LONDON SALES PREVIEW a Measured Market Outlook DESIGNS on LIFE Al and Kim Eiber at Home EYES on ASIA Shanghai and Regional M

TRIBAL ART IN SAN FRANCISCO MUMBAI SHUFFLE AT SOTHEBY’S NICOLA TYSON

THE INTERNATIONAL MAGAZINE FOR ART COLLECTORS FEBRUARY 2016

LONDON SALES DESIGNS THE ART OF EYES ON PREVIEW ON LIFE ILLUSTRATION ASIA A Measured Al and Kim Eiber A Medium Shanghai and Market Outlook at Home on the Ascent Regional Markets MODERN & CONTEMPORARY ART

Invitation to Consign

TOM WESSELMANN (1931-2004) | Blonde Vivienne (Filled In), 1985/1995 | Alkyd oil on cut-out aluminum | 50 inches diameter Sold for: $317,000 October 28, 2015

Inquiries: 877-HERITAGE (437-4824) | Ext. 1444 | [email protected]

Always Accepting Quality Consignments in 40 Categories

950,000+ Online Bidder-Members

Paul R. Minshull #16591. BP 12-25%; see HA.com. 39536 Irving Penn . c I n , s n o t i Personal Work a c l i b u P t s a N é d n o C © 9 3 9 1 , k r o Y w e N 534 WEST 25TH ST NEW YORK ) , ( B o w JANUARY 29 – MARCH 5, 2016 d i n W p h o S ’ s n i a t i c p O , n n e P g i n v I r EX HI BI TI ON

PAR IS: 10 - 11 FEBRU ARY

LONDON: 2 2 - 2 3 FEB RUA RY

COPENHAGEN: 25 - 29 FEBRUARY Hammershøi

AUCTION

COPENHAGEN: 1-10 MARCH 2016

ART, ANTIQUES AND DESIGN tel. +45 8818 1111 [email protected] bruun-rasmussen.com

FEBRUARY 2016

FEATURES

56 IN THE STUDIO: NICOLA TYSON Known for her figurative practice in a range of media, the British-born artist prepares for a show of drawings at Petzel in New York. BY CHLOE WYMA

ASIAN MARKET FOCUS

64 OPULENCE AND TURBULENCE In Shanghai, dedicated gallery owners provide a grassroots counterpoint to the glitzy city-planned art scene. BY HUNTER BRAITHWAITE

72 NATIONAL SPOTLIGHTS: PART 1 Reports on art market developments from Singapore, Indonesia, and India.

76 THE NEXT NEW THING Al and Kim Eiber of Miami Beach have built a formidable collection of postwar and contemporary design works. BY JUDITH GURA

86 THE ART OF ILLUSTRATION Original images commissioned for mass print publication find second lives in the art market. BY BRIDGET MORIARITY AND LIZA M.E. MUHLFELD

DEPARTMENTS

12 CONTRIBUTORS 14 FROM THE EDITOR 16 ART PARTIES+OPENINGS 19 IN THE AIR 27 MOVERS+SHAKERS 31 DATEBOOK 34 MUST-HAVES 38 DEALER’S N OTEBOOK 44 CULTURE+TRAVEL MUMBAI

Blouin Art + Auction (ISSN No. 2331-5342) is pu blished monthly with a combined July/Augu st issue and a special Fall issue by Art + Auction Holding, Inc., 88 Laight Street, New York, NY 10013. Vol. XXXIX, no. 6. Copyright © 2016 Bloui n Art + Auction Magazine. Periodicals postage paid at New York, NY, and additional mailing offices. POSTMASTER: Send address changes to Fulco, Inc., Blouin Art + Auction, P.O. Box 3000, Denville, NJ 07834-3000. All m aterial is compiled from sources believed to be reliable, but published without responsibility for errors or omissions. Blouin Art + Auction accepts advertisements from advertisers believed to be of good repute, but cannot guarantee the authenticity or quality of objects or services advertised in its pages. Blouin Art + Auction assumes no responsibility for unsolicited manuscri pts or photographs. Return postage should accompany such material. All rights, including translation into other languages, reserved by the publisher. Nothing i n this publication may be reproduced without the permi ssion of the publisher. The name ART + AUCTION ® is a registered trademark owned by Louise Blouin Media Group, Inc. and cannot be used without its express written consent. Printed in the U.S.A. “Part of the fun is mixing different N E S R A L designers; all of the fun is living with it.” E I N T I S —COLLECTOR AL EIBER, SEEN HERE WITH A 1990 R K YONEL LEBOVICI WELDER’S LAMP IN HIS MIAMI BEACH HOME. 76

CURATED AUCTION HOUSE IN PARIS

SCANDINAVIAN DESIGN & FOCUS ON JOSEF FRANK

Auction: February 17 2016

AxelJo hannesS alto(1 889-1961) PoulK jærholm(1 929-1980)

VIEWINGS & AUCTIONS UPCOMING UPCOMING AUCTIONS

PIASA Focus on Josef Frank - February 17 2016 AND RESULTS 118 rue du Faubourg Saint-Honoré Limited Edition III curated by Mathieu Mercier - March 2016 75008 Paris - France Italian Design - March 30 2016 WWW.PIASA.FR +33 1 53 34 10 10 Design Artists-Decorators : a partnership with the magazine AD - April 2016

PIASA SA - agreement n° 2001-020 - Auctioneer: Frédéric Chambre FEBRUARY 2016

N.C. WYETH’S WILD BILL HICKOK AT CARDS , 1916, WHICH SOLD AT THE COEUR D’ALENE ART AUCTION IN JU LY 2007 FOR $2,240,000. 86

COLUMNS MARKETWATCH TRIBAL ART NI SAN FRANCISCO MUMBAI SHUFFLE AT SOTHEBY’S NICOLA TYSON

THE INTERNATIONAL MAGAZINE FOR ART COLLECTORS FEBRUARY2016 23 REPORTER 94 AUCTIONS IN BRIEF

Buyouts at Sotheby’s were just part of Arts of the American West in Denver, ’ S I E the end-of-year job reshuffle. Chinese imperial t reasures in T I S BY JUDD TULLY Hong Kong, and in Paris, the library R H C of Pierre Bergé. ; N 47 ON THE BLOCK BY LIZA M.E. MUHLFELD I O T C As escalating prices draw long-held U A blue-chip pieces to this month’s 98 DATABANK LONDON SALES DESIGNS THE ART OF EYES ON T PREVIEW ON LIFE ILLUSTRATION ASIA R A Measured Al and KimEiber A Medium Shanghai and London sales, the buying frenzy appears The numbers behind an overdue MarketOutlook atHome ontheAscent RegionalMarkets A E N to be cooling. market correction for contemporary E L BY JUDD TULLY Chinese art. ’ A ON THE COVER: D BY ROMAN KRÄUSSL Le Moteur , 1918, an oil on R U E canvas by Fernand Léger, O rolls onto the block with an C 104 THE ACQUISITION E H estimate of £4 million T The Rubin Museum of Art in New York : to £6 million ($6–9 million) P O procures a set of illustrated folios at the Impressionist and T M FOR DAILY MARKET WATCH UPDATES, that illuminate Tibetan astrology, modern art sale at Christie’s O R GO TO BLOUINARTINFO.COM divination, and cosmology. London on February 2. F TO BENEFIT Henry Street Settlement

ORGANIZED BY Art Dealers Association of America

March 1–6, 2016 PARK AVENUE ARMORY AT 67TH STREET, NEW YORK CITY

FOUNDED 1962

ON PARK AVENUE

Gala Tickets 212.766.9200 , EXT. 248 OR H ENRYSTREET.ORG/ARTSHOW Lead sponsoring partner ARTDEALERS.ORG/ARTSHOW #TheArtShow of The Art Show FEBRUARY 2016 VOLUME XXXIX NO. 6

ERIC BRYANT EDITOR IN CHIEF DAVID GURSKY PRESIDENT, GLOBAL DEVELOPMENT PUBLISHER Ellen Fair tel +1 646 795 5621 [email protected] MANAGING EDITOR UNITED STATES Penny Blatt Kathy Murphy SVP, SALES & BUSINESS DEV ELOPMENT CREATIVE DIR ECTOR tel +1 646 795 5622 kmurphy @artinfo.com Rochelle Stolzenberg SALES DIRECTOR tel +1 914 420 2574 rstolzenberg@art info. com Angela M.H. Schuster Steven Schoenfarber BRAND SALES MANAGER DEPUTY EDITOR tel +1 646 795 5649 [email protected] Alexis Smith CLASSIFIED SALES Bridget Moriarity tel +1 646 795 5650 [email protected] SENIOR EDITOR INTERNATIONAL Judd Tully Anne-Laure Schuler SVP, INTERNATION AL BRAND SALES EDITOR AT LARGE tel +33 6 62 47 90 13 alschuler@ artinfo.com Robert Logan SALES REPRESENTATIVE, Liza M.E. Muhlfeld U.K., GERMANY, ITALY MARKET EDITOR tel +44 20 8579 4836 [email protected] Nancy E. Sherman Jean Ruffin SALES REPRESENTATIVE, COPY EDITOR FRANCE, BENELUX, FRENCH-SPEAKING SWITZERLAND tel +33 14 006 0310 [email protected] Sara Roffino Céline Roullet BRAND SALES MANAGER �� SENIOR ASSOCIATE EDITOR tel +33 6 06 51 92 49 [email protected] Inna Kanounikova SALES DIRECTOR, Danielle Whalen CHINA & HONG KONG EDITORIAL ASSISTANT tel +86 139 1003 2814 ( MAINLAND CHINA) tel +852 6372 3963 ( HONG KONG) [email protected]

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Jacqueline Mermea LOUISE BLOUIN MEDIA ASSOCIATE PHOTO EDITOR Louise Blouin CHAIRMAN Philippe Khyr PRESIDENT, ASIA & EUROPE Tracy A. Walsh Dawn Fasano GENERAL COUNSEL DESIGN PRODUCTION DIRECTOR Carmela Rea PRESIDENT, SALES AND BUSINESS DEVELOPMENT; PUBLISHER, BLOUINARTINFO.COM Jonny Leather PRODUCTION MANAGER To subscribe, call +1 844 653 3989 in the U.S. or +1 973 627 5162 outside the Americas; or go online at blouinartinfo.com/subscriptions. Annual subscription CONTRIBUTING EDITORS rates: $144.95 in the U.S., $164.95 in Canada (GST Ettagale Blauer, Charles Danzige r, included), $184.95 outside the U.S. and Canada. Thomas C. Danziger, Abigail R. Esman, Judith Gura, Roman Kräussl, For subscription inquiries, address changes, and Meredith Mendelsohn, Barbara Pollack, general customer service, e-mail us at Jean Bond Rafferty, Hilarie M. Sheets, [email protected]. For custom reprints, Rachel Wolff call +1 877 652 5295, or go online at wrightsmedia.com. For editorial inquiries, e-mail us at INTERNS [email protected]. Steven Canavan Agnes Hu PRINTING AND DISTRIBUTION Julie Noirot BRAND MANAGER (USA, EUROPE & ASIA) Daniel Zilkha Florine Rousseau FOUNDER [email protected] Gilbert Stuart Portrait of George Washington (detail) Oil on canvas, 1798 Presale Estimate: $150,000–$250,000 Sold: $1.025 Million

2016 AUCTION SCHEDULE NOW ACCEPTING CONSIGNMENTS FOR ALL SPRING AUCTIONS. FEBRUARY: e Fine and Decorative Art Auction APRIL: e Fine Jewelry Auction CONTACT: MAY: e Fine Art Auction Elaina Grinwald, Director of Consignments SEPTEMBER: e Fine and Decorative Art Auction [email protected] NOVEMBER: e Fine Art Auction 214.653.3900 DECEMBER: e Jewelry and Couture Sale CONTRIBUTORS

Christine von der Linn A graduate of Bard College, von der Linn has been head of Swann Auction Galleries’ art, architecture, press, and illustrated books department for �� years. Since ��, she has been organizing the house’s sales of illustration art, a field she discusses on page ��. At press time she was anticipating Swann’s January auction in the category: “In this particularly colorful presidential race, we enjoyed pulling together a selection of topical images like Howard Chandler Christy’s I Am an American! and amusing caricatures of Bernie Sanders Danielle Whalen and Donald Trump. Illustration is the visual storytelling of our time, so it’s nice to have a sale that is relevant and current.” Von der Linn has contributed to articles on collecting Born and raised in Rhode Island, Whalen and market trends for publications including the New Yorker and the Wall Street Journal . moved to New York in �� to study writing at Eugene Lang College. She then pursued photography at the School of Visual Arts and graduated with a �� Ekta Marwaha degree in visual and critical studies before After earning a degree in history from Hans Raj College, joining Art+Auction last year as an editorial University of Delhi in India, and completing graduate assistant. On page ��, she writes about studies in journalism and mass communication at Modernism Week, the annual design St. Xavier’s College in Mumbai, Marwaha began working and architecture event in Palm Springs, with India Today in ��. During her tenure with the California. “Whenever I speak to dealers magazine, she wrote features on art, travel, fashion, and and collectors, there’s not only a deep food. Today the New Delhi–based journalist is destinations historical knowledge about the objects �� editor for the online publication Blouin Culture+Travel . they collect but also a strong emotional On page ��, she offers a guide to Mumbai ti med to the connection. Collecting is as much about Kala Ghoda Arts Festival this month. “It’s an interesting feeling as anything else,” she says. Whalen time for all art and history enthusiasts, as there’s a plethora continues to take photographs, inspired of cultural activities taking place across the city—from by trips abroad and by the streets of New A heritage walks to live art demonstrations, workshops, and York City. She is currently polishing her H A W talks on art and literature, along with a whole list of foreign language skills, particularly in R A collections and regional handicrafts on display,” she says. German, with aspirations to learn French. M A T K E ; N I O T C U Alasdair Nichol Chloe Wyma A ’ S N As vice chairman and head of An associate art editor at Brooklyn Rail , Wyma is currently pursuing A M E the fine art department at her Ph.D. in modern and contemporary art at the City University E R F Freeman’s auction house in of New York Graduate Center. A resident of Queens, she also teaches ; A M Philadelphia, Nichol is a art history at Baruch College as an adjunct professor. On page ��, Y W E regular appraiser on ��’s Wyma writes about her visit to the studio of artist Nicola Tyson. O L H Antiques Roadshow, where “She is as brilliant and funny in person as she is in her paintings,” C ; N he specializes in American Wyma says. “What I thought would be a straightforward interview E S R A paintings, drawings, and became an hours-long, L E sculpture. Born in Scotland, digression-filled conversa- I N T I S Nichol began his career with tion spanning feminist R K ; Phillips in Edinburgh before art and theory, punk and S I E R E moving to the company’s the ��s, and the struggle L L A salesrooms in Glasgow and to develop a personal G N London. In �� he ventured artistic idiom apart from I O T C to New York to head the artistic trends.” Of U A N fine art department at Phillips; particular interest to the N A W he joined Freeman’s in art historian was their S : T ��. “Since arriving in the U.S., I have sold many examples of discussion of Trial F E L illustration art and have twice held the world-record auction Balloon. “The irreverent, P O T price for a work by N.C. Wyeth,” says Nichol, who offered all-female space that M O R his expertise to Art+Auction for our article on illustration art Tyson founded in the ’��s F E (page ��). His contribution reminded him “what a peculiarly became a flash point for I S W K American collecting area illustration art is, and how reflective it New York’s underground C O L is of the American character and psyche.” lesbian scene,” she says. C

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM April 14–17, 2016

April 13 Opening Night Preview

Park Avenue Armory New York

The world’s leading photography art galleries

The Association of International Photography Art Dealers Premier Corporate Partner of AIPAD FROMTHEEDITOR

In today’s sped-up art ecosystem, contradictions are resolved into sound- bites and subtleties are shunted aside for future study. The nuanced gets short shrift. Within market precincts, art history is too often reduced to a philosophical tug-of-war between the canonical and the revolutionary. Reinforcing this binary reading, many market analysts would have us believe the rewards are bestowed only on yesterday’s most exalted of that artist’s work must surely start to wane. �� names and today’s brashest iconoclasts. And blue-chip collecting, except when practiced No single set of players is to blame. A by dedicated connoisseurs, engenders all the growing number of gallerists court the specula- passion of signing up for an insurance policy. tive minded by tethering rebel allure to the So long as the number of new collectors fantasy of a quick, outsize payoff. A onetime entering the market outpaces the number casino habitué, I understand the attraction disaffected by unfulfilled promises of quick of long odds. I felt the same irresistible pull profits or safe investments, the markets may to lay money on the hard eight at the craps maintain a healthy appearance. In the long table that many collectors feel when encounter- run, however, this simplistic view of art history ing a debut show by a young unknown with will corrode the engine that powers those an emphatically signature style. The sparkle of markets—love of art. future possibilities, however unlikely, blind The good news is that thanks to the Inter- one to the dull truth of probabilities. net and a multitude of offline sources, a At the other pole, more than a few auction more nuanced version of art history, full of houses and dealers have grown adept at contradictions and subtlety, is within the reach associating the familiar with the safe, con- of any collector at any level. They need only flating the best-known with the best. Not that commit to investing time and thought in the linkage is fictional. Economic analyses addition to money. As a first step, those whose continue to confirm that the most secure personal interests are tied to the market’s art investment is blue-chip work by blue-chip long-term health should stop fomenting get- artists. But caveats abound in these studies, richer-quick delusions. Just as importantly, as they do in the fine print of hedge fund we need to start promoting the idea that prospectuses, and are just as seldom read. an intellectual investment in art history not Technicalities aside, when passion is drained only brings returns in kind, but also may very from the way collectors look at any artist, well lead to financial rewards for those even the most brilliant, the long-term value whose studies lead them off the beaten track.

Eric Bryant N E S Editor in Chief R A L E I N T I S R K

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM

ART PARTIES+OPENINGS

WITH PATRICK MCMULLAN

4. Franz Humer

2. Mar ia Baibakova, 3. Richie Shazam, Marc Spiegler Steve Nishimoto

1. Wangechi Mutu, Isolde Brielmaier 5. Larry Warsh, Christopher Missling

7. Mathias Rastorfer, Isabelle Bscher, Jennifer Flavin Stallone, Sylvester Stallone, Krystyna Gmurzynska, Lucas Bscher 6. Tanya Selvaratnam, Lucy Walker

11. N jideka Akunyili Crosby

10. Fabiola Beracasa, 9. Pri ncess Michael of Kent Prabal Gurung, Vanessa Traina Snow

8. Jean Shafiroff, Chuck Close

14. Calum Sutton

16. Carole Hall, Ira Hall 13. Nick Acquavella, 17. Sara Colombo 12. Kyunghwa Kim Andrea Glimcher ��

15. Andrea Fiuczynski

. ) 0 2 , 6 1 , 21. Victoria Miro 5 20. Stephen Robert, 1 , 4 Pilar Crespi 1 , 3 19. Mai-Thu Perret 1 , 2 1 , 9 , 8 18. Christina Ricci , 7 , 5 , 4 ( N A L L U M C M 23. Rujeko Hockley, K Zoe Buckman, I C R T Mark Guiducci A P ; ) 22. Glenn Kaino 4 2 ) , 24. Andrea Schlieker 1 3 2 2 , , 9 2 1 2 , ( 7 A 1 F , B 6 , , N 3 , O 2 S ( K C N I I R K E S I Y S L R D E A R C ; A ) MOSTLY IN MIAMI J 8 : 1 , N 1 A 1 Eye-popping moments at some of our favorite art world evenings: the New Mus eum’s annual Next Generation L , L 0 U 1 dinner, honoring artists Njideka Akunyili Crosby and Josh Kli ne, at the Bathhouse Studios in New York’s , M 1 C ( East Village (1, 10, 11, 18); a dinner at the home of Don and Mera Rubell for the opening of “No Man’s Land: M A K F Women Artists from the Rubell Family Collection” at the family’s eponymous museum in Miami (2, 6, 17, 19, 21); B I C , R L the performance of Dimensions , a collaboration between musician Devonté Hynes and artist Ryan McNamara, T L A E at the Pérez Art Museum Miami (3, 24); Galerie Gmurzynska’s buffet dinner at the Villa Casa Casuarina P R © R A in Miami Beach, with Sylvester Stallone and curator Germano Celant (4, 7, 9, 14, 16); the VIP opening of Art S F E Y G L Basel Miami Beach at the Miami Beach Convention Center (5, 8, 12, 13, 15, 20); and the Cultivist’s first A I L annual event at the Miami Beach fair, a luncheon for its members at the Setai hotel (22, 23). I M B

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM Martin Lewis, Shadow Dance, drypoint and sand-ground, 1930. Estimate $30,000 to $50,000.

