Interview: Talking Art with Amadea Zuri Setian

Meet Amadea Zuri Setian; a young artist with an incredible passion for art. Her love for painting started when she was only 18 months old. Since then, she has been creating the most amazing works of art, primarily with acrylic, oil and watercolors. Most recently, her work has even become the inspiration for jewelry and fashion.

Amadea’s artwork portrays an abundance of happy emotions with her use of colors, always brimming with life. Gathering inspiration for her work through nature as well, her paintings come to life in a surreal way. Its our pleasure to get to know more about this rising star in the art world and talk more about her unique style of painting.

Your art is so full of happy emotion. That said, what is your inspiration for your unique style of painting?

“My inspirations come from nature, primarily during hikes and beach walks; I watch the patterns and colors of the clouds, the trees, the flowers, the canyons, the sky, and then I use them in my paintings.“

How has your early childhood influenced your artwork?

“Seeing my mom being a busy artist and having a large variety of artist mediums around our home gave me a head start. She let me try all of the choices, until I found my favorites. Another important influence on me was our frequent visits to Carmel, where the beauty of nature is truly extraordinary. And in Carmel , Tony Vanderploeg opened the door of his gallery Amsterdam for my art when I was 10 years old.“

Can you tell us more about your current collaboration with Kareno?

“Kareno founder Kamal became inspired by my art and created a luxury fashion brand. I continue giving Kamal my new painting patterns and he incorporates them into his inspirational designs.“

Are there any artists that left a deep impression that played a major influence on your growth as an artist?

“Mainly my mom. She has been my true inspiration. My mom encouraged me and nurtured me throughout my journey. And of course my dad, who gave me his warm-hearted support.”

What are your future goals?

“I’d like to study art more, learn more , and grow more . And my wish is, to make even more people happy with my art .“

How has your style changed since you first began painting? And are there any other mediums you’re looking to explore further in the future?

“As I grew up , I explored different brush techniques that gave me the results I wanted. A few years ago, when I began using oils, my style changed, and my technique changed with it. Lately I’ve been enjoying oil pastels.”

How would you describe your creative process?

“For me, creating an art is a fluid process, like a river. It flows and flows, never the same. My brush and I flow with it.”

Where can we follow you?

“You can find my art and the latest news on my website. www. Amadeazurisetian.com”

also see QR code for Kareno

TCHA: A Pop-Up That Blends Art, Food & Design

Stemming from her passion for matcha bars, Joya Burda came up with an exciting new way to incorporate an interactive environment with culinary creations. Founded in January, she created Tcha, a unique experience in the form of a pop-up that also hosts several engaging activities from a number of luxury brands.

The concept takes an even more lively turn as she meticulously goes over themes for her pop-ups that result in one spectacular party. There is always a different theme when Tcha opens in a new space, from ‘Garden of Eden’ to ‘Mad Hatter Invited Marie Antoinette’. One of the most recent pop-ups in Germany had its theme based on its space in a factory, being dubbed ‘Studio 54 Goes to Factory’. The artistic ingenuity that Joya puts into the space is phenomenal, which begins with her creating a vision board with the brands she selects.

“That is exactly what Tcha is,” says Joya. “It is an experimental concept that each time I bring something new to Tcha, sometimes things that haven’t even hit the market. I had these fantastic dried apple and egg white candies that I brought to Paris [and] I have this really fantastic jewelry brand [called] Moxie that is being launched today.”

Due to the nature of the pop-up, there is no set location and every couple months they open up in a new location. However, whenever a space is set and ready to let the party commence, personal invitations and social media connectivity will allow guests from all over the globe to know where Tcha is next in the world.

“I am going to do Gstaad next,” states Joya. “Then I have Berlin, Amsterdam and Paris. I have quite a lot coming up. That is what keeps Tcha alive. It’s like a monthly magazine.”

Images Courtesy of: Joya Burda

Aspen Trees: Talking The Holga with Artist Molly McCall

When we imagine an exceptional camera, rarely does our mind transfix on an inexpensive Hong Kong made instrument, but the Holga is no ordinary camera, nor are professional photographers its typical user. Carmel Valley based artist, Molly McCall, is one of the devices greatest advocates. To learn more about the Holga’s unique properties we sat down with McCall for a deep dive Q&A on how she captured the natural beauty of Aspen through her Holga’s lens.

How did you learn about the Holga camera?

“A fellow darkroom photographer first introduced me to the Holga camera and I was instantly interested in the effects of the plastic lens because of the diffusion and optical distortion that it created. I was already using my other film cameras with a soft-focus technique, so the possibility of taking that further was intriguing to me. The ephemeral images that come from the Holga perfectly conveyed my interest in exploring memory and the passage of time.

