How I met the FBI

by David Dallas, Old Master Specialist

Download this article

This article is for those of you who missed the webinar about how I met the FBI.
Twenty years ago when I worked for Johnny Van Haeften in his Duke Street, St James’s Gallery, we became friendly with one of the top guys in the Art Squad.  One day we got a call from him asking us if we could help. Two colleagues in the Danish Art squad, who had been working undercover in Eastern Europe posing as dishonest collectors, were rumbled by the thieves and murdered.  It transpired that when they were confronted with the stolen paintings, they handled them in a very timid, unconvincing way.
So we were asked to give a demonstration to about 20 members of Interpol on how to handle a painting, what to look for and how to pass oneself off as a connoisseur.  Somehow the FBI got to hear of this and asked if they could send two operatives as well. Of course we said “yes” and a husband and wife team of FBI agents duly arrived with the European contingent.
We started by showing them what sturdy things pictures really are, whether they are painted on canvas, panel or copper, they don’t need to be handled with kid gloves.  We didn’t exactly throw the pictures at them, but we let them hold them and pass them around to one another.

The agents were mildly surprised that Johnny and I started examining the pictures by looking at their reverse side first.  We pointed out that Old Master paintings (those painted before 1800), often have collection seals made of sealing wax glued to the panel or stretcher, if it is a painting on canvas.  These seals are the clue to the provenance or history of the painting.  King Charles I even branded the panels in his collection with the royal cypher CR!  In the case of 19th Century paintings, the reverse can often reveal inscriptions and signatures of the artists and 20th Century paintings are very likely to have Exhibition labels glued to the stretcher or frame and these too, can be clues to provenance and also add glamour and prestige to a painting if a label shows it has been exhibited in a major public art gallery.

We also taught them to look at the frames and try to determine what materials they are made of.  If the frame is made of carved wood and then gilded in 24 carat gold leaf, which are very expensive materials, the implication is that this is a painting that someone thought highly of in the past and you should take it seriously, too.
Finally, we turned to the front of the pictures.  We showed our pupils that before we looked at the surface under a magnifying glass, we took in the whole picture to see how well the composition works. Then came the magnifying glass.  If a criminal is watching you whilst you handle the magnifying glass, you have to wield it in a believable manner. You can’t just randomly explore the surface. Johnny and I showed them that we were looking for two things under magnification.
We would look at various different parts of the painting to see how well executed the details were and at the same time, we could determine the condition of the paint layer.  Historic restoration can leave the surface abraded, as the action of wiping a solvent on a rag or cotton wool swab across the paint causes friction and a cleaning solvent that can dissolve old varnish can dissolve paint too.  Original condition is crucial to the value of a painting and any true connoisseur would know that.
The final tool one needs to know about, especially when determining condition, is the Ultra Violet lamp. All experts carry one.  They are just as useful for examining porcelain or furniture as they are for paintings.  They only work in a darkened room.
When you bombard a painting with UV light it gives off a slightly green haze, but any later paint, such as restoration to a damage, shows up black. It gives you a very precise indication of condition.
We showed them how dirty varnish fluoresces turquoise and how to assess what proportion of the surface is new paint.  There then followed a lively session of Q and A and we and the cops parted as good friends. The FBI visited us whenever they were in London.
If you are going to pass yourself off as a connoisseur you have to be confident. So whatever you do, as an undercover cop, when handling a painting do it with brio and you might just live to tell the tale.
To show how tough paintings are I am reminded of a wonderful vignette that took place in New Bond Street one mid-July afternoon in the 1970s.

The last Old Master sale of the season had just taken place at Sotheby’s and a dealer called Raymond Romari had bought a large Flemish landscape on a piece of wavy copper. As chance would have it, New Bond Street was being re-tarmacked and when Raymond stepped out on to the sunny street, he had an idea. In those days, there was a news stand on the street outside Sotheby’s and you had to pay for the Evening Standard then.
Raymond bought two copies and flagged down the driver of the steam roller. He asked him if he would mind driving over his picture! He said he would be delighted to do so. As a small crowd gathered round, Raymond laid one open copy of the Evening Standard on the tarmac, placed the copper panel face down and the second copy of the Evening Standard on top of it. To cheers from the crowd, he waved the steamroller forward. When it had finished its manoeuvre, Raymond had a perfectly flat picture and no paint loss. I think he might have been lucky that he got away with it! Don’t try this at home!

