Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Tag: secondary market

Cheim & Read looks to the future with gallery partner, Maria Bueno

Howard Read and John Cheim, partners Cheim & Read

 

ONE OF THE ADVANTAGES OF THE DIGITAL AGE IS THE AMOUNT OF MATERIAL ONE CAN VIEW, FROM GALLERIES ALL OVER THE WORLD, WITHOUT LEAVING HOME, PARTICULARLY WITH THE ADVENT OF GALLERIES LAUNCHING ONLINE VIEWING ROOMS. WITH THE ONLINE VIEWING ROOM, THE AUDIENCE FURTHER EXPANDS INTO ONE NOT LIMITED BY GEOGRAPHY. THE VIEWING ROOM IS AN ONLINE EXHIBITION SPACE WHERE VISITORS AND EXPLORE AND COLLECT WORKS FROM CURATED, ONLINE-ONLY EXHIBITIONS BY GALLERY ARTISTS AND SPECIAL COLLABORATIONS.

MANY OF THE LEADING GALLERIES HAVE INITIATED FOCUSED PROGRAMS THAT ARE BEAUTIFULLY CONCEIVED AND PRESENTED, OFTEN SEPARATE AND INDEPENDENT OF WORKS BEING SHOWN AT THE GALLERY OR IN A BOOTH AT AN ART FAIR  IN THE CONTINUING EFFORT TO REACH A BROADER, INTERNATIONAL AUDIENCE. SOMETIMES ONE CAN SEE THE WORKS IN THE FAIR BOOTH IN PERSON BUT ALSO ONE IS INTRODUCED TO WORKS THAT ARE SPECIFICALLY SELECTED SOLELY FOR THE VIEWING ROOM.  THE VIEWING ROOM HAS TAKEN ON A SIGNIFICANT MARKET PRESENCE OF ITS OWN.

https://hypebeast.com/2019/9/sterling-ruby-gagosian-online-viewing-room-frieze-london

IN LA, DAVID KORDANSKY GALLERY JUST ANNOUNCED THAT HIS GALLERY WILL LAUNCH ITS INAUGURAL ONLINE VIEWING ROOM IN NOVEMBER. IN THIS INSTANCE, THE SALES IT GENERATES WILL GO TO A CAUSE GREATER THAN JUST THE BOTTOM LINE, DONATED TO ORGANIZATIONS ACTIVELY ADDRESSING THE ISSUE OF CLIMATE CHANGE THUS ADDING SOCIAL IMPACT TO THE ONLINE VIEWING VEHICLE.

https://news.artnet.com/market/david-kordansky-online-viewing-room-1683550

Ron Gorchov
Current exhibition at Cheim & Read
23 East 67th Street, New York, NY

IT IS NO SURPRISE THAT CHEIM & READ HAS CREATED ITS FIRST ONLINE VIEWING ROOM IN CONJUNCTION WITH ITS INAUGURAL EXHIBITION IN ITS NEW SPACE – ANOTHER SIGN OF CHANGE, EXPANSION AND AN ADVANTAGEOUS USE OF TECHNOLOGY.

Cheim & Read is pleased to present our first online viewing room in conjunction with our inaugural exhibition, ron gorchov: at the cusp of the 80s, paintings 1979–1983. This online presentation offers an overview of Gorchov’s work, which can be classified into two types: saddles and stacks.

The first are the shield or saddle-like shaped paintings. Gorchov developed his signature format, in the late 1960s, by dipping wire forms in liquid that would eventually harden and become rigid (see below, GOSSIP, 1976). In the mid-1970s, the artist re-emerged after a hiatus from exhibiting his work publicly, and presented these early efforts stretching linen across a wooden saddle-shaped stretcher. Some paintings featured two keyhole-like figures side by side on a monochromatic ground, a motif the artist would return to over and over for the rest of his life. One example from this decade is COMET, 1974, in the permanent collection of the Museum of Modern Art, New York. Other series of works, such as the group of paintings on view at Cheim & Read, explore more pictorial methods of painting, with gestural brushstrokes and imagistic space. Over the intervening fifty years, Gorchov has continued to make paintings using this distinctive shaped canvas.

Lynda Benglis
Current, 1979

TODAY, THE LRFA BLOG IS DELIGHTED TO WELCOME BACK MARIA BUENO, DIRECTOR AND GALLERY PARTNER, TO TAKE ABOUT THE BRIGHT FUTURE OF CHEIM AND READ IN ITS BEAUTIFUL NEW UPTOWN LOCATION.

MARIA, WHAT ARE THE IMMEDIATE PLANS FOR THE GALLERY AND WHAT ARE SOME OF THE GOALS AND IDEAS THAT THE GALLERY WOULD LIKE TO REALIZE IN THE MORE DISTANT FUTURE?

