr, 2000ne DoII. rsm .. 19&Z.

up the week with a minor though lively auc- . cored. v<rtlglnou. tionon Novemller I l.. ThetOp-lor honor was S4l.7&2.500. shared by Yayoi Kusama'sdensely abstract [llfillit)' Nets (T. \V.A.), ::'000, which sold to the Paris col-leccor Marc Simoncini for SR41.,SOO, and Warhol'S 1964 single Rrillo Soat' Pad Box sculpture in silk-screen ink and house painton plywood, which sold to a telephone bidder. Simoncini carne back to nab Ed Ruscha's small l.OOl. acrylic On cam'as Mea" as

Hell (est. $400- 600,000), for $590,500. Wh i!e most of the low-key action was con

fined to anonymous telcphone bidding, there were a few familiar faces in the salesroom, including twO New York dealers: Paub Cooper, who bought Dan Walsh's Vlltitled, 1991, a la rge-scale and decidedly minimal abstraction (cst. $30- 50,000) for $37,500; and Edward Tyler Nahem, who grabbed Hernan Bas's lushly fignrati\'e ~006 canvas The to"ely Martian for $98,5°0 (est. $80- 1 ::'0,000).

One of the strongesT showings was a rareto-market group of five framed black-and-white photographs depicting birds in flight by Fel ix Gonzalez·Torres from 1994, which realized SS41.,500 (C St. $l.SO- 3S0,OOO).

A stunning installat ion by Olafur Eliasson, , "'J light, composed of halogen lights, steel stands, and a fog machine and included in his survcy show at the Museum of Modern An laSt yea r, sold to a teiephone bidder for S}61,500 (est. hOO- 500,000).

Despite Ihe sa Ie's modest total, Phi nips's auctioneer and chairman Simon de Pury said afterward: ~It's a distinct ly Ilener mood.~ f£ JUDD TUl l Y



INTERNATIONAL AUCTIONS IN BRIEF

NEW YORK. SAN rU,NCISCO AND lOS ANGElES BONNANS NOV.1Q: PHOTOGIIAPHS

'DOLOlS SOLDFORS70a,393 TOP LOT, In San Franci«Q. a gela10n print 01 Edward Weston', Nude, 1936. e<ceeded il, hl\jh estimate 01 $90,000 with a '."ion-high ~""I peke 01 SI09.800. We.ton," cofounder 0111&4-3 groop 01 mostlv San F ,anc;,co photog'. phef' whose cri,p "V" contra,le d with the hazy, lmpressioni.tlC ,mage. of tile pIC!"';' I i ,1'-W3' renowned forhiHlude.

PARIS

'.1111'1 NOV_8, SUNOIlYS"lE

AT '''JAN 90lCT$ SOLD fOil £194.081 (S288.905) TOP LOT, Pinches K rem"9ft.'s 'lrca 1950 Vuede Clirel brooght €6.3 75 ($9.500). The Jewish arti.t fled the p09rom. of hIS nati,,, Belarus in 1912. """nlva l .... seWing i n Colrel, a ' onV town in the French F';'reoees. with his f r iend \he pomler Cha,m$ool,ne. Thi. piclure hkely repre<>enl < Ihe view from the ortlSt·, balcony

"UNICH ANDIlDy,oN. FR"NeE 1t~.""NNHISTORIC"

NOV 12 - U: L~ PERC~E

O'~VR~NCHES WWII MUSEUM 700LOTS SOLD FOR £1 ,300.000 (S1.9 MILLION) TOP LOT: The funct ion ing Volkswagen Schwl mmwagen ro l ed oyer the com petIt ion 10 l elch a besl·of·""Ie-€103.320 (5155.000), The amphibious vehic le. whose name I ran,lates

a. · swim car,' waS used by lheGerman.durlng Wo rkf War ~ i n

campaIgn • ., Afr ica and Normandy.

Fewer lhan 200 are known louist t oday. and no more than 13 h .. e <urvi"ed in .uch pri.tine con,lItoon.

LONDON CH.OSTI ."S NOV. 5: IMPORTANT EAIlLV E;UROPEAN F\IRNITURE. SCULPTUR€' T.o.PESTR1ES 129LOTS SOLO FOREV59.125 (S4,5 MILLION) TOP LOT, A rnelaf-m(H.Jnled morquet ry cab'nel ma"" 'n I he lale 161h cenlury in I"" Soul h German lown of Aug.burQ. .parkeda bidding wa r among mu.""ms, deale" ond colleclors, who t ogelher pushed Ihe price up loan aslounding EI.127,650($19 million). more than 10 hmes the cobinet's h'gh es!>ma te 01 EIOO,OOQ ($164,OOO),fresh lo the market. I he piece was di,cov' ered in a palano in Milon,

LONDON .ONH .... S

NOV. 5: fiNE JAPANESE ART 245 101H<>Id lor El.749,OOO (S29m,lIlOfI) TOP LOT: A rare, ornale cloi,on";-enamel l}'J,hogIJfOJma, or o, -dra wn carriage, fet ched ~252,OOO (S415.500), nearly 10 limes ils high e$l,maleol ~30.000(S49, 500), Made of inlr icately cralled '~ver and gill wire and decoraled wilh IIoral motlis , Iheminialure Meij iperIOd carl, who .. back door opens 10 revea l t hree drawers. is a ttr ibut ed 10 Kawaguchi Baunzaemon. 01 Nagoya.

HEIDElBERG

WINTE.BE.O NOV. 7: AUCTION 79 53LOTS SOLD FORE376.165 ($561.000) TOP LOT: Johaoo "'nlon RambOU"s 19th-cenlof)' lilhograph of I he MUOIch brolhe .. Kon rad and Fra"" Eberhard, a pa'nler ond 0 sculplor, sold for (:15.500 ($38.000) ThedQuble porlrO l1 wo, exhib,led at the Wa llraf-Richart' Museum. in C<>Iogno, in 1969,

N[W YORK SOTHU Y· . NOV. 2: RUSSIAN ART 98 LOTS SOlDFO~ S13,794.275 TOP LOT: Boris Dmil r iev,ch Grigori .. 's 1918 pa inllng M<>ll>er andC/>ildlelche<j SI.370.500 GrigQriev wa<a memberol Rus.ia', Wr i.~u"fy~ move ment. who$e membe"aimed 10 pre .. rve folk ort. mostly porlraying scenes 01 counlry I'fe Th .. fresh-Io-ma rkel picture was acquired directly f rom I"" arl i,t and kepI in a privale Europea n collecllOfl unl il

1"" .. le.

