O’Toole-Ewald Enters into Strategic Partnership with AN Valuations

New York, NY, August 3, 2015 O’Toole-Ewald Art Associates, Inc. (OTE), a New York based industry leader in Fine Art and personal property appraisals, announces a strategic partnership with AN Valuations, a boutique valuation advisory practice focusing on business and intellectual property, headquartered in Leiden, The Netherlands. This new strategic partnership brings OTE’s services directly to AN Valuations’ high net worth European clients, and enables both firms to offer competitive services to clients in the financial sector.

“We’re very excited to enter into this strategic partnership with OTE, allowing both companies to expand their offerings and provide a more balanced service to our worldwide clientele,” said Andrew Pike, managing director at AN Valuations. “When AN Valuations is contacted by high net worth individuals requesting assistance with personal property appraisals, we contact OTE for its expertise in various categories within personal property, such as antiques and Fine Art from Old Masters to Contemporary. Our background and experience lends itself to valuation advisory in the transatlantic corridor, and this partnership with OTE gives us the local presence we desire in the US.”

AN Valuations assists companies with valuations of businesses, financial instruments, derivatives and intellectual property (such as brand assets and patents) for transaction, fiscal, legal and accounting purposes, particularly in cross-border situations. OTE’s knowledge of fine art, furnishings, gems & jewelry, fine wine, coins, stamps, rugs, books, and photography ensures accurate and innovative valuations for clients while adhering to the standards of Uniform Standards of Professional Practice (USPAP), the American Society of Appraisers (ASA), and the Royal Institute of Chartered Surveyors (RICS).

“We are delighted to be partnering with AN Valuations,” said OTE President Elin Lake-Ewald. “Our partnership with them gives clients worldwide access to comprehensive services that allow them to better manage their tangible and intangible assets. Connoisseurship, especially in regard to fine and decorative art, is a very significant aspect of our business, but we also believe in being innovative in our approach to valuation. We hope that by expanding our services into Europe that we can offer a new level of accuracy and expertise.”

 About O’Toole-Ewald Art Associates, Inc.

Since 1932 OTE has been a leading authority in fine and decorative art valuation, and continues to earn the trust of clients internationally. An experienced team of appraisal specialists value art and antiques for the purposes of damage/loss, insurance, charitable contribution, equitable distribution, collateral loans and estate taxation, and offer clients unique valuation strategies that include art leasing, blockage and fractional discounting of art in estates. OTE is known for its appraisals of major artist’s estates that include Andy Warhol, Roy Lichtenstein and Jean-Michel Basquiat. For more information, visit www.otoole-ewald.com.  

 About AN Valuations

AN Valuations, founded in 2012, is a valuation advisory boutique located in the Netherlands servicing companies throughout Europe and North America. We specialize in business & intellectual property valuations for transaction, fiscal, legal and accounting purposes, particularly in cross-border situations. Through our bespoke approach and global network, we customize teams to the needs of our clients. For more information, visit www.anvaluations.com.  

 Contact:

O’Toole-Ewald Art Associates

Sarah Mohrman, Marketing Coordinator

Tel: (212) 989-5151

sarah.mohrman@otoole-ewald.com

                                  

AN Valuations

Andrew Pike, Managing Director

Tel: +31 70 221 0058

apike@anvaluations.com

 

 

 

A Guide to Framing Part I: A brief history of framing

Annunciation, Lucca, c. 1500, a free standing altarpiece made of poplar 

Annunciation, Lucca, c. 1500, a free standing altarpiece made of poplar 

During a lecture on the various ways Modernist pictures have been framed New Yorker writer Adam Gopnik commented that a bad frame is “a kind of unjust sentence that the picture is forced to carry around on its shoulders forever.”  But frames have not always been about presentation, beginning with framed picture of mummies in Egyptian tombs in 2nd century BC when frames were used to protect pictures from the desert clime. Then they developed as a way to separate scenes between pictures and finally made their way to become a means of enhancing the picture and presenting it. Framing has become a reflection of the aesthetic and cultural values of the time. Today framing is an important component of how a work of art is perceived.

