Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Tag: Picasso

The Bank of America Private Bank Art Conservation Project, with Art Lending Services VP, Dana Prussian

 

Dana Prussian Art Lending Services, Bank of America Private Bank

 

BANK OF AMERICA PRIVATE BANK OFFERS EXTENSIVE ART LENDING SERVICES. AS WELL AS COLLATERALIZING ART COLLECTIONS, THE BANK HELPS COLLECTORS TO DESIGN ESTATE PLANS THAT TAKE INTO CONSIDERATION THE VALUE OF THEIR ART COLLECTIONS, BOTH AS AN ALTERNATIVE ASSET AND AS A LEGACY. THEY ASSIST IN THE CONSIGNMENT PROCESS FOR A SALE OF A WORK OR A COLLECTION AT AUCTION. APART FROM THE ART OF THE BUSINESS OF ART, BANK OF AMERICA PRIVATE BANK HAS A TRULY IMPRESSIVE RANGE OF PHILANTHROPIC ENDEAVORS THAT SUPPORT MUSEUM EXHIBITIONS, ART PANELS AND LECTURES, ART FAIRS AND ART CONSERVATION.

ART AND CULTURE

Bank of America believes the arts matter: they help economies thrive, help individuals connect with each other and across cultures, and educate and enrich societies. We support more than 2,000 visual and performing arts organizations worldwide that provide inspirational and educational sustenance, anchor communities, create jobs, complement school curricula, and generate substantial revenue for local businesses.

Vincent van Gogh
Starry Night
MoMA Collection

BANK OF AMERICA ART CONSERVATION PROJECT

We are pleased to present the 2019 Bank of America Art Conservation Project grant recipients. In reviewing the twenty-two projects, we are reminded of the tremendous need for art conservation in cultural institutions across the globe. And we are honored and proud to help these institutions and others preserve their treasures for generations to come.

With this year’s selections, we will have provided funding for more than 170 projects in thirty-three countries, representing thousands of works across different art movements, media and time periods- and, importantly, cultures. All the works we help to conserve share one thing in common however. They reflect the creativity, ingenuity and passion of people throughout the world over hundreds, even thousands, of years.

TODAY, THE LRFA BLOG IS DELIGHTED TO WELCOME BACK DANA PRUSSIAN, VP, ART LENDING SERVICES, BANK OF AMERICA. HER BACKGROUND IN BOTH ART AND FINANCE MAKES HER THE PERFECT FIT FOR THIS PROFESSION AND HER ACADEMIC AND PROFESSIONAL STEPS WERE KEENLY FOCUSED ON THIS DREAM JOB SINCE THE BEGINNING.

DANA, WELCOME BACK TO THE LRFA BLOG!

HOW DOES BANK OF AMERICA PRIVATE BANK COMPETE IN THIS HIGHLY CHARGED MARKET WITH SOME OF THE OTHER ART SERVICE COMPANIES, EITHER AT BANKS AND INVESTMENT FIRMS OR PRIVATE SPECIALIZED COMPANIES?

Paul Cezanne
The Bather
MoMA Collection

Let’s just say I followed Bank of America’s progress veryyyy closely and jumped the minute they opened a role. 😉

WHAT ARE THE CRITERIA FOR COLLECTORS LENDING AGAINST COLLECTIONS TO UNLOCK CAPITAL?  HAS THAT CRITERIA CHANGED OVER THE YEARS TO REFLECT THE GAINS AND GLOBALIZATION OF THE ART MARKET AND IN WHAT WAYS?

Our criteria has not changed much over the years (collectors need a certain sized collection with both commercial and diverse works and a robust balance sheet), but appetite for art lending has expanded greatly. Since interest rates have been hovering around historic lows, more clients are looking to use this as a balance sheet arbitrage, unlocking capital from art to redeploy into higher-return areas of their financial lives. We have also seen more clients use art loans as working capital lines to expand privately held companies. Since the elimination of the 1031 Like-Kind Exchange in 2017, it has also become prevalent to leverage art to generate liquidity.

WHAT ARE WAYS IN WHICH AN ART COLLECTION CAN DIVERSIFY A PORTFOLIO?

