Seasoned collectors advise extra caution when buying works by well-known artists whose work already commands a high price in Indian and global art markets. Examples from India include MF Husain, SH Raza, VS Gaitonde, Ram Kumar, Krishen Khanna. (Images via Wikimedia Commons)

Not many know what Puneet Bhatia, the India head of TPG Capital, was thinking when he first laid eyes on the painting ‘Krishna with the Cows’ by artist Manjit Bawa. But everyone is aware of the police complaint he filed against solicitor Vishwang Desai and art dealer Rajesh Rajpal for selling him the fake painting. Apart from this painting, Bhatia purchased 10 more paintings – the sellers told him they were made by S.H. Raza and F.N. Souza, among other well-known artists – for a whopping sum of Rs 17.9 crores; all of which turned out to be fake.

Much like Bhatia, numerous art enthusiasts aspire to build their art collections featuring renowned contemporary and modern artists. As with most investments with potential for a large upside, the art market is plagued by counterfeits. Letters of authentication and seemingly unassailable provenance have been tempered with before.

To navigate these waters, we sought advice from artists, an art historian, and a seasoned artist-collector, to put together a set of golden rules for prospective art buyers. Here’s a list of what you should know before buying an artwork.

1. Delving into the artist’s work: Bengaluru-based artist Rekha Rao, who is the daughter of acclaimed artist and educator KK Hebbar, remembers Manjit Bawa’s style of working. “He never used a ruler or any geometrical instrument when doing circles and so on,” she says. “It takes a very experienced eye to spot the Manjit Bawa’s fakes.”

Most artists change their style over the years as they evolve from one series to the other. Sometimes they even change their signature. “My father changed the way he signed his name over the years, sometimes he would sign in both Hindi and English. As his daughter, I can corroborate the signature with the period of his work. This kind of knowledge one must have when studying the works of the artist they wish to buy.”

A deep academic knowledge of the artist’s oeuvre is needed when buying high-value art.

2. Due diligence and provenance scrutiny: Lawyer Ganesh Shivaswamy, a collector of Raja Ravi Varma chromolithographs and author of the six-volume series on Ravi Varma titled The Everlasting Imprint of which the first book The Shaping of the Artist was recently released, has experience in conducting art litigation.

“There is a big difference in the way people buy art to the way they buy immovable property,” he comments. “While an artwork could cost more than the immovable property, there is no due diligence done.”

Shivaswamy has observed a peculiar inconsistency in the Indian art market. “The authenticity and provenance (the artwork’s history of ownership) are usually inversely related,” he says.

Generally, families who possess invaluable paintings sell the original works in secret using sketchy provenance. “Someone said they had ‘found’ the painting in the rubbish. One of them actually told me that he found the painting on a floating ship! In these cases, the paintings were original. When the provenance is grand and bombastic, it usually implies that they are not selling the painting but the provenance.”

Go through the provenance and do the due diligence which means going by the scientific way. “I would rely only on that.”

3. Utilizing scientific tools for art authentication: Technology is best at proving something is fake, but it is harder to declare something is the original. Still, it is the best way to verify and conclude the authenticity of a work.

Shivaswamy remembers a case where the painting in litigation was proven to be a fake Ravi Varma because of technology. One can look at the painting through X-Ray. “An examination via X-ray can tell the portions of a painting that have been retouched, the new portions of the painting and so on. It can also tell us about the materials used. For instance, Ravi Varma used lead white which will appear white under X-ray. The painting in litigation showed the presence of titanium white that was introduced in 1924. Since Ravi Varma died in 1904, it was conclusively proven as a fake.”

The other way to look at a painting is under UV light. From infrared reflectography to UV fluorescence, an expert uses these tools to detect discrepancy in the sketch done before the painting, forgery of signature and so on. A significant scientific tool is the surgical sampling which uses about 4-5 colours in paint samples (blue, green, yellow, crimson and white) to detect fakery.

“A fake Ravi Varma painting will be fully light or dark green in such a sampling.”

The problem that arises in this methodology is that some of the fakes have the same materials as the original. Shivaswamy notes that nowadays the fakes of Ravi Varma paintings are getting harder to tell. “People are selling unsigned works of artists like Sekhara Warrier as works by Ravi Varma. Since Warrier used the same materials as Ravi Varma, it gets harder to authenticate.”

4. Caution regarding renowned names: Prof R.H. Kulkarni, art historian and professor at College of Fine Arts, Karnataka Chitrakala Parishath, has been associated with the ASI Appeal Committee for the past 11 years to evaluate artworks. His rule for those buying art is simple: Be wary of buying works of those artists whose works command good market value even after their demise.

“Works of artists like MF Husain, SH Raza, FN Souza, or VS Gaitonde command great value in the art market,” he says. “Naturally, fake paintings of these artists abound in the market. I have so far not come across a fake of Abanindranath Tagore painting because there is not much demand.”

Kulkarni believes that dealers who sell fakes in the black market convince the buyer that they are buying a real work. The buyer then resells the painting in white because they believe the work is original. Fake paintings infiltrate the white market in this manner.