The modern concept of framing as a means of presentation began between the 12th and 13th centuries in Europe around religious paintings. These frames were inspired by religious architecture, whose ornamentation often reflected the exteriors of cathedrals. By the Renaissance frames had become elaborate pieces of art unto themselves, lavishly carved, gilded or painted and sometimes inlaid with gems, made out of a single piece of wood and built into their surroundings.  A style typical in the 15th and 16th centuries was broad, flat, often gilded frames with details of birds, fruit, military trophies, faces, angels and inscriptions of Latin.

As the craftsmanship improved selection of materials would become integral to a frame’s style. Walnut was popular for the rich, as it was extremely expensive. In the 16th and 17th centuries in Europe when portraiture became popular, selecting a frame was almost as indicative of status as the paintings itself. As the rich began to commission portraits frames became more portable, usually made in pieces with molding that made them easier and cheaper to produce. In 17th century France tortoiseshell and brass frames were among the most sought after. Stylistically frames were often heavy and featured a great deal of intricate gilding and carving.

Aesthetic shifts in taste were clearly reflected in the frames of each era. Where the 16th and 17th centuries in Europe frames were extravagant, the earliest American frames made only a couple of hundred years later, and exemplified by the Empire Style, were utilitarian. Eighteenth century the Rococo and Baroque styles were popular, followed by 19th century Edwardian and the Victorian more simplified style.

Modernism represented a divergence from traditional framing and many prolific artists even chose to make their own. In today’s contemporary art driven market many paintings often go unframed. The current preference seems to be for the art to stand alone or even to be framed in a conceptual sense.

In an article in the Guardian on framing, Phil Daoust describes the room devoted to Mark Rothko's abstract Seagram Murals at the Tate: “nothing but a murmur reaches them. The lighting is muted. The rectangles of red, maroon and black lie against grey walls, rather than the gallery's usual white… Rothko's pictures have no frames in the conventional sense. But what is this whole setting if not a frame?” The canvases were intended to be hung in the Four Seasons restaurant in New York, but Rothko decided they didn't belong with the rich grunting at the trough. Rothko was even quoted as saying: “I accepted this assignment with strictly malicious intentions. I hope to ruin the appetite of every son of a bitch who ever eats in that room.”** The paintings were a gift to the Tate in 1969, a gift from Mark Rothko, and displayed in the exact sequence envisioned by the artist. Which begs the question what does framing really mean in the art world today?

 (The final series of Seagram Murals was dispersed and now hangs in three locations: London's Tate Modern, Japan’s Kawamura Memorial Museum and the National Gallery of Art in Washington, D.C.)

Here are some examples of frames from different periods and styles:

The New Whitney, A Lot to Love

New York City is full of excitement over the opening of the Whitney Museum of American Art in its new Chelsea space. Designed by the famed Renzo Piano, the new building is significantly larger than its previous home on the Upper East Side. While this is not the first time the Whitney has moved, a lot has changed. When the previous incarnation was built in 1966 by Marcel Breuer the collection contained only around 2,000 artworks, now there are more than 19,000. With 50,000 sq ft of indoor exhibition space and 13,000 sq ft of outdoor space/terraces and a Danny Meyer restaurant, the Whitney has seriously upgraded. And no wonder, with a project budget of $720 million.  

The Whitney Museum 1937 to the Present

 

During a sneak preview, OTE appraiser Alanna Butera, was definitely impressed. The excitement of the crowd during the preview spoke to the overall enthusiasm about the Whitney’s reopening. The new space couldn’t be more different than its former building on Madison Ave., something our appraiser noticed immediately. Alanna noted that part its charm is the light in the space, many windows and outdoor areas, and if you are there in the evening you will probably be lucky enough to witness a beautiful sunset. 

Overall it seems as if the new building is well received. Paul Goldberger, architectural critic, and contributing editor for Vanity Fair wrote that, “the galleries offer the best balance I’ve ever seen between the primary mission of allowing you to focus on the art and the secondary purpose of engaging with the city.”
  
This is exactly what Renzo Piano intended. To Piano (via the Whitney’s website), the brilliance of the new Whitney is that “here all at once, you have the water, the park, the powerful industrial structures and the exciting mix of people, brought together and focused by this new building and the experience of art.” So I guess we’ll call it a success.