The immediate plan was to be up and running in our space! We were all very excited for the September 26th opening of the paintings of Ron Gorchov.  We are working to confirm our exhibition program for 2021 as well as sourcing fresh and significant material from the secondary market.

WHAT IS THE NEW ADDRESS?

23 East 67th Street, between 5th and Madison Avenue.

https://www.cheimread.com/

Sean Scully
Night and Day
Cheim & Read

THAT’S A BEAUTIFUL BLOCK!  WHAT ARTISTS WILL YOU CONTINUE TO REPRESENT IN A MORE TRADITIONAL WAY?

Lynda Benglis, Louise Bourgeois, Ron Gorchov, Bill Jensen, Jonathan Lasker, Serge Poliakoff, and Sean Scully. 

WHAT ARTISTS WILL YOU SHARE WITH OTHER GALLERIES REPRESENTING PERHAPS THE EARLIER WORKS OR THE MORE RECENT ONES?

We are not interested in the traditional model of exclusive representation but instead will maintain our direct relationships with a number of artists and continue to work on their behalf.

Jonathon Lasker

THE GALLERY HAS A SPECIAL REPUTATION FOR ITS DEDICATION TO AND ASTUTE HANDLING  OF ARTISTS’ ESTATES. HOW WILL YOU LOOK TOWARDS THE SECONDARY MARKET RESALE FOR EITHER ARTISTS’ WHOSE ESTATES WITH WHOM YOU HAVE HAD A DEEP INVOLVEMENT OR FOR OTHER OTHERS THAT YOU DON’T REPRESENT.

Our strength in the secondary market comes from our depth of knowledge developed by decades of connoisseurship with a particular group of artists as well as our extensive archive over a twenty plus year period. It will be exciting to comb through our records to identify potential opportunities on the secondary market as well as begin new conversations with collectors who trust us to successfully deaccession their works by artists outside our program. 

Bill Jensen

WHAT ARE THE QUALITIES THAT CHEIM AND READ HAD OFFERED TO ITS LARGE ROSTER OF COLLECTORS THAT WILL CONTINUE TO SERVE YOU IN THE NEW SETTING?

We will continue to offer a particular artistic vision with an emphasis on painting or works related to painting installed in a beautiful environment. We will continue to share our knowledge and expertise about art to the public and strive to give our clients a professional and satisfying experience when working with us. We will be able to provide a level of individualized attention and sense of privacy that collectors do not get from larger galleries. We are confident this more intimate approach will be successful and look forward to the future.

Serge Poliakoff

 

MARIA, THANK YOU SO MUCH FOR SPEAKING WITH THE LRFA BLOG AT THE TIME OF YOUR LAUNCH OF YOUR NEW GALLERY SPACE. CONGRATULATIONS ON THE PUBLICATION OF A BEAUTIFUL MONOGRAPH ON THE HISTORY OF CHEIM & READ’S FIRST TWENTY-FIRST YEARS PUBLISHED BY DAMIANI IN ITALY.

https://www.damianieditore.com/

HERE’S TO 21 MORE!

The artist/gallerist relationship at Cheim & Read with director Maria Bueno

CHEIM & READ
23 East 67th Street

CHEIM & READ GALLERY HAS ALWAYS BEEN PRESCIENT ABOUT THE FUTURE OF THE ART MARKET. IN 2018, AT A PANEL AT ART BASEL MIAMI BEACH, CO-FOUNDER HOWARD READ,  AT “THE FUTURE OF THE ARTIST AND GALLERIST RELATIONSHIP” DISCUSSION, ANNOUNCED THE GALLERY’S PLANS TO OPEN ON THE UPPER EAST SIDE, AND LEADING THE WAY TOWARDS A NEW MODEL OF GALLERIES THAT IS MORE PROGRESSIVE. WHILE CONTINUING TO DEAL ON THE PRIMARY MARKET, WORKING DIRECTLY WITH ARTISTS IN RELATIONSHIPS THAT CHEIM & READ HAS LOVINGLY CULTIVATED OVER THE YEARS, THE GALLERY WILL CREATE  A MORE FLEXIBLE INFRASTRUCTURE, FOCUSING ON THE SECONDARY MARKET, COMMISSIONS, AND TARGETED ART FAIRS.

Art Basel Miami Beach
Conversations 2018
Howard Read

http://www.artnews.com/2018/12/07/dealer-howard-read-announces-new-art-commissions-farewell-castelli-model-business/

MARIA BUENO, DIRECTOR AT CHEIM & READ, CELEBRATES HER 10TH ANNIVERSARY AT THE GALLERY AND SHARES WITH THE LRFA BLOG THE GALLERY’S ENORMOUS RESPECT FOR ITS ARTISTS, AND SENSITIVITY TO THE ARTIST/GALLERIST RELATIONSHIP.

MARIA, WELCOME BACK AND THANK YOU FOR YOUR CONTRIBUTION TO THE LRFA BLOG.