19th & 20th Century Prints & Drawings March 8 Todd Weyman • [email protected]

104 East 25th Street New York, NY 10010 212 254 4710 SWANNGALLERIES.COM

INTHE AIR

Strength in Numbers Following last summer’s announcement by the Syndicat National des Antiquaires (��) that the venerableBiennale des Antiquaires will become an annual event after its �� edition at the Grand Palais in September, the four-year-old Old Masters– centric Paris Tableau fair has decided to team up with its erstwhile rival. “With organizational changes within the �� The stand of noted Old Masters dealer and its decision to annualize the biennial, dealers who had been Didier Aaron at Paris Tableau 2013. participating in Paris Tableau saw a potential to revive Paris as a capital of the arts by joining forces to strengthen that event rather than having us continue to go it alone,” says Paris Tableau president and Italian Old Masters dealer Maurizio Canesso. With a revamp of the biennale spearheaded by Dominique Chevalier, who was elected president of the�� following the ouster of Christian Deydier, event organizers expect the fair to offer a formidable alternative to the European Fine Art Fair (��), held each March in Maastricht.

as a rug in the artist’s living �� “My gift puts women artists front room. According to Loll and curator Lisa Ivorian-Jones, and center at an institution the Pollock-Krasner Founda- tion never denied the work’s known for breaking barriers.” authenticity, as some reports —Philanthropist, collector, and political activist Barbara Lee, commenting on her $�� million have claimed; they even agreed gift of works by female artists to the Institute of Contemporary Art/ Boston in December. to include it in a supplement to the known corpus of his work. Unfortunately, the foundation’s that drew on Pollock and authentication board was Snowden’s the Polar Bear disbanded before the painting leaked classified “All you have to do is look at the could be assessed. “We’ve documents, work to know it’s authentic,” done our due diligence in our Untitled (Red, and Poitras made says Colette Loll of Art Fraud investigation of this painting Black, and N Silver) , 1956, A the Oscar- Insights, commenting on and devoted the appropriate M a 20-by-24- I G L winning 2014 skeptics who question the amount of time to study it,” K inch canvas Y on panel I T film Citizenfour , attribution of Untitled says Loll. “Our findings, both I C attributed L E which brought (Red, Black, and Silver) , 1956, scientific and historical, fully F to Jackson H T the National toJackson Pollock. Repre- support its authenticity. ” Pollock. U R F Security Agency’s sentatives of the estate of Ruth O Edward Snowden in a still from E T the documentary Citizenfour . mass surveillance Felicity Kligman have long A T S E programs in the argued that the canvas on panel E H T It’s a Snow Storm wake of 9/11 squarely into was painted as a gift for the D N A After receiving her first the American consciousness. artist’s mistress just weeks R E H encrypted e-mail from Edward This month, the Berlin-based before his fatal car crash. To I S F T Snowden in January 2013, Poitras, who trained at the San secure the attribution, Loll and R A U T Boston-born filmmaker Laura Francisco Art Institute and estate trustees invited forensic S ; S Poitras became one of the New School, underscores scientistNicholas Petraco M I L F several key players who would the realities of life in a surveil- of the John Jay College of O B H enable the exiled former lance state with the opening Criminal Justice in New York to ; U A CIA E whistleblower to connect of her first solo museum analyze the painting to identify L B A T with a public audience. In exhibition, “Astro Noise,” at trace elements that could place I S R time, she and journalist Glenn theWhitney Museum in New its creation in Pollock’s East A P : P Greenwald contributed to York. Portions of the Snowden Hampton home and studio. O T M Pulitzer Prize–winning reports archive will be presented Among the findings was a hair O R F published in The Guardian within the five installations. from a polar bear—its skin used

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION INTHE AIR

A Future for the Past Anglophilia Event producer U.S. Antique Shows has formed an alliance Margaret Schwartz In December,Tate with Antiques Young director Nicholas Guns U.K. to bring the latter’s its first Antiques Young Gun of program across the pond. the Year,Margaret Schwartz, Serota said Mirroring the British initiative, 31, owner of the New Canaan, that ��-year-old launched in 2011, Antiques Connecticut, shop the Summer American Pop Young Guns U.S.A. aims House. “I look forward to an artist Ed Ruscha to bridge the generation gap exciting year getting to know between millennial antiques other young guns and growing had given dealers and baby boomer the program,” she says of the “a wonderful collectors by promoting honor. With networking events Christmas “growth, education, and expo- and social media platforms, sure to those in the trade, 39 program coordinators expect present to the years old or younger.” At its bright young things to whole nation,” inaugural event in November, take brilliant old things into in announcing the organization recognized the next generation. a major gift of his work to the Wall Rocket , British institution. The artist has donated �� print 2013, a lithograph by editions and promised to donate one impression $28,165,000 Ed Ruscha, is among of all future prints made in his lifetime to the Tate Price realized for a ��-foot-wide bronze Spider, ��–��, recent gifts by Louise Bourgeois, on November �� at Christie’s the artist has collection. Currently, the museums hold � of New York. It was an auction record for Bourgeoi s and the made to the Tate museums his paintings, �� unique works on paper, and �� highest price ever paid for a sculpture by a female artist. in London. prints, most of which were donated to Tate by �� British dealer Anthony d’Offay in ��. S M I L Cases Closing Meanwhile, a long-running F H T R The dispute betweenDanh Vo lawsuit filed against New York’s O W Still Making Waves sold as an anonymous German and the Dutch collectorBert Knoedler Gallery, which K I N R After 500 Years 19th-century work for $21,850 Kreuk, raging since 2013, was was accused of selling a fake B D N A A half millennium after at Christie’s in 1998, had been, finally put to rest in December, Willem de Kooning painting , C B Leonardo da Vinci unveiled his according to its consignor, in when the parties reached a to collector John Howard B , N E Mona Lisa, the artist continues the family since 1955. It could settlement. Kreuk alleged that in 2007, has also been settled. K N A to make headlines with a trio be worth an estimated $150 Vo was in breach of contract Amid a flurry of forgery R D R of stories ushering in the New million with da Vinci’s name when the artist accusations A Art historian H I C Year. In November, the English attached. On December 9, art failed to create an that surfaced in R Andrew ; P Graham-Dixon L forger Shaun Greenhalgh historianAndrew Graham- original work for 2011, the gallery L with the M announced in his tell-all book Dixon told viewers in a BBC a museum exhibi- shuttered its U unfinished A B Isleworth I S that it was he, not da Vinci, who documentary, Secrets of the tion of Kreuk’s operation E Mona Lisa, one R N executed La Bella Principessa, Mona Lisa, that French engi- collection. The after 165 years O of several R E versions of the a pen, ink, and chalk portrait of neer Pascal Cotte used cutting- settlement sets in business. U G celebrated K a young girl in profile that was edge scanning technology to aside a ruling by Knoedler and its I C Louvre paint- R A ing that some attributed to the Renaissance analyze the layers of pigment a Rotterdam judge former director L C ; have claimed master in 2010 by the noted on the painting’s poplar panel that ordered Vo Ann Freedman S W to be the work O H of Leonardo scholarMartin Kemp of Oxford and found, much to his surprise, to deliver a large have settled S E da Vinci. University. The portrait, which what appears to be a portrait piece to Kreuk. The artist, his the case with Howard for an U I Q T N of a different woman beneath dealerIsabella Bortolozzi, undisclosed amount, but they A . S . the famed visage. Then, in mid and the collector have agreed still face a 2012 suit brought U ; A H December, reports surfaced to part ways completely, each against them by Sotheby’s C S U in the Daily Mail of yet another withdrawing all claims against chairman Domenico De Sole R D E Mona Lisa painted by da Vinci, the other. Kreuk made a and his wife, Eleanore, who : T F E supposedly in the possession point of selling the remaining purchased a “Mark Rothko,” L P O of an anonymous Russian Vo works in his collection. above, from the gallery in 2004. T M O collector in Saint Petersburg. R F E A number of Monas have come I S W FOR MORE OF WHAT’S IN THE AIR, VIS IT K to light over the years, none C O BLOUINARTINFO.COM L found to be by Leonardo’s hand. C

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM FRANK LLOYD WRIGHT GEORGE D. STURGES RESIDENCE

Designed and completed in 1939 in the Brentwood area of Los Angeles, California

Sold to beneﬁt The Bridges/Larson Foundation

ESTIMATE $2,500,000–$3,000,000

This property is listed for sale by Barry Sloane (BRE#01024594) and Marc Silver (BRE#01875513) of Sotheby’s International Realty–Beverly Hills Brokerage (BRE#00899496) 9665 Wilshire Blvd #400. Beverly Hills, CA 90212. (310) 786-1844. Licensed Auctioneer Peter Loughrey (BOND#7900405194) of Los Angeles Modern Auctions (LAMA) is the provider of auction marketing services and is not a licensed brokerage and is not directly involved in selling real property. The services referred to herein are not available to residents of any state where prohibited by applicable state law. See Auction Terms & Conditions for full details.

d r f o d u FEBRUARY 21, 2016 M t n a r G © o MODERN ART & DESIGN t o h P

4 9 Featuring Frank Lloyd Wright’s George D. Sturges Residence and property 1 5 0 4 from the Estate of Jack Larson to beneﬁt The Bridges/Larson Foundation 0 0 9 7 # D N O B PETER LOUGHREY, DIRECTOR | 16145 HART ST., VAN NUYS, CA 91406 | 323-90 4-1950 | LAMODER N.COM Opens March 26 ALEX DA CORTE FREE ROSES

Open season ally through 2028 ANSELM KIEFER

Through 2033 SOL LEWITT A WALL DRAWING RETROSPECTIVE

Opens April 16 SARAH CROWNER BEETLE IN THE LE AVES

Opens February 13 RICHARD NONAS

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Slim-down at Sotheby’s THE AUCTION HOUSE TRIMS ITS GLOBAL STAFF AND HIRES A RAINMAKER AMID A DROP IN SHARE PRICE

IN THE WAKE OF the highly accounting uncertainty. publicized $432.8 million Losses from the Taubman multiday sale of works from sales may be mitigated the estate of onetime when 300 or so lesser- Sotheby’s owner A. Alfred valued lots hit the block this Taubman in November, the year at events including house’s newbie CEO, Tad a single-owner sale of Old Smith, sent out a company- Masters in late January, wide e-mail on November 13 estimated at $21.2 million to announcing a voluntary $30.3 million. But it is clear program to reduce the head that the projected shortfall count of its 1,600-person helped hammer Sotheby’s

workforce and associated stock down to a year-end Marc Porter compensation costs. Clearly low. In mid December, shares the auction giant was reeling in the house, which trade professional development buyouts at press time, from the relatively lackluster on the New York Stock and leadership opportunities Art+Auction learned that Taubman sell-off, which it had Exchange under the ticker for those who will steer the list includes some of guaranteed to the tune of BID, had dropped to $26.50, Sotheby’s into the future.” the top and most seasoned $515 million, anticipating having already declined Along with Smith’s staff executives at the house. that the haul would have a precipitous 38 percent lean-out notice, the firm Among them is Mitchell brought in a total closer to the month before. The figure simultaneously filed a Zuckerman, executive the high end of its $420.2 mil- was a far cry from the Securities and Exchange vice president of global lion-to-$602.6 million pre- share price of $47.28 in Commission Form 8-K operations and longtime �� sale estimate. As it stands, June 2015, two months after formally announcing “Costs president of Sotheby’s the sale total only cleared Smith’s hire and investor Associated with Exit or Ventures LLC, the parent the low bar with the buyers’ Dan Loeb’s successful Disposal Activities.” Then, on firm’s financial services premium included. boardroom putsch to shake December 14, Sotheby’s arm, which has consistently Just how much Sotheby’s up management and released an amended form outperformed the auction is destined to lose on its shore up the company’s 8-K saying that it had platform. Another is financial bet won’t be known profitability profile. reached its goal of shaving the canny trusts and es- for months to come. Two The gist of Smith’s “Dear 5 percent of its global tates attorney Warren pricey buy-ins from the John” letter was that if the workforce (amounting to 80 Weitman Jr., chairman for Taubman Masterworks sale voluntary buyouts fell short employees) at a cumula- North and South America on November 4 were an of the intended goal, layoffs tive cost of $40 million. and one of the firm’s Edgar Degas pastel, Femme would ensue. “I certainly Bundled into that number— top client handlers, who has nue, de dos, se coiffant , understand,” he wrote, “that which averages out to chosen to leave after 37 1886–88, which failed to sell announcing a cost reduction approximately $500,000 years with the company. per employee—are sever- Other departures include “I certainly understand that ance costs based on the New York–based senior participant’s position, years international specialist announcing a cost reduction of service, and base pay, Aileen Agopian and as well as, for some, the specialist Scott Nussbaum, program after two weeks of dazzling “continued vesting of equity both in the relatively sales may be unexpected.” rewards,” according to lucrative department of the filing. Those payments contemporary art. against a $15 million-to- program right after two will be made in lump sum In the client service and $20 million estimate, and weeks of dazzling sales may amounts “as soon as department specialist Disappearance I , 1960, be unexpected. It is our possible after termination.” realms, Roberta Louckx, vice by Jasper Johns, which hope—but because this is The grand total will no chairman for the Americas carried an identical estimate. voluntary we cannot be doubt be reflected in what and Middle East; Polly

N Sotheby’s now owns both sure—that this program will is expected to be Sotheby’s Sartori, a veteran senior A L L U works, and how long the achieve both the efficien- red ink–drenched fourth- vice president and head of M C M house will have to carry cies from which our quarter results for 2015. 19th-century European K I C R them on their books before organization would benefit, While Sotheby’s had yet paintings, drawings, and T A P finding buyers remains an as well as create enhanced to identify those taking sculpture; and David

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Redden, the worldwide “It was just a terrible but “gardening leave” from chairman of books and necessary deal for Sotheby’s. Christie’s expires. manuscripts, also took The good news is, there “Marc trained as a handsome buyout packages. aren’t other Taubmans lawyer,” says attorney Ralph Matthew Weigman, the out there. That’s probably Lerner of the New York– London-based public rela- the best news of all.” based Art World Advisors. tions specialist and Taubman, of course, “He’s charming, he’s very Sotheby’s worldwide director was the former white knight knowledgeable about art, of sales publicity, also savior of Sotheby’s, who he’s triple A-plus and is signed up and was accepted bought the privately held going to be a real asset…It for release after 30-plus company from its British would be a lot better if they years of service. owners in 1983, staked by had got him right away,”

In commenting on the deep-pocketed partners Lerner says, in reference Tad Smith shake-up, George Sutton, including Henry Ford II. The to the enforced leave and a senior research analyst at shopping mall magnate and the buyout departures of More important, perhaps, the Minneapolis-based voracious art collector took Zuckerman and Weitman. is Jennings’s view that Craig-Hallum Capital Group, the firm public, getting it “Tad Smith got rid of a lot of “Tad [Smith] lacks some who has tracked Sotheby’s listed on the New York Stock brain power at Sotheby’s. experience in how the art performance for years, said, Exchange in 1988, only They just think the Sotheby’s market works, and it’s “That’s absolutely a move to to fall into disgrace over a name will carry them over.” possible that Marc fits that try to improve profitability at price-fixing scheme with The Porter hire does bill quite well and they could the cost level. The challenge archrival Christie’s, for which represent a talent blow to work well with each other.” is, the margin pressures he was indicted in May 2001. Christie’s, which has seen “I told Christie’s in April have been significant at the In an interesting twist, a surge in specialist that I was leaving,” Porter auction level itself.” market insiders had departures since the abrupt says, countering what some That stress on the margin expected Christie’s, not December 2014 exit of CEO observers erroneously �� was no doubt ratcheted Sotheby’s, to have won what Stephen Murphy. In what inferred was a blindsiding up in mid September when was viewed as the plum now looks like a prescient exit to rival Sotheby’s, “and a Sotheby’s sought to tem- Taubman trove, following move, in June of last year discussion about my leaving porarily increase its his death at age 91 last Christie’s hired Brook has been going on since.” credit agreement with an April. Christie’s made a Hazelton—the onetime CEO Porter explains that he international lending hard charge led by Marc of Phillips and, more had been eager to take syndicate led by General Porter, the widely respected recently, a managing partner on another complex role at Electric Capital Corpora- chairman of Christie’s in the investment firm Christie’s after the firm, tion to a hefty $800 million America and international St. James Partners—to a under the revised leadership to cover the Taubman head of private sales. This newly created position of CEO Patricia Barbizet sale guarantee. Patrick ultimately pushed Sotheby’s of president, client manage- and global president Jussi McClymont, chief financial to overreach and guarantee ment Americas. Hazelton, Pylkkanen, decided to officer at Sotheby’s and what some observers at no doubt, will fill some of break up his job as head that Porter void. of global private sales and In an interesting twist, market “Marc was very important return that part of the to Christie’s,” says Guy business to individual insiders had expected Christie’s, not Jennings, the managing specialist departments. “It director of the London- was the reorganization Sotheby’s, to have won what was based Fine Art Fund and of the business that left me viewed as the plum Taubman trove. Christie’s former deputy without a significant role,” chairman of Impressionist says Porter. “We couldn’t a hire during the latter part the time believed to be far and modern art in New find a similarly complex of former CEO William more than what the property York. “He was a very good one, and when Sotheby’s Ruprecht’s reign, has since was worth. Now, it seems, negotiator; he tended to unexpectedly contacted resigned after a two-year Sotheby’s has hired Porter crack all the big deals, the me in late October, I chose stint. He has been replaced to take on a yet-to-be- big estates and appraisals. the role that Tad Smith temporarily by Dennis M. announced senior manage- He had a lot of good offered.” While he says he’s Weibling, a member of ment role, trying to pull a contacts with many of the leaving Christie’s with “no the board of directors at rainmaking rabbit out of top lawyers in New York rancor or anger,” Porter Sotheby’s since 2006. the proverbial corporate hat. who dealt with the big notes, “I think Sotheby’s is a

In speaking of the Porter won’t officially join consignments and that sort great choice for me now to ’ S Y B E Sotheby’s bid for Taubman’s the firm until the fall of this of thing. So from that point build a business again.” H T O estate, Sutton bluntly noted, year, when his mandatory of view, it’s quite a big deal.” JUDD TULLY S

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Somogy Art Publishers since 1937 www.somogy.net MOVERS+SHAKERS

LOS ANGELES Have Artists, Will Travel On February ��, Sprüth Magers gallery of London and Berlin expands its operation to the States with a new outpost at �� Wilshire Boulevard helmed by directors Sarah Watson and Anna Helwing. Prior to joining the gallery in ��, Watson was a director at Gagosian Gallery, leaving for Anna Helwing L&M Arts, where she worked until Dominique Lévy and Robert Mnuchin parted company three years ago. Swiss-born Helwing, who started with Sprüth Magers last year, ran her own gallery before coming on board as a director at Hauser & Wirth, where she worked from �� to ��. “The decision to open a space in L.A. depended largely on the needs and interests of our artists, many of whom live and work here,” says Helwing, name-checking John Baldessari, Lizzie Fitch and Ryan Trecartin,Barbara Kruger,Analia Saban,Sterling Ruby, and Ed Ruscha. The gallery will open with a show of new work by Baldessari,

mounted in collaboration with Marian Goodman Gallery. —BRIDGET MORIARITY Sarah Watson

NEW YORK PARIS TOKYO Virtual Sphere French Relations Crossing Luxury Lines In November, Paul Kasmin Gallery After three years Mori Seguchi has wasted little time launchedPK Editions, a virtual exhibi- as a specialist since assuming the role of president and �� tion space focused solely on limited- at Fine Art managing director of Sotheby’sJapan edition prints. The venture is headed by in October, with client engagement his Auctions gallery director Eric Gleason. For its top priority. In addition to “getting up debut show, PK partnered with the Miami (��), to speed on the art markets most relevant Dedalus Foundation to present a collec- founded by to Japan, namely Impressionist and Y R tion of prints by Robert Motherwell, modern art, contemporary art, and E Frederic Thut L L A accompanied by relevant archival mate- Chinese works of art,” Seguchi says, he G in ��, Daniel I N rial organized in three sections, according has been meeting with collectors not M Daniel Coissard S Coissard has A K to the master printers the artist worked only in Japan but also in Hong Kong and L U set up a similar operation in Paris, A with from the 1960s until his death Taiwan. Prior to joining Sotheby’s, P ; I S in 1991: Irwin Hollander, Ken Tyler, and Fine Art Auctions Paris (��), Seguchi bur- R A Mori Seguchi P Catherine Mosley. “The benefit of having nished his S which held its ﬁrst sale of Impres- N I O it as a digital platform is that there’s no reputation T sionist and modern masters this C U A limit to the number of works and, more as a business T past January. Coissard, who R A important, the amount of context we can go-getter E studied art history at the Ecole du I N F add to the website,” says Gleason, who as president ; ’ S Louvre, is no stranger to the Y adds that once an exhibition is released of operations B E H Parisian art and auction scene. T online, it will remain on the site perma- in Japan O S ; nently for web guests to revisit at their and Mexico S He worked as a director at Galerie R E G leisure. “This is the beginning of a string for Maxxium A d’Orsay during the ��s, and M H of heavily researched and contextualized Worldwide, a T in �� he founded an art advisory E U digital exhibitions Netherlands- R P S company that counted the auction , focusing on the based wine and S E G house Drouot among its clients. A advancements of spirits company, I M O 20th-century print- �� plans to specialize in Impres- and more recently W T : making,” Gleason as president of T sionist and modern paintings and F E L promises. Future Club Med Japan, where he cultivated new P sculpture—primarily by French O T projects will explore customers and business channels for M and international artists who O R prints by Jules the hospitality chain. “On top of expand- F E worked in France throughout the I S Olitski and ing the Sotheby’s client network, I am also W K C David Hockney. ��th century—along with design devoted to delivering the highest level O L Eric Gleason C —DANIELLE WHALEN and jewelry. —BM of service to our clients,” he says. —BM

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LONDON LOS ANGELES A New Lens IN BRIEF Retrograde Motion

After nearly two decades, Derek “The burgeoning cultural vibrancy of L.A. Eller Gallery has left New York’s reminds me of the manner in which Chelsea district for �� Broome the city’s art scene attained its voice in the 1960s and ’70s.” So saysFranklin Street on the Lower East Side; Parrasch of his eponymous New York the space is tentatively scheduled gallery, explaining its expansion to to open in March…This past the West Coast, where this past fall he December,Vito Schnabel’s partnered with local dealer Christopher gallery opened its doors in Bruno Heijnen to open Parrasch Heijnen Gallery. The inaugural show at the down- Bischofberger’s former space Genevieve Janvrin town space, at 1326 South Boyle Avenue, in St. Moritz…Paddle� has hired is a survey of the late L.A.-based artist Ken Phillips has appointed Genevieve Stefany Morris, former director Price, running through March 8. “I began Janvrin head of photographs for Europe, of Waterhouse & Dodd’s Upper showing his work back in 1989, when he aiming to grow a department that has East Side gallery and a specialist introduced me to his local artist friends flourished in New York in recent years. in the Impressionist and modern and colleagues, including Larry Bell and “Historically, the market for photographs Peter Alexander,” says Parrasch, who has been predominantly New York— art department at Christie’s, has gained a reputation for championing focused, but with such a growing number as head of ﬁne art auctions and California artists. “Both Parrasch Heijnen of collectors in Europe, there is now a manager of its for-proﬁt sales… Gallery and Franklin Parrasch Gallery demand for a strong secondary-market This month, Berlin-based Arndt will focus on L.A. artists whose careers presence for the medium,” says Janvrin, gallery is moving to the city’s emerged in the 1960s,” he adds. —BM who is working on a sale slated for Charlottenburg district, where it May 16 in London. Janvrin, who began �� her career at London’s Michael Hoppen will focus on artist management, Gallery and most recently worked as art advising, and curated a private art adviser after a brief stint exhibitions under the rubric of Christopher at Rex Irwin Fine Art in Sydney, is no Arndt Art Agency; the gallery’s Heijnen stranger to Phillips. She joined Phillips de commercial efforts will continue Pury & Company in 2007 to organize Franklin the house’s inaugural London sale of to operate out of its Singapore- Parrasch photographs, and ran its London-based basedArndt Fine Art space. photographs department until 2009. —BM

NEW YORK AND TOKYO Bases Covered S M A H N Bonhams has hired Ingrid Dudek, who previously served as vice president and O B , S E international senior specialist in Asian ��th-century and contemporary art at G A I M Christie’s. Based in New York, the new director of modern and contemporary art for O W Ingrid Dudek T ; Asia has been charged with developing an American consignment and buyer base E G I D R for the house’s Hong Kong sales. Meanwhile, Tokyo-based Ryo Wakabayashi has been given a B N A T similar task in Japan and Korea. Wakabayashi, former �� of Mizuma Art Gallery, joins S W E R D Bonhams as senior specialist in modern and contemporary art, Asia. Dudek and N A ; S Wakabayashi are also working to cultivate a collector base in Asia for the postwar I P L I L H and contemporary art sales in New York and London. According to Magnus P : T F E Renfrew, deputy chairman and director of ﬁne arts for Asia, the house’s efforts on L P O T this front have already been paying off.“Thirty-six percent by value of work from M O R F our London sale of postwar and contemporary art earlier this year found buyers E I S W —DARRYL JINGWEN WEE K in Asia—a signiﬁcant increase from last year,” says Renfrew. C O RyoWakabayashi L C

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PALM SPRINGS Mad for Modernism

�� has a long history as a getaway for is timeless and classic, with clean lines, and it ﬁts into houses that celebrities looking for respite from Hollywood, which has left the have good eye appeal,” says James Claude, a Palm Springs dealer desert city dotted with homes designed by such midcentury modern who has traded in midcentury design for �� years. His gallery, masters as E. Stewart Williams, Albert Frey, and Donald Wexler. A La Mod, co-owned with Miguel Linares, is returning for its February �� through ��, Palm Springs hosts its annual Modernism fourth fair. Week, opening up many of these homes—such as the Williams- “Many baby boomers are at a position in life now where they’re designed �� Twin Palms estate, pictured above, built for Frank able to afford these items,” says Claude, who has noted increasing S A L Sinatra—for visits, tours, talks, and parties. attention to modernist design . “All of a sudden, the ��s are I L V E The highlight of the week is the ��th edition of the Modernism popular,” he adds. “I think it’s bringing back memories of childhood D N O Show and Sale, which runs February �� through �� at the Palm for people in my age bracket, or even younger, just like it did for M U Springs Convention Center, with more than �� exhibitors the people who were buying ��s furniture and were in their ��s A E B presenting furniture, decor, and ﬁne art. “A lot of modern design some �� or �� years ago.” —DANIELLE WHALEN