The inaugural exhibition "America Is Hard to See," a title recycled from a 1951 Robert Frost poem, has incurred a bit more dissent. Although our appraiser enjoyed the new show (which will officially open May 1st) it has not been as popular with all critics. A review in the LA Times by Christopher Knight, stuck out in particular. The title “At new Whitney Museum site, a show is shrouded in parochialism” pretty much tells you exactly what Knight thinks.  As reported by Knight, the new show, which features more than 400 artists and almost 650 artworks from 1900 to the present, has a long way to go from being curatorially Manhattan-centric. 
 
However, the buzz surrounding the exhibition is mostly good. A review in the New York Times by Holland Cotter (Review: New Whitney Museum’s First Show, ‘America Is Hard to See') was much more positive. It appears that thanks to the new space the Whitney is able to pull off an exhibition of a more ambitious scale and scope. Something OTE's preview hopping appraiser agrees with. Despite some Manhattan favoritism, she thought the overall show spoke to consistent American art themes and styles throughout the period.             

One thing no one can deny, this is an exciting new chapter for the Whitney Museum of American Art. 

Art Fairs, From the Bottom to the Top

OTE President Dr. Elin Lake-Ewald at TEFAF in Maastrict, Holland

OTE President Dr. Elin Lake-Ewald at TEFAF in Maastrict, Holland

From Maastrict to the PierShow with little time between – that’s the way the art world can spin. My first exposure to the European Fine Art Fair in Maastrict Holland, the most beautiful and civilized art scene I’ve ever attended. There were crowds of course, but nicely mannered and for the most part smartly dressed; the food was good to taste and elegantly presented, and the dealers in the booth eager to explain the history of their wares – for three quarters of the booths presented  Old Master work and the remainder was Modern, not Contemporary.  It was an oddly smoothly experience after all the razzmatazz of the earlier weeks in Manhattan and the hustle of the latest, the newest, the most provocative.

One fascinating fact: at the Weiss Gallery booth I was drawn in by the 16th portrait of Marie de Huelstre by Frans Pourbus the Younger and got into conversation with the dealer from whom I learned that a great source of these early portraits was from the United States! Apparently when the colonists came to America the most affluent of them were accompanied by ancestor portraits (or perhaps they weren’t yet ancestors at the time). Now there is a sort of restitution – those Europe originated paintings are being brought back across the Atlantic by English dealers and finding closer connections within England and the European Union. All I could wonder was who could possibly have wanted to part with any of these portraits, even if not a sentimentalist?

TEFAF

TEFAF

On the other hand there was literally nothing in the way of jewelry and collectibles you couldn’t find at the Pier Show last weekend. Visiting that vast space on the windy water site is like landing in the middle of a thousand attics and jewel boxes spilled higgely piggely out onto the stadium floor. No Old Masterpieces to be found here, but it’s lots of fun, especially if you enjoy bargaining a bit. As noted in the nearby photos, some booths sell well, while others look as packed at the end as they were at the beginning. Most of the dealers only show at these events and hold day jobs, so for a number this is a hobby, not a profession. You may know as much as they do, so not much chance for intimidation. For the new collector, and for those who are shy about asking prices, this may be the perfect start for dabbling your toe in that swirling pond we call the Art Market.

Written by Elin Lake-Ewald

 

Ellsworth and Asia Week

2015’s Asia Week has proved itself to be one of the most lucrative and exciting art events of the year. A barrage of gallery and museum shows, lectures, and auctions litter the art scene in celebration of artwork from multiple nations. High predictions of sales were reported to be around the $250 million dollar range, in large part owing to the excitement over the Robert Hatfield Ellsworth sale at Christies.

Auction catalogs from four of the Ellsworth auctions via Christie's

Auction catalogs from four of the Ellsworth auctions via Christie's

Ellsworth’s prestigious collection contained Indian, Himalayan, Southeast Asian, Chinese, and Japanese art and is one of the largest of estates Asian art ever to come to auction. Considering that all 57 lots sold in Part I, it appears that this estimate may have been correct - including buyer’s premium this part of the collection totaled $61,107,500.