There’s a spontaneity that I felt when I first starting using a Holga camera in 2004. It’s as if my interest in photography had fallen asleep, and suddenly it was awakened. There’s nothing precise or planned with a Holga; it’s all about chance; and it allows room for experimentation. I had studied antiquarian photographic processes in art school in Laguna Beach and later discovered pictorialism, an artistic photography movement from the late 19th and early 20th centuries that emphasized using photography to mimic painting. I was immediately drawn to this transitional art period when photography was beginning to be thought of as a creative process rather than purely for documentation. I quickly could see that the Holga provided an image that I could incorporate with other artistic techniques.

The loose definition of subjects and the distortion around the edges gave me a doorway into a more creative way to work with my photos. Finally, I could marry my two interests—painting and photography—which I had been chasing for decades.”

What was the inspiration for this series on Aspen?

“I have a great reverence for nature and the landscape; the endless cycles of life and change all hold poetic meaning for me. As my travels are usually planned around the natural landscape, parks, mountain ranges, water, etc., I like to read about the history of these places and the influence that their natural beauty had on other artists, writers, and explorers. My work almost always begins with a literary reference, a poem, or a title, which opens up the door to begin a dialogue.

These Aspen images are part of my fascination with the West, and the natural beauty that drew pioneers this way; the expansive sense of freedom to build a life and an identity of one’s own choosing; to be closer to nature, animals, and the elements. It’s all very poetic to me and I found Aspen presented a unique landscape with the native Aspen trees, which hold such energy and inspiration. The way the light reflects off the light bark and dances through the delicate lacy leaf formations is extraordinary.

The mountains are equally as powerful, with their glacial striations and formations reflecting time and history, and most of all, possibility. My work often includes themes of memory, beauty, the passage of time, and belonging, which have all been present in my imagery over the past two decades. The combination of the Holga imagery with the encaustic medium creates a beautiful ethereal veil that humanizes those thoughts. The wax adds a warm, tactile surface while diffusing the image underneath, and slightly abstracts the imagery in a way that allows room for the viewer to place their own feelings into it. It’s a slow, evolving process that requires a lot of patience and waiting, and I find the work is more of a conversation as a result of the added layers.”

When you went to Aspen, did you only take the Holga?

“Yes. The Holga became my travel camera because it is so lightweight. The meniscus lens creates really interesting effects with natural matter, so it became my camera to use for landscape very easily. Using the Holga has also become part of my overall creative process— the spontaneity of image making is more exciting to me with a Holga than using any of my conventional cameras. The randomness of the results are like “living on the edge,” and with a Holga, there is only one shot, there is no backup, like a digital camera with a chance to capture multiple images. With all its quirks and oddities, you hope something odd happens—some light leak, or distortion—it’s what sets a Holga image apart.”

How did you create these images of Aspen?

“I had a studio visit with a friend from Aspen last spring and was showing her my recent work taken locally in Carmel while hiking during the COVID lockdown. Lushly treed landscapes, with oil paint and wax. She mentioned that she would like something similar, but for her house in Aspen, and could I send her some ideas. I immediately thought of these Holga images that I shot in Aspen while traveling with my husband through Colorado several years ago en route to his godfather’s ranch in Montana. I asked her to send me photos of the walls where the images would be installed, and using Photoshop, I dropped my images onto her photos, and she could see exactly what they would look like in place. I sent her several choices and she chose the diptych titled “Unintended glimpse”, a phrase I borrowed from a John O’Donohue poem.

The process I chose for this diptych included several steps starting with the original film negative shot with the Holga camera, scanning, printing on to archival canvas, then stretching the images over two Birch Wood panels. The canvas images were then covered in layers of encaustic medium, a combination of natural beeswax and Damar resin.

Using a gas handheld blowtorch, the wax was slowly melted away using a natural goat bristle paintbrush, revealing the images underneath, excavating the photographs through the cloudy, diffused wax. The process is similar to dodging and burning in the darkroom, as you select areas of importance in the image to reveal, and conceal others with the opaqueness of the wax. After many experiments, I realized that encaustic was the perfect, natural medium to complete my photographs. I’ve worked with many different surface materials such as resin, varnish, fiberglass, cold wax, gel medium, and glue, but I like this soft diffused effect from the encaustic the most.”

IMAGES COURTESY OF: MOLLY MCCALL

From DRC to Petrus – Sotherby’s is Set to Auction a Remarkable Single Cellar Collection

An impressive collection of European wines are set to be auctioned at Sotheby’s Hong Kong on May 28^th of this year. The 970 lot auction, which is estimated to fetch a total of between $7.7 and $10.6 million USD, are the contents of a single cellar assembled through decades of visionary collecting. Rare and impressive labels span three centuries, and include Domaine de la Romanée-Conti, Lafite Rothschild, and Yquem, among others. Through the development of personal relationships with premiere producers and a passion for academic collecting, a devoted connoisseur amassed this enviable cellar.

