London Gallerist Discovers Rare Monet Taped to Back of Pastel Bought at Auction

07/05/15 | by Vilém Stránský [mail] | Categories: ze sv?ta, osudy, ArtBohemia

Link: https://news.artnet.com/market/london-gallerist-rare-monet-hidden-310946?utm_campaign=artnetnews&utm_source=062415daily&utm_medium=email

London Gallerist Discovers Rare Monet Taped to Back of Pastel Bought at Auction

Lorena Muñoz-AlonsoWednesday, June 24, 2015

Claude Monet, Le Havre, la jetee (c. 1868) discovered taped to another pastel by the artist<br>Photo: Philip Toscano via The Guardian

Claude Monet, Le Havre, la jetee (c. 1868) discovered fastened to another pastel by the artist
Photo: Philip Toscano via The Guardian

Jonathan Green, director of London's Richard Green Gallery, hit the proverbial dealer's jackpot when he unwittingly purchased three pastels by Claude Monet at a Parisian auction in 2014 for the price of two.

After returning home, Green noticed that there was something fastened to the back of one of the two rare studies of skies that he had bought for an undisclosed sum—it turned out to be another pastel which depicts a jetty and a lighthouse at Le Havre in Normandy, where the legendary artist grew up.

The paper conservator Jane McCausland was hired to remove the tape, which revealed the secret Monet pastel. “We were very excited," Green told the Guardian. “Pastels by him are incredibly rare. These are a pointer to his future … You can see his fascination with light."

Moreover, the provenance of the three pastels is phenomenal—it links back directly to the artist, as all are thought to date to 1868, when Monet was still a struggling artist.

The pastels by Claude Monet bought by dealer Jonathan Green at auction<br>Photo via: Richard Green gallery

The pastels by Claude Monet bought by dealer Jonathan Green at auction
Photo via: Richard Green gallery

The pastels by Claude Monet are currently for sale at the London art fair Masterpiece<br /> Photo via: Richard Green gallery

The pastels by Claude Monet are currently for sale at the London art fair Masterpiece
Photo via: Richard Green gallery

They were Monet's wedding present in 1924 to Anne-Marie Durand-Ruel, the granddaughter of his dealer Paul Durand-Ruel, the first modern art dealer and Impressionist champion, and most recently the subject of a major exhibition at London's National Gallery.

Starting today, all three rare pastels are on display and up for sale at the London art and antiquities fair Masterpiece, for a combined total of £1.4 million ($2.2 million).

This is a momentous event, since, according to the gallery, the pastels have not been exhibited since 1928 and the 2014 auction marked their very first outing in the art market, as they had remained within the Durand-Ruel family until then.

“It's very unusual to have three Monet pastels," Susan Morris, senior researcher at Richard Green gallery, told the Guardian. “They really don't come up that much. It's also exciting to have it from Durand-Ruel, the man who created Monet's career."

Photograph of Paul Durand-Ruel in his gallery, taken by Dornac, about 1910 Archives Durand-Ruel

Photograph of Paul Durand-Ruel in his gallery, taken by Dornac, about 1910
Photo: Archives Durand-Ruel

Finding pieces taped to the back of works, or hidden in frames is a far more usual occurrence than it might seem at first. Last February, the Barnes Foundation in Philadelphia discovered two previously unknown sketches by Paul Cézanne on the backs of two important watercolors that hang in the galleries of the foundation.

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Artist Finds Possible Picasso from His Estranged Father in the Attic

07/05/15 | by Vilém Stránský [mail] | Categories: ze sv?ta, osudy, ArtBohemia

Link: https://news.artnet.com/art-world/painting-picasso-found-in-attic-312021

ART WORLD

Artist Finds Possible Picasso from His Estranged Father in the Attic

Amah-Rose AbramsFriday, June 26, 2015

Could Dominic Currie be holding a genuine Picasso?<br> Photo: via the <i> Scotsman</i>

Could Dominic Currie be holding a genuine Picasso?
Photo: via the Scotsman

Scottish pop artist Dominic Currie may have discovered a Pablo Picassorolled up in a suitcase given to his mother by his father, a Russian soldier, in the 1950s.

Currie never took his mother seriously when she claimed that she had a painting rolled up in a suitcase in the attic. When clearing out her house, he was about to throw a suitcase away when he thought he should open it to have a look at what was inside.

“It was a bombshell," he told the Scotsman. “We had thought ‘Let's just get this to the skip, let's do it'. […] we unrolled it and it was sack cloth with German writing on it. Inside it there was this old oil cloth underneath and newspapers from the Soviet Union in the 50s."

