“Agnes Martin”

Lawsuit on authentication of Agnès Martin works

The Mayor Gallery in London has filed a lawsuit against the editorial committee of the catalogue raisonné of Canadian-American artist Agnès Martin, whose minimalist paintings are currently on show at the Guggenheim Museum in New York, until 11 January. The authentication committee namely including the owner of the Pace Gallery Arne Glimcher, representing the artist’s estate, rejected thirteen works belonging to clients from the Mayor Gallery, making them “worthless” according to legal documents. According to the complaint, four collectors purchased these works, all signed by Agnès Martin. Among them, Jack Levy, formerly of Goldman Sachs Investment, thus acquired Day & Night for $2.9 million in 2010, a worked rejected by the authentication committee in 2014. Mayor thus repurchased the work and placed it on sale once again with new proofs of its authenticity. But to no avail, for the piece was once again rejected. The other collectors are Patricia and Frank Kolodny, as well as Sybil Shainwald, who bought works on paper for thousands of dollars, as well as Pierre de Labouchère, who acquired ten paintings for $3.6...

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Lawsuit on authentication of Agnès Martin works

The Mayor Gallery in London has filed a lawsuit against the editorial committee of the catalogue raisonné of Canadian-American artist Agnès Martin, whose minimalist paintings are currently on show at the Guggenheim Museum in New York, until 11 January. The authentication committee namely including the owner of the Pace Gallery Arne Glimcher, representing the artist’s estate, rejected thirteen works belonging to clients from the Mayor Gallery, making them “worthless” according to legal documents. According to the complaint, four collectors purchased these works, all signed by Agnès Martin. Among them, Jack Levy, formerly of Goldman Sachs Investment, thus acquired Day & Night for $2.9 million in 2010, a worked rejected by the authentication committee in 2014. Mayor thus repurchased the work and placed it on sale once again with new proofs of its authenticity. But to no avail, for the piece was once again rejected. The other collectors are Patricia and Frank Kolodny, as well as Sybil Shainwald, who bought works on paper for thousands of dollars, as well as Pierre de Labouchère, who acquired ten paintings for $3.6...

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Sale of the Leslie Waddington collection

At Christie’s in London, on 4 October, 100 % of the Leslie Waddington collection was sold, and 80 % of lots went for over their high estimates. The sale reaped a total of £28,285,525. With these results, the sale pays fine homage to a pioneering contemporary-art collector and dealer. Bids came from 37 countries. Robert Motherwell’s Spanish Elegy was sold for the sum of £905,000, well above its high estimate of £300,000. The top lot of the evening was a work by Jean Dubuffet, Visiteur au chapeau bleu (1955), which went for £4,813,000. Of note is a world record set by the sale of Las Meninas by Michael Craig-Martin, pushed up to £149,000. The painting on paper, Lampe, by Francis Picabia, was sold for £3,637,000, thus doubling its high estimate. The sale also notched up fine scores for works by Josef Albers, Alexander Calder, Milton Avery and Agnes...

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Fontana’s La Fine di Dio to lead Sotheby’s London’s Frieze Week Sales

Lucio Fontana’s Concetto Spaziale (1959) and La Fine di Dio (The End of God) (1963) will lead Sotheby’s London’s Frieze week sales on 15 October 2015. La Fine di Dio, one of the greatest examples of Post-war Italian art, was last exhibited over 30 years ago and has never before been offered at auction. It will lead the auction house’s Italian Sale and is estimated to fetch between £15 and 20 million. La Fine di Dio, which is considered the “holy grail” for collectors of Fontana, is a human-sized black egg peppered with holes punctured, slashed, stabbed and gouged by the artist’s bare hands, giving it a crater-like surface. Painted in 1963, shortly after Gagarin became the first man in space, the painting’s lunar appearance echoes Fontana’s fascination with the notion of space travel and the advances of science and technology. Both pieces together are estimated to reach £35.2-48.6 million at the auction in October. Sales at Sotheby’s Italian auction last year blew the pre-sale estimates of £23.8-33.5 million out of the water, with total sales reaching £41.4 million, an all-time record for any auction of its time. Following the Italian sale, the auction house will also auction off the works of up-and-coming contemporary artists as well as the masters of post-war painting. For instance, it will feature work by rising stars Cory Arcangel and Ella Kruglyanskaya, alongside landmark paintings by Frank Auerbach and Agnes Martin. The combined estimate for Sotheby’s three sales during Frieze week sales stands at £79.4-110.8m...

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Minimalism at the George Economou Collection, Athens

The George Economou Collection, Athens is holding a collective exhibition entitled “Opening the Box: Unpacking Minimalism” which will open on 22 October 2015 and run until April 2016. The exhibition will be curated by Mark Godfrey and will feature works by Dan Flavin, Isa Genzken, Robert Gober, Roni Horn, Rashid Johnson, Donald Judd, Agnes Martin, John McCracken, and Nikolai Mikhailovich Suetin. The exhibition is showing ten works that will expose a more nuanced side to Minimalism by exploring different debates, places and times. It will provide a journey for the viewer through the museum, beginning with an impressive brushed aluminium channel (1978) and early relief (1961) by Donald Judd, a plank (1988) by John McCracken and a painting (1966) by Agnes Martin. It will also feature Dan Flavin’s monument 4 for those who have been killed in ambush (to P. K. who reminded me about death) (1966), a work made from red fluorescent lamps and explicitly evoking the violence of the Vietnam War. Other works on the second floor will also reflect the relationship between Minimalism and history, such as Nikolai Suetin’s Suprematist Composition (1921) and Isa Genzken’s Gelbes Ellipsoid (Yellow Ellipsoid) (1976). The top floor of the exhibition explores the ideological implications of Minimalism as a new artistic discourse addressing loss, desire and identity, with works such as Robert Gober’s The Silent Sink (1984) evoking notions of loss and disease and Roni Horn’s Untitled (Billie), Untitled (Holiday) (2012) conveying the tragic romance of Billie Holiday’s music. The exhibition shows that Minimalism is not merely a blank canvas, but a kaleidoscopic mood board, as it is not quite so universally cool and clean as it supposes to...

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