Freeman Vice Chairman Alasdair Nichol | Hindman Auction House, calling it a “terrible” area, but he knows the existence: “For older artists, there is often a death observation, and those believed to be healthy often dies.” Auction houses, art dealers and gallery owners, especially art collectors, set out on what he calls popular fallacies, which is the price of artists’ work that will rise dramatically. Nicole told Observer, adding: “A guy I know has been buying Richter.
He is not alone in seeing this focus on the age and health of artists who have performed well over the years. Betty Krulik, a private art dealer in New York City, former head of the painting division at Christie’s, Anthony Grant, a private dealer in Manhattan, and vice-chair of contemporary art at Sotheby’s, have seen this phenomenon in the past and present. “The attitude about older artists is a commercial attitude,” Grant said, when dealers seek to sell and seek to buy before death occurs. Crulik confirmed: “People say, ‘This artist is getting older, so I’d better get some of his work before he dies.’
Zachary E. Wirsum | Hinderman, Senior Vice President and Head of Contemporary Art for Post-War and Contemporary Art, told Observer that he had been “working” to arrange for the landscaping of Richard Mayhew (1924-2024) years ago, but a potential shipper told him that he wanted to wait until the artist died. ”
This is the story of Vincent van Gogh – the artists may starve to death during their lives, but when they die, their works are hunted and valuable. Of course, in some cases, the price escalated dramatically after the artist’s death, and one of the most famous examples is the work of Canadian artist Matthew Wong (1984-2019), whose years have been praised for his gallery in New York, and he has received considerable praise in New York’s works, where they sold thousands of people. Sotheby’s sold his 2018 painting a year after his suicide Appearance field For $1.82 million, well above the auction’s estimate of $60,000-80,000, while Phillips auctioned another 2018 painting, The river at duskestimated at $4.86 million, four times more. Lightning did strike.
However, death is not a good predictor of value. Rago/Wright Ahuctions CEO Richard Wright said Alasdair Nichol was right because it was a “terrible” theme and “doesn’t necessarily have a positive impact on the prices and markets of artists.” “In fact, it’s right to say that when an artist dies, his market tends to die with him.” At least for a while. The prices of works by Georgia O’Keeffe, Pablo Picasso, Robert Rauschenberg, Norman Rockwell, Andy Warhol and Andrew Wyeth fell or stagnated for years, but then rebounded.
For example, in 1979, a year after Rockwell’s death, his paintings Bookworm For sale for $65,000. It wasn’t until the 1990s that the price reached its highest six-digit figure, and after the 1999-2001 National Tour Review “Norman Rockwell: Pictures of the American People”, the price soared, his 1943 swell. Rosie rivets Earn $4.95 million in 2002 at Sotheby’s and his 1957 New show He made $22.5 million in 2014 at Christie’s. Anyone who is rushing to buy Rockwell’s work before or shortly after his death in 1978 will have to wait a considerable time to realize their dream of wealth.
The main reason for the price of paintings in Rockwell, O’Keeffe, Picasso, Rollshenburg, Warhol and Wyeth is that so many people rushed to galleries and auction houses, effectively flooding the market. “Many speculate that the death of an artist will cause the price of his works to rise,” said Daniela Lazo-Cedre, senior expert in Bonhams’ 20th and 21st century art, which has led to a market overflow. “Katherine Degn, director of Kraushaar Galleries in New York, told Observer, “People earn as much material in consignment goods, and how much material each piece of material will produce.”
Not just collectors who flood the market; so are heirs. Sculptors Sir Jacob Epstein, Sir Frederick Remington and Giulio Gonzalez, who inadvertently damaged the market for the late husband’s work market, began to reshape their works to preserve the good records with Estan and Remington to retain the reproduction volume with Estan and Remington, unable to mark it as Posthumiss posthumiss posthumiss asthumise asthumise aspthumise asthumise s. The son of painter Thomas Hart Benton placed many of his father’s original works on his market, while shortly after the artist’s death in 1975.
“Whether an artist’s work goes up or down depends on how they organize their own estate,” New York art consultant Susan Brundage told Observer. It also depends on how those responsible for their property tend toward them. “The children of artists may not know what to do with art. They may fight for them or throw them in the market.”
Scarcity is supposedly going to show that people who are still available will add value, but this economics is not always affected in the art trade. While alive, artists continue to maintain hope of arousing great interest, and some artists have a great personality and are part of the marketing and sales of their works. Zachary Wirsum notes, “There are controls marketing around the artists. In luck, there is a manor that can promote artists, but the gallery’s motivation is to display and sell artists’ work if they are not around to promote their dealers to display and sell artists’ work.”
Once dead, this promise disappeared, and now the artist now reassessesses the “legacy” of the person’s place in art history and his or her influence on other artists at that time or subsequently. The importance of artists is likely measured by galleries, especially museum exhibitions, and by publications, as well as by showing that artists are the main figures in culture. It usually takes years for the market to absorb all the artwork sold after the artist’s death, during which time it requires a re-evaluation.
This not only happened, but was the result of efforts of family members, dealers, estates, scholars and museum curators who provided carefully planned sales to artists through exhibitions and publications as well as through artists. Manors usually have a lot of art for sale, but, Wilson says, they may not be the best artwork representing work. First, they are objects for sale, perhaps because they are not as good as those for sale, and may be more experimental and “signature” work. Promoting these works may not be an advantage for the artist.
Some artists don’t seem to advance. Richard Wright notes that painter Ed Paschke (1939-2004) “showed well in his life, but his fortune was always struggling.” Betty Krulik identified artists Chaim Gross (1902-91) and David Levine (1926-2009) as “very good trope artists who performed well in their lives, but they were not household names or excellent names.” The verdict seemed to be that all three were smaller talents. Like Richard Wright, she said: “Most artists’ markets are dead with artists unless there is a dealer with the flag behind them.”
Realizing post-mortem recognition can be an uphill battle. Kayla Carlsen, director of the Albany Museum of History and Art and director of the American Art Sales at Sotheby’s, said the galleries of now-dead artists have gone bankrupt or they have lost interest in artists who no longer produce art. “Taste change, we live in an era where people focus on contemporary artists.” Normally, the main buyer of current artists is the same collectors as artists. Older people are not as zealous as collectors as they were earlier, and the job of dealers and artists is to convince the new generation that they need to study this talent again.
No news about Zachary Wirsum, whose father, Karl Wirsum (1939-2021), was a painter and sculptor: “Although he also taught at the Chicago Art Institute, he supported himself primarily in his career.” After his death, “there was a decrease in the market, interest” and he thought it could be corrected by a more aggressive promotion to the estate, “but it was a full-time job for me, and I already had a full-time job.” Last year, Derek Eller Gallery in New York and Matthew Marks Gallery held Karl Wilson in collaboration with the Matthew Marks Gallery in New York. Wirsum’s performance of paintings and sculptures, “It’s success, financially low success rate.”
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