Gallery Art owner Kenneth Hendel holds on tightly to Picasso’s ‘Portrait de Marie-Therese’ at his gallery in Aventura on Wednesday, April 20, 2016. Hendel received a letter from a New York law firm saying that the Picasso in his gallery was stolen ten years ago from the Tisch family and they just noticed it was missing now. The gallery owner contends he bought the art from another dealer – paid $350,000 for it — and that he knows nothing about it being stolen.
PATRICK FARRELL firstname.lastname@example.org
With art market pundits anticipating a ‘chill’ in 2016, Christie’s opening salvo was conversely mild, and without too many portents of gloom. But it wasn’t on fire either. The sale realised £95.9 million ($138 million), including premium, or just around the lower estimate of £83.6-123 million without premium. A tolerable 22 lots, or 25 percent of the 89 lots, went unsold, including only 2 in the category of works selling for £1.7 million ($2.5 million) or more. But just as many lots sold to bids either on or below the low estimates.
The sale, which included a separate catalogue for surrealist works, trailedlast February’s £147 million pound sale by some margin. “It wasn’t easy,” commented Guy Jennings, managing director of The Fine Art Fund Group. “I’d say the market has softened a bit. But it was steady.” Jay Vincze, the head of the Impressionist and modern art department at Christie’s London said the shortfall on last year was because last year he had two exceptional collections. “There was no chill; this was about normal for us.”
If Christie’s were looking for some certitude in the middle market, it could be found. They had a racing start with works on paper by Pablo Picassoand Henri-Edmond Cross soaring over estimates leaving underbidders in the room—dealer Hugh Gibson and advisor Wentworth Beaumont—empty handed.
Some of the top lots were coming back to auction having sold just before the 2008 crash, so it was a test as to whether those values could be maintained. Egon Schiele‘s 1909 self-portrait oil painting had previously been in Ronald Lauder’s collection until he sold it in 2007 to help pay for his acquisition of some expensive, restituted works by Gustav Klimt for the Neue Gallerie. In 2007, it sold on a single bid for £4.5 million pounds, and the buyer, a ‘private European collector,’ was hoping for a small mark-up at £6-8 million. Tuesday night, it sold for £7.2 million.
Also the property of a ‘private European collector’ was a 1925 still life by Picasso which had been bought in the same Christie’s auction for a mid-estimate of £2.8 million. Christie’s had doubled the estimate this time around, to £4-6 million, and it made a modest return, selling it for £4 million pounds to a phone bidder against the London dealer Ezra Nahmad.
Other top lots to sell were a blissfully romantic work by Marc Chagall, Les Maries de la Tour, which clipped the top estimate selling for £7 million ($10 million) to adviser Thomas Seydoux who, when he was at Christie’s, was known for his close relationships with Russian collectors. The painting last sold at auction in New York in 1991 for $600,000. And Fernand Leger’s dynamic Le Moteur, a smaller version of a painting of the same title which sold for a record $16.7 million in 2001, sold this evening to dealer, Hugh Gibson, within estimate for £5.2 million.
There was a meaty selection of early 20th century German paintings byErnst Ludwig Kirchner, Lyonel Feininger, Otto Dix and more, which, except for a weak still life by Max Beckmann, sold mostly above estimates. A street scene in Murnau in 1908 by Wassily Kandinsky—not long before he shifted towards abstraction, was snapped up below estimate for £1.4 million by Amsterdam-based advisor Matthijs Erdman, and an early expressionistic landscape by Karl Schmidt-Rottluf, Windy Day, was chased by German advisor, Jorg Bertz, before selling to a phone bidder near the top end of its estimate at £1.3 million. The star of this section, though, was the relatively unknown Neue Sachlichkeit artist, Georg Scholz, with a satirical 1920s critique of small town bourgeois activities (Small Town by Day) in Germany, which quadrupled the low estimate selling to New York’s Acquavella Gallery for a record £1.2 million. Christie’s saw this coming because much the same happened with a gouache study for this painting in 2012.
On the minus side was a small, rather dull Giacometti painting, Buste d’homme, which had been bought just before the credit crunch for £1.6 million. Now estimated at £1.8-2.5 million, it failed to find a buyer. Making losses for the sellers were a Matisse drawing, bought in New York in November 2012 for $458,500, which now sold for £266,500 ($383,494), and a large jazzy canvas by Andre Lhote, Gipsy Bar, for which the owner paid a seemingly extravagant $2.7 million dollars back in 2007. That record still stands, as Gipsy Bar sold this time round for a more reasonable £1.1 million ($1.9 million).