NEW YORK DOVLE NOV. 15: MODERN & CONTEMPORARY AND EUROPEAN & AI.I(RICAN ART 168 LOTSSOLD FOR 52,893,171 TOP LOT: LO$I~ndFound,

1958. by I he Ilahan arlist Afro (n~ Afr08 ... ldella), achieved a remarkable 5362.500, The mi.ed -media-on -canvas wor\< wa, , " own al I lle gallery of Mills College. where Afro taught"' en arlosl in residence, and at the 5anla Barbara Museum 01 ilrt

lDINBURGH LVON S TURHBULL NOV. 11: OECORATIVE ARTS «4 LOTS SOLDFOR~l1J.462 (51900,000) TOP LOT, A circa 1900 bookca$e by George Walton brougnt ~13.500(S22.600) The piece wa, f oond In a Glasgow , Ilop wilhoul il< doors. which were d i,covered hidden", a nearby cupboard. The Ixlyer, an anonym(H.J' caUeclor, characleri,es hi , pri,e as "I he nne,1 ",amp le o f work by Ono 01 lhe besl Glasgow Sly le deSIgners I hal l have seen to dat . :

PHILADlLPH'A F.n .... N·S NOV. 14: AMER1CAN fURNITURE & OECORATIVE ARTS 345 LOIS SOLD fORS925.000 TOPlOT: A 1901 Ti flany ~ Co "lver- and-enamel vase ,el wllh cil rine, ondg.rnels ond eqUIpped w,lh Cell ici ns~"red handle. sold for $115.000,lhree!>mes il s high estima te. The lam(H.JS Tif fany de,igner George Pauld ing Farnham. whoal age 27 direcledlhe 'rm', jewelry deparlment. crea t ed Ihe piece f or the 1901 Pan- "'merican E'PO< ition in Buflalo. New Yorl'The ",pos,ioon also fea tured a .im i l~rty des'gned tea <ervoce by Fam hamlhal isnow,n lhe permanenl cotlecl ion 01 I"" Newark MUSeum. in New Jorsey



northamerica

Acquave lla Galler ies 18East79thStreet + 1212 7346300 info@acquavellagalle ri es,com www.acquavellagalleries.com

Impressioni st, Modern and Contemporary Masters

Ad e lson Ga lle ri es 19East82ndSt reet +12124396800 inlo@ade lsonga lleries.com www.adelsonga lle ries.co m American paintirogs and works on paper/rom the 19ththrough the 21st centuries, includingworl<s byCassatt. Dewing, Hassam, Homer, Hopper, Prerldergast. Sargent. SIl, nn. Andrew Wyet h, Ja-, e Wyet h, Stephen Scolt Young and others

Adl e rli: Con krl g hl Flne Arl 24 East71stStreei +12123080511 ma i l:?tadle rc on~rjg hta r ts.com

www.adlerconkr ightarts.com

20ln CenturyEuropeanarJd LatOn AmericanModer nArt. Worl<by Arch' penko, Arp, Calder, Delaunay, G1e'les, Gros.z, Le Corbus er, Kupka, Lipchitl, Mack, otero, OZenfant, Porter. Soto, Uecker, Va rdanega Monday through Friday, 10 530p.m

Ali an Stone Galiery 11 3 East90 thStr .... t +1111987 4997 info@a,lanston .. ga" .. ry.com www.allanstonegallery.com The Allan Stone Gallery opened in 1960 showing wo rks byWillemde Kooning, Cesar, Joseph Cornel , Barnett Newman, and a host of thenemerg; rlg a rt i s t s ,:k e Arldy Warhol, Wayne Thiebaud, Richard E~te~, Rohert Ryman, E_a Hesse, and John Chamberlain, Thega lery contioue~ 10 show contemporary, m;d-career,and emery I'l\l arti~t~ wt-de ma nta.nil'l\l a tra d' tion of e'pert'se in the New York Sclloolol AbstractExpressionism Man Stone i~ a leadingauthor ity 00 Willem de KOonll'l\l, Arshile Gorky, FranlKllne, Jo~eph Come~ andJohn Graha"'1. The ga~ery's broad aesthetic program ranges from representation toabst rac ' tlon, in pa nting, sculpture, andworks onpaper

A merl t an Illustrat ors Gallery 18East 77th Street Suite l A +1 212 7445190 art@amer icani llustratorS,com www.am .. r i cani ll ustrator~ .wm

Featuring Original Art from theGolden Age of American Il lustration; Norman Roc~well. N.C Wyeth. Max fi eld Parr ish. Howard Pyle, J.e. Leyendecker,Jessie Winco, Smith andothers

AraderGalie r v 1016 Madison Ayenue at 78th Stre .. t +12126287615 aradernyc@arader9"lIeri es,com www.aradergaller ies.com Wc.-Id's largest and finest selection of h' storica~V 'mportant maps and c,tyv,ews, at ases, natural history engravings and watercoiors, art of the American West American and [nQh!',h furniture and books of travel and discovery. Museum'quality fra ming, restoration and appraisa service~ alsoa_~ilable

Barba ra Matnes Gallerv 22East80th Street +12125704190 [email protected] www.barbaramathesgallery.com GallerySelections

CDS Gallery 74 East 79thSt reet +12127719555 cdsgalle [email protected] www.ar tne\.com/gallery/112614/ cd s·gal lery.h tml Con:emporary and Modern art from the Three Americasand Europe. The _ast in_Mtory 01 CDS Gaiery comprise~ p a i nt i ngs, sculptures and dr aw,p,g s by internaticna artists: Bonnard, Cuevas. Fi9ari, Gra,.,cko, Le Pare, Malta, Morellet. Nevelson, Pollack, Reveron, Soto, Spencer, Sterne, Torres ' Garcia, Vasa rely, Vuillard, John Walker, others. TuesdaY'Silturdav,9:30 5:30p.m

DaphneA lazn k! Flne Art 113East54thStreet +11127348558 [email protected] www.alalrak i. com European paintings flCludlng PostIMpression:st , Barbizon, Academ<c and Dutch Ro"'ant c, Please contactus Jar further informa,"on. Gallery hours Tuesday-Friday, 10-5p.m and bv appo'ntmen1

Dlck lnson Roundell 19 Eas t 65th Slre .. t +12127718083 hQIIy@ si mond lc~inson, cQm

www.simondick inson.com MasterDra'",' ngs In New York, Fine Art from Five Centuries. Saturday,Januarv 231hrough Sa:urday, Jaro.J~ ry 30

Doyle NewYork 175East87thStfeet +1212 4272730 into@Ooy leNewYork,com www.DoyleNewYork.com Doyle at Home Fine Furni ture, Decoralionsand Paintip,gs Auction-Januarv 13 at lOa."'. Exhibition-Jaouary9 th rough 12. Irrlportant English and Continental Furniture and Decorations includip,g Old MasterPaintings and Orawings and T~ We"-Appo;nted Room: Auct,on-Jaouary 27 al10am. Exhibi tion·Ja .... ary 23 th rough26

Fr ledman & Vallol s 27East67thStre .. t Mellanlnele_el +1212 517 3820 t"[email protected] French Art Deco Furniture, Lightlngl> Objects by Jacques' Emi!e ~hlf'\ann, Jean M chel Frarll<, Jean Dunand, Alberto and Diego Giacometti, Paul Dupre-Laton and Others. lmpc.-tant AtricanArt

Gallery 71 974 Lexing tonAvenu .. +1212744 7779 [email protected] www.gallery71.com IIrt'st S i nclud e Lynn Sh a I er, Frede riCk Mershirr.er. Marion Welc~, Robert Farher,Miki o Watanahe, AI~"arlder Befele in, JaMes stewart. Ciovanni Casadei, Harold Al tMa~, ~th Franklin, Kaoru Saito, Joseph Sweeney, Mart.n L~wis,Joh n Sloan, Armin Landeck, Ma~;e H:no and ;ntroducing Henry Moorearld Tracy Zi~gler

Hauser& Wlr lh 32East5gthStreet +12117944g70 newyork@hauserwi rth.com www.hauserwirth.com Ida Applebroog: Mona Lisa.January 19through March6, Tuesday through SaturdaY,10-6p.m.