WHAT WERE THE SUBSEQUENT STEPS THAT LED YOU TO CHEIM AND READ?

I graduated college, moved to Europe for a year (and worked for a gallery in Barcelona), and then came back and worked for Phillips in their contemporary art department. I started there as an administrator, then a junior specialist, and although I enjoyed the educational component of learning about new artists as well as the evening sales adrenaline rush, I missed the connection to working directly with artists. I kept in touch with Cheim & Read and when the timing was finally right, joined them in 2010.

Al Held
The Yellow X

HOW LONG HAVE YOU BEEN WITH THE GALLERY AND WHAT IS ITS BUSINESS STRUCTURE?

Next year will be my 10th year anniversary with Cheim & Read. It has been an honor and a privilege to work with John Cheim and Howard Read. They encouraged me to find my own identity and style as a dealer, supported projects or initiatives I thought would be beneficial to the gallery, and entrusted me to form my own relationships with the artists they so carefully cultivated over their careers.

For over two decades, Cheim & Read represented over twenty artists and estates and most of our focus was building and supporting these artists on the primary market. We also had a strong presence in the secondary market with artists with whom we had an interest or particular expertise. In June of 2018, we announced that we would be relocating from Chelsea to a more intimate gallery on the Upper East Side and shifting our business model to one that is more nimble, flexible, and in line with John Cheim and Howard Read’s interest in pursuing projects and working with artists they are truly passionate about.

Serge Poliakoff
Bleu Rouge
1951

DO YOU HAVE WORKING RELATIONSHIPS WITH SPECIFIC ARTISTS OR IS YOUR FOCUS PRIMARILY IN THE SALE OF WORKS FOR ALL THE ARTISTS THE GALLERY REPRESENTS?

We have a very organic approach to working with artists – there is no such thing as an “artist’s liaison” at Cheim & Read. John and Howard have their longstanding relationships with our artists and I support their efforts by developing my own relationships so that we can best service the needs of the artists on an individual basis. It has a family-like quality that I think is rare for galleries in the present day and has served us well throughout the gallery’s history.

Milton Resnick
Board Painting
courtesy of Cheim & Read

WHAT ARE THE WAYS IN WHICH A GALLERY BEST REPRESENTS AN ESTATE? IS THE EMPHASIS ON PLACING WORKS IN COLLECTIONS OR MUSEUMS OR IN ARRANGING MUSEUM EXHIBITIONS ON AN INTERNATIONAL BASIS?

Our strategy is to first mount exhibitions of important but perhaps overlooked periods in an artist’s career. The goal here is to expose curators, collectors, and the general public to a body of work that perhaps has not been seen in many years or has not been explored in further depth.

Notable examples of this are Al Held’s Alphabet Paintings (2013), Hans Hartung’s late paintings (2010), the work of Serge Poliakoff (2016), and the Board paintings of Milton Resnick (2018). These exhibitions are accompanied by scholarly publications with writing from curators or critics that helps to reframe this work a contemporary context. These efforts usually begin important conversations with museums to acquire works for their collection and/or mount their own presentation of the artist. We also establish more in depth strategies with each estate to feature works at art fair presentations or other exhibition or project opportunities, undertake outreach efforts to institutions and foundations to feature and/or acquire works, create and/or help organize an estate’s archive, and much more.

Hans Hartung
The Last Paintings 1989
Cheim & Read exhibition

IN OUR NEXT LRFA BLOG WITH MARIA BUENO, DIRECTOR OF CHEIM & READ, WE WILL EXPLORE JUST A LITTLE OF THE GALLERY’S VERY RICH HISTORY.

VISIT CHEIM & READ’S NEW UPTOWN SPACE, AT 23 EAST 67TH STREET, AND ITS EXUBERANT INAUGURAL EXHIBITION CELEBRATING THE WORK OF RON GORCHOV.

https://www.cheimread.com/

 

Van de Weghe Fine Art, a stellar exhibition history from Magritte to Carl Andre

Van de Weghe Fine Art
1018 Madison Avenue
New York City

CENTRAL PARK IS A SINGULAR DESTINATION IN NEW YORK. WHILE UPTOWN NO LONGER HAS A MONOPOLY ON UPSCALE LIVING, IT DISTINGUISHES ITSELF AS A HEARTLAND FOR EXCELLENT SCHOOLS, CLASSIC RESIDENCES, GREAT DINING AND THE LEGENDARY MUSEUM MILE THAT INCLUDES THE METROPOLITAN, MET BREUER AND THE GUGGENHEIM. IN THE LATE 19th CENTURY, NEW YORK’S ROBBER BARONS BEGAN BUILDING ALONG THAT STRETCH OF FIFTH AVENUE, PRIVATE RESIDENCES THEN, MUSEUMS NOW SUCH AS HENRY CLAY FRICK’S MANSION ON 70th AND FIFTH AVENUE AND THE NEUE GALLERY NEW YORK ON 86th STREET OFF FIFTH. BUILT BY INDUSTRIALIST WILLIAM STARR MILLER’S AND LATER OCCUPIED BY MRS. CORNELIUS VANDERBILT III, THE NEUE GALERIE WAS RESTORED TO ITS ORIGINAL CONDITION BY THE BRILLIANT ARCHITECT ANNABELLE SELLDORF WITH SUBTLE ADDITIONS OF ALL THE MODERN STANDARDS REQUIRED BY TODAY’S MUSEUMS.

