Sheldon director chronicles her trip to New York, bidding war at Sotheby’s

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BY JANICE DRIESBACH / For the Lincoln Journal Star

(Editor’s note: Director of Sheldon Memorial Art Gallery Jan Driesbach went to New York earlier this month at the time of the Christie’s and Sotheby’s spring art auctions. In the following story, she shares her shopping experience in the high art world.) It’s early morning my first day in New York. My schedule back home doesn’t permit me to be here long enough, but I have the fortune of wonderful weather. Nonetheless, I must plan my time carefully. 

Wary of New York taxi drivers, I take the E train to Chelsea, where I’ve arrived nearly a half hour before most of the galleries open. I walk up to 26th Street, the north end of my venture today, with my personal list of favorite galleries in hand.

Soon I am on my way down 26th Street, finding some galleries closed between installations, visiting dealer friends in many others. By late morning, I skip to 24th Street, where I have an appointment to see drawings by David Smith at Gagosian Gallery. Gagosian is in the midst of installing its newest Richard Serra exhibition, so I find (as warned) the gallery in considerable disarray and much work activity. I am impressed here and at other galleries with how interiors are reconfigured for each exhibition —  with minimum “turnaround” time.

I’ve been working on developing an exhibition from Sheldon collections for next summer, titled “Sculptors on Paper.” While impressed by fine prints and drawings by sculptors in our collection, I’ve also drawn up a list of five drawings and a sculpture that I hope we might acquire or borrow for this project. Top on the list is a “spray paint” drawing by David Smith, the kind of work on paper he was making at the same time as he was working on our magnificent sculpture “Superstructure on 4.” 

When I saw the current exhibition at the Guggenheim Museum in February, I realized that Gagosian lent most of the drawings and has the estate of the artist. I had called ahead to express my interest and a gallery representative  e-mailed me images  of drawings close in time to our sculpture; I selected three of greatest interest. Two are at the gallery, and one is in Los Angeles, but could be made available as well. I look at the drawings, determine that both seem to be in excellent condition, choose one, with the drawing in L.A. as an alternate. Our Sheldon Board, which approves all acquisitions from university funds (largely endowments restricted to the purchase of art work), meets on Monday. Both drawings were put on hold for me.

After lunch I proceed down 25th Street,then head south for several blocks. Note wonderful work by a new artist (Vietnamese born, teaches in NYC with first New York exhibition) as of potential interest for next Sheldon invitational in the fall 2008 and enjoy a series of installations of work by Jamie Lee Byars curated by Klaus Ottmann, guest curator for our upcoming “Experiencing Transcendence” exhibition. Note changes in recent work by several artists, love a jammed installation of collages and reliefs by an outsider artist and enjoy a wonderful painting exhibition by a mature artist working outside New York, whose work I have only known in reproduction. My favorite pieces are multipanel compositions, with high prices and probably too large to be comfortably accommodated in the intimate galleries Philip Johnson designed for Sheldon permanent collections.

By late afternoon, I walk to Madison Square Park, where three Ursula von Rydingsvard sculptures are installed, then I pass the renovated and expanded Morgan Library, regretting that time will not permit a visit. Instead forge on to the Jewish Museum, which has late hours on Thursday. Alas, an Eva Hesse exhibition opens next week, so I console myself by touring  the permanent collection and lingering in an exhibition of work by Max Liebermann, a German Impressionist artist I studied long ago. 

Friday morning finds me heading uptown, first stopping at a gallery to view work by John Twachtman, an American impressionist artist. Am impressed by several early pieces, and proudly note that Sheldon’s late Gloucester painting compares favorably with similar compositions. I proceed to the Guggenheim, which is filled by David Smith’s work. I head for the gallery devoted to his drawings, walk slowly through early compositions, then carefully study a wall of “spray paint” drawings similar to the one I had selected at Gagosian.  Note that their scale is consistent with the one I chose and that it stands up well alongside examples in the important retrospective.