As an aside, Kulkarni mentioned some of the ‘beautifully rendered fakes’ he has come across. “With such talent, those artists could have come up with their own works!”

The fix: do your own research and purchase artists making a good name for themselves. Udaipur-based artist and collector Waswo X Waswo says, “It’s a gamble, but their work will probably increase in value, and since you started supporting them early, there is little chance that you’ll be buying a fake.”

5. Trustworthy galleries and documentation: Kulkarni underscores the role of reputable galleries in supporting genuine artists. “Such galleries have made modern art of India shine. Galleries like the Kumar Gallery in New Delhi have supported artists like Gaitonde, Ram Kumar, and Satish Gujral. When a buyer approaches such galleries, they will get original works with letter of authentication and a provenance certificate.”

Reputed galleries usually maintain a catalogue of the artists’ works which makes it easier to check the authenticity of a work. Bengaluru-based artist Gurudas Shenoy usually offers to give an authentication certificate with every painting he sells. “Although, some galleries prefer to give their own authentication certificate,” he says. “Apart from the authentication certificate and provenance, a buyer must preserve the bill because that too becomes a legal tender.”

Waswo advises buyers read the fine print of any contract they sign. “Make sure that the seller guarantees to reimburse the full amount of purchase if the work is proven to be a fake. Reputable galleries and auction houses wish to maintain their reputations.”

6. Cross-referencing the artist’s works: Before buying an artist’s work, Shenoy suggests that one should find out the galleries the artist was associated with and cross reference the work by looking at the artist’s biodata which usually lists the exhibitions the artist had participated in.

“My father, GS Shenoy, in his catalogue would include all the exhibitions meticulously,” he says. “Nowadays, one can go to social media and crosscheck the artist’s exhibitions and the works featured in them.”

Understanding the materials of the period when the painting was done is a great way to spot a fake. “Some of the original paintings of the previous century came in funny sizes unlike the standardized sizes of today,” Shenoy says. “So, look out for that.”

Check if the medium used is the correct one pertaining to the period in which the artist had painted the painting you are keen on. “It’s amazing how simple yet significant points like these can help in spotting out a fake.”

In 1920, sociologist and activist W.E.B. Du Bois published the first issue of The Brownies’ Book, a “monthly magazine for children of the sun.” He invited celebrated Black creatives to contribute to the periodical, reaching out to artists, songwriters, authors, and poets—Langston Hughes’ first published poems even appeared in the magazine. In his call for entries, Du Bois encouraged the highest quality writing, photography, illustration, and more, “so that Black children will know that they are thought about and LOVED.”

A century later, the project has been revived as an anthology by Du Bois scholar Dr. Karida L. Brown and artist and children’s book creator Charly Palmer. The New Brownies’ Book: A Love Letter to Black Families, published by Chronicle Books and designed by Kieron Lewis, showcases work by contemporary Black artists and writers who celebrate the extraordinary lives and imaginations of children.

Vivid portraits, collages, and photographs accompany essays and creative writing by dozens of contributors, expressing memories, love, and joy for moments spanning the everyday to the extraordinary. From memories of time spent together to lessons learned to hopes for the future, the messages aim to inspire young Black people to be true to themselves, follow their dreams, and harness the power of love and family.

Alongside new contributions, the tome also includes selections from the original publication, including nine poems by Langston Hughes, plus an excerpt from the last published poem by Ntozake Shange. Find your copy on Bookshop.

Jamaal Barber, “Because This Is a Dream”

April Harrison, “Community Prayer”

Charly Palmer, “Make Me Wanna Holla”

Alfred Conteh, “Neveah”

Lynthia Edwards, “Sassy Mouth”

Tokie Rome-Taylor, “Scout”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article 100 Years After the Original, ‘The New Brownies’ Book’ Revives a Beloved Children’s Publication for Black Youth appeared first on Colossal.

Circling the surfaces of vessels or layered onto stacks of folded laundry, the scenes in Danym Kwon’s paintings evoke memories and emotions of togetherness and home. “The images I paint are all taken from everyday life, but through the use of pastel colors and surrealistic staging, they are transformed into more special scenes, recorded and cherished more dearly,” the artist tells Colossal ahead of her forthcoming solo exhibition at Hashimoto Contemporary, A Soft Day.

Kwon is drawn to calming portrayals of comforting, common sights. After a challenging period in her life, she feels it’s important to convey vitality and brightness, explaining:

I was diagnosed with cancer in my early thirties, just a year after giving birth to my second child. Through these hardships, I found solace in the comfort provided by surroundings. I found immense gratitude and peace in the trees and flowers, and sometimes in the quiet sight of my child sleeping. These moments were fleeting, but they gave me great energy, and I wanted to remember them.