We never recommend that a client start an art collection as an investment or a way to diversify his portfolio. Passion comes first. Once someone has been bitten by the collecting bug (it’s real), they should consider whether their collection fits into their estate plan and how they want to manage it over time. It’s still quite common to see rising collectors go to great lengths to prove they’re not simply investors, whether it’s by marketing themselves quietly to dealers or acquiring non-commercial works to round out their collections.

Pablo Picasso
Three Musicians
MoMA Collection

BANK OF AMERICA PRIVATE BANK SUPPORTS A GREAT MANY MUSUEM EXHIBITIONS, ART PANELS, ART EDUCATIONAL EVENTS. WHAT ARE SOME OF THE HIGHLIGHTS THAT WERE THE MOST INTERESTING OR EFFECTIVE?

Bank of America provides unbelievable support to museums and art institutions worldwide. We get to reap those benefits by helping deliver unique experiences and programming to our collectors. You probably saw that we sponsored the reopening of MoMA and the conservation of Starry Night and other iconic works. We took small groups of collectors through MoMA’s Conservation Lab while the museum was closed so they could see these works off the wall, unframed, and under a microscope. Cezanne’s The Bather, Van Gogh’s Starry Night, Picasso’s Three Musicians. I was blown away. So were our clients. In Paris BofA sponsored the Da Vinci exhibit at the Louvre and hosted a small private group. 

SOME OF THE OTHER 2019 CONSERVATION PROJECT BENEFICIARIES INCLUDE “SPRING” IN THE COLLECTION OF THE GEORGIA O’KEEFFE MUSEUM IN SANTA FE. THIS LARGE-SCALED WORK REPRESENTS A TURNING POINT IN O’KEEFFE’S LIFE AT A TIME WHEN SHE HAS THE NEWFOUND FREEDOM TO MOVE PERMANENTLY FROM NEW YORK TO SANTE FE. THE WORK INCORPORATES ALL OF THE ICONS EVOCATIVE OF NEW MEXICO: LANDSCAPE, BONE AND FLOWER.

Georgia O’Keeffe Spring, 1948

AND WERE AS FAR-RANGING AS THE RESTORATION OF THREE TAPESTRIES BY MARLENE DUMAS, “THE BENEFIT OF THE DOUBT”, IN THE CONSTITUTIONAL COURT ART COLLECTION IN JOHANNESBURG, SOUTH AFRICA. THE TRIPTYCH CONSISTS OF THREE FIBER WORKS WEIGHING APPROXIMATELY 620 POUNDS, AND A ROBUST PRESERVATION-APPROPRIATE HANGING SYSTEM WAS DESIGNED FOR PERMANENT DISPLAY.

 

Marlene Dumas
The Benefit of Doubt
Tapestry Triptych

IN OUR NEXT LRFA BLOG, DANA WILL SHARE HER ASTUTE PERCEPTION OF THE CURRENT AND FUTURE ART MARKET. TUNE IN THEN!

 

 

Read all about it! Great reviews of Ellen Winner’s new book, How Art Works

How Art Works: A Psychological Exploration 
by Ellen Winner, Ph.D.

IN A RECENT SERIES OF POSTS, THE LRFA BLOG WELCOMED ELLEN WINNER BACK, PSYCHOLOGIST EXTRAORDINAIRE, TO SHARE HER LATEST FINDINGS ON THE PSYCHOLOGY OF ART AND OUR PERCEPTION OF IT. THESE STUDIES OFFER INVALUABLE INSIGHT FOR INTERESTED IN ART AND OUR PSYCHOLOGICAL ATTITUDES TOWARDS IT, BE THEY GALLERISTS, DEALERS OR COLLECTORS.

WE ARE DELIGHTED TO FOLLOW UP WITH ELLEN NOW ABOUT HER MOST RECENT BOOK, HOW ART WORKS AND SHARE SOME OF THE OUTSTANDING REVIEWS IT HAS ALREADY RECEIVED!

