Gray gallery director, Laura Lester: her perspective on working in both the auction and gallery worlds

Richard Gray Gallery  Director Laura Lester

IN 2014, Christie’s hired more than 115 people in the Americas and that number has been surpassed since the year of the survey. “It’s a reflection of the growth of the art market overall and increased participation from new and young collectors who have a passion for everything from fine art to design, jewels, watches and wine”, according to the company.  Offering a variety of experiences, auction houses are one of the top employers for those hooked on art. These are sought-after jobs. Jessica Phillips, human resource and systems administrator at Sotheby’s, said, “We look for candidates who are passionate about the arts. Everyone goes through a rigorous process in his or her knowledge of the art world. We look for applicants who realize the scope [of working in an auction house], who are interested in seeing the art they’ve once studied.” According to Kathleen Doyle, chairman and CEO of Doyle New York, “talented, smart and energetic candidates for employment are drawn to working in the art field because of their passion.”

Jane Freilicher
Whitney Museum of American Art

Trish Walsh, marketing and communications manager at Phillips told us, “People who join us with an interest in being specialists have a strong interest in art as a business, have studied art history and have interned at auction houses and galleries. So they have a good understanding of the business and a strong interest in having a career in an auction house.”

The Observer, Marissa Mule, 02/23/15

CERTAINLY, LAURA LESTER, RECENTLY APPOINTED DIRECTOR OF THE PRESTIGIOUS RICHARD GRAY GALLERY CHICAGO/NEW YORK, MEETS ALL THE REQUISITES NECESSARY TO WORK IN AN AUCTION HOUSE. APART FROM A LOVE OF ART, SHE HAS GREAT PERSONAL STYLE, AN ARTICULATE AND INTELLIGENT PERSONALITY AND A DEDICATION TO HARD WORK AND BEING AVAILABLE 24/7. ALL GREAT ASSETS IN ANY FIELD BUT CRUCIAL, IN THE OPINION OF THE LRFA BLOG, TO WORKING IN THE ART WORLD.

https://www.richardgraygallery.com/

Lee Krasner
Another Storm, 1963
Estate represented by Kasmin Gallery

TODAY, THE LRFA BLOG IS DELIGHTED TO CONTINUE ITS CONVERSATION WITH LAURA AND FOLLOW HER PROFESSIONAL STEPS IN THE ART WORLD GAINING A VAST VARIETY OF SKILLS AND KNOWLEDGE BY WORKING AT FIRST-TIER GALLERIES AND CHRISTIE’S AUCTION HOUSE.

LAURA, HOW LONG WERE YOU AT CHRISTIE’S, IN WHAT DEPARTMENT AND WHAT WERE YOUR RESPONSIBILITIES? 

I was at Christie’s for over three years, all in the Post-War and Contemporary Department. I was hired as an object cataloguer and in that capacity, I worked on nearly every sale in the department, from private sales and day sales to their marquee evening sale. When I departed Christie’s, I was a specialist focused mainly on business getting. 

WHAT DID YOU LIKE THE MOST ABOUT AUCTION? IN WHAT WAYS WAS THE EXPERIENCE SIMILAR TO YOUR GALLERY EXPERIENCE AND IN WHAT WAYS DID IT DIFFER?

Auction is very cyclical, and laser focused on one major event each “season”, the sales. Much of the hard work in the months leading up to the auctions is solitary and intense. We spent hours in their warehouse examining objects for cataloging, proofing pages for print or writing essays. It is satisfying and celebratory to see your hard work come to fruition in a beautiful, public way when the view is hung, and a successful auction transpires.

Gallery work is more varied—you’re often working on multiple future exhibitions of different scale as well as managing artist’s needs and planning for fairs and other projects. 

Lee Krasner
The Umber Paintings
Kasmin Gallery

WHEN YOU DECIDED TO RETURN TO THE GALLERY WORLD, WHAT APPEALED TO YOU THE MOST ABOUT KASMIN GALLERY?

I have always admired Paul Kasmin’s program. His taste was highly original, and he had made a habit of scouting history for overlooked artists long before that was fashionable. I had become increasingly focused on Post-War American art while at Christie’s; when the director position opened at Kasmin, they had just signed Lee Krasner’s estate which was a very appealing opportunity.

Painters of the East End
Kasmin Gallery

WHAT ARTISTS DID YOU EXHIBIT AND WHICH EXHIBITIONS RESONATED THE STRONGEST WITH YOU?

I worked on Kasmin’s estates program and had the opportunity to organize a number of really special exhibitions for the gallery. I put together two Krasner shows with a great colleague, Eric Gleason. The first focused on her umber paintings, the second was an exhibition of mural studies she created while working for the WPA. Last summer, I coordinated a show we titled Painters of the East End, which was all artists working on Long Island in the 50s, 60s, 70s that happened to be women. I included household names from the period such as Joan Mitchell and Helen Frankenthaler alongside other really talented, lesser known artists such as Nell Blaine, Jane Freilicher, Mary Abbott, Perle Fine and Jane Wilson. My last project at Kasmin was a curatorial collaboration between myself and two independent LA based curators, Sonny Ruscha Granade and Harmony Murphy, exploring the aesthetic legacy of European surrealism in Southern California. We titled it Valley of Gold. I’m really disappointed this show was only on public view for a week due to COVID closures- it was one of my favorites! 

Valley of Gold: Southern California and the Phantasmagoric
Kasmin Gallery

MORE ABOUT LAURA’S EXPERIENCE AT KASMIN GALLERY IN OUR NEXT LRFA BLOG POST.. PLEASE JOIN US!

 

An introduction to the legendary Gray Gallery, with gallery director, Laura Lester

 

Laura Lester
Director
Gray Gallery, NY

GRAY GALLERY, FOUNDED IN CHICAGO BY RICHARD GRAY, AND HEADED BY HIS SON, PAUL, THE GALLERY IS MADE UP OF A GLOBALLY RECOGNIZED TEAM OF ART PROFESSIONALS. ALL ARE DEVOTED TO FOSTERING THE DEVELOPMENT OF HISTORICALLY IMPORTANT ARTIST CAREERS AND TO BUILDING OUTSTANDING ART COLLECTIONS FOR THEIR CLIENTS. THEIR FOCUS CONTINUES TO BE ON DEEP AND INSIGHTFUL RELATIONSHIPS WITH BOTH ARTISTS AND COLLECTORS.

FOUNDER MORE THAN FIFTY YEARS AGO, THE GALLERY’S REPUTATION FOR QUALITY AND INTEGRITY HAS SPANNED TWO GENERATIONS, INSPIRED BY THE CREATIVITY OF ARTISTS, THE PASSION OF COLLECTORS AND BY THE TRUST PLACED IN THEM BY BOTH.

Richard Gray
Founder, Richard Gray Gallery

WHEN ITS FOUNDER RICHARD GRAY DIED IN 2018, THIS IS JUST ONE OF TRIBUTES

Richard Gray was a legend in the art world, establishing galleries in Chicago and New York. He received well-deserved international recognition in the art world and was a dedicated patron to Chicago’s cultural institutions. His son, Paul, has carried on his legacy.

Juane Plensa
Richard Gray Gallery

“Richard was a beacon in the art world,” said Jaume Plensa, whose Crown Fountain sits in Millennium Park. “We are orphans without him.”

“Richard Gray was my dealer for 40 years. His humanity and appreciation for the human condition was immense,” Jim Dine said in a statement Thursday. “His deep love of drawing suited my obsession for the medium to a tee. To me he was a great dealer and a great guy.”