End of Year Old Master London Sale Review

Although the pandemic has had a negative impact on the way the auction rooms in London gather consignment, prices were strong and the sell-through rate was very acceptable.  Traditionally, the majority of lots tend to journey in from Continental Europe but with specialists unable to travel, all inspections have had to be done on-line. There is only so much you can determine from a jpeg and unfortunately an accurate or definitive idea of condition is almost impossible to establish.

Jan Davidsz. De Heem. A banquet still life

Jan Davidsz. De Heem. A banquet still life. Oil on canvas. 5’1” x 6’11”
Lot 10, Christie’s, 15th December 2020
Price Realized: £5,766,000 with premium

As numbers of lots are down, turnover is too. Christie’s offered 44 lots in their evening sale and Sotheby’s a meagre 27, compared to a normal year when 50+ would have been offered. The total for Christie’s, Sotheby’s and Bonhams in December was £39.2, just over 1/3 of the total for 2018.

Domenico Ghirlandaio, Salvator Mundi.

Domenico Ghirlandaio, Salvator Mundi. Tempera and oil on panel. 13 1/8” x 9 3/8”
Lot 21, Christie’s, 15th December 2020
Price Realized: £2,182,500 with premium

However, prices were strong and the sell-through rate was very acceptable. The top lots at Christie’s was a sumptuous banquet still-life by Jan Davidsz. de Heem, which sold for £4.8M (hammer), a record for the artist and a record for any still-life by an Old Master. Another record price was the £1.8m (hammer) paid for a beautiful Salvator Mundi painted by Michelangelo’s master Domenico Ghirlandaio, which was in pristine condition. Sotheby’s sold a massive canvas measuring 4’ 8” x 8’ 9” of a wine harvest by David Teniers the Younger for £3M (hammer). This picture had not been seen in public for 140 years and proves that freshness to the market adds a premium of its own.

David Teniers. The Wine Harvest.

David Teniers. The Wine Harvest. Oil on canvas. 56 x 105”
Lot 12, Sotheby’s, 10th December 2020
Price Realized: £3,645,000 with premium

This year has got off to a challenging start in the art auction world, with Old Master specialists suffering from travelling restrictions, but if 2020 is anything to go by, there will be a healthy appetite for whatever they can glean and garner.

You have £5,000 to spend – David Oxtoby prints

How Would I Invest £5,000? By CEO and Old Master Specialist, David Dallas

If my godfather left me £5,000, I wouldn’t hesitate to spend every penny buying the suite of etchings (24), which David Oxtoby produced in 1974.

Image of David Oxtoby swonderful etching

“S’wonderful”: Stevie Wonder. Signed, inscribed and dated ‘74. Published Sept 1974. Artist’s proof for an edition of 50. 3 colour etching on handmade English paper. Plate size: 165 x 142 mm

David Jowett Greaves Oxtoby is undoubtedly one of Britain’s greatest printmakers, as the show at the British Museum proved two summers ago. He was one of the notorious ‘Bradford Mafia’, a group of young Yorkshire artists, who after attending the Regional College of Art in Bradford, came to London to further their education at the Royal College of Art and The Royal Academy schools. As well as Oxtoby, the group included David Hockney, Norman Stevens A.R.A, John Loker and Mick Vaughn. Before he had left the Royal Academy schools, Oxtoby had his first one man show in New York. His was and is a prodigious talent.

By the early 1970s his hands were starting to crack, and he was told that he was allergic to the acrylic paints he was using. After taking medical advice, he took up etching and what a triumph that was. In collaboration with J.C. Editons he produced a suite of 24 immensely complicated, in some cases, 4 colour, etchings. I have the good fortune to own a set of artist’s proofs.

