Sold to Richard Green – artmarketblog.com
While browsing through the top results of recent auctions, as provided by Sotheby’s through their press releases, I came across something that I don’t see to often – the identity of a buyer listed in the release. Usually under the heading “Buyer” there is an indication of what sort of buyer they are and sometimes where they are from. Examples of the usual identities given to buyers are: UK Private, UK Trade, Private European Collector, London Trade or, as is often the case, a buyer is listed as anonymous. I continued perusing the press releases when I came across another with the same buyer once again identified as having purchased a painting that had achieved one of the ten highest prices of the auction. The buyer in question was the very well known London art dealer Richard Green who dabbles in everything from 17th century Old Masters to 20th century British art but is best known for his dealings in Old Master paintings.
In a market where a high level of discretion is the norm for both buyers and sellers it is interesting that a dealer in Old Master paintings, of all people, would be so transparent with their dealings. It makes sense though that if you are a dealer and want to sell a painting that having your name on the press release identifying you as the successful bidder would not only advertise your business but attract potential buyers. This tactic seems to be working quite well for Mr. Green whose business seems to be fairing extremely well in the current climate. There is, however, more to the story of Richard Green and his success as an art dealer. Much more in fact. To start with, the two works that I said were listed by Sotheby’s as having been purchased by Mr. Green are rather revealing. The first painting was purchased on the 9th of July from the Sotheby’s Early British Paintings sale and was an oil on canvas by Thomas Gainsborough titled “A Pug”. Listed with an estimate of 100,000-150,000 pounds, “A Pug” was purchased by Green for £993,250 (including premium) which, other than being more then six times the high estimate, was the highest price of the auction. The second work was a painting by Herbert Olivier titled “Summer Is Icumen In” which Green purchased from Sotheby’s July 15 Victorian & Edwardian Art sale. He paid for 331,250 pounds against an estimate of 80,000—120,000 pounds estimate – a new record for the artist at auction and the third highest price of the sale.
Richard Green is known for identifying then purchasing works of art that he, as a results of his research, has identified as being undervalued. In fact, there are many reports of Green uncovering hidden gems which he then manages to on-sell for many times more than he paid for them. Both “A Pug” and “Summer Is Icumen In” were purchased by Green for well above the high estimate which suggests that Green identified these two works as being undervalued. One thing is for sure, he would not have paid what he did for these two works unless he was confident that they would appeal to his wealthy clientele and that he would be able to make a profit from them. Exactly what Green knows about these two paintings that makes them so much more valuable than the estimate provided by Sotheby’s I do not know. What I do know is that the research Green does, and his scholarly knowledge of the art he deals in, has played a major role in his success. One of the smartest dealers around if you ask me.
**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications.
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