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION DATEBOOK: AMERICAS

NEW YORK MEXICO CITY Flash Mob ¡Ciudad Caliente! traying from �� international interest in the traditional Mexican modernism to murmurings within semiannual artist circles of its being “the next Berlin,” S photography sales Mexico City, with the requisite affordable that take place in April and spaces, rich history, and edgy spirit, seems October, on February 17 poised to step onto the global art stage. and 18, Christie’s offers a “Mexico is a real point of focus at this large, off-cycle sale featuring particular moment,” says Galería OMR approximately 200 lots director Cristobal Riestra, who is over- seized from Philip Rivkin, seeing the ��-year-old gallery’s move from who pleaded guilty in a colonial home in the Roma neighborhood June 2015 to fraud charges to a white cube in Córdoba, with an stemming from his owner- inaugural exhibition of works by Jorge ship of a Houston-based Méndez Blake opening February �. biodiesel company. The “Mexican collectors are buying abroad auction highlights prominent more now, and we’ve seen a fast-paced, American photographers growing interest in the artists we represent from the late 19th and 20th as well as other Mexican artists,” he centuries, including Alfred notes. “And the number of museum Stieglitz and his followers, patron groups visiting Mexico City has such as Paul Strand, grown exponentially.” Edward Steichen, and The inﬂux of artists and young galleries Edward Weston, whose to Mexico is one of the driving forces Shell , 1927, pictured here, is estimated at prestigious collectors and institutions. Among behind the spike in collector interest. Lulu, $250,000 to $350,000. Works by key the lots up for auction is Steichen’s The a Kunsthalle-style space under the direction European modernists, such as Henri Cartier- Pool–Evening: A Symphony to a Race and �� Bresson and Josef Sudek, are also available. to a Soul , 1899 (est. $150–250,000), which Darius Himes, international head of the sold at Sotheby’s New York in 200 6 for department at Christie’s, is confident that $296,000 (est. $100–150,000) as part of the sale “will bring the top collectors of the sale Important Photographs from the the category.” The first day, an evening sale Metropolitan Museum of Art Including Works features roughly 50 works, with the remaining from the Gilman Paper Company Collection. pieces offered in morning and afternoon The remainder of the 2,000-piece trove will be sessions the following day. Regardless sold throughout 2016 in a series of online-only of Rivkin’s status, Himes points out that thematic and monographic auctions. The first, “provenance should not be overlooked,” as beginning at the end of this month, features many of the works at one time belonged to solely American artists. —LIZA M.E. MUHLFELD

LOS ANGELES BREAKING NEW GROUND

Los Angeles Modern D R LAMA O Auctions ( ) joins forces F D U with Sotheby’s International of Chris Sharp and Martin Soto Climent, M T N is one of the best-known newer spaces. A Realty to sell the boutique R G “We’re one of the few places in Mexico ; house’s ﬁrst-ever real estate Y I T City where you can see non-Conceptual, C lot. The George Sturges O medium-speciﬁc work—painting, for I C X House, designed by Frank E instance—by serious emerging and M , R Lloyd Wright in ��, leads midcareer artists,” says Sharp. M O LAMA �� is at the ��-year-old blue-chip I A ’s February �� modern art and design sale, which includes more than R E L Zona Maco fair—bringing works by A �� lots from the estate of Jack Larson, the actor and playwright best known G ; artists including Jose Dávila, whose untitled ’ S for his role as reporter Jimmy Olsen in the ��s TV series Adventures of I E print from �� is pictured above— T I S Superman, who passed away this past September. In addition to the house, R H February � through � at the Centro Banamex, C : lots from the collection of Larson and his partner, the late James Bridges, P while Lulu is at �-year-old satellite O T include works by Andy Warhol and Alex Katz, whose �� oil on Masonite Material Art Fair, February � through � M O R Here’s to You is estimated at $��,�� to $��,��. —DW at Expo Reforma. —SARA ROFFINO F

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DATEBOOK: MUST–HAVES

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ETHNIC ARTS The San Francisco Tribal & Textile Arts Show, which runs February 19 through 21 at the Fort Mason Center, provides ample opportunity for collectors to expand their holdings of ethnographic art from around the globe

1. PRESTIGE HAT, from the Bamileke or Bamun people, in cotton and wool, 6. BERBER STONE INKWELL from the Atlas Mountains, M orocco, late Cameroon, 20th century; $1,800 from exhibitor Andres Moraga Textile Art, 19th century; $850 from Robert Morris Fine Art, Santa Fe. 7. TEA KETTLE, Berkeley, Californ ia. 2. TJI WARA HEADDRESS, in wood with metal fittings, in brass or bronze, Brunei, ca. 1800; $2,200 from Mark A. Johnson Tribal from the Bamana people of Mali, early 20th century; $35,000 from Berz Art, Marina del Rey, California. 8. BOAR’S TUSK MOUTH ORNAMENT, with Gallery of African Art, New York. 3. TUTSI COIL-SEWN AGASEKE BASKET with cowrie shells, shell rings, red seeds, and beads, from Collingwood Bay, conical lid, Burundi, ca. 1950; $950 from Amyas Naegele, New York. Oro Province, Papua New Guinea, early 20th century; $2,000 from Michael 4. POLYCHROME NAZCA VESSEL, Peru, A.D. 200–600; $1,200 from Morgan Hamson Oceanic Art, Palos Verdes Estates, California. 9. NETSUKE IN Oakes Tribal, San Francisco. 5. TURKANA LEATHER SHIELD, Kenya, early THE FORM OF A SNAIL, in boxwood, Japan, Edo period; £2,200 ($3,300) 20th century; $950 from Farrow Fine Art Gallery, San Rafael, California. from Brandt Asian Art, London. —ANGELA M.H. SCHUSTER

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM William N. The World According to COPLEY CPLY

THE MENIL COLLECTION February 19–July 24, 2016 menil.org 1533 Sul Ross Street, Houston, Texas 713-525-9400 Free admission, always. This exhibition is organized in collaboration with Fondazione Prada.

DEN BOSCH, NETHERLANDS Fanfare for the Grotesque The Dutch hamlet is pulling out all the stops with a host Center panel of The Last of events to celebrate the ��th anniversary of the death Judgment , of Hieronymus Bosch, medieval master of the macabre. 1495–1505, by Hieronymus Foremost among them is “Jheronimus Bosch: Visions Bosch. of Genius,” the largest exhibition of his works ever held, running February �� through May � at the Noordbrabants Museum. Drawn from collections around the globe, the �� paintings and �� drawings on view depict all manner of fanciful ﬁgures presented along with works that contextualize the artist and his oeuvre. “Bosch probably never saw so many of his works together at one time,” says museum director Charles de Mooij. Nearly �� events and projects are planned in the Netherlands for the quincentennial, including the world premiere of Requiem for Bosch, composed by Detlev Glanert and performed by the Royal Concertgebouw Orchestra. —AMHS

CAPE TOWN In �� I returned to South Africa af ter with are based in Europe and America, and �� years in Berlin, and I discovered that Cape there is a lot of potential to access new markets ON THE RISE Town had two or three galleries devoted to in fellow developing economies in Africa and contemporary art. Their programs, although in other parts of the world. �� Art Week Cape Town brave at the time, were very commercially returns for its fourth edition driven and focused on local audiences. Since What are the highlights of Art Week this year? February �� through ��, then, the sector has grown, and grown I’m particularly excited about commissioned while Cape Town Art up. There are now several galleries in addition projects happening within the fabric of the Fair runs February �� to Blank, like Stevenson, Goodman, and city: Artists and architects will be reacting through ��. Art+Auction’s Whatiftheworld, with quality programs to contested spaces inherited from the apart- Sara Rofﬁno checked in supporting the artists they represent and heid era, when the city was planned around

with Jonathan Garnham, taking their work to international audiences. separate development. The Cape Town Art I D R D owner of Blank Projects (one of the city’s Fair promises to be the best yet. Now in A M , ﬁrst contemporary art spaces) and founder Who are the collectors in South Africa? its third year, the fair brings together the best A R G of Art Week Cape Town, about where the We have a small collector base, mainly from galleries from the region along with some E N A city has been and where it’s going. Cape Town and Johannesburg. It is a quite exciting international participants. At Blank, J A conservative market, but that is changing as we’re presenting two new sound installations C A L You opened Blank Projects in 2005. How has people become more familiar with contem- by James Webb, and Stevenson will be D N A art in Cape Town changed since then? porary art. Ma ny of the collectors we deal showing an installation by Meschac Gaba. T F O R C O R D E MADRID P E S O J ; M A Spain Stays in Step H N R A G N ounded in 1982, ARCOmadrid has built an international reputation that has consistently attracted A H T A dealers and collectors from throughout Latin America, Europe, and North America. “In the past N O J five years, we’ve especially emphasized the link between Latin America and Europe,” says fair ; M I U director Carlos Urroz, highlighting one of the ways in which the fair has buoyed itself against G L F E the Spanish economic crisis, which started in 2008 and didn’t begin to wane until mid 2015. The result, B , S E according to Urroz, is that “more than 60 percent of sales at the fair are to non-Spanish clients.” G U R As Madrid regains its footing following several years of economic turmoil—which saw the closing of B , M long-standing galleries including Soledad Lorenzo and Oliva Arauna in the historic art district of Chueca- U E S Justicia—a younger generation of dealers is setting up shop around Doctor Fourquet Street, close to the U M E Reina Sofía. “It’s both generational and geographic that the gallery scene is changing,” says Urroz. “Galler- G I N ies are coming from Barcelona and other parts of Spain. It’s really becoming a hub for contemporary art.” N E O ARCO runs February 24 through 28 at the Feria de Madrid, with nearly 200 galleries, including Madrid’s R G : Untitled P La Caja Negra, which is bringing José Pedro Croft’s 2015 etching and collage, seen at left. O T Additional programming throughout the city to mark the fair’s 35th edition includes contemporary art M O R interventions in non-contemporary venues such as the museums of Romanticism and archaeology. —SR F

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM

DATEBOOK: AMERICAS

 DEALER’S NOTEBOOK Stephen Ongpin THE ESSENTIALS Armed with a mix of ��th- and ��th-century drawings, the London dealer returns this month to AGE: 53 Works on Paper after a hiatus from the fair. HAILS FROM: Manila, Philippines Ever in quest of the rare, the sought-after, and the PRESIDES OVER: Stephen Ongpin Fine Art, undiscovered, Ongpin spoke with Art+Auction London GALLERY’S SPECIALTY: Drawings, watercolors, about his evolution in the trade, his market predic- and oil sketches from the 15th to the tions, and his finds for the fair’s current edition. 20th century MOST RECENT SHOW: “Master Drawings IN THE BEGINNING from the 16th to the 20th Century,” Dickinson I majored in art history at the University of Roundell Inc., New York, January 2016 Manchester and fell in love with the subject. After LONDON taking the Sotheby’s Institute of Art’s Works of Art course in London, I knew that I wanted to for example. I’m seeing more Old Master collectors Paper Source work in the art market, particularly in the field of also moving into the ��th centu ry. In many Old Masters. I got a job as a porter in the New ways a drawing by Lucian Freud would appeal as “A distinctive feature of our fair is York branch of the Old Master gallery Colnaghi, much to someone who also loves the drawings that no one period dominates,” says where I wound up staying for �� years. In �� of Degas or Ingres. Similarly, a drawing by a Lucy Russell, a director of Works I began working with Jean-Luc Baroni, who ran contemporary artist like Jenny Saville, who draws on Paper, the seventh edition the drawings business there. I knew that one day superbly, can attract a collector of Old Masters. of which runs February 11 through I wanted to deal in drawings on my own, and 14 at its new venue, the Royal in �� I finally took the plunge. I teamed up with FAIR PLAY Geographical Society. “Visitors my colleague Guy Peppiatt, who dealt in British The wonderful thing about the Works on Paper seem to enjoy the juxtaposition drawings and watercolors, and we opened a fair is that it attracts al l sorts of people, not just of something quite early—like the �� gallery in Mason’s Yard in St. James’s, where collectors of drawings but also museum curators 15th-century woodcut by Albrecht we remain to this day. Guy and I have completely and scholars. I shall be bringing a mix of mainly Dürer brought by Elizabeth separate businesses, but we share the gallery. ��th- and ��th-century drawings, with some big Harvey-Lee—and something by, names (Henri Lebasque, Camille Pissarro, Ben say, a contemporary Japanese MAJOR MILESTONE Nicholson) and many works by lesser-known but artist like Toko Shinoda, whose My first significant sale was a superb drawing of equally gifted artists, as well as a ha ndful of Old work is being shown by the Tolman the head of a youth, in red chalk on blue paper, Master drawings. When one looks Collection.” Russell says that by ��th-century Venetian artist Giovanni beyond the obvious names, there are there has been a rising interest in Battista Tiepolo. It was a very striking, many artists who are less well 20th-century material. Another quite modern image, and I put it on the front known but can still be recognized trend to emerge, she adds, is the cover of my first independent catalogue and admired as superb draftsmen. increasing presence of dealers who in ��. It was sold to a private collector in lack a brick-and- Books for the Chicago, and I still remember receiving TWO FOR THE SHOW Paris Review , mortar gallery; a check for the drawing with what was I will be exhibiting a very striking 1998, by Howard in fact, more at that time the biggest number I had ever image by René Gruau, which was Hodgkin at than half of the Zuleika Gallery. seen on a check with my name on it. his design for a �� advertisement 44 participants fit for Cinzano vermouth. Very often this description—among them the BRANCHING OUT such commercial artists do not get Oxford-based, online-only Zuleika Unlike, say, the contemporary rated as highly as “fine” artists, Gallery, which debuted its collection market, the drawings field but I believe that he fully of 20th- and 21st-century art in

Y remains much less prone to deserves to be recognized October, and Freya Mitton, R E L wild fluctuations and as a great draftsman. who since 2012 has specialized in L A G hype. Collectors of Another drawing I will be 20th-century British art. Mitton A I K E drawings tend to exhibiting is an orientalist returns to the fair this year with a L U be driven by a genuine landscape, Sunset in range of works by the likes of Julian Z D N love of the works Egypt, with Two Bedouin Trevelyan and Mary Fedden. “An A I N oil by Fedden can fetch between K and don’t view on Camels, by the G D £15,000 and £20,000 [$22–30,000], O them as a means of ��th-century French H D investment. Still, artist Louis Amable but a work on paper, while not R A W as collectors of Old Crapelet. Crapelet went cheap, is in the range of £5,000 O H ; Master drawings to Egypt between �� to £15,000 [$7,000–22,000],” E G U begin to find fewer and ��, traveling says Mitton. A loan exhibition of O R F works in their down the Nile as far as never-before-shown paintings and I E L U chosen field, they the Third Cataract, and drawings by the popular British J : T F may begin to look this journey provided author Laurie Lee accompanies the E L farther afield—at him with material for works for sale. M O R ��th-century drawings, much of his later career. —BRIDGET MORIARITY F

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Art Fair Philippines (AFP), which started from humble beginnings in 2013, returns for its fourth edition February 18 through 21 at the Link, a multistory parking facility in downtown Makati’s Ayala Center. Although the fair is l argely seen as a local event, its casual setting makes for a lively and dynamic show that benefits from the loyal support of a staunch cadre of Filipino collectors. Cofounder Trickie Lopa notes that the momentum generated by the fair has led to a frothy gallery scene throughout the year. “Galleries that specialize in younger artists—those out of art school for no longer than three years—don’t find it difficult to attract an audience for their shows, and their viewers can be j ust as young as their artists,” says Lopa. “We also see seasoned collectors constantly on the lookout for less established talents, artists they don’t need to get on a waiting list for.” Among the 40 galleries participating—up from 33 last year—are Galerie Michael Janssen of Berlin and Singapore, Nunu Fine Art of Taipei, Edouard Malingue Gallery of Hong Kong, and West Gallery of Manila, whose booth includes the diptych Skyshade , below, a 2015 thread on canvas by Raffy Napay. —DARRYL JINGWEN WEE TAIPEI Early Expat Opening February �� and running through March ��, Tina Keng Gallery presents a solo exhibition of works �� by Chinese painter Wu Dayu, one of the country’s ﬁrst artists to study in Paris. Dayu’sPortrait of Son, a mid ��th-century oil on canvas, is pictured above. —SR

DHAKA, BANGLADESH commercial artists, which makes without any motivation other connections to the region. One it challenging for emerging artists than the quality of the work. example is American artist Lynda Cultivation to build their careers. Benglis, who has a solo project How has the summit evolved since curated by Diana Campbell of the New How does the summit address its first edition in 2012? Betancourt. B englis spent more this situation? The ﬁrst edition of �� presented than �� years living between �� , �� is the largest research only Bangladeshi artists, but India and the United States, and curators, historians, and other platform for South Asian art with the second edition, in ��, she still has a studio in India. scholars convene in Bangladesh and the only one of its kind with the focus shifted to the entire Her work also has a very strong I K T February � through � for the no commercial agenda in the South Asian region. For the Indian inﬂuence. I T R third edition of the Dhaka Art region. Most of the South Asian upcoming edition, the summit M I R N Summit (��), a research platform countries, except for India, face is also focusing on diaspora Are collectors involved with A M ; sponsored by Nadia and Rajeeb challenges similar to Bangladesh’s artists and those who have strong the summit? S E I N Samdani and their art foundation. when it comes to local art scenes. �� is a noncommercial public P I P I L The couple checked in with There are few galleries in the event with a free and ticketless H P

Art+Auction’s Sara Rofﬁno about region that represent and promote format, and the artworks are I R A F their efforts to build support artists internationally, and few on loan for exhibition only. It T R A for artists in South Asia. that participate in important art attracts museums, institutions, D N fairs where artists’ work can be galleries, curators, journalists, A Y A What are the big challenges visible to an audience of collectors critics, and collectors from P A N facing artists in Bangladesh? and arts professionals who can all over the world. It is also a Y F F A Basic art infrastructure is yet support them. �� was created platform for Bangladeshi and R ; Y to be developed. Very few as a facilitator for international South Asian collectors to see and R E L learn about the art from their L of the galleries in Bangladesh museums, institutions, and A G represent artists, nor is there curators to learn about the re- own region. In the upcoming G N E a contemporary art museum. gion’s art scene. As we a re edition, over �� speakers from K A Appreciation for contemporary, noncommercial, no one can pay �� countries will take part I N T : P cutting-edge art is g rowing, for space within the summit, so in panel discussions, which is a O T but still rare. Galleries tend all the artists who are exhibited great way for collectors to learn M O R to show more established and are selected by a team of curators more about South Asian art. F

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NOW ON VIEW Book, ��, believed to be the D Lakota Beaded Hide block, including pieces by > NEW YORK first book printed in North Woman’s Dress, circa ��s Charles and Ray Eames and 14 Up through February �� at America (est. $��–��,��). (est. $�,��–�,��) George Nelson. G Set of > CHICAGO Dag Modern is “The Naked Offering �� lots, the sale three Steelframe cabinets by “Van Gogh’s Bedrooms” at and the Nude: The Body in carries a total high estimate > CLINTON, George Nelson & Associates the Art Institute of Chicago Indian Modern Art.” Bringing of $��,��. B John André, NEW YORK (est. $�,��–�,��) centers on the troubled artist’s together �� works by �� A Representation of Major The Wellin Museum of Art at famed stay in a violet-walled artists, the exhibition surveys John André…going from Hamilton College presents the room in a yellow house the diverse ways in which the Vulture Sloop of War, largest survey in the United 12 in southern France. Drawing Indian artists have used circa �� (est. $��–��,��) States of Yun-Fei Ji, a Beijing- > LOS ANGELES on three paintings Vincent the nude, in its variant forms, born watercolor painter. Now in its fourth year, the van Gogh made of this space as a vessel for a diverse His compositions, made in the LA Art Book Fair runs between �� and ��, the �� range of ideas and emotions. 6 style of landscape paintings February �� through �� at show includes nearly �� works F F.N. Souza, Untitled , �� > BOSTON from the Song Dynasty, B One of the best collections depict contemporary issues of Western art in Montana of Chinese society. “Yun-Fei 4 goes under the gavel at Ji: The Intimate Universe,” > NEW YORK Skinner. The holdings of running through July ��, A two-volume first edition the late Van Kirke Nelson— includes more than �� of of the Federalist Papers a prominent Montana Ji’s pieces, made since ��. O A G from �� hits the block physician—and his wife, Yun-Fei Ji, The Village A I C with an estimate of $��,�� Helen, comprise approxi- and Its Ghosts, �� H C F to $��,�� as part of mately �� lots of Plateau O E T the Printed & Manuscript and Plains Indian artifacts, U I T T Americana sale at Swann including a Blackfoot 11 S I N Auction Galleries. Also offered man’s shirt from around > ROTTERDAM T R A is a newly discovered seventh the ��s, with an estimate Art Rotterdam Week runs E H T edition of the Bay Psalm of $��,�� to $��,��. February �� through �� with ; S I E pop-up shows, an architectural R E L L tour of the ��s-era Van the Geffen Contemporary by the artist as well as items A G Nelle Fabriek, the first at ��. Some �� he owned. This look into Van N N A exhibition of Ugo Rondinone’s independent publishers Gogh’s intimate space runs W S ; C K sculptures in the Netherlands, from the United States and until May �. Vincent van R O and an evening dedicated abroad present an array Gogh, The Bedroom, �� Y W E to Allen Ginsberg, hosted of artist books for sale, N , N by Galerie West and held at including monographs, A H O the Arminius conference zines, and catalogues. 15 C S E center with a performance by Organized by New York’s > MUSCAT, OMAN M A J the Mondriaan Quartet. Also Printed Matter, last year’s �� Oman, now in its third D N A part of the week’s events Los Angeles spinoff of the year, includes exhibitors I J I are two fairs: Art Rotterdam fair, which has taken place both local and international E F - N and the Rotterdam Con- in New York since ��, showing examples of interior U Y : temporary Art Fair. attracted nearly ��,�� design, decor, and furnishings, P O T visitors. Among this year’s with a special section of more M O R > CHICAGO exhibitors are Oakland’s than �� Italian vendors. The F E Wright brings another Creative Growth, Onestar fair will occupy Muscat’s I S W K selection of ��th-century Press of Paris, and Japan’s Oman International Exhibition C O C L American design to the Komiyama Tokyo. Centre through the ��th. C