IT WILL BE AVAILABLE ON OCTOBER 3rd. PREORDER NOW!

https://www.amazon.com/How-Art-Works-Psychological-Exploration/dp/0190863358/ref=sr_1_1?ie=UTF8&qid=1536529213&sr=8-1&keywords=how+art+works+ellen+winner&dpID=51k1QqbgE-L&preST=_SY344_BO1,204,203,200_QL70_&dpSrc=srch

In this thoughtful, judicious, and fascinating book, you’ll find our best current answers to all the questions that thinking people ask about art, including what it is, what makes it great, whether it is universal, why we make and enjoy it, and whether it is good for us.How Art Works will be the place to look for knowledge on how art works for years to come.
Steven Pinker, Harvard University 

Never have the links between the world of the arts and the sciences of the mind been so carefully and fruitfully drawn as they are in Winner’s new book.
David Olson, University of Toronto

If you read one book on the psychology of art, make it this one. Ellen Winner gives us a book that celebrates the importance of art even as she remains grounded in experimental data and avoids hyperbole. She asks deceptively simple questions. What is art? Why do we make art? Does art make us better people? The clarity of her logic and the elegance of her prose as she answers these and other incisive questions makes this book a delight to read.
Anjan Chattergee, University of Pennsylvania

THE MOST COMPREHENSIVE REVIEW APPEARED IN THIS WEEK’S PRESTIGIOUS NEW YORKER MAGAZINE AND THE LRFA BLOG IS HONORED TO REPRINT IT HERE.

https://www.newyorker.com/culture/cultural-comment/what-we-know-about-art-and-the-mind

 

What We Know About Art and the Mind

Piero Manzoni
Piero Manzoni’s “Artist’s Shit.” In 2016, one of the tins that make up the abstract work was bought in Milan for two hundred and seventy-five thousand euros.

Collecting prints with curator and expert, Jeff Bergman, director of Pace Prints

KAWS Portfolio from
Pace Prints

THE ART OF PRINTMAKING CAN BE EFFECTIVELY VIEWED FROM THE PERSPECTIVE OF THE PRINT WORKSHOPS THAT PUBLISH THE EDITIONS. THE STUDIO INVITES ARTISTS TO PUBLISH AN EDITION AND IT IS VERY MUCH A COLLABORATION BETWEEN THE MASTER PRINTMAKER AND THE ARTIST WHO OFTEN FINDS A NEW AND RICH VISUAL VOCABULARY INSPIRED BY PRINTMAKING TECHNIQUES.

Matisse at Mourlot

IN THE TWENTIETH CENTURY,  MAJOR ATELIERS IN EUROPE PRODUCED SOME OF THE PRINTS THAT ARE THE MOST HIGHLY VALUED IN TODAY’S PRINT MARKET. GALERIE LOUISE LEIRIS, A STUDIO IN PARIS, PUBLISHED MANY OF PICASSO’S PRINTS AND MOURLOT ENGAGED NOT ONLY PICASSO BUT ALSO MATISSE, ALEXANDER CALDER, GEORGES BRAQUE AND LEGER TO BRING THE WORK OF THESE SIGNIFICANT MASTERS TO THE GENERAL PUBLIC IN A RELATIVELY ACCESSIBLE FORM.

Helen Frankenthaler at
U.L.A.E

IN POST-WAR AMERICA, LONG ISLAND BASED U.L.A.E. FOUNDER, TANYA GROSSMAN, WAS RENOWNED FOR HER COLLABORATIVE WORK WITH JASPER JOHNS, JAMES ROSENQUIST AND CY TWOMBLY TO NAME A VERY FEW OF THE ARTISTS WHO EXPERIMENTED WITH INNOVATIVE PRINTMAKING TECHNIQUES AT HER WORKSHOP. IN LOS ANGELES, GEMINI G.E.L. FORMED FRIENDSHIPS WITH “LOCAL” ARTISTS SAM FRANCIS, KEN PRICE, ED RUSCHA AND BRITISH EX-PAT DAVID HOCKNEY. IDENTIFYING THE PUBLISHER AND THEIR REPUTATION FOR INSPIRED INTERACTION BETWEEN PRINTMAKER AND ARTIST PROVIDES THE COLLECTOR A VALUABLE TOOL WHEN CONSIDERING WORKS IN THE PRINT ART MARKET.


Gestures
Qin Feng, Lee Ufan, Jian-Jun Zhang
Installation view
Pace Prints

HERE IN NEW YORK, PACE PRINTS ENJOYS A 48- YEAR HISTORY OF COLLABORATING WITH MASTERS AND INNOVATORS OF PRINTMAKING.