Van de Weghe Fine Art

IN 2008, VAN DE WEGHE FINE ART RETURNED TO THE UPPER EAST SIDE TO OPEN A SECOND GALLERY AT 1018 MADISON AVENUE BETWEEN 78TH AND 79TH STREET, ULTIMATELY CONSOLIDATING TO THIS SINGLE NEW YORK VENUE. SINCE ITS INCEPTION IN 1999, THE GALLERY HAS PRESENTED SECONDARY MARKET MODERN, POST-WAR AND CONTEMPORARY EUROPEAN AND AMERICAN MASTERS. THE GALLERY HAS A LOYAL AND HARD-WORKING TEAM THAT  ALLOWS CHRISTOPHE TO TRAVEL WORLDWIDE TO VISIT COLLECTORS AND TO PARTICIPATE IN THE ART FAIRS THAT TAKE PLACE AROUND THE WORLD.

http://www.vdwny.com/

VAN DE WEGHE FINE ART,  1018 MADISON, IS HOUSED IN A LANDMARK ART BUILDING LOCATED BETWEEN 78th and 79th STREET NOTED FOR ITS BLACK AND WHITE TERRAZZO SIDEWALK CREATED BY ALEXANDER CALDER IN 1970.

The sidewalk was completed in 1970 and professionally restored in 2002 at a cost of $100,000 by the building owners from 1014-1018 Madison with the support of the Calder Foundation and NYC Landmarks Commission. Calder stayed at the 1016 townhouse with Klaus and his wife (who were dealers of modern works) frequently during the height of his career, and the mark he left is not only on the sidewalk in front.

Alexander Calder
Terrazzo Sildewalk
1018 Madison Avenue

CHRISTOPHE, WHAT PROMPTED YOUR RETURN TO THE  UPPER EAST SIDE?

I was the first gallery in Chelsea to show secondary market works in an exposed public space, giving the public, dealers and collectors access to my material. Most collectors of secondary market works tend to congregate uptown and stay in hotels or have homes on the Upper East Side. I had always loved the 1018 building and when Per Skarstedt’s space became available, I was excited to be in a space of his again.

RENÉ MAGRITTE
Van de Weghe Fine Art
November 2 – 22, 2006
Installation view

WHAT ARE SOME OF THE EXHIBITIONS AT 1018 MADISON THAT STAND OUT AND WHY? YOUR EXHIBITION HISTORY COVERS SUCH A WIDE SPECTRUM OF ARTISTS AND SIGNIFICANT MODERN MOVEMENTS. WHAT IS THE THINKING BEHIND YOUR CURATORIAL PROGRAM?

My thinking has always been very consistent. If I like a work as a collector and would want it in my home, then I will buy it.

Our 2016 exhibition of works by Rene Magritte has a special resonance for me. I feel close to him as he is a Belgian artist and my favorite surrealist and there is my family connection with the Magritte Room at the Grand Casino in Knokke.

Rene Magritte
Memory
1948

Our exhibit concentrated on the paintings, gouaches and drawings Magritte made in the 1940s and 50s. Magritte had developed a rich vocabulary of images of everyday objects and, unlike many surrealists,  utilized the techniques and materials we associate with academic representation.  While other surrealist painters tend towards a biomorphic abstract style, I am drawn to the simplicity and directness of Magritte’s images that also offer a wealth of meanings, symbols and poetic metaphor. 

DUANE HANSON
Queenie II, 1988
Bronze, polychromed in oil, mixed media with accessories
Lifesize

THE GALLERY HAS PRESENTED SEVERAL EXHIBITIONS OF THE WORK OF DUANE HANSON.

Yes, the gallery has worked with the estate of Duane Hanson for many years. I view him as one of the most important and influential American sculptors of our time. Hanson’s hyper-realists figurative works of the 1960s represent a radical return to figuration following a long period of abstraction in American art. His work was somewhat radical for its time. He studied at Cranbrook at a time when abstract art reigned, yet he embraced the figure and was a spokesman for the socio-political conscience of his time.