Gilt Bronze figure of a Seated Bear from China created in the Western Han Dynasty (200 BC – 8 AD)  courtesy of Christie's

Gilt Bronze figure of a Seated Bear from China created in the Western Han Dynasty (200 BC – 8 AD)  courtesy of Christie's

Part I – Masterworks Including Indian, Himalayan & Southeast Asian Works of Art, Chinese & Japanese Works of Art, had the highest selling works of the entire collection. The most expensive of which was the set of four 17th Century Huanghulai Horseshoe-back arm chairs that sold for over $9 million (estimate of $800,000 – $1.2 million). Another work which defied its estimate was the Gilt Bronze figure of a Seated Bear from China created in the Western Han Dynasty (200 BC – 8 AD) which was estimated to sell for between $200,000 to $300,000 and sold for $2.8 million. According to our Asian art specialist collectors were enamored by this small totem - its rare pose and subtle characterization.

However, it was not just Chinese art that did well in the sale. The second highest price was for a large gilt bronze sculpture of Avalokiteshvara from 13th Century Nepal which sold for $8.2 million (estimate of $2-3 million). A “rare and important” bronze figure of a seated Yogi, possibly Padampa Sangye sold for $4.8 million, a little more than $3 million over the high estimate.

Part II, which included Chinese furniture, scholar’s objects, and Chinese paintings, still reached high prices and totaled $39,137,625. Part III – Chinese Works of Art: Qing Ceramics, Glass & Jade totaled $8,189,875, Part IV – Chinese Works of Art: Metal, Sculpture & Early Ceramics $15,840,625, Part V – European Decorative Arts, Carpets, Old Master Paintings & Asian Works of Art $6,207,688 and Part VI – The Library $1,176,875. The extraordinary results of these sales pay tribute to Ellsworth’s genius in the field of Asian art - something for which OTE can attest, as over the years he advised our firms president on the Asian market and, in particular, the estate of C.C. Wang.

The Ellsworth sale has amounted $132 million at auction, no doubt in large part because of the incredible provenance of his collection. As the Asian art market is becoming more overheated and frenzied, provenance is becoming increasingly more important in legitimizing extraordinarily high prices for classical Chinese art.

Although they were arguable overshadowed by the Ellsworth sale at Christie’s, Sotheby’s Asia week sales also did well. Their most successful sale appears to be Fine Classical Chinese Paintings & Calligraphy which netted them $41,441,375.

However Asia week is not just about big sales, it is also an amazing time to learn more about the art history and development of countries throughout Asia. A lecture I attended at the Korean Society, ‘Adoption, Assimilation, Transformation,’ with Robert D. Mowry discussed some of the most important developments in Korea’s art history and its relationship with China.

Geumgang Jeondo (금강전도 金剛全圖) by Jeong Seon

Geumgang Jeondo (금강전도 金剛全圖) by Jeong Seon

During the lecture Mr. Mowry spoke about the distinctly Korean style of landscape paintings typified by the painter Jeong Seon 정선 / 鄭敾 (1676–1759), whose pen name Gyeomjae meant humble study. He lived during the Joseon Dynasty and is one of the few known Korean painters to move away from traditional Chinese styles. Another, Shin Yun-bok (1758-early 19th C), paintings of people reveal a humor that is also uniquely Korean. Their paintings present a contextual history for some of Korea’s modern painters such as An Jung-sik (안중식, 1861-1919).

Scenery on Dano day (단오풍정 端午風情) by Shin Yun-bok , in the Gansong Art Museum in Seoul, South Korea

Scenery on Dano day (단오풍정 端午風情) by Shin Yun-bok , in the Gansong Art Museum in Seoul, South Korea

Overall it was a great week to experience some of the world’s most beautiful art and culture.



Art, Art and More Art: Armory Week 2015

Similar to past years 2015 had an intensely packed schedule of art fairs and events. The foremost of which is the Armory show itself which this year hosted 199 galleries from 28 countries around the world. Other major art fairs included the ADAA show, SCOPE, PULSE, Spring Break, Independent, Art on Paper and Volta.  Overall an excitingly exhausting amount of art, some good, some bad.

Le Rêve by Cameron Gray at Carl Hammer Gallery (Chicago, IL) - The Armory Show

Le Rêve by Cameron Gray at Carl Hammer Gallery (Chicago, IL) - The Armory Show

Detail of Le Rêve 

Detail of Le Rêve 

 At this year’s art fairs there was no shortage of whimsical pieces made of unusual materials or using innovative techniques. At the ADAA Art Show,  Armory Show, and Volta we enjoyed works with the trompe-l'œil, illusionary quality that invites the viewer to take a closer look.