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM > STOCKHOLM The Stockholm International Antiques Fair hosts a roster of more than �� dealers in fine art, contemporary design, antiques, and “curiosities” at the Stock- holm Exhibition and D Congress Center, running 18 through February ��. > PALM BEACH Georgia O’Keeffe, Marguerite 19 Zorach, Florine Stettheimer, > HOUSTON and Helen Torr are the The work of the late William subjects of a survey at the N. Copley is the focus of “The Norton Museum of Art World According to CPLY” at exploring the role played by the Menil Collection through identity and gender in the July ��. The artist’s first work of these four female museum retrospective in the modernists and the influence United States, the show traces each had on the others. the self-taught painter’s career from the ��s to the ’��s, with roughly �� examples of his paintings and works �� on paper. Copley was also an avid collector, and the

exhibition is complemented by E artworks that he once owned. the local Galería Kreisler, the theme of “Not New and Gallery Kaplanon � Now,” an exploration of 26 24 of Athens. Participating art’s role in the present, > VIENNA > MADRID in the One Project section, rather than the future or “Chagall to Malevich: The Almost �� galleries are which brings specifically past. Curated by Reem Russian Avant-Gardes,” participating in this year’s curated and commissioned Fadda, associate curator of running until June �� at the F Art Madrid fair, which exhibitions to the space, Middle Eastern art for the Albertina, includes �� works Their art is being displayed marks its ��th edition at are Galerie Voss of Solomon R. Guggenheim’s by ��th-century Russian artists, together for the first time in the Galería de Cristal de Düsseldorf, Espacio Nuca Abu Dhabi project, the such as Natalia Goncharova N R E “O’Keeffe, Stettheimer, Torr, CentroCentro Cibeles from Salamanca, and event takes place in venues and Wassily Kandinsky along- D O M Zorach: Women Modernists through February ��. six other galleries. throughout the city, with side Kazimir Malevich and G A D in New York,” open Galleries displaying ��th- site-specific commissions by Marc Chagall. The exhibition ; T E > MARRAKECH H through May ��. Florine century and contemporary international artists at the traces the creative processes I G R Stettheimer, Spring Sale art include Barcelona’s The sixth Marrakech El Badi and Bahia palaces. of the artists and their varied W ; T R at Bendel’s, �� Galería Alonso Vidal, Biennale is organized around Through May �. stylistic development. A F O G M U E S U M I A H P L E D A I L H P ; R E N I N K S : T F E L P O T M O R F E I S W K C O L C

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R K I C L F

I A V R E L G Mumbai I E Z T T E R Home to the Bollywood film industry, the city previously known as Bombay also serves as India’s financial powerhou se while containing Asia’s R A G largest forest in an urban space. Amid extremes of rich and poor, the community comes to life during the annual Kala Ghoda Arts Festival, a nine-day I ; A B event commencing February 6 and showcasing a display of art, music, theater, and literature in venues across South Mumbai. BY EKTA MARWAH A M U M , A Y the Tao Art Gallery, years of neglect until an at the city’s southern A SEE L A H February 9 through 15. extensive restoration edge. The building, A R  161 KALAGHODA G Located in the city’s saw it reopen in 1996 as designed in the Indo- N A cultural hub, the 91-22-2284-3989 a gallery intended to Saracenic style, is home S U T Jehangir Art Gallery is jehangirartgallery.com promote evolving trends to a collection of more S A V globally recognized as a in Indian culture. than 60,000 art objects J A R center for contemporary  The National Gallery MAHATMA GANDHI and is always abuzz A H A Indian art. The gallery of Modern Art, Mumbai ROAD with activity. Ancient M I J sponsors the Monsoon exhibits an eclectic 91-22-2288-1969 Indian art is on display in A I V H Art Show, which takes mix of works by M.F. ngmaindia.gov.in the Stone Sculpture S I T A place between July Husain, Raja Ravi Varma, Gallery, which includes P A  R and August, to promote and Pablo Picasso, The Chhatrapati works from the nearby T A H the work of emerging among others. Housed Shivaji Maharaj Vastu Elephanta Caves. H C , artists across India. in a historic building, Sangrahalaya is a Pieces from Nepal and S E E T Look for “The Scape the venue was a prom- museum that appeals to Tibet are also on show. S U 159-161 MAHATMA R and Scope,” a group inent location for both art and history T : GANDHI ROAD P show of paintings, concerts and meetings enthusiasts, situated O T sculptures, and instal- through the 1950s. How- across from the National 91-22-2284-4484 M O 2 R lations at Jehangir and ever, it suffered from Gallery of Modern Art csmvs.in F

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM 1 The Chhatrapati Shivaji Maharaj Vastu Sangra- halaya museum. 2 Indian cuisine is the specialty of Masala Kraft at the Taj Mahal Palace hotel. 3 The Oberoi, Mumbai hotel overlooking the Arabian Sea. 4 The Kala Ghoda Arts Festival features displays such as these ceramic shoes. 5 A suite at the Trident, Nariman Point. 6 The Jehangir Art Gallery entrance. 7 Camouﬂage Harvest, an installation by Lalit Patil at the 2011 Kala Ghoda Arts Festival.

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STAY  The 35-story Trident, wrapped lobby featuring Indian cuisine and  Don’t miss the chance  No visit to South Nariman Point provides ﬂoor-to-ceiling windows, Continental options. to take a culinary tour Mumbai is complete  Set in the city’s panoramic views and the hotel’s rooms, 10 ROPEWALK LANE around the historic without seeing the heritage precinct, the of Marine Drive (or the restaurants, and spa, 91-22-2263-3866 fort area to discover the Gateway of India, a

; Residency Hotel is “queen’s necklace,” with their emphasis on kgcafe.in host of Persian-style monument overlooking R K I C less than a mile from the as the promenade sleek surfaces and cafés tucked along the the Arabian Sea, and L F Chhatrapati Shivaji is popularly known). natural light, follow the  After a long day narrow lanes. Serving when there, it’s almost I A V R Terminus station The hotel offers spacious same stylish aesthetic. walking through distinct and intricate impossible to miss the U M NARIMAN POINT Taj Mahal Palace A and a short walk from rooms, impeccable galleries, head to the Parsi cuisine, these nearby L A C attractions like the service, and the award- 91-22-6632-5757 Irish House, located in a vintage establishments hotel. The iconic prop- I I N Colaba Causeway. The winning restaurants oberoihotels.com charming heritage were the first to intro- erty exudes opulence, R A H A hotel’s façade evokes Frangipani and India building in Mumbai’s duce Irani chai and bun and houses some ; I S D T E an old-world charm Jones. Guests can cultural center, for maska of the finest restaurants R I P EAT . As Bombay O K S I E W with its triumphal stone pamper sore muscles a refreshing respite. expanded under British in the city. One such R ; R & K architecture. The on-site at the spa.  The Kala Ghoda Café Choose from fresh draft rule, so did the cafés, spot is Masala Kraft, S C L I E L NARIMAN POINT T F restaurant has a colo- is a quaint coffee beers straight out of but today the legacy is known for exquisite O A H I 91-22-6632-4343 I V nial feel with wooden shop located in the heart wooden kegs and fast disappearing. North Indian cuisine with O N R I . E T seating and arched open- tridenthotels.com of Mumbai’s cultural sample fare like fish and Britannia and Company a modern twist. The B S U O J : ings to the street; inside, district. Its cozy, chips while watching Restaurant offers the fusion of Western T ; F S E T vintage photographs  Next door to the art-lined interiors create local and international opportunity to indulge ingredients and tradi- L R O P S O E decorate the walls. Trident, the Oberoi, a gallery-like setting. sports on the big screen. in classics such as patrani tional Indian flavors T R M & 26, CORNER OF D.N. Mumbai is a luxe On offer are a range of RAMPART ROW machi and berry pulav . makes this a must-visit. O S R L F E ROAD AND RUSTOM LEVEL 2, 30K BALLARD ESTATE, THE TAJ MAHAL PALACE T hotel that enjoys similar coffees, teas, and E S O I H SIDHWA MARG Marine Drive views. small bites, along with a DUBASH MARG OPPOSITE NEW APOLLO BUN DER W I K O C R 91-22-6667-0555 The property’s center- breakfast menu that 91-22-4915-0000 CUSTOM HOUSE 91-22-6665-3366 O E L B C O residencyhotel.com piece is a white-marble- includes both traditional theirishhouse.in 91-22-2261-5264 tajhotels.com

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BY JUDD TULLY | FEBRUARY 2016 WHAT TO LOOK FOR AT AUCTION

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HENRI MATISSE La leçon de piano, �� Oil on canvas IMPRESSIONIST & MODERN ART EVENING SALE SOTHEBY’S LONDON February � EST. £12 MILLION TO £18 MILLION ($17.8–26.7 MILLION)

LONDON Assuming a Quieter Profile

s �� dawns, the auction populated by experts that are acutely afford to be selective and wait for some- specialists’ usual hyperbole aware of its long-running success. thing that really ticks the boxes for predicting record prices Jay Vincze, the Christie’s London head people,” Vincze observes. “If something is for their hard-won wares of Impressionist and modern art, links not quite right, they’ll wait for another is strikingly absent. The the tentative atmosphere to the glut moment and let other pieces slide.”

’ S combination of unrelenting art market of quality material lured to the block by Despite the cautious atmosphere, the art Y A B E H action and tumultuous world events has ever-climbing prices. “There’s so much market soldiers on, collectors ready to pick T O S coalesced into a less conﬁdent market, choice around these days that buyers can and choose whatever is best and brightest.

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION ONTHEBLOCK

FEBRUARY 2  CHRISTIE’S  IMPRESSIONIST & MODERN ART

£4–6 million; $6–9 million), < Unlike its New York relation, Christie’s London is still brimming with strong color, crisp staging its evening sale the same geometry, and the symbolic power week as that of archrival Sotheby’s. of the postwar Machine Age. Star lots include Paul In November 2001 a larger version Cézanne’s ravishing oil Ferme with the same title and from the en Normandie, été (Hattenville) , same year sold for $16.7 million, 1882 (est. £4.5–6.5 million; then an artist record, at Christie’s $6.7–9.7 million), depicting the New York as part of the René garden of the house belonging to Gaffé single-owner sale. Victor Chocquet, an early Cézanne Another highlight from the champion and the subject of World War I era, Ernst Ludwig numerous portraits, who once Kirchner’s Expressionist Bahnhof owned 33 of the artist’s works. Königstein, 1916, is pegged at “It’s trademark Cézanne for that £1.5 million to £2 million period,” says specialist Jay ($2.2–3 million). The valuation Vincze. The painting last sold at reflects the fresh-to-market Sotheby’s London in June 1997 status of the work, which has for £2.8 million ($4.7 million). been in the same German Just on the cusp of the artist’s collection since it was acquired move to abstraction, a transi- directly from the artist the tional period Wassily Kandinsky, year it was painted. Strasse in Murnau , 1908, depicts An iconic 1928 Marc Chagall, a bustling street scene and Les mariés de la Tour Eiffel , carries an estimate of £1.5 million depicting the artist and his wife, to £2.5 million ($2.2–3.7 million). Bella, flying across Paris, the Eiffel The house is also offering Tower prominent in the back- Fernand Léger’s Cubist-style ground, is estimated at £4.8 million Le Moteur , 1918, left (est. to £6.8 million ($7–10 million).

“There’s so much choice around these days that buyers can afford to be selective and wait for something that really ticks the boxes,” observes Jay Vincze of Christie’s.

FEBRUARY 2  CHRISTIE’S  THE ART OF THE SURREAL

In the house’s separate-catalogue Surrealist sale, held the same evening as the Impressionist and modern art auction, the scale and period fast-forwards significantly to Joan Miró’s exuberantly giddy and color-charged Femme et oiseaux dans la nuit , 1968, right, measuring nearly four feet wide. Reflecting this season’s moderated expectations, the painting carries an estimate of £3 million to £5 million ($4.5–7.5 million), despite having earned £5.2 million ($7.8 million) on an estimate of £4 million to £6 million ($5.9–8.9 million) in its last appearance on the block, in June 2010, at the same house. In somber contrast, thanks to its unusual gray, black, and white palette, Pablo Picasso’s small-scaled yet power-packed Arlequin, 1926, ’ S I E is estimated at £1.5 million to £2.5 million ($2.2–3.7 million). T I S R Organized under the direction of Christie’s deputy chairman Olivier H C : Camu, this 15th edition of the Surrealism sale also features a first- S E G rate René Magritte, Mesdemoiselles de l’Isle Adam, 1942, dazzling with A I M its trompe l’oeil devices and the outlines of two cloud-covered H T O women admiring a dove in flight (est. £2–3 million; $3–4.5 million). B

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM FEBRUARY 3  SOTHEBY’S  Sotheby’s, “and has been in the same collection since 1927.” IMPRESSIONIST & MODERN ART It carries an estimate of £12 million to £18 million ($18–27 million). The house is also championing a large-scale Franz Marc land- Top-shelf works by Henri Matisse of almost any stripe are scape from 1909, Grosse Landschaft I (Large Landscape I) , above, increasingly rare to market, so the entry of La leçon de piano , depicting a verdant pasture dominated by a g roup of four magnificent 1923, is a welcome highlight. The painting captures the remarkable, stallions. Estimated at £4 million to £6 million ($5.9–8.9 million), densely patterned and outfitted interior of the ar tist’s apartment the work predates Wassily Kandinsky’s 1911 Blaue Reiter treatise yet and studio, the intimate setting animated by Henriette Darricarrère, captures the spirit and boldly chromatic palette of the movement �� the artist’s favorite model of the period, who is seated and playing that would take that name. Writing later of Marc, who died during at the upright piano, accompanied by her t wo brothers in striped World War I, Kandinsky observed that the artist “had a direct, intimate shirts. Painted not long after the artist’s move to Nice, the canvas relationship with nature like a mountaineer or even an animal .” is rarer still for its Scottish provenance, having belonged to noted Also on the modern front, Francis Picabia’s striking machinist collector Royan Middleton. “It is in perfect condition,” says James composition from his experimentally rich Dada period, Le ventilateur , Mackie, London deputy head of Impressionist and modern art at 1917, is estimated at £1.8 million to £2.5 million ($2.7–3.7 million).

FEBRUARY 3  SOTHEBY’S  THE ART OF THE SURREAL

The evening features a Venus as a Surrealist object. separate-catalogue Surrealist Dalí’s interpretation, Venus de component, led in part by Milo aux tiroirs (est. £400– Magritte’s page-size gouache-on- 600,000; $600–900,000), left, paper Shéhérazade , from 1956, with the torso consisting of a chest featuring the penetrating eyes and of drawers, is a painted bronze lipsticked mouth of a disembodied with ermine pompons and is dated “pearl woman” hovering in a pink 1964. It stands 38½ inches high. sky. It was acquired directly by Dalí painted the bronze white Chicago collector Barnet Hodes as so it deceptively appears to be a commissioned work. Last sold made from marble, as was the at Sotheby’s London in June 2006 2nd–century B.C. Greek original on for £400,000 ($740,000), it is which it was based. When it was 1936/71, indicating that this itera- currently estimated at £500,000 first conceived, in 1936, the tion hails from a later Arturo to £700,000 ($745,000–1 million). sculpture was modeled in plaster. Schwarz edition of 10, plus artist “We’ve seen a real depth in the An example from the edition proofs (est. £350–500,000; market for the later gouaches,” of five last sold at Christie’s $687–981,000). Ray was closely says Mackie. “There’s a refinement London in February 2007 for involved with the regeneration of

’ S Y of what Magritte’s about.” £240,000 ($471,000). the 1936 object. The work, based B E H T Sotheby’s is also offering Man Ray’s kissing cousin, on the Medici Venus in the Galleria O S : sculptures by Salvador Dalí and Vénus restaurée , right, an assem- degli Uffizi in Florence, is bound S E G Man Ray, making for a fascinating blage comprising a readymade by rope, instilling a Marquis de A I M case study on the subject of the plaster set on a metal base Sade element to the classic figure, L L A Greco-Roman goddess Aphrodite/ and restrained by rope, is dated Ray’s play on sexuality and beauty.

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FEBRUARY 9  PHILLIPS  20TH-CENTURY & CONTEMPORARY ART

Usually freighted with cutting-edge contemporary art, sales at Phillips are changing course, thanks in part to the guidance of Hug ues Joffre, the ex-Christie’s specialist who is now European and U.K. chairman for the house. This sale is topped by a stunning and pristine kaolin-on-canvas Achrome by Piero Manzoni, dating from around 1958 and bearing a £5.5 million-to-£6.5 million ($8.2– 9.7 million) estimate. It last sold in October 2000 at Sotheby’s London for £465,500 ($675,000). Phillips’s strong suit of postwar Italian art also includes Alberto Burri’s Legno , 1959, a flame-heated abstraction in oil and wood on canvas estimated at £1.8 million to £2.5 million ($2.7–3.7 million), and Marino Marini’s classic bronze Cavaliere , 1947, at £800,000 to £1.2 million ($1.2–1.8 million). Other European front-runners include �� a brawny, black Pierre Soulages, Peinture: 14 Avril 1962 , below, at £2.5 million to £3.5 million ($3.7–5.2 million), as well as a thickly impastoed painting Tower Block Hampstead Road , 2007, right, by School of London icon Frank Auerbach, pegged at £700,000 to £1 million ($1–1.5 million). “The mix,” says Joffre, “is more postwar, principally “The mix,” says Hugues European, so it’s going to have a very different look. Joffre of Phillips, All of it is privately sourced “is more postwar, and hasn’t been seen for 15 years.” An exception principally European, is a 2011 text-saturated so it’s going to have painting in oil, charcoal, and graphite by Glenn Ligon, a very different look. Stranger in the Village . It was inspired by James Baldwin’s smoldering essay of the same title, penned in 1955, about his experience visiting a tiny, remote Swiss village. The work is estimated at £1.2 million to £1.6 million ($1.8–2.4 million).

S I P L I L H P : S E G A I M H T O B

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FEBRUARY 11  CHRISTIE’S  A mini single-owner sale of painting and POSTWAR & CONTEMPORARY ART, sculpture from Belgian architect Marc INCLUDING WORKS FROM THE Corbiau’s collection of Minimalist-flavored COLLECTION OF MARC CORBIAU work is led in part by Lucio Fontana’s pure- white Concetto spaziale, attese , 1964, at Hoping to continue the house’s £1.2 million to £1.8 million ($1.8–2.7 million). extraordinary run from the November There is also Yayoi Kusama’s Infinity Nets sale in New York of Alexander Calder works OQWWS , an oil on canvas from 2006 bearing from the Arthur and Anita Kahn collection, the artist’s dense, allover-patterned abstract Christie’s this time offers the artist’s Crag style of gray-white dots, set at £500,000 to with Yellow Boomerang and Red Eggplant , £700,000 ($745,000–1 milli on), and an below, a standing mobile in painted sheet apartment-scale Donald Judd relief sculpture, metal and wire from 1974. The nearly eight- Untitled (Menziken 87-52) , 1987, estimated at foot-tall piece is estimated at £500,000 £200,000 to £300,000 ($298–447,000). to £700,000 ($745,000–1 million). Even with the dramatic Bacon, Christie’s is The house’s star lot is the rare-to-market taking a cautious approach to the season, Francis Bacon Two Figures , 1975, right, according to Francis Outred, the firm’s consigned by the artist’s close friend and European head of postwar and contemporary biographer Michael Peppiatt, whose Francis art. “We’re shooting for less flashy, more Bacon in Your Blood: A Memoir was published humble sales, and taking relatively few risks,” last year. The painting depicts two nude Outred says. “We’ll have fewer lots and lower male figures entwined in a passionate embrace overall value but potentially higher overall and seemingly tumblin g downward at top return in the end.” In that respect the auction speed, as if miming the sexual abandonment catalogue itself will be downsized from of their embrace. They are contained in Manhattan-telephone-book scale to something a kind of gridded cage reminiscent of Alberto more modest, old-style, and easy to carry. �� Giacometti’s Palace at 4 A.M . The painting brings to mind both Michelangelo and Eadweard Muybridge, with its fleshy curves and locomotion, capturing the intensity of the artist’s relationship with George Dyer, his muse and lover who committed suicide on the eve of Bacon’s major retrospective at the Grand Palais in 1971. The painting followed a harrowing series, the so-called “Black Triptychs,” which reflected Bacon’s grief over the death of Dyer; this work appears to break off from that tragedy. The canvas originally contained another section depicting a male dwarf watching the lovers in what must have been a disturbing and voyeuristic vein. That separated section is now titled Portrait of a Dwarf . After Peppiatt acquired the work in its entirety directly from Bacon in 1975, the artist took it back, cut the canvas, and returned the revision to Peppiatt, who has owned it ever since. It is estimated at £5 million to £7 million ($7.5–10.4 million).