TODAY, THE LRFA BLOG IS VERY PLEASED TO WELCOME BACK JEFF BERGMAN, GALLERY DIRECTOR.

https://www.paceprints.com

 

Pablo Picasso
Minotaur

JEFF, PRIOR TO PACE, YOU WERE A DIRECTOR AT JOHN SZOKE EDITIONS, KNOWN FOR PRINTS BY PICASSO, EDVARD MUNCH AND OTHER MODERN MASTERS. WHAT ARE SOME OF THE HIGHLIGHTS OF YOUR EXPERIENCE AT THIS GALLERY?

John was kind enough to give me a job with no commercial art sales experience.  At the time, he was transitioning from his work as a publisher to becoming one of a handful of expert Picasso print dealers.  One highlight was seeing impressions and states of prints together, especially two states of Picasso’s Minotauromachy (La Minotauromachie), 1935, John helped me see the work evolve over time.

Plant house Gallery
Chelsea, New York

YOU HAVE CURATED SOME WONDERFUL EXHIBITIONS IN ADDITION TO YOUR WORK AT PACE. WHAT ARE SOME CURATORIAL PROJECTS THAT RESONATE THE MOST STRONGLY? DO YOU PROPOSE A THEME FOR AN EXHIBITION?

Rachel Gladfelter, a friend and fellow Director at Pace Prints, co-curated a show called Fold at Planthouse Gallery in 2015.  We did not focus on prints but it did include printmaking.  The artists we were able to show are pushing the picture plane in different directions.  The artists, Anders Bergstrom, Martha Willete Lewis, Matt Magee and Rachel Ostrow are all art workers as well so we had met them all in different contexts.  The show was successful because of the generosity of those artists and the gallery principals at Planthouse.  One of the pieces that was in the show, “Brown Bag Test, December 21, 2014, Proof and Counterproof” by Anders Bergstrom, was acquired by the Metropolitan Museum of Art and has been exhibited at the Met already.  I get to work with Museum collections often at Pace Prints, but it was especially exciting seeing work we chose for our exhibition selected for the Met.

Anders Bergstrom
Brown Bag Test, December 21, 2014
Collection, Metropolitan Museum of Art

Press Release  FOLD at Planthouse Gallery http://planthouse.net/wp-content/uploads/2015/05/Planthouse-press-release_FOLD-2.pdf

WHEN DID YOU JOIN PACE PRINTS AND WHAT WAS THE GALLERY AND PUBLISHING ARM LIKE AT THE TIME?

I joined 10 years ago while Pace Prints was expanding.  We went from 1 gallery and 1 print shop to 2 galleries and 3 print shops in about 2 years.  We continue to work with some of the most outstanding contemporary artists to create dozens of new works and exhibitions every year.

RICHARD SOLOMON FOUNDED PACE PRINTS IN 1968. I KNOW THAT DICK HAS AN MBA FROM HARVARD. WHAT LED HIM INTO THE ART BUSINESS IN GENERAL AND PRINT PUBLISHING IN PARTICULAR?

Dick Solomon is passionate about art and has been for decades.  I believe he met Arne Glimcher in Boston right when Arne opened Pace Gallery.  Beyond that, you’d have to ask the man himself.

Lucas Samaras
Book
1968
Published by Pace Prints

WHO WERE THE FIRST ARTISTS THAT HE INVITED TO WORK WITH HIM?

Jean Dubuffet, Nicolas Krushenick, Louise Nevelson and Lucas Samaras.  The Lucas Samaras edition “Book” from 1968 was the very first project Pace Editions published.

WHAT IS THE RELATIONSHIP BETWEEN PACE GALLERY AND PACE PRINTS IN TERMS OF THE ARTISTS THAT WORK WITH PACE PRINTS TO PUBLISH EDITIONS?

Historically we have published editions with Pace Gallery artists and in recent years have welcomed collaborations with artists represented by many galleries.

IN AN INTERVIEW IN ARCHITECTURAL DIGEST WITH DICK SOLOMON IN AUGUST 2010, WITH AD CONTRIBUTOR STEVEN M.L. ARONSON,

THE AUTHOR COMMENTS:

AT PACE PRINTS, ONE OF THE BIGGEST OPERATIONS THAT PUBLISHES AND SELLS ARTISTS’ PRINTS AND MULTIPLES, AND WHICH YOU’RE THE LONGTIME PRESIDENT OF, ONE IS ALLOWED, EVEN ENCOURAGED, TO GO INTO THE STACKS AND PULL THINGS OUT AND CONSIDER THEM, PRESSURE-FREE.