Hlrsch l & Ad lerGalieries 21East70thStreei +12125358810 gallery@hirsch landad ler,com www.hirsch landad lef.com Hirschi!> Adler Ga~eries: Modeling Grace: Two Centuriesof American Sculpture, through February6.Hirschl I> AdlerModern: Take Five: Hirschi!> Adler Modern Welcomes FiYe New Art.sts, January 7 t~ough February 13

Holli s Tag ga rt Ga lIer les 958 Madl50nAvenue +12126284000 hollistaggart@holl is taggar t,com www.hollis taggartcom American IMpressionis\. Modern' 5t and Post-War New atQuisi\lonson v' ew bv Avery, Carle~, Cornell, Dawson, Garber, Grave~, Hofmann, M~urer, Mitchell, Motherwell, Nevelson, Reid. Stamos, 'licente, Warhol and others

Jan KruglerGaliery 980MadlsonAvenue 3rdFIoor +12127557288 kkosi@krugier,com www.k rUQleLcom Workson paper from the 19thand 20th centuries . Featuring worl<s by Rodolphe Bres<lin, Eugene Del~croil, ViclorHugo, Theodore Gericault. Od~o n Redonand Pablo Picasso

Knoed ler& Company 19East70thStfeet +1211794 0550 info@knoedterga llery.com www.~Medle rga l ler y.c om

Selected Work~ byGallery Artists, th roughFebru ary 13

Jamu FrancisTruu 39 East 78th Street at Madison Avenue Su ite603 +12123271118 www.trezza.com 19th and2Oth'centurypaintings, sculptures, and works on pape~ Academ'c, Barbilon, Impressionist, Post -ImpreSSIOn,s t, Ex p re ssi 0 n i st, Fauvist and Modern is\. Conte"1porary Program includes MlnlO'lalist and Pop mas ters and Contemporary Photo9raphy.Mr. Trella and stat! are dis! o'lg ui shed by pro_,d ing curatorial services, apo r ai sal s, co n se rva t ion ad y ice and au ctio n con su 11a n! s

L&MArh 45East7BthStreei +12128610020 j~fo:?tlmgal lerv· corn www.lmgallery.com Important worksof 20th Century andCon:emporary Art

M. Suther landFlne Arh, Ltd 55 East BOth Street 2nd Floor +11111490428 [email protected] www.artnel.com/msutherland.htrnl

, ,

Meredith Ward Fi ne Art 44East74thSt reet Su ite 1 + 1212744 7306 info@meredithwardtmeart .com www.meredithwardf inearl.com

Naughtv orNice?Dada Draw ng~ by Oar a Tice, on view through JartlJary 15. AmerocanArt, 19thcenturytopresent Exciusi _e rep resentative at the estates at Jolin Marin arid Larry Day

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special advertising section Phoen ixAncie nlArl 47East66thStreet +1 2122887518 info@phoeni ,anCientart.com www.phoenixanc ientartcom

Phoenix Ancient Art Spec ializes in rare and high ql.J311ty worksot art trom the eivi I iza r 0 nS of Western A ntiqu i tv, irl(ludi"'J Neolithic, Cyclad c. Greek, Roman, Near Eastern, Egyptian, Central Asiav, Islamic and ByzJntineart

Scholten Japa nase Art 145 West 58thSIreei SUlte6D +1 2125850474 inlo@scho lten -j apanese-art.com www.scholten"japanese-ar t. com

Scholten Japanese Art otters wood block prints, paint"",>, screens, lacquer arid net",~e in a pr ivate setting

AleundreGaliery 41 E a~t57thSt reet

13th Floor + 12127552828 inqui,[email protected] www.ale .andregaller~. com

Ma"in Bileck: Figurative Etchings arid ~I u,trations, Emily Ne~igan: Recent Drawings throughJarlUar~ 2, Selected Wor~, by Gallery Artists irIClud'ng: Gregor~ AmenoU, Brett Bl<;lbee, Lois Dodd, Anne Hams, Loren Maciver, Vincent Smith. Tom Uttech arid Neil Wei ver,AlsoWrJ~sbyFirst GeneraronAMerican Modern'sts ArthurDove, Marsden HartleY,John Ma ri n a rid A Ilr ed Maurer. GaHery hours: Tue~day through Friday IO-53Op.m arid Saturday 11-5p.m,

AnaTzarev 24 West57thStreet +12125869800 info@anatlarev,com WWW.anatlarev.com

Portraits: An exhibition featuring portraits 01 people /romdifferent areas of the world ref'eeling Ana Tlarev's travels including Kabuki actors. African fishermen, Vietnamese fi€ld wo rk-ers, Tha· flower~endorsand Croa: an pr iest,. Hands, a multiMedia exh'bi , tion from photographer Mafia Gralia Fa c cio la s howca sing how hands shape people's ves,OnviewJanuaryl4

BabcockGalieries 724F if tnAvenue 11 th Floor +1 2117671852 info@babcockga lleries.com www.babcockgaller ie5.com

African Americans: Seeing arid Seen, 1766·1916. OpensJarllJar~ 21. Galier~ clo,edJanuaryl

Bonhams 580Madi50n Avenue +1 2126449001 inlO,U 5@bonham5,com www.bonhams.com/newyork Over 500sales a ~ear ';n doZens of conecting categofles, We seek consignments year round for iMJdions in New York, LosArIQt'les, San Francisco. London. Dubai and HongKong

Bonn! Benrub l Gallery 41 East57thStreet 13th Floor +12128886007 ben rubi@bonn,benrubi. com ww .... bon~ibenrubi.com

Mass,mo Vitali:Landscape with Figures II, through February 27. GalleryHours Tuesday through Saturday, 10-6p,m,

DC Moore Gallery 724F i f thA~enue

8th Floor +12122472111 i n/o@d~mooregal lery.com

ww .... dcmooregallery,com

Jacob Lawrence, Thisexhib,tion pre~entspainting-; , drawings. prints Wor ks in~"'ed by Nigeria are a special focus. Jack Le'ine.ln honor of h's 95th birthday, DC Moore will devote the East Gallery toa seled presentat ion of his work, January 7 through February 6

Ga leri e St, Etienne 24 We5t57thStreet +12122456734 [email protected] ww .... gseart.com