In 1998 Currie discovered that his biological father was a Russian soldier, Nicolai Vladimirovich, that his mother had met on holiday in Poland in 1955 when she was nineteen. The lovers had met up following the birth of their lovechild with Currie's mother Annette making trips behind the iron curtain.

Is the painting genuine? <br> Photo: via the <i>Scotsman</i>

Is the painting genuine? 
Photo: via the Scotsman

Vladimirovich gave her the painting knowing that, as a single mother, she would struggle financially. It seems she put it in the attic for a rainy day and left it there forgotten, until now.

The painting has now been sent to Christie's London to undergo a process of authentication. If the painting turns out to be real, Currie intends to sell the Cubist work in accordance with his parents wishes.

“It's a wonderful gift. It's like a message from both of them to me," said Currie of the find. “That's how it feels. It's like, “Here son, we're going to look after you. It's taken a wee while but we've got there."

Pablo Picasso handling Gary Cooper's gun (1958). Photo: André Villers.

Pablo Picasso handling Gary Cooper's gun (1958).
Photo: André Villers.

Scientists Confirm Colors Used in Matisse and Van Gogh Paintings Are Fading

07/05/15 | by Vilém Stránský [mail] | Categories: ze sv?ta, ArtBohemia

Link: https://news.artnet.com/in-brief/yellow-pigments-matisse-313844?utm_campaign=artnetnews&utm_source=070315daily&utm_medium=email

IN BRIEF

Scientists Confirm Colors Used in Matisse and Van Gogh Paintings Are Fading

Cait MunroThursday, July 2, 2015

Henri Matisse, Le bonheur de vivre (The Joy of Life) (1905). Photo: Wikipedia.

Henri Matisse, Le bonheur de vivre (The Joy of Life) (1905).
Photo: Wikipedia.

Scientists working in France, Belgium, and the United States have all confirmed that paintings by both Henri Matisse and Vincent Van Gogh are losing their bright yellow hues, which are slowly fading to more beige tones which give the works radically different appearances.

The loss of brightness is the result of a cadmium yellow pigment that was used on many Impressionist, post-Impressionist, and early modernist canvases, which contains properties that oxidize in the light, stripping the paint of its vibrant color.

The widespread use of the pigment means that the fading has implications for many masterpieces of the era.

Researchers studying both The Joy of Life by Matisse and Flowers in Blue Vase by Van Gogh posit that large areas of the works looked significantly different in color and general appearance when they were created a century ago.

"The results of this study reveal how critical it is to understand not only the chemistry of the discoloured paint," associate professor of the University of Delaware Jennifer Mass told the Telegraph, "but also the chemistry used to prepare the paints that were available to the turn of the 20th century's most treasured artists."

Photo: Telegraph.

Photo: Telegraph.

Interestingly, the cadmium yellow pigment seems to decline at similar rates regardless of factors like geographic location.

"I find it striking that in paintings of different artists and different geographical origins that (presumably) were conserved for around 100 years in various museum conditions, very similar chemical transformations are taking place," noted Professor Koen Janssens of the University of Antwerp in Belgium.

The cadmium yellow is not the only pigment suffering these effects. The red pigments used in many of Van Gogh's paintings are also losing their luster thanks to the compound minium, which scientists have found"whitens" under light. Like cadmium, paint containing minium (sometimes known as red lead) was once widely employed by painters.

Although the damage that has already taken place to the paint cannot be reversed, researchers are examining ways to minimize future deterioration, which may include encouraging museums to tweak their lighting and humidity levels.

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Art Market Data: Christie's Impressionist and Modern Art Market Share Collapses As Sotheby's Grows

07/05/15 | by Vilém Stránský [mail] | Categories: ze sv?ta, aukce, ArtBohemia

Link: https://news.artnet.com/market/christies-losing-impressionist-market-share-312753?utm_campaign=artnetnews&utm_source=070415daily&utm_medium=email

MARKET

Art Market Data: Christie's Impressionist and Modern Art Market Share Collapses As Sotheby's Grows

Eileen KinsellaTuesday, June 30, 2015

LONDONimAnalysis

Totals of London evening Impressionist sales in the last four seasons.
Source: artnet Analytics

 

Impressionist sales at Christie's and Sotheby's in London this past week featured the usual handful of headline-grabbing prices—a £25 million ($39 million) Gustav Klimt and a £21 million ($34 million) Kazimir Malevich among them. But it appears that fewer and fewer of those sales are taking place at Christie's.

