Art and Auction Magazine Not Liable... Just Kidding Maybe

In late April and Early May Corice Arman began a media blitz tour to plead her case to the media that Art and Auction photographers had broken an African Nok terracotta sculpture worth $300,000 during a photo shoot. I will admit from the beginning that I don't know who broke the sculpture or in fact if the sculpture is even authentic. I have never examined the figure nor reviewed any of the documentation. But that's the point isn't it. CBS news , New York Post,  GalleristNY, Daily Mail Online (UK),  msn.com, nydailynews.com,  mobilebloomberg.com, chicagotribune.com, downtownexpress.com, uk.reuetrs.com, and I am sure other media outlets all reported the allegations as if they were facts. "Photocrew smashes ancient art, owner sues for $300,000." was the lead from Reuters online in the UK. Unfortunately, this was typical as most of these media outlets certainly left their readers with the impression that 1. Art and Auction photographers broke the terracotta figure 2. The figure was worth $300,000 3. The figure was a very important and very unique object. Now to be fair to the media, the the flashy statement is the lead with the qualifier at the very end. " Corice alleges", "the collector states", "the collector claims" are typical disclaimers. Obviously the disaster is far sexier than the disclaimer.. But is it really?

Again I have no idea what happened. But what if the photographers didn't break it? Or what if  the African masterpiece is a fake?  That could make a pretty interesting story in itself. And what about the obvious questions that were completely missed.  The shoot was on May 12, 2011, a year ago. Where are the fragments? Did they stay in Arman's apartment? Have the fragments been tested? If so are we sure the fragments are the fragments from the broken sculpture? What is the chain of custody from the time of the breakage until the filing of the law suit? Corice Arman said her insurance company had rejected her claim. Was the sculpture scheduled and covered for breakage in the home? Why didn't someone ask this? I can only guess why presumably intelligent reporters missed so much in such a short time. The story is infinitely more interesting when the reader can consider all the possibilities.

Certainly a mantra for this newsletter and blog is to not be intimidated by anyone and to at least ask yourself the logical questions before you make your art related  decisions.

Tribal Art Notes for February 2012

1. Bonhams has not made a significant commitment into the recently hot Oceanic field until now. They can hope to repeat this success in future African sales.
SAN FRANCISCO, CA.- Bonhams inaugural auction solely devoted to Oceanic Art, February 11 in San Francisco, was led by the sale of a rare and important Rarotonga or Atiu pole-club, 'akatara,' of the Cook Islands, which achieved $146,500 - far exceeding its pre-sale estimate of $75,000-$100,000.
The pole-club is carved from the heart (taiki) of the toa (ironwood) tree with an exquisitely carved broad, scalloped blade with a needle-form tip. Its collar has two "eye" motifs on each side and its butt features chevron design. It is beautifully finished with a rich, dark-brown patina. It has provenance from Arthur Sewall (1835-1900) of Bath, Maine; thence by descent. Seawall was candidate for Vice President of the United States with William Bryan in 1896, and was one of the earliest and most prominent shipbuilders of Bath.

