Art Galleries In New York – Introduction
First, what is an ‘art gallery’.
* GALLERIES display sell and auction art ‘SELECTED’ by gallery owners, curators, critics and or a collective, that may manage the gallery. Firms like “Christie’s” and “Southerby’s” own many showrooms, nationally and internationally.
Some owners are also collectors, patrons and promoters of talent, they themselves have discovered.
* In art galleries the public may view art as one might in a museum. If you can’t afford to ‘buy’ you will ‘still’ be welcome and may think of a gallery as a private museum, where you may see art work of important established artists, plus the work of up and coming artists. Advise – if you can’t afford to buy it, don’t ask for a ‘price’, as that’s annoying, impolite and bad form.
It’s the aim of gallery owners to shape both their space and team of artists to present ‘knock out’ ideas, through excellent construction, lighting, wiring, public relations, gallery parties and special events. It is said that the key to success for a gallery, is blockbuster ‘COLLABORATION’.
Both artists and gallery owners must get used to the idea that short term ‘compensation’ is often unfair. Long term, labors of love are often ‘suddenly’ and richly rewarded.
*Within the New York gallery scene there are hundreds of establishments that display the usual, the unusual, established talent and many more, throughout the city who recently opened as neighborhoods all over gentrify and evolve. The “Lower East Side”, “The West Side”, “Harlem”, the “Meat Packing District” and throughout the five boroughs of New York City. For instance, “Williamsburg Brooklyn” now looks like “Greenwich Village” fifty years ago. The pattern has been… artists move in, galleries, clubs and restaurants follow, then ‘gentrification’, prices skyrocket and New York’s poor artists forcibly move to affordable locals. A SHAME!
There are five boroughs in New York City, throughout each of them galleries are opening, and literally multiplying. During the summer, branches of New York galleries open on Long Island and in the Catskills. Many galleries have also opened nearby in Westchester, New Jersey, Hoboken and Connecticut.
Leonardo DaVinci (1452-1519)
Leonardo DaVinci’s “Salvator Mundi”
More than 500 years from when Leonardo created his human image of Christ – to our age defined by social media and the desire to snap and share.
As fascinating as any best-selling thriller, the rediscovery of Leonardo DaVincci’s “Salvator Mundi”, one of fewer than 20 surviving paintings accepted as from the artist’s own hand, has caused a worldwide media sensation.
Sunday, 29 October, 1pm, Christies, in New York.
Leonardo DaVinci (1452-1519)
oil on panel
25 7/8 x 18 in. (65.7 x 45.7 cm.)
Painted circa 1500.
The seller, Russian billionaire Dmitry E. Rybolovlev sold this painting through “Christies” for his his family trust.
Christie’s auction house sold “Salvator Mundi” (Savior Of The World), a 600-year-old painting reputedly by Leonardo da Vinci for $450,000.00 (almost half a billion dollars).
Many ask why half a billion dollars?
In an article by Rabbi Benjamin Blech he asks…
“can a work of art be worth close to half a billion dollars?”
A “Wall Street Journal” report claims Saudi Crown Prince is real buyer of $450.3M Leonardo.
About 7December2017 the New York Times identified the buyer of “Salvator Mundi” as an obscure “Saudi” prince, the “Wall Street Journal” claims he was merely serving as a proxy for the country’s crown prince.
Bader bin Abdullah bin Mohammed bin Farhan al-Saud, as the buyer of the $450.3 million Leonardo da Vinci painting “Salvator Mundi” at Christie’s in November 2017. Today, a report by Shane Harris, Kelly Crow, Summer Said in the Wall Street Journal suggests that prince Bader merely served as a proxy, and that the real buyer of the most expensive artwork ever sold is none other than his good friend, the heir apparent to the Saudi throne, Prince Mohammed bin Salman (MBS).
The WSJ reporters cite unnamed US intelligence officials and a member of the Saudi art community, the latter of whom asserts: “It’s a fact that this deal was done via a proxy. … [Prince Bader] is a proxy for MBS.” US intelligence reports, it seems, corroborated this version of events, noting that Prince Bader has previously collaborated with MBS on various deals and transactions.
