Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Tag: artists’ estates

A profound commitment to the interests of the artist with gallery director, Maria Bueno, of Cheim & Read

Art Basel 2019
Cheim & Read

IN HIS RECENTLY PUBLISHED BOOK, BOOM, A FASCINATING AND COMPREHENSIVE COMMENTARY ON HOW THE CONTEMPORARY ART WORLD AND MARKET HAS EVOLVED, MICHAEL SHNAYERSON WRITES:

TRADITIONALLY, DEALERS LARGE AND SMALL HAD TRAVELED TO A HANDFUL OF FAIRS: FIAC IN PARIS, NEW YORK’S ARMORY SHOW, AND THE MOST ESTABLISHED FAIR, ART BASEL SWITZERLAND. WHEN ART BASEL MIAMI BEACH JOINED THE PACK IN 2002, AND FRIEZE LONDON IN 2003, THE PACE REMAINED, FOR A WHILE, MANAGEABLE. YET EACH YEAR, MORE NEW ART FAIRS SPROUTED, IN ONE COUNTRY AFTER ANOTHER…CLARE McANDREW, THE CONSULTING ART-MARKET ECONOMIST WHO NOW WORKS FOR ART BASEL, COUNTED 260 MAJOR FAIRS. WITH MORE AND MORE ART TO BE SEEN AND SOLD, DEALERS FELT THAT THEY HAD NO CHOICE BUT TO BE A PRESENCE IN AT LEAST A FEW OF THE PROLIFERATING SHOWS. IT WAS A COSTLY DECISION. 

Michael Shnayerson, BOOM, Public Affairs, New York, pp. 362-363.

Michael Shnayerson
Boom
Mad Money, Mega Dealers, and the Rise of Contemporary Art

A FEW GALLERIES ARE GETTING MORE AND MORE OF THE MARKET SHARE. MANY COLLECTORS ARE VISITING ART FAIRS AS THEIR PRIMARY SOURCE WHEN BUILDING AND ADDING TO THEIR COLLECTIONS AND FREQUENT THE GALLERIES LESS AND LESS. AT THE SAME TIME, JENNIFER FLAY, ARTISTIC DIRECTOR OF FIAC, IN AN INTERVIEW IN THIS WEEK’S FINANCIAL TIMES,  POINTS OUT THAT ART WORLD INDIVIDUALS MAY SOON NEED TO RE-EVALUATE THEIR CARBON FOOTPRINT WHICH COULD POTENTIALLY BRING THE FOCUS OF THE MARKET BACK TO REGIONAL AND LOCAL SITUATIONS.

IN THIS CLIMATE OF ECONOMICAL, SOCIAL AND ENVIRONMENTAL CONCERNS, THE RESPONSIVE ART MARKET IS UNDERGOING A TRANSFORMATION IN ITS WAY OF DOING BUSINESS.

TODAY, WE WELCOME BACK MARIA BUENO, PARTNER AT CHEIM & READ, WHO HAS OPTED TO OPEN AN UPTOWN GALLERY FOCUSED ON CONNOISSEURSHIP, THE SECONDARY MARKET AND AN UNFLAGGING COMMITMENT TO THE BEST INTERESTS OF THE ARTIST.

https://www.cheimread.com

Frieze, New York, 2018
photo taken by Brian Buckley courtesy of Cheim & Read, New York

MARIA, WHAT ART FAIRS DOES CHEIM & READ PARTICIPATE IN, AND WHY?

Art Basel and Art Basel Miami Beach. The outstanding quality of the material on view brings in people who are important to us, from curators to collectors to museum patrons. We take these fairs very seriously and our presentations reflect that effort.

WE ARE IN A CHANGING AND VOLATILE ECONOMIC CLIMATE. HOW DO YOU THINK THAT WILL IMPACT ON THE CONTEMPORARY ART MARKET?

It is hard to predict but collectors will always find the resources to acquire a work of the highest quality no matter the circumstances. We strive to source and show work of this quality level so that collectors feel comfortable and confident in what we are showing and offering them. We have worked hard to establish a loyal client base which we hope will follow us into the next chapter of the gallery’s history.

WHAT IMPACT DO YOU THINK IT WILL HAVE ON THE GALLERY SYSTEM?  WHAT ARE THE DIFFERENCES IN REPRESENTATING ARTISTS NOW AND EVEN A FEW YEARS AGO SINCE SOME DEALERS HAVE NUMEROUS GLOBAL LOCATIONS?