On to an uptown gallery to look at the work of an American modernist artist that would complement Sheldon holdings, finding a drawing to lack impact and a painting most likely well beyond our means. From there to 57th Street, another gallery haven. Start on Fifth Avenue and head west, visiting nearly a dozen galleries, including one with examples by Nebraskan Emery Blagden. It’s 5 p.m. and commercial spaces are closing, so I board a bus up Madison Avenue to immerse myself in the Whitney Biennial. Some interesting work in the packed exhibition, but much that eludes me — so back to the Guggenheim, now to enjoy the outstanding David Smith installation at my leisure.

Saturday and the raison d’etre for the timing of my trip — previews of the major New York spring auctions. A chance to see several hundred paintings, sculptures and photographs, largely from private collections before they are sold the next week. While the highest value pieces are installed more austerely in elegant spaces, in general the display appears to be governed by what fits in a particular space, lending a certain democracy to the viewing. 

The auction catalog had arrived at Sheldon earlier — three bulky tomes each for successive Christie’s and Sotheby’s evening, morning and afternoon sales, with smaller special volumes for a very special piece (or “lot”) or an individual collection. I’ve marked a number of pages that interest me for Sheldon and have shared them with Sheldon curator Dan Siedell; together we determine that two sculptures are of particular interest.

It’s fascinating to note how the art works differ from their catalog illustrations — a reason I am so committed to the importance of museums, of firsthand access to original art — and I quickly lose interest in one of the sculptures. Its surface seems fragile (a particular issue when we are committed to both preserving and sharing the art work in our care) and the work is less compelling than others I have recently viewed by the artist.

But, wait a minute, I am getting ahead of myself.

After assaying the contents of seven large galleries at Christie’s in Rockefeller Center, I proceed down the block to the auction house’s display of Donald Judd sculpture on the 20th floor of a nearby building. The highly praised installation is revealing and viewing Judd surrounded by urban views offers new understandings of his efforts. Many strong pieces, and I gain some new insights into how the sculpture in our collection might best be installed.

Next on to Sotheby’s York Avenue headquarters, heading to the 10th floor, which features major offerings, most of which will go “on the block” at the prestigious evening sale. Just inside the door to the first gallery I spy the early John Chamberlain that had piqued Dan’s and my interest. Chamberlain has long been on our list of Sheldon additions. Board members  also have mentioned him as his sculptures have appeared in major New York auctions each spring and fall.

Chamberlain has sustained a long career, and I have enjoyed many of his recent works — ones I’ve seen in private collections and the giant space devoted to his work at Dia Beacon. But after seeing a small gallery exhibition a few years ago, I became particularly taken with his early sculptures, comprised of crushed sheets of automobile metal. Few of these had come up at auction since that time, and works brought to our attention in the interim were small, overly decorative, or less resolved from all angles. 

“Laro” is beautiful. An appropriate size for our galleries. Fills a gap.  After a look, I look again, then proceed to a table in the foyer and ask to look at Sotheby’s condition report. I appreciate the irony of my request since “Laro” is composed of used, rusted metal. The report looks good. I inquire about procedures for telephone bidding, and learn that participation in the evening auction requires a financial record. Have we made other purchases at Sotheby’s recently? I recall buying a painting a couple of years ago. Not much activity; besides, the painting was modestly priced in comparison to “Laro’s” $200,000 to $300,000 pre-auction estimate. I pick up forms to complete and fax in on Monday, after returning to Lincoln.

Another look. By now, others have come in and paused before “Laro.” I am tempted to make either disparaging or enthusiastic comments about the sculpture, but refrain, and wonder if they also are  interested — and how much they are prepared to spend. Conscious of a recent auction record set for a Picasso and of the generally robust art market, I wonder if the estimate might be low. And, also, if Chamberlain’s values might escalate in a few years, beyond our reach, as has happened with other artists.