This iteration of Le Rêve by Cameron Gray at Carl Hammer Gallery (Chicago, IL) is actually a skillfully composed mosaic of tiny florals. Three steps back, the eye combines them into the lyrical form of Picasso’s famous mistress.

 At Adler & Conkright Fine Art (New York, NY), a quiet, clever work on paper by Liliana Porter features a wire eyeglass frame collaged atop its silkscreened shadow (in the slideshow below).  

A large and intricate geometric pattern by Leonardo Ulian shown by The Flat – Massimo Carasi (Milan) initially appears to be a web of jewels, but further examination reveals it to be a network of electrical components.

Detail of Leonardo Ulian's work

Detail of Leonardo Ulian's work

Leonardo Ulian peice at the Flat - ADAA Show

Leonardo Ulian peice at the Flat - ADAA Show

A cheekily funny work that could easily be passed over, were it placed almost anywhere besides at the center of a contemporary art collection, is Gavin Turk’s American Bag at Ben Brown Fine Arts (London) (in the slideshow below).  Looking like a jumbo-sized black garbage bag it is an interesting statement piece for home or yard. Humble as it is, the label confirms it is painted bronze.

One fair that stuck out of the crowd was Spring Break. Located in a derelict post office Spring Break is a curator-driven art fair started by Ambre Kelly and Andrew Gori in 2009. Unlike its counterparts this fair is focused on installations and experiential art and is definitely a bit more rough around the edges. We loved the Christine Sciulli Propulsion Field light installation. For many it seemed like an oasis away from the other gallery driven art fairs, one that was willing to experiment and even get a little gritty. 

Best in Show: Auction House Previews

Vintage Diamond Ring tried on at a Christie's jewelry preview

Vintage Diamond Ring tried on at a Christie's jewelry preview

Auction previews happen all the time in New York City, but who goes? Well intrepid collectors, obviously, looking for their next big purchase and art world insiders. At any time the top auction houses: Sotheby’s, Christie’s, Phillip’s and Bonham’s, have a rotation of artwork, furniture or jewelry (just to name a few) on view. What is not widely known is that these previews are open free to the public. What is so exciting about this is that much of what is on view will go from private collections back into private collections. For some of these artworks and objects this is the only time they will be viewed by the public.

Not to mention, if you are a jewelry lover like me and want to try on $100,000+ rings, necklaces and earrings this is your chance! All one has to do is walk in and ask what floor the preview is and then you are good to go. But this is not the only reason you should go to a preview. Much like a museum or gallery these exhibitions are often curated and will offer a different perspective on the work at hand. An upcoming auction at Sotheby’s, The New York Sale, looks like a good prospect. According to Sotheby’s this is a curated auction of “items from, inspired by and celebrating New York City.”  This inaugural New York Sale includes Print, Photographs, Paintings, Sculpture, Silver, Books, Jewelry and iconic New York Memorabilia.

Auctions are often themed and scheduled to coincide with other events in New York. Right now Bonhams has an exhibition called Dogs in Show and Field for an auction featuring only canine focused fine art, a perfect match for the annual Westminster Kennel Club Dog Show, also in New York. The auction is happening tomorrow February 18th in New York beginning at 10am, so don’t worry dog lovers you still have time to hit both events.

Seeing auction previews and the auctions themselves is a great way to get a feel for what’s in the market at the moment, the prices and conditions of what is available. Plus, it can be a great way to spend an afternoon.

Here are some interesting auction previews and exhibitions that are coming up:

·         Rockefeller Center and the Rise of Modernism in the Metropolis, Christie’s Private Selling Exhibition, New York

    • On view: 17 January – 25 February 2015

·         Dogs in Show and Field, Bonham’s New York

    • On view: Today, February 17th 10AM-6PM
    • Auction: February 18th 10AM

·         Under the Influence, Phillips New York

    • 23 February – 3 March, 10am-6pm (Sundays 12pm-6pm)
    • Auction: March 4th 11am

·         The New York Sale, Sotheby’s New York

    • On view: 26 March - 31 March, 10AM - 01PM
    • Auction: April 1st, 7PM 

 

 

A Night at Blumka Gallery

The cocktail reception at Blumka Gallery, hosted by Anthony Blumka and Florian Eitle-Böhler on January 27. The night most of Manhattan closed down for the snow blizzard that never happened. Fortunately, that did not keep the die-hard art connoisseurs of Medieval, Renaissance, and Baroque fine and decorative arts at home.

