Viewing: Art Market


Monday November 11, 2013 | by Andrew Page

RED DOT REPORT: SOFA CHICAGO 2013 sees solid sales, strong attendance, and many upbeat art dealers

Filed under: Art Market, Events, News

With the highest attendance numbers since the pre-recession expo in 2007, the 20th anniversary of SOFA CHICAGO looks to have been an encouraging sign for the much-discussed future of the art market for work in glass. The official attendance figure was 34,000, a 2,000-person increase over 2012, and chats with some dealers indicated that many of those who came were there to buy. The show felt busy from the opening Thursday night cocktail party to the surprisingly crowded Sunday afternoon. This year's fair was also more filled with exhibitors, with 65 dealers, including many international galleries. With new owners taking over the well-established SOFA brand name (The Atlanta-based show management company Urban Expositions purchased the show earlier this year), many were nervous about the transition, but with founder Marc Lyman staying on as a consultant (though less visible during the show than in years past) and Donna Davies maintaining her role as fair director, it seems to have been a smooth changing of hands, with several dealers offering the GLASS Quarterly Hot Sheet very positive feedback on logistics this year.

 

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William Morris is going to reconstruct his 2005 work Mazorca, originally created as a large-scale installation made for a Museum of Glass retrospective. It originally stood more than 8-feet tall.

Wednesday August 7, 2013 | by Andrew Page

Willam Morris to return to the glass studio (briefly) to rework Mazorca installation

Filed under: Art Market, Exhibition, News

William Morris is going to reconstruct his 2005 work Mazorca, originally created as a large-scale installation made for a Museum of Glass retrospective. It originally stood more than 8-feet tall.

Since 2007, when William Morris retired with great fanfare at the peak of his glass-artist career, he’s been spending his time perfecting his stone-carving technique in Hawaii. Meanwhile, his unique body of work in sculpted and blown glass that channels non-European ancient artifacts continues to attract the attention of collectors, and fetch record prices. One large installation, however, has not sold. Mazorca, originally displayed as part of his 2005 mid-career retrospective at the Museum of Glass in Tacoma has not found a buyer. The more-than-8-foot-tall cornucopia of dangling glass objects that look like earthenware, shells, carved bone, and wood, will be restrung in smaller compositions, according to Lewis Wexler, who will be showing these works at the Sculptural Objects Functional Art Fair in Chicago this November. Morris’s brief return to the glass art studio was confirmed by his studio manager, Holly Lyman in an email exchange.

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One of the original glass skylight windows of Frank Lloyd Wright's Martin House is being auctioned on August 3rd after being stored away by a private owner for nearly half of a century. courtesy: schultz auctioneers.

Wednesday July 31, 2013 | by Gina DeCagna

Rare Frank Lloyd Wright glass window to be auctioned

One of the original glass skylight windows of Frank Lloyd Wright’s Martin House is being auctioned on August 3rd after being stored away by a private owner for half a century. courtesy: schultz auctioneers.
On Saturday, August 3rd, a glass skylight window designed by American architect Frank Lloyd Wright will be sold by Schultz Auctioneers in Clarence, New York. The window, which has a pre-auction estimate of $50,000 to $100,000, originates from the Darwin D. Martin House in Buffalo, one Wright’s best known examples of his the Prairie Style. Two Martin House windows have sold at Christie’s for $62,500 and $104,500 each in 2011.

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Possibly a student work made while Chihuly was making the Navajo Basket series, this work was quickly discredited as an authentic Chihuly by Kate Elliott, who was one of the artists involved in the authentic groundbreaking series.

Tuesday July 2, 2013 | by Andrew Page

Chihuly counterfeit case a cautionary tale for buying art online

Filed under: Art Market, News

Possibly a student work made while Chihuly was making the “Navajo Blanket Cylinder” series, this work was quickly discredited as an authentic Chihuly by Kate Elliott, who was one of the artists involved in the authentic groundbreaking series.

On June 19th, a 35-year-old Renton, Washington, resident named Michael Little plead guilty in federal court to wire fraud in connection with “his scheme to advertise and sell fake Chihuly artwork,” according to U.S. Attorney Jenny A. Durkan in an F.B.I. announcement. Little admitted he bought “generic glasswork and artwork over the Internet” and resold it, claiming that it was authentic Dale Chihuly, and making “at least $40,000” for counterfeit sales between 2011 and 2013, according to the release. Citing the October 4, 2013 sentencing date, investigators in the case declined to comment on details until after the legal proceedings were complete, but the appraiser who helped identify the works as fakes has shared some of the story with The GLASS Quarterly Hot Sheet to help alert others to the market in counterfeit glass artwork.

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William Morris, Canopic Jar: Sable Antelope, 1995. Hand blown glass. H 48, W 12  in. courtesy: www.bonhams.com.