Additional highlights among the auction’s 150 lots of unique and fresh-to-the-market works from Polynesia, Melanesia, Micronesia, Indonesia and Australia, included a Maori greenstone amulet, hei tiki, from New Zealand, that sold for $21,250 against its pre-sale estimate of $6,000-$8,000. The amulet, measuring 3 3/8 in. tall, is finely carved, likely without the use of metal tools, with paua shell-inlay eyes.
Also a success was the $10,625 sale of a rare Telefomin shield from Papua New Guinea (pre-sale est. $8,000-$12,000). The shield was field collected, circa 1960, by Wayne Heathcote and was acquired by the present owner’s family in 1967. It is stone carved in high relief with motifs possibly representing a flying fox (sagaam); it is highlighted on the front with dark-brown, red-orange and white pigments.
Of the auction, Fredric Backlar, Specialist of African, Oceanic & Pre-Columbian Art at Bonhams, said, “We are extremely pleased with the results of today’s inaugural auction of Oceanic art in San Francisco; the Gateway to the Pacific. There was spirited bidding from both domestic and international collectors, many of which were first-time bidders, illustrating the continued growing demand for good quality, unique and fresh-to-the-market works of art at all price levels.”
Also, he added, “We were pleased to see many new and experienced collectors and dealers in town for the plethora of Tribal Art-related events that took place both at the De Young Museum and the San Francisco Tribal & Textile Arts show. After the auction, we were pleasantly surprised to experience brisk post-sale transactions.”
Weapons and tools saw much success in the auction, with such sales as a Cuirass and Sword, Tabiteuea Atol, Gilbert Islands (Kiribati), Cuirass, that brought $8,125 against its pre-sale estimate of $3,000-$5,000; a large and rare Ritual Shark Hook, gaung'akao, of Rennell Island that brought $6,250 (pre-sale est. $4,000-$6,000); a large Bone Fish Hook, makau iwi kanaka, Hawaiian Islands that took in $5,250, (pre-sale est. $5,000-$7,000); and a large Food Pounder, Micronesia that took in $4,750 (pre-sale est. $5,000-$7,000).
More of the auction’s success came with the $8,500 sale of a Hawaiian Quilt, “Ka Makani Kipuupuu O Waimea” (Crackling Wind of Waimea), a fine hand appliqué construction in navy blue over white cotton, made in 1936 by Mildred Isabelle Gross (pre-sale est. $2,000-$3,000); a finely detailed Rare Dayak Ritual Calendar/Oracle Tablet from Borneo Island, carved on both sides with ritual symbols, that sold for $3,750 (pre-sale est. $2,500-$3,500); and a rare French Exhibition Poster, "EXPOSITION ETHNOGRAPHIQUE DES COLONIES FRANCAISES," of the Museum National D'Histoire Naturelle, Le 20 Mai 1931, that realized $3,750 (pre-sale est. $4,000-$6,000).

2. The Walters Museum's  Pre-Columbian exhibition of the John Bourne features a major donation to the the museum that is intrigyuing in lighet of the American Association of Museum Directors acquisition guidelines for Pre-Columbian art  and their suggestion that all objects be listed in their online directory.  See article in this Newsletter
BALTIMORE, MD.- The Walters Art Museum presents Exploring Art of the Ancient Americas: The John Bourne Collection Gift an exhibition of 135 artworks from cultures that rose and fell in Mexico, Central America and Andean South America from 1200 B.C.–A.D. 1530. Drawn from the collection of John Bourne recently gifted to the Walters, this exhibition, on view February 12–May 20, 2012, expresses each culture’s distinctive aesthetics, worldview and spiritual ideologies.

Modern historians group the many ancient societies south of the United States into three great traditions based on ancient geo-politics and patterns of shared cultural features: Mesoamerica, Central America and Andean South America. The exhibition features artworks as illustrations of the societies’ fundamental principles such as the shamanic foundation of rulership in Mesoamerica, Costa Rica and Panama, and the cosmic principles embodied by gold and silver in Colombia, Ecuador and Peru. Artists expressed each society’s uniqueness in novel forms of monumental and portable art of human figures, spiritual beings and deities, and companions of daily life such as dogs, made from stone, clay, precious metals and fibers.
Exploring Art of the Ancient Americas touches on the performative nature of politics and religion—performance being a key mechanism for strengthening bonds of community and religious belief. The exhibition features the imaginative musical instruments used during these events and emotive portrayals of performers—from kings to commoners.
“Before mass communication such as television, the internet or smart phones, performance was a vital public device for real-time communication of a culture’s social, political and ideological beliefs,” said Curatorial Consultant for Art of the Ancient Americas Dorie Reents-Budet. “In the ancient Americas, as elsewhere in world history, performance communicates group identity and reinforces social hierarchy, political power and other key characteristics of a society.
This exhibition features selections from collector John Bourne, who was among the initial explorers to probe deep into the hilly jungles of southern Mexico. Traveling with adventurer Carlos (Herman Charles) Frey and photographer Giles Healy, they were among the first Westerners to visit Bonampak, the now famous Maya site celebrated for its three-roomed royal building whose interior walls are covered with murals recording a battle and public rituals concerning royal political history at the site during the eighth century. Bourne became enamored of the creative expressiveness of the Maya—and of all peoples of the ancient Americas—perceiving the works as equal to any artistic tradition in the world.
“Without question, this gift from John Bourne marks a great milestone in the Walters’ 70-year history,” said Director Gary Vikan. “In the decades to come, the museum will be at the national forefront in exploring and sharing with the public the rich cultural history of the great ancient civilizations of the Western Hemisphere.”
This exhibition has been made possible through the generous contributions of John Bourne, the Women’s Committee of the Walters Art Museum, the Selz Foundation and the Ziff Family, through its endowed exhibition fund for the arts of the ancient Americas.
Highlighted artworks include:
Mother and Child
(100 B.C.–A.D. 200) These cream-slipped figures were created during the culmination of the shaft tomb tradition in West Mexico, when tombs were filled with figural sculptures and pottery vessels. This woman proudly supports her son standing upon her lap, the sculpture being an informal yet stately expression of the procreative power of women and their lifelong calling as nurturers.
Human Effigy Pendant
(A.D. 400–1500) The medium of choice after A.D. 500, this cast-gold alloy piece portrays a dancing musician, his performance indicated by his bent knees. This finely cast pendant may render a shaman’s spiritual transformation, signified by the serpents emanating from the top of his head.
Llama Effigy
(A.D. 1000–1470) Well-adapted to the extremes of the Andean environment, the llama was at the heart of every Andean home, providing fine wool for warm clothing and being the only beast of burden in the Andes. This engaging earthenware sculpture captures the young animal’s natural inquisitiveness, its white and black face coloration following the Andean principle of duality and balance.