Dealers will need to find innovative ways to continue doing business and make sure artists have the freedom and flexibility to make their work. Today it seems like everyone is vying for “worldwide exclusive representation” – these representation wars are tiring and not necessarily in the best interest of the artists. Why not have several dealers with whom you like and respect working for you? 

Ron Gorchov
Opening exhibit September 2019
Cheim & Read
23 East 67th St, New York

WHAT ARE THE GALLERY’S PLANS FOR THE FUTURE?

Our new gallery opened on September 26th with an exhibition of historical, never before exhibited paintings by Ron Gorchov. We plan to mount 3-4 exhibitions per year, most of which will have a historical focus and examine key periods in artists’ oeuvres. Catalogues and other publications will add to our commitment to original scholarship. We also plan to participate in select art fairs. We will continue to work directly with a number of artists whom we have had long relationships with and will continue to pursue meaningful projects on their behalf. We will also concentrate on private sales in the secondary market. This work is informed by our depth of knowledge developed by decades of connoisseurship and our extensive archive.

 

Lynda Benglis
Catalina
Museum of Cycladic Art Athens, November 2019

 

WHAT DO YOU THINK IS THE IMPACT OF OUR SOPHISTICATED AND EVER DEVELOPING TECHNOLOGY ON ARTISTS’ WORK?  WHICH ARTISTS EMBRACE THESE INNOVATIONS MOST SUCCESSFULLY?

While Cheim & Read has always had a particular interest in the traditional medium of painting, technology has been helpful in executing a sculptor’s concept in more ambitious scales. Lynda Benglis for example continues to push the boundaries of this medium and uses new technology with her foundries to create incredibly intricate and detailed works on monumental scales. It’s exciting for all of us to see come to life.

Lynda Benglis at The Cycladic Museum, November 22, 2019

“Lynda Benglis: In the Realm of the Senses” opens at the Museum of Cycladic Art, Athens. The exhibition curated by Dr. David Anfam is the first solo exhibitions for Benglis in Greece, a country that has great significance for Benglis aesthetically and culturally. 

THERE ARE CERTAINLY TRENDS IN COLLECTING, MORE THAN EVER, SINCE IMAGES AND ARTWORKS ARE ACCESSIBLE BECAUSE OF THE INTERNET, INTERNATIONAL ART FAIRS, AND THE GLOBAL MARKET.  HOW DO YOU DIFFERENTIATE WHAT IS A TREND THAT WILL RECEDE ALONG WITH THE MONETARY VALUE  FROM AN ARTIST THAT WILL CONTINUALLY COMMAND A PLACE IN THE MARKET WITH ONLY SLIGHT EBBS AND FLOWS ?

In most instances, you can only know these things with time. For us, we continue to show and support artists we believe in, no matter the trends. It is this steadfast commitment to a particular vision that I think differentiates us from other dealers. 

IN OUR NEXT LRFA BLOG, MARIA WILL SHARE HER PERSPECTIVE ON TRENDS IN THE ART MARKET AND THE CONTINUED FOCUS AND FUTURE OF CHEIM & READ.

PLEASE JOIN US!

Meredith Harper: the art of business in the arts

img_3395-1

IN 2011, THE NATIONAL ENDOWMENT FOR THE ARTS, WORKING WITH DATA FROM THE BUREAU OF LABOR STATISTICS, ANALYZED THE FINANCIAL FUTURE OF AMERICA’S “CREATIVE TYPES”. MUCH TO EVERYONE’S SURPRISE, THESE STUDIES ANTICIPATED THAT JOB GROWTH IN THE ARTS WOULD EXCEED JOB GROWTH IN GENERAL.

HARRY BRADFORD, OF HUFFPOST BUSINESS, REPORTED:

With the country in the middle of a jobs crisis, finding any form of employment is tough, let alone jobs in the arts…Over the next seven years, job growth in the arts will exceed job growth as a whole, the report states. In fact, according to the report, artistic careers for painters, architects and photographers are expected to increase by 11 percent by 2018, compared to the projected 10 percent total increase in the American labor force.

Art research

Art research

Certain arts industries are expected to see especially significant jobs growth. Jobs associated with museums, such as curators, archivists and technicians, are expected to rise 20 percent, or “much faster than average employment growth.” According to the Bureau of Labor Statistics, the public’s continued interest in arts, sciences, and history, when coupled with growing amounts of content and material to manage, will create demand for such jobs.