Tuesday July 2, 2013 | by Gina DeCagna

William Morris works fetch record prices at recent auction

Filed under: Art Market, Auction, News

William Morris, Canopic Jar:
Sable Antelope, 1995. Hand blown glass. H 48, W 12 in. courtesy: bonhams

A work by William Morris entitled Sable Antelope from the “Canopic Jar” series set a new record for the artist’s work when the bidding ended at $290,500 (the price includes the buyer’s premium). The setting was the 20th Century Decorative Arts auction at Bonhams in New York City on June 14, 2013. The jar, created by Morris in 1995, sold for more than triple its pre-auction estimate, and was the standout work of the event, which also saw successful sales of Studio Glass work by Harvey Littleton ($18,750), Michael Glancy ($15,000), Paul Stankard ($22,500), Toots Zynsky ($9,375), and Stephen Rolfe Powell ($8,125) alongside decorative glass works by Gallé, Daum Nancy, Lalique, and Tiffany.

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Lino Tagliapietra will receive the Visionary Award on Friday, January 25th, at the Art Palm Beach art fair. courtesy: schantz galleries, stockbridge, massachusetts

Tuesday January 1, 2013 | by Andrew Page

Lino Tagliapietra to receive award at Art Palm Beach

Filed under: Art Market, Award, Events, News

Lino Tagliapietra will receive the Visionary Award on Friday, January 25th, at the Art Palm Beach art fair. courtesy: schantz galleries, stockbridge, massachusetts

Art Palm Beach, which runs from January 24th through the 28th at the Palm Beach Convention Center in West Palm Beach, Florida, will present Lino Tagliapietra with its Visionary Award during a ceremony on Friday, January 25th. The award presentation will be followed by a public presentation and interview with Scott Indrisek, senior executive editor of Modern Painters magazine.

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Monday October 1, 2012 | by Andrew Page

The Pilchuck team gears up for October 12th gala, with centerpieces by Brooklyn-based Neils Cosman

Filed under: Art Market, Events, News

Brooklyn-based artist and designer Niels Cosman’s centerpieces were made with the assistance of 24 glass artists and manage to combine loose organic form with carefully controlled process.

More than 250 works in glass will be going up for auction on Friday, October 12th, at the Westin Seattle as part of a black-tie fund-raising event that will support the educational and artistic programs at The Pilchuck Glass School for the 34th year running. In addition to the work up for live and silent bidding, there will be table centerpieces designed by Neils Cosman, who, alongside a team of 24 volunteer artists, created elegantly draped vessels that conjure up both ancient Roman glassware and the West Coast Funk movement that was a major influence in the early days of Studio Glass.

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Monday July 30, 2012 | by Isabella Webbe

Cultural foundation in Venice expanding to include exhibition and research center on glass art and d

Aerial view of “Rooms for Glass” in Venice, Italy courtesy: selldorf architects

The Cini Foundation, long established as a privately-funded nonprofit research center in Venice for scholarship in art, history, and music, is expanding its purview to include Venetian glassmaking. The organization embarked on a cultural project in collaboration with Swiss-based foundation Pentagram Stiftung to promote 20th-century Venetian glass. The foundation recruited New York-based firm Selldorf Architects to refurbish the wing of a former boarding school on the CF’s San Giorgio Maggiore island headquarters, which will be home to the foundation’s new glass-only exhibition space, Le Stanze del Vetro (In English: “Rooms for Glass”). This new wing will house year-long exhibits with a focus on quality pieces that highlight significant moments in the history of Venetian glass art, and will be opening its first-ever exhibit “Carlo Scarpa. Venini 1932 – 1947“ at the end of August.

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Thursday June 21, 2012 | by Isabella Webbe

Dealers up in arms about National Liberty Museum art sale

Filed under: Art Market, Museums, News

The exterior facade of the National Liberty Museum in Philadelphia, which opened in 2000.

The museum world is a bastion of visual culture, and, for the most part, ethics. A sanctuary far removed from the crass commerce of the marketplace, this is where the most important artwork is bequeathed for the greater public good, where it will be available to enrich the lives of generations of citizens for years to come. Of course, museums don’t always behave according to the rules, and the work doesn’t always stay in one place. In 2010, the Guggenheim Museum in New York auctioned off the majority of an exhibition that had been on view for only two months, stirring controversy. Another breach of the wall between the gallery and museum worlds took place when high-profile art dealer Jeffrey Deitch was appointed director of the Los Angeles Museum of Contemporary Art (though only after he agreed to close his wildly successful New York City gallery). Which brings us to the National Liberty Museum in Philadelphia, which has raised the ire of several glass dealers with their selling of a collection the museum recently acquired from a couple from Atlanta. The Burke collection has ended up at the Liberty Museum either by purchase, by donation, or by some combination of the two—exact details are hard to come by. Reached by telephone, collector Wayne Burke would confirm to the GLASS Quarterly Hot Sheet only that his former glass art collection was now at the Liberty Museum. He declined to offer any details or comment further. Scott Patria, an art dealer currently serving as director of glass at the Liberty Museum, responded to a series of questions from the GLASS Quarterly Hot Sheet by declining to comment out of respect for the collectors’ privacy. Instead, he sent a reiteration of the museum’s mission statement and said that, “The Museum’s relationship to glass art has been and will continue to remain strong. Many collectors (and galleries) are aware of this and often will donate pieces from their collection to the Museum.” Arlene Silvers, chief operating officer of the Liberty Museum, did not respond to repeated telephone messages seeking clarification about the sale of the Burke collection.

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GLASS: The UrbanGlass Quarterly, a glossy art magazine published four times a year by UrbanGlass has provided a critical context to the most important artwork being done in the medium of glass for 35 years.