While both the Klimt and the Malevich were sold at Sotheby's, Christie's highest figure was the £10.8 million ($17 million) paid for a Claude Monetpainting, Iris Mauves (1914–1917).

Having dominated the Postwar and contemporary realm in recent seasons with jaw-dropping totals for evening sales—such as this past fall's $852.9 million auction in New York—Christie's Impressionist and modern art market share continues to decline, while Sotheby's is on the rise.

Christie's June 23 London evening sale of Impressionist art pulled in £71.5 million (about $113 million), its lowest total in the past four years. In comparison, the evening sale total was $222 million in February 2015, $146 million in June 2014, and $288 million in February 2014.

Sotheby's totals, on the other hand, have been climbing. Its June 24 evening sale brought in £178.6 million ($282 million), its highest in the past four seasons. The comparable evening total this past February was $280 million, $207 million in June 2014, and $266 million in February 2014.

Combined Christie's and Sotheby's evening sale totals for the last four London seasons. Source: artnet Analytics

Combined Christie's and Sotheby's London evening Impressionist sale totals for the last four seasons.
Source: artnet Analytics

Overall combined Impressionist totals at both houses have also, on the whole, been trending downward. This past week's evening sales in London totaled $395 million. This was down from $502.9 million this past February; but higher than the sales of a year ago in June, which totaled $353.8 million. In February 2014, when both houses also offered a number of works of Surrealist art, the total, buoyed by the additional selection, reached $554.8 million.

This past spring, Christie's shook up the entire auction schedule by pushing back its New York evening Impressionist sale to the far end of the the two-week season and mounting an additional hybrid Impressionist and contemporary sale smack in the middle of the season. Some observers said this move—which did not even come with a formal announcement—was done in an effort to take the focus off a less-than-stellar Impressionist offering.

The fact that its specially-themed auction "Looking Forward to the Past," boasted Picasso's Les Femme d'Algers (Version “O"), 1955, which sold for $179.4 million and is now by far the most expensive painting ever sold at auction, certainly diverted some attention away from the dedicated evening Impressionist sale held later that week.

Looking at the New York Imp Mod sales this past season on the whole, their Impressionist market share appeared stronger than it had in recent years. The standard evening Impressionist sale at Christie's on May 14 realized $202 million. Granted, if you include figures from the Impressionist portion of the Looking Forward sale, which held the prized Picasso, (and which might have, in prior years been sold off in the Imp Mod sale), you would have added $492.9 million to that number (the Picasso alone brought in $179.4 million).

Prior to this bump, evening sales in the previous seasons brought in $165 million in November 2014, $285.9 million in May 2014, and $144.3 million in November 2013.

Comparable evening Impressionist sale totals at Sotheby's were $368.3 million in May 2015, $422 million in November 2014, $219 million in May 2014, and $290.2 million in November 2013.

The London contemporary sale series is already underway with Phillips holding its evening contemporary sale Monday, followed by Christie's evening sale on June 30, and Sotheby's evening sale on July 1.

For related coverage see:

$39 Million Klimt Leads Sotheby's $280M Impressionist Sale

Christie's Impressionist and Modern Sale Reaches $113 Million Despite the Odds

Is Christie's Abandoning the Impressionist Market

 

Follow artnet News on Facebook and @KinsellaEK on Twitter.

 

Christie's art auction of Picasso and Giacometti could set world records

05/12/15 | by Vilém Stránský [mail] | Categories: ze sv?ta, aukce, ArtBohemia

Link: http://www.theguardian.com/artanddesign/2015/may/11/christies-art-auction-picasso-giacometti-records

Picasso painting could sell for $140m, which would make it the most expensive artwork at auction, as wealthy collectors are willing to pay top dollar for fine art

picasso christie's women of algiers

With collectors’ appetite for masterpieces of impressionist, modern and contemporary art seemingly unbounded, two works are poised to challenge world auction records on Monday.

Pablo Picasso’s Women of Algiers (Version O), a vibrant, multi-hued painting featuring a scantily attired female amid smaller nudes, could sell for more than $140m, becoming the most expensive work of art at auction, according to Christie’s. The evening sale also features Alberto Giacometti’s life-size sculpture Pointing Man for an estimated $130m. That could earn it the title of most expensive sculpture sold at auction.