Jim Dine
Richard Gray Gallery

CHICAGO TRIBUNE, KT Hawbacker, May 17, 2018

IT IS A PLEASURE AND A PRIVILEGE TO WELCOME THEIR RECENTLY APPOINTED DIRECTOR, LAURA LESTER, TO THE LRFA BLOG. A VETERAN BOTH OF THE FIRST-TIER AUCTION AND GALLERY WORLD, SHE BRINGS HER UNIQUE FOCUS, KNOWLEDGE AND ENERGY TO BEAR AT GRAY GALLERY, NEW YORK.

https://www.richardgraygallery.com/

LAURA, WHERE DID YOU GROW UP AND WERE YOU ALWAYS INTERESTED IN ART?

I was raised in Wilmette, IL, which is just north of downtown Chicago on Lake Michigan. I grew up visiting the city’s great museums with my parents and have always been interested in the history of art but did not take it seriously as a career path until college.

WHERE DID YOU GO TO SCHOOL AND WHAT ACADEMIC PURSUITS DID YOU PURSUE BEFORE FOCUSING ON A CAREER IN THE ART WORLD.

I earned a dual undergraduate degree in English Literature and Art History at Indiana University. I attended IU, initially, because I was interested in music; I was a serious pianist growing up and they have a fantastic music school. After matriculating at such a large university, I quickly realized how big the world is and began exploring its many offerings- that’s when I really fell in love with art history. After college I moved to New York City to get a master’s degree in modern and contemporary art from Christie’s, which positioned me well to enter the commercial art world.

Christie’s Education
Master’s Program, New York

WHAT WAS YOUR FIRST JOB AND HOW DO YOU FEEL THAT EXPERIENCE SERVED YOU IN YOUR PROFESSIONAL PATH?

My first job was a receptionist position at Gagosian uptown. It was a real crash course in who the players are in the industry! I moved from that position to assisting Larry directly and traveling with him, which was an incredible education. He taught me a standard of fastidiousness in all things that has stuck with me to this day.

THAT IS A PHENOMENAL INTRODUCTION! WHAT PROMPTED YOUR DECISION TO LEAVE GAGOSIAN AND ENTER THE AUCTION WORLD?

After nearly four years of really interesting assistant work at Gagosian, I felt I had learned a lot about the ecosystem of collectors, client service and deal making but was lacking object connoisseurship. I knew a cataloging position at an auction house would teach me that inside and out.

McArthur Binion
DNA: Work and the Under: Conscious Drawing
Gray Warehouse, Chicago
Current exhibition

IT IS NO SURPRISE THAT WITH THE  CAREFULLY PLOTTED ACADEMIC AND PROFESSIONAL STEPS  LAURA HAS TAKEN, SHE IS NOW THE DIRECTOR OF GRAY GALLERY.

IN OUR NEXT POST, THE LRFA BLOG LOOKS FORWARD TO LAURA’S INSIGHTS INTO BOTH THE GALLERY AND AUCTION HOUSE WORLDS, THEIR SIMILARITIES AND DIFFERENCES.

PLEASE JOIN US!

Taking action with Christie’s Lydia Fenet, author, auctioneer and Global Director of Strategic Partnerships

Lydia Fenet
Christie’s Managing Director, Global Strategic Partnerships

 

No one knows what the future holds, but you can determine what success looks like in your own life and keep moving forward. The path to success comes from taking action.

RECENTLY POSTED BY LYDIA FENET ON INSTAGRAM DURING THE HEIGHT OF THE CORONAVIRUS PANDEMIC AND THE DEPTH OF GLOBAL UNCERTAINTY, LYDIA FENET TURNS HER WORDS INTO ACTION.  DURING THE TEMPORARY CLOSING OF CHRISTIE’S DOORS, SHE HAS CREATED A SERIES OF ENGAGING AND INFORMATIVE DAILY CONVERSATIONS WITH OTHER  ACCOMPLISHED WOMEN WHO KEEP MOVING FORWARD. SHE IS DEDICATING HER TIME AND EXPERTISE TO SHARING HER BUSINESS ACUMEN AND SAVVY, ASKING ONLY THAT THOSE WHO CAN, DONATE TO THE RIVER FUND NEW YORK, http://www.river.fund, A LOCAL NON-PROFIT THAT PROVIDES DIRECT EMERGENCY AND CRISIS SERVICES, THE LARGEST FREE-FOOD OUTLET IN THE CITY.

https://www.instagram.com/lydiafenet/

HER MOST RECENT GUESTS INCLUDE ILANA RAIA, A FORMER SKADDEN ARPS ATTORNEY AND FOUNDER OF ETRE, A RESOURCE AND MENTORSHIP PLATFORM FOR YOUNG WOMEN; AMORY McANDREW, A LITIGATOR AND EXPERT ON EMPLOYMENT RELATIONSHIPS, ON THE STEPS TO TAKE IF WE ARE LAID OFF DUE TO THE PANDEMIC; AND ALLY LOVE, BROOKLYN NETS IN-ARENA HOST, PELOTON INSTRUCTOR, ADIDAS GLOBAL AMBASSADOR, AND CEO OF LOVE SQUAD, AN ONLINE PLATFORM  FOR WOMEN TO CONNECT; AS DIVERSE AND INNOVATIVE A ROSTER OF TODAY’S WOMEN AS ONE COULD HOPE TO FIND.

Lydia Fenet
Author
The Most Powerful Woman in the Room is You

THEIR ONE UNIFYING FORCE IS LYDIA FENET, GLOBAL MANAGING DIRECTOR OF STRATEGIC PARTNERSHIP AND LEAD BENEFIT AUCTIONEER AT CHRISTIE’S AUCTION HOUSE. AUTHOR OF “THE MOST POWERFUL WOMAN IN THE ROOM IS…YOU”, SHE IS A MAGNET FOR OTHER SUCCESSFUL AND DYNAMIC WOMEN WHO ARE CHANGING OUR PERCEPTION OF THE WORKPLACE, THE NEGOTIATING TABLE, AND THE HOME- EVERYWHERE.

LYDIA, THANK YOU SO MUCH FOR YOUR CONTRIBUTION TO THE LRFA BLOG!

WHAT ARE THE MAIN DIFFERENCES BETWEEN MEN AND WOMEN IN THEIR NEGOTIATING MINDSET AND SKILLS?

In my experience, men tend to walk into negotiations with the expectation that if they go into a negotiation with a big number, they will ultimately walk out where they want to be. Once they throw out that number they don’t try to justify what they are asking for – the number is the number and it is up to the person across the table to agree or disagree. Women tend to come in asking for the number that they want to get and then spend thirty minutes explaining why they should receive that amount. It always seems to me that men feel like they deserve more whereas women feel like they are asking for a favor.

HOW DO YOU COUNSEL A WOMAN TO NEGOTIATE AS POWERFULLY AS A MAN BUT STAY WITHIN THE ARENA OF THEIR PERSONALITY AND NATURE? 

The most important thing to do is lose the emotion. I have never been in a negotiation with a man where the end result was tears. I have definitely seen that a number of times with women – and I have also been the woman who burst into tears. You need to remember that business is business – and personal is personal. 

WHAT ARE SOME OF THE SPECIAL EVENTS YOU HAVE PLANNED IN THE COMING YEAR BOTH IN TERMS OF PROMOTING THE BOOK AND IN FURTHERING THE STRATEGIC GLOBAL PARTNERSHIP PROGRAM?