Christie’s had made much of the promise in Asia when touring the highlights from its sale in the East last month. But bidding from Asian collectors was muted. A verdant Farm in Normandy by Paul Cezanne (1882), sold near the low estimate for £5.1 million, as did Chagall’s run-of-the-mill Violinist under the Moon, which sold for £1.8 million—both to Asian phone bidders. The strongest Asian bidding came for an early, rather awkward looking portrait of a young man by Cezanne which was estimated at £300,000, but sold for £1.2 million.
The surrealist section of the sale appeared to be a bit disappointing because past sales have been getting stronger and stronger. Christie’s has built a reputation as the leading auctioneer for surrealist art under the guidance of deputy chairman, Olivier Camu, who is also a specialist in the area. Last February, they chalked up 66 million pounds of sales for their Surrealist sale (over the £37-54 million estimate). This evening, the level of consignments was down, with a pre-sale estimate of £26-39 million, as was the total, £29.5 million. Echoing Vincze, Camu said the disparity was only due to the exceptional private collection it had for sale last year, which is not something you can depend on.
However, many of the lots that had higher estimates had already been at auction within the last five years, and were thus well known to buyers. The top lot, Max Ernst‘s The Stolen Mirror, an homage to his former lover, Leonora Carrington, set a record $16.3 million (£10.3 million) when it sold for four times the lower estimate to a European collector at Christie’s New York in November 2011. That collector must have needed to sell and been prepared to take a loss as he secured a guarantee from Christie’s, most probably near the lower end of the £7-10 million estimate. But bidding was thin on Tuesday and the painting fell to a lone telephone bidder—likely the guarantor—for a premium inclusive £7.6 million.
Also taking a loss was Christie’s. Rene Magritte’s 1947 painting,Mesdesmoiselles de l’Isle Adam, which is simultaneously delightful and scary, sold at Christie’s New York in November 2014 below estimate for $4.3 million dollars. The painting had a third party guarantee, but had somehow managed to become property of Christie’s (i.e., the guarantee didn’t materialize). Now with a lower £2-3 million estimate, it sold for £2 million ($2.86 million), with Christie’s having to shoulder the difference.
The other Christie’s owned property, Joan Miro’s Femme et Oiseau dans la Nuit, 1968, carried the second highest estimate of the surrealist sale at £3-5 million, down on the £4-6 million it carried in June 2010 when it sold for £5.2 million. Although it had not been guaranteed, it was not paid for. Fortunately for Christie’s, there was plenty of bidding on it the second time around, spurred first by London dealer Angela Nevill, and then by Ezra Nahmad, before it sold to a phone bidder for £5.8 million, just enough to get Christie’s out of jail.
Another of the higher valued lots that had been at auction relatively recently was Salvador Dalí‘s Le Voyage Fantastique, a 1965 portrait of movie star, Raquel Welch, that blended sci-fi elements with a Lichtenstein-like benday-dot technique. This obviously appealed to the Mugrabi family of art dealers when they bought it in 2011 in New York for a mid-estimate $1.9 million. With a similar estimate of £1.2-1.8 million, it might have tempted one of the Asian buyers who have taken Dalí to heart, but it sold on a £1.2 million bid ($1.7 million), and not to an Asian collector, leaving the Mugrabis unusually short on a deal.
source via: artnet
Find peace in mind knowing when you shop at GallArt.com that the artwork you purchase is genuine and always comes with a Certificate of Authenticity.
What Is a Certificate of Authenticity?
A Certificate of Authenticity is a bit like an artwork’s birth certificate, passport and quality guarantee all rolled into one.
Essentially, a COA is a document, created by the artist or someone who is an expert on the artist, which accompanies an artwork and contains all the information a collector could need to verify if the piece of art is genuine.
A Certificate of Authenticity (COA) provides a lot of concrete detail about a piece, but by existing for a particular piece, it says even more. An artwork that has a COA is one that is made by a professional practicing artist, not an amateur. It is a piece that has collectible value. The Certificate adds a tangible credibility to the work. It can help the work hold its value.
The COA is held to be an indirect promise of quality. Art pieces that have a COA have usually been made by an artist who cares about their work, its longevity and their collectors. The piece is likely to have been created from the best materials available, be designed to last and been created by an expert. Back to the concrete details, the Certificate will provide all the information on the medium(s) of the piece needed for conservation that might otherwise be lost forever.
Certificates protect the artist and the buyer by helping to prove that an artwork is original. Cheap copies sold without an artist’s knowledge or consent is unfortunately common. Without a COA attached, this situation makes it next to impossible for the buyer to be confident of the value of the piece or for the artist to maintain their credibility and their livelihood.