“It is a great privilege for us to be entrusted with the sale of such an extraordinary cellar, one of the most historic collections to come to market in recent memory. Both in terms of scale and provenance, this collection is a glorious testament to a visionary collector. But as so often happens, that passion can lead to cellar overcrowding, resulting in a truly wonderful opportunity for wine lovers from across the world to appreciate and nurture these spectacular bottles,” said Adam Bilbey, Head of Sotheby’s Wine & Spirits, Asia and Europe.

This auction presents a unique opportunity for aficionados and devoted collectors to season their cellars with some of the most brilliant wine from the best French producers. The Bordeaux collection boasts 63 lots of Petrus, which span nearly one century and include the ultra coveted 1945 and 1947 vintages; not to mention a brilliant collection of 83 lots of God’s golden nectar, Chateau Yquem, with vintages dating back to 1865. Additional noteworthy lots include two bottles of 1898 Chateau Lafite Rothschild and a host of vintages by Mouton Rothschild that are available in a wide variety of formats.

An exceptional collection of Burgundies includes 75 lots of Domaine de la Romanée-Conti span seven decades and are estimated to fetch over $900,000 USD. The DRC lots include a 12 bottle case of La Tâche 1985 and a single bottle of Romanée Conti 1990 in its original wooden case. On the other hand, devoted followers of Henri Jayer will be pleased to see 75 unique lots by the maker (estimated in excess of $3.8 million USD). The Henri Jayer lots include 29 lots of Vosne-Romanée Cros Parantoux, including a 1978 in magnum, 1990 in magnum, and 1999 in original carton.

Alsacian collectors will take note of the one dozen lots Trimbach spread across 40 years and include 10 lots of Trimbach Clos Ste Hune. All said, this truly remarkable auction is one of the most impressive offerings of elite French wines in recent history.

Images Courtesy of: Sotherby’s

Talking Art with Trevor Martin of Post Gallery

When we imagine a great cultural exhibition, rarely does our mind transport us to a resort art gallery, but Post Gallery is no ordinary gallery, nor is Post Ranch Inn an ordinary resort.  The Post Gallery which is situated near the center of the 100 acre property that is Post Ranch Inn is an exciting cultural oasis in the no man’s land of Big Sur, California. Post Ranch, seated prominently on a ridge that is 2,000 feet above the Pacific Ocean enjoys the surrounding of nature’s bounty. The Post Gallery’s Director, Trevor Martin describes the environment of his gallery as being “surrounded by coniferous forests and meadows, with a multitude of resident species including deer, raptors, turkeys and the occasional bobcat.” The gallery has some rather interesting neighbors too, being just adjacent to the resort’s furniture workshop and a garden for Sierra Mar, Big Sur’s premiere dining destination.

Trevor Martin, previously of FIFTY24SF Gallery in San Francisco, takes a unifying approach of transcendence and love to his exhibitions at Post Gallery. Martin, whose passion is immediately apparent when describing the space, is quick to credit the Gallery and neighboring garden as the “soul, or spiritual center, of Post Ranch Inn.” The Gallery which is filled with unique fine jewelry, photography, and sculpture is curated through a collaborative approach that Martin shares with Post Ranch Inn Founder, Mike Freed, Buyer, Stacy Lauer, and local artist Trevor Meeker. Together the team selects what Martin calls “exquisitely hand-crafted products and objets d’art that are synonymous with the experience we create for our guests here at Post Ranch.”

To learn more about Trevor Martin and his unique approach to the Post Gallery, read our Q&A below.

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Do you employ any particular philosophy when selecting new pieces?

“While we represent artists across a wide range of styles, universal criteria that we employ when selecting new pieces include: excellence in execution, unequivocally representative of the artist’s unique voice, and restraint. As far as exhibitions are concerned, we look for continuity, character development, rich storytelling, and a cohesive narrative that takes the viewer on a mini-journey within their experience here at Post Ranch.”

What special step do you take to ensure an exhibit, or piece truly connects with the environment at Big Sur?

“Our visionary founder, Mike Freed, laid the groundwork for what Post Ranch has become today back in the 80s. Having worked with renowned architect Mickey Muennig to create a unique design language throughout the property, we rely on the framework of the environment and buildings themselves to inform the artwork selected. Our goal is that each exhibit or piece be intrinsically connected to the original vision and current spirit of the environment at Post Ranch.”

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With the reality of most resort galleries being rather mundane, to what specific element do you credit your unique inventiveness?