The $450.3-million acquisition comes at a politically delicate moment for MBS, as he oversees a vast crackdown on government corruption thatmany perceive as an attempt to sideline political rivals. “The image of the crown prince spending that much money to buy a painting when he’s supposed to be leading an anticorruption drive is staggering,” an expert on Saudi Arabia and former CIA officer told the WSJ.
If true, the blockbuster “Salvator Mundi” acquisition signals MBS’s entry into the upper echelons of the art market, though he has no track record of collecting art. As the WSJ reporters point out, if MBS was indeed the buyer, his decision to loan it to the newly opened Louvre Abu Dhabi makes sense within the context of Saudi Arabia’s rapprochement with the United Arab Emirates (Abu Dhabi is the capital of the UAE). It also reflects a new front in the power struggle for regional influence between Saudi Arabia and Qatar, the latter of which was for years the top art market power in Western Asia. Indeed, the sister of Qatar’s ruling Emir, Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani, was responsible for what was until last month the most expensive art sale ever, the private acquisition of Paul Gauguin’s “When Will You Marry?” for $300 million in 2015.
The WSJ report even includes the juicy tidbit that Sotheby’s offered the Qatari royal the opportunity to buy “Salvator Mundi” in 2011 for roughly $80 million, but the family declined, according to a former adviser. Instead it was bought by the Russian billionaire Dmitry E. Rybolovlev, who was the seller at last month’s blockbuster Christie’s auction.
Update, 12/8/2017: The Louvre Abu Dhabi announced today that “Salvator Mundi” was acquired by the Department of Culture and Tourism – Abu Dhabi for the museum’s collection.
NO NEW YORK SALES TAX. Because this sale was for export.
A Christies auction in New York on 29October2017 established this 26-inch tall portrait to be the ‘most expensive’ artwork in history, beating the previous record for a painting sold at auction; Pablo Picasso’s Les Femmes d’Alger (Women of Algiers), which went for $179.4 million in 2015, while Paul Gauguin’s Nafea Faa Ipoipo? (When Will You Marry?) commanded $300 million in a private sale in 2015, also.
So, why would anyone pay almost half a billion dollars for it? Indubitably, its monitory value has ‘little’ relationship to its aesthetic worth. In 2011 Pierre Lagrange, a Belgian hedge fund manager discovered that a $17 million ‘alleged’ Jackson Pollock painting he bought from a reputable gallery contained a paint pigment that was not commercially sold during Pollock’s lifetime. Soon numerous other buyers of alleged Mark Rothko, Jackson Pollock and Willem de Kooning paintings realized they had been fooled and bought forgeries. But, no need to worry, because all established and legitimate art galleries ‘absolutely’ guarantee authenticity.
The real artist was Pei-Shen Qian, a 75-year-old Chinese immigrant painted these forgeries in his Queens garage, for a few thousand dollars each. The revelation rendered these great paintings, instantly almost worthless, yet the paintings’ appearance did not change. They were exhibited previously to great acclaim. The only thing responsible for the drastic drop in their ‘price’ was the revelation of the name of the actual artist.
For years the collector, Pierre Lagrange was a very happy man. He owned a painting which he said constantly awed him by its beauty and inspired him by its craftsmanship. But when he found out he didn’t own a real Jackson Pollock, he became angry and miserable.
For many of us, it is equally important to know and or to believe we know, whom the ‘real’ creator is.
When Andy Warhol heard that the “Mona Lisa” was coming to New York, in 1963 said… “Why don’t they have someone copy it and send the copy, no one will know the difference.”
Do you actually ‘like’ the work, regardless of its pedigree ?
Qian fooled everyone, from putative expert to patron. “It’s like a joke on the world of art,” said John Howard, who runs Irving Place Capital, a $2.7 billion private equity firm, and who paid $4 million for a fake de Kooning.
Howard is right. There is a joke here, but much of the punch line consists of our willingness to prize something not for its intrinsic value, but for the frenzied hype surrounding it, built on the shaky grounds of what the arbiters of taste have sanctioned as worthy of our commercial and aesthetic worship.
And while we’re at it, who gets to be the arbiter, and why do we listen to them?