I look up the funds available to Sheldon at the University Foundation, all from bequests that are restricted to art purchases and begin calculations, adding in the buyer’s premium —20 percent on the first $200,000; 12 percent beyond that, scribbling the results on paper.

A look at other offerings — a gorgeous Roy Lichtenstein painting is far beyond my limit. I take pleasure that we purchased a Sean Scully “Wall of Light” painting (not at auction) last spring, and am more impressed by a Lee Krasner canvas than I had anticipated. It will come up at a later auction, so I judge pursuing the Chamberlain a sufficient undertaking for the time being.

Downstairs to see the more crowded display for morning and afternoon sales, then back up to 10 for another, final look at “Laro.”  Leave midafternoon to take in a few more galleries then head up to the Met, open Saturday evenings.

I write my list on the flight to Lincoln, noting information I need before presenting the Chamberlain on Monday to the Sheldon Board. Dan and I will present the David Smith, a Weldon Kees work on paper, a painting by Marjorie Mikasen and a monotype by a New York artist, but the Chamberlain will be the focus.

My first check is to Sheldon’s library; next a Web site with comprehensive listings of recent auction results. “John Chamberlain,” subhead “sculptures” yields pages of information, so I scan for works of comparable size, similar dates. I narrow my search and sort  through recent sales. I can pull illustrated catalogs from New York sales at large auction houses and note prices commanded (excluding the premium) alongside the images.

I make the presentation to the  board, comprised of university leadership, Nebraska Art Association board members, art collectors and fine arts faculty, with Sheldon collections staff attending. Christin Mamiya comments on Chamberlain’s importance, and Robert Duncan speaks to having seen one of the sculptures that recently brought a high price, noting that it was a wonderful piece. We look at images, our assets, recent results, and then the board gives me authority to bid by telephone Wednesday evening. We send our financial information, and I call to confirm my interest in bidding and ask when I will be contacted.

The call comes, with the Sotheby’s representative greeting me, then commenting that the sale has been strong so far, consistent with Christie’s the previous night. I’ve been put on the line several lots early and listen into the sale. The first piece goes for under its low estimate (the first this evening, I am told); the next piece is “bought in,” a synonym for failing to sell. A European painting exceeds its high estimate; then an unusual, mammoth sculpture goes for just below its low estimate. Now, my turn. I’m heartened that the initial bidding is in $10,000 increments and listen carefully, then increments jump to $50,000 with active bidding —$500,000, $550, 000, $600,000 — passing beyond my budget. I’m now grateful to be allowed to continue to listen, to learn that the successful bid for “my” sculpture was $900,000, more than three times its high estimate, and over $1 million with its premium. Has our opportunity for a magnificent John Chamberlain passed us by?  Most likely.  Or will we have a second chance?  

 

Sheldon acquires nine works of art

Sheldon Memorial Art Gallery purchased four works of art this month and accepted gifts of five additional pieces.

The purchases approved by the Sheldon board include:

* David Smith, Untitled, 1961, spray enamel on paper

* Weldon Kees, “The Laboratory,” 1948, oil on paper,

* Marjorie Mikasen, “Action Potential,” acrylic on canvas

* Mark Sheinkman, “3.29.2005,” 2005, monotype

The accepted gifts are:

* Julian Dashper, “Future Call,” 2005, sound recording. Gift of the artist.

* Weldon Kees, “Guadalajara,” 1949, tempera on paper. Transfer from University of Nebraska-Lincoln Libraries.

* Jennifer Ghormley, “Poke,” 2006, digital print on cotton fabric, intaglio, machine sewing, from UNL, Thomas P. Coleman Memorial Award.

* W. Wayne Kimball, “2 Chairs, Each Having Three Legs,” 2005, color lithograph, 22/24 from Under Pressure Print Club, UNL.

* Francisco Souto, “Uno y El Universo, No. II,” 2004, mezzotint, lithography and silkscreen. 1/25 from the Under Pressure Print Club, UNL.

All of these acquisitions were made with endowments or gifts to the University that are restricted to the purchase of artwork.