“We are lucky to have local artists and friends of Post Ranch who are incredibly creative individuals. We feel a responsibility to honor the incredible beauty, both natural and man-made, that surrounds us here, challenging us to select works of art befitting of this special place. One artist that exemplifies this is Trevor Meeker, who also happens to be the Curator of the entire property. He has worked as a fine artist locally for the last 20 years, creating collages of recycled metal, and producing truly incredible work. He creates vibrantly colorful, painstakingly crafted works of art from discarded metal that would otherwise have been melted down or ended up in a dump.”

One specific element that truly sparkles, is your collection of fine jewelry by artist Sasha Samuels. Can you tell us about some of your favorite pieces from the collection?

“My favorite thing about Sasha’s work is its connection to the artist, herself. I asked her one day, “How do you even do that?” To which she answered, “Just 40 years of hard work, is all.” I am humbled by the opportunity to represent an artist with the uncommon ability to master ancient techniques, such as Etruscan-style 22k gold granulation. Her expertise and artistry was recognized with “The Contemporary Etruscan Jewel” award from the Museo Archeologico Nazionale, located in Pontecagnano, Salerno, Italy.

The amazing thing about Sasha is that she has achieved an extremely high level of specialization while still managing to produce exceptionally well-executed work across a wide spectrum of styles, ranging from art nouveau, to art deco, to avant garde. Unlike many artists who tend to stick to one discipline, she is always challenging herself and seeking new inspiration; you never know what kind of work she’s going to surprise you with next. Her eye is unparalleled and her technique unrivaled.

I am particularly fond of the Tanzanite Wave Ring that features a superb trillion-cut tanzanite stone. The contrast of the deep violet with the 22-carat granulated gold bezel is scintillating. However, the Watermelon Tourmaline Shard Suite really takes the prize. Just the pure audacity required of someone to even consider attempting such a creation is hard to fathom. In this suite, Sasha has beautifully brought together a set of hand-fabricated, geometric, gold-linked earrings and matching bracelet with a jaw dropping shard necklace. The bracelet hooks into the necklace modularly to extend it if desired, and the cohesive design language throughout makes for a one-of-a-kind treasure. “Cosmic high-priestess” comes to mind when attempting to describe this beauty.”

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In addition to jewelry and sculpture, the gallery also showcases black and white photography, with that said; can you walk us through your latest exhibit by Robert Knight?

“Robert is one of our most talented local artists who has a fine art photography gallery located in Carmel. Not only is he full of positivity and love for his craft, he’s truly a joy to work with. In the current exhibition entitled “Spiritus,” Robert takes us on a spiritual exploration of his journies to Bhutan and Myanmar during some of their more peaceful times. Robert’s artist statement says it best:”

“I see my work as opportunities in mindfulness. Each photograph is a meditation. The work on display is from journeys to Myanmar and Bhutan.  The prints are celebrations of the people and icons of these countries, honoring their devotion to Buddhism. The prints are expressions of this connection and moments on the path to enlightenment.” 

“I hope the photographs provide a peaceful emotional response when viewing them. For me they feel like an opportunity to take a deep breath and remember the importance of awareness and compassion.”

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One piece that visitors find difficult not to be infatuated by, is a drawing of a dystopian scene of Paris, titled MORIAPOLIS by Octave Marsal and Theo De Gueltzl. How do you believe this specific piece fits into the collection at Post?

“Yes, these two young artists are on-fire at the moment, having recently completed some very impressive product collaborations with the French luxury designer, Hermés. We are truly lucky to have had the opportunity to collaborate with Theo and Octave on exhibiting this piece, entitled MORIAPOLIS, which is a “4 handed” pen & ink drawing (they happen to be ambidextrous) that took over a year to complete. This massive and mind-bendingly complex drawing fits squarely into our sustainability ethos which has been part of Post Ranch Inn since its inception. It’s a foreboding warning against global-warming, outlining the aftermath of a mysterious cataclysmic event in 2106 that left the human race with only fragments of nature, preserved within giant glass terraria. The inspiration for this piece came from the phantasmagorical novels of Thomas More and Yevgeny Zamyatin.”

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What’s next for the Gallery?

“We are just finishing the installation around 20 large-scale bronze sculptures throughout the property by a group of Bay Area based artists including Jud Bergeron, Mars-1, Wayne Shaffer, Albert Dicruttalo and Grant Irish. The work ranges from cubic/geometric, to industrial, to wildly psychedelic, to dystopian hyper-futuristic. We can’t wait to share it with our guests our ongoing guided art tours , every Friday and Saturday at 1:30pm.

Where can we follow you?