It can all seem so contingent, so arbitrary. If a plague wiped out mankind tomorrow and we started from scratch, would humankind 2.0 deem a $20 million Motherwell more valuable than a $200 rendering of dogs playing pool? Jeepers: genuine paintings that look like they were painted by legendary artists are on the internet, labeled correctly and being sold honestly, now!
If Motherwell had never been celebrated by the art world, and instead relegated to showing his work at weekend beach art fairs, would $200.00 be a fair price for his paintings?
Christie’s, founded in 1766 by James Christie, is the world’s leading art business, with sales in 2015 that totalled £4.8 billion / $7.4 billion.
Education & Graduate Programs.
Christie’s collaborates with colleges in London and New York, accredited by the University of Glasgow in the UK and the New York State Board of Regents in the US. It offers master’s degrees, Graduate Diplomas, Art Business Certificates and an Undergraduate Degree. Courses include: “Arts of China”; “Arts of Europe”; “Art, Style and Design; Modern and Contemporary Art” (all in London) and “History of Art” and the “Art Market” (in New York). Popular also, evening programmes in “The Art Business” and part-time certificates in continuing education, are also offered in London and New York.
Fine arts, Pop Art, Modern Arts
International Real Estate
Chinese Ceramics & Modern Paintings
Clocks, Marine Chronometers & Barometers
From 2008 until 2013, Christie’s charged 25 percent for the first $50,000; 20 percent on the amount between $50,001 and $1 million, and 12 percent on the rest. From 2013, it charged 25 percent for the first $75,000; 20 percent on the next $75,001 to $1.5 million and 12 percent on the rest.
English Furniture and Works of Art:
European Furniture and Works of Art.
Victorian, Pre-Raphaelite & British Impressionist Art
Latin American Art
Latin American Art
Middle Eastern Art
Auction Record Result, Pablo Picasso, Nude, “Green Leaves and Bust”, sold for a record $106,482,500.00, in New York City on 4 May 2010.
“Christy” Company Values:
“Our company values are based around passionate expertise, exceptional customer service, business judgement, integrity, teamwork and innovation. These embody the key behaviours that are required from our employees. As a global organisation, we have a diverse work force that is constantly developing and growing. Yet, no matter where we work at Christie’s, our values remain the same.
I can attest that working at Christie’s is an unforgettable experience. The quality of our people and the experience of working with them and being in touch with exquisite objects on a daily basis is unique and something to be treasured. Come join us.”
Chief Executive Officer
“Christie’s Images” is a picture library that chronicles “Christie’s” auction house sales and includes an archive of several million fine and decorative art images… representing items sold in its sale rooms around the world. With offices in New York and London, images are available for reproduction.
Sotheby’s, uniting ‘collectors’ with world-class works of art, since 1744.
“Sotheby’s” is a British multinational corporation, headquartered in New York City. One of the world’s largest brokers of fine and decorative art, jewelry, real estate, and collectibles and “Sotheby’s” also provides professional education / training for those in the art trade. Sotheby’s showrooms may be found in Amsterdam, Dubai, Geneva, Hong Kong, King Street and South Kensington London, Milan, Paris, Portugal, Shangha, Wiki and Zurich.
SOTHEBY’S INVESTOR RELATIONS
Sotheby’s is a public company registered with the New York Stock Exchange, listed under the ticker symbol BID. The Investor Relations department maintains company financial information and relevant investment details about the organisation for dissemination to the investors.
For additional Investor Relations information, please click here.
Contact Sotheby’s Press Office +1 212 606 7176.
OTHER “SOTHEBY’S” PROPERTIES
“Sotheby’s Diamonds” presents rare and important diamonds, both loose and in dramatic settings, resulting in a true marriage of art and jewellery. The one-of-a-kind jewels are meticulously hand-crafted by European-trained artisans at one of the few remaining world-class jewellery ateliers. The Collection is available for purchase at the Sotheby’s Diamonds salons in New York and Hong Kong as well as through exclusive exhibitions and auctions worldwide.