I have been holding events around the book nonstop since it launched last April. As long as there is an appetite for it, I am thrilled to promote it. In Strategic Partnerships we are focusing on bringing in fewer partners so that we can concentrate on integrated marketing programs that deepen the relationship between the partners and Christie’s.

YOU ARE HARDLY ONE TO STAY IN THE STATUS QUO. WHAT ARE YOUR PLANS FOR THE FUTURE? WHAT ARE SOME DREAMS YOU HAVE PERSONALLY AND PROFESSIONALLY?

The list is long and changes almost weekly at this point!

On the personal front, now that my kids are getting a little older, I look forward to traveling with them around the world. Travel was such an important part of my childhood that I want to expose them to the world in a similar way.

On the work front: I would love to stay at Christie’s and continue to grow my department, and serve as an ambassador for the firm as an auctioneer. I continue writing all of the time – if you ever see me on a plane I am usually writing something just to write. (Simon & Shuster published Lydia’s 2019 “The Most Powerful Woman in the Room is You”).   Additionally, my book has been optioned by New Form Entertainment so hopefully I will have exciting news about a TV/film deal in the coming year. I am also in talks with a number of companies about developing an unscripted TV series. Finally, I am co-founding a hospitality platform for female travelers with my sister called She Gone.

I am happiest when I am busy – so, I am definitely happy these days!

The Most Powerful Woman in the Room is YOU
by Lydia Fenet

 

https://www.amazon.com/Most-Powerful-Woman-Room-You-ebook/dp/B07GNTSTZ8

Excerpts of reviews of The Most Powerful Woman in the Room is …You

Fenet highlights the importance of operating in the business world from a position of strength and confidence . . . through knowledge.

Her career in a male dominated business as an auctioneer for Christie’s to her outlook on helping woman help other woman reached me on a deep level.

I cannot speak enough to the power of the written word and especially when it’s written by an author/woman who wants to positively impact our working and personal lives today.

IN OUR BUSINESS, A PICTURE IS WORTH A THOUSAND WORDS, ERGO A VIDEO IS PRICELESS. LAST WEEK, LYDIA JOINED BRIAN McCOMAK, CEO & FOUNDER OF HUMMINGBIRD HUMANITY, IN A SERIES BRIAN CREATED DURING THE PANDEMIC CRISIS, “HOPE, HEART AND THE HUMAN SPIRIT”.

 

BRIAN IS A PASSIONATE EXPERT ON INCLUSION AND DIVERSITY IN THE WORKPLACE AND MET LYDIA AT CHRISTIE’S WHERE HE SERVED AS HEAD OF HUMAN RESOURCES FOR ALMOST FIVE YEARS. THEY ARE FRIENDS AS WELL AS COLLEAGUES AND LYDIA’S FORTHRIGHT HONESTY AND HUMANITY RESONATE THROUGHOUT THE ENTIRE CONVERSATION.

https://video.search.yahoo.com/yhs/search?fr=yhs-dcola-015&hsimp=yhs-015&hspart=dcola&p=lydia+fenet#id=23&vid=4d36e63dcf813a0951abbe7d5019e519&action=view

IT HAS BEEN A GREAT PRIVILEGE AND DELIGHT FOR THE LRFA BLOG INTERVIEW LYDIA FENET, WHOSE INSIGHT, INTELLIGENCE AND GRIT SET A HIGH STANDARD FOR ALL OF US IN TODAY’S WORLD.

IN OUR NEXT LRFA BLOG, I AM VERY PLEASED TO INTRODUCE MIETY HEIDEN. MIETY IS  DEPUTY CHAIR AT PHILLIPS AND HEADS PRIVATE SALES AND PHILLIPS NEW DIGITAL PLATFORM, PHILLIPS X, EFFECTIVELY EXPANDING THE FOOTPRINT OF PHILLIPS BEYOND LIVE AUCTIONS.

PLEASE JOIN US!

Lydia Fenet, a passionate philanthropist, and charity auctioneer, Managing Director, Christie’s

Lydia Fenet
Global Head of Strategic Partnerships, Christie’s

MANY CHARITIES RELY ON SIGNATURE ANNUAL EVENTS TO FINANCIALLY SUPPORT THEIR MISSION-DRIVEN WORK. OFTEN, THE ANNUAL GALA FEATURES A BOTH LIVE AND SILENT AUCTIONS THAT IS THE MOST SIGNIFICANT FUND-RAISING EVENT OF THE YEAR. THE CHARITY SOLICITS DONATIONS FROM INDIVIDUALS AND BUSINESSES. NOW IN THESE UNCERTAIN TIMES, THE GENEROSITY AND SUPPORT OF DONORS MATTERS ALL THE MORE.

LYDIA FENET IS BEST KNOWN IN HER ROLE AT CHRISTIE’S, GLOBAL HEAD OF STRATEGIC PLANNING, A CONCEPT SHE INVENTED AND ESTABLISHED FOR THE AUCTION HOUSE AFTER THE CRASH OF 2008.  EQUALLY IMPORTANT TO HER AND TO ALL THOSE SHE HELPS IS HER VERY PROMINENT AND DEMANDING SECOND CAREER AS ONE OF THE WORLD-WIDE LEADING CHARITY AUCTIONEERS. EVEN WITH THE JOYS AND RESPONSIBILITIES OF A FAMILY OF THREE YOUNG CHILDREN, LYDIA MAINTAINS AN EXHAUSTING SCHEDULE OF EVENING CHARITY AUCTIONS AFTER FULL WORKING DAYS AT CHRISTIE’S.

https://www.nytimes.com/2017/10/13/arts/lydia-wickliffe-fenet-christies-auction.html

Are you looking to exceed your fundraising goals? Elevate your auction to the next level? Leave your guests entertained, inspired, and with considerably less money following your auction? Look no further than the woman who has raised over half a billion dollars for non-profits globally: Lydia Fenet. Using her charisma, humor, and uncanny ability to connect meaningfully with audiences of 100 and 3,000 (and everything in between), Ms. Fenet commands every stage effortlessly without leaving a dollar in the room.

Since leading her first auction in 2001, Lydia has taken over a thousand auctions, and is recognized as the top performer in her field.

Over the past fifteen years, Lydia has taken between 70 – 100 auctions a year. Her recent auctions have benefitted Tipping Point, AMFAR, the Bob Woodruff Foundation, New Yorkers for Children and the Naples Winter Wine Festival.

https://lydiafenet.com/

THE LRFA BLOG IS DELIGHTED TO HAVE LYDIA BACK TO SHARE HER INSIDER’S VIEW ON THE CHARITY AUCTION WORLD.

LYDIA, WHO WOULD YOU DESCRIBE YOURSELF IN YOUR TWENTIES? HOW HAVE YOU EVOLVED AND WHAT ARE SOME OF THE WAYS IN WHICH YOUR SENSE OF SELF AND VALUE HAVE DEVELOPED IN YOUR THIRTIES?

In my twenties, I was very focused on pleasing everyone around me. An unkind word or a comment could upset for days. In my thirties, I realized that ultimately it has nothing to do with what people around me think. If I am living in my truth, acting with respect and kindness to those around me, I can be proud of who I am. 

YOU ARE THE LEADING CHARITY AUCTIONEER SPENDING 70 TO 80 NIGHTS A YEAR ON STAGE. HOW DID THAT ROLE EVOLVE?