Egon Schiele AsPrintmakerc A Loan Emib itionCeleb rating the 70th Ann i,ersary of theGal erie st. Etienne. t hrough Jaro.oary 23. Tuesday-Saturday, 11-5p,m

Gerlngli: LopezGalie ry 730FifthAvenue +16463367183 info@ger inglopez.com ww .... gero~glopel,com

T oddJame~ Work by the artist in his debut New York solo exhibition. January 7 throughFehrwrv 20 Reception for the artist TllIJrsday. January 7, 6-8p.M

Greenbe rg Van DorenGaliery 730Fif thAoenue 7th Floor +1212 445 0444 in/[email protected] ww .... g~dga l lery,com

John Mclaughlin: Hard Edge Cla~sicist Pa.ntings from the 1950sto the Ig70s, Jar\lJJfY 71hrough February 13

HowardGreenberg Gallery 41 East57thSt reet Su,te 1406 +12123340010 i n/o@howardgreenberg .~om

ww .... howardgreenber9·com

Horner Page. January 8 through February20

JamesGoodman Gallery 41 East57thSt reet 8th Floor +12/2 5933737 iofo@jamesgoodmaogal ler1,com ww .... j amesgoodmangallery.~om

Drawings, Paintingsand Sculpture bV Arp, Calder, Chamberlain, Gorky, Leger. L i c h tens teOn. Matisse, Ma !ta, M r6, Moore, Picasso, Pollock, R opelle, Rosenqu,st, Wesselmann 0: others

LeonardHutton Ga lleri es 41East57thStreet Su,te606 +12f27517373 art@leonardhut longalieroes.com www.leooardhut tonga ll eries.com

Po,t Wa r Amer,can Contemporary, Russian Avant 'Garde, German E,press,oni,m, Eu ropean Modern 5ITI

Painting, Sculpture, Work on Paper

Marla n Good man Gallery 24 West 57th Stree t +12129777160 goodman@mariangoodman .~om

www.mar iangoodman.com

Steve McQueen, January 19 through Februar ~ 27

r.farlbo roughGaliery 40West 57th Street +12125414900 mny@marlboroughga lle ry,com www.mar lboroughgallery.com

Plea,evlslt the gallery's webSite/o r i n f or rna t,o n a bou t c urrent e~ h i b;t ions

Pace/r.facGfIIGaliery 32East57thStreet 9th Floor +12f27597999 [email protected] www.pacemacg i ••. com

Wil iam Christenberry, December fO throughFebruary6

PaceWildenstel n 32East57thStreet +12f242f3292 www.pacewildenste in.com

On the Square, January 8 t~ough February 13. A group€,hibition featuring nearly l00years of artists' Me di tat ions arid pe r mu tatio ns of art history'smost ele-.entalform, from Mondrian to the present. The e~ hibi

tionwill featureworksby signi fi cant artists of the lwenti eth and twe~!v-fi rst

centuries

Throckmorton FlneArl 145East 57th Street 3rdFIoor +12f22231059 info@throckmor ton·nyc .com www.th ro~kmo rlon·ny •. com

Tina, Under the Mexican Sk1, December f7 thrOLJg~ Marc~ 6

WuhburnGaliery 20West57thStreet +12f23976780 jwashbur~@earthl i nk. net

www.washbu rngal lery.com

Ray Parker: The Simple Panting-; closes January 9, Tom Ley,ne, Strin9 ,nstruMents. opensJanua;;y 21 and run, ttvough March 27

ACAGa lieri e . 529West20thStreet 5thFIoor +f2122068080 info@a c agalleroe~.com

w'Nw.ac aga lleries.com

JamesMcGarrell : Window Jazz 'nventions-Paintings2005-2009, ttv aug h J ar)Ua r~ 30. Gallery II: Abstract Ense"lbie: Anu~zk ewicl, Berkowitz, Bolo!ows~y, Chicago, Day ie. Hartigan, Sander, Scarlett and Sta-losamong o:hers, through January 30

Amsterdam WhitneyGali e ry 511 West 25th Street +f2f22559050 amsterdamwhitoey@aol,com www.amsterdamwh itneygallery.com

January 8 throu';' February 2. Opening: January 14, 6-8p,m, Visibte in the In,isible, Sar at> D~er. R;o, Henriette Sonne, Eye to I: Oksana Gfineoa,Jim l i,e'y, Hector Najera, laShonda Rob,nson. Prismat c Luminescence: Evan Roy Dahlke, Steven RoyHill, Theodore Ti hansk~. CoUectorsChoice

BarryFriedmanLld S1SWe5t26thStreet 2nd Floor +12122398600 contact@barryf riedmanltd.com wW'N.barrytriedmanltd,com

Venice: Three '1i<;,on~ in Glass, Cristiano B.anchin. Laura de Santillana. Yo;chi Ohira.A ten-year retrospective of work bylhree of th e most important contemporary art sis wo rking with g ass today, ttvoughJar)Uar~ 16

lelt Tokyo·G~ VI (Anlm.IGI. ,Io). 2008. by Lour~ de S.ntll'.n~, Hand·blown and Shaped Glus. at 8ar..,. Frltd",an.ltd. Ne .. Yo,k Right: Tolryo·G. VU (Ar.f>CIoIAnlm~). 2008, by Lour~ d~ [email protected]~, Hand·blow" and Shaped Glus. at 8ar..,. F,led",.n ltd. New Yor~

Betty Cun Ing ha m Gallery 541West25thStreet + 1212 242 2772 info@lbet tycunioghamgallery.com www.belty~u n i ngh amgallery. com

Pearlstein/Held Five Decade~, thfoughFebruaryl3



Blue Mountaln Ga llery 530West251hSIreei 4th Floor +16464864730 bluemounta lngal lery@, er ilon.net ww w,bluemountaingal lery.org

Victor ... Sa'zman,' though ll was invisible, Etchngs,January5 t~ough30 Recept ion: TIIu r sd ay, January 7, 68pm

Bower yGaliery 530West251hSIreet 4th Floor +1 6462306655 www,bower ygalle r y,org

ThroughJanuary 2. Rita 8aragona Lu minese nee. p a' nti rigs 01 11 owers, landscapes, and oceans; Tony Serio Northern Manhattan Pr~ects, A series of 3<ldscapesandc ltyscapes that celebrate the urbandes gn. architecture and parksof 10werWashirlQton Heigh's Jar)Uary5 through 30; Michael Moorse, RecentWork

Bruce SilversteIn Gallery 535West24thStreet +12126273930 inqUlries@brucesi lve" teln.com www.brucesilverstein.com

Martin Denker ; Absolute Zero, December 17 t~ooghJanuafY 3D. Open;ng; December 17, 6-8pm

Bryce Wolkowilz Galle ry 505West24thStreet +2122438830 inlo@brycewol~ow i t z .com

www.brycewo lkowltz.com

January 15 through Fehruary 17. Agroup exhiMion featuring Contemporary Asian Arti~ts.Arti~ts include: Xu Cha"<;lchang, Hsin-Chien Huang, JunebuM Park, Warlg Qingsong, Noh, Sa"<;l-Kyoon, M ao Xiaochun, o p en'rIg Rece ptio n: Thu rsday, Ja n u ary 14,6-8p,m Galleryhours Tuesday through Saturday, 10'6p.m