IG @PostGalleryBigSur / Postranchinn.com

Images Courtesy of: The Extravagant & Post Ranch

‘Art In Resonance’ At The Peninsula Bangkok

An impressive collection of embroidered works crafted by Narissara Pianwimungsa are now on display at the Peninsula Bangkok. The exhibit, which is on display until March 31^st 2021, was commissioned by The Peninsula Hotels’ global art programme that focuses on collaborations with local artists to deliver a unique, artistic experience. Through this program, the Peninsula hosts artists in residence that are able to utilize the hotel’s studio and interact with guests and visitors regularly.

Currently on display in the lobby and studio, Pianwimungsa’s ‘Gravity of Thoughts’ series is comprised of 3 works of sculptural embroidery completed by the artist during her stay at The Peninsula Bangkok. The Thai born artist brought together all of her passions, such as “poetry, drawings and paintings.” The resilence of nature and the fragility of human life were also central concepts explored by the artist. Another avenue of inspiration was the artist’s routine travels across Bangkok’s Chao Phraya River.

“During these rides I could feel the constant flow of nature, which endures no matter how many changes affect human life,” Ms. Pianwimungsa said. “Sometimes the flow appears gentle; other times it seems harsh. But there is a balance to it, and to life. This balance is what ‘Gravity of Thoughts‘ explores.”

Two works hang in the hotel lobby and bring forth a clear representation of nature’s infallibility and the fragility of human life. The most significant piece in the series is a fabric sculpture, which is located in the hotel’s artist studio. The work, being weighted to ensure precise balance, hangs from the ceiling. The embroidery depicts open eyes and reminds one of something akin to a flying carpet.

Speaking on the subject of the exhibition, The Peninsula Bangkok’s General Manager explains how the series exemplifies a thought provoking dialogue. “Art programmes such as this allow us to fulfil an important mission,” Mr Sampermans said. “As well as providing artistic enrichment to our visitors with exhibits, artist talks, and studio visits, we are also supporting local working artists – and ensuring the health of the cultural ecosystem in our home city.”

To arrange an Artist Studio Tour at the hotel personally guided by Ms. Pianwimungsa, you can contact The Peninsula Bangkok at +66 2020 2888 or email: pbk@peninsula.com.

Image credit: The Peninsula Hotels

The Louvre Museum Adapts to Extended Closures in Paris

After closing in March 2020, reopening in July 2020, and closing again at the end of October, the famous Louvre Museum remains closed. One of the sectors that has been taking a major hit during COVID-19 is the museum world, due to large gatherings being banned and a lack of travel and tourists. However, the Louvre Museum has launched a series of virtual tours to open up its galleries to patrons from all around the globe.

The virtual museum visits resemble Google Maps Street View and your computer screen places you in the gallery itself. Rather than simply showing the pieces on your screen, the Louvre’s virtual tours let you click to walk down the halls and imagine yourself strolling through the galleries as if you had the entire museum to yourself. This innovative approach is more engaging to the audience than a simple slideshow.

Some of the highlights include a stroll in the Petite Galerie with works by French Romantic Painter Eugène Delacroix and Dutch master Rembrandt. Another highlight in this collection is Self Portrait with Her Daughter, Julie (Madame Vigée Le Brun et sa fille) a portrait by French portrait painter Élisabeth Vigée Le Brun. This work, characteristic of the Rococo period, is an intimate self portrait of Le Brun and her daughter, encircled in an embrace.

Another virtual visit takes victors to the world-famous Sully Wing to view the Louvre’s extensive Egyptian Antiquities collection. The museum even offers a visit of the Louvre itself—a virtual tour of the original fortress built by French king Philippe Auguste, which is now in the basement of the museum.

While virtual visits are no substitute for the in person experience, the Louvre’s detail oriented and interactive virtual tours are a great way to get up close to some of the Louvre’s most famous pieces without the crowds.

Source: https://www.louvre.fr/en/visites-en-ligne

_{Image Credit: Vlada Karpovich provided via Pexels}

Talking Fine Porcelain With Carleigh Queenth of Christie’s

From the Marly Rouge 19th Century Sevres dessert service for Napoleon I to the the 18th Century Nymphenburg porcelain trompe l’oeil dinner service from the private collection of Jayne Wrightsman; pieces of fine decorative art such as these are more than meets the eye. What may appear to be merely a beautiful service of fine porcelain, may in many cases hold a deeper story. Whether that be a comedic hand painted pattern or an interesting story behind the reason for their creation. Fine porcelain services made by Haviland Limoges for American Presidents or Sevres for French Monarchs have witnessed a great deal. These pieces of history have often been privy to world shaping conversations, and certainly do possess a story worth telling.

Today collecting fine porcelain is not simply a process of gathering rare and splendidly crafted decorative arts, but a lifestyle one creates for themselves. To explore what is an often overlooked category of collecting, we’d like to introduce you to Carleigh Queenth, Christie’s Head of Ceramics, who has carried a passion for porcelain since childhood. Growing up in a family that held a place for both collecting and creating ceramics in their hearts, it is no surprise that this talented 18th to 19th Century ceramics expert continues to inspire collectors with her passion and extensive knowledge. We hope the below Q&A will inspire you to consider exploring, touching, and investing in fine ceramic arts.