The works are cast from life, family, friends and neighbors often dressed in second-hand clothing. Life-size and lifelike, made of cast fiberglass and polyester resin, the figures are so faithful to reality that they often fool the public into believing they are real. In our 2013 Hanson exhibit, we concentrated on sculptures of ordinary people in everyday situations. Traveller, a bronze completed in 1987, presents a tourist who has taken a respite from his journey taking an improvised nap atop his baggage. In Bus Stop Lady, a polyvinyl work from 1983, a middle-aged woman waits for a ride with her shopping bags.  Both these subjects reflect a momentary pause en route to an unknown destination.

DUANE HANSON’S CHINESE STUDENT, 1989
REMEMBERING TIANANMEN SQUARE
JULY 6 – 31, 2014

In 2014, we installed Hanson’s Chinese Student, 1989: Remembering Tiananmen Square, to commemorate the 25th anniversary of the protests. In the late 1960s Hanson began to address social and political subjects in his brutally realist manner. In Chinese Student, Hanson marries the political with the personal. An ordinary student turned political activist sits on the ground holding a protest sign, human in his vulnerability yet symbolic of the political violence.

Andre/Judd
Van de Weghe Fine Art
May – June 2014

THE RANGE OF EXHIBITIONS IS SO BROAD WITH THE SINGULAR CRITERIA OF QUALITY AND ART HISTORICAL SIGNIFICANCE AS THE COHESIVE THREAD. YOU OFTEN EXHIBIT WORKS BY THE MINIMALIST WORKS, A PERIOD I PARTICULARLY APPRECIATE. WHAT ARE SOME OF THE EXHIBITIONS THAT DOCUMENT THIS MOVEMENT?

IN 2014, we juxtaposed the works of Carl Andre with those of Donald Judd. Both artists are key figures in Minimalism, using industrial and simple materials and repetitive forms to explore our sense of time and space. Both Andre and Judd are emphatically non-representational artists, creating seemingly simple works that demand close attention. 

Andre is best known for his floor installations, consisting of tile-like metal forms, and I was very pleased to be able to offer two strikingly different examples of these. 81 Ace Zinc Square, 2007 is a sprawling plane of 81 zinc plates arranged in a square with a mottled metallic surface. It occupied most of the floor in the main gallery while 6 Glarus Copper Integer, 2002 is a small arrangement in brilliant copper. 

Donald Judd

Judd, an art writer and theoretician as well as an artist, created simple, elegant forms from industrial materials: metals, plywood, concrete and Plexi. We were able to present a group of works that represent the series for which he is best known. Untitled, 1995, a “Swiss Box” aluminum enameled in reds and blues showcases Judd’s sense as a colorist while Untitled, 1969-1970, a bull-nosed “Progression” in shining brass, is emblematic of Judd’s elegant simplicity of form and material.

THE ART FAIR HAS DEVELOPED AN INTEGRAL PRESENCE IN THE ART MARKET, OFFERING A LEVEL OF CONCENTRATED SALES AND EXPOSURE TO COLLECTORS WORLDWIDE. MANY COLLECTORS PREFER ATTENDING FAIRS AS THEY PROVIDE A WIDE SPECTRUM OF ART IN A CONCENTRATED VENUE.

Van de Weghe Fine Art
TEFAF NYC SPRING 2017

VAN DE WEGHE FINE ART IS  A STELLAR PARTICIPANT IN THE BEST INTERNATIONAL FAIRS, CAREFULLY CURATING EACH BOOTH WITH WORKS BY ESTABLISHED MODERN AND CONTEMPORARY MASTERS. IN OUR NEXT LRFA BLOG POST, CHRISTOPHE WILL SHARE HIS THINKING ON THIS SIGNIFICANT ASPECT OF THE ART BUSINESS.

YOUR COMMENTS AND READERSHIP ARE VERY MUCH APPRECIATED!

 

 

A focus on quality: Van de Weghe Fine Art’s exhibition history

ALEXANDER CALDER
Three Segments, 1973
Hanging Mobile
VAN DE WEGHE FINE ART
November 2001 – January 2002

THE ART MARKET EMBRACES MANY WAYS OF DOING BUSINESS. PRIVATE DEALERS AND GALLERIES OFTEN CONCENTRATE ON A PARTICULAR MEDIUM, SUCH AS PRINTS OR PHOTOGRAPHY, A SPECIFIC PERIOD RANGING FROM OLD MASTERS TO CUTTING-EDGE CONTEMPORARY ART, OR A DISTINCT GENRE SUCH AS REPRESENTATIONAL OR ABSTRACT. AN ESSENTIAL DECISION FOR A GALLERIST OR DEALER IS WHETHER TO REPRESENT WORKS FROM THE PRIMARY OR SECONDARY MARKET AS A DIFFERENT SET OF CONSIDERATIONS FACTOR INTO THAT DEFINING CHOICE.