’ S I E T “We’re shooting for less ﬂashy, more humble I S R H C : sales, and taking relatively few risks,” says S E G A Francis Outred, European head of postwar I M H T O and contemporary art at Christie’s. B

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FEBRUARY 10  SOTHEBY’S  CONTEMPORARY ART

Highlights range from Adrian �� Ghenie’s Sunflowers in 1937 , 2014, above, a more-than- nine-foot-square oil on canvas infused with the terrible history of Nazi-era destruction of “degenerate” art (est. £400– 600,000; $596–895,000), to Jean-Michel Basquiat’s late but energized Después de un puño , 1987, right, in acrylic, oil stick, and Xerox collage on canvas (est. £6–8 million; $8.9–11.9 million). The seven-foot-tall canvas featuring a top-hatted, skeletal says Alex Branczik, head of figure amidst a blizzard of cryptic contemporary art at Sotheby’s text and invented symbols London, “but of the larger somehow escaped notice when it paintings, a lot are in museums.” was displayed in the Modern There’s also a star School of section of the Armory Show in London offering with Lucian March 2013 by Tokyo’s Galerie Freud’s captivating portrait Sho Contemporary Art, where it Pregnant Girl , 1961, depicting the was offered at $13 million. cropped visage of the napping The house is also offering a 18-year-old Bernardine Coverley, grandly scaled Gerhard Richter, bare-breasted, her face in profile, Abstraktes Bild (725-4) , 1990, a coverlet over her abdomen. right. More than seven feet wide Coverley died in 2011 at age 68, and six feet tall, it carries an four days after Freud’s own death. estimate of £14 million to “It’s a modern-day Venus,” £20 million ($20.8–29.8 million). observes Branczik, “embracing

’ S Sotheby’s set Richter’s record last the theme of birth and life.” The Y B E February when a 1986 abstract painting (est. £7–10 million; $10.4– H T O S painting fetched £30.4 million 14.9 million) was last publicly : S E ($46.3 million). “People probably exhibited as one of 130 works in G A think there’s a never-ending the Freud show in London’s I M L L supply of large Richter abstracts,” National Portrait Gallery in 2012. A

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Nicola Tyson in her New Paltz, New York, studio, 2015, surrounded by her first larger- scale sculptural works. . BY CHLOE WYMA PHOTOGRAPHS BY KRISTINE LARSEN

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the Body From photographs of London’s postpunk scene in the early 1980s to sculptures hewn from an apple tree that fell in her yard in Upstate New York, Nicola Tyson’s work has long challenged the limits of the figure

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IT’S OFTEN SAID that Nicola Tyson’s work explores gender, sexuality, and the body. But it doesn’t so much explore these issues as cannibalize them, excreting heady, unnerving images filled with playful invention and excoriating humor. Born and raised in London, Tyson relocated to New York in ��, where she became known for her paintings of anatomicallyscrambled, acid-hued figures—often, though not exclusively, female—in various states of bodily ecstasy and disintegration. Known primarily as a painter, Tyson is putting down her brush for the time being, preparing drawings for her upcoming show at Friedrich Petzel’s uptown space in New York, which runs March � through April �. The artist’s rustic, Shaker-style farmhouse in New Paltz, New York, is outfitted with multiple work spaces to accommodate her protean practice, which over the years has included photography, film, sculpture, writing, and performance. Off the hallway is Tyson’s “drawing depot,” where the walls and worktables are covered with variously sized works on paper teeming with alien landscapes and willowy creatures. Downstairs is a painting studio where the artist is experimenting with acrylic works painted onto glass and transferred to paper. In a freestanding cottage a stone’s throw from the main house, Tyson has a wood shop, where she is working on five larger-than-life anthropo- morphic sculptures made from wood salvaged from a felled apple tree, the stump of which is still visible in her front yard. �� Tyson’s home and studio seem worlds away from New York City, though they are only a two-hour drive north. In front of her house is a barn where she keeps Clockwise from top: donkeys, and the dining room windows Figure and Ploughed Field , an oil on linen, look out onto a brook. When I visited 1994;Pre non snow in December, Tyson showed me stormself-portrait , in graphite on paper, photos of the spot where an enterprising 2015; the basement beaver had recently constructed an studio where the artist is perfecting her architecturally imposing dam. monoprint technique. Tyson’s surroundings are undeniably

K R O Y W E N , L E Z T E P D N A N O S Y T A L O I C N , S E G A I M O W T : P O T M O R F E I S W K C O L C

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM ��

idyllic, but there’s nothing at all quaint about her drawings. her relationship to drawing, something she used to conceive of Preparing a suite of works for the Some of her characters are hulking and tuberous, with oversize as a private practice. “There’s a slightly performative aspect to upcoming show at hands and feet; others are spidery and attenuated. Playing it now. It is no longer this reclusive thing that I am doing alone.” Petzel gallery. on the outskirts of figuration, these creatures are imbued with Downstairs, Tyson is revisiting the monoprint technique a strange liveliness. “I really try to have the drawings be she started experimenting with in the early ��s. Working somehow sentient, even if they’re not clearly a recognizable rapidly with acrylic, she paints directly onto a glass plate thing,” she says. Tyson’s golems and grotesques seem and then uses an ink roller to apply the image onto paper suspended in Brownian motion, an effect achieved through using varying degrees of pressure to achieve different textures her fast-paced, improvisational working method. and effects. Her early explorations of this technique “When I star t drawing I don’t know what’s going to culminated in a series of emotionally raw, physiognomically happen,” she explains. “I want to stay ahead of the decision- unhinged portraits shown at Petzel in ��. Several of making, rational mind, of language, of anything that’s these “Portrait Heads” will be included in her upcoming show there. Revisiting this Tyson’s golems and grotesques seem suspended in method, with its combination of fast-drying paint and lack Brownian motion, an effect achieved through of preparatory drawing, allows her fast-paced, improvisational working method. Tyson to remain intuitive. “I’m a colorist, too,” she says. about naming things or directing me. I have no idea what In the cottage, Tyson is fashioning the sculptures out of the I’m going to draw until something starts to appear.” In order to apple tree wood. These twisted, carbuncular figures, which avoid fussiness and pedantry, Tyson starts and finishes her will be freestanding once they are finished, could easily have smaller drawings in one go. “One of my rules is t hat I do it in walked out of one of Tyson’s drawings. “Apple wood is so one sitting, and that is that. There is no going back in.” expressive and beautiful,” she says. “It’s pink, and all the In early ��, Tyson began posting one of her drawings bugs that were underneath have made these traceries.” every day on social media, and she even made a group of square Enchanted with their natural textures, Tyson is assembling the drawings to accommodate the Instagram format. “Social lumber pieces—many of which already resemble torsos and media was a way to share them and have a conversation beyond limbs—into deliberately crude skeletons, manipulating her the gallery,” she says. Moreover, the experience transformed raw materials as little as possible. Building on the delicate

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A collection of “Portrait Heads” from 2002–03, right, being compiled for inclusion in the catalogue for the exhibition at Petzel. Below, from left: Tyson’s explorations of the figure include Nude , a 2005 oil and charcoal on linen, and Kiss , a 2015 graphite on paper piece.

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avian sculptures molded fromCrayola Model Magic (a light- weight, fast-drying children’s clay) that she exhibited in ��, the timber sculptures are Tyson’s ﬁrst serious foray into making large-scale objects. “I don’t want to be pigeonholed as a painter because I actually want to develop sculpture now,” she says. “I really want to make things in space.” In ��, at the age of ��, Tyson enrolled at the Chelsea School of Art in London to study graphic design. Just

L before enrolling there, she began photographing the nascent E Z T E postpunk scene surrounding Billy’s nightclub, a gay dive P D N and discotheque in the Soho neighborhood. Exhibited at A N O White Columns in New York in �� and at Sadie Coles HQ S Y T A in London in ��, her snapshots of London’s young, L O I C broke, and glamorous—including a teenage Boy George— N : S E document a transitional moment in British subculture, G A as the dark nihilism of punk gave way to the sartorial theater I M O W of the New Romantics. “Punk had gone mainstream and T M O most of the big players were off touring,” Tyson explains. T T O “The younger fan base, people like myself and Boy George, B

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM wanted that energy. So it became about dressing up.” people were coming to see”—this unofficial underground Tyson would sell her photographs back to her subjects for scene offered an alternative to Britain’s small, sclerotic beer money, but she remained merely an observer of the pag- art world. “There wasn’t really an art scene in London. eantry. “I didn’t dress up like they did,” she says. “It came out It was really f usty,” she remembers. “Art schools were later in my painting. I’m interested in reinventing the body, churning out all these people every year, but there but that comes up in my work rather than in my appearance.” was nowhere to go because the art scene was so ti ny and After a year in art school, Tyson dropped out and fell in academic. All the energy was in fashion and music and with London’s underground art and music scene, freelancing design.” Meanwhile, Britain’s art establishment still as a music photographer, making Super � films (“posey, early-’��s things” she “I’m interested in reinventing the body, but that comes calls them), and playing backup percussion in an art band. “It was a perfor mance up in my work rather than in my appearance.” thing,” she remembers. “We used to enrage people at clubs. There’s this Gertr ude Stein poem constellated around two towering male figures: “this called ‘If I Told Him’ that’s several minutes long, and weird, old-fashioned, cliquey, alcoholic, gay world around The artist in her the front man, Bertie Marshall, would recite it and I’d just Francis Bacon” and “the horrible straight world around monoprint studio. Tyson began devel- be banging a cymbal or something.” Lucian Freud and his many children and women.” oping her mono- “It was all really exploratory,” Tyson says of this period. In �� Tyson returned to art school to study painting at print technique in the early aughts, “I wasn’t working within any kind of artistic framework. Central Saint Martins. There, she had a generative encounter and has recently There was just a lot of aesthetic indulgence and general with feminist theory in the writings of Judith Butler, Hélène revisited the process— one that enables mucking about.” Before the era of Saatchi, Tate, and the Cixous, and Luce Irigaray. “It was like discovering a new her to make deci- ��s— when “art became the thing that truckloads of continent,” she says. “Instead of that weird feeling of having sions intuitively.

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to work in the margins of men’s worlds, to be an honorary man and work out how you can m ake a little space for yourself in ‘the big ar gument,’ suddenly this whole thing busted open.” Tyson has engaged with feminism throughout her career. Since her ﬁrst commercial show in ��, her work has been regularly compared to that of Bacon, Egon Schiele, and Hans Bellmer, famous male modernists known for emotional histrionics and corporal dismemberment. Keenly aware of this irony, over the past several years Tyson authored a series of witty, often scathing ﬁrst-person letters to dead male artists, among them Pablo Picasso, Edouard Manet, and Bacon. Tyson has read these missives aloud as a performance and collected them in Dead Letter Men, a limited-edition book published last year by Petzel and Sadie Coles HQ. Put off by Britain’s parochial, male-dominated art world, Tyson left London for New York in ��, shortly after graduating. With the patronage of a girlfriend, she opened Trial Balloon, a project space exclusively showing female artists, out of her downtown studio loft. “It was an all-woman space, but not in an old-school feminist way,” Tyson explains. “It was a kind of punky, British ‘fuck you’—taking the feminism to an excessive �� extreme to make it more rebellious. It was cheeky. We were having a good time, and we weren’t going to waste time promoting men, because they

Right: Self-Portrait have already had enough breaks .” The space Singing , 2002, one became a hub for New York’s then emerging scene of Tyson’s first monoprint works, of lesbian artists and writers , among them from the “Portrait Nicole Eisenman, Patricia Cronin, and Tyson’s Heads” series. Below: A selection current partner, writer Laurie Weeks. of works on paper. After three years running Trial Balloon and

showing other artists, Tyson returned to painting, struggling to find “a way of writing the body,” as she puts it, that was informed by feminist theory and politics without being overdetermined by them. “When I finally stopped doing the gallery,” she says, “I found that I was wanting to work in this completely unguided way, to clear away the language to see what would come in.” Today Tyson is counted, in the company of the late Maria Lassnig, her contemporary Eisenman, and the younger painter Dana Schutz, in a group of female artists who have revitalized figurative L E Z painting from what was once seen as a T E P dowdy anachronism to a seemingly bottom- D N A less source of creative expression and N O S Y experimentation. After a �� solo T A L exhibition of Tyson’s paintings at the O I C N Kunsthalle Zurich, her work has been : P O acquired by major art museums including T

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM Below: Untitled (sketch the Museum of Modern Art in book page) #35, 2006, which was completed in a single New York, the Philadelphia sitting, as are al l of Tyson’s Museum of Art, and Tate smaller drawings. Right: At work in the studio. Modern in London. She shows regularly in New York and London and has exhibited extensively in museums and galleries worldwide. In �� she joined Susanne Vielmetter Los Angeles Projects and had her first solo exhibition at the gallery, “Trouble in Happiness.” In the early ��s, however, Tyson’s anthropophagic figuration was hardly a recipe for commercial or critical success. “Painting was uncool, and autobiography and expression were also considered completely redundant,” she remembers. “I thought it was suicide in a sense, and I thought nobody would be interested com mercially, but I ended up with Friedrich Petzel because he happened to come to my studio and was really interested in some of t he weird things that were going on in the im ages.” “I was incredibly intrigued by her paintings , which seemed so enigmatic and inaccessible to me,” says Petzel, who began representing Tyson in ��. “Painting was almost invisible in those years. She was not only one of the first artists I asked to join my very new gallery, but she was certainly the first successful painter in my program. We had many discussions about women artists in those years and she encouraged me to visit Lassnig in Vienna.” �� This inexhaustible weirdness is what keeps Tyson inspired, whatever her medium. “Figuration can so easily go wrong,” she says. “I like that kind of risk of embarrassment. With abstraction, to do it really well you have to be really good, but at the same time there’s sort of a set of moves that are familiar. It’s this game where you do really well or you fail, but with figuration you can keep inventing and pushing it. It can easily be hokey or just crap. Walking on that edge is fun.”

Today Tyson is counted, in the company of the late Maria Lassnig, her contemporary

L Nicole Eisenman, and the younger painter E Z T E P Dana Schutz, in a group of female artists D N A N who have revitalized ﬁgurative painting O S Y T A from what was once seen as a dowdy anach- L O I C N : ronism to a seemingly bottomless source T H I G R of creative expression and experimentation.

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION ��

BY HUNTER BR AITHWAITE

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.CO M The waterfront Bund district; below, the Art021 after-party, with artist Hayden Dunham per- forming as QT at Qiao Zhibing’s KTV.

Opposite, from top: The third edition of Art021 Shanghai, in the Shanghai Exhibi- tion Center; the city’s skyline, 2015.

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R K I C L F I A V A I N H C A R M N . O I R S A A F J ; T R R I A A F Y R T A R R A O Y P R M A E R T O N P O M C E I T A N H O G C N I A A H H S G 1 N 2 A 0 H T S R 1 A 2 ; 0 S T N R O A M : P M O O T C I M I K O W R : F P E O I T T S M O O P R P F O n a rainy Friday night in November, Right: Mustafa Hulusi’s Pomegranates No.1 , busloads of art world��s sat in 2014, on view that year gridlocked traffic on their way to a in the exhibition “Bites massive ��—a karaoke nightclub—in Back,” at Art Labor. the southern reaches of Shanghai. The Below: Installation view occasion was the official after-party of Rania Ho’s 50 Ways to Leave Your Lover , of the third edition of Art��, Shanghai’s 2013—an inflatable O car, a video installation, newest contemporary art fair. In the ripstop nylon, an air- cheap glitz of the club, two worlds came together: the bourgeois blower, and Velcro—in hedonism that Shanghai is known for— escorts wearing the 2014 exhibition “Topophilia,” at Bank. numbered badges, trays of whiskey and green tea—was given a high-art sheen by Sterling Ruby’s stalagmite sculpture towering over the main lobby. �� (featuring, in the Chinese style, private rooms where anything goes) is one of many nightspots owned by Shanghai collector Qiao Zhibing. As dealers, collectors, and artists wandered through the club’s many floors, performances by Cheng Ran (who was in the �� Istanbul Biennial) and Hayden Dunham (in character as the energy drink–powered pop star QT) rocked the lower levels. It was, as novelist and onetime Shanghai resident J.G. Ballard described the city, a cross between ancient Babylon and Las Vegas. Today’s international focus on Shanghai has been under- standably top-down. It’s hard not to pay attention to the antics of mega-collector Liu Yiqian, who spent $�� million on a porcelain chicken cup and then posted a selfie of him d rinking out of it, who spent $�� million on a Modigliani and t hen went on record saying that he knows nothing about ar t. Then there are museums being dragged-and-d ropped all over town like in a cultural SimCity. However, there is another story, one that exists in galleries across Shangha i—places where locals and expats have worked tirelessly to set the timbre of China’s most international city. �� Though it might not be discernible from the sprawl one sees from the observation decks of Shang hai’s many skyscrapers, the city is a collection of small neighborhoods, each with a distinct history and sense of place. Excluding the current development in the West Bund—the location of some of those drag-and-drop museums—Shanghai’s art scene is roughly split among the

Y T I E C O S B A M / K N A B

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM ��

Bund, the old city center that is home to the Rockbund Art Museum, Bank, and other spaces sequestered in the colonial buildings lining the waterfront; the industrial M�� district, a few miles northwest of the Bund with a collection of studios, commercial spaces, stores, and places like Vanguard Gallery; and the French Concession, the city’s garden district in the ‘‘LIKE EVERYTHING IN southwest—the site of several spaces, including Art Labor, James Cohan Gallery, and Leo Xu Projects. These three neighborhoods represent different moments in Shanghai’s evolution— CHINA, IT’S WILDLY an international banking and trade hub, a colonial outpost, and a manufacturing center. While today’s art spaces in these UNREGULATED, STILL districts do not identically mirror these classifications, they offer their own refracted portra it of the city’s history, its present FILLED WITH A LOT moment, and predictions for its future. Set in a colonial villa half way down an unassuming lane off Yueyang Road is the Shanghai branch of the James Cohan OF COWBOYS AND Gallery, which has been directed by Arthur Solway since its inception in ��. Known for a program that dovetails artists OUTRIGHT SCAM from the West, greater Asia, and China as perfectly as the gallery floor’s period parquet woodwork, it has long set the bar ARTISTS, BUT THERE for contemporary art in the city. When the gallery opened, Shanghai was an unexpected choice—Western galleries had IS A STALWART AND already set up shop in Beijing and Hong Kong, but James Cohan was the first New York gallery to build an outpost in mainland China, three months ahead of Pace. “To me, it seemed the ideal SERIOUS LITTLE

R O place to base ourselves and to travel throughout the region,” B A L Solway says. “Beijing didn’t really appeal to me. Shanghai felt SCENE CARRYING ON.” T R A much more international, with its long history of commerce and —MARTIN KEMBLE OF ART LABOR

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION FIVE SHANGHAI ARTISTS TO WATCH 3 XU ZHEN Born in 1977, Xu is one of contemporary art’s canniest critics of artistic production. He incorporated his artistic practice i nto the MadeIn Company, which in turn released a brand called “Xu Zhen.” His objects themselves are more straightforward, with altered classical statuary and paintings made with pastry bags, barbed wire, and stuffed animals composing o ne of the country’s most protean practices. Pictured below is Eternity-Aphrodite of Knidos, Tang Dynasty Sitting Buddha, 2014, incorporati ng glass fiber-reinforced concrete, marble grains, 1JIN SHAN sandstone grains, mineral pigments, and steel. Spanning a variety of media, Jin’s practice is unified by a piercing wit that . skewers the ideological makeup of contemporary China. Born in 1977 and R O B educated at East China Normal University, he has been in exhibitions A L T including the 2006 Singapore Biennale, the 2007 Venice Biennale, and a R A D group show at the Van Abbemuseum in the Netherl ands in 2010. His N A November 2015 exhibition “Divine Ruse,” at Bank, depicted here, turned U F E the gallery into a fictional war zone filled with atrophying Classical forms. Y G I N Y ; S T C E J O 2 YING YEFU R P �� U Using traditional ink painting X O E techniques to create comi- L D cally subversive mélanges of N A O historical and contemporary I A J A Chinese culture—such as with A A ; this Gongbi ink painting on Y R E L Chinese bast paper Samurai L A G Driving Guide, 2015, Ying is T R A one of China’s most traditional H G N iconoclasts. His pictures of schoolchildren, gymnasts, kung fu fighters, A H S and space capsules are united by hair-thin line work and meticulous grada- I ; A H tions in color. Born in 1985, he lives in Xi’an and is represe nted by Art Labor. G N A H S , Y R E L L A G N A 5 H O C ZHANG DING S E M A Zhang, born in 1980 J D in Gansu, is known N A S T N C both for large- E E H J Z O scale installations R U P X ; U such asOpening, Y X T E O I E 2011, where he C L O S D turned the cavernous B N A A M O ShanghArt / T K O N H 4 AA AJIAO A P H-Space into a B : Y T J Xu Wenkai (aaaj iao) is one of China’s up-and-com ing new-media artists. nightclub-cum- F J E , L S E Born in 1984 in Xi’an, he creates work that blends the natural world gymnasium, and for objects using sound- P G O A T I M with the digital, often returning to algorithmically driven cloud scenes absorbing materia ls and speakers. Above is the M O H R T and landscapes, such as in Limited Landscape, Unlimi ted Wave, 2015 2015The Kind of Nee d-1, made of mineral wool, F O B E : (detail shown above), providing a serene anti dote to the turmoil of the aluminum plate, and paint. He is represented I S E W I T K S Chinese Intern et. His work also engages social media, as he acts not as by ShanghArt an d had a solo project at the 2014 C O O P L P a producer of content but as a condui t. Armory Show. C O

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM particularly with the laowai [foreigners] doing business here since the early ��s.” The city had an incredible energy, barely controlled by its international gentility. “Every day it felt like you were in the midst of a constant collision with history and the overwhelming sense of untapped potential.” James Cohan Gallery’s arrival did much to assert Shanghai’s continued art world relevance. Since opening, it has staged exhibitions with leading Chinese art ists, as well as Westerners Francesco Clemente, Richard Long, Alex Katz, and Mark di Suvero, who was born in Shanghai. This blend of international and local is in keeping with the histor y of the city, which has been a site of considerable European influence since the First Opium War (��–��). Today, the international influence is across the board, with the ar ts being no exception. One early pioneer, the Swiss Lorenz Helbling, has made a lasting impression with his ShanghArt gallery, which was launched in a spare room of a Shanghai hotel in �� (now the Portman Ritz-Carlton). With branches also in Beijing and Singapore, Helbling today shows some of the biggest names in the countr y. Over the past two decades, the local art community has grown exponentially, but such growth is always a mixed bag. “Costs have tripled in the last five years, but they were dir t cheap nine years ago when we opened,” says Martin Kemble, the owner of Art Labor. Now in its second location in the French Concession, the gallery has made a name for itself through an incisive program that blends emerging Chinese with Western artists like Douglas Coupland. (Both Coupland and Kemble hail from Vancouver.) About Shanghai, Kemble doesn’t mince words. “Like everything in China, it’s wildly unregulated, still filled with a lot of cowboys and outright scam artists, but there is a stalwart and serious little scene carrying on.” Part of this evolution owes to increased awareness of ar t history. “Speaking and engaging with local people about contemporary art has �� changed dramatically….One day you can speak in broad terms of Picasso with someone, and the next, the same guy is telling you about his favorite artists from the Zero movement.” Though still not as large as Beijing, Shanghai is seen by many as the future of China’s art world. “The overall art scene is Above: Exterior view of Leo Xu Projects. Below: Chen Wei’s The moving down here,” says Jacob Dreyer, a writer and editor at Drunken Boat (Shanghai) , 2015, Leap, a contemporary art publication that just moved its offices of acrylic, LED screens, mirrors, reinforced glass, silicone mask, from the capital to an upper floor of Adrian Cheng’s K�� Art and fluorescent tubes, on view Mall, which blends retail and exhibition space, “especially with last year at Leo Xu Projects. a national government that is vocally hostile and socially conservative. Beijing is about government-funded institutions, Shanghai about private collectors.” And where there are collectors, there are fairs. Art�� cofounder Kelly Ying—ambitious, connected, and young—is the face of this new breed of collectors. “Three years ago the contemporary art market in Shanghai was almost dead…. Now, contemporary art in Shanghai is booming,” she says. “We have purchasing power.” This power has attracted international galleries like Gagosian, Chantal Crousel, and Galerie Perrotin

Below: The exterior of to the fair, and it has also provided sales for locals who both James Cohan Gallery represent the traditional gallery model and test its boundaries. in Shanghai’s southwest Lise Li founded Vanguard Gallery in ��, and the space has district; Shi Jinsong’s Short Pine Tree , 2007, remained relevant in the past decade because of its insistence composed of various “on supporting and promoting innovative and experimental types of tree roots, trunks, branches, and art creation,” says Li. This means a program dependent on a steel, inside the gallery. constant inﬂux of new voices, which can be a challenge, because

Opposite: Installation while Shanghai is less than two hours away from Hangzhou, view of Mu Jin and which boasts one of the country’s best art schools, the lion’s Tobias Rosenberger’s Gas Station VII , 2014, share of young artists still move to Beijing. Vanguard Gallery at Vanguard Gallery. specializes in multimedia artists, and in �� launched the Gas Station project, which invites unaffiliated artists to use the space as an incubator of ideas and exhibitions. Though exciting, the model is problematic for a commercial gallery that depends on sales. “After almost �� years, we have more experience dealing with different things, which makes the whole process look easier,” Li says. However, “the cost of running a galler y is still a hardship at present, especially for a gallery like ours, which works with young generations.” Newer spaces are also balancing a market-friendly program with more experimental projects. After two years directing the Shanghai Gallery of Ar t, American writer and curator Mathieu Borysevicz established Bank in �� as a curatorial project, “an alternative to the conventional gallery that could be tailored to the conditions of China, one of those conditions being the lack of public support for alternative spaces.” Striving for a mix of emergent and well-known, Western and Chinese, male and female, from young to dead, the gallery has shown Paul McCarthy and Howard Hodgkin alongside upstarts Liao Guohe and Matthew Brandt. As the gallery begins consolidating a roster, Borysevicz’s strategy is largely intuitive. “Basically I go with my gut instincts and try to keep it unexpected. Art is about discovery, not predictability.” Borysevicz depends on a for-profit business model, though programming and relationships are more open than in a traditional gallery. While not entirely “alternative,” Bank, with its curatorially driven programming and primary market sales structure, represents a new model that has proved sustain- Y R E able over the past three years and shows no signs of slowing. L L A Another space banking on the unpredictable is Leo Xu G N A Projects. Started in �� by the former associate director H O C of James Cohan Shanghai, the space has made a splash glob- S E M A ally, exhibiting at Frieze London and at Art Basel in both J D Switzerland and Hong Kong. Though the gallery’s brick-and- N A G mortar space is in the French Concession, the program, heavy N O S in new media, finds itself deployed both in the virtual realm I N J I H and in a variety of places around the city, including shopping S ; Y R malls, schools, and vacant sites pegged for future development. E L L “My idea was that a new model of gallery in a heavily digiti zed A G N and globalized age should seize the advantages of new media A H O and tech and take chances to grow beyond a mere system C S E of selling artworks from gallery space and art fair booths to M A J : being a liaison between artists and institutions,” says Xu. P O T Shanghai’s young collectors—those whom Kelly Ying M O R proclaimed had the purchasing power—are thinking about F

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purchasing art in different ways as well. Some are still conservative in their choices, sticking to paintings, but Borysev icz points out that the game is changing. “Many have branched out into video or other media, and they are all watching one another. WeChat social media has intensified the dialogue and buying trends,” he says, referring to the country’s latest social media app. “They compare, flaunt, get advice, and make ‘‘MORE AND MORE purchases instantaneously.” The social aspect is not to be overlooked. Much of Art��’s I SEE THAT THESE success has been due to the society connections of cofounders Ying, her partner David Chau, and Bao Yifeng, a PR power- house entrenched in luxury branding and celebrity. Leo Xu MIDLEVEL COLLECTORS identifies the new generation as “smart and casual…. Many collect wine, design pieces, and contemporary art at the same ARE DISCERNING time. They start with local artists and more accessible works but constantly engage themselves in activities to see and hear. AND EDUCATED; THEY After a while they extend to international and then understand they should select for their own interest and personal relevance.” This is not to say that they take collecti ng lightly. “More and DO THEIR HOMEWORK. more,” Solway says, “I see that these midlevel collectors are discerning and educated; they do their homework. They want THEY WANT TO to understand the person, the artist, who is making the work. That’s good news.” UNDERSTAND THE Most of the murmurs in town have to do with sustainabilit y, but perhaps this city isn’t the proper case study for stabilit y in PERSON, THE ARTIST, the art world. For centuries it has been marked by both opulence

Y R and turbulence. “I arrived in Shanghai in �� and have never E L WHO IS MAKING L A felt a heightened sense of stability,” Borysevicz says. “Right now G D R Shanghai is on an upswing. There are a lot of resources being A U G reshufﬂed and channeled here, but sustainability has always THE WORK.’’ N A V been an odd elephant in modern China’s room.” —ARTHUR SOLWAY OF JAMES COHAN GALLERY

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION �� NATIONAL SPOTLIGHTS: SINGAPORE INDONESIA INDIA In the first of a two-part series, three prominent gallerists talk to Art+Auction about art market developments in their respective regions

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM Singapore

Since founding the Singapore-based Gajah Gallery in icent, its architecture and history ��, Jasdeep Sandhu has promoted some of the region’s placing it among the most formidable leading artists, as well emerging talents. In addition to institutions in the world. It is now a warehouse space in Tanjong Pagar, he opened a second up to the curators to ﬁll the space a nd venue, Yogya Art Lab, in �� in Yogyakarta, I ndonesia. make good sense of art from the region.