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What advice would you give to someone who is just beginning their journey into the world of collecting fine ceramics and glass?

“I would tell people to buy what they love, and not to be scared of breaking items—I find the more nervous you are around objects, the more likely you are to drop or break something.  Also, don’t be afraid to walk into a dealer’s shop or into an auction preview and ask lots of questions. As a specialist, I’m always happy to educate others on my area of expertise, and I know my colleagues at Christie’s feel the same.“

When it comes to porcelain services, what advice would you give collectors? What in particular should we be paying attention to?

“My advice is to use them!  Stop waiting for a special occasion and live fabulously every day.  If you are new to buying antique china, you should always ask for a condition report.  A few chips here and there may be fine, but you want to make sure there aren’t too many cracked plates and that the items are fit for use.  Also look out for restoration, which could be fine if you just want to display the pieces in a cabinet or on a wall, but potentially toxic if you plan on eating off them.“

How should we go about living with these objects that some would say are “too nice” or “to valuable” to use in everyday life?

“I would say if they are “nice” and/or valuable, you will get far more value for your money enjoying them day to day than only bringing them out for special occasions.  Think of how often your grandparents or parents used their “special” china—probably not very often.  They would have gotten far more joy from those objects if they enjoyed them regularly.” 

Marly Rouge 19th Century Sevres dessert service

Today are you seeing more collectors looking to use and truly live with pieces or is their focus geared more towards the investment potential of these fine decorative arts?

“For a long time there seemed to be a need for collectors of 18^th and 19^th century furniture to create perfect period rooms in their homes, which could sometimes feel like living in a museum. The trend today is to create interiors with a mix of items from different dates and styles for a fresher look, and collectors are truly living with them.  Having older pieces in your home makes a statement, and creates wonderful experiences for you and your guests– reading your favorite book in a comfy Louis XVI bergère or letting your guests drink out of 19^th century glasses turn ordinary activities into something a bit more special.  It’s also green/sustainable to live with pieces from auction—you get to enjoy well made pieces that have been around for hundreds of years, and will be for hundreds more, rather than something that has just been manufactured.  You just need to remember to treat them gently; you are their steward, and someday someone else will have them.  It is the opposite of disposable culture.“

Whether it is a dinner service from Sèvres, Royal Minton, Royal Copenhagen, or even Haviland Limoges, we often see such a wide difference in values and levels of collectability. How should we evaluate the importance of a set or pattern?

“Dinner services certainly come in a variety of price points that depend on how many pieces are in the service as well as its age, rarity, and provenance. For example, 18th century Sèvres services can be quite pricey as they have survived hundreds of years and often have detailed factory records that can give important information about who the service was originally made for, whether it be for French nobility or intended as a diplomatic gift. Newly made Royal Copenhagen services in the ‘Flora Danica’ pattern also remain quite expensive as they are, to this day, still beautifully hand painted in Denmark. Their artists look directly at the original 18^th century sheets from the Flora Danica, a compendium of all the plants in Denmark, for inspiration. Most modern services, like those from Bernardaud or Haviland Limoges, can often be obtained for a fraction of their retail price at auction.“

At Christies, you’ve just completed the magnificent Jayne Wrightsman sale; with this in mind, what were some of your favorite pieces from the collection and why?

“My favorite dinner service in the Wrightsman collection was made by the Nymphenburg manufactory in Germany and dates to the late 18^th century.  It has fabulous trompe l’oeil decoration—each piece was painted to look like a different tattered monochrome landscape drawing nailed to a wooden board. It’s simultaneously rustic and incredibly chic. As far as individual objects go, my favorite item is probably a small Meissen snuff-box made to look like a rat seated on a cushion—there is one nearly identical to it at the Metropolitan Museum of Art.“

18th Century German Dinner Service with trompe l’oeil decoration

What are some pieces that are really becoming more appreciated at the moment and what are some that you are starting to see fall from popularity?

“To be quite honest, there has been a real uptick across most categories in the decorative arts since Covid began.  With people spending more time at home, they are thinking about enhancing their living spaces.  People are starting to shy away from minimalist tendencies now that most of their experiences are at home.“

Anything upcoming that we can look forward to seeing from you or Christies soon?