 

FRANK STELLA
Catal Hüyük (level VII) Shrine VII .45, 2000.
Aluminum and stainless steel
12’8″ x 14’4″ x 11’2″ (3.86 x 4.37 x 3.4 m)
VAN DE WEGHE FINE ART
November 2001 – January 2002

THE FIRST SALE OF A WORK OF ART EITHER FROM AN ARTIST’S STUDIO OR FROM A GALLERY DEFINES THE TERM “PRIMARY MARKET”. THE “SECONDARY MARKET” REPRESENTS WORKS THAT HAVE ALREADY BEEN SOLD AT LEAST ONCE AND FIND THEIR WAY BACK ONTO THE MARKET. THERE ARE MANY REASONS COLLECTORS CHOOSE TO DEACCESSION A WORK APART FROM THE OBVIOUS LIQUIDATION OF AN ASSET, AMONG THEM THE OPPORTUNITY TO UPGRADE TO A MORE SIGNIFICANT WORK BY THAT ARTIST, TO PROFIT FROM A SIGNIFICANT SURGE IN THE VALUE OF THE WORK SINCE ITS INITIAL PURCHASE OR TO DIVERSIFY THE HOLDINGS IN THEIR COLLECTION.  SOME GALLERIES DEPEND ON SECONDARY MARKET SALES OF ESTABLISHED ARTISTS OR ARTISTS’ ESTATES TO SUPPORT EXHIBITIONS OF WORKS BY THE EMERGING OR CUTTING-EDGE ARTISTS THEY REPRESENT.

THE ULTIMATE CRITERIA FOR WORKS IN THE SECONDARY MARKET IS QUALITY : THE SIGNIFICANCE OF THE WORK IN THE CONTEXT OF THE ARTIST’S OEUVRE, PROVENANCE, ITS EXHIBITION HISTORY, CONDITION, AND RARITY IN THE MARKET.

AS A DEALER AND GALLERIST, SINCE ITS OPENING IN 2000, VAN DE WEGHE FINE ART HAS FOCUSED ON SECONDARY MARKET WORKS OF ART, SETTING THE HIGHEST STANDARD OF WORKS OF IMPECCABLE QUALITY BY ESTABLISHED MODERN AND CONTEMPORARY MASTERS IN THE CONTEXT OF EXHIBITIONS THAT DEEPEN OUR UNDERSTANDING OF THESE ARTISTS.

THE LRFA BLOG IS VERY PLEASED TO WELCOME CHRISTOPHE VAN DE WEGHE BACK.

CHRISTOPHE, IN 2001 YOU OPENED A BEAUTIFUL, EXTENSIVE SPACE ON 23rd STREET IN CHELSEA WITH AN INAUGURAL EXHIBITION OF MONUMENTAL SCULPTURE BY FRANK STELLA, RICHARD SERRA AND ALEXANDER CALDER.

RICHARD SERRA
Kamakura Keystone, 1987
3 Hot-Rolled Steel Plates
VAN DE WEGHE FINE ART
November 2001 – January 2002

HOW DID THE MOVE FROM YOUR FIRST GALLERY ON EAST 76th  TO MUCH LARGER QUARTERS AFFECT YOUR EXHIBITION PROGRAM?

I decided to buy the space in Chelsea, and closed on September 13, 2001. I was crazy to do it then but I made the deal with the broker, Howard Reed, shook his hand, and did it! 

I have kept my concentration on the secondary market, specializing in work by modern, post-war and contemporary European and American artists. The gallery offers historically focused exhibitions, all accompanied by publications, that impact art historically as well as on the secondary market. It is my intent to promote works of quality, offer scholarship and value to our collectors.

http://www.vdwny.com

RICHARD SERRA
Where I’ve Always Come From, 1969/1981
VAN DE WEGHE FINE ART
February – May 2002

WHAT WERE SOME OF THE EXHIBITIONS IN THE 23rd STREET GALLERY THAT RESONATE THE MOST STRONGLY WITH YOU?

In February 2002, the gallery presented Richard Serra’s Prop sculptures. The exhibition was the first to focus on this dimension of his work, one of the most important series in his oeuvre. These sculptures are formed as metal plates, bars and falls of lead or steel. As a young man, Serra first encountered the material, lead antimony, used in commercial sheet metal, pipes and castings when working as a young man at steel mills and shipyards  to help send himself to school.

I wanted to deal with the volume, weight, mass, and directionality of the space … to make the volume of the space tangible, so that it is understood immediately, physically, by your body; not so that the sculpture is a body in relation to your body, but that the volume, through the placement of the sculptural elements, becomes manifest in a way that you experience it as a whole.–Richard Serra, 1992, Art of Our Time: 1950 to the Present, Walker Art Center. 

The exhibition was an incredible monumentally scaled installation involving a whole crew and engineering specialists. Our gallery walls needed to be reinforced to sustain the weight of the sculpture.