Casey Kaplan 525West2 1stStreet + 2126457335 inlo@caseykap langallery.com www.caseykaplanga lle ry.com

MarloPascua'Galieryland .Gallery III Viewing Room. January 7 throogh February 13

DavidZwirner 524 We st 19th Street +1 2127272070 [email protected] ww w.dayidzwirner.com

Please contact gallery for current exhibition Inlorma1ion

DavidZwirner 525West 19thStreet +1 212517 8677 [email protected] www.da.idzwirner.com PriMary Atmospheres; Calilornia Minimalism 1960-1970 leatur;r.g Peter Alexander, Larrv Bell. MaryCor~e, Rohert Irwin, Cra' g Kauffman,John McCracken,James rl)l'rell. De Wain '!alentine, Doug Wheeler and others. Jar)Uary 8 thrOlJgh February 6

Jack Sha lnman Ga ller y 513West20th Street +1212645 170 1 inl o@jac~shainman,com

www.Jac~shalrlman.(om

Pa Sea I G r a nd",a ison -The Inverted Ghost. January 7 through February 6, Opening Reception,January 7, 6 8p.m

Lar Issa Goldston Galle ry 530We~t25thStreet

3rdFIoor + 1212206 7887 inl o@ l ar i s~ ag oldstonga l le ry,com

wwwJaris~ago l dston . com

Group Exhibition, rurated bV Dean Daderko,January 8 through February2010

Marlborough Chelsea 545West25thStreet +1212 4638634 che lsea@marlboroughga ll ery,(om www.marl boroughgallery.com

Look Again, a groupe<h bit,on rurated by Karl''''' Moel ler and Casey Fremont, January 13 thrOU<)h February 13

NarlcyHoffman Gallery 520West27th Street + 12129666676 inl o@nancyhoffmangalle ry,com www.n ancyhoifmangallery.com

January 7 through February 20. Eyer v Man Every Woma.-.; The F Igure,of VidaFrev

PaceWlidensteln 545West22ndStree t +1212989 4258 www.pacewi ldenstein.com

Zhang Huan: Ne.ther Comi"'-J Nor Going, thr ou gh Ja flUa ry 30. P J c e W II den~ tei n is honored to present Chinese art .st Zhang Hvang's ~eco n d soio-exhib;tion at thegallery. Rulai (2008-2009), an ash, ~teel and wood sculpture measuring 18'1/2'~14'1O'xI 0'11-1/2', that has never belore been exhibited, i~on view here lor thef rs t t ime. The show a'so fea tu res monumental woodblock prints from 20C16-2008 (mea,uri"') over 11',8') inspired by the ancient Chinese propllecybook. TuBeiTu(ca,599-649) and (;realed from Matsr' a's(;uPed duri"') Zha"<;l's travels lhrou ghout China , such as harldmade paper fr om the Anllu' provi.-.::e

PaceWildenl t ei" a nd Pacel MacGIII 534West25thStreet +12129297000 www.pacewi ldenstein.com www.pacemacgl •• . com

Richard ~\.srach , Januar~ 15t~oogh February 20.Pace!MacGi~ and PaceWiideJ1';teonare plea>ed '0 present recent work(2CXl7-9) bycelebrated photogr~nherRichardM i~rach. Marl<inga radical~hitt Irom h,spast work,Mlsrach's Negative series are hisl:'S! pidures t"'I1lde w it hOlJlIi I m.l}s;",) a stil te -0 1-the art dig·talcaMera, Misrach creates ray shi"') Image ,of landseapesarld seasea pe S ~'Sir.g a rever sed wier spec ' trum.L"ht areas become dark spaces, and vice versa, arid Misrach 's subjects aretran,formed in:ootherworkj~yet

whollyrecognilab!ep'acesas a re>ult cI this process, Thepllotographsrange '" silefrom 45, 70i...:heslo panoramas "",a>uriog near~8x 10 lee!

Primave ra Ga ller y 210 Eleventh Avenue at 25th Street SUlte800 +12129246600 (ontact@primaveragal lery.c om wwwpri maveragal ler y.com

Primayera Gallerv hasbeen an extraordinary reSoorce for impor' tan1201h century lewelry, furniture, decorative objec ts and pailting$ bV nota b'e des '9 n ers and artISts for over forty Vears. Spec,ale,hibition, Art Deco Rev s ted, through February 28. showcasing line Art Oeco lurniture, lewelry, me1alwork, ceramics, glass, and paintings representati ve 01 th is ext raordinary de~:gn period

Sebaslian + Barquet 5 44 We st 24 th Street +12124882245 info@sebast ianbarquet.(om w ww.sebast ianbarquet .com In as~ociation with Judd Fourldat on, Sebastian + Barquet >s plea~ed to p re~ent DonaldJudd: Furniture, an exhib,tion of Oonald Jud<I'sresolved I Urn itur e des;gn~ a 10 ngs,de Judd's original d r~wings, the exhihition will include important ea~y e,a"'Ples 01 hi~ furniture ina varie ty 01 woods, colored plywood, enameled aluminum arid copper. T~ooghJanuary 30

Susan Sheehan Gallery 535West22nd Street +1212 4893331 info@susansheehanga lle ry.(om W'Nw.susan~heehan gallery.com

Grea1 American Masters. Post-War Prints, through February 6.Also on display: Warhol, Rauschenberg , Thiebaud, Mitche l , Rusch". Dleben~orn, Two"'lb'y,Re inhardt. Yourlgerman

Wa Iter Rand el Galle ry 287TenthAvenue Between26th& 27thStreeh 2nd Floor +12122393330 info@wrga llery.com www.wrgallery.com

W,nterKun'1ka"1.-.-,er, Contemporary painting, p hot ogr a phy, scu I p tur e and cera,.,ics b~ Luc'en Clergue, Charles B rnba um. Michael Hall, Ernest Kal~a, Arlan Hvan9, Ted Kurahara, Sa"IUel Monnier, Mark Sengbusch and Bruna Stude exhibited w;thworksof art fro m the He~e ni~lic period throuyh the 19th centuryol European, Oceanic and New World Cultures

Bernd Goeckler Ant Iques. Inc. 30Eas t 10th Street +12127778209 bgant iQues@mac,com www.bgoe(kle rantiques.com

H i gh-S1y' e Eu r 0 pea n fl)l'n It ure, lighting anddecorationfro"1thel8 th tothe 20th-centuries, with an emphas'son early to mid 20th-centurydes,gn. rhe gallery also offer~ a line selection of Dani~han d French cera", cs and 'taliang[a~~

special advertising section Pel e r 11 k SoHo Ga llery 419WestBroad way +121294t6391 ~o ho@pete r li ~,com

www.pete rhk.com

Galle ryexhib,ts liMited edition large panoramic photo, from around the wor ld, capt urirlg t he br ~ i ant colors arid spirilual terra n in nature, As the world's MCSt awarded and collected photogra pller In history, Peterhasded cated his Ie to redelinirlg the art