“At the end of January, we will have two auctions dedicated to the collection of Mr. & Mrs. John H. Gutfreund– they had an amazing 12,000 square foot apartment at 834 Fifth Avenue designed by Henri Samuel that overlooked the Central Park Zoo.  The collection includes lots of wonderful dining wares, and the online sale will be specially dedicated to the theme of entertaining at home.“

Where can we follow you? “You can follow me on Instagram at @breakingisbad.“

Images Courtesy of: CHRISTIE’S IMAGES LTD 2020

This Renaissance Masterpiece Could Fetch Around 100 Million

Renowned Renaissance artist, Sandro Botticelli, who is possibly best known for creating the Birth of Venus, has been thrusted into the spotlight this Winter. A portrait painted by the Renaissance master is set to hit the auction block this coming January, and may become one of the world’s most impressive sale records for a Renaissance work. Some experts believe Sandro Botticelli’s portrait of a Young Man Holding a Roundel may fetch close to $100 million (USD).

Offered  by Sotheby’s, Young Man Holding a Roundel is being compared by the auction house to some of the 20^th and 21^st centuries most impressive auction lots, including “Gustav Klimt’s Portrait of Adele Bloch-Bauer II (sold in 2006 for $87.9 million) and Van Gogh’s Portrait of Dr Gachet (sold in 1990 for $82.5 million).” The work will be the highlight of Sotheby’s annual Masters Week sales series in New York during January 2021. Botticelli is renowned for exemplifying the human figure as the center of Renaissance art, particularly with the Birth of Venus. Young Man Holding a Roundel is no exception to this legacy, and stands as a masterpiece of Renaissance art in and of itself. The works masterful execution combined with dramatic colors and formidable yet atypical simplicity leave it in a unique class of its own.

“In the popular imagination, no other painter evokes the golden age of the Florentine Renaissance more powerfully than Sandro Botticelli. His Birth of Venus and Primavera are among the most famous works in the canon of Western Art. His nymphs, goddesses, Madonnas and saints populate our imagination as representatives of the rebirth of science, art, and literature in a city that laid the foundation for the modern world. It is in his portraits, however, that Botticelli most clearly opens a window onto the world of Renaissance Florence – never more so than in Young Man Holding a Roundel, a painting that encapsulates the intellectual, courtly and humanistic virtues that define the Italian Renaissance.” Stated Christopher Apostle, Head of Sotheby’s Old Master Paintings Department, New York.

Over the last few decades, Young Man Holding a Roundel has been displayed most notably at the National Gallery in London, the National Gallery of Art in Washington, D.C., and the Metropolitan Museum of Art in New York. According to Sotheby’s, the painting was first documented in the collection of Lord Newborough at Caernarfon in Wales. It is believed to have been acquired by the Lord’s ancestor Sir Thomas Wynn, 1st Lord Newborough (1736-1807), who resided in Tuscany for sometime. In 1935 the work was sold by a London art dealer to a private collector, whose heirs in turn sold the work to its present owner for £810,000 in 1982.

Images Courtesy of: Sotheby’s

The Evolution of Fine Art Galleries During COVID-19: An Interview with Johann König

Thirty-nine year old German Art Dealer Johann König has built a collection of galleries in Berlin, London and Tokyo, as well as a significant following on a concept that is almost entirely nonexistent in the art world: “transparency”. In a recent interview to discuss the effects of the Global Pandemic on art galleries, Mr. König told us “I think we are able to introduce a lot of new people into the art market.” He went on to explain that providing straightforward transparent pricing is instrumental to König’s success, adding that “we could see that especially it was newcomers into the market, like people from the start-up tech scene. It is much easier for them to enter via transparent [pricing] than if it is behind closed doors.”

Born to a family of artists and museum directors, Mr. König founded his gallery in Berlin nearly two decades ago. Today KÖNIG GALERIE represents a group of 40 mainly young modern, interdisciplinary artists. Instillations at König’s galleries range from a mix of sculpture, video, sound, painting, printmaking, photography to live performance. Over the course of the last decade, the gallery has experienced considerable growth opening 3 premiere locations in the most unconventional of spaces. Despite being partially blinded due to a childhood accident, almost nothing seems to stand in the way of one of our generations most prolific modern art dealers.

To learn more about König and the current climate of the art market during Covid 19, please read on to our Q&A to immerse yourself in one of today’s most exciting galleries.

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For those of us who are not already familiar with KÖNIG, how would you describe your gallery?

“I think we are more of a media house or a kind of communication amplifier for art [rather than a typical gallery]… We really try to bring art to the people on all levels.”

Can you tell us how the pandemic has affected your day to day at KÖNIG Galerie?

“We kind of answered the pandemic with new ideas like the art show “Messe in St. Agnes”, that translates to ‘St. Agnes Fair for Contemporary Art’, which [lasted until the 20^th] and [brought] together works from the primary and secondary art market. [This] was the answer to the effect that all major art shows were canceled. And then another thing, which [was] kind of [an] idea born in the pandemic: Instagram Live Talks, I always wanted to do it in the evening, but then my wife said “why can’t you do it at work hours?” And then I did it at 10 A.M. in lockdown [hence the name 10 AM Series].