Image of david oxtoby the man etching

‘The Man’: Stevie Winwood. Signed, inscribed and dated ‘74. Published Sept ‘74. Artist’s proof for an edition of 50. 4 colour etching on handmade English paper. Plate size: 335 x 115 mm

In 1974 I worked for Alex Postan Fine Art and was entrusted with getting publicity for the show of etchings, which included watercolours and acrylics as well as prints. It was the easiest job I have ever had. Marina Vaizey wrote a half page review of it in The Telegraph, Bill Packer, a half page in the Financial Times and it was in the list of the 10 best things to do this Christmas in London in the Daily Express. Rod Stewart came to the private view.

Oxtoby went on to exhibit with the Redfern Gallery in Cork Street in the 70s where the private views would sell out. Elton John bought Oxtoby’s canvases in vast numbers, for prices that were somewhere between Hockney and Picasso. He is still with the Redfern.

Image of David Oxtoby and Rod Stewart

Private View at Alex Postan Fine Art, Dec 1974. David Oxtoby and Rod Stewart in front of a 5 ft high watercolour by Oxtoby. Photograph by Miki Slingsby

He has had more than 50 solo exhibitions and taken part in more than 70 group shows, yet for much of the last 30 years has lived like a recluse and kept all his latest work from public scrutiny. The result of this has had an adverse effect on the value of his work.

Oxtoby has not had the recognition for the brilliance of his draftsmanship and use of colour from the establishment that his oeuvre deserves. This seems to be because his work is inspired by popular culture, pop, rock and blues music, which is considered low brow and because he works from photographs, despite knowing subjects like Jimi Hendrix, George Harrison and Roger Daltrey well.

He was 82 in January and is not in good health. The cracked hands, which turned him into a printmaker, were actually caused by misdiagnosed diabetes. What future generations will make of his work remains to be seen, but I believe he is ready for a critical re-assessment and should take his rightful place amongst the greats of late 20th/early 21st century British art.

Caring for Paintings

Pictures, like small children, prefer consistency of treatment. In the case of caring for paintings and watercolours this means no violent fluctuations in temperature or humidity.

Water damage

If you have a damp room a de-humidifier can bring the relative humidity down around 40%-60%, above this level and there is a possibility of mould growing on surfaces and this can stain the paper on which watercolours, drawings and prints have been worked, irrevocably. Some moisture in the air is good, especially for inlaid furniture and panel pictures. I was in the Pinacoteca in Bologna 40 years ago, where there was about zero relative humidity and the great wooden altarpieces were groaning like ships’ timbers, as they dried out and moved. It is not like that now!

Example of water damage

Example of water damage

Where to hang your painting

Hanging paintings above radiators or chimney breasts is to be avoided as the paint layer dries out and becomes brittle and if the painting is on a panel it can warp. The same applies to furniture.

A light-damaged painting

A light-damaged painting

Direct sunlight is a no-no, especially for watercolours. I remember seeing a large pair of watercolours by Turner hanging in a lightwell. They had been there since 1800 when the owner’s forbear had bought them at Christie’s. I tracked the sale and instead of being worth £200,000 (they were obviously very early ones) they were worth about £5,000 as curiosities. All the colour had been bleached out – no blues, no greens, just pale pink and brown smudges. What a tragedy!

Whether light travels in waves or pulses, it equals heat, and this will damage anything subjected to it. Ultraviolet inhibiting strips can be put on windows, but they are only about 60% effective and should not be exclusively relied upon. Old-fashioned velvet curtains, with brass rods stretched through the bottoms are an ideal way of protecting watercolours in daytime and can be turned back at night.

Artificial lighting can be harmful too, although it lacks the sun’s power, so low energy bulbs should be used and try to avoid picture lights on brass arms attached to the frame of an oil painting. They are too close to the surface of the painting and can cause stress to an old carved and gilded frame.

Cleaning of paintings

The cleaning of all paintings must be left to well-trained professional conservators. It is a highly complex procedure requiring in-depth knowledge of chemistry. Never use a damp cloth to clean the gilding on a frame. If it is water-based gilding, as opposed to oil, it will dissolve. A feather duster is preferable to a cloth duster as it is less likely to snag the carving and pull it off. You can dust the surface of an oil painting, very gently, with a cloth duster.