Of note: in 2014 “Sotheby’s” conducted a historic auction in Geneva, Switzerland for the “Pink Star”, a 59.6 caret flawless pink diamond, which gaveled for $83,200,000.00. Unfortunately, the high bidder, unable to pay for it defaulted and the “Pink Star” is presently in Sotheby inventory.
Patrick McClymont, Sotheby’s CFO, said on the call with analysts. “In the meantime, we are quite comfortable with our valuation, and see real value, in owning the “Pink Star” at this price.”
Speaking In English, Isaac Wolf, explains why he acted for a syndicate, to purchased the world’s largest pink diamond, for $83 million dollars. A stupendous ‘BARGAIN’ !
Sotheby’s Institute Of Art
Study Art and Its Markets In London, New York & Los Angeles and China.
Types: Master’s Degrees, Online Courses, Semester Courses, Summer Courses, Executive Education, Short Courses.
Degree programs: Art Business, Contemporary Art, Asian Art, Fine and Decorative Art.
Sotheby’s – HANDBOOKS, FOR ART BUSINESS PROFESSIONALS.
Series Editors: Derrick Chong and Iain Robertson
The art market is now a multi-billion-dollar industry, employing hundreds of thousands of professionals worldwide. Working within the art market brings a specific set of challenges, which are distinct from those of the conventional business world. Aimed at art world professionals and those working within the many sectors of the art business, as well as those preparing for careers in the commercial art world, these handbooks in ‘International Art Business’ provide a series of authoritative reference guides to the structure and working of the international art market, incorporating core topics such as Art Law and Ethics as well as guides to different market sectors.
These handbooks are written by experts in their field, many of whom teach at, or are graduates of, the MA in Art Business at Sotheby’s Institute of Art at its London and New York campuses. Sotheby’s Institute of Art has pioneered the field of art business as both a professional and an academic discipline. Its MA in Art Business was established in 1999.
Handbooks, in the international art business.
Series Editors: Derrick Chong and Iain Robertson
The art market is now a multi-billion-dollar industry employing hundreds of thousands of professionals worldwide. Working within
the art market brings a specific set of challenges, which are distinct
from those of the conventional business world. Aimed at art world professionals and those working within the many sectors of art business, as well as those preparing for careers in the commercial art world, the Handbooks in International Art Business provide a series of authoritative reference guides to the structure and working of the international art market, incorporating core topics such as Art Law and Ethics as well as guides to different market sectors.
The Handbooks are written by experts in their field, many of whom teach at, or are graduates of, the MA in Art Business at Sotheby’s Institute
of Art at its London and New York campuses. Sotheby’s Institute of Art has pioneered the field of art business as both a professional and an academic discipline. Its MA in Art Business was established in 1999.
ART 101: IMPERATIVE to most of us, getting started with a ‘thin’ budget.
While building this site (www.art-NY.gallery), I came upon a website that features ‘ORIGINAL ART ONLY’ with a refreshing outlook on collecting, especially for those who want to collect with a ‘thin wallet’.
“Zatista”, a gallery was started by internet industry veterans from “eBay” who believe there is a better way to discover and buy original art. “Zatista” comprises a world-class team of entrepreneurs and art enthusiasts, dedicated to making the art-buying experience enjoyable, easy, and affordable.
I found this site http://www.zatista.com/. It represents skilled artists from all over the world, sells online and their works are priced 30% to 40% less, and they give all purchasers a ‘no questions asked money back guarnatee’.
WHAT IS “GOOD ART”?
When viewing or buying art, one of the greatest roadblocks to enjoyment is getting caught up in the “good art” vs. “bad art” myth. Despite generations of discussion among art enthusiasts, critics, collectors, connoisseurs and beginners alike, rarely can any consensus be reached long run about what is “good art” and what is “bad art”. Art is bottom line subjective and open for interpretation by all who view it. The truth is that when it comes to art, good merely means “I like it” and bad means “I don’t like it”.
Some people respond best to a certain subject matter, color palette, or style. Perhaps you favor landscapes because you have a passion for the outdoors. Or perhaps you love contemporary art that uses vibrant color because it makes you feel alive and energized. The beauty of art is that no two people will respond to it the same way. We all bring to the table a different set of likes, dislikes, experiences, memories, and expectations that shape the way we view a piece of art.