When I first started taking auctions I would take any auction that I was asked to take. Because I spent so much time onstage, I was able to develop a style that felt very authentic and comfortable. As my auctioneering career evolved, I starting taking less auctions so that I could focus my energy on raising money for causes that I care deeply about in addition to the ones I do for Christie’s.

https://www.christies.com/features/What-I-have-learned-Lydia-Fenet-9768-1.aspx

HOW DO CHARITY AUCTIONS DIFFER FROM AUCTIONS AT CHRISTIE’S? AT AUCTION, THE FOCUS IS ON THE OBJECT, BE IT A RARE BOTTLE OF WINE OR  A PICASSO. CAN YOU GENERALIZE AS TO THE LOTS THAT REALIZE THE MOST AT A CHARITY AUCTION?

Without a doubt, charity auctions should focus on experiences, not art or items with an actual value. When something is considered “priceless” there really is no limit to what people will give. 

DO THE NON-PROFITS APPROACH YOU OR DO YOU WORK THROUGH CHRISTIE’S TO DECIDE WHICH AUCTIONS TO LEAD. HOW DID YOU ENTER INTO THE AUCTION WORLD AND HOW HAS YOUR APPROACH TO A SUCCESSFUL AUCTION DIFFERED FROM WHEN YOU STARTED AND HOW HAS IT REMAINED THE SAME?

It works both ways. If an auction goes well, I usually receive 2 or 3 requests from people in the audience asking if I will take their auction. In addition, I also receive a number of requests through Christie’s which are always interesting. I took a charity auction in Jeddah, Saudi Arabia in June which was absolutely amazing. Christie’s is such a storied brand that the experiences I have had as an auctioneer for the firm have been truly amazing.

YOU TEACH A PROGRAM IN AUCTIONEERING AT CHRISTIE’S. DO YOU FIND THAT THE PROPORTION OF WOMEN TO MEN HAS CHANGED OVER THE YEARS?

Definitely. I have had a number of women over the years tell me that they tried out because they saw me onstage and felt like a woman could do it too.

 

DO WOMEN HAVE A DIFFERENT AUCTION STYLE OR DO YOU COACH EACH PERSON IN THE COURSE TO IDENTIFY AND REFLECT THEIR OWN PERSONALITY?

Without a doubt it is according to their personality. Everyone has something unique to bring to the table – in the class I try to figure out what that is and help them bring it into their performance.

YOUR RECENTLY PUBLISHED BOOK, THE MOST POWERFUL WOMAN IN THE ROOM IS YOU, COMES AT A TIME WHEN INCLUSION, EQUAL PAY AND FAIR TREATMENT ARE AT THE FOREFRONT OF OUR POLITICAL AND SOCIAL CONCERNS. WHAT WAS YOUR PURPOSE IN WRITING THE BOOK?

I wanted women to understand that all the power they need is already inside of them – they just need to start believing in themselves.

WHAT IS THE AUDIENCE YOU ARE YOU MOST INTERESTED IN REACHING AND HOW HAVE YOU GONE ABOUT IT?

When I wrote the book, I hoped to reach women who were just starting out in the working world. I focused on doing podcasts and interviews in publications that focused on that targeted group. Interestingly, what I have since realized since the publication date in April, is the book actually has a much larger reach. I can’t tell you how many emails and letters I have received from 60 – 70 year old women thanking me for writing the book, and telling me that they wished they had had the book when they were in their 20s.

EVEN IN THIS TIME OF STAYING HOME, SOCIAL DISTANCING AND QUARANTINE, LYDIA HAS BEEN INCREDIBLE PRO-ACTIVE IN FORMING AN AMAZING DAILY INSTAGRAM IG LIVE.  SHE INVITES A ROSTER OF ACCOMPLISHED WOMEN TO SPEAK ABOUT THEIR LIVES, THEIR CAREERS AND THEIR VISION OF THE FUTURE. TRY TO TUNE IN, AT 6 PM EASTERN, AND OF COURSE, BEING THE INCOMPARABLE PHILANTHROPIST THAT SHE IS, SHE INVITES US ALL TO DONATE TO HER FAVORITE CAUSE, https://www.river.fund, OR TO A CHARITY OF YOUR CHOICE.

PLEASE JOIN US IN THE NEXT LRFA BLOG POST WHERE LYDIA FENET OFFERS EXTRAORDINARY GUIDANCE IN THE ART OF NEGOTIATION.

AND, MOST OF ALL, STAY WELL AND STAY SAFE!

 

Christie’s welcomes this spring’s Art Business Conference on March 30th, 2020

Louise Hamlin
Art Business Conference
New York, London, Hong Kong

Returning to New York in March 2020, The Art Business Conference is a one-day conference for art market professionals.

If you’re involved in buying, selling or caring for fine art or antiques – whether you are a gallery owner, manager, art advisor, auctioneer, private collector or professional advisor, this conference will explore the key issues affecting the international art market today.

Through presentations, Q&As, panel discussions, and workshops, industry experts will share advice and insights on many of the key factors in running an art business or collection – including the the latest updates in legislation and taxation.

Christie’s New York

Enroll now for an informative and productive day:

https://www.eventbrite.co.uk/e/the-art-business-conference-new-york-2020-tickets-90201903321

This year’s topics will include:

• Private Foundations, the collecting journey, legacy and impacting investing
• Sustainability – exploring how art organizations can be more sustainable
• Recruitment – how to find, train and retain the best art world candidates
• Important updates on AML5 – this is now officially law in the UK & EU (as of Jan 10) and is relevant to any US business with UK or European clients.  This session will present an overview of the law and the guidelines for implementing business practice for your art business.
• Inside the collector’s head – the neuroscience and behavioral economics of art collecting.
• Pictures Never Lie? The Use and Misuse of the Latest Imaging Technologies for Examining Paintings.
• The language of Art & Technology – what are API’s and how are they applicable to the art market?

The roster of speakers is impressive, to say the least, covering a range of timely subjects. To highlight just a few of the speakers, the Art Business Conference New York 2020 features the director of a Foundation in Dubai that brings Western art to the Middle East, an influential collector and gallerist in New York and Los Angeles, a collector and scholar of export porcelain and neurologist who shares her insights on the psychological motivations of the collector, an expert on Art Law and Luxury Assets recognized by the leading legal directories and praised for her “great technical knowledge of the issues”, and an expert in the scientific analysis of fine arts focusing on questions of attribution, authenticity, preservation and provenance.

 

Deborah Najar

DEBORAH NAJAR

Deborah is the Founder of the JPNF (Jean-Paul Najar Foundation), a museum for Contemporary Art located in Dubai’s Alserkal Avenue.  Among the first non-profits in the UAE, the JPNF came about as a partnership with Alserkal Avenue, from a desire to offer a diverse artistic experience, with strong emphasis on patronage, archives and western abstraction. The JPNF is a museum of contemporary art that is home to a collection of European and American abstract art from the 1960s through today. It is also the custodian of a remarkable archive tracing forty years of artist-collector exchanges.

Adam Lindemann

ADAM LINDEMANN

Adam is best known as a taste-maker in collecting and investing in contemporary art and design. He operates Venus Over Manhattan, the influential gallery devoted to iconoclastic exhibitions both historic and contemporary. He has been a featured commentator in several documentaries and interviews relating to collecting and art, including recent features on the BBC, Charlie Rose, and Reuters. He lives and works in New York City.

Shirley Mueller

SHIRLEY MUELLER

Shirley M. Mueller is a collector and scholar of Chinese export porcelain as well as a physician board-certified in Neurology and Psychiatry.  The latter expertise led her to explore her own intentions and emotions while collecting art, which, she discovered, have broader applications.  This new understanding was the motivation for her recent book, Inside the Head of a Collector:  Neuropsychological Forces at Play.