Padl auk?ní rekord, Picassovy ženy se vydražily za 4,4 miliardy korun

12. 05. 15 | by Vilém Stránský [mail] | Kategorie: ze sv?ta, aukce, ArtBohemia

Link: http://kultura.idnes.cz/obraz-pabla-picassa-alzirske-zeny-dlw-/vytvarne-umeni.aspx?c=A150512_071318_vytvarne-umeni_neh

Obraz Pabla Picassa Alžírské ženy se stal v?bec nejdražším výtvarným dílem prodaným v aukci. | foto: AP

Auk?ní rekord padl b?hem stejné dražby rovn?ž mezi sochami, když se dílo Švýcara Alberta Giacomettiho prodalo za 141,3 milionu dolar?.

Odhadní cena Picassovy kubistické olejomalby z roku 1955 p?itom ?inila 140 milion?, dramatický souboj n?kolika zájemc? dražících po telefonu však takzvanou kladívkovou cenu p?i posladním odklepnutí vyhnal až ke 160 milion?m, což po p?i?tení více než dvanáctiprocentní provize auk?ní sín? dává zmín?nou rekordní sumu.

Obraz Pabla Picassa Buste de Femme (femme a la resille) b?hem aukce Christie's.

Picasso v letech 1954 až 1955 vytvo?il celkem 15 variací inspirovaných obrazem Eugena Delacroixe z roku 1834 a ozna?il je písmeny A až O. Verze prodaná v pond?lí v New Yorkunese ozna?ení O, a je tedy vyvrcholením celého cyklu. V pop?edí obrazu namalovaného v jásavýchbarvách stojí postava polonahé ženy, pro niž Picassovi stála modelem jeho múza a pozd?jší manželka Jacqueline Roqueová.

Podle zástupc? Christie´s jde patrn? o nejd?ležit?jší Picass?v obraz z t?ch, které jsou v soukromých rukou. Prodávající získal plátno v roce 1997 za 31,9 milionu dolar?, uvedla auk?ní sí?. Dosud nejdražším vydraženým Picassovým dílem byla malba Nahá v socha?ském ateliéru, která se v roce 2010 prodala za 106,5 milionu dolar?.

V?bec nejdražší vydraženou sochou se na pond?lní newyorské aukci stala metr a p?l vysoká bronzová plastika Ukazující muž, kterou jeden z nejslavn?jších socha?? 20. století p?ekonal p?edchozí rekord jiného vlastního díla. Socha Jdoucí muž I, která se prodala v roce 2010 za 104,3 milionu dolar?, je po pond?lku „až“ druhým nejvýše vydraženým socha?ským dílem historie.

Celkov? se na pod?lní dražb? prodaly p?es t?i desítky d?l um?ní nedávné historie za celkovou cenu 706 milion? dolar?. Vysoké ceny jsou podle expert? ur?eny poptávkou po výjime?ných dílech mezi sb?rateli i zájmem o výnosnéinvestice do um?ní.


Auto?i: ?TKiDNES.cz

Zdroj:http://kultura.i

Obraz Pabla Picassa Alžírské ženy se stal v?bec nejdražším výtvarným dílem prodaným v aukci. V newyorské auk?ní síni Christie´s se jedna z verzí tohoto proslulého plátna vydražila za 179,4 milionu dolar? (4,4 miliardy korun). Dosud nejdražším vydraženým dílem byl obraz Francise Bacona T?i studie Luciana Freuda, který se v roce 2013 prodal za 142 milion? dolar?.

Zdroj:http://kultura.idnes.cz/obraz-pabla-picassa-alzirske-zeny-dlw-/vytvarne-umeni.aspx?c=A150512_071318_vytvarne-umeni_neh

dnes.cz/obraz-pabla-picassa-alzirske-zeny-dlw-/vytvarne-umeni.aspx?c=A150512_071318_

Is Christie's Abandoning the Impressionism and Modern Art Market?

05/05/15 | by Vilém Stránský [mail] | Categories: ze sv?ta, aukce, ArtBohemia

Link: https://news.artnet.com/market/christies-abandoning-impressionism-modern-art-market-293333?utm_campaign=artnetnews&utm_source=050415daily&utm_medium=email

Is Christie's Abandoning the Impressionism and Modern Art Market?

Brian BoucherMonday, May 4, 2015

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Pablo Picasso Femmes d'Alger (1955) will be offered at Christie's on May 11 with an estimate of $140 million.

Pablo Picasso Femmes d'Alger (1955) will be offered at Christie's on May 11 with an estimate of $140 million.

When Christie's puts Pablo Picasso's storied 1955 painting Les Femmes d'Alger (Version “O") on the auction block with an estimate of $140 million next week, it may make history in more ways than one.