As an art collector, you really must only buy Fine Art pieces that are backed by a Certificate of Authenticity. This helps ensure that what you have bought at a premium is genuine and not counterfeit.
From rare art pieces to the finger-painted portrait your tot painted for you, custom framing can fit any need. The framing that holds precious artwork and memorable photos should be chosen with just as much care as the work they display. Custom framing is the final piece to creating, displaying and preserving your amazing works.
Here are five ways custom framing can meet all of your needs:
1. Made for the dimensions of the art or photograph.Typically, people have a piece of art or a photograph with specific dimensions and they go out to find a frame to fit it. However, if their item is not a standard dimension, they will end up with a framed photo or art piece that has awkward symmetry with too much or too little room. With custom framing, the piece determines the size of the frame and creates a perfect fit.
2. Made for your style. Store-bought frames are a dime a dozen. The same frame that you have in your house or office is also in countless offices and homes in your area. Custom framing facilities have virtually endless options for moldings, backings, colors, sizes, and styles. The professionals can help bring your style to life by putting your specific, unique selections together to create the perfect fit for your office or home.
3. Professional experience. Every type of art needs different treatments. A charcoal sketch needs different preservation than a watercolor painting, which needs different treatments than a photograph. The professionals at custom framing facilities will determine what your art needs to remain in the best condition for longevity.
4. Longevity of the art. Over time, art pieces and photography can turn yellow and deteriorate, cutting the life of your art and the memories of your photography in half. The damage that art work and photography endures is avoidable with the proper framing. By purchasing a custom frame made by professionals who have assessed the type of preservation the type of art needs, you are able to enjoy your art for that much longer.
5. High quality. Custom framing will always trump even the most expensive store-bought frame. The quality of professional, high-quality custom framing includes the correct UV glass — an important element for protecting your art from ultraviolet light, which kills the quality of the art piece. Most store-bought options come with the incorrect glass or an acetate sheet; which is even worse. The mat that is behind the piece in a store-bought frame is typically a wood cellulose product of low quality. Custom frames assure you that the acidity is low so that the item being framed has a long life.
High-quality art and photography deserves equally high-quality framing to make it last a lifetime.
Life is full of excitement and joy-filled moments. Either you worked hard to meet a goal or you experienced an emotionally charged rite of passage. Life experiences like these can be properly honored by displaying some of those memories and sharing them with others.
What’s the best way to remember a special moment?
Documents, photos, diplomas and even priceless pieces of art represent special moments. Whatever that moment may represent, you can relay its special meaning to others by presenting it in custom framing that draws the viewer’s eye to it and complements its impressive qualities. Our experienced craftsmen have helped people just like you preserve their cherished memories for more than 30 years. They can help you display your life’s successes and present them in a fashion worthy of the finest gallery.
How do you dress up a memory?
An image’s or document’s frame is where the piece comes alive. How you present it speaks to the viewer in a way that expresses the high value you put on it and yourself. The right framing glorifies the moment an image or document represents and adds to its aesthetic value. A frame custom-built by our master craftsman creates a perfect balance of harmony with the image and its surroundings. It will create a defining boundary between the image and the wall and draw the viewer’s eye and admiration for the experience it represents. The frame also serves as a support that keeps the item flat and allows you to mount it on the wall.
When constructed properly, custom framing will also protect the medium from the environment. Our knowledgeable framers have prepared a countless number of frames. They know the best ways to preserve your artifact and make it look its best in the setting that you choose. They have intimate knowledge of the many colors, sizes and designs available for frames and can consult with you to determine what frame design will best suit your article, its location and your desires. As professional tradesmen, they have access to tools, materials and techniques of the highest caliber. The wrong materials can erode your document. If it’s not framed properly, exposure to dust, light and other elements can shorten the life of your piece. The techniques our framers employ will conserve your memories to live on for centuries as family heirlooms.
Celebrate the triumphs and the trophies.
Moments preserved as pictures and documents tell the story of your life. These stories represent your triumphs, celebrations and trophies. You should share these wonderful experiences with those close to you to show them the amazing possibilities that life has to offer. Whether it is your first family portrait or the first invoice from a successful business venture, how you present it will tell the viewer another story. That story is the value that moment has for you, and its importance will transfer to the viewer. We have helped businesses and families preserve their milestones for many years, and we can help you protect and present your cherished memories, as well. Contact us today at 305-932-6166, or visit our gallery at 20633 Biscayne Blvd. in Aventura, and we will be glad to consult with you on a custom framing solution that will best preserve your life’s important highlights.