Amanda Gray

AMANDA GRAY

Amanda is a Partner in Mishcon Private at Mishcon de Reya, specialising in Art Law and the related field of Luxury Assets.  She is valued by her clients for her commercial, flexible approach and depth of knowledge across a diverse range of legal problems faced by those operating within the art market and luxury assets fields. Amanda works on both contentious and non-contentious matters including, but not limited to, disputes arising over all due diligence matters (for example title, authenticity, attribution and condition) contractual  disputes and special project work concerning arts and cultural property.

Jennifer Mass

JENNIFER MASS

Jennifer L. Mass is President of Scientific Analysis of Fine Art, LLC (SAFA) and the Andrew W. Mellon Professor of Cultural Heritage Science at Bard Graduate Center. She formed SAFA in 2007 because of a growing need for the objective material assessment of objects in the art market to complement the expertise of the connoisseur and the conservator.  Her work at SAFA allows her to assist art collectors, dealers, auction houses, and private conservation firms in addressing questions of attribution, authenticity, state of preservation, provenance, and mechanisms of degradation.

In the Business Pavilion, you can meet speakers and our exhibitors to continue the discussions and expand your art business network.

Ticket prices include entry to all sessions, breakfast networking, refreshments, lunch and post-conference networking drinks.

See you on March 30th!

Save the Date: The Art Business Conference returns to New York on March 30, 2020

Louise Hamlin
Founder and Director
Art Business Conference
London, New York, Hong Kong

2020 DATE AND NEW VENUE ANNOUNCED FOR THE FOURTH EDITION OF THE ART BUSINESS CONFERENCE IN NEW YORK

THE ART BUSINESS CONFERENCE LAUNCHED IN LONDON IN 2014, IN NEW YORK IN 2017 AND IN SHANGHAI IN NOVEMBER 2018. ENTERING ITS SEVENTH YEAR, ITS MISSION IS SIMPLE: TO BE THE LEADING ANNUAL CONFERENCE FOR ART PROFESSIONALS INCLUDING ART ADVISORS, COLLECTORS, AUCTIONEERS, DEALERS, GALLERIES, INSURERS, SHIPPERS AND LAWYERS, OFFERING IN-DEPTH KNOWLEDGE AND GUIDANCE ON CHANGES WITHIN THE GLOBAL ART MARKET, PLUS THE LATEST UPDATES IN LEGISLATION AND TAXATION.

The Art Business Conference Networking

IN 2019, THE ART BUSINESS CONFERENCE IN NEW YORK WAS ATTENDED BY OVER 250 ART MARKET PROFESSIONALS REPRESENTING OVER 125 ART ORGANIZATIONS FROM THE UK, EUROPE, MIDDLE EAST AND USA. THE LATEST CONFERENCE WAS HELD IN LONDON IN SEPTEMBER 2019 AND WELCOMED JUST UNDER 400 ATTENDEES.  THE LRFA BLOG IS VERY MUCH LOOKING FORWARD TO THE MARCH 30th ART BUSINESS CONFERENCE IN NEW YORK AT A PERFECT LOCATION: CHRISTIE’S FLAGSHIP GALLERIES AT 20 ROCKEFELLER PLAZA (49th STREET BETWEEN 5/6th AVENUES).

https://www.theartbusinessconference.com/nyc/the-event/

 

The one-day conference for art market professionals will comprise a full day of lively panel discussions, informative presentations and Q&A’s, all in the heart of Manhattan.

The leading platform for the discussion of key issues in today’s global art market, the conference will bring together industry experts from all facets of the art world, providing a 360-degree perspective on major developments within the trade and offering delegates the opportunity to establish new contacts in the industry.

Louise Hamlin, founder & director of The Art Business Conference says, “I am delighted that the Art Business Conference will be returning to New York for the fourth year and to be partnering with Christie’s. The conference will be held in Christie’s main salesroom, the James Christie room, which is not only an iconic art world setting, but also an opportunity for us to accommodate a growth in our attendee base from across the US, UK, Europe, Asia and the Middle East. Last year over 250+ art professionals and collectors attended.”

 

IN THE NEXT LRFA BLOG, THE TOPICS AND SPEAKERS WILL BE HIGHLIGHTED. THEY COVER A WIDE RANGE OF SUBJECTS INCLUDING THE NEW ANTI-MONEY LAUNDERING DIRECTIVE, THE SCIENCE AND ECONOMICS OF COLLECTING, SUSTAINABILITY AND THE FINE ART OF RECRUiTMENT, PLUS THE LATEST UPDATES AND TRENDS IN DATA, TECHNOLOGY, AND CONSERVATION SHAPING THE ART MARKET TODAY.

Christie’s New York
Rockefeller Center

SIGN UP NOW! A NOT-TO-BE-MISSED EVENT.

To register please visit: https://artbusinessconferencenewyork2020.eventbrite.co.uk

To register interest for further press enquiries please contact:

Louise Hamlin (Director & Founder)

email: louise@artmarketminds.com

Tel: +44 (0) 7508 231 241

Introducing One Art Nation, a unique source for collectors and art professionals, with co-founder Julia Wehkamp

Julia Wehkamp & Amanda Dunn
Co-founders
One Art Nation

ONE ART NATION IS A UNIQUE WEBSITE PROVIDING VALUABLE INFORMATION TO COLLECTORS AND ART PROFESSIONALS AROUND THE WORLD. IT IS AN EXCEPTIONAL SOURCE FOR ART EDUCATION AS WELL AS ART MARKET NEWS, TRENDS AND EVENTS. AS THE CONTEMPORARY ART WORLD EXPANDS EXPONENTIALLY, ART FAIRS, AUCTIONS, SOCIAL MEDIA SITES, ARTIST COLLECTIVES, ADVISORS, PRIVATE DEALERS AND GALLERIES HAVE SPRUNG UP WORLDWIDE IN RESPONSE TO THE  EVER-GROWING INTERNATIONAL INTEREST IN CONTEMPORARY ART AND THE ART MARKET.

THROUGH EDUCATIONAL TALKS AND PROGRAMS, EXPERT INTERVIEWS AND ARTIST SHOWCASES, ONE ART NATION (1AN) IS DEMYSTIFYING THE PROCESS OF BUYING ART FROM START TO FINISH. ITS GOAL IS TO BRING TOGETHER PROMINENT ART EXPERTS FROM ACROSS THE GLOBE TO ADDRESS TOPICS THAT RANGE FROM BUILDING, MAINTAINING AND PROTECTING A COLLECTION TO TAX AND FINANCIAL ASPECTS OF OWNING ART. THIS IS THE TYPE OF CONTENT THAT MATTERS MOST TO ART COLLECTORS AND PROFESSIONALS, BOTH EXPERIENCED AND NEW.

ONE ART NATION  OFFERS NUMEROUS VIDEOS THAT COVER A WIDE RANGE OF TOPICS  FROM THE HABITS OF SUCCESSFUL COLLECTORS TO EMERGING ARTISTS: A POPULAR ENTRY-LEVEL MARKET AND HOW TO APPROACH SELLING YOUR COLLECTION.  IT OFFERS AN ART ADVISORY 101 PROGRAM TO INFORM ASPIRING ART ADVISORS AND AN ART WEALTH MANAGEMENT PROGRAM: UNDERSTANDING ART AS AN ASSET CLASS FOR FINANCIAL ADVISORS, JUST TO HIGHLIGHT A FEW TOPICS THAT PROVIDE TRANSPARENCY IN A RELATIVELY UNREGULATED INDUSTRY.