Art conservation

Art conservation

MEREDITH HARPER, A NEW YORK BASED CURATOR, ADVISOR AND DEALER IN MODERN AND CONTEMPORARY ART, HAS EARNED HER STERLING REPUTATION, WORKING IN A VARIETY OF AREAS OF EXPERTISE IN ART WORLD, RANGING FROM A SPECIALIST AT A LEADING AUCTION HOUSE TO DIRECTORSHIPS AT SEVERAL OF NEW YORK’S MOST RESPECTED GALLERIES; FROM WORKING WITH MODERN AND CONTEMPORARY ART AS A PRIVATE DEALER AND REPRESENTING AN ARTIST’S ESTATE.

http://www.harperfineart.com/MHFA1/About.html

I AM SO PLEASED TO WELCOME MY GOOD FRIEND AND RESPECTED COLLEAGUE TO THE LRFA BLOG.

William Harper Artist/Jeweler

William Harper
Artist/Jeweler

MEREDITH, THANK YOU FOR CONTRIBUTING.

I KNOW THAT YOUR FATHER IS AN ARTIST WHO HAS GAINED INTERNATIONAL RECOGNITION IN HIS FIELD. WHAT IS THE NATURE OF HIS WORK AND WHAT WAS IT LIKE TO GROW UP WITH A FATHER WHO IS AN ARTIST?

My father, William Harper, makes one-of-a-kind wearable sculpture as jewelry, and is widely considered one of the most important contemporary enamelists in the world, an “heir”, he’s been described, to Faberge and Lalique.  He’s not only extraordinarily talented but incredibly curious and generous with that curiosity.  My parents shared their personal interests with my brother and I — they considered travel, including going to museums, galleries and studying architecture together, an important way to learn about the world.  And we were always included, even as young children, at his openings and dinners.  It was a very stimulating way to grow up.  

 

Rene Jules Lalique Wasp stickpin

Rene Jules Lalique
Wasp stickpin

DID YOU IDENTIFY WITH THE WORK THAT HE MADE WHILE YOU WERE GROWING UP AND HAS IT INFLUENCED YOUR AESTHETIC AND THE ARTISTS THAT RESONATE WITH YOU?

Absolutely.  He is definitely a “maximalist” in his tastes in art, and also collects very raw African fetish sculpture as well as contemporary “craft” art — people like Peter Voulkos, Lenore Tawney, and Francoise Grossen, many of whom were also friends.  So I grew up loving that, as well as artists like Cornell, Samaras, late Picasso, and the expressionist Germanic and Flemish artists from the middle ages onwards.  But as I got older, I also grew to appreciate and fall in love with other, very different types of art — Minimalism, Conceptual art, some photography.  I would say that probably the strongest thread that runs through the work that personally resonates with me is that it’s tough and intellectually rigorous on multiple levels.  I just don’t have much time for art that reads like a one-liner. 

Fabergé from the Matilda Geddings Gray Foundation Collection Metropolitan Museum

Fabergé from the Matilda Geddings Gray Foundation Collection
Metropolitan Museum

DID YOU START, AS SO MANY DEALERS HAVE, BY WANTING TO BE AN ARTIST?

I definitely inherited some creative genes, and being around that much creativity as a child it’s hard not to want to be an artist … I was always doing very elaborate projects as a child.  But funnily enough I also aways had a really strong interest in science and math, and I interned in a university science lab for a couple of years when I was in high school.  I think that the biggest deterrent for me in not becoming an artist was seeing first hand that spark of creative genius that my father has, and realizing that I simply didn’t have that.

Zentrum Paul Klee Bern, Switzerland

Zentrum Paul Klee
Bern, Switzerland

WHAT INITIAL STEPS DID YOU TAKE ONCE YOU DECIDED ON A PROFESSION IN THE ART WORLD?

After giving up on a career in science because I found lab-life to be too lonely, I wanted to become a writer.  My first art history teacher encouraged me, after I’d written a term paper on Paul Klee, by telling me that he thought I had a particular knack for both understanding as well as explaining art.  I loved art, so for the first time it occurred to me that this could be a path for me to take. I have two degrees in art history, from the University of Virginia and Case Western Reserve University, and I was a curatorial assistant at the Cleveland Museum of Art. Back then I thought I wanted to be a museum curator.  It wasn’t until I started working for Richard Feigen that I realized there was another possibility — that you could do scholarly exhibitions and interact with important art in a gallery setting.