In Memorium - Mort Lipkin - 1926 - 2012

Rebecca and Mort Wedding Day

Mort Lipkin was a very good friend of mine that served both as a valued mentor in Pre-Columbian art and a role model as a tribal art dealer. Mort and Rebecca lived in Amsterdam, London, and Phoenix raising a daughter Linda and a son Bryan. Mort was old school and definitely was glad that he started his business career when he did and did not have to deal with computers, social media, and the internet. Mort told stories of sitting on the floor with banker and Uniontown Pennslyvania collector Jay Leff with fifty pieces spread out waiting to be included in the "package" of objects. Mort and his partner Bob Stolper had fewer problems finding pieces than collectors who were remotely interested in what then was a very new field. And tall tales came from both Mort and Ray Wilegus about the town house in New York with Everett Rassiga, Bob Stolper, and others coming in and out at all hours for both the party and the art. Lipkin was unusual in that he possessed a business and accounting background which are skills alien to many tribal art dealers both then and now. Mort understood buying right and selling for less than top dollar. As a consequence, he had many loyal clients and friends. Occasionally Mort was confronted with bad guys in the guise of collectors or dealers; and he didn't do well with the dark side. In 35 years I never heard a negative word or saw any anger from Mort. It was frustrating as our roles reversed and I would try to get him to fight back, but it just wasn't his way. He remained true to his own code to the moment he had his heart attack worrying about whether he had treated  a client correctly on a business deal. Mort would worry about worrying and could not be consoled. Ironically, the particular question that tormented Mort and triggered this fatal event has proven that Mort was right all along. It would be poetic justice if some Sicilian remedies through our courts could be pursued. But again it was not Mort's way.

Mort's friends, family, and clients will miss Mort as a rare, in his own words, "mensch". The obituary is below. If you have a moment log in and and leave a note for the family. JB

Lipkin, Morton - Obituary
Morton "Mort" Lipkin, 85, of Phoenix, passed on February 15, 2012 of natural causes. Mort was born July 24, 1926 in Brooklyn, NY. He graduated from NYU and proudly served his country in World War II in the Navy. Mort is survived by his wife of 51 years Rebecca, son Brian, daughter Linda (Joe) Freedman and their son and the apple of his eye, his grandson Jacob Standford Freedman. Graveside services will be held Monday, February 20, 2012 at 10:00 a.m. at Green Acres Cemetery, 401 North Hayden Road, Scottsdale, AZ 85257. Arrangements by Sinai Mortuary.
http://www.legacy.com/obituaries/azcentral/obituary.aspx?n=morton-lipkin&pid=155940994

Mort and his daughter Linda at her wedding

Mort and Rebecca at Linda's wedding

African Art March 2012

 