THE LRFA BLOG IS DELIGHTED TO WELCOME JULIA WEHKAMP, A FOUNDING PARTNER OF ONE ART NATION, AN ONLINE PLATFORM OF BOTH DEPTH AND BREADTH IN ITS CONTRIBUTION TO THE ART COMMUNITY.

JULIA, THANK YOU SO MUCH FOR CONTRIBUTING TO THE LRFA BLOG

WHEN WAS ONE ART NATION FOUNDED AND BY WHOM?

One Art Nation (1AN) was founded by Amanda Dunn and I. We officially launched at Miami Art Week 2013. In bringing together our skills and experiences, we wanted to create an innovative and unique platform, separate from the conventional online art networks offered. Through extensively examining the market and listening to the needs of collectors and professionals, it became clear that accessible and relevant education was required. By combining our experience in fine arts and international marketing expertise with education-centric business skills, 1AN has become the trusted source of education for art enthusiasts, collectors and professionals across the globe.

Art Advisory
ONE ART NATION

WHAT IS ITS MISSION?

Ultimately, 1AN aims to create transparency in the art market, while securing its position as the leading online education platform, offering a complete solution for art enthusiasts, collectors and professionals. 1AN fulfills a growing need for new and innovative online art tools required to broaden the scope and depth of the art market. 

WAS YOUR BACKGROUND IN THE ARTS AND WHAT INSPIRED YOU BOTH TO CREATE ONE ART NATION?

Amanda previously worked for Christie’s Auction House in London on their marketing team. On the other hand, I have focused on developing and operating international continuing education programs using innovative and creative methods. Working in the art industry allows me to incorporate my passion for art and culture, while applying my experience and skills in education and event management.

In speaking with various auction houses and established galleries, we determined early on a common challenge: they were not connecting with the new generation of art collectors, whether they be young professionals looking to diversify their portfolios, those coming from emerging markets, etc. And it’s understandable… a gallery can be an intimidating space for a new collector, never mind an auction house! So we wanted to create a non-threatening environment where people can interact with art experts across the globe and learn the A-Z’s of collecting: from how to choose a gallery to the succession planning of an established collection. Organically, art market education for professionals followed based on demand.

IN OUR NEXT LRFA BLOG POST, JULIA WILL EXPAND ON THE MANY EDUCATIONAL PROGRAMS THAT 1AN OFFERS.

PLEASE JOIN US!

APAA: best practices now and in the future

APAA

ACCREDITED COURSES ON BEING AN ART ADVISOR HAVE BEEN PROLIFERATING IN THE ART WORLD SINCE THE PROFESSION HAS BECOME AN  INCREASINGLY DEFINED AND LUCRATIVE CAREER. SOTHEBY’S INSTITUTE OF ART OFFERS A COMPREHENSIVE PROGRAM, CHRISTIE’S EDUCATION: NEW YORK IS ACCREDITED BY THE NEW YORK STATE BOARD OF REGENTS, AND PRESENTS A GLOBAL PLATFORM WITH PROGRAMS IN NEW YORK, LONDON AND HONG KONG. CHRISTIE’S EDUCATION SUPPORTS STUDENTS THROUGH CHRISTIE’S EDUCATION TRUST, A REGISTERED CHARITY THAT HAS DISTRIBUTED OVER $1m IN SCHOLARSHIPS, GRANTS AND AWARDS TO STUDENTS FROM AROUND THE WORLD, HELPING TO EDUCATE AND INSPIRE THE NEXT GENERATION. DISTINGUISHED BUSINESS SCHOOLS SUCH AS COLUMBIA AND WHARTON OFFER COURSES SUCH AS FINANCE AND THE ART MARKET. THIS HAS SERVED TO FORMALIZE A FAIRLY NON-REGULATED BUSINESS IN WHICH VASTLY VARYING LEVELS OF EDUCATION AND CONNOISSEURSHIP EXISTED.

THE ASSOCIATION OF PROFESSIONAL ART ADVISORS IS UNIQUE IN OFFERING A FORMAL REGULATORY BODY OF RULES FOR THEIR MEMBERS. THIS CODE OF ETHICS MAINTAINS THAT FIRST AND FOREMOST, AN ADVISOR SHOULD SERVE THE NEEDS OF THE CLIENT, NOT HOLD INVENTORY, OR ACCEPT ADDITIONAL COMPENSATION THAT COULD CREATE A CONFLICT OF INTEREST.

https://artadvisors.org

ON A PRACTICAL NOTE, THE EXPERIENCE AND EXPERTISE AN ADVISOR CAN DEMONSTRATE IN THE DAILY REQUIREMENTS OF THE JOB (SHIPPING, INSURANCE, FRAMING, CONSERVATION, ETC.)  REASSURE A CLIENT THAT THE ADVISOR KNOWS WHAT HE OR SHE IS DOING WITH THE DETAILS AS WELL AS THE BIGGER PICTURE OF THE MARKET, AUCTION AND BIDDING.  APAA PROVIDES A PHENOMENAL SUPPORT SYTEM, SENDING NEARLY DAILY EMAILS REQUESTING AND GIVING RECOMMENDATIONS OF SPECIALISTS IN THE ART WORLD’S FROM AROUND THE WORLD.

TODAY, WE WELCOME BACK WENDY CROMWELL, BOARD MEMBER OF APAA, FOUNDER AND PRINCIPAL OF CROMWELL ART, LLC. TO SPEAK ON THIS AND THE FUTURE OF APAA.

WENDY, HOW DOES THE APAA PROVIDE INFORMATION ON THE SERVICE INDUSTRY THAT IS CRUCIAL TO THE ROLE OF THE ART ADVISOR? WHAT ARE SOME CATEGORIES OF INFORMATION THAT ARE AVAILABLE?

One of the great aspects of membership is our ability to tap into each other’s expertise. If you need an installer in Shanghai or a framer in Dubai, an APAA member will have a suggestion for you. These contacts and resources – appraisers, framers, installers, insurance experts, lighting specialists, photographers, shipping/storage experts – are part of a database maintained by APAA that is accessible to APAA members.

APAA PROVIDES A CONNECTION TO BUSINESS THAT PROVIDE RESOURCES THAT ARE VITAL TO THE ART COMMUNITY, SUCH AS LICENSED APPRAISALS, MARKETING, LIGHTING, TRANSPORT AND STORAGE. HOW DID THIS LIST EVOLVE AND WHAT ARE THE CRITERIA FOR BEING INCLUDED?

APAA Affiliate members are industry experts who are recommended by current APAA members.  The criteria for Affiliates is similar to those for advisors – everyone has at least 10 years’ experience in the field.

APAA IS PREDOMINANTLY AMERICAN IN MEMBERSHIP BUT WHAT OTHER COUNTRIES ARE REPRESENTED AND WHAT ARE YOUR PLANS TO EXPAND THE MEMBERSHIP NOW THAT WE ARE LIVING IN A GLOBALIZED ART MARKET?

Many of APAA’s US members have been working internationally for decades. Over time, the business practices of our colleagues worldwide have begun to reflect APAA’s code of ethics and best practices, and there are a growing number of APAA members in London, Paris, the Netherlands and Switzerland.  We hope to see more growth in Asia and the Pacific Rim in the coming years.

WHAT ARE SOME OF YOUR FUTURE PLANS FOR APAA IN GENERAL AND FOR PANEL DISCUSSIONS, MEMBERSHIP EVENTS?