RICHARD L. FEIGEN & CO. IS A REMARKABLE FIRST STOP IN A CAREER IN THE ARTS. WHILE MOST DEALERS FOCUS ON ONE PERIOD OF ART, FEIGEN CONCENTRATES ON WORKS OF MANY PERIODS, RANGING FROM OLD MASTER TO CONTEMPORARY, UNITED BY A LEVEL OF TASTE AND CONNOISSEURSHIP. WHAT A WONDERFUL START!

IN OUR NEXT LRFA BLOG, MEREDITH WILL SHARE HER FIRST EXPERIENCES IN THE GALLERY WORLD. SHE IS THOUGHTFUL AND INFORMED. WE WELCOME ANY AND ALLQUESTIONS AND COMMENTS YOU MIGHT HAVE.

UNTIL THEN!

Estate management, the artist’s intent honored: Dorsey Waxter of Van Doren Waxter Gallery

Van Doren Waxter Gallery New York

Van Doren Waxter Gallery
New York

A FASCINATING PERSPECTIVE INTO THE COMPLEX AND COMPETITIVE NATURE OF THE ART WORLD CAN BE SEEN THROUGH THE LENS OF THE MANAGEMENT OF AN ARTIST’S ESTATE. GALLERIES THAT ADDRESS THE ISSUES OF THE PAINTINGS, SCULPTURE AND PHOTOGRAPHY THAT ARTISTS LEAVE AFTER THEIR DEATHS HAVE A UNIQUE RESPONSIBILITY TO SUPPORT THE WORK, MAINTAIN AND INCREASE ITS VALUE WHENEVER POSSIBLE AND DEAL INTELLIGENTLY WITH THE EMOTIONAL AND FINANCIAL SITUATIONS OF THE ARTIST’S FAMILY MEMBERS. GALLERIES AND DEALERS SEEK TO SECURE THEIR COMMERCIAL INTEREST IN A PARTICULAR ARTIST, AND ISSUES OF ROYALTY AND REPRODUCTION RIGHTS, ESTATE MANAGEMENT, AUTHENTICATION AND THE ROLE OF ARTISTS’ FOUNDATIONS ARE ALL CONCERNS THAT CAN TRIGGER SUBSTANTIAL CONFLICT AND LITIGATION.

TODAY, THE LRFA BLOG IS PLEASED TO CONTINUE OUR CONVERSATION WITH DORSEY WAXTER OF VAN DOREN WAXTER, AN ELEGANT TOWNHOUSE GALLERY LOCATED AT 23 EAST 73rd STREET ON THE UPPER EAST SIDE OF MANHATTAN.  http://www.vandorenwaxter.com/gallery/

DORSEY, WELCOME BACK!

Richard Diebenkorn The Healdsburg Years 1988-1992

Richard Diebenkorn
The Healdsburg Years
1988-1992

ANDRE EMMERICH HANDLED MANY ARTIST ESTATES AS WELL AS REPRESENTING AN IMPORTANT ROSTER OF CONTEMPORARY ARTISTS OF HIS DAY.  VAN DOREN WAXTER HAS CARRIED ON THAT LEGACY AND REPRESENTS SUCH PRESTIGIOUS ESTATES AS RICHARD DIEBENKORN, AL HELD AND JAMES BROOKS.  WHAT ARE THE PARTICULAR CONSIDERATIONS OF A GALLERY REPRESENTING AN ESTATE RATHER THAN A LIVING ARTIST?

First one has to assess what the legacy of an artist is in order to strategize about how to promote the estate in the future. For example, Richard Diebenkorn’s late Ocean Park period is the defining moment of his legacy. We have had the opportunity to mount fantastic exhibitions from this period of his works on paper both unique works as well as prints.  Works on paper were an extremely important aspect of his oeuvre.  We have made works on paper a focus of our exhibition program for Diebenkorn whether they are early abstractions, figurative drawings, or late Ocean Park works on paper.

HOW DOES A GALLERY GAIN THE REPRESENTATION OF AN ARTIST’S ESTATE?  IN WHAT WAYS IS THAT ASPECT OF GALLERY MANAGEMENT UNIQUE?