Bottom line, there are no rules for buying art. There is no right kind of art, or wrong kind of art. There is no good art or bad art. Don’t focus on the potential value ten years from now, or whether or not the piece fits the current trend. What you’re really investing in is your style, your point of you, and ultimately, your pleasure. If you love it – buy it!
1(877)-282-7566 Ext 2
Perhaps, the third largest art gallery and auction house in New York is “PHILLIPS”, which specializes in CONTEMPORARY ART, and has a presence in London, Istanbul, Denver, Moscow, Berlin and Cologne.
“Phillips” was founded in London in 1796 by Harry Phillips, formerly senior clerk to James Christie. During his first year of business, Phillips conducted twelve successful auctions and soon the business was holding sales for some of the most distinguished collectors of the day including Marie Antoinette, Beau Brummel and Napoleon Bonaparte. Phillips flagship gallery is at 450 Park Avenue in New York City. 10022 Telephone: 1(212)940-1300
Phillips is the destination for international collectors to buy and sell the world’s most important ‘contemporary’ works of art. By focusing specifically on the defining aesthetic movements of the last century, “Phillips” set itself apart, as the most dynamic and forward-thinking auction house. Phillips considered approach and specialized knowledge lead clients to seek our guidance on contemporary collecting trends. This finely-honed expertise is evident in all aspects of our business, from the caliber and quality of our sale catalogues, events and exhibitions, to a superior level of individualized client service.
Headquartered in New York and London, with offices throughout the world, Phillips conducts sales in a select number of categories: Contemporary Art, Photographs, Editions, Design, Watches and Jewelry. Additionally, our core art business includes special exhibitions, private sales, advising private estates and corporate clients, museum and arts sponsorships, and consulting.
Sunday, Nov. 8, 2016
The evening sale at Phillips will include a few 20th-century works dating to the 1920s and ’30s, but the house’s focus is on contemporary art, including several works from the last five years. The highest estimate is for a 1977 de Kooning canvas, “Untitled XXVIII,” is $10 million to $15 million.
After Jackson Pollock, de Kooning was the most prominent and celebrated of the Abstract Expressionist painters.
De Kooning’s well-known Woman series, begun in 1950 the time after meeting his future wife and culminating in Woman VI, owes much to Picasso, not least in the aggressive, penetrative breaking apart of the figure, and the spaces around it. Picasso’s late works show signs that he, in turn, saw images of works by Pollock and de Kooning. De Kooning led the 1950s’ art world to a new level known as the American Abstract Expressionism. “From 1940 to the present, Woman has manifested herself in de Kooning’s paintings and drawings as at once the focus of desire, frustration, inner conflict, pleasure, … and as posing problems of conception and handling as demanding as those of an engineer.” The female figure is an important symbol for de Kooning’s art career and his own life. This painting is considered as a significant work of art for the museum through its historical context about the post World War II history and American feminist movement. Additionally, the medium of this painting makes it different from others of de Kooning’s time.
Phillips was founded in London in 1796 by Harry Phillips, formerly senior clerk to James Christie. During his first year of business, Phillips conducted twelve successful auctions and soon the business was holding sales for some of the most distinguished collectors of the day including Marie Antoinette, Beau Brummel and Napoleon Bonaparte.
To win business, Phillips combined business acumen with a flair for showmanship, introducing new ways to promote his sales such as elaborate evening receptions before auctions – an essential part of the auction business today. Phillips quickly gained the confidence of British society and remains the only auction house ever to have held a sale inside Buckingham Palace.
When he died in 1840, Harry Phillips’s son, William Augustus, inherited a strong and successful legacy and business. In 1879, William changed the firm’s name to Messrs Phillips & Son. In 1882, William brought his son-in-law, Frederick Neale into the business, the company was renamed again as Phillips, Son & Neale. This name remained through the 1970s, when the company became Phillips. The company had a reputation for strong regional salerooms dotted throughout The British Isles, selling everything from furniture to art and estates.