But [it] was worse in the evening because it was always 10 A.M. where my guests [that] I talked to came from; so it was artists, museum people, and [curators], but always kind of surrounded [by] art. Later on we even started to [host] open calls because I started [to feel it’s] very difficult for these artists that have no spokesperson and no gallery. I tried to give them a form in hosting these open calls where random artists can just join and present their works to a wider audience, and apparently great things came out of it, like sales. I mean not to us, but to them, and group participations. So it was kind of a digital community building.”

Have these digital forms of communication reached a new type of collector than KÖNIG has reached in the past, or are you connecting with the same type of collectors and just reaching them in a different way?

“I think I had this conversation yesterday with a very big collector of ours, who because of [how] Art Basel was [cancelled], we held the first edition of “Messe in St. Agnes” in Berlin at the exact same time Art Basel would have taken place in June. For knowledgeable and established collectors, they know what’s behind every gallery name. But I think that if you look at the growth of luxury products, in the end art is a luxury product because we really need it to live, but in the end we don’t really need it.

If you look at the developments in the [luxury] market [with] watches, cars, clothing, leather goods and so on, [they are] really rising, but art is kind of staggering. I think that has to do with the [lack of] transparency and opaqueness of the market; and with these conversations we had with artists and collectors and so on, people start to understand how that market functions. I think this applies to every market, if you understand how it works, then you can navigate in it. I don’t know why so many art market participants try to keep it opaque because I don’t see any reason for it to be not accessible. The more accessible it is, the more it can grow and the more it gives artists the chance to make a living out of their art.”

Have all of your Galleries been affected in the same way regardless of their location? Or have you observed differences based on each of the individual markets they cater to?

“I think we [in Berlin] for example aren’t so affected because I own the building [that] I am in, but the ones who have to maintain very expensive high streets, they aren’t. For [another] example, we also have a gallery in London; some gallery owners in London, [whom] rent from Grosvenor are rent-free now because the Grosvenor doesn’t want to have this kind of broken window theory, you know that [the galleries] will move out due to the pandemic and then all the tenants are gone, but [the] Kuwaiti Fund which [owns] the other side of the street insists on payment [of] rent. It’s really hard to say, but I think we in Germany are doing pretty well overall.”

Would you say the same in Tokyo and London as well?

“No, no. I mean Tokyo was pretty difficult also because of the cancelled Olympics and London is like a ghost town right now. And here in Berlin it [feels] pretty much as normal as always, but also the government spent a lot of money on the arts. Like if you are a mother or a single father and [are] artists and have kids, there is 1.5 million support umbrella for this. Then there was this immediate payment for artists who have no income. What’s interesting in the beginning is that we are all in this pandemic together, which we are of course because the whole world was in a lockdown, but I think that the social net is so much stronger in Germany than in the US for example.”

Have you noticed a change in the way clients acquire works?

“I think there are purchases made online, but I think only because [the collector] encountered the original body of work [by that artist] before [in-person]. So you know that somehow the people have been in-touch with the work already, and not this particular [work], but [others] from the artist. So, I think that the art is a physical experience, and will always be. There’s no way around it, that’s why we came to the idea of our art fair”

Do you believe that the pandemic has only accelerated a more remote way of showing and selling art that was ultimately going to occur eventually?

“I feel the role of a gallery [will] become more irrelevant, and solutions like Instagram offer new ways [for] safe promotion and marketing. I think this is a very interesting development.”

What similarities do KÖNIG’s forthcoming exhibitions share with past pre-pandemic instillations? And how have they evolved for today’s current climate?

“We try to avoid the white space. Our exhibitions in the main space upstairs really try [not to] always cater to this idea of a white cube. I love to do art shows or art projects in non-art spaces. So the space in Berlin is a former church. The space in Tokyo is at the MCM building, which is a luxury store. And then the space in London is in a former parking garage.”

What have been some of the exhibitions that you are doing right now since the pandemic?

“We have a [current exhibition] right now up at the space in Berlin. And then we have the open call show in London, and in Tokyo we just closed a show by Alicja Kwade, who was also [exhibiting] on the roof garden of the Metropolitan Museum.”

Where can we follow you and KÖNIG GALERIE?

“On Instagram of course, and on Facebook and hopefully soon on Netflix, but maybe that’s too early to say.” [Johann can be followed on Instagram @johann.koenig]

Featured Image Credit: Friedrich Kunath, Sensitive Euro Man, 2020, KÖNIG GALERIE NAVE, exhibition view, photo by Roman März, courtesy of the artist and KÖNIG GALERIE Berlin, London, Tokyo