With that canvas, the auction house aims to set an auction record not only for the artist (Picasso's high stands at $106.5 million, set at Christie's in May 2010 with the painting Nude, Green Leaves and Bust), but also for any work of art at auction. That high water mark stands at $142 million for a triptych, Three Studies of Lucian Freud, by Francis Bacon, sold at Christie's in 2013.

"It's one of the great Picassos, period," Derek Gillman, the new chairman of Christie's Impressionist and modern art department, toldABC Australia, “and it's one of the last great Picassos that has been in private hands."

But while Picasso is a modern icon, this masterpiece is being offered not in the May 13 Impressionist and modern art evening sale, but rather on May 11, as part of a "curated" event the house is calling “Looking Forward to the Past." Titled like a James Bond film, the sale will offer “a distinct and dynamic perspective on some of the greatest and most revolutionary artists of the 20th century," Christie's touts on its website—purportedly by showing how the artists looked to art history for inspiration.

The sale will also include a sculpture by Alberto Giacometti tagged in the highly elevated region of $130 million, which could set a record for a sculpture at auction (see $140 Million Picasso at Christie's Is World's Most Expensive Painting at Auction and Giacometti Bronze Set to Become the World's Most Expensive Sculpture at Christie's May Auction).

Getting the works for the auction has been a team effort, according to the house, but it's billed as being conceptualized by postwar and contemporary art specialist Loic Gouzer, who has fronted headline-grabbing sales before, notably a May 2014 sale that set a dozen artist records (see Christie's New Contemporary Sale a $135 Million Thumping Success). That blockbuster followed a 2013 sale he organized with Leonardo DiCaprio that benefited the movie star's foundation, which aims to support efforts of environmental preservation. That sale set 13 artist records.

After all the very best modern works have been sold off and the buzz from the 20th-century auction dies down, the Impressionist and modern art sale will quietly kick off. The sale's low total—it's expected to bring in just $160 million—raises the question, is that sale getting phased out? And if so, what will move into its place?

The house has been making other surprising moves lately. For one, it recently shook up its calendar. While the houses have for many years held their Impressionist and modern sales in the first week of May, Christie's moved this month's sale to the following Thursday, without so much as announcing this seismic shift with a press release (see Why Is Christie's Shaking Up Its Spring Auction Schedule?).

Derek Gillman. Photo: Philly Record.

Derek Gillman. Photo: Philly Record.

 

Enter Former Barnes Head Derek Gillman

If changes are afoot, maybe we can find a clue as to what's going on in the house's most recent hire for the struggling department.

The auctioneer is of course always in competition for the best consignments and personnel with arch-rival Sotheby's, and while Christie's has notched ever-larger sales of postwar and contemporary art (see Epic Christie's $852.9 Million Blockbuster Contemporary Art Sale Is the Highest Ever), it has lagged in the Impressionist and modern department.

Hoping to turn things around, the auctioneer's headhunters turned up Gillman, who had left the Barnes Foundation in January 2014 after the institution's contested move from the suburbs into Philadelphia proper (see Christie's Appoints New Impressionist and Modern Art Chairman for the Americas).

To review: the Barnes move went against the founder's wishes, spurred legal challenges, and was the subject of the contentious 2009 documentary The Art of the StealTime magazine's Richard Lacayo branded the move “death by disembowelment," and the New York Times' Nicolai Ouroussoff dubbed the move “a crime."

The foundation's unparalleled collection of Impressionist, Post-Impressionist, and modern paintings, along with extensive holdings of decorative arts, is now on view in a new $150-million building and it precisely mimics the setup of the old galleries. Museum officials boast a fivefold increase in annual attendance since the move. At the time of Gillman's resignation, the museum proclaimed that he had increased its endowment by $50 million, but it hasn't answered emailed requests and phone calls asking for the before-and-after figures that would shed light on how major that increase was.

Gillman isn't the first museum director to make the leap to an auction house. Lisa Dennison has served since 2007 in the postwar and contemporary art department at Sotheby's New York, since leaving the Guggenheim after two years as the director and a whopping three decades in the museum's curatorial department.

But in conversations with artnet News, several top New York art advisers and dealers, speaking off the record, scratched their heads at Gillman's appointment. Two of them pointed out that Dennison's Guggenheim tenure involved courting lenders and donors, which is not something that would have been required in the case of running the Barnes.

The auction house declined to make Gillman available for an interview or to answer questions by email for this article.

At least one New York dealer and auction house veteran, though, is sanguine about Gillman.