IS THIS WELCOMING AND UNPRETENTIOUS ATTITUDE CHARACTERISTIC OF PACE PRINTS TODAY?

We do have racks of art that are open to the public (we even wrote it on the wall) with names and prices on each piece.  We offer help to anyone who comes in and we allow people to explore if that is what they prefer.  We are transparent about pricing and always happy to speak with new people whether they are buyers or new to prints entirely.

Prints should be the most democratic works of art to collect.  We try and make it clear what we have and how much it is and if we don’t have it, where to go look.

JEFF, THANK YOU!

IN OUR NEXT POST, JEFF WILL PROVIDE INVALUABLE GUIDANCE TO BOTH THE NASCENT AND ESTABLISHED PRINT COLLECTOR. PLEASE JOIN US!

DROP INTO PACE PRINTS 57th STREET AND CHELSEA THIS SUMMER TO VIEW A WONDERFUL GROUP EXHIBITION OF RECENT WORKS: SELECTIONS.

An introduction to Christophe van de Weghe, international art dealer and New York gallerist

Christophe Van de Weghe

CHRISTOPHE VAN DE WEGHE LAUNCHED VAN DE WEGHE FINE ART IN 1999 WITH A STELLAR EXHIBITION OF ANDY WARHOL WORKS ON PAPER FROM THE EARLY 60s.

Andy Warhol
Works on paper Installation

FROM ITS INCEPTION TO THE PRESENT DAY, VAN DE WEGHE FINE ART SETS THE HIGHEST STANDARD OF EXCELLENCE IN EXHIBITING SECONDARY MARKET WORKS BY MODERN AND CONTEMPORARY EUROPEAN AND AMERICAN MASTERS.

IT IS TRULY A PRIVILEGE AND A PLEASURE TO INTRODUCE CHRISTOPHE, A TRUSTED FRIEND AND COLLEAGUE, TO THE LRFA BLOG. I HAVE ADMIRED HIM SINCE OUR FIRST ENCOUNTERS WHEN HE WORKED AT GAGOSIAN GALLERY AND HIS INTERNATIONAL RECOGNITION AND SUCCESS HAVE FAR SURPASSED EVEN MY INITIAL CONVICTION THAT HE WOULD BECOME ONE OF THE GREAT DEALERS AND GENTLEMEN IN THE ART WORLD.

PABLO PICASSO: Works on Paper, Van de Weghe Fine Art November 7 – December 17, 2013, Installation view

THE LRFA BLOG IS DELIGHTED TO SHARE THE GALLERY’S SEVENTEEN-YEAR HISTORY AND CONTRIBUTION TO OUR KNOWLEDGE AND APPRECIATION OF THE HISTORICAL SIGNIFICANCE AND IMPACT OF SUCH MODERN MASTERS AS PICASSO AND ALEXANDER CALDER AND CONTEMPORARY LUMINARIES AS BASQUIAT, WARHOL, KELLY AND SERRA.

http://www.vdwny.com

CHRISTOPHE, WELCOME!

YOU ARE ORIGINALLY FROM BELGIUM, A COUNTRY ALTHOUGH SMALL IN SIZE THAT ENJOYS A LONG AND IMPRESSIVE ARTISTIC TRADITION REFLECTING THE INFLUENCES OF BOTH ITS FRENCH AND DUTCH CULTURES.

WHAT WAS THE PATH THAT BROUGHT YOU FROM A CHILDHOOD IN EUROPE TO A LIFE IN NEW YORK?

I used to be a tennis player but I was injured when I was 18 ½ years old and has a serious back issue. I couldn’t play professionally for two years and had to have back surgery. I had been on a tennis scholarship at school and had traveled the whole world.

I didn’t want to go to college at all so I decided to go to California to attend Pepperdine University. The main campus is in Malibu with a 830-acre campus overlooking the Pacific Ocean. I shifted my sports to swimming and shifted my academy focus to art history. I was interested in art dealing and in the art that I viewed in museums.