Technology makes it possible for APAA members to be in regular communication, but the opportunity to meet in person is always energizing. Our annual meeting is coming up on May 1, and we recently toured the Rockefeller collection at Christie’s in advance of those sales.  We’ll also focus on member programs in Atlanta, Boston, Chicago, London, Los Angeles, San Francisco, Seattle, and Washington DC. The goal is to provide timely, smart information that supports APAA members in their work, and helps spread the philosophy of connoisseurship and best practices to the art field at large.

WENDY, AND THE TEAM AT APAA, THIS COULD NOT HAVE BEEN MORE INFORMATIVE OR BETTER RECEIVED. THE LRFA BLOG THANKS YOU FOR YOUR CONTRIBUTION AND SUPPORT!

Shifting tastes: the market for American art with expert Debra Force of Debra Force Fine Art

AT THE AMERICAN ART AUCTIONS, FINE PAINTINGS, SCULPTURES AND WORKS ON PAPER ARE OFFERED FROM THE COLONIAL TO THE POST-WAR PERIOD, INCLUDING WORKS BY THE HUDSON RIVER SCHOOL, THE AMERICAN IMPRESSIONISTS AND THE ASH CAN SCHOOL. OVER THE PAST DECADE, THE AMERICAN ART DEPARTMENT AT CHRISTIE’S STATES THAT IT HAS SET MORE THAN 100 WORLD RECORDS, ACHIEVING RECORD PRICES FOR IMPORTANT NAMES SUCH AS EDWARD HOPPER, ANDREW WYETH AND GEORGIA O’KEEFFE. HOWEVER, BOTH THE AUCTION HOUSES AND GALLERIES SPECIALIZING IN THIS AREA HAVE SEEN A DOWNTURN IN THIS MARKET.

https://www.christies.com/departments/American-Art-3-1.aspx

ONE OF THE EXCEPTIONS WAS THE CHRISTIE’S SALE OF THE EXTRAORDINARY DAVID AND PEGGY ROCKEFELLER COLLECTION THAT REPRESENTED ONE OF THE BEST SINGLE OWNER COLLECTIONS TO COME TO MARKET. HIGHLIGHTS OF AN AMERICAN ART COLLECTION DESCRIBED AS “VIRTUALLY ENCYCLOPAEDIC” INCLUDED EDWARD HOPPER’S CAPE ANN GRANITE, PAINTED IN THE SUMMER OF 1928 ($8.4m), GEORGIA O’KEEFFE’S NEAR ABIQUIU, NEW MEXICO ($8.4m) and MILTON AVERY’S WOMEN WITH REBOZA ($2.5m). THIS SALE, HOWEVER, WAS AN EXCEPTION TO THE GENERAL CLIMATE OF THE AMERICAN MARKET.

WE ARE FORTUNATE TO HAVE DEBRA FORCE, OF DEBRA FORCE FINE ART, A SEASONED EXPERT IN AMERICAN ART OF EVERY PERIOD, PROVIDE HER ANALYSIS OF THE PRESENT AND FUTURE MARKET IN AMERICAN ART.

http://www.debraforce.com/

DEBRA, HOW DO YOU VIEW THE AMERICAN MARKET AT THE PRESENT TIME AND HOW HAS IT CHANGED IN THE LAST DECADE?

The traditional American art market is stable.  It had been at its height up to 2008, but became much softer after that date.  As collectors become older, they are no longer buying as much and younger people do not seem to have an interest in this aspect of Fine Art.  Thus, we are dealing with a more limited market base and of course, do not have international interest in this area. 

Prices for many things are much reduced from what they were over ten years ago, particularly for early and historical material, genre painting, Hudson River painting, and Ashcan artists.  However, we are seeing some revitalization with certain artists in these areas as well as with the American Impressionists.  For those looking for this type of material, there are more reasonable prices and, in some cases, bargains to be had.  Museums are finding that they can now buy artists on their wish lists that fall into these categories. 

Joseph Stella
The Red Pitcher
Oil on canvas

American Modernism and Regionalism, as well as works by African-American and women artists, are very hot, while Surrealism and Magic Realism are rising in popularity. Many of the post-war second- and third-tier Abstract Expressionists are also coming under the umbrella of traditional American art as we move more solidly into the 21^st Century.

WHAT DO YOU SEE AS THE FUTURE OF THE AMERICAN ART MARKET? DO YOU FEEL THAT SOME OF THE LESSER KNOWN ARTISTS WHO WERE WILDLY COLLECTED BY THE LAST GENERATION WILL REBOUND IN TERMS OF PRESENCE AND PRICE?

It is my hope that younger people will turn to and revere traditional American art, which suffers somewhat like the American furniture and decorative arts market, as time marches on.  To do so, American history needs to be taught at both secondary and college levels, museums need to exhibit this type of art and not just focus upon what is “sexy” or of the moment, and auction houses and galleries need to embrace it, rather than shying away from it. 

Milton Avery
Woman with Rebozo, 1946
Christie’s sale, David Rockefeller Collection

Much of the material that is less collectible today does not receive adequate recognition in the marketplace and is routinely relegated to lesser sales or online auctions rather than in the mainstream or in prominent sales.  [Certainly, although the provenance had added cache to the works sold at the Rockefeller sale at Christie’s, the overwhelming exposure did wonders to attract buyers to much of the 19^th-century material that sold for double or more what they had been making.]  The validity of the past that has much to teach us in understanding the world today as well as the evolution of Contemporary art, needs to be made apparent to younger generations. 

Georgia O’Keeffe
New Mexico – near Taos 1929
Christie’s sale, David Rockefeller Collection

The other challenge is garnering international interest in American art, as we head toward a more global society.  This is already happening to a degree as the Terra Foundation and others sponsor exhibitions of American art abroad that have been well received to the audiences there; hopefully, this will translate into the market as well. 

As older collectors divest their collections, more major works of art will presumably enter the market and therefore, should generate renewed interest among known buyers as well as attracting new ones.

Presently, buyers are more attracted to well-known artists rather than those less renowned.  Until the market for traditional American art is more buoyant overall, I fear that more minor artists will continue to be neglected.  The only departure from this state is the collectability of lesser Modernist and Post-War artists who are now embraced, as prices for the more blue-chip works from this era are escalating.

DEBRA, THANK YOU SO MUCH FOR YOUR KNOWLEDGE, EXPERTISE AND ANALYSIS OF AMERICAN ART.

IN OUR NEXT LRFA BLOG, I AM HONORED TO INTRODUCE WENDY CROMWELL, WHO SERVES ON THE BOARD OF DIRECTORS OF THE ASSOCIATION OF PROFESSIONAL ART ADVISORS (APAA), AN OUTSTANDING NON-PROFIT ORGANIZATION MADE UP OF LEADING ART ADVISORS, CURATORS AND CORPORATE ART MANAGERS. APAA IS DEDICATED TO ESTABLISHING AND MAINTAINING THE HIGHEST PRINCIPLES AND GUIDELINES FOR ACQUIRING, MAINTAINING AND SELLING ART.

PLEASE JOIN US!