“Derek is a great hire," Daniella Luxembourg told artnet News by phone. Luxembourg herself worked for Sotheby's for years before starting a partnership with auctioneer Simon de Pury (now an artnet News columnist) which was then bought by luxury goods magnate Bernard Arnault and merged with auction house Phillips.

“Auction houses have a long and successful history with academics and curators," she said, citing examples such as Charles Moffett, who left Sotheby's in November after sixteen years and was previously a curator at institutions such as the National Gallery of Art, Washington, D.C., and the Metropolitan Museum of Art, in New York.

“Derek has a broad base of knowledge," she added, "and knowledge is the biggest asset in that game."

Todd Levin, director of New York's Levin Art Group, cautions against judging Gillman too soon.

“With a slightly unexpected choice like Gillman, Christie's picked someone who won't be immediately judged based on his brand," Levin said. “Sotheby's made a similar choice with its new CEO, Tad Smith. It gives them a little breathing room."

A Résumé Mostly in Museums

As it happens, Gillman got his start at Christie's. In 1977, he kicked off a four-year stint in the Chinese art department at the auction house's London branch. But his experience since then has been with nonprofits. After Christie's, he headed to the British Museum as a research assistant on Chinese art.

From 1985-95, he directed the Sainsbury Centre at the University of East Anglia, whose collections span from Oceanic, African, and Asian art to Picasso, Giacometti, and Modigliani. He also earned a law degree during that time. He then jetted to Australia for a four-year term as deputy director of the National Gallery of Victoria, Melbourne.

From 1999 to 2006, he was executive director and provost, then president and CEO, of the Pennsylvania Academy of the Fine Arts, the Philadelphia museum and art school. Asked about his achievements there, a press rep cited overseeing the school's anniversary and converting a formerly industrial building into additional gallery and classroom space.

Upheaval at Both Houses

Gillman's duties will encompass enticing collectors to choose Christie's over Sotheby's when they decide to part with their Picassos, Monets, and Renoirs. He'll also cultivate new clients in both the U.S. and China, where perhaps his academic specialty in Chinese art will come in handy. Gillman was traveling in London and Shanghai in the weeks leading up to the May sales.

He'll report to Marc Porter, chairman of Christie's Americas since 2010, while Giovanna Bertazzoni, international head of Impressionist and modern art, and Brooke Lampley, international director and head of development, run the department.

Gillman's appointment comes amid turmoil at both houses after the November auctions, with longtime CEO Bill Ruprecht forced out at Sotheby's, quickly followed by the outing of Christie's head Steven Murphy (see Say Goodbye to the Rug Guy, Sotheby's CEO William Ruprecht Pushed Out and Why Was Christie's CEO Steven Murphy Fired?).

Former Madison Square Garden CEO Tad Smith got the nod at Sotheby's (see Will Sotheby's Again Fall Victim to Corporate Hubris With Dan Loeb, Tad Smith Takeover?), while Patricia Barbizet, a longtime employee of Christie's owner François Pinault, is running the show at Rockefeller Center, in an appointment that insiders speculate may be temporary.

Having created a position for the newcomer, the auctioneer has to be hoping for good things from Gillman and his colleagues, especially when reviewing the numbers on recent sales.

Since May 2011, only one of its eight New York Impressionist and modern art auctions (the November 2014 sale) has edged past its pre-sale high estimate; four fell short of the house's lowest expectation, while three came within the estimated range. Its archrival, Sotheby's, has bested it seven out of those eight times, four of those times doubling Christie's total.

When presented with these realities, the house defended its record, pointing out that its 2014 total in Impressionism and modern art was higher than the year before and that the percentage of lots that found buyers at these sales “outpaced our competitor."

To be fair, better “sell-through rates," as the houses call them, reflect more tightly edited sales, which is useful in a landscape where, season after season, bidders say that there's a dearth of great material on offer.

Is the Impressionist and Modern Sale Getting Phased Out?

Christie's is promoting its May 11 sale, with the Picasso and the Giacometti, as spanning “from Monet to Kippenberger." The house seems to want to shake up the long-held categories (Impressionists and modern artists together, postwar and contemporary in their own sale) that have pertained for years. In the process, though, will it undermine its own Impressionist and modern department by siphoning off the top consignments? What's more, moving the sale to the end of auction season may put it at a further disadvantage, as potential buyers could find themselves tapped out.

It's ironic; Gillman moved the Barnes' Impressionist and modern masterpieces from the suburbs to Philadelphia. Is the house moving its best offerings from those historical periods to a new venue, too, and just as Gillman arrives?