DID YOUR FAMILY COLLECT ART? WHAT WERE YOUR FIRST POSITION IN THE ART WORLD? WAS IT ALWAYS IN THE GALLERY SECTOR?

My family were not collectors. My parents were divorced but my stepfather was a collector. My first job was my own business. When I returned to Belgium, I opened a small gallery by the sea, in the Belgian town called Knokke, which is located in the province of West Flanders.

Knokke was a seaside resort, a gathering place in the summer for some of Europe’s wealthiest families and attracted film celebrities such as Frank Sinatra, Maurice Chevalier and Marlene Dietrich.  The centerpiece of the town is a modern building, the Casino, that housed a wonderful mural, Le domaine enchante, a series of eight canvases that Magritte painted to fulfill a commission from Gustave Nellens, owner of the seaside Casino Communal at Knokke-le-Zoute in Belgium.

 

Rene Magritte Le Domaine Enchante Casino, Knokke

I began showing some American artists such as Ed Ruscha, whom I had met when I was in California and had become friends with the gallery dealer Jim Corcoran. Jim had introduced me to Ed Ruscha and I gave him a show in 1993. I didn’t sell anything at the time – the works were black and white with letters.

Edward Ruscha
The End #1
1993
Tate Modern

It was the early 90s and the art market was dead. The art gallery scene that flourished in the 80s was decimated by a recession and Jim Corcoran, whose gallery was the premier showcase for California artists such as Ed Ruscha, Billy Al Bengston and Kenneth Price, closed. Corcoran joined forces with the collector, Goldman Sachs chair, Robert Mnuchin, in a new gallery venture in New York, C&M Arts.

Larry Gagosian and Masa Takayama
Opening of Kappo Masa

WHEN WE FIRST MET AND BEGAN WORKING TOGETHER, YOU WERE A DIRECTOR AT GAGOSIAN GALLERY IN NEW YORK. HOW LONG WERE YOU WITH THE GALLERY AND WHAT WERE SOME OF THE PROFESSIONAL HIGHLIGHTS THAT STAND OUT FROM THAT PERIOD OF TIME?

At the time, the biggest gallery was Pace. I was interested, from the beginning, in the art market, the auctions and the New York art world. I attended a lot of sales, and would write down all the prices of the things that sold, analyzing what was selling, trying to determine why the art market goes up and the way in which it goes down. I’d always spend May and November in New York during the auction months, and one evening, at Nell’s, a popular bar/restaurant on West 14TH Street, I met Larry Gagosian.

Having just attended an auction uptown, I said to Larry, “You bought a wonderful David Hockney. I’d love to have a job with you. I think I can sell.” And he said, “Come by tomorrow and drop off your resume.”

I went by the gallery the next day and Larry looked at my resume. He told me I had zero experience, that I was a professional tennis player, but that he’d give me one month. “See what you can do”, he said. During that month, I made every appointment imaginable with potential buyers, went to every opening, and only on the very last day of the trial month, I sold a Basquiat for $50k- it was 1993. I gave Larry the invoice, put it on his desk, and said, “I’ve made a sale”. He said, “OK, I’ll give you a job at $30k a year plus 10% of the gallery profits.

 In three and one-half years, I was the top sales person. Larry had two galleries in New York, one uptown and one downtown and one in LA and had shows with David Salle, Phillip Taaffe, Warhol and Basquiat.

IN OUR NEXT LRFA POST, CHRISTOPHE WILL DISCUSS THE OPENING OF HIS FIRST GALLERY IN NEW YORK AND SOME OF ITS MANY EXCEPTIONAL EXHIBITIONS.

IN THE MEANTIME, BE SURE TO VISIT THE VAN DE WEGHE BOOTH #8 AT  TEFAF, AT THE PARK AVENUE ARMORY ON 57th STREET, THE ILLUSTRIOUS MAASTRICHT FAIR LAUNCH IN NEW YORK AND THE GALLERY.

https://www.tefaf.com/fairs/tefaf-new-york-spring

CURRENTLY, AT VAN DE WEGHE FINE ART, 1018 MADISON AVENUE, BETWEEN 78TH AND 79TH STREET, THE GALLERY HOSTS AN INSTALLATION BY THE BRILLIANT CONTEMPORARY BRAZILIAN ARTIST, HENRIQUE OLIVEIRA, WHOSE WORK CHRISTOPHE FIRST VIEWED IN PARIS. DON’T MISS IT!