THE LOCAL MARKET PUBLIC SUPPORT READING THE TEA LEAVES The art scene in Singapore has The Singapore government has had a Singapore has just established itself progressed rapidly over the past ﬁve pretty remarkable relationship with as a pivotal point of introduction, exhi- years, with more platforms and oppor- the arts scene, especially considering bition, and commerce in the regional tunities for artists and galleries than that just two decades ago it banned art world. For now, the auction houses ever before, which is very encouraging. performance art. We have seen a and museums will continue to lead While the economic downturn of complete turnaround and a sincere the industry, but the resulting r ipple recent times softened the market a bit, desire to not only understand but also effect will enable galleries to strengthen on the whole we have seen phenomenal support the development of the arts. the scope of their activities, which growth. In response, we have expanded At the institutional level, the govern- holds strong potential for the local and our gallery. Just last month we moved ment’s various initiatives are certainly regional scene. If I dare say, we’ve to a �,��-square-foot industrial ware- impressive. The Singapore Art Museum only just begun to come to terms with house in Tanjong Pagar. has provided a strong platform for our history. I see collectors turning �� Southeast Asian contemporary art, their attention to regional artists with THE COLLECTORS while the National Art Galler y, which a renewed appreciation for our own Collectors here have been small in opened in late November, promises cultures. I also anticipate gallery number, but they are discerning and to be a game changer for the regional programs playing a bigger part in loyal. They are mainly Singaporeans arts scene. The building itself is magnif- the arts scene. and expats, many of whom have been with us for quite a number of years. Recently, however, we have also noticed that younger art appreciators are becoming aware of the joy, depth, and breadth of collecting. Some of them have been acquiring works by our artists. It is very interesting to see the ideas that engage this audience; they are well educated, curious, and very much drawn to regional voices in contemporary art—among them Sabri Idrus, Ng Joon Kiat, and Ugo Untoro. It bodes well for the art market that collectors continue to be patrons of Southeast Asian art. With the rise of collectors,

E there has also been an increase in art R O P prices, which has helped local galleries A G I N to ﬂourish and extend their presence S , Y R to international art fairs such as E L L A Art Stage Singapore and Art Basel. Art G H A Stage, which held its ﬁrst edition in J A G : ��, is still in its infancy, but has S E G A already become a solid platform for I M Installation view of an exhibition at Gajah Galler y of work H showcasing Asian art. We have partic- T by Sabri Idrus, which ran through January 15, 2016. O B ipated every year since its inception.

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION Indonesia

Jun Tirtadji is cofounder of Jakarta-based ROH Projects, base and the market for their works which works to support the development of contemporary in the years since. Indonesian artists, including Erwin Windu Pranata, Gede Mahendra Yasa, Triyadi Guntur Wiratmo, Syaiful THE COLLECTORS Garibaldi, Reggie Aquara, and Yuli Prayitno. Today there seems to be less of an emphasis on speculation and art as THE LOCAL MARKET Indonesian contemporary art is investment (although it is still preva- The art market in Indonesia, Jakarta at an interesting crossroad. In the late lent in some respects), and more on in particular, can be divided into two ��s, the sector bubbled when collec- patronage and collecting as passion. distinct categories: modern Indone- tors in the region took a sudden interest The collector base in Indonesia is sian art—that is, works produced by in our artists. Prices rose dramatically multilayered and diverse, and it artists who embrace more traditional within a very short time, and galleries is growing. Young collectors tend ways of thinking in terms of beauty started to emerge with consistent to view collecting with a sense of and aesthetics—and contemporary programming in order to capture this responsibility and patronage in mind. Indonesian art. The market for interest in contemporary art. At the I have a sense that they are much modern Indonesian art is continuing same time, however, there was also a more interested in younger emerging to perform well, especially for works great deal of speculation, which fueled artists with new pathways and futures in mind.

A LACK OF PUBLIC SUPPORT Government support is sorely lacking. We have neither a museum of contemporary art with consistent programming nor an extensive collection available to the public. It is interesting that signiﬁcant works of modern Indone- sian art are being collected abroad by the National Gallery Singapore, which just opened, and by the Singapore Art Museum, which presents contemporary Indonesian art.

READING THE TEA LE AVES It is our hope that younger artists will find a new market that emerges in a sustainable manner. We are also encouraged by recent investments in cultural activities on the part of the Indonesian government. The Jakarta Installation view of “Family and I A S Friends” at ROH Projects last fall. Biennale was able to secure both E N O governmental and private funding to D I N , A considered to have particular historian inflation in prices in both the assemble an international-quality T R A cal significance. We lack galleries primary and the secondary markets. presentation. The government has K A J , with programs to procure works Without the infrastructure and also been more willing to allocate S T C E of modern Indonesian art, so most support of public cultural institu- funding and support for Indonesian J O R of the movement has been in the tions, this growth was unsustainable. contemporary arts on an international P H O R secondary market, which has been As a result, artists who were part of level through grants and sponsorship. : S E G buoyed by foreign auction houses this boom found it difficult to main- Unfortunately, this is sometimes done A I M with a Southeast Asian focus, such tain their practices. Only a few have seemingly arbitrarily and without a H T O as Sotheby’s and Christie’s. been able to hold onto their collector sustainable road map. B

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM India

Kishore Singh is head of exhibitions and publications at museums, some good, others less so. Delhi-based DAG Modern, which also has galleries in Recently, private collectors have begun Mumbai and New York. Founded by Rama Anand in ��, to open private museums, and more the gallery has been a force in the promotion of India’s most are in the making. But Indian families prominent ��th-century artists, from early masters such as and students need to be encouraged Raja Ravi Varma to contemporary artists like M.F. Husain. to visit museums and galleries, which they rarely do. THE LOCAL MARKET opened to Western brands, those with It is somewhat ironic that a country means have aspired to acquire homes, READING THE TE A LEAVES with an unbroken tradition of art, cars, and luxury goods and spend While some of the vitality of the art handicraft, and culture that stretches money on travel and education rather market was lost on account of failed art back more than �,�� years should feel than art. That said, new collectors have funds and falling prices, there has been somewhat alienated from its art practice been entering the fray. Auction houses a course correction in pricing, particu- over the past ��, yet such is the case. have increased the visibility of art larly the works of Indian moderns, and The reasons are obvious. First, art in through price benchmarking, and there are signs of a reviving market. I India has historically lain in the domain there is both quality and talent on offer. think we are on the cusp of an explosion of temple architecture, religious art, For the most part, collector interest of the art market here—and not merely and hand-painted books. And until is limited to the moderns. The contem- in terms of prices but also in terms of its fairly recently, the concept of visiting porary art market, which peaked visibility and ability to provoke sentiment museums and galleries remained around ��, collapsed with the as well as debate. Recent exhibitions of �� somewhat alien. Second, while societies global recession, and though contem- Indian artists such as V.S. Gaitonde at tend to grow organically, in the case porary artists are well recognized, the Guggenheim, as well as upcoming of colonial India, Western art was the market remains wary of putting its events like Nasreen Mohamedi’s preached from the pulpit, so to speak. money there. work inaugurating the Metropolitan As a result, it became the acquired taste Museum of Art’s new Breuer building of the elite. Conversely, because of PUBLIC SUPPORT exhibition space in March, and India’s ﬂuency in the English language, The government has been focused on Bhupen Khakhar’s retrospective at its recent colonial history, and its more pressing social concerns such Tate Modern, are also creating some links with the West, particularly with as development; poverty elimination; excitement around these and other Europe, its artists have enjoyed providing nutrition, water, and elec- Indian artists for a global audience. success there. tricity; and so on. Art and culture ��’s opening in New York has While the complexion of the art therefore get short shrift. Still, there are added to this optimistic outlook. market changed in the wake of economic reforms in ��, it has become more vibrant since the turn of the millennium, with more galleries springing up, the launch of an art fair, and the founding of private museums—the Kiran Nadar Museum of Art, the Devi Foundation, and more recently, the Piramal Museum of Art—which are open to the public. Today the major markets are in Mumbai and New

I H Delhi, while art is avidly followed and L E D , discussed in Calcutta and has found N R E a younger following in Bangalore. D O M G A D THE COLLECTORS : S E G Untitled (Famine Series) , above, from the A Traditionally, the collecting base in I M 1960s, was among the works by Ramkinkar Bali H India has been quite small. And as a T on view at DAG’s Delhi space this past fall. O B developing economy that has recently

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION ��

The Eibers in their living room, where furnishings include, from left, a custom “Pictures at an Exhibition” cabinet, 1997, by Gaetano Pesce; Eero Aarnio’s Bubble chair, 1968; and a 2009 Starbrick installation by Olafur Eliasson. Al stands in front of a Safari sofa, 1968, by Archizoom Associati, and Kim is seated on Joris Laarman’s Bone chair lounge from 2006. For collectors Al and Kim Eiber, Miami Beach provides an ideal backdrop for their vast collection of 20th– and 21st–century design

BY JUDITH GURA PHOTOGRAPHS BY KRISTINE LARSEN THE NEXT NEW THING

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION he pert postmodern mailbox by Michael Graves at the entrance to Al and Kim Eiber’s Miami Beach home is just a hint of what’s inside—one of the most intriguing collections of postwar and contemporary design in the United States. Married �� years, the Eibers have been collecting avant-garde design for ��½, and though Al is the high-profile spokesman for the couple, the acquisitions have essentially been collaborations. “I call my wife the curator,” Eiber says. “I buy things with her approval, and she makes it all look good.” Their taste and their collections have migrated from midcentury American design to embrace an international range of furniture, lighting, artwork, and decorative objects with a pronounced Italian accent. Though filled with iconic and unique objects by world-renowned designers, T the Eiber home is neither museumlike nor unduly cluttered. Skillf ully placed in a congenial mélange of lively colors and striking shapes, each “look at me” work serves as complement to its equally attention-grabbing neighbors. The foyer, appointed with pieces by Gaetano Pesce, Harry Bertoia, Ron Arad, and Ettore Sottsass, and a collection of mostly Memphis objects, leads to a ��-by-��-foot living room. There, Italian design figures prominently amid an international roster of artists from Claire Falkenstein to Joris Laarman to Yonel Lebovici and Olafur Eliasson. Furnishings in the other rooms are similarly eclectic a nd equally noteworthy. Among the few conventional pieces of furniture is a clean-lined gray

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM A Willow sculpture, ca. 1960, by Harry Bertoia, cascades into a corner of the sun-drenched foyer. Opposite: Among the works in the Eibers’ 60-foot-long living room are, from left: Pillola lights, 1968, by Studio Da; a 1996 Iride Metamorfosi lamp by Pierluigi Nicolin for Artemide; a 1970 Paramount lamp by Lapo Binazzi; a one-of- a-kind desk, 1987, by Ettore Sottsass; Binazzi’s Scarica Elettrica lamp from 1970; and a ca.-1988 Knife lamp by Pesce.

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BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION In the foyer, from left, Shiro Kuramata’s acrylic Feather stool,1990, is displayed along with the artist’s 1989 Cabinet de Curiosit é and Pesce’s slender Industrial Skin in resin, 1986. Opposite: The façade of the Eibers’ Morris Lapidus–designed house, built in 1958, one of only two private homes ever designed by the flamboyant architect.

leather sectional in the living room, which anchors the space markets with his fiancée and her parents, Ralph and Terry and allows comfortable viewing of the surrounding works. Kovel, publishers of a well-known series of price books for the Gesturing at the array of design pieces from the ��th and antiques market. “Before that, I thought only poor people ��st centuries, Eiber says, “When we started buying all bought used furniture,” he recalls. Newly married and unable this stuff, nobody wanted it.” He decries the changes in the to afford the Art Deco pieces they admired, the couple began market that have made good design largely unaffordable buying midcentury design long before the term came into to all but the most affluent, citing as an example the world- use. Their first collections included Russel Wright brushed- record £��,�� ($��,��) price for a Shiro Kuramata aluminum and Chase chrome pieces—acquired for five Miss Blanche chair at Sotheby’s London in November. dollars each—and furniture by George Nelson and the Though they clearly possess an eye for design, neither of the Eameses. “It was so cheap it wasn’t listed in our price book,” pair was trained in the field. Al is a retired radiologist, and comments visiting mother-in-law Terry. Kim has an�� in finance from Columbia University. Born in The Eibers moved to Miami in ��, when the area was Cuba, Al came to the United States with his parents when he just beginning its explosive growth, before its emergence was just eight and grew up in Cleveland, graduating from Ohio as an art center. They purchased a �,��-square-foot house State University and later New York Medical College. He met on Biscayne Bay designed by Morris Lapidus, the architect Kim, a Cleveland native and Wellesley graduate, during his best known for the Fontainebleau Hotel and the comment medical training, and began his design education going to flea “Too much is never enough.” One of only two private homes

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that Lapidus designed (out of �,�� buildings in his lifeti me), Eiber says, “Nobody knew what I was talk ing about.” the asymmetrical structure’s living room has an undulating The progression from midcentury Amer ican to wall of windows that frame sweeping views and admit innovative Italian came by chance shortly af ter their move generous light, and it offers ample space to show off the to Miami when Eiber walked into the gallery of dea ler couple’s furniture collection. Though clearly modern— Ric Emmett and saw a Canapé (Lido Modèle), designed an aberration in the Spanish colonial–dominated Miami by Michele de Lucchi for Memphis in ��. “It was so landscape—the house has quirky Lapidus touches, like ugly that it was cool,” he recalls. At tending New York’s sculptured exterior walls, carved wood doors, and curlicues Modernism Show that fall, he found that most dea lers on brass stair railings. had heard of the Memphis Group, whose ﬁrst collection According to Eiber, the �� home was considered a had debuted at Milan’s Salone di Mobile in ��, but teardown, but “it just needed a little cosmetic surgery.” nobody was selling it. On his retur n to Florida, Eiber The surgery took �� years, and as it progressed, the couple purchased the piece for $�� (a Lido sold in March �� began to ﬁll the interiors with a highly personal collection at Sotheby’s New York for $�,��). He then found a of furniture, trading up to costlier pieces as they could afford book in a secondhand bookstore and began to educate them, but consistently focusing on designs of their own himself about Memphis and Italian design, a category time, an area not then noticed by most collectors. When he’d whose appeal was not only in its distinctive style, but explain that they collected ��th-century decorative art, also in its limited production, compared with American

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION A quartet of works by Pesce leading into the living room includes his Aida lamp, 2004, on the floor beneath an Industrial Skin piece from 2000, and a 1991 wall sculpture of Caravaggio glass overlooking a resin bowl table, ca. 2002. Opposite: In the expansive living room is a custom Miami Sound bookcase, by Pesce, from 1996, on the back wall; Yonel Lebovici’s Welder’s lamps, 1990, at far right; and a 1980 glass-topped Tavolo con Ruote, by Gae Aulenti.

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ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM midcentury furniture: “You don’t like to walk into a a big market for this ki nd of thing.” The most imposing neighbor’s house and see your Eames chair,” Eiber comments. works in the room are two custom units by Pesce, whom Furnishing their home was an evolutionary process, and Eiber met more than �� years ago on a private tour of a Park the collectors made most of their purchases at antique shows, Avenue apartment Pesce had designed. Taken by the auctions, and from the few dealers who shared their interes t architect’s originality, the Eibers persuaded him in �� to in as-yet-undiscovered designs. In the mid ��s, Eiber was make a ��-foot-long, irregularly shaped bookcase of bidding by telephone at Bonhams sales in London for lots multicolored resin that showcases part of their encyclopedic that nobody else wanted. “I was buying this Italian stuff, and collection of design books and exhibition catalogues. The the shipping was more expensive than the furniture,” he says. commission was followed by a second storage unit, and then a “Everything in the house is design,” Kim notes, pointing witty rubber rug designed to survive spills by the Eibers’ two out the Raymond Loewy dishes and Robert Venturi young daughters (now both adults, and neither a collector). cutlery, much of which was found at the Lincoln Road ﬂea “Almost everything else is used furniture,” comments Kim. markets in Miami Beach. “Dealers would call us when The Eibers have met most of the designers whose work they found something.” A rare break in their collaboration they collect and hosted many in their home, along with came with Al’s purchase of an assertive pair of tall iron a constant flow of design-industry luminaries, museum lamps by Lebovici. “Kim hated them when I bought them,” curators, fellow collectors, and students. When Alessandro Al says, “and she still hates them.“ Mendini visited and noticed that there was nothing of his Al clearly relishes the experience of acquisition almost as in the collection, the architect made them one of his Proust much as he does the objects themselves. A unique Sottsass chairs in Miami-appropriate pastel colors; it sits in the postmodern desk at one end of the living room, commis- master bedroom, sharing honors with a Gio Ponti bed, the sioned by New York’s Blum Helman Gallery, came up at a de Lucchi Canapé, and a Pesce Pratt chair. “Show me a Rago auction almost two decades ago, after the initial buyer cool chair,” Al says, “and I get goose bumps.” The Eibers are died. “I was the only bidder,” Eiber says. “There was not also great lighting enthusiasts and count some �� lamps

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION in their collection, including many Memphis examples, Although they don’t purchase to invest (“We like living which Al calls “great looks, but terrible lights.” with these things,” Al says), the Eibers have rearranged and Almost every major acquisition in the Eiber collection comes occasionally sold pieces over the years to make room for new with a story. The Archizoom Associati Safari sofa at one end acquisitions. Al’s current enthusiasm is Dutch designer Joris of the living room arrived in a swap for a set of eight Gyro chairs Laarman, whose Bone chair Al saw at Design Miami in ��. by Eero Aarnio—the chairs having been received by Eiber “As a radiologist, I was taken by bones,” he explains. With in exchange for a donation to a local school looking to dispose two versions to choose from, he purchased the larger one, of them. American Dan Johnson’s Gazelle dining table and later adding its companion, and today both occupy a central chairs from the late ��s were purchased on the last day place in the living room. A Laarman table, surrounded by of a Coconut Grove antiques show from a dealer who sold Eames chairs, was later commissioned for the breakfast room. them at a bargain price rather than shipping them back north. The peripatetic Eiber thinks nothing of hopping on a A small sculpture by Claire Falkenstein, another American, plane to Groningen or Paris for an exhibition opening came up for sale at Wright and failed to attract bids, so Eiber or to New York for a museum board meeting. In addition bought it. He then sought out two equally striking but far to collecting, both Eibers have been involved with the larger works by the same artist. A probably Danish storage Wolfsonian-�� and the Cooper Hewitt, Smithsonian unit in the dining room was obtained in trade for Super Bowl Design Museum. Al is on the Cooper Hewitt board, and he tickets that the Eibers won in a lottery and gave up because ﬁnds time to write a regular blog (scoopondesign.com) their favorite team, Cleveland, hadn’t made the playoffs. and articles for design magazines. In addition to running But perhaps the pièce de résistance in chance-encounter the family business, Kovels Antiques, Kim is board collecting is an imposing light sculpture by Danish-Icelandic chairman of ArtCenter South Florida and treasurer of the artist Eliasson, which was commissioned for the �� private K–�th-grade Cushman School. lounge at Art Basel Miami B each several years ago. A Reﬂecting on the unusual diversity of their collection, complicated work of randomly stacked cubic elements with Al says that, “part of the fun is mi xing different designers; yards of yellow-coated wire, it connects to an electronic all of the fun is living with it.” With that, he departs for board that changes light intensity in random sequence. Eiber a meeting of the vetting committee for the Design Miami spent the entire show persuading the sponsors to contact show, clearly relishing the opportunity to see the next the artist for permission to sell the piece. new thing, whatever that might be.

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM In the dining room, a ca.-2004 buffet and 1988 chandelier by Sottsass, along with a 2002 wall sculpture by Carlos Alves, complement a Gazelle dining table and chairs from 1958 by Dan Johnson. Opposite: Alessandro Mendini’s custom-painted Proust armchair, 2000, holds pride of place in the bedroom, providing a counterpoint to a 1986 Golf Ball by the Italian design firm Gufram.