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Cheat Sheet: Top Collectors, Jeffrey Deitch, and Peggy Guggenheim's Art and Sex-Fueled Life

05/03/15 | by Vilém Stránský [mail] | Categories: ze sv?ta, osudy

Link: https://news.artnet.com/art-world/cheat-sheet-jeffrey-deitch-293593?utm_campaign=artnetnews&utm_source=050215daily&utm_medium=email

Cheat Sheet: Top Collectors, Jeffrey Deitch, and Peggy Guggenheim's Art and Sex-Fueled Life

Christie ChuSaturday, May 2, 2015

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Peggy Guggenheim for Look (1966). Photo: by Tony Vaccaro.

Peggy Guggenheim for Look (1966). 
Photo: by Tony Vaccaro.

THE TOP INTERNATIONAL COLLECTORS
This week artnet News released our list of the top 200 international collectors which include a generation of tycoons, celebrities, and philanthropists that range from heirs to Middle Eastern fortunes to young tech entrepreneurs. Curious to know who made the list? See artnet News Top 200 Art Collectors Worldwide for 2015, Part Oneand artnet News Top 200 Art Collectors Worldwide for 2015, Part Two.

BELOVED CURATOR JANE FARVER DIES IN VENICE
Curator and former head of the List Visual Arts Center at MIT Jane Farver passed away in Venice on the eve of the Biennale. Farver was working with artist Joan Jonas on her exhibition for the US pavilion. The cause of her death has not been officially announced, but sources indicate that the curator died from a heart attack. To read words of remembrance of Farver from former colleagues, see Jane Farver, Former MIT List Head and Queens Museum Curator, Has Died in Venice.

JEFFREY DEITCH TO CO-CURATE CONEY ISLAND STREET ART SHOW
Dealer and curator Jeffrey Deitch will be co-curating a street art show on Coney Island this summer with Joseph Sitt, the head of real estate developing company Thor Equities. Since returning to New York from Los Angeles after a thorny tenure at LA MOCA, he's been engaged in a variety of curatorial projects (see Jeffrey Deitch and Mana Contemporary Celebrate Armitage Dance and Art). This one, sees him partnering with what a Huffington post blogger once called "Satan's real estate division." See Jeffrey Deitch Has Sunk So Low He's Curating for Property Developers on Coney Island.

PEGGY GUGGENHEIM ON ART AND SEX
In our preview of a documentary by director Lisa Immordino-Vreeland about the infamous Peggy Guggenheim, whose uncle Solomon founded the namesake museum, we discover a world of art, glamour, and lots of sex (she was a self-proclaimed "nymphomaniac"). The heiress-turned-art-dealer rubbed shoulders with everyone from Picasso and Gertrude Stein to Wassily Kandinsky (whom she gave his first UK solo show) andJackson Pollock. Read more steamy details here: Peggy Guggenheim Documentary by Lisa Immordino-Vreeland Reveals Life of Nonstop Art and Sex.

JAIL TIME FOR JASPER JOHN'S FORMER ASSISTANT
No bad deed goes unpunished in this assistant's tale of thievery. James Meyer, the former assistant to American artist, Jasper Johns, was sentenced to 18 months prison following his admission to stealing works from the artist's Connecticut studio and selling them through New York galleries. Meyer, who worked with Johns for 25 years, stole $6.5 million worth of work over a six-year period. See Jasper Johns's Former Assistant Sentenced to 18 Months In Prison for Stealing Paintings.

NEWS TO KNOW

Only 10% Of Museumgoers Can Tell The Difference Between a Masterpiece and a Fake — Really, That Many?

05/03/15 | by Vilém Stránský [mail] | Categories: ze sv?ta, originály vers.falza

Link: https://news.artnet.com/in-brief/fake-old-master-painting-292561?utm_campaign=artnetnews&utm_source=042915daily&utm_medium=email

Only 10% Of Museumgoers Can Tell The Difference Between a Masterpiece and a Fake — Really, That Many?

Cait MunroTuesday, April 28, 2015

Can you spot the fake? Photo: Dulwich Picture Gallery/BBC

Can you spot the fake?
Photo: Dulwich Picture Gallery/BBC

Only 10% of museumgoers passed a cheeky test proposed at London's Dulwich Picture Gallery, where conceptual artist Doug Fishbonechallenged them to distinguish a fake from a masterwork (see Doug Fishbone's Mini Golf for Venice Biennale).