Often trustees or representatives of an estate contact us for the simple reason that people recognize that this is significant component of our gallery business.  Sometimes the trustees are direct descendants of the artist and at other times they are not.  The single most unique aspect of representing an estate of an artist is the fact that the artist is not there to speak for his or her work.  Therefore it’s important that the dealer be true to whom the artist was as much as trying to contextualize the work in the present tense.

James Brooks Paintings and Works on Paper 1945 -1949

James Brooks
Paintings and Works on Paper 1945 -1949

WHAT ARE SOME OF THE GOALS SPECIFIC TO THE REPRESENTATION OF AN ESTATE SINCE WORKS ARE OBVIOUSLY NO LONGER BEING PRODUCED AND ARE NOT ONLY SOLD IN THE PRIVATE SECONDARY MARKET SECTOR BUT ALSO AT AUCTION?

For most of the artists’ estates that we represent there is a price history. The gallery makes every effort to promote and advance the prices of an artist work depending upon the period and how rare or available the work might be.  At the same time the artist may have a different kind of price history at auction. To maintain a healthy market for an artist’s estate it is important that there is not a tremendous gap between auction and gallery prices.  A large gap in price between auction and gallery can confuse buyers as to whether the arc of the artist market is exclusively in one arena or the other.

TELL US ABOUT THE UNIQUE QUALITIES OF EACH OF THE ARTISTS’ ESTATES THAT YOU REPRESENT.

We’ve been making exhibitions of the work of Richard Diebenkorn for 15 years. What I love about these exhibitions is the amazing range and variety of his work from the very earliest periods right until the time of his death.  Recently we made an exhibition of the last four years of his life in Healdsburg California.

We have just begun to represent the works on paper of Al Held.  Although his works on paper had been shown in his lifetime, we now have the opportunity to show everything from the very earliest moments of the 50s until his death in 2005.  That is about 55 years of drawings and watercolors. 

© 2015 Al Held Foundation, Inc. / Licensed by Artists Rights Society (ARS), New York

Al Held
Particular Paradox 26
1999
Watercolor on paper mounted on board
35 5/8 x 49 1/2 inches (90.5 x 125.7 cm)
© 2015 Al Held Foundation, Inc. / Licensed
by Artists Rights Society (ARS), New York

 James Brooks was a consistently successful artist in his life and always had gallery representation. I think the unique aspect of his estate is to reveal certain qualities or tendencies in his work that were not previously identified.

 We have been working with the estate of Alan Shields for about five years. Our challenge has been to show what a unique artist he was in his time and how singular was his vision then and especially now.

ON THE OPPOSITE SIDE OF THE SPECTRUM, YOU AND JOHN VAN DOREN ARE PARTNERS IN A VERY INNOVATIVE LOWER EAST SIDE GALLERY, ELEVEN RIVINGTON, THAT PROMOTES EMERGING CONTEMPORARY ARTISTS. IN OUR NEXT LRFA BLOG, DORSEY WILL INFORM US OF THE MORE CUTTING-EDGE ARTISTS THE GALLERY REPRESENTS.

DO TAKE ADVANTAGE OF DORSEY’S EXPERIENCE AND EXPERTISE. WE WELCOME ALL QUESTIONS AND COMMENTS.

THANKS FOR READING!

 

Van Doren Waxter Gallery: a partnership of experience and expertise

Dorsey Waxter Van Doren Waxter Gallery

Dorsey Waxter
Van Doren Waxter Gallery

FOUNDED IN FEBRUARY 2013, VAN DOREN WAXTER GALLERY REPRESENTS A LONG-STANDING AND RESPECTED BUSINESS DIALOGUE AND PARTNERSHIP BETWEEN DORSEY WAXTER AND JOHN VAN DOREN.  HOUSED ON TWO FLOORS IN AN ELEGANT TOWNHOUSE AT 23 EAST 73rd STREET IN NEW YORK CITY,  THE GALLERY, ALTHOUGH NEWLY FORMED, IS A LONG-STANDING COLLABORATION BETWEEN TWO ACCOMPLISHED ART DEALERS.