TalwarGaliery lOBEast 16th Street +12126733096 tg@talwargallery,com www. talwargal ler y.com

RanlaniShettar

Causey Conle m pora ry 293GrandStreet Brooklyn +17182188939 into@causeycontempora ry.com w ww. causeycontemporarv.com

Painlingsby KX2. December 10through Ja n u ary 30 Pub I ic Recept ion J aflU~ ry 8.6'9p.m

RoGall e ry.com 47·1536thStreet long Island City +18008881063 art@roga llery.com w ww. rogat lery.com

Buy. Sell. Cons' gn. Online Live Auct OnS, 8000+ Arti~ts. Arli~t~ include Appel, Arman, Bearden, Calder, Dali, D'arcangelo, Gottlieb, Grosz, Haring, HIr,t Hockney, Indiana,Jenkins,Katz, Kogeln ik, Koons, Kostabi,l awrence, LiChtenstein, Ma lta, Max, M~o, Picasso, Ramos, $charI. Sultan, Ting. Vasarely, Warhol,Wesselmann

SHOW Gallery 156 Stuyvesant Place, Across from ferry St.George Staten Is land +17185240855 into@,howhownyc.com w ww. showhownyC.com

D nnerii:AMOYIe5how, Thursday, at 7: S:range. di~COyered lost f ilms with goormet d nner$12.lnnovative gallery and performance space w,th groundbreakin gwork ,n tradit.onal and inhO,a lOie med' a. Schcdulesol demos and worl<shops, when SHOW beco"1<'~ H OW Please contact gallery f or C u rr enl ex hib;tion .nformation



special advertising section

C. Grf ma ldl s Ga li e ry 523 NorthCharie sStreet Baltimore,MD +14105391080 c.grima ld's@ve rizon.net www,cgr imaldisga ll ery.com

Grace Hart.gan: A Memorial E~h-bitio n (1922-2'OOS), the art ist, who WaS in the late 50~ I> earlv 60s. t he most celehra:ed female pa nter inAmerica, accord rog to LIFE Magazine. started her career al0"9side the pio ne ers of Abstract E'preSSlon 5ITI. With herbold, aniMated canvases, she examined everyday American lite in NY's Lower East Side, the vulgar I> vital in Modern American lite, as she herself declared of her work. T~oug h January 9. John Waters: Versal les, Jarl<Jarv 2Othrough February27

Mahady Ga lIery/ Surac I Galler y Mary wood University Shields Centerfor Visual Ar ts 2300AdamsA,enue Scranton,PA +1 5703486278 galler y@m arywood.edu www,marywood.edu/galleries MahadyGallery 2010 NEPA Scholastic An AwardsE. hihition, regional e.hibition of ,," nni r.g wor!< by l u ~,orhig h arid high schoot s:udents fromfive no rt he as t e m P A coo nt,es. J a nua ry 16 through Febru ary 10; Awards Presentatioo January 16. l p.M __ Latour Conference Roo"" Nalare!h Hal, Ma,lowStu dyGalieryfor Contemporary Art : Rotating seledions fro m The MasiowColiectlon (www.t h ema'iowco~ect ion.org)

TheTrout Galiery DickinsonCot lege Emil R. We i s~ Center lor the Arts West High St reet Carhsle,PA +1 7172451344 trout@dickinson,edu www,dick inson.edu/troul

A Revolut ionary '",age: Thoma, Suny's Portrait of Benjamin Ru,h, through February 20. Printsand Politics in We.mar, Germany, through February6

David Winton Bell Gallery 8rownUniversity LislAr t Cente r 64 Coi legeStreet Providence,RI +1401863 2932 www.brown.edu/ be llgal lery Zugunruhe,an insta lalion by Rachel BerwiCk. th rough February 14

ACAGalieryofSCAD Woodruff ArtsCenter 1280 Peachtree Si reet Atlllnta.GA +1 404815 2931 www,scad.edu/e , hibit ions The e.hib<t ions department prese~lS No Labon T ourby artistsCaoFei and MapOftice, CaoFei's (SL C~i n a Tracvl S<>cond Life world, RMB City, has alre adydraw~worldwide atte nt io~ for itsenterta ining and often ironic depic ' tkm of conte-mporaryCn lne,ecity A new proJed, in collaborat ion with Hor.g Kong based MapOfflce, Fei's virtu al cIty t itled NoLab cont inue, her work with a , tark, political'ycharged mult Media presentat ion depicting New Orleans be "9 f looded byHurricane Katflna 's storm surge a~d th e afterMath lhat followed Fei's arid MapOff ice's interactive exhibition No LabOn Tour. will ma~e its foorth glob~1 showing at the ACA Gall ery 01 SCAD. This e.h ibit ion is free arid open to tne public

Aleu nderH aliGaliery 668 1ndianSIreet Sav a ~nah.GA

www.l cad.edu/e.h ib,lIons December 14 through January 15 The e.hibotions department preSe~!S Spa tial Relations: Recent Editions fro m Pace Prints, featu ring prInt, on paper. wood anJ fabric by eleven inte rnat lona~y aCcla<med anists, Highlight' ng works made over the past five yearsat the fine art print p.oblisher, Pace Prints in New York, the e~hibi ' tion showcases artists who utilIZe a wide range of techn iques in thei r dep Id,on,of ,patlal imagery-frOM inte rior and arch tectural scapes. to abstrac tedandformalist space.Artrsts on view in Spatial Relations include Loo ise Belcourt, Ingrid Calame, David Byrne.John Ha'",'~e. MaryHe i lma~n. JuliaJacquette, Nicol a Lopez, Ryan MeG nness.KateShepherd, William Stei ger and Dan Walsh.January 15, Receptionat 6p.m

Dia na Lowenste in Fi ne Arts 2043 Nor th Miami Avenue Miami,Fl +13055761804 info@dll inearts.com www.dlfinear ts.com Carlos Betancourt. Superca' tragilisti c Proj ed Room: Group Show, Globalisfc, through Febru ary6. Jo,e Bechara, February 13 through March 6

Galiery See SCAD'Atlanta 1600 Peachtree Street At lllnta,GA www,scad,edu/e , hibitions Horse Power, Exhibition by Greg Eltri"9hamand Matthew B'ackwell December 18 th rough Febrwry 28

Neal AuclionCompany 4038 Magazine Street New Or lean., LA +1800 4675329 adm l n"t rator@nealauc t lon .~om

ww w, nealauction.com Consodered the South's leadlr.g aud ioneer and appraiser, Neal Auction Companyoftersa\!ent ve,personalized se .. ice tOMllers and buyers al ike Neal Auction's sa I es re g<J1 arly es!a bl i sh record pr ices for AMerican, Eng"'" and Contin ental paintings, furniture ar.:j decorat i.e work~. Currentand archived calalogoJe , ava lable online