BRUCE NAUMAN
Neons, Sculptures, Drawings
Van de Weghe Fine Art
October 17 – December 14, 2002
Installation view

Another exhibit I was very pleased to organize was a historical exhibition of the works of Bruce Nauman. Nauman’s contribution to the aesthetic practice at the turn of the 21st Century has been nothing short of astounding. He has really been a sort of father figure for contemporary artists in the same way that Picasso was for his generation. He was a pioneer of new media such as video in the 60s and installation in the 70s and the exhibit included a wax version of Nauman’s iconic Henry Moore Bound to Fall, two early resin and fiberglass works from 1965 and a wonderful array of over twenty works on paper including a seminal group of drawings from the 60s based on the artist’s body as well as large-scale works that relate to his neons and sculptures.

 

ANDY WARHOL
Self-Portraits 1963-1986
Van de Weghe Fine Art
Installation view

An exhibition of which I am particularly proud is Warhol Self-Portraits: 1963 – 1986, that we held in April/May 2005. It was the first New York show devoted to Warhol’s images of himself and included  more than thirty-five paintings, with examples of almost all of the self-portrait images that Warhol made throughout his career.

I very much liked how many different variations exist. We would not be able to put together this exhibition today as the insurance would be prohibitive and I’m happy to have been able to do it when I did.

ANDY WARHOL
Self-Portraits 1963-1986, Van de Weghe Fine Art
April 20 – May 27, 2005

IN OUR NEXT POST, CHRISTOPHE WILL CONTINUE TO TRACK THE HISTORY OF GALLERY EXHIBITIONS.

CHRISTOPHE HAS A PARTICULARLY ASTUTE KNOWLEDGE OF  MASTER ARTISTS AND THE MARKET. DO TAKE THIS OPPORTUNITY TO POSE ANY QUESTIONS YOU MIGHT HAVE.

THANK YOU ALL FOR FOLLOWING THE LRFA BLOG!

 

 

Setting a high standard: Van de Weghe Fine Art opens in 2000 with a Warhol exhibit

Current Exhibition
HENRIQUE OLIVEIRA
Van de Weghe Fine Art

THE ART EMPIRE CREATED BY LARRY GAGOSIAN IS OFTEN SCRUTINIZED AND ANALYZED AS ARE MOST HIGHLY SUCCESSFUL OPERATIONS IN EVERY INDUSTRY. IN 2016, PHAIDON PUBLISHED “MANAGEMENT OF ART GALLERIES”, A UNIQUE RESEARCH PROJECT ANALYZING THE INNER LIFE OF ART GALLERIES BY MAGNUS RESCH, ART MARKET ANALYST, TECH ENTREPRENEUR AND PhD IN ECONOMICS. ONE OF THE UNDISPUTED CHARACTERISTICS OF GAGOSIAN’S SUCCESS, A NETWORK OF 16 OUTSTANDING GALLERIES AROUND THE GLOBE, IS THE INDEPENDENT, ENTREPRENEURIAL SPIRIT OF ITS DIRECTORS.

https://www.amazon.com/gp/product/0714873268/ref=as_li_tl?ie=UTF8&tag=magnusresch-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=0714873268&linkId=c7800f188d45652867475947b6ce55b9

CONFIRMED BY CAIT MUNRO IN AN ARTICLE ON ARTNET, AUGUST 5, 2015:

With spaces all over the world, Gagosian relies on a team of trusted directors to manage day-to-day operations and liaise with big-name artists and collectors. Each employee is reportedly assigned to manage an artist, while collectors are assigned to whomever they dealt with upon first contact.

IN 2015, JOURNALIST BRIAN BOUCHER, A CONTRIBUTING EDITOR TO ARTNET news TOOK A LOOK “INSIDE GAGOSIAN GALLERY’S TALENT FACTORY”, TRACKING THE PROFESSIONAL ACCOMPLISHMENTS OF “FORMER STAFFERS WHO HAVE GONE ON TO DO GREAT THINGS ON THEIR OWN”.

THE ARTICLE WOULD NOT HAVE BEEN COMPLETE WITHOUT A PROFILE ON CHRISTOPHE VAN DE WEGHE, FOUNDER AND OWNER OF VAN DE WEGHE FINE ART, 1018 MADISON AVENUE, BETWEEN 78th AND 79th STREET IN NEW YORK.

http://www.vdwny.com/

Christophe van de Weghe

Christophe van de Weghe, New York dealer

After spending seven years as a salesman with Gagosian, from 1993 to 2000, Christophe van de Weghe has gone on to run a Madison Avenue gallery. Van de Weghe exhibits at top art fairs like Frieze Masters, Art Basel, TEFAF and FIAC. He deals in modern and contemporary artists from Carl Andre and Francis to Rudolf Stingel and Christopher Wool.