Lastly, never dust the glass on a pastel, it can cause static electricity to build up and the pastel (powdery chalk), which was never treated with a fixature in the 17th, 18th and 19th Centuries, will jump off the paper and adhere to the inside of the glass!

Damage caused by fly faeces

Damage caused by fly faeces

Some things you just must live with, such as houseflies whose poo can stain an oil painting and can only be removed with a scalpel (don’t try this yourself!). Thunderflies, in high summer, can find their way under the tightest-fitting glass and litter the surface of a watercolour or drawing. Wait until autumn and take the backing off the work on paper, dust them out and reseal.

An example of damage caused by silverfish

An example of damage caused by silverfish

Silverfish are a menace. If they get into a Victorian watercolour, they can munch their way through the pigments, which have been impregnated with gum Arabic, (the substance that Osama Bin Laden’s family fortune was based on), leaving patches of bald paper. Try to keep on top of silverfish by regular hoovering.

Another example of damage caused by silverfish

Another example of damage caused by silverfish

If you do have the misfortune to have water or fire damage or a painting falls off the wall, it makes sense to have a good photographic record of it, as this could help a conservator restore it and a loss adjuster assess a claim.

New Rembrandt in Oxford

There is great excitement at my local museum, the Ashmolean in Oxford, as some of you may have read in the Guardian on Sunday 30th August. An van Camp, curator of Northern Europe Art at the museum has made a great discovery in the museum’s basement. She was concerned that a small oak panel of the head of a melancholic old man, bequeathed to the museum in 1951 as a Rembrandt, but subsequently rejected by the Rembrandt Research Project, as an old fake merited re-examination. She was quite right! She said “It is what Rembrandt does. He does these tiny head studies of old men with forlorn, melancholic, pensive looks. It is very typical of what Rembrandt does in Leiden around 1630”.

In 1630 Rembrandt shared a studio in Leiden with his childhood friend Jan Lievens and visitors to the studio said their work was interchangeable it was so similar.

Head_of_a_Bearded_Man_Rembrandt

Head of a Bearded Man Rembrandt

The painting was examined by Peter Klein, a leading dendrochronologist and he established that it was painted on a panel of Baltic oak from the same tree as the panel used by Rembrandt for his ‘Andromeda chained to the Rocks’ in the Mauritshuis Museum in the Hague and the panel used by Lievens for his ‘Portrait of Rembrandt’s Mother’ in the Staatliche Kunstsammlungen in Dresden. Both paintings were executed around 1630, just as An van Camp had surmised about the Ashmolean panel. Rembrandt did not have pupils at this stage of his career, so it seems almost certain it is by him.

Dendrochronology has become a very exact science and works best on oak panels from Northern Europe. In Italy they painted on Poplar, Walnut and Lime and these soft woods are very hard to analyse. Dendrochronology works by taking a cross section of the growth rings of a tree. In wet years they are wide and in dry ones black and narrow. Each panel reads like a bar code and there are enough securely dated altarpieces and panel paintings that a huge database has arisen going back from the present day to almost the last ice age. This last bit did not involve altarpieces! I once had a painting by Hendrick Martensz. Sorgh, which had a remnant of bark attached. Usually panel makers cut off the soft green outer wood as it is so prone to woodworm or beetle attack. Dr Ian Tyres, who is an English Dendrochronologist could date the tree to within 6 months of its felling!

I saw the ‘Young Rembrandt’ exhibition at the Ashmolean before lockdown and it is a ‘must-see show’; it reveals so much about the prodigious talents of this young miller’s son.
It re-opened on August 10th and now runs until November 1st. I urge you to go and see it, but remember these days you have to book a timed ticket in advance, to conform with social distancing regulations.

Corona and the Art World

 

It was only when humans ceased to be hunter gatherers, began to domesticate animals and settled down to live in large communities that it became worth the while of viruses to jump from animals to humans. They have certainly got the hang of it now.

With the latest virus (Covid 19) now attacking all continents bar Antartica, governments in Switzerland and France have banned gatherings of more than 1,000 people for the former and 5,000 for the latter. Many other countries will doubtless follow suit.