 

The Antiques Roadshow and more with American art dealer and gallerist, Debra Force

Debra Force
Antiques Roadshow

FACED WITH AN INCREASINGLY MEDIA-SATURATED, GLOBALIZED CULTURE, ART HISTORIANS HAVE BEGUN TO ASK THEMSELVES CHALLENGING QUESTIONS ABOUT THE NATURE OF THEIR DISCIPLINE ACCORDING TO SYLVAN BARNET IN HIS A SHORT GUIDE TO WRITING ABOUT ART. THIS BOOK PROVIDES A GUIDELINE FOR STUDENTS ON  EVERY ASPECT OF WRITING ABOUT ART: FORMAL ANALYSIS, COMPARISON, RESEARCH AND ALL THE TOOLS NECESSARY TO PRESENT THEIR FINDINGS WITH EFFECTIVE WRITING.

https://www.amazon.com/Short-Guide-Writing-About-11th/dp/020588699X

THE BEST ART DEALERS ARE ART HISTORIANS AS WELL, ENGAGED IN THE HISTORY AND PROVENANCE OF WORKS, THE QUALITY AND THE TECHNIQUE.  THEY PROVIDE THE POTENTIAL COLLECTOR WITH INFORMATION ABOUT A WORK IN THE CONTEXT OF THE ARTIST’S ENTIRE OEUVRE AND IN COMPARISON TO WORKS IN THE SAME PERIOD AND GENRE.  ONE OF THE RESPONSIBILITIES OF A GALLERIST OR AN ADVISOR IS TO EDUCATE CLIENTS ABOUT THE ARTISTS THEY ARE CONSIDERING OR ARE ADDING TO THEIR COLLECTIONS. THIS IS PARTICULARLY TRUE IN THE AREA OF AMERICAN ART AS IT IS SO RICH IN OUR HISTORY WITH VAST ANECDOTAL EVIDENCE OF THE CULTURE, MORES AND ACTIVITIES OF THE TIME. SCHOLARSHIP IS CRUCIAL IN ENRICHING THE APPRECIATION AND COMMITMENT OF COLLECTORS OF THIS PERIOD.

James Jebusa Shannon
Portrait of Liz Cartwright

THERE IS NO ONE WHO MORE GRACEFULLY COMBINES AN ACADEMIC PASSION FOR THE HISTORY OF AMERICA  AND ITS ART THAN DEBRA FORCE.

ESTABLISHED IN 1999, THE GALLERY SPECIALIZES IN AMERICAN PAINTINGS, DRAWINGS AND SCULPTURE FROM THE 18th, 19th and 20th CENTURIES. DEBRA FORCE FI”NE ART FOCUSES ON QUALITY WHATEVER THE MEDIUM OR PERIOD AND DEBRA HAS AN EXCEPTIONAL TALENT FOR IDENTIFYING ARTISTS WHO HAVE FALLEN FROM VIEW AND RENEWING OUR APPRECIATION OF THEIR WORK AND REVIVING THEIR MARKET.

http://www.debraforce.com

ONE SUCH ARTIST IS JAMES JEBUSA SHANNON, AN AMERICAN PORTRAIT PAINTER BORN IN NEW YORK, WHO TRAVELLED TO ENGLAND TO STUDY PAINTING AND  BECAME ONE OF BRITAIN’S MOST CELEBRATED PORTRAIT ARTISTS AT THE TURN OF THE 19th CENTURY. IN AN ARTICLE IN THE NEW YORK TIMES, EVE M. KAHN, A FREQUENT CONTRIBUTOR TO THEIR ANTIQUES SECTION, PUBLISHED ONCE FORGOTTEN PAST, NOW RECALLED IN PAINTING, AN EXCELLENT REVIEW OF THE EXHIBITION AT DEBRA FORCE FINE ART OF TWO DOZEN WORKS BY SHANNON, SEEKING BEAUTY: PAINTINGS BY JAMES JEBUSA SHANNON,  AN ARTIST WHO WAS, IN HIS DAY, COMPARED TO JOHN SINGER SARGENT.

https://www.nytimes.com/2014/06/13/arts/design/james-jebusa-shannons-portraits-rescued-from-obscurity.html

DEBRA, WHEN YOU FIRST CAME TO NEW YORK, WHAT WAS YOUR FIRST JOB IN THE ART WORLD?

My first job in New York was as Assistant to the Head of the American Paintings Department at Christie’s from 1984-1989, at which point, I became Head of the Department and a Senior Vice President until 1993.

American Art
Christie’s New York

WHAT WAS YOUR PROFESSIONAL HISTORY PRIOR TO OPENING DEBRA FORCE FINE ART?

Curator and Director of the CIGNA (formerly INA) Museum and Art Collection in Philadelphia (1977-1984)

Assistant to the Head of the American Paintings Dept. and later Head of Dept. and a Senior Vice President at Christie’s, New York (1984-1993)

Director of American Art at Hirschl & Adler Galleries, New York (1993-1994)

Director of Beacon Hill Fine Art, New York (1994-1999)

President of Debra Force Fine Art, New York (1999-present)

WHAT PROMPTED YOUR DECISION TO OPEN A GALLERY?

When Beacon Hill Fine Art closed, I was given a generous severance package that enabled me to start my own gallery.  I had never intended to do so until then.

 

On the air
Debra Force at the Antiques Roadshow

YOU PARTICIPATE IN THE ANTIQUES ROADSHOW THAT TRAVELS AROUND THE COUNTRY INVITING PEOPLE TO BRING IN THEIR TREASURED ART OBJECTS FOR IDENTIFICATION AND EVALUATION . WHAT WERE SOME OF THE HIGHLIGHTS OF THAT EXPERIENCE?

I have been on “Antiques Roadshow” for over 18 years and have had lovely experiences, meeting people, and seeing exciting and challenging art. Of course, most of what we see is of minimal value, but we do run across real “finds,” particularly if the owner has no idea of the identity of the artist.  In St. Paul, MN, my guest was an elderly man who had been a farmer (he was wearing bib overalls) and who had gone to a farm auction where he bought a box of stuff, including two paintings, for  $ 4.00.  One painting was worth about $ 500.00 and he liked that one and had it hanging in his living room. He could not read the signature on the other, and since he didn’t care for it, he had it in a closet.  ThIs painting was by Victor Higgins, the Taos artist, and it was a New Mexico scene worth about $ 100,000.00.  It was a true find!

Victor Higgins
Arroyo Landscape
Watercolor on paper

In Jacksonville, I surprisingly saw two paintings by Thomas Hart Benton; both were authentic and belonged to different people….it was quite amazing since guests come to us “first come, first serve.” One was a rare still life given by the artist to the owner’s parents; the other, was a Martha’s Vineyard scene belonging to a descendant of a Missourian involved with the Truman Library in Independence, MO…strange that both ended up in Florida!

Thomas Hart Benton
Martha’s Vineyard
Oil on canvas

One of my more amusing spots was with a man in Washington, DC, who was very colorful in his dress and who had a Jessie Willcox Smith…when he learned that the value was over $ 100,000, he did his “Happy Dance,” as he called it.

I have also received works to sell from people who watch the show, but who have not appeared on it.  These have included an important Maurice Prendergast watercolor of St. Malo and an amazing Herbert “Buck” Dunton of the artist’s daughter on her favorite horse with Taos in the distance and belonging to a descendant of the artist.

Maurice Prendergast
Beach at St. Malo

And, you never know why people give you things to sell…one guest who was on the show with a Willard Metcalf painting ultimately decided to sell it through me purely because we had both “Quakers;” that is, we had both gone to Penn.

IN OUR NEXT LRFA BLOG WITH DEBRA FORCE, AMERICAN ART SPECIALIST, WE WILL LEARN ABOUT THE GALLERY’S PARTICIPATION IN ART FAIRS AND THE APPRAISAL SERVICES THE GALLERY PROVIDES. PLEASE FEEL FREE TO ASK ANY RELEVANT QUESTIONS- WE HAVE ACCESS TO A SEASONED EXPERT IN THE FIELD OF AMERICAN ART OF THREE CENTURIES–

FIRE AWAY!