In 1999, the company was bought by Bernard Arnault, the chairman of the French luxury-goods brand, Louis Vuitton Moet Hennessey (LVMH). Shortly after the transaction, Mr. Arnault merged with the esteemed private art dealers, Simon de Pury and Daniela Luxembourg who were operating the Impressionist and Modern art gallery, de Pury & Luxembourg in Zurich. The new team at Phillips, de Pury & Luxembourg with headquarters on East 57th street held sales in Impressionist, American and Modern works of art in addition to watches and jewelry and design. – ∞ –
For more than 144 years history, Wally Findlay Galleries has proudly represented many superb artists embodying various schools of art throughout time. William Wadsworth Findlay established the first gallery location in Kansas City, MO, in 1870. The presidency of the gallery was passed on to William’s eldest son, Walstein C. Findlay Sr., and later to Walstein C. Findlay Jr. (Wally). Under Wally’s presidency, the gallery thrived, becoming a well-known cultural destination and opening new locations in Chicago (1931), Palm Beach (1961), New York City (1964), Paris, and Beverly Hills (1971). Today, the tradition of commitment to excellence in Fine Art is continued by the company’s chairman and CEO, James R. Borynack, who acquired the company in late 1998.
Over the years, Wally Findlay Galleries has showcased many different genres, from the Impressionists in the 1870s, to Fauvism in the early-20th century. Today, the gallery represents a group of distinguished Contemporary artists, both European and American. By practicing the highest standards in our relationship with both the artist and the collector, the gallery upholds its mission to promote and provide quality works by great artistic talents
In October 2008, Mercury Group, the luxury retail company, acquired majority share of Phillips de Pury & Company to further enable the company’s expansion, including the opening of its flagship galleries at 450 Park Avenue, New York City 10022.
Mercury Group completed its acquisition of Simon de Pury’s remaining interest in the firm in January 2013 and the company reverted back to its original name of Phillips. In February 2013, Phillips moved its Chelsea operations to 450 Park Avenue and expanded its premier New York headquarters with significant additional gallery and office space. October 2014 heralded the opening of a new state-of-the-art London headquarters at 30 Berkeley Square.
Phillips will continue in its goal of providing the best auction experience for the sale of the best art of 20th and 21st centuries.
Wally Findlay Galleries (David Findlay) Gallery on The Upper East Side.
A merger: Wally “Findlay Galleries” is pleased to announce the acquisition of “DAVID FINDLAY JR GALLERY”.
The “David Findlay Galleries” has long been associated with fine painting. The gallery was founded in Kansas City, Missouri in 1870 by William Wadsworth Findlay as “The Findlay Art Company”. Since 1938 the business has been known as the David Findlay Galleries and located in New York City. Michael N. Findlay, the fifth generation in the family art business, is the president and owner.
The focus of the gallery is to show works by contemporary American and French color oriented (figurative) representational artists who have been influenced by the Impressionists, Expressionists and the Fauves. Currently, 18 artists form the main core of our gallery artists. We primarily show oil on canvas paintings and also carry lithographs by our gallery artists. The French contemporary painters who we represent – Bardone, Lesieur and Muhl – have all shown with us for at least forty years.
Tadashi Asoma, Guy Bardone, Christina Barolo, Ben Berns, Joachim Berthold, André Brasilier, Maurice Brianchon, Dan Brown, Bernard Cathelin, Richard Lang Chandler, Peter Charles,Tom Christopher, Carl Rice Embrey, Richard Estell, Robyn Whitney Fairclough, Alexandre Sacha Garbell, René Genis, Gabriel Godard, Paul Hamilton, Katherine Ann Hartley, Kathleen Kolb, Pierre Lesieur, Jon Marshall, Nina Meledandri, Roger Mühl, Philip Mullen, Kevin Paulsen, Sherre Wilson Rae, Sonya Sklaroff, André Vignoles, Camille Ward.
Artists Represented. Peter Brooke · Byron Browne · Chuang Che · Richard Haas · John Ferren · Leonard Edmondson · Gordon Onlsow Ford · Gary Komarin.
From 10:00 AM to 5:00 PM
Closed on Mondays, Sunday
984 Madison Ave., New York, NY 10075
Phone: 212-249-2909 Fax: 212-249-2912
Between: 76th and 77th St. Subway: 6 to 77th St.