Open only by appointment, even with a room filled with the art patrons, museum donors, curators, educators, and in this case an appraiser, the gallery space still had a calm and serene museum cathedral-like environment. Just take a look inside one of their vitrines, which could have been as well inside the Metropolitan Museum of Art or the British Museum.

The Blumka gallery is one of the most important galleries that cater to private clients who collect these centuries old master works. Seen were curators and educators from the Metropolitan Museum of Art and the Frick Collection. The appraiser’s former professors were there who also work at these museums. These art professionals appreciate the well edited works of art that Blumka provides to its patrons, who often donate these works to art museums and institutions.

It was a very enriching and entertaining night even if most of the city was hunkered down at home. At least, we learned something about what the highest aspirations of Western cultural heritage can offer. At Blumka Gallery, you will be rewarded many times over.

Exploring the Outsider Art Fair

Gaela Fernandez, Creative Growth Gallery

Gaela Fernandez, Creative Growth Gallery

Whoever missed the Outsider Art Show this year missed a lot of fun. Lots of interest and enthusiasm shown on the faces of fairgoers. Not used to seeing so much courtesy and information provided by dealers speaking with people I was pretty sure were interested but not able to buy the often expensive art on the walls. I saw one dealer giving a lot of time to students who were taking notes while a couple of well-heeled potential clients cooled their heels in her booth.  Maybe it wasn’t good business, but I liked what I saw.

 There were two notable things about the exhibition. One was the very high quality of the offerings and the other was steadily rising prices. Outsider art has moved into the big time, although the highest price I found was the $260,000 for a Martin Ramirez graphite, tempera and crayon drawing on paper, 48 x 36 inches.  AT Creative Growth Gallery, Oakland, California, there was a Judith Scott ball of twine priced at $50,000. (Currently Scott has a show at the Brooklyn Museum curated by Catherine Morris, an OTE alum). The photo, seen left, is of the woolly ball and Gaela Fernandez, the gallery’s Paris representative. Almost as much as the $60,000 asked for a Henry Darger mixed media work on paper, 8.5 x 11.75 inches from 1950, depicting a fierce looking military man.

 At Marion Harris the strange photos of dolls who are posed as children, and who look like children, by Morton Bartlett, are priced in the $22,000 range. Can I say I enjoy them but at the same time they creep me out? Well, I just did.

 What did I think was the most exceptional work in the show? Since I think it may be the closest to fine art, albeit by an untrained artist (although trained as a draftsman), the extraordinary living buildings by A.G. Rizzoli struck me as most memorable. “A Building with Mr.and Mrs. Harold Healy Symbolically Sketched” from 1937, revealed how one artist’s thinking process worked. He apparently loved the Healys because he made their elegant lofty twin towers very beautiful, while their unliked cousin was a square concrete box, and a rambunctious 3-year-old became his own structure. The artist predicted the rambunctious boy would become mayor when he grew up. While  the kid never made it he did actually run for the office as an adult. Bonnie Grossman, the director of The Ames Gallery in Berkeley, California, (see below) stands in front of one of Rizzoli’s great buildings. While this one is priced at $92,000, there are a number of smaller drawings that are in the $2,000 range.

Bonnie Grossman, The Ames Gallery

Bonnie Grossman, The Ames Gallery

 I’ve always like the work of the mysterious Gayleen Aiken at Luise Ross Gallery, her depiction of her imaginery family, all carefully named and described in detail, have always fascinated me, and their prices, $8,000 and $12,000, seem within reason for a true outsider artist.

 All in all, a show that should not have been missed by anyone who enjoys the art of the unknown by the untrained.


Exhibitions in Winter

Susan Teller, Director of Susan Teller Gallery

Susan Teller, Director of Susan Teller Gallery

We attend some exhibitions because we expect to learn something new about art, antiques or various noteworthy collectibles, and some we go to because we hope to be surprised.