Asante, Ghana, West Africa

Ht. 38 1/2"

c. 1910

Private US Collection

"Ntan (en-tan) bands were popular among the Asante peoples of Ghana between 1920s and 1950s.        They performed on occasions such as naming ceremonies, weddings, funerals and traditional festivals—any event where entertainment was needed. This is in contrast to other musical instruments and performances that were reserved for the court. The term ntan (meaning “bluff” in Twi) does not refer to the drum itself, but rather to the entire event that featured music and the display of carved figurative sculptures representing the chief, queen mother and members of the court. Reflecting the colonial presence of the times on the Gold Coast (present-day Ghana), the sculptural entourage also included figures of colonial officers. " National Museum of African Art, Smithsonian Institution online



Ownership and Authentication of Street Art

We have featured several articles about street art in general and Banksy in particular. The problems associated with street art are unique and to some extent have defied our legal systems. Anny Shaw and The Art Newspaper have done a good job in the article below.


Problems arise over issues of ownership, illegality of street art and the artist’s refusal to sign works
 By Anny Shaw. Market, Issue 232, February 2012
Published online: 16 February 2012

 The pitfalls of authenticating Banksy murals came into focus again last month when it was revealed that the second alleged work by Banksy to hit the streets of Liverpool in the space of three weeks was, in fact, falsely attributed.

Fans and prospective buyers turn to Banksy’s official website (banksy.co.uk) for photographic evidence of murals, and the second work in Liverpool does not appear online. However, the artist neither officially sanctions his murals online, nor signs the actual street works for fear of legal repercussions.
Pest Control, the body that has authenticated Banksy’s gallery works since 2008, states online that it “only deals with legitimate works of art and has no involvement with any kind of illegal activity”. Subsequently, the independent New York-based organisation Vermin was set up to provide certification of Banksy’s outdoor works, although Vermin’s website now appears to be defunct.
As well as the legality of painting in the street, the question of ownership is difficult. Usually, the owner of a building with a Banksy mural owns the work de facto, and so can consign it for sale (although without official authentication from the artist). It is more complicated if, for example, a local authority owns the property or the building has been abandoned, as was the case with a Banksy mural cut from a derelict site in Detroit in May 2010, and due to go on show in the city next month after a lengthy legal dispute over ownership. Artists from the non-profit space 555 Galleries and Studios removed the work from an abandoned car plant owned by Bioresource Inc, a technology company which filed a lawsuit requesting that the 8ft section of wall be returned. The case was settled last September after the gallery paid $2,500 to Bioresource. The mural, which Bioresource argued could be worth more than $100,000, is not for sale, says a gallery spokesman. It is scheduled to be permanently displayed in a 7,000 sq. ft former police station that the gallery is renovating.
The issue of ownership can also give rise to allegations of theft. In December, Leon Lawrence appeared in court accused of cutting Banksy’s Sperm Alarm, 2011, from a wall of London’s Hesperia Hotel. Lawrence, who denies the allegations and is due to stand trial in May, reportedly tried to sell the work on eBay for £17,000.
While some say that the removal of street art is stealing, others call it salvaging. Stephan Keszler, whose gallery in the Hamptons deals in Banksy murals, says many works would be destroyed if they were not removed. He says he has around ten street works, including a door from Berlin priced at $200,000 and a piece from New Orleans priced at $70,000. Keszler was fiercely criticised last August when his gallery, in collaboration with London’s Bankrobber Gallery, brought two public murals by Banksy, neither of which was authenticated, from the West Bank to the US. He says he did not acquire Stop and Search and Wet Dog, both 2007, from the building’s owners, and that they had already been excavated when he took them. Keszler now plans to lend the works to an East Coast museum (see box, right).
The lack of an official authentication process for Banksy’s street works means that auction houses rarely sell them. Gareth Williams, a street art specialist for Bonhams, says: “We don’t handle Banksy’s street pieces as we do not condone their removal. We respect the artist’s belief that these works have been executed for the public to view and appreciate, and understand his unwillingness to commodify them.” Williams says that Bonhams only sells works authenticated by Pest Control, as “potential buyers need to be confident that what they are buying is an authentic work”.
The street artist Ben Eine, who has worked with Banksy for years, says that murals should be left in situ. “The street work we do is not painted to be sold a few years later,” he says. “This is one reason I don’t sign my street stuff, and, like other artists, would never authenticate it—it’s not made to be sold, but to be enjoyed.” Eine is, however, philosophical about the sale of street works: “As with everything of value, someone will want it and someone is always ready to make a profit—that’s life.”