 

Carl Andre
Third Copper Square, 2007
Andre / Calder/ Judd
August 1 – September 2, 2010

When asked what was the best thing he learned from the master dealer, Van de Weghe was unsentimental: “How to buy and sell artwork!”

One thing you probably didn’t know about the Belgian-born dealer is that from 1986 to 1989, he was an accomplished professional tennis player, ranked among the top 500 in his class worldwide by the Association of Tennis Professionals, he told artnet News.

https://news.artnet.com/market/gagosian-gallery-art-world-talent-factory-349742

CHRISTOPHE, WELCOME BACK TO THE LRFA BLOG. TO CONTINUE…

GAGOSIAN IS AN EXTREMELY POWERFUL INTERNATIONAL FORCE IN THE ART WORLD, REPRESENTING ARTISTS’ ESTATES, ESTABLISHED CONTEMPORARY MASTERS AND CONTEMPORARY ARTISTS WITH ACKNOWLEDGED CRITICAL AND COMMERCIAL RECOGNITION.

WHAT PROMPTED YOUR DECISION TO LEAVE AND OPEN YOUR OWN GALLERY?

After seven years, I had accumulated great experience and was doing well financially, but it was in me to have my own business. I had an entrepreneurial spirit from the start, liking the challenge of taking risks.

In 2000, I had heard about a small space on 76th Street between Park and Madison that housed Per Skarstedt, and I was very interested. After seven years, it was time to do it! I asked Larry if he would have lunch with me and told him I wanted to show him something, that I wanted him to see a space and was thinking about opening my own gallery. “I need your blessing, Larry, everything I know, I’ve learned from you and it is very important that you agree it’s time to fly with my own wings. There was one artist, in particular, that I was very close to that I wanted to exhibit. Larry said it was a very good idea and to do it. My first sale, in partnership with Larry, was a Warhol and it sold quickly. 

 

ANDY WARHOL: Works on paper from the early 60’s
An illustrated catalogue, with an essay by Gerard Malanga, who worked with Warhol during the ‘60s

THE INAUGURAL EXHIBITION AT VAN DE WEGHE FINE ART IN NOVEMBER-DECEMBER 2000, WAS ANDY WARHOL: WORKS ON PAPER FROM THE EARLY 60s. EVERY WORK WAS FIRST-TIER, WARHOL’S MOST ICONIC IMAGES:  THE CAMPBELL’S SOUP CANS, DOLLAR BILLS, AD LOGOS AND CELEBRITY PORTRAITS. THE EXHIBIT INCLUDED RARE, HAND-MADE WORKS ON PAPER AS WELL AS UNIQUE SILKSCREENED IMAGES. THE EXHIBIT WAS DOCUMENTED WITH AN ILLUSTRATED CATALOGUE WITH AN ESSAY BY GERALD MALANGA WHO HAD WORKED WITH WARHOL DURING THE 60s.

CHRISTOPHE, YOU SET A PRECEDENT WITH THIS EXHIBIT IN LAUNCHING SHOWS WITH HISTORICAL SIGNIFICANCE AND CURATORIAL IMPORT. HOW DID YOU DECIDE ON THIS SHOW AND WHAT DO YOU RECALL OF THE PUBLIC’S RESPONSE AT THE TIME?

When I opened the exhibit on 76th Street with Warhol’s Works on Paper From the Sixties I was able to obtain some great loans culled from a number of private collections. The exhibit provided a great opportunity to document Warhol’s talent as a draftsman and his experimental use of techniques that trace his path from the handmade to the ready-made.

One day during the show, I was sitting in my office and two people called, one a prominent Hollywood star and the other a famous singer in a well-known band. I was very proud that these people, whom I didn’t know, would call me to ask about the exhibit and that I had taken the leap to have my name on the door.

I soon outgrew the space and moved to 23rd Street between 10th and 11th Avenue in Chelsea.

LVR ASIDE TO CHRISTOPHE

I remember stopping by 76th Street to see an exhibition and visit with you. You sounded me out about taking a big space in Chelsea. I must have been playing devil’s advocate (“the voice of reason”) and I clearly remember your reply. 

This is the right time for me to do this. I have no wife and children yet and can take the risk”.

It rang so true. I was impressed by Christophe’s self-awareness and sense of purpose. I was certain the move would be expansive in every sense.  It is so nice when one’s powers of prediction prove  true – and in this case, it was accurate and  then some!

 

VAN DE WEGHE FINE ART
2003
521 West 21st Street

IN OUR NEXT BLOG POST, WE WILL TRAVEL TO CHELSEA AND THE OPENING OF VAN DE WEGHE FINE ART IN A  4000 SQUARE FOOT GALLERY SPACE. THE NEW LOCATION AFFORDED THE GALLERY THE OPPORTUNITY  TO PRESENT  MORE EXTENSIVE EXHIBITIONS AND SIGNIFICANT LARGE-SCALE WORKS.

PLEASE JOIN US!

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