 And that’s exactly what happened on Sunday at the newly named “Metro Curates,” a channeling of the Folk Art Show of yesteryear. The slightly off kilter photograph, the eccentric cabinet object, and the amazing folk art object came together for a few days in the Metropolitan Pavilion. New off the drawing board contemporary art seemed somewhat out of place, perhaps because it wasn’t weird enough, but there were plenty of old folk friends who filled that bill.  Also somewhat startling was a wall of early works by William Baziotes at Susan Teller Gallery. Hadn’t seen those before and thought they seemed as far from Baziote’s mature style as does Roy Lichtenstein’s early work differ from his exploding Pop Art images.

Since the Estate of William Baziotes does not permit photographs of his  work on display, we posed Ms. Teller in front of partial images of Hugh Mesnibov and Ann Ryan, whose estates she also handles.

Hours later, at the annual Winter Antiques Show at the 67th Street Armory, the splendor of the best in 18th/19th century furnishings, art and ceramics was revealed. Although the antiques market in general has declined, the Best of the Best never does, whether in fine or decorative art, and there were outstanding artifacts in this fair’s edition. I was particularly impressed by the gorgeous chandeliers and lighting fixtures, and some lovely paintings that fill the eye in the way that empty idea canvases do not. In front of a John Singer Sargent and a Childe Hassam painting are Fran Zeman and Ellen Epstein, both appraisers with ASA and RICS designations, and Alan Adelson, Assistant Director of the gallery founded by his father, Warren Adelson, and notable for work by Sargent and Mary Cassatt. Alan is among a new generation of art dealers to join the ranks of the many sons and daughters of established gallerists.

Fran Zeman , Ellen Epstein and Alan Adelson

Fran Zeman , Ellen Epstein and Alan Adelson

 The Winter Antiques Show runs through much of this week, but if you were lucky enough to get there over the weekend you’ve missed the slough through the snow that lays ahead. Good luck.

 By Elin Lake-Ewald

Estates & Attorneys: OTE at Heckerling 2015

OTE’s first year at the Heckerling Institute on Estate Planning was full of talk of Art Leasing and Fractional Discounting. That we offered these services seemed to surprise attendees who tended to be more familiar with business valuation.

It was probably the first time that any of the attorneys or financial planners discovered that an art appraisal firm was capable of complex valuations outside of the usual insurance, resale or donation practice.

One conference highlight for OTE representatives was the chance to speak with some of the attorneys involved in the recent Elkins case. When the Fifth Circuit awarded the Elkins family a $14.4 million estate tax refund and allowed for the use of fractional interest discounts for artworks, it was a great thing for collectors and OTE.  This was exciting for us as, more than twenty years ago, OTE was the first firm to successfully win a substantial discount for our client in an estate that contained works of art.

This was also the first time the OTE unveiled our new brand image and we were proud to have a clean new aesthetic to bring with us to Heckerling.

We were extremely happy with the positive response we received from the people we met at the conference and we are excited about participating again in 2016. See you there!

What to Look for When Collecting Photography (Part II)

On the most basic level, starting a collection in photography requires thought about the type of photography you actually like. Possible categories could include black and white, color, landscapes, nudes, living, vintage, documentary etc. Movements in photography are also good ways to define what you are looking for (Modernism, Pictorialism, War Photography etc). This seems simple but knowing how to define what you like is the first step to making successful purchasing decisions. Each of these different categories or movements will have specific knowledge associated with each.

Deepening your knowledge in these areas will help one develop an “eye.” Having an eye for art can come naturally for some but usually it requires years to perfect and is often difficult to obtain and maintain, even for appraisers.  For this reason seeing accurate documentation on anything you purchase, and keeping accurate documentation yourself - how you obtained it and when, should be a priority. Building a written inventory will ultimately save you a lot of headaches later on should you want to sell, or the work is stolen or damaged.

As art experts for the Public Administrator of New York, who handles estates without a will, we experienced just such an issue. Two senior appraisers from OTE were going through piles of mixed objects removed from the apartments, which included jumbles of furniture, framed artworks, collectibles, libraries and miscellaneous materials. Spread across several work tables, was a huge mass of what appeared to be old Kodak film boxes.