This is going to have an enormous impact on all businesses and life in general. The Art World has already felt the first effects. Art Basel Hong Kong has been cancelled, as has the Art Fair in Parma and Beijing’s Jingart Fair. The Design Fair in Milan, Salon de Mobile, has been pushed back from April to June and Baselworld Watch Fair, scheduled to take place in January, is now chalked in for April. Sotheby’s have switched sales from Hong Kong to New York and Bonhams have cancelled their March sales in Hong Kong altogether.

All Museums in Hong Kong and mainland China are shut, as they are in Northern Italy. With people in China being encouraged to work from home, supply chains have been severely disrupted and this will soon affect the whole world.

The major problem with Covid 19 is that for many people the symptoms are so mild they are undetectable, so these infectious people are on the loose unknowingly spreading the disease. It cannot be contained now, with one epidemiologist suggesting that between 40% and 70% of the world will have the virus by the end of the year. Who can tell what this will mean to the world economy? Nothing good, that’s for sure.

Stay well and I hope to be able to write about the Art World again soon. If you don’t hear from me, you know why…

Rafael Valls at Sotheby’s

 

You may have read that Rafael Valls, the well-respected St James’s stalwart, is to offer 100 paintings form his eclectic stock at Sotheby’s in London, online, between the 1st – 8th of April. The viewing is terrestrial, but the auction is not.

This is not the first time a sole trader’s stock has come up for auction and single owner sales date back centuries. Sotheby’s has an enviable record in this regard. In October 1991 they had their first sale of the works of a living artist, when David Oxtoby consigned 100 works on paper of musicians of the 1950s to be sold in aid of Nordoff Robbins Music therapy. Next up, in September 2008, was the Damien Hirst sale, which grossed over $200m. Subsequently, most of the top London Antique Furniture dealers consigned their stock to auction, notably Hotspur, Mallet, Phillips and Harris and Pelham Galleries, but this was because their market had almost evaporated.

There are two things that set this sale apart from the above and from the Moretti Mannerlist sale of 2015 and the Otto Naumann retirement sale of 2018. The first is that this is just a small, perhaps toe-in-the-water, tranche of what Rafael Valls holds and the second is that it is online. This must appeal to a younger audience unfamiliar with Old Masters. Furthermore, as we find ourselves in a climate where gatherings are banned, viewing and auctioning a sale in cyber-space helps in maintaining motion within the art world.

Nordoff Robbins Music therapy: www.nordoff-robbins.org.uk

Fine Wine – Domaine de la Romanee-Conti

I had intended to give an up-to-date analysis of auction results for Fine Wine, but Covid-19 put paid to that . It is an indiscriminate bug ! So, instead, I am going to share some musings on arguably the finest and purest expression of the Pinot Noir grape, which, by the way, comes in more than 1,400 different clones. La Romanee-Conti, owned by Domaine de la Romanee-Conti (always affectionately known as DRC).

When Clive Coates published his classic ‘ Cote d’Or ‘ in 1997, he warned ‘ If you can lay your hands on a case [of La Romanee-Conti] and it is a big ‘if’- you would have to pay £5,000 or more for a young vintage, double or treble for a wine in its prime.’ Recessions have come and gone, world banking crises have been overcome and Red Burgundy, in particular wines by Henri Jayer and DRC have risen inexorably in value. Why is this? Obviously this is in part due to the excellence of the wine, produced from very old vines growing on a perfect terroir, but it has a lot to do with scarcity. La Romanee-Conti is minute, 1.8 hectares, producing around 400 cases of wine a year, which means that only a few thousand people can own a bottle in any one vintage and there are strict allocations. Every bottle is numbered, so that the owners can track any that come onto the open market. Romanee-Conti is a Grand Cru and despite its size, has its own Appellation.