In February, Fishbone replaced Rococo French master Jean Honoré Fragonard's Young Woman with a canvas produced in China and worth about $120 (see Artist Hides Forgery in Major London Museum).

As part of Fishbone's project, "Made in China," the public was asked whether they could identify the counterfeit amidst the collection of about 270 Old Master paintings, which includes works by artists like Rubens, Titian, and Gainsborough. Out of 3,000 participants, only 10% got it right.

"This is a quiet project, but it raises all sorts of broader questions: how do we interact with culture in our institutions; what does the exhibition context bestow on an object?" Fishbone told artnet News at the outset of the experiment (see Artist Hides Forgery in Major London Museum). Fishbone, an American-born, London-based artist, has previously had solo shows at the Tate, Rokeby Gallery, and Gimpel Fils (all in London). He is best known for his 2010 film Elmina, which premiered at the Tate and was nominated for an African Movie Academy Award in Nigeria.

"I'm hoping that it will encourage people to look with much greater focus and with a heightened sense of awareness at the actual artworks," he added. "When you walk into a collection with a large amount of paintings, it's very easy to gloss over everything quickly and to take it all in as a kind of vista."

Hoping to explore the power of context in an age of accelerated globalization, Fishbone commissioned the knockoff painting from the Meishing Oil Painting Manufacture Company, one of China's numerous exporters of oil paintings that quickly produce copies of masterworks by Picasso, Matisse, and van Gogh.

It's worth noting that, legally speaking, the works are not considered fakes, as the studio is careful to change the size of the canvases slightly from the originals.

According to chief curator Xavier Bray, Fishbone succeeded in his goal of getting people to pay closer attention. "Never before have I seen so many people actively looking at each painting," he told the BBC.

The Fragonard was returned to its customary place today. Its replica will hang alongside it until July 26.

Follow artnet News on Facebook and @caitmunro on Twitter.

Italians Sell Off Rialto Bridge Advertising Space During Venice Biennale For €5 Million

05/03/15 | by Vilém Stránský [mail] | Categories: ze sv?ta, osudy

Link: https://news.artnet.com/art-world/5-million-rialto-bridge-used-prime-ad-space-venice-biennale-293005?utm_campaign=artnetnews&utm_source=042915daily&utm_medium=email

Italians Sell Off Rialto Bridge Advertising Space During Venice Biennale For €5 Million

Lorena Muñoz-AlonsoWednesday, April 29, 2015

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The Rialto Bridge in VenicePhoto via: Flickr

The Rialto Bridge is the oldest bridge in the Grand Canal in Venice.
Photo via: Flickr

Works to restore the famous Rialto Bridge, built in 1588, have begun in Venice, just days before the crowds attending the 56th Venice Biennale begin to arrive, El País reports (The 2015 Venice Biennale List of Artists Is Out—See Our Exclusive).

The Renaissance bridge—the oldest in Venice's Grand Canal—is undergoing a complex restoration that is expected to take 18 months to complete and will entail the partial closing of its stairs.

The refurbishment of the Rialto Bridge is being funded by fashion tycoon Renzo Rosso, president of OTB Group, which owns the brands Maison Margiela, Marni, and Diesel among many others.

Rosso has pledged €5 million to the Rialto project, on condition that the scaffolding covering the bridge will be installed by May 1 and display billboards promoting OTB Group brands. With the Venice Biennale preview kicking off on May 6, it's hard to think of a better advertising spot (see Venice Biennale Curator Okwui Enwezor on "All the World's Futures," Karl Marx, and The Havana Biennial Boycott).

In cash-strapped Italy, coming up with the resources to fund major renovations hasn't been easy. In the last year, a number of private donors have stepped in to provide the funds needed to preserve Italy's heritage (see Luxury Brands Fund Restoration of Italy's Monuments,Uffizi to Reopen Eight Renaissance Rooms After Ferragamo Gift andBulgari Will Foot the Bill for the Renovation of Rome's Spanish Steps).

The bridge is mostly made of Istrian stone, a durable type of limestone quarried locally. “Istrian stone is a solid material, but delicate at the same time, because when water permeates it, it runs the risk of breaking," Elizabetta Ghittino, one of the restorers in the team, told El País.

The alarming condition of the bridge became clear in the summer of 2011, when the 140 small columns that support the banister collapsed.

In 2013, the city council commissioned a report, which revealed that—while the bridge is not at risk of collapsing—the area around the adjacent Camerlenghi Palace has sunk 25 centimeters since it was first built.

Follow artnet News on Facebook and @selfselector (Lorena Muñoz-Alonso) on Twitter.

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