Looking through the meticulously maintained photographs, an anomaly considering the rest of the disheveled apartment, they had inadvertently stumbled upon the work of a real artist. Without OTE the collection of photographs by Harry Shunk and Janos Kender, great documentarians of the Paris/New York art scene in the second half of the 20th century, might never have been discovered.  The director of a major French museum and those of American museums and film societies arrived to review and the Public Administrator was persuaded to set up an auction for the photographs to be sold as one gigantic lot rather than dispersing them overtime. 

Excitingly The Lichtenstein Foundation, thanks to Dorothy Lichtenstein and Jack Cowart, acquired the massive collection at auction for $2 million.   After this the foundation began the collating the collection and set up a system to allocate segments of the collection to many museums worldwide.  The photographs are now considered invaluable in recording the history of major artists of the second half of the 20th century. A triumphant conclusion to what had almost become a treasure lost forever.

 

Feel like a bite? OTE's edible appraisals

A Mayan chief forbids a person to touch a jar of chocolate, (more than a thousand years old, via wikimedia)

A Mayan chief forbids a person to touch a jar of chocolate, (more than a thousand years old, via wikimedia)

In honor of Thanksgiving, a holiday with a distinctly foodie focus, we thought it might be fun to have a blog post dedicated to our experiences with food art.

Unsurprisingly throughout art history food has been the subject of many a painting/ sculpture/print/wood carving, and, let’s be honest every other kind of medium. Recent times have shown that it is more than just a subject. Contemporary artists have transcended merely depicting food to using it. Take Rirkrit Tiravanija’s conceptual installation/performance piece untitled (Free). Originally shown at 303 Gallery in 1992, it was recreated at MoMA as part of the Contemporary Galleries: 1980–Now installation in 2012. The exhibition converted a gallery into a kitchen where the artist served rice and Thai curry, using food as the medium with which to create art and a unique visitor experience. This piece is not alone.  In 1958 during the exhibition The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, The Void Yves Klein served blue- cocktails to gallery visitors asking them to literally consume the artwork. Vik Muniz, a Brazilian artist is well known for his chocolate syrup drawings, one of which was of the Leonardo's ''Last Supper.” 

Chocolate

Chocolate

However, OTE has found that there are some unique challenges for owners of art using material as short-lived as food.

One of OTE’s many memorable appraisals, this case featured an artwork made of white, milk and dark chocolate and ink jet print laid on canvas. The damage was the result of a gust of wind that had caused fragile portions of chocolate to separate completely from the canvas. Sadly, the lost pieces of chocolate were not recovered. This was not the only damage the appraisers discovered. In one corner there was evidence of a mouse having nibbled on the yummy artwork. In this case the artist had intended for the work to “evolve,” which actually allowed for the loss of some of the chocolate and tampering from rodents and other animals. Less cute was the appearance of mold on other parts of the piece. The extent of the damage meant that it would need restoration, and ultimately sustain a substantial loss in value. Restoration required consolidating and re-adhering lifting/peeling areas of the material; unfortunately both costly and time consuming.

Another dilemma au chocolate involved a painting where the artist had stuck M&M’s to canvas, covering them in resin, and using them to dye the surrounding surface. Some of the M&M’s had become damaged (as seen in the picture below) and we had to determine whether this was the result of some sort of accidental damage or whether it was the inherent vice of the materials (i.e. the result of the materials themselves).  Research included some interesting conversations with a confused and curious customer service representative from Mars (the company that owns M&M). From her reaction we gathered that Mars did not often get questions like: what is an optimum temperature for an M&M? How long does the dye on an M&M last? How long would it take an exposed M&M to deteriorate, and what would this be if say the M&M were covered in, hypothetically, something like resin?

Detail of the damaged work

Detail of the damaged work

What we found out was that once you open the bag, Mars pretty much doesn't care what happens to M&M’s and really doesn't like to speculate. What could be extrapolated was that in the bag M&M’s should be stored at around 70 degrees in a cool dry place and that when exposed to heat M&M’s were likely to deteriorate more quickly. Probably, the Mars rep grudgingly admitted, it wasn't a stretch to say that M&M’s were indeed likely to deteriorate naturally over time, even when covered in resin. Following this data collection process, and our examination of the piece it was determined that it was the inherent vice of the M&M’s that was responsible for the loss. Mice, it seems, were not as industrious as our previous case had led us to believe.

If you choose to own something as wonderfully transient as art made with food, expectations of the work should follow accordingly. You may have to face the fact that something wants to eat it.