By 2015, when a rare case of 12 appeared at auction, it was usually estimated at £80-120,000. Odd bottles appeared more frequently, priced more modestly at £4-5,000. As you can see, there is a premium attached to untouched cases. The rise continues. Bonhams sold a case of six bottles of the 1988 vintage for £107,550 in September of last year and a case of twelve for just under £ 250,000. In the space of twenty-two years, bottles are more valuable than cases of twelve were when Clive Coates went to press. To put this in perspective, a case of Chateau Latour, from the much-vaunted 2010 vintage would make £10,000 at auction. Romanee-Conti is in a league of its own.


When I was last at DRC, five years ago, with a friend who was collecting thirteen mixed bottles from the DRC’s six world-famous holdings (his annual allocation), the owner Aubert de Villaine was in the middle of a group ‘selfie’ surrounded by young Chinese enthusiasts. Chinese involvement at the top end of the wine market has certainly added to the price rise.

So go to your cellar, the stair cupboard or wherever you keep your wine and look for the dustiest bottles. If, by some good fortune, you discover some red Burgundy you had forgotten about, take a clear photograph of the label, make a note of where the level of the wine comes to on the neck or shoulder of the bottle when upright and send it to us and we can give you a rough guide as to its value, assuming it has been stored correctly. The dramatic rise in the value of La Romanee-Conti has had a beneficial effect on many of its neighbours.

All Part of the Service!

Thomas Gainsborough, R.A. (British, 1727-1788)

 

A Day in the Life of David Dallas, Old Master Specialist

Last spring, I went to value a collection of pictures, in which there was reputedly an early portrait by Gainsborough painted in Suffolk in the 1750s.
The client believed the work to be by Gainsborough as it was a family descendant and heirloom, however they had no provenance for the work to authenticate it and had been asked by their insurer for a valuation.

Was the work worth £800 or £80,000 was the question?

So, it was arranged for me to visit the client at his home to view the works. When I saw the painting, I immediately recognised it to be by Gainsborough, it was not only by him but also in a perfect state of preservation in its original carved and giltwood frame.

Thomas Gainsborough, R.A. (British, 1727-1788)
Portrait of Mr Pattison, bust length wearing a brown coat and white stock

Happily, I know the current Gainsborough experts, Hugh Belsey and Sue Sloman, and arranged with the clients approval to tell Hugh of its whereabouts in time for him to photograph it and include it in his Catalogue Raisonne of the artists’ portraits.

Our client was delighted as this will enable future generations of his family to be able to confirm with authority that the work is in fact a work by Gainsborough and in the Catalogue Raisoone. This firmly establishes the painting in the current most authoritative work on the artist, adding lustre to its reputation, as an authentic Gainsborough and, therefore, enhancing its value.
This is all part of our service and at no added cost to the client.

Our team of renowned and internationally recognised specialists are available to assist you covering all areas of Art, Antiques, Silver, Jewellery, Watches, Cars, Books and Manuscripts and other valuable collectables.

We provide a personal, professional, friendly, discreet and completely confidential service providing independent Valuations for insurance, inheritance tax purposes, divorce and family division and providing independent advice on buying and selling.

The Importance of Consulting Industry Recognised Art Specialists

Reports in the press recently about fake paintings loaned to a country house in Scotland and the London art dealer who paid £1m for a painting and proceeded to sell it on for £8m, highlight the importance of consulting recognised industry specialists when buying or considering selling. Unfortunately, these examples are only the ones in the press and not the works we see where clients have overpaid or the works are not right and we are the bearer of bad news.

This then reminds me of a very sad story that happened nearly 50 years ago, when I worked on the front counter at Christie’s, King Street.

A middle-aged man came to the desk with a large canvas of Diana and her hand maidens, wrapped up in brown paper and string. He said it was his family’s ‘Rubens’ and he wanted it valued. By pure chance, Christie’s Old Master Department had just taken on Gregory Martin, who for the previous 10 years had been curator of Flemish paintings at The National Gallery and was a Rubens expert. He examined the picture and pronounced it an old copy worth £1000-£1,500. I went back downstairs with the painting, wondering how best to break the news. He took it very badly, the blood draining from his face and slumping backwards into a chair. I bought him a cup of hot sweet tea like you do for trauma victims and he told me the story of how the painting came to be his.
His father had died a year ago and as the elder son, he was allowed first choice from the collection. The ‘Rubens’ was undoubtedly the most significant thing in the castle, and he had always loved it, so that was what he chose. His younger brother got everything else, which amounted to a little over three hundred paintings. I just prayed his brother was the accommodating type.
If only he’d taken a second opinion from a recognised specialist in the field of Old Master paintings prior to making his final choice. Please don’t make the same mistake.