Pel Ling Chan Gallery 322 Martin Luther King Jr, Bou levard Sa.annah.GA +19125258567 www.~ c ad . com/e xhibition5

ThroughJarouarv 15.1 heexhibitions department presents EverPresent and in Motion, a luried s~ow addressing the themeof chap,gefrom th e perspectiveof li fteen facultv members from SCAD's Atlama and Sa. annah locat ions The laculty employedtheir creative interpre!ationsofthis the"'e to inlorm new art prOjects In all media, The result· i r.g exh i bi t ion, the r ef ore, h;g h I ig h! s the range of Intellectual and artistic activitywithin the SCAD COMMI.Jn ity. An st, include: Steve A,stvnan, Robert Brown, M:chael Chaney. Pe i ' Jung Chen, Domln'que E~iotl. StephenGardne r, Sari Gilbert, Hilary Hopkins, C~is Nitsche, DebOden, Brett Osbom, Jesse Payne, M ng Tarog. Elizabeth Tur~ and John Waters. The e.hib,t ion and reception are treeandopen to the public

Pi nnacle Gallery 320East Libert ySlreel Savannah,GA +9 12525 4950 www.~ c ad.com/e xh ibition s

Please contact galle ry for current e,h'bil,on intormat,on

Tro l$Galiery 1600Peachtree St reet At lan l a,GA ww w.s cad,edu!exhibitions

The SCADe~hibitio nsdeparl"'e nts presentsCaughl Capti.e,ane.hibi!'on of natura' st ic cast resi n sculptu res by Eri ck Swenson. Caught Capti.e sho',,·c ases Swenson's hyper-real is l iC hybrid creatures frole n in MOments of dramatic tens.on or au,tere >solat on Situat€d between art and science, Swenson's mast erfu l~ crafted, allegorical crealuresdenote the delicate ba'ance .n nature, the allure of death and the .ulnerabit<tyof life. Thro ~gh January 24

KodnerGali ery 9650ClaytonRoad SI Lou"" MO +18009934478 [email protected] ww w.kodnergallery.com Kodner Ga~ery ass,sts in the appraisal, buyingand seUir.g of f ne and rare art With one of the largest inventories in the Midwest, weenjoy a reputation for oor knowledge 01 Frenchand Amer ican Impres,;;onisls, Ma,tersof theOldWe,l.reg ana' , t" 17th · through 20th century land scape, , t il life arid genre, as well as modern and contempcraryMaslers

Kresge Art Museum Michigan Slate Unive rSit y 127 KresgeArtCenter East Lan~ i ng,M I

+15173557631 kamuseum@msu,edu www,af tmuseum.msu.edu American Modernism, 1920s-1940;FrOM Thomas Hart Benton and Arthur Dove to Fran~ Lloyd Wright and Helen Franke~th aler, American styles in the 1920s throoghlhe 1940s fluc tuated between regionalisM. co~:e"'lporary European developments, and the beginnir.gs of abstrac tion. This e.hibit ion of paintings, prims and three-d Mensiona' oblects explores the .ariety of approaches taken by American art,sts a! the time

Lesl ie Hindman Auctlonee .. 1338 West L a~e Street Chicago,IL +13122801212 Inlo@lesl iehondman.com ww w.leslieh indman.com Leslie H,rldman Auctioneers holds audions Special ili"9 in Old Master, 19th-and 20th-ce ntu ry paint.r.g" prints. drawing' and sculpture. Fine Jewelry and Decofati.e Art, : January 24through25

All ,t.".~ W/tlte M.rtJle S<;ulptur. of Ihe rltru G ... .,. .. • tter "'ntonl~

C.n" •• , I.t~ 19th/u .1y 20th c~ntu'Y. M.fbl~> .tl~.I ~ Hindman Auction' O'er. , C~I<lJIO



Rila Buchell Lid 449 North Wel l ~ Sireel Chicago,IL +1312527 4080 info@r itabuche il.com WW W.ritabuchei i.com

Empire, 8iedermeier, Vien.-.a Secession aM Art Dew furniture, f ine and decora tive art. Modern and Conte"'lporary Austrian wcrkson paper, from Rai ner toSchlele

A rl Museu m of Soulh Texas 1902 Nor th Shoreline Bouleyard CorpusChristi,TX + 1361825 3500 artmuseum@tamucc,edu www.arlmu~eumof~outhte .a~.org

TheArl Museumol SoulhTe,as combines the arch,teclural talentsof R cardo Legorreta and PIl ilipJohnson in a stunnw.g, two-bu,dlru;l comple' on the Corpus Christ i Bayf ront A popular cafe and expanded Mu~eum Store serve the pubhc. The museum saU, iatedwith TexasAO:MUn iver5:ty Corpus Christi. Current exhibitions include' Narrative Art of the A"1er ican West The Mary Grace and Frarlk Horlock Co~ect i on,Januar~ I through March 21. Wild At Heart: SelectionsFrofYI the Nat ional Museum or Wildlife Art, January 21 through March 21. Judy Chicago in Glass. March 26 th roug h May 23.Se·edion~ f rom the Pe rma nent Collec t ion

Heritage Auction Galleries 3500MapieAvenue 17th Floor Da llas, TX +18008726467 +1 2144091444 f ineart@ha,com www.ha .com Since 1976. Heritage Aucti on Gal eries has held more th an 2,250 auctions, selling more than $3 bi~ionwort hof

art and collectibles on beha'f of more than 45.000 cons'ynors. Visi t our award-winnong webs te for complete informat ion on upcoming auctions

IrvingArhCenle r 3333 North MacArthurBou levard Ir .ing, TX +1 9722527558 m l nman@(it ~ofir ving .org

WWW.irYingar tscenter.com

Year of the Tiger: An nu al Exhibit ·on of Paintings a nd Flowers. J aroJar y 10 throogh 24 ,n the Main Gallery; Withi n the Emperor's Garden: The Ten Thoosand Springs PaYlllon, t!vaugh June 30 in Carpenter Lobb~, on loan fro m the Smithson,an Institution: The Global Art'~try of Leo and Diane Dillon A RetrospectIve, throog h January 24 in Dupree Lobbv; Sculpture Gardenoriginal worksby James Su rls, Revben Na~ an.Jesus Moroles. Michae' Manlarr;", George T obolowskyand LarrvWhi telev

Nancy Fyfe Ca rdozl e r Ga llery TheUniversityof Texasof the Permian BaSin Visual Ar tsStud io 4901 Ea~t UniY .. r sity Bouleyard Odessa, TX +14325522020 ht tp://c a~, utpb _e du Ina ncy·f yfe' (a rdoZler-ga liery-11

January 22 thro ugh FebrUil ry 21. Printmakersand Prodigy, Thisroster or accompl ished printmaKers: Andrew Decaen, Lari Git>bons. OscarGlllesp e, Fred Hagstrom, Kurt Kemp, Ricard Peterson, and Pam Price, will also ,nclude the work of students who have studied w th them, Openmg reception: Friday, January 22, 7 ·9p.m. Free and open to the public