Henrique Oliviera
Palais de Tokyo Installation
2013-2016

 

HENRIQUE OLIVEIRA
Drawing for the Present Installation, 2017
Van de Weghe Fine Art

All Things Picasso with Gagosian’s rare book expert, Doug Flamm

picasso1

This month, in conjunction with the celebrated exhibition “Picasso’s Picassos: A selection from the Collection of Maya Ruiz-Picasso, at Gagosian Gallery, the bookstore offers a fantastic PICASSO TAKEOVER of books, ceramics, cards, film, all related to the great master! The exhibition itself, curated by Maya’s daughter, art historian and curator Diana Widmaier Picasso offers a unique collection of paintings and sculpture. Drawn from the forty-year period between 1931 and 1971, the selection provides a personal view of the family history reflected in Picasso’s celebrated oeuvre and the book store provides a wealth of rare publications, objects and catalogues.

Pablo Picasso Vase Dancer & The Musician Vase 2016 Limoges porcelain

Pablo Picasso
Vase Dancer & The Musician Vase
2016
Limoges porcelain

The LRFA blog is delighted to welcome back Doug Flamm for our now annual Holiday recommendations. Doug, formerly with Ursus Books for many years, has joined the Gagosian empire to offer his services as an experienced antiquarian book dealer and dedicated specialist of rare books and artists’ books. I know Doug’s expertise and knowledge will happily expand the artist book and publishing presence of this remarkable international gallery. What a pleasure to find Doug, his quiet scholarship and deep appreciation of the art of publishing, just a few blocks away! d.flamm@gagosian.com

Pablo Picasso Christian Zervos Catalogue Raisonne

Pablo Picasso
Christian Zervos
Catalogue Raisonne

Included in the PICASSO TAKEOVER is an extensive selection of Picasso’s rare illustrated books, historically important reference books, catalogues raisonnés, monographs and current museum exhibition catalogues. The store is projecting great video clips featuring archival footage of Picasso from films that are available for purchase. A selection of prints, photographs, textiles and tapestries, posters and ceramics also expand the selection. With the holidays but a breath away, the Gagosian bookstore will have you happily checking off many names from your shopping list!
http://www.gagosian.com/shop/

PABLO PICASSO Rafael Alberti, El Entierro del conde de orgaz, Gustavo Gili Ediciones de la Cometa, Barcelona, 1969

PABLO PICASSO
Rafael Alberti, El Entierro del conde de orgaz, Gustavo Gili
Ediciones de la Cometa, Barcelona, 1969

Of the extraordinary selection of rare books available in conjunction with “All Things Picasso”, Doug recommends a special look at

El Entierro del Conde Orgaz (1969)

PABLO PICASSO
Rafael Alberti, El Entierro del conde de orgaz, Gustavo Gili, Ediciones de la Cometa, Barcelona, 1969 (B. 1465-1477; C. Books 146)
the complete set of twelve etchings and one signed engraving, hors-texte, title page, text in Spanish, additional volume of lithographic text by the artist in Spanish, justification, on Romani, signed on the justification, copy 68 of 263, each the full sheet, generally in very good condition, loose (as issued), within the original brown paper wrappers with title on the front and parchment-covered portfolio box. 19 1/8 x 15 in. (486 x 381 mm.)
album

Picasso & the Camera Card Set

Picasso & the Camera
Card Set

More temptations to follow in the next LRFA post.

Launched in the fall of 2009, the Gagosian Shop is the gallery’s first retail venue, featuring Gagosian publications, posters, prints, and magazines as well as limited editions by John Currin, Ellen Gallagher, Damien Hirst, Jeff Koons, Yayoi Kusama, Takashi Murakami, Marc Newson, Richard Prince, Anselm Reyle, Ed Ruscha, Tom Sachs, Andy Warhol, and Franz West.

Designed by Daniel Rowen Architects with MN Design in collaboration with Gagosian Gallery, this 2,500 square foot space features the scholarly monographs, innovative catalogues, and limited editions that comprise Gagosian Gallery’s unparalleled publishing program.

unknown