FEATURES ARCHIVE

Christie's new international strategy of bringing together the best of traditional European art circa 1300-1900 — Old Masters and 19th Century Art — is a concept that seems to be all about breaking down barriers. Can you tell us more about that?
Richard Knight: It is true that previously, sales in these areas – Old Masters, 19th Century Paintings, Old Master Drawings and British Works of Art on Paper – have been held separately. Today we are indeed breaking down those artificial barriers that separate say, paintings from drawings. By taking a more flexible and a somewhat different view commercially of the span of traditional European art - beginning in the 13th century and running right through to the end of the 19th century - it makes sense, in today’s market, to draw on the extraordinary richness and development in the arts over this long period and to reflect this in the way we construct our auctions.

Nicholas H.J. Hall: In terms of drawings, the borders between drawings and paintings, as with the borders between Old Masters and 19th Century paintings, have been steadily eroding over the years. Elsewhere in the market, you only have to go to the Maastricht Fair to see how objects of quality from different periods, and in different media, are presented together. An artist like Turner, for example, was as brilliant in watercolour as he is in oil paint, and there are countless artists in the 19th century who enjoyed a reputation as major salon painters but who are at the same time beautiful, exquisite draughtsmen. You have cases, too, artists such as Ingres or Parmigianino, where one can find drawings appearing on the market, but very seldom paintings. In other instances, artists such as Guercino, for example, we are now able to present drawings and paintings by the same artist in the same sale. In this context bringing drawings into these sales is a natural and important evolution.

So not so much about removing barriers, but more about reflecting the changing shape of the market – presumably that’s part of what makes this the right time for such a decisive move?
RK: This is clearly an important initiative for Christie’s. Our research shows changing patterns of behaviour in collecting and combined with trends in taste that are common to a majority of our clients. We have looked for areas of what we call ‘cross-over buying’. Analysis shows that many of our Old Master buyers are busy in other related fields and that there is much less separation between areas of collecting than one might think. Our new sales strategy will enable us to offer buyers, both private and professional, a context that more accurately reflects their wider interests. Our principal sales will now contain a variety of works in different mediums, which as you say, is a response to the changing shape of the market. We want to present works of the very highest quality together in the best possible environment.

NH: I think the point about quality is very important. What makes this an interesting and apposite moment, is that, right now, people are once again re-evaluating representational art. People are simply not ‘boxed in’ in their appreciation for great works of all kinds. More than ever they are interested in the connections across time. And more than ever, the search for quality is what drives and unites collectors.

So you see significant advantages for collectors but also vendors; those wishing to sell their works within this new environment?
NH: I think the two aspects to this are very exciting. Firstly, what is particularly innovative is the concept’s ability to create new collectors; and these new collectors will be stimulated by being able to see, quite simply, the best of the best in European Art offered side by side in a single sale. Equally I am sure that there are many established and experienced collectors who will be surprised by the discoveries they will make.

Secondly, as a result we are able to offer our vendor a platform that is entirely new. We’ve already touched on the environment; the possibility for clients to present works in the most prestigious context, whether it is a watercolour by Turner, a drawing by Ingres, or a canvas by Van Dyck. We are providing an extraordinary platform leading with our international evening sales and now with a wider choice of sale times throughout the year. Added to this, the depth and breadth of the audience we can now reach as a result is quite unprecedented. We have at once widened the market for a client’s works in ways that were previously not possible, and are unique. In this sense, the sale platform offers particular advantages to vendors of 19th century art, drawings and watercolours.

It’s also interesting because we’ve seen the market in other areas take a pause for breath recently, but the more traditional European art market has been somewhat more positive.

RK: I think it is fair to say that works, by the greatest European masters, remain the gold standard for the art market. Our traditional category of Old Masters, to which we should now include the 19th century painters, have weathered critical opinion and sustained the market over a long period. Such works have proved themselves over time and have been surprisingly resilient to the ups and downs of the global economy. And happily, this is an area in which one can still buy a significant work of art for a comparatively modest sum – a work that might have a notable provenance and other associations with history; in other words, many of the qualities that give an old work of art such appeal. An enthusiasm for the past is what makes owning an Italian painting from the 14th century, a French drawing of the 18th century or a British watercolour by an artist as great as Turner for example, so exciting.

You have brought together a large and diverse international team to make this possible. What does this now mean?
RK: It means a great deal to us internally and externally. Expertise is at the very core of this business and what motivates all our specialists is that exchange of ideas that comes about when you are all working together. Everyone benefits from the expert opinions and advice we receive from each other and in particular the insights to be had in our field from colleagues with very particular knowledge. This inevitably has an effect on the quality of service and advice we are able to offer both vendors and buyers. We are confident that this will be a positive experience for everyone, both for our side of the rostrum and for those clients, on the other.

NH: Indeed, we have made a determined effort to make no compromises with expertise and thought very carefully about the structure of the team. In a single department you now have the possibility of speaking to an expert on Barbizon paintings, Old Master drawings, Turner watercolors, British eighteenth-century portraiture or Dutch seventeenth-century landscapes to name but a few areas of specialisation. Bringing this together has been a significant step and in doing so we have brought together individuals who between them have an average of 17 years experience in the business, including major published scholars in every field.

And the whole is greater than the sum of the parts?
RK: Indeed, and it is why we value a work of art as a team, working towards a consensus of opinion. This collegiate approach is essential to how we work. It is important for our clients that we can not only identify the authorship of a work of art but that we can recognise its ultimate value in the market place and from that, advise on fixing a realistic estimate that will then encourage competitive bidding at auction. Our responsibility is to achieve the best possible auction result - or to provide guidance on the suitability of a private treaty sale. This is a service in which our clients are increasingly interested and one upon which we are eminently qualified to advise.