Zane Ben nell Contem pora ry Art 4 35 South Guada lupe Street Santa Fe, NM +15059828111 zanebennet [email protected] www, zanebennettga llery,com

Dunham Aurelius; Anamnes' s and Rohert Hoerle n; Improbable HistonesJanuary 15 throogh February 6. Seconda r~ Marlcet includ' ng Tom Wesselmann. Fehru ary 12through March6. Joe Novak. March 12 through Apri ll0. Peter Lodato, Steve Joy, Zachar"h Reike, DaVid Kappand Francois Mareltet, March 12 th oughApril0

Coeur O' Alene Art Auction-Reno 8836 Nor th Hess Street. SUIte B Hayden, lD +12087729009 info@cdaartauc t ion.com www,cdaartauction.com

Market Ie a d '''9 a u ct ion house spec ia 1-iling on fine 19th and 20th 'century Western andA..-.e rican Art S200 m,lIion in sales over the last ten vears Nowtak;ng consignments for ou r 2010 auction

Sonham 5& 6utterfleld$ 220San BrunoA.enue, San Francisco 7601 Wesl Sunset Boulevard, Los Ange les +18002232854 info.us@bonham s.com ww w.bonhams.com/us

Over 500 sale~ a year indozensof co~ecting categories, We seek cons_gnments ~ea r ' roun d for auct ions' n New York, Los Ange'es, San Francisco, London. Duba i and Hong Kong

CrownPolntPrns 20HawthorneStreet San Francis(o +14159746273 ga llery@crownpo int ,com ww w.crownpo inl.com

January 8 through February 27. Winter Group E>:h lbillon, Recent releases bV Tomma Abts. MafYI,..,a Andersson. Susan Middleton, and Chris Of iii

Mlchaan's Auctions 2751ToddStreet Alameda +15107400200 [email protected] www.m ichaans.com

Estate Auction. Sunday, January 3 Pre ",ew~:Januar~ I through3

Rena 6ranstenGaliery 77GearyStreet Sanrrancisco +14159823292 info@renabr anstengal ler y.com www.renabranstenga llery.(om

John 8ankston ' New York , January 14 through Febru ary 27

SanlaBarbara Museum of Art 1130StateStreet SantaBarbara + 18059634364 [email protected] www.sbma.net

Delacroi x to Mone\. Masterpiecesot 19th 'Century Pa' nt ing f ro m the Walters An Museum, January 3Othrough May 2, The o n~ West Coast venue for thi s ex hi bition, SBMA ispleased to present forty works from the renowned collect ion of the WaltersArt MuseuP'l, including some of the f inest hold.flgs of 19 th-centu ry pa ntings byDe'acroix, Ing re~, Degas, Mane\. Monet. P.ssarro. and S' slev. Also on view: AnAme ricanCentury: 20thCenturv Master Orawings.Januarv 16 t hroughJune6

Berensen Art 1472 Sherbrooke Stree t West 3rdFIoor Montrea l +15149321319 berensen@videotron,ca www.berensenartconsultants .com

Buying andMlling Modern and Contempora'~ pa int ngsandworksot art, includ ing European, Russian and Canadian mas:ers

Galerl e ThaddaeusRopac SaJzburg Mirabe llplatz2 Salzburg +143662881393 [email protected] www.ropac.net

Donald Baechler. t h rough J anua ry, Cory Arcangel, Drei Klaverstucke. OPll, through January 16, Elger Esser, Januar~ 22 through February 16

Gale rJ e Patr ick SeguJn 5 Rue des Tali landier s Paris +33 147003235 info@pa trickseguin,com www.patricheguin.com

20th Centu rv F~rn i ture 0: Architecture Repr ese nt ing; Jean Pr oUYe, Char iolle Perr,arnJ, Pierre Jeanneret, Le CarOOSler andJean Royere

Galerl e Th addaeus Ropac 7rueOebellevme Paris +331 42729900 ga ler ie@ropac .net w ww, ropacnet

MarC in Maciejowski, January6 through February 10. Sand' a Vasquez De La Horra D ra"""9sSpa ce.Jan~ar~6 through Februa r ~ 10

O rei kon i g~trasse 12 2,jrich +41434972482 ga ler ie@orJando'gmbh,ch www.orlando·gmbh.( h

Alberto Magneni (1888-1971)Paint,"9s. Collages. Works on Paper In Cooperation with the Estate of the Artist. Russ an Avantga,de from the EstatesandColiectionsofDauman. Elienberg.Kllunkowa, TOfYIl "'aLar ionow, Poletschko, ldanew·tsch andoth ers, through AU<;lust 31, 2010

press@alex iagoethegallery.com wOlw,a le' iagoethega ller v.com

Jagannath Panda, The Act ion ot Nowhere, through January 15

Lou!se SJou ln Foundat ion 30latSl reet Lo~don

+44207g859600 info@ltbfoundat ion.org www.l1bfoundation .org

The philosophyof th e FOUMat ion is e>: perifYIe nta t ion. questio ni fig , debate, and learn' ng, and the re are two focuses of act iv tv.l helirst is to present the work of individual artists through temporary e ,h.b It Ions, ",sta~ a t ions, performances and screenings. We also promotea velyprogrammeatevents such as Ie c tur es, debates. wor ksh ops, th,nk tanksand summitsrelated 10 the Foundation's area, of interest

TO bI! O>ctuded irlllrt+A,",Ii(ln'$ ~Id

11"10.., lisl"'ll" c""l"ct Connie Goon.1 +1 &46153 9090



"

CONFUCIAN VALUES In China never count out tradition. While contemporary Chinese art was aU the rage for most of the naughts, the global 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 globally 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 Sothe sHongKor>g October2009 1111139.1 60.000 ($5.1 ml ion)

Ca tGl,lo·Qllng Tr.-eeWC<"ks f rom the serie-;'FOOJteen Dra·"i~ forAsia· Poclf.c cO'\OmlC Co·operation..'2001 Chris!ie'S~Kor>g November 7 111117".300.000 ($9.5mU/on)

An.mperi,..yeIlowjadebow\I'.i\h Oiir1loogrrwk Sothe by' s Hong Kor>g October2009 $IIK12,gIO,OOO ($1.7m. ioo)

2009

2008

2007

2006

SHK 5.000.000 10.000.000 15.000.000

Sothebv"s Chinese • ContemporaryArt

• SothebV'sChinese Cerarrucsfi: WO""ksof Art

ChrISt",,·S Chnese • CcntemporaryArt

• Chlistie'sCtwese Cerarmcsfi: Worksof Art

20.000.000

ZengFanzht Mask SenesNo. 6 Ov"isti~'s Hong Kong May2008 $/I1I75 ."16.SOO (S97mlion)

A R1'AUCTII)N JANUARY 1010 I WWWA RTlNFO.CO"



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H,p-T""SI<l</In.bl ... And"; Sorn.~. FrI.""<."'. 19481 \11 G\m '''nu" Mal Inglloo for 1'0111.11.1 ArIC. hal). a. 1955 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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