In the art world there are many different genres of works and consequently experts who are authorities in their chosen field. Here are a few of our specialists who help to showcase the breadth and depth of knowledge we offer to our clients.

David Dallas,
Old Masters Specialist

David Dallas joined Christie’s in 1969, where he was the youngest person in a Technical Department (Old Masters). He subsequently became deputy head of the Picture Department at Phillips Son and Neale and ended his auctioneering career as International Director (Global Head) of Old Masters at Bonham’s in January 2015.

In between he worked for more than twenty years with Johnny Van Haeften, specialising in Dutch and Flemish paintings of the 17th Century. He is a specialist in British Landscape Paintings 1750-1850.

He was for many years on the Vetting Committee of the Summer and Winter Art and Antiques Fair at Olympia and Chairman of the Picture Vetting Committee at Grosvenor House Fair and has also been on the vetting committee of Masterpiece. He is a trustee of the Reading Foundation for Art, a former Chairman of The Friends of Readings Museum and Gallery and an external advisor to the Collections Committee of Eton College.

Jonathan Horwich,
Modern British Art Specialist

Jonathan Horwich began his career in the art world in 1973 with the picture dealer Thomas Agnew. In 1976 he joined the picture department of the recently opened Christie’s South Kensington, where he valued and catalogued their many multi- discipline picture sales. He was involved in all aspects of ‘CSK’s business including their innovative ‘ Roadshow’ valuation days held at locations across the UK. Jonathan became a regular auctioneer from 1984 onwards and an Associate Director in 1985.

In 1987 Jonathan was recruited to join Christie’s in King Street as Director and head of the Modern British picture department. During this time Jonathan continued as an auctioneer and gained a strong reputation for the sale of single owner Modern British Art collections, including those of Frederick Forsyth , Peter Meyer and many others and also became recognised as an expert in Modern British Art. In addition to his role in Modern British at Christie’s, Jonathan was appointed head of British and Irish Art in 1998, International Director of the 19th European picture department in 2003 and Deputy Chairman in 2006.

After 22 years at Christie’s King Street, Jonathan joined Bonhams in late 2009 as Global Director of picture departments, where he continued his involvement with Modern British auctions, while at the same time building up Bonhams worldwide picture auctions. This included setting up Impressionist and Contemporary sales and departments in London and New York. In January 2016 Jonathan was recruited to join Phillips in London as a Senior Specialist Director with a focus on Modern and Contemporary British Art a position which he held until December 2018.
Jonathan is recognised as an expert in the Modern British field and maintains close links with experts and galleries and also keeps abreast of all current market developments, trends and issues. Jonathan has a particular interest in and knowledge of the work of L.S. Lowry. As a result he has appeared on ITV’s ‘ Looking at Lowry’ and a Lowry focussed episode of the BBC’s ‘ Fake or Fortune’ .

Jonathan serves as a Council member and Steward for the Artists charity, the Artists General Benevolent Institute (AGBI) and is a member of Chelsea Arts Club.

Ben Hanley,
Contemporary Art Specialist

Ben is an established contemporary art specialist. He began his career working in the Old Master and 20th Century markets before moving into the contemporary market. He has over 20 years’ experience working in the UK and international art markets.

A graduate of Trinity College Dublin and the Courtauld Institute of Art London, Ben has developed specialist level knowledge in Old Masters, Impressionist, Modern and Post War & Contemporary art. In addition to this Ben has extensive project management experience having curated and produced over 100 art projects spanning highly complex multi-venue festivals to smaller bespoke events. He has worked with governmental, institutional and commercial partners including the National Gallery, V&A, the Serpentine Gallery, the Courtauld Institute, Christie’s, Sotheby’s and the Russian Ministry of Culture.