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BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION The Golfer , by Norman Rockwell, created ca. 1920 as a cover for the Saturday Evening Post , was one of very few cover illustrations by Rockwell �� to be rejected. It’s currently for sale at M.S. Rau Antiques in New Orleans for $5.85 million. THE ART OF ILLUSTRATION BY BRIDGET MORIARI TY AND LIZA M.E. MUHLFELD

llustration art is a vast field, one that encompasses the original art commissioned for mass-produced print publications, including comics, picture books, magazines, posters, advertisements, and more. Unlike other art forms, t hese images are produced with a specific commercial purpose, such as illustrating a story or gracing the cover of a magazine. In the cu rrent marketplace, illustration art’s high-end practitioners, such as Norman Rockwell, Maxfield Parrish, and Jessie Willcox Smith—all of whom worked during what is considered the golden age of illustration —have a reputation for

stealing the show in sales of American ar t. The record for a representative work belongs to Rockwell, S N A E I whose �� paintingSaying Grace garnered $�� million at Sotheby’s New York in December ��. L R O But trying to pinpoint what unifies illustration art visually and thematically is challenging. “Inevitably it will be of a W E N , figurative nature, but other than that, in terms of chronology and subjec t matter, it can embrace anything from ancient times S E U to science fiction,” says Alasdair Nichol, vice chairman and head of fine art at Philadelphia-based Freeman’s auction house. I Q T N What unites all the artists, he says, is a shared skill in d raftsmanship: “Ultimately, these were commercial artists A U A R working to a brief, and so the ability to draw well—and quickly—was paramount.” Today, collectors prize these works for . S . their technical precision, their evocative images, and t heir vibrant colors. M

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM Prized Period

The golden age of magazine and b ook illustration spanned the years from roughly 1890 to the 1960s. This growth arose from advances in printing, such as the development of high-speed presses, the increased abundance of pulp-based paper, and the evolving sophistication of wood engraving Howard Pyle’s undated techniques. Howard Washington with a visitor at Valley Forge, ‘My dear, Pyle is widely credited said General Washington, as the father of Captain Prescott’s behavior was inexcusable,’ American illustration sold for $66,000 at art. Already well Northeast Auctions in New Hampshire in 2008. established by the 1890s, he turned to teaching, founding the nation’s first illustration school at Drexel University in Philadelphia in 1894. He went on to establish his own school, and his students, who included Parrish, Smith, and N.C. Wyeth, became known as the Brandywine School. “Pyle started with is the most coveted from this era. 1940s to the mid 1950s, during which these great, swashbuckling narratives According to Elizabeth Beaman, head he tended to produce his largest-scale that set the stage for Rockwell, J.C. of American art at Christie’s New York, and most complex compositions,” Leyendecker, and Parrish,” says Aviva there is a premium on the iconic pieces she says. “And, of course, those years Lehmann, director of American art, that he executed as covers for the are during wartime and the immediate New York, for Heritage Auctions. Saturday Evening Post. “Rockwell’s best aftermath, so they tend to be the most �� Today, of course, work by Rockwell period would be roughly from the mid important and poignant of his su bjects.”

Growth Indicators

K The market for illustration art, according to R O Y Beaman, has experienced a “tremendous uptick” W E N , in recent years. “Rockwell’s work first broke S I E R the $1 million mark in 1996. An d now he’s among E L L A the top three highest- G N selling American artists at Measuring 9½ by 8¾ I O T C inches, A Pair of Llamas U auction, alongside Georgia A in Peru , undated, in pen, N N O’Keeffe and Edward ink, and watercolor on A W board by well-known S Hopper,” she says. ; E children’s book illustrator I R and author Dr. Seuss, H “For $5,000 or $10,000, S P took in $21,600 at Swann M you can get a beautiful A Auction Galleries in New H W example [of illustration art] York in January 2013. E N , from the 1920s, ’30s, or H T U O ’40s,” says Lehmann. “B ut a good Saturday Evening M S T R Post cover from an important artist will cost at O P , least six figures, and if you’re looking at a S N I O T Rockwell, expect to pay upwards of $10 million.” C U A “Whereas illustration art used to languish at T S A E the tail end of the American art auction H T R catalogues,” observes Nichol, “it is more likely now O N : P to be front and center and often provides the O T M star lots.” Nichol credits Rockwell with the surge O R F in interest.

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION International Flavor

The genre of illustration art extends across the globe, from the Americas to the U.K. to the rest of Europe and beyond. The tradition of illustration art is an international concept, says Beaman. “You have artists who were commissioned in the U.K. in terms of story illustrations, and in the Russian tradition you have a lot of propaganda art,” she says. In Britain, there is a long tradition of illustration art dating back to the Middle A Rabbit’s Tea Party , Ages and even earlier. “England during the 1892–93, below, set a record for the iconic 10th century was one of the most productive art British children’s centers in the world at the time, and illustrated illustrator Beatrix Potter when it landed manuscripts have famously carried on since a price of $117,000 then,” says John Huddy, founder, owner, and at Christie’s London in December 2014. managing partner of Illustrationcupboard, a gallery in London. Christine von der Linn, director of art, architecture, press, and illustrated books with Swann Auction Galleries, also points out that there are Czech and Polish artists who make up the category. When Nichol studied fine art in the U.K. during his youth, he noticed that the art form was being looked down upon in standard academic training. “I was once told that one of my canvases was �� ‘too illustrative.’ This was not intended as a compliment,” he says. “There is less snobbery in the States, and this may be because many of the greatest exponents of American fine art—Winslow Homer, Edward Hopper, all the way through to Andy Warhol—were at some point in their careers illustration artists.” Collectors of the Category

Despite the genre’s international history, work from the golden age of American illustration attracts primarily American collectors. “There’s a much deeper and wider collector base for American illustration. British is less well-known,” says Lehmann. “We don’t see a lot of people outside America purchasing the art,” she says. However, the audience is becoming more international, and there are collectors in Europe and Asia. When Norman Rockwell’s Saying Grace set the record for the category, notes Bill Rau, owner of M.S. Rau Antiques in New Orleans, “it was sold to an American, but of the two underbidders, one was from Howard Chandler England and the other was from Japan.” Christy’s I Am an American! , 1941, a Prestigious collectors include Steven charcoal and pastel ’ S Spielberg and George Lucas. “The fact that I E T on board (est. I S R $25–35,000) was many Hollywood personalities are avowed H C featured in Swann’s ; collectors has undoubtedly led to a higher S I E sale of illustration R E art late last month. profile for illustration art,” says Nichol. L L A Museums and galleries have also taken G N I O an interest in the category, and specialists concur that the T C U audience for the genre is broadening on a year-by-year basis. A N N “It’s a rising market,” says von der Linn. “A lot of museums over- A W S : looked illustration art. When the prices rose exponentially, they P O T felt they had missed the boat, and more museums and galleries M O R are now scrambling to fill the gaps in their holdings.” F

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM Top Artists and Their Auction Records

Norman Rockwell Saying Grace, �� $��,��,�� Sotheby’s New York DECEMBER�� Rockwell is one of the most important and sought-after American a rtists. His style and subject matter—small-town American li fe—were largely inﬂuenced by the careers of N.C. Wyeth, J.C. Leyendecker, and Howard Pyle. He illustrated more than �� covers for the Saturday Evening Post , the works most coveted by collectors. (Saying Grace was the cover of the November �� , �� issue.) Rockwell has a large collector following in the United States and abroad.

Maxﬁeld Parrish The Lantern Bearers, �� $�,��,�� Christie’s New York MAY�� Parrish is one of the best-known artists in the category—and of the ��th c entury. His distinctive technique, using layered paint and varnishes in hues including the “Parrish blue” seen in the background of this piece, used as a cover for Collier’s, make his whimsical works immediately recognizable. Cinderella,Sleeping Beauty, Poems of Childhood , and Arabian Nights are among his notable works.

N.C. Wyeth Wild Bill Hickok at Cards, �� $�,��,��Coeur D’Alene Art Auction JULY�� Considered one of the best illustrators of all time, Wyeth created almost �,�� magazine and book illustrations, many of them for the Saturday Evening Post . He studied under Howard Pyle betwe en �� and ��, and many of his works depict ﬁgu res of the American West, such those seen here, c reated for a �� series in Hearst’s magazine. He illustrated books for Scribner Classics, including Robin Hood , Robinson Crusoe, The Last of the Mohicans, and �� others.

Howard Pyle Captain Kett , �� ’ S Y B $��,�� Sotheby’s New York MAY�� E H T Experts consider Pyle the father of American illustration art. He founded the ﬁrst O S , school in the United States for illustration, and his familiar subjects include pirates, S E cowboys, and knights. He produced work for approximately �,�� publications , G A I M including the Saturday Evening Post , Collier’s, Harper’s Weekly, Harper’s O Monthly, andLadies’ Home Journal . Also a w riter, Pyle made the image at right to W T ; go with a story of his own, “The Ruby of Kishmo or.” N I O T C U A T R A E N E L ’ A D R U E O C E H T ; ’ S I E T J S essie Willcox Smith I R H How Doth the Little Busy Bee, undated C ; $��,�� Sotheby’s New York APRIL�� ’ S Y B Smith is one of the few female artists in this male- dominated category. She E H T is known primarily as an illustrator of children’s books—her auction- O S : record work was reproduced in A Child’s Book of Old Verses, published by P O T Dufﬁeld & Company i n ��—but she also created advertisements for M O Kodak, Procter & Gamble’s Ivory soap, and others. Smith produced more than R F �� magazine covers for Good Housekeeping and Ladies’ Home Journal .

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION What you get for...

over $�.� million Maxﬁeld Parrish, Land of Make-Believe, �� This oil was ﬁrst reproduce d in a �� issue of Collier’s. Among the highest-priced works by the artist to sell at auction, it sold for $�,��,�� (est. $�–� mill ion) at Christie’s New York in November ��.

over $��,�� N.C. Wyeth, The Deacon and Parson Skeeters / In the Tail of a Game Draw, �� Featured in a �� reprinting of Pike County Ballads by John Hay,��, the painting sold for $��,�� (est. $��– ��,��) at Sotheby’s New York in May ��.

�� over $��,�� J.C. Leyendecker, Thanksgiving, ��–��: �� Years (Pilgrim and Football Player) , �� The Saturday Evening Post cover of November ��, ��, Pilgrim and Football Player, set an artist record when it real ized $��,�� (est. $��–��,��) at Heritage Auctions in Dal las in May ��. Between �� and ��, Leyendecker created a variety of Thanksgiving- themed covers for the publication.

S N � O over $� �,�� I T C John Falter,Golf Driving Range, �� U A One of more than �� covers the artist illustrated for the E G A Saturday Evening Post , this one, for the Ju ly ��, ��, issue, I T R E sold for $��,�� at Bonhams New York in November ��. H ; S M A H N O B ; S N I O T C U A E G A I T R E H ; over $��,�� ’ S Y B E Douglas Crockwell, untitled cover for the H T O Saturday Evening Post, April �, �� S ; This work took in $��,�� at Heritage Auctions in Dallas in February ’ S I E ��. Crockwell produced several illustrations for the magazine, T I S R along with advertisements for Welch’s Grape Juice, Republic Steel, H C : General Electric, and the Brewing Industry Association. P O T M O R F

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM Naughty and Nice

Pinup art is a popular subcategory in the field of illustration. “It gener- ally depicts pneumatic young ladies in various states of undress, often in situations of a perilous nature or coyly vamping it up in a domestic setting,” says Nichol. “Designed to appeal to the mid 20th-century male libido, they have considerable appeal to young collectors today with a keen sense of kitsch and are often acquired, one In May 2011,Gay Nymph , suspects, with a postmodern wink,” he adds, noting 1947, by Gil Elvgren, set an artist record when it that Gil Elvgren, Enoch Bolles, and Alberto Vargas— sold for $286,800 at a regular in the pages of Esquire and later, Playboy — Heritage Auctions. Elvgren created images for the are the major names in the field. Saturday Evening Post According to Rau, some buyers might surprise and Good Housekeeping ; this one was made for people. “Pinup girls are liked more by women than by Brown & Bigelow, a men today,” he contends. And the market is growing, commercial distributor of cards and calendars. though prices pale in comparison with Rockwell’s, for example. In 2011, Elvgren’s Gay Nymph, 1947, realized $286,800 at Heritage Auctions, a record for the artist, a graduate of the American Academy of Art in Chicago. The work had belonged to Charles Martignette, whose collection of illustration art sold for more than $21.7 million over the course of nearly six years at Heritage.

�� Where to Find Them

Examples by leading artists in the category are found in several notable museum collections across the country—among them, the National Museum of American Illustration in Newport, Rhode Island; the Metropolitan Museum of Art i n New York; the Smithsonian American Art Museum in Washington, D.C.; and the Philadelphia Museum of Art. The Lucas Museum of Narrative Art is slated to open in Chicago in 2018 and “will only add to its luster as a collecting area,” says Nichol. E R N.C. Wyeth’s 1918 oil A Established dealers in the category W The Bonaventure was A L include the American Illustrators produced to illustrate E D , The Mysterious Island E Gallery in New York; M.S. Rau A ntiques L by Jules Verne. It was I L V available at Somerville N in New Orleans; the Illustrated Gallery E E Manning Gallery in R in Philadelphia; Somerville Manning G Greenville, Delaware. , Y R Gallery in Greenville, Delaware; E L L A R. Michelson Galleries in Northampton, Massachusetts; G G I N and the Illustrationcupboard Gallery in London. N N A Auction houses that regularly host illustration sales M E L include Christie’s and Sotheby’s, where buyers can find I L V R E works by Rockwell, Wyeth, Leyendecker, and others at M O S the American art auctions each fall and spring. Freeman’s ; S N in Philadelphia also hosts regular sales, including its I O T C U American Art and Pennsylvania Impressionists auction, A E G which totaled $4 million in December 2015, as does A I T R Swann Auction Galleries in New York, which hosts a sale E H : P each January. Heritage Auctions, based in Dallas, O T M is another market leader in the category, for which it O R F hosts semiannual sales.

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AUCTIONS IN BRIEF 94 Old Master and British paintings in London, watches in Hong Kong, African and Oceanic art in Paris, and more. DATABANK 98 Amid recent economic turmoil, the market for Chinese contemporary art continues to grow, albeit at a slower pace. THE ACQUISITION 104 Elena Pakhoutova on the 18th-century Tibetan astrological illustrations now at the Rubin Museum of Art in New York.

To kick off New York’s winter design sales on December ��, Phillips presented three distinct auctions—design, design masters, and a special sale of works by late ��th-century ceramicists R.W. Martin & Brothers—bringing in $�.� million. Ron Arad’s �� prototype for D-Sofa, above, jumped handily over its $��,�� high estimate in the design mast ers sale, going for $��,��. The following day at Sotheby’s, the important design sale tota led $�.� million, with Alberto Giacometti’s Grande Feuille, Version Fine floor lamp also surpassing its high estimate to sell for $��,�� (est. $��–��,��). Christie’s mini sale of �� design masterworks on December �� totaled $�.� million, with Claude Lalanne’s Les Grandes Berces bench, S P I L designed in ��, hitting $��,�� on an estimate of $��,�� to $��,��, while the house’s L I H P December �� design sale brought in a total of $�.� million.

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION AUCTIONSINBRIEF

BY LIZA M.E. MUHLFELD

HONG KONG celadon-glazed, squared- TOKYO CHUO AUCTION form vase from the NOVEMBER 25–26: 2015 Yongzheng period (1722–35) HONG KONG AUTUMN SALES (est. $HK1.8–2.8 million; 254 LOTS SOLD FOR $232–361,000). A poem $HK120,555,075 ($15.6 million) in seal script by Deng Shiru, TOP LOT: In the Classical dated the 55th year of Chinese Paintings sale on Qianlong’s reign (1790) and November 25, Flower Basket , with an estimate of a hanging scroll in ink and $HK600,000 to $HK1.2 million color on silk attributed to ($77,000–155,000), took Li Song, and created during in $HK7,015,000 ($905,000). the Song to Yuan (960–1368) At the Ichigo Ichie—The Dynasties, was the top-selling Art of Tea Ceremony auction, lot of the series, realizing an undated piece of Kyara $HK19,320,000 ($2.5 million), agarwood measuring 20.6 24 times its $HK800,000 inches, achieved $HK2,185,000 ($103,000) high estimate. ($282,000) (est. $HK2– From the same era, Young 2.2 million; $258–284,000). Birds , a hanging scroll in ink The same day, a horizontal and color on silk attributed scroll with calligraphy in to Li Di, took second place, running script by Zhao Zhiqian commanding $HK14,260,000 from the mid 19th century ($1.8 million) (est. $HK600– led the Enchantment of 900,000; $77,000–116,000). Chinese Ink sale when it From the Imperial achieved $HK3,450,000 Treasures auction the next ($445,000) (est. $HK300– day, a blue-and-white Chinese 400,000; $39–52,000). dragon vase from the Kangxi The auction series period (1662–1722), esti- offered lots spanning several mated at $HK6.5 million to categories, including fine $HK8.5 million ($839,000– Chinese modern and classical 1.1 million), sold for $HK9.2 mil- paintings, calligraphy, scholars’ lion ($1.2 million). Reaching objects, and more. In all, the same price was an imperial 254 of 470 lots were sold.

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of £6,455,000 ($9.7 million). Christopher , presumably Sotheby’s crushed that painted by André d’Ypres total the following day, when during the mid 15th century, 29 out of 44 lots garnered also set an artist record £22,633,750 ($34 million). at auction when it captured John Constable’s The Lock , £965,000 ($1.5 million), below, completed in 1824 and solidly exceeding its one of the artist’s best-known £600,000 ($902,000) high works, hit the market for estimate. Museum-quality the first time in more than works by the usual names 150 years and led the in the category also made an sale, landing at £9,109,000 appearance; they included ($13.7 million) on an es timate pieces by Pieter Brueghel the of £8 million to £12 million Younger, Willem Claesz ($12–18 million). The master- Heda, and Francesco Guardi. piece sold to a European private collector. The Virgin and Child , an oil on oak panel by Jan Gossaert, called Mabuse, and painted sometime

LONDON most popular subject among Lucchesino), notched during the 16th collectors, sold for the £746,500 ($1.1 million), century, set Old Master highest price of the evening comfortably exceeding its an auction record when it achieved £1,202,500 £500,000 ($754,000) for the artist and British ($1.8 million), within its high estimate. A Winter when it took in Paintings estimate of £1 million to Carnival with Figures on £4,629,000 £1.5 million ($1.5–2.3 million). the Ice Before the ($7 million) Christie’s kicked off this Although several works Kipdorppoort Bastion in (est. £4–6 million; semiannual sale series on on offer had been estimated Antwerp , an oil on oak $6–9 million). December 8, when the house at or above £1 million panel produced by Flemish The left wing offered 45 lots featuring ($1.5 million), it was the only painter Sebastian Vrancx of the Dreux Budé Northern Renaissance lot in the sale to cross the during the late 16th to mid Triptych, The and Flemish works. Pieter seven-figure threshold. The 17th century, surpassed Betrayal and Brueghel the Younger’s 17th-century Aeneas and its £250,000 ($377,000) Arrest of Christ , The Birdtrap , above, painted the Cumaean Sibyl Presenting high estimate to sell for with the Donor during the late 16th to mid the Golden Bough to Charon, £410,500 ($619,000). Only Dreux Budé 17th century, and considered in oil on canvas by Pietro 26 lots (58 percent) found and his Son Jean by experts the artist’s Testa (sometimes called Il buyers, realizing a total take Presented by Saint

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM PARIS DENVER PIERRE BERGE & ASSOCIES LESLIE HINDMAN DECEMBER 11: THE LIBRARY AUCTIONEERS OF PIERRE BERGE TOP NOVEMBER11–12: 148 LOTS SOLD FOR €11,687,380 ARTS OF THE ($12.8 million) AMERICAN WEST TOP LOT: The French auction 5 552 LOTS SOLD FOR house sold off the library $442,835 of its founder, Pierre Bergé, TOP LOT: Painting in association with Sotheby’s, dominated this two- in a sale that was led by MUNICH day sale of American an assortment of plans, MODERN ART, Western art, led drafts, and abstracts from POSTWAR, by Gerard Curtis Gustave Flaubert’s L’Education CONTEMPORARY Delano’s oil Navajo sentimentale, from 1869. It Sheep 3 , painted realized €587,720 ($645,000), ART during the mid not quite reaching its KETTERER KUNST 20th century. €600,000 ($659,000) high DECEMBER 3–5 The pastel-colored estimate. Following close At the house’s three- landscape sold behind was a first edition of day sale series, for $30,000, works by Louise Labé (also approximately at the midpoint of called Charly or Charlin) from 700 of 895 lots its $20,000-to- 1555, which sold for €524,845 found buyers, $40,000 estimate. ($576,000), exceeding its for a sell-through rate Also from the €400,000 ($439,000) high of 78.2 percent 20th century, Olaf estimate. Ruines gothiques , by lot. The series Wieghorst’s Wrangling the works by the living artist central medallions with a drawing on paper of pen totaled $25.5 million Ponies , an undated oil Robert Daughters secured a snowflake pattern on the wash in black ink and and topped last depicting a group of horses in solid results: The artist’s wintry border, climbed beyond watercolor, circa 1855, by year’s sales total by a rugged mountain landscape, Mountainous Landscape, its $6,000 high estimate to Victor Hugo, drew €500,500 more than $2 million. took in $18,750, within its undated, sold for $13,750 (est. earn $6,875. A large Klickitat ($549,000) (est. €50– $15,000-to-$25,000 estimate. $6,000–8,000), and Abstract carrying basket from the 80,000; $55–88,000). The From the 19th century, Helen Mountain, also undated, early 20th century, decorated collection Comedies, Henderson Chain’s undated oil realized $6,875 (est. $6,000– with an eight-point star, soared Histories, and Tragedies of painting Chamita Pueblo, 8,000). An undated 51-by- beyond its $600 high estimate William Shakespeare Near Espanola, New Mexico 69-inch Navajo weaving from to land at $4,000. The sale sold for €245,101 ($269,000) more than tripled its $5,000 the Bisti area of New Mexico, found buyers for 85 percent of (est. €200–300,000; $220– high estimate when it secured made in a classic oriental the 652 lots, with the majority 329,000). A first edition of a final price of $17,500. Two design and featuring two selling for less than $1,000. ��

HONG KONG PHILLIPS DECEMBER 1: THE HONG KONG 1 WATCH AUCTION: ONE OTTO PIENE 278 LOTS SOLD FOR Dynamisches Volumen, $HK117,760,750 ($15.2 milli on) oil, smoke, and fire TOP LOT: The house’s inaugural on canvas, 1961 sale of watches in Hong $875,000 Kong, held in association with (est. $127,000) Bacs & Russo, was led by an extremely rare and impor- 2 tant white-gold perpetual- ERICH HECKEL calendar wristwatch with moon Hügellandschaft , phases by Patek Philippe from oil on canvas, 1913 1985. With an estimate of $796,000 $HK8 million to $HK16 million (est. $467,000) ($1–2.1 million), the watch sold for $HK12,040,000 ($1.6 mil- 3 lion), the highest price ever OTTO PIENE paid for a wristwatch in Asia. Wave of Darkness , A 1924 example by the same oil, fire, and smoke maker—a stainless steel, open- the Confessions of Saint on canvas, 1964 face watch with one-minute Augustine, published in $663,000 tourbillon regulator, awarded Strasbourg circa 1470, landed (est. $318,000) first prize at the Geneva at €318,078 ($349,000) Astronomical Observatory (est. €150–200,000; $165– 4 timing contest in 1931—took in 220,000). In total, Bergé’s GUNTHER UECKER $HK4,840,000 ($624,000). trove includes 1,600 books, Dunkles Feld , nails A Cosmograph Daytona Paul manuscripts, and musical and black paint on Newman watch by Rolex, a rare scores dating from the 15th to canvas on wood, 1980 stainless steel chronograph the 20th century. However, $530,000 wristwatch bracelet from 1974, only 182 works spanning (est. $159,000) sold for $HK2,320,000 six centuries were offered ($299,000), almost meeting its here, which attracted buyers 5 $HK2.4 million ($310,000) from 15 countries and 3 LYONEL FEININGER high estimate. Rolex secured continents. The remainder The Baltic (V-Cloud) , several of the highest prices at of the collection will be oil on canvas, 1946/47 the sale, as did Cartier and sold in a series of thematic $504,000 Audemars Piguet. The auction auctions taking place (est. $297,000) concluded with a sell-through through next year. rate, by lot, of 78 percent.

