At Phillips auctioneers in November I acquired this Jean-Michel Basquiat canvas, “Arteries of the Left Arm” from 1983 for a California collector.  It is very difficult to find a Basquiat on canvas at this price point and this one came with a conservative estimate for this medium at  $800,000-$1,200,000.

There are many exceptional buys in the Warhol market at present. The “society portraits” are one area where the prices have come down to where you can find very good prices.

Today we’re looking at images of Frida Kahlo’s Self-Portrait from 1933. This is a really rare painting that I acquired for a client at Christie’s New York for $8.6 million dollars. This painting is one of only 29 self-portraits outside of Mexico.

L'Incendie is, unmistakably,a Magritte featuring his hybridized stand of leaf-trees and forest floor strewn with the artist’s signature Surrealist “iron bells.”

At times, what I use as a barometer for the strength of a work of art is to pose the question “Could I write a thesis about this work?”  With Warhol you have a lot to work with in this regard —from his own history and body of work, to the emergence of Pop art, to the subject itself. 

Sometimes I use a tool to test the barometer of a work of art by asking myself “could I write a thesis about this work?” With Oscar Murillo’s “surge” paintings one does not have to look too far to find a network of threads to pull on.

At the center of my art advisory practice is research. I focus on not only recognizing what is universally considered of quality but also by mining art history for what opportunities may be hiding in plain sight. Richard Pousette-Dart’s “By the River” (1974), one of my recent acquisitions, is one of those artists that can be easily overlooked simply because he is not as famous as his counterparts.

A line can connote many things, it can be used to connect or divide. It can define the boundary of an area of space—where it begins and ends—but can also be an endless or continuous form, without end. It can be seen as static or be perceived to be in motion.

It’s Incredibly exciting to announce the official launch of my art advisory. It is the culmination of over 25 years of work at auction, with galleries and as a curator—the synthesis of which has coalesced into a dynamic and rigorous practice that blends both aesthetics and market knowledge.

2015 was a special time in the auction business and for me personally. While I had recently changed careers from a curator to a specialist at an auction house, it was also a time when “curated” auctions were being developed.

One of the most gratifying aspects of my advisory is collection-building. Leaning on my background as a curator, I assist clients in both building and shaping their collection.

It was an extraordinary couple of weeks here in New York City for the May auctions that included what one publication called, “the best bidding battle ever.” My attempt to win the iconic painting “The Sugar Shack” by Ernie Barnes for a client captured the media and the artworld’s attention!

Prior to World War II, Paris was among the most revered cities in which to acquire contemporary art.

I had the pleasure of writing a curatorial proposal for a major Minimalist collection. The collectors already had examples of many of the giants from within the field, from Donald Judd to John McCracken.

One of the most exciting avenues for acquiring artwork is at auction. It is not, however, for the faint of heart and the right strategy makes all the difference.

“Fit” is a term one often hears in architecture and refers to a harmonious balance between multiple elements or factors. The concept of “Fit” is one that I utilize in the process of collection-building.