JOHN AND DORSEY WORKED TOGETHER FOR 15 YEARS AT GREENBERG VAN DOREN, A GALLERY WITH A PARTICULARLY DISTINGUISHED REPUTATION AS A STRONGHOLD OF FIRST-TIER AMERICAN ABSTRACTION FROM THE 1950s to 1990s.  REPRESENTING SUCH IMPORTANT ARTISTS’ ESTATES AS RICHARD DIEBENKORN, AL HELD, JAMES BROOKS AND ALAN SHIELDS,  VAN DOREN WAXTER CONTINUES THAT TRADITION BUT ALSO EXHIBITS AND SUPPORTS THE WORK OF MORE CUTTING-EDGE CONTEMPORARY ARTISTS AT A SECOND LOCATION ON THE LOWER EAST SIDE AT 11 RIVINGTON.

http://www.vandorenwaxter.com

gvd

 

TODAY, THE LRFA BLOG WELCOMES DORSEY WAXTER, PARTNER AND PRINCIPAL OF VAN DOREN WAXTER. AS PRESIDENT OF THE ART DEALERS ASSOCIATION OF AMERICA, DORSEY GENEROUSLY CONTRIBUTED TO THE LRFA BLOG LAST YEAR TO INFORM US ABOUT THE  ART SHOW AND THE ADAA’S MANY CONTRIBUTIONS TO SUPPORT THE VISUAL ARTS. http://www.artdealers.org

DORSEY, THANK YOU SO MUCH FOR TAKING THE TIME TO SHARE YOUR PROFESSIONAL HISTORY IN THE ART WORLD WITH US.

ALTHOUGH VAN DOREN WAXTER IS A RELATIVELY NEW ENDEAVOR, FOUNDED IN FEBRUARY 2013, YOU WORKED WITH JOHN VAN DOREN AT GREENBERG VAN DOREN GALLERY FOR 15 YEARS AND PRIOR TO THAT AS ANDRE EMMERICH’S DIRECTOR AT HIS LEGENDARY GALLERY.

Richard Diebenkorn The Healdsburg Years 1988-1992

Richard Diebenkorn
The Healdsburg Years
1988-1992

HOW DID YOU FIRST BECOME INTERESTED IN ART AND THE ART WORLD?

My uncle Ned Daniels served on the board of the Maryland Institute College of Art for three decades and he was my original inspiration to think about the art world. In college I had a terrific professor who advised me that if I wanted to know anything about contemporary art I had to go to New York and live and work there.

WHAT STEPS DID YOU TAKE TO PURSUE AND DEVELOP THAT INTEREST?

I took my professor’s advice and after I graduated from college with an undergraduate degree I went to work for Nancy Hoffman Gallery in SoHo. I had done an internship with Nancy my junior year in college and she offered me a job to come back and work full-time after I graduated. 

YOU WERE THE DIRECTOR OF ANDRE EMMERICH FOR OVER FIFTEEN YEARS, A GALLERY THAT FOCUSED ON THE NEW YORK COLOR FIELD PAINTERS AND POST-WORLD WAR II ABSTRACTION. EMMERICH WAS AN EXTREMELY INFLUENTIAL DEALER AND GALLERY OWNER WHO DEVELOPED THE CAREERS OF SUCH LUMINARIES AS MORRIS LOUIS AND HELEN FRANKENTHALER AND REPRESENTED, AMONG OTHERS, THE WORK OF DAVID HOCKNEY, ANTHONY CARO AND ANN TRUITT.

Alan Shields K.E.C. 1985-86 Watercolor, block printing, glitter, stitching on handmade paper 46 1/4 inches (117.5 cm) diameter

Alan Shields
K.E.C.
1985-86
Watercolor, block printing, glitter, stitching on handmade paper
46 1/4 inches (117.5 cm) diameter

HOW WOULD YOU DESCRIBE YOUR EXPERIENCE AT EMMERICH? WAS IT FORMATIVE IN DEFINING YOUR TASTE AND AESTHETIC?

Joining the Emmerich gallery in 1977 was a major step in a new direction after working in SoHo. I recognized that André represented some of the great talents of that moment but I was still very inexperienced.  I started working at the front desk where I had the opportunity to meet and get to know all the many important figures of the art world whether they were writers, artists, collectors or museum curators. André was generous with his knowledge and would offer advice about how to show and discuss art with these various groups of people. There is no question that I have always had an abiding interest in abstraction, which was very much a specialty of the Emmerich Gallery.

IN OUR NEXT LRFA BLOG, DORSEY WILL EXPAND UPON SPECIFIC CONCERNS AND REQUISITES OF REPRESENTING ARTISTS’ ESTATES.

PLEASE JOIN US!