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION AUCTIONSINBRIEF

€483,000 ($512,000), more than double its €200,000 ($212,000) high estimate. All TOP of the 19 lots from the collection sold for a total of €2.9 million ($3.1 million). 5 Not from the Delenne trove, a carved statue of a young man from Madagascar set an auction record for a COLOGNE piece originating from MODERN that island nation when it AND commanded €363,000 CONTEMPORARY ($385,000) (est. €120– 180,000; $127–191,000). ART The following day, VAN HAM Christie’s sold only 65 out NOVEMBER 26 of 100 lots offered, for a total This sale, dedicated of €7,325,650 ($7.8 million). to leading Unlike its competitor, the names in the category, house failed to secure a saw 894 out leading collection to spear- of 1,072 lots head its sale. An undated find new homes for Fang reliquary figure a sales total from Gabon, left, was the of $10.5 million. star lot, cruising beyond its €3 million ($3.2 million) high estimate to realize €3,793,500 ($4 million). A mask from Saibai Island, off the coast of northern Australia, set a record for an Oceanic mask when it went for €1,665,500 ($1.8 million) (est. €750,000–1.2 million; $796,000–1.3 million). ��

PARIS 1 African & GABRIELE MUNTER Oceanic Art Farmhouse in the Rain, oil on cardboard, 1914 Perhaps due to a selection of $407,000 works from notable private (est. $266–372,000) collections, on December 2 Sotheby’s drove the two-day 2 sale series when 68 out of 84 HEINZ MACK lots found new homes for a Dynamic Structure White sales total of €5,932,500 on Grey , artificial ($6.3 million). The auction resin on canvas, 1958 was led by several works from $299,000 the collection of René and (est. $213–319,000) Odette Delenne of Belgium, who began acquiring African 3 art in 1958 after visiting the LOVIS CORINTH Congolese pavilion at the Roses and Lilac , oil on Brussels World’s Fair. Undated canvas, 1918 carved portraits of King $285,000 Pokam and his wife, Yugang, (est. $106–159,000) right, rulers of the Bamileke kingdom of Batoufam, 4 which were acquired by the KARL HOFER Delennes in 1970, secured Still Life with Lute , oil on the top spot in the sale when canvas, 1929/30/31 the hammer came down at $272,000 €1,443,000 ($1.5 million), (est. $213–319,000) squarely within the carvings’ estimate of €1.3 million to 5 €1.6 million ($1.4–1.7 million). ANTONI TAPIES Also from the Delenne Ochre with Six Collages , collection was a statue of a mixed media male figure from the Kopar on wood, 1973 village on the Sepik River of $252,000 Papua New Guinea. It brought (est. $106–159,000) PARIS PIASA NOVEMBER 25: KINETIC ART–LIGHT SHOW 73 LOTS SOLD FOR €736,661 ($784,000) TOP LOT: Honors for the highest-selling lot of the sale went to Contorsions No. 12 , by Conceptual artist François Morellet. Made in 2008 from acrylic on canvas and wood with neon, the piece brought a price of €70,600 ($75,000), exceeding its €65,000 ($69,000) high estimate. Italian artist Gregorio Vardanega’s untitled work made of painted wooden casing, glass, and a light system, from the LONDON artist’s key period of 1957–58, SOTHEBY’S took in €61,824 ($66,000), NOVEMBER 24: within its €50,000-to- BERNHEIMER EVENING €70,000 ($53–74,000) 22 LOTS SOLD FOR £1,362,000 estimate. An electric light ($2.1 million) system comprising Plexiglas TOP LOT: Nicolas Lancret’s and metal in a wooden oil Le Menuet , 1732, an outdoor casing by the same artist, scene featuring five individuals from 1964, secured a final in a forest, was the highest- price of €45,080 ($48,000) selling lot of the collection on against an estimate of offer, a trove of art and design €40,000 to €50,000 ($43– from one of the most prized 53,000). Newspaper , by family-run art dealing busi- Greek-American artist Chryssa, of its €40,000 ($43,000) nails on a painted background, In all, 73 out of 120 lots nesses of the 19th through 21st an oil on canvas with a neon high estimate. Alberto Biasi’s more than tripled its €7,000 found buyers, resulting in a centuries. But while the light from 1970–73, sold for Politipo , 1968, a mixed-media ($7,500) high estimate when it sell-through rate by lot painting led the auction, selling €37,352 ($40,000), just shy work made of ribbons and earned €22,000 ($23,000). of 60.8 percent. �� for £197,000 ($299,000), it failed to meet its £200,000 ($303,000) low estimate. The Valkhof at Nijmegen, with Ritchies in Toronto in 2002. a Coach on a Ferry on the Two other works by Harris also River Waal , an oil-on-oak panel found buyers: Winter from 1646 by Jan Josefsz Landscape , an oil circa 1916–17, van Goyen, inched past realized $C3,658,000 its £180,000 ($273,000) high ($2.7 million) (est. $C1.2– estimate to take in a final 1.6 million; $902,000–1.2 mil- price of £185,000 ($280,000). lion), and Winter in the A 19th-century walnut Ward , an oil circa 1920, sold armchair—upholstered in a for $C1,121,000 ($843,000) carpet dating to the (est. $C500–700,000; 16th century—matched its high $376–526,000), bringing the estimate when it sold for artist’s total for the sale £100,000 ($152,000). The to approximately $C9.4 million chair once served as a ($7.1 million). Alex Colville’s throne for Pope John Paul II Harbour , 1975, an acrylic when he visited Munich in polymer emulsion on board, 1980. An imperial Roman fetched $C1,888,000 marble sarcophagus from the ($1.4 million) (est. $C500– 3rd century A.D., the front 700,000; $376–526,000), of which is carved with erotes , also setting an artist record. or winged gods of love, Thomas John Thomson’s enacting the scene of Dionysos landscape After the Storm , an discovering Ariadne on the oil on board from 1917 said beach of Naxos, more than to be the last work the artist doubled its £35,000 ($53,000) produced before his death, high estimate when it sold for $C1,298,000 achieved a price of £77,500 ($976,000), exceeding its ($117,000). It was displayed $C700,000 ($526,000) in the Italian courtyard high estimate. The house’s of the Bernheimer Palace in semiannual live auction set 13 Munich until 1987. Although a artist records and concluded number of historic pieces hit TORONTO TOP LOT: Mountain and Glacier , became the second most as the highest-grossing the block, including Old Master HEFFEL FINE ART an oil on canvas by Lawren valuable Canadian work fine art auction in Canadian and 19th-century paintings, AUCTION HOUSE Harris from 1930, set an artist of art ever sold at auction— history, with six works selling textiles, and furniture, the NOVEMBER 26: POSTWAR & record when it went for behind Paul Kane’s oil Scene for more than $C1 million house realized mixed results: CONTEMPORARY $C4,602,000 ($3.5 million), in the Northwest—Portrait , mid ($752,000). The sales total only 52.4 percent of lots ART, FINE CANADIAN ART more than tripling its 19th century, which sold for blew away the presale offered were sold, and 20 out 135 LOTS SOLD FOR $C1.5 million ($1.1 million) high $C5,062,500 ($3.8 million) at estimate of $C10 million to of 42 lots were bought in. $C23.4 million ($17.6 million) estimate. The painting Sotheby’s in association with $C15 million ($7.5–11.3 million).

BLOUINARTINFO.COM | FEBRUARY 2016 ART+AUCTION DATA BANK

A Mutable Market

LIKE THE BROADER MARKET for postwar and contemporar y art, the market for works by The Last Supper , 2001, a riff on Leonardo da Chinese contemporary artists has been on the rise since the financial crisis of 2008–09. An analysis Vinci by Beijing-based Zeng Fanzhi, sold of more than 100,000 auction lots sold since the beginni ng of 2000 shows the same strong for an artist record $23.3 million (est. growth from 2009 through 2013 as was experienced in the pre-crisis years of 2005 through 2007. $10.5–15.5 million) at Sotheby’s Hong By 2014, it was clear that the pace of growth had begun to slow. This led consignors to withhold works, Kong in October 2013, the year of peak and as a result by the third quarter of 2015 we witnessed a precipitous drop in the number of works market growth for Chinese contem- hitting the auction block—a 37 percent decline in dollar volume compared with the sa me period a year porary art. earlier. From our analysis, it is clear that this category correction is due largely to socioeconomic conditions within mainland China, a result first and foremost of the draconian anti-corruption regula- tions initiated by President Xi Jinping. Secondly, there has been a pronounced slowdown in economic growth and a drop in Chinese stock markets over the past 12 months. Yet such a correction was long overdue, given the enormous increases in asset valuation since 2005, driven by a booming population of local buyers and Western collectors and s peculators, who envisioned the economic potential for what had hitherto been a largely grassroots market for Chinese contemporary art. Despite the downturn, the category is still popular with collectors. Of the top 100 contemporary artists worldwide �� ranked by turnover, 31 are Chinese. BY ROMAN KRÄUSSL

CHINESE CONTEMPORARY ART INDEX, 2000–15

Since 2005, when the market for works by all Chinese artists began to see an increase in demand from local collectors as well as Western collectors and art market speculators, Chinese contemporary art has been on the rise, dipping only during the global economic correction of 2008, when the “All Artists” index dropped from 515 to 358. At that time, the “Top 50” index dropped from 642 to 405. Just as the decline in 2008 was felt more sharply among the top 50 artists, the rise since 2009 has been more dramatic for this group. While both indices had rebounded by 2009, it is clear that the market grew more slowly in 2014 and 2015.

1,400

All artists Top 50 artists

1,200

1,000

800

600

400

200

0 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015

ART+AUCTION FEBRUARY 2016 | BLOUINARTINFO.COM ��

MARKET FOR ZENG FANZHI, 2005–15 Born in 1964, the painter is China’s most successful living artist, both in terms of the performance of his works on the block and overall sales volume. Prior to 2000, he was collected exclusively by Western enthusiasts such as Myriam and Guy Ullens—founders of Beijing’s Ullens Center for Contemporary Art (UCCA). When they first purchased Zeng’s work in the 1990s, canvases sold for less than $10,000. The artist’s prices began to climb dramatically in 2005 as more Chinese collectors entered the market for contemporary works by their compatriots. Since June 2007, Zeng has generated more than 120 auction sales above the million-dollar mark. More than 560 of his pieces earned a cumulative value of over $336 million from January 2005 through mid December 2015.

1,000 90 Pricing index Sales volume

900 80

800 70

700 60

600 50 500 40 400

30 300

20 200

100 10

S 0 0 ’ Y B 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 E H T O S

FOR OTHER INDICES AND M ORE THAN 4.8 MILLION FINE ART AND DESIGN AUCTION RESULTS, GO TO ARTSALESINDEX.ARTINFO.COM Blondeau & Cie Gagosian Gallery Galerie Patrick Seguin GALLERY 5 rue de la Muse 976 Madison Avenue 45-47 Brook Street Geneva New York, NY London LISTINGS Switzerland +1 212 744 2313 United Kingdom +41 22 544 95 95 [email protected] +44 (0)207 499 7766 [email protected] www.gagosian.com [email protected] www.blondeau.ch Please visit our website or contact the www.patrickseguin.com ACA Galleries Jonathan Monk: The Life Sized Black gallery for current exhibition information Hours: Monday through Saturday 529 West 20th Street (a Porsche for RH), March 17 through and hours of operation 10-6:30pm 5th Floor April 30 Please visit our website or contact the New York, NY Gagosian Gallery gallery for current exhibition information +1 212 206 8080 Christian Duvernois Gallery 980 Madison Avenue [email protected] 648 Broadway New York, NY www.acagalleries.com Galerie Patrick Seguin Suite 804 +1 212 744 2313 5 rue des Taillandiers Jack Stuppin: Homage to the Hudson New York, NY [email protected] Paris River School, through February 20. +1 212 268 3628 www.gagosian.com France Jack Stuppin’s vibrant, undulating [email protected] Please visit our website or contact the +33 1 4700 3235 landscapes are passionate reactions www.christianduvernois.com gallery for current exhibition information [email protected] to nature and ardent appeals for Hours: Monday through Saturday, and hours of operation www.patrickseguin.com environmental consciousness. Nature is 10-6pm the soul of his art. Stuppin’s conception Hours: Monday through Saturday, Gagosian Gallery and execution are highly individual and A Paper Affair, through February 13. 9-7pm 821 Park Avenue original. Using thick impasto, energetic Works by Clytie Alexander, Vicky 20th century furniture & architecture: New York, NY brushwork and brilliant colors he has Colombet, Barbara Edelstein, Philippe Jean Prouvé, Charlotte Perriand, Pierre +1 212 796 1228 created his own particular style Gronon, Eric Poitevin and Guy de Jeanneret, Le Corbusier and Jean Rougemont. Wildscapes: Ivan Stoja- [email protected] Royère, through March 5 kovic and Paula Winokur, February 24 www.gagosian.com through April 23 Please visit our website or contact the gallery for current exhibition information Coeur d’Alene Art Auction and hours of operation 8836 North Hess Street Suite B Gagosian Gallery Hayden, ID 555 West 24th Street +1 208 772 9009 New York, NY [email protected] +1 212 741 1111 www.cdaartauction.com [email protected] Largest auction house in the country www.gagosian.com Jack Stuppin, “Catskill Moon”, 2013 specializing in Western American Please visit our website or contact the Paintings and Sculpture with over gallery for current exhibition information Acquavella Galleries $250 million in sales over the last ten and hours of operation 18 East 79th Street years. Now taking consignments for New York, NY our 2016 auction to be held July 23 at Gagosian Gallery +1 212 734 6300 the Peppermill Resort in Reno. 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Lois Dodd: Night and hours of operation [email protected] Paris and Day, February 25 through April 2 www.dallasauctiongallery.com Gagosian Gallery France +33 1 4272 9900 Bernd Goeckler Antiques, Inc. Dallas Auction Gallery is a leading 4 rue de Ponthieu [email protected] 30 East 10th Street international antiques, fine art and Paris www.ropac.net New York, NY jewelry auction house. DAG is known France +1 212 777 8209 for integrity, straightforwardness and +33 1 75 00 05 92 Paris/ Marais: XYZ- Robert Mappletho- [email protected] personal service for both buyer and [email protected] rpe curated by Peter Marino, through www.bgoecklerantiques.com seller www.gagosian.com March 5. Paris/Pantin: Jean-Marc Bustamante, through March 5. Tony Modern lighting, furniture, and acces- Please visit our website or contact the Doyle New York Cragg, February 21 through July 30 sories, specializing in 20th century gallery for current exhibition information 175 East 87th Street masters, including Max Ingrand, and hours of operation New York, NY André Sornay, Axel Salto and Gabriella +1 212 427 2730 Crespi. Featuring select antiques from [email protected] the 18th and 19th centuries, as well as www.doylenewyork.com the contemporary designs of Franco Deboni, Roberto Rida, and Simone Please check our website for current Crestani and upcoming sale information as well as hours of operation special advertising section

Heritage Auctions Jack Shainman Gallery’s Nancy Hoffman Gallery 478 Jackson Street The School 520 West 27th Street San Francisco, CA 25 Broad Street New York, NY +1 800 872 6467 Kinderhook, NY +1 212 966 6676 [email protected] +1 212 645 1701 [email protected] www.ha.com [email protected] www.nancyhoffmangallery.com Monday through Friday, 9-5pm www.jackshainman.com Robert Zakanitch: In the Garden of Heritage Auctions has experts in “Winter in America,” group exhibition the Moon, through March 5 over 34 unique categories, including including Yoan Capote, Marc di Suvero, Hayv Kahraman and Hank Tony Cragg, “Hardliner”, 2013 at Galerie California Art, Photographs, Fine Silver Thaddaeus Ropac & Vertu, Luxury Real Estate, Arms & Willis Thomas, among others. 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Visit our award- [email protected] February 25 winning website, HA.com, for www.marlboroughgallery.com information on upcoming auctions, Jack Shainman Gallery Hours: Tuesday through Saturday, RoGallery.com as well as our new offices in Beverly 513 West 20th Street 10-5:30pm 47-15 36th S treet Hills, New York and San Francisco New York, NY Long Island City, NY Please visit our website or contact the +1 212 645 1701 +1 718 937 0901 gallery for current exhibition information Heritage Auctions [email protected] +1 800 888 1063 9478 West Olympic www.jackshainman.com [email protected] Marlborough Chelsea First Floor El Anatsui, Maya Lin, Bernd and www.rogallery.com 545 West 25th Street Beverly Hills, CA Hilla Becher | Of A Different Nature, New York, NY Fine Art Auctions, bid online or on our +1 310 492 8600 February 4 through March 12 +1 212 463 8634 new iPhone / Android app. Art Buyers [email protected] [email protected] and Consignments. Over 5000 artists’ www.ha.com Jack Shainman Gallery www.marlboroughchelsea.com paintings, prints, photographs, and Hours: Monday through Friday, 9-5pm 524 West 24th Street sculptures. View entire collection at Hours: Tuesday through Saturday, New York, NY RoGallery.com. World-wide shipping. Heritage Auctions has experts in 10-6 pm over 34 unique categories, including +1 212 337 3372 Specializing in Op-Art, Modern & Con- Please visit our website or contact the California Art, Photographs, Fine Silver [email protected] temporary Art, Pop Art & more. Pablo gallery for current exhibition information & Vertu, Luxury Real Estate, Arms & www.jackshainman.com Picasso Estate Collection. Gallery by Armor, currency and other collectibles. Claudette Schreuders | Notes to Self, Appointment Visit www.HA.com for a full list of February 4 through March 12 categories and information on upcoming auctions GALLERY LISTINGS

Scholten Japanese Art Throckmorton Fine Art Van Doren Waxter 145 West 58th Street 145 East 57th Street 23 East 73rd Street Suite 6D 3rd Floor New York, NY New York, NY New York, NY +1 212 445 0444 +1 212 585 0474 +1 212 223 1059 [email protected] www.scholten-japanese-art.com [email protected] www.vandorenwaxter.com By appointment Monday through www.throckmorton-nyc.com Richard Diebenkorn: Early Color Ab- Friday 11-5pm; some Saturdays Christian Cravo: “Twenty Five Years”, stractions 1949-1955, through March 5 Scholten Japanese Art offers paintings, through February 27 screens, woodblock prints and netsuke in a private setting

Swann Auction Galleries 104 East 25th Street New York, NY +1 212 254 4710 [email protected] www.swanngalleries.com Richard Diebenkorn, “Untitled”, c. 1952-53 Joseph Cornell, “Untitled (Hotel du Nord)”, Swann was founded in 1941 special- Christian Cravo, “Untitled, Bahia”, 2003 1972 izing in Rare and Antiquarian Books and today is the largest specialist Vallois Zane Bennett Contemporary Art auctioneer of Works on Paper in the 27 East 67th Street 435 South Guadalupe Street world. Swann conducts approximately Mezzanine level Santa Fe, NM 40 sales a year, with departments New York, NY +1 505 982 8111 devoted to Books, Autographs, Maps +1 212 517 3820 [email protected] & Atlases, Photographs & Photobooks, [email protected] www.zanebennettgallery.com Prints & Drawings, Vintage Posters and www.vallois.com African-American Fine Art New Acquisitions by Tong Zhengang, Hours: Tuesday through Friday, 10- Zhang Xiaogang, Jim Dine, Joseph 6pm; Saturday, 10-5pm Cornell, Roberto Matta, Robert Mother- Please visit our website or contact the well, Richard Serra, Akira Yamaguchi. gallery for current exhibition information Works available by Bacon, LeWitt, Martin, Stella, Rauschenberg. Please contact gallery for current exhibition information To be included in Art+Auction’s paid gallery listings, contact Alexis Smith at [email protected]

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THE ACQUISITION

Elena Pakhoutova on theWhite Beryl THE CURATOR OF HIMALAYAN ART MUSES ON THE RUBIN MUSEUM’S RECENT PURCHASE OF A TIBETAN ASTROLOGICAL MASTERPIECE

THE RUBIN MUSEUM of Art in New York has acquired a unique set of �� painted folios—elaborate illustrations of a Tibetan astrological treatise known as the White Beryl —that were commissioned by Sakya Buddhist clergy and executed by the master artist Sonam Peljor in the early to mid ��th century. The text of the treatise itself was composed in the ��s by a great Tibetan polymath, Desi Sangye Gyatso, who was a regent to both the fifth and sixth dalai lamas. What is most remarkable about this set of paintings is that none other exists of such complexity and representation of the subject and of such quality. Although the noted scholar Gyurme Dorje has undertaken a detailed study of the content of the folios, art historical research on them has yet to be carried out. They provide a great opportunity for studying the art and culture of ��th-century Tibet. More- over, the folios were painted on cloth, like Tibetan scroll paintings (thangka), rather �� than on paper, as is usual for manuscripts. It is probable that they were painted first on a stretched canvas and then cut to form traditional Tibetan folios. The painted folios cover the full breadth of the astrological knowledge of the time, which is still in use today. Each aspect of material existence is considered within this comprehen- sive system, in the belief that the environment can be evaluated and manipulated to ensure a more favorable outcome in such areas as birth, marriage, and health. Among the elements included in the manuscript are year-specific divination charts, geomantic considerations to determine when and A detail, above, from a painted where to construct a new building, forecasts of natal horo- folio of the White Beryl , a Tibetan treatise on divination that depicts K scopes and marriage compatibility, and calculations of the pure land of Buddha Amitabha. R O On the folio’s lower portion is a Y obstacle years and other portents of ill health and death. W table that determines individual E N With the acquisition of this manuscript—purchased from , dispositions based on combinations T R of birth years and elements. A London dealer Sam Fogg late last year—the Rubin Museum’s F O collection has become an unequaled source for the art M U E S of Tibetan astrology, divination, and cosmology, offering U M unprecedented possibilities for exhibitions and scholarship. I N B U Folios from the manuscript go on view this month when R E H “Masterworks: Jewels of the Collection” opens February ��. T

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Gagosian Gallery February 9–April 23, 2016 6–24 Britannia Street London WC1X 9JD +44.207.841.9960 www.gagosian.com

Left: Richard Avedon, Louis Armstrong, musician, Newport Jazz Festival, Newport, Rhode Island, May 3, 1955 © 2016 The Richard Avedon Foundation Right: Andy Warhol, Liza Minnelli , 1979, The Andy Warhol Museum, Pittsburgh © 2016 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society, NY