Influenced by traditional Korean folk and still life painting—known as Chaekgado—Kwon incorporates everyday objects like vases or books into idealized landscapes where the empty backgrounds may be interpreted as infinitely dimensional spaces. “I place scenes that I want to remember or that have given me warm inspiration into domestic objects like bowls or piles of laundry,” she says. Inside containers or on the creases of fabrics, people walk hand-in-hand, a child swims or tinkers, or small cars travel through verdant landscapes, giving the impression of parallel time periods and moving through different dimensions.

The motif of a tiny home repeats throughout Kwon’s paintings, which she describes as an important element. “Seeing a house standing alone on a vast land reminds me of myself and my family living in America as immigrants,” she says. “The house sometimes represents me and sometimes my family… Sometimes, we are so consumed by our busy lives that we overlook precious moments. I hope that through my work, people can find a moment of comfort and cherish the valuable moments in life.”

A Soft Day runs January 6 to 27 at Hashimoto Contemporary’s new Minnesota Street location in San Francisco. Kwon’s work is also currently included in Lone Splendor at Paradigm Gallery + Studio in Philadelphia, which continues through January 7. See more on the artist’s website and Instagram.

“Cold But Cozy” (2022), acrylic gouache on canvas, 28.5 x 28.5 inches

“Flowers Whisper” (2023), acrylic, acrylic gouache on canvas, 46 x 18 inches

“I Wish You Are…” (2023), acrylic gouache on canvas, 31.5 x 31.5 inches

“Listening to You” (2023), acrylic, acrylic gouache on canvas, 25.5 x 35.75 inches

“The Season of You, My Dear” (2023), acrylic gouache on canvas, 46 x 107.5 inches

Detail of “The Season of You, My Dear”

“You Smiled, and Sparkling Light Shined on the Water” (2023), acrylic gouache on canvas, 46 x 35.75 inches

Detail of “You Smiled, and Sparkling Light Shined on the Water”

“Driving Through the Summer” (2023), acrylic gouache on canvas, 28.5 x 28.5 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article In Danym Kwon’s Vibrant Paintings, Domestic Objects Transform Into Portals to Other Times and Places appeared first on Colossal.

From cardboard boxes to climbing up inside Christmas trees to lounging around entire islands, cats the world over have a penchant for taking up space. Japanese sculptor and author Yuka Morii has created a table game inspired by felines’ need to stretch, loaf, and nap in any available spot. Titled “Nego,” a play on the Japanese word for cat, neko, and the popular game of “Go,” the object is simply to fit the most cats on the board by taking turns placing them onto a small grid. Cat owners will know, however, that the real object of the game might be preventing mischievous paws from swiping pieces onto the floor one by one.

See more on Morii’s website and Instagram. (via Core77)

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Crystal-clear layers of aqua-tinted glass form cross-sections of deep oceans and dramatic geology in Ben Young’s sculptures (previously). Continuing his exploration of the relationship between humans and the natural world, the artist combines materials typically associated with industry and construction, like concrete, steel, and laminated float glass, into undulating shorelines and seascapes.

New pieces in Young’s forthcoming solo exhibition Delicate Space at Chesterfield Gallery appear like preternaturally still, miniaturized wedges of the earth, plucked from the surface and deposited onto pedestals or into bronze frames. “Water, a recurring subject for me, with its ceaseless journey, serves as the central subject for this exhibition,” the artist says in a statement. “As water flows through landscapes, carves valleys, and traverses ecosystems, it embodies nature’s tenacity, always seeking balance.”

Delicate Space runs from January 6 to 31 at Chesterfield Gallery in New York City, and you can find more on Young’s website and Instagram.

Detail of “Hidden Layers”

“Tidal Balance” (2023), laminated float glass, cast concrete, and stainless steel (base), 15 x 7 x 7 inches

“Guidance” (2023), laminated float glass, cast concrete, stainless steel, and white bronze, 26 x 11 x 10 inches

Detail of “Guidance”

Works in ‘Delicate Space’

“Dance of Balance” (2023), laminated float glass, cast concrete, and stainless steel, 26 x 24 x 5 inches

“Continuum” (2023), laminated float glass, cast concrete, and stainless steel, 15 x 16 x 5 inches

“Altered Perspective” (2023), laminated float glass, cast concrete, and stainless steel, 16 x 22 x 5 inches

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“There are no sweeping generalisations in the art market,” says Elliot McDonald, senior vice-president of international gallery Pace. In an industry made up of mostly unique items, his assessment rang particularly true during the patchy year of 2023.

At auction, results were flattered by a surge in luxury goods and celebrity sales as the tumultuous geopolitical backdrop and general economic malaise took their toll in other categories. For the three major auction houses — Christie’s, Sotheby’s and Phillips — whose sales rely heavily on the thin $10mn-plus market, the unsettling backdrop contributed to a combined fall of 18 per cent to $11.2bn in auction sales in the year to December 14, according to analytics business Pi-eX.

While the numbers were impacted by 2022’s whopping $1.6bn made at Christie’s New York from the estate of Microsoft co-founder Paul Allen — “a difficult act to follow”, says Pi-eX chief executive Christine Bourron — she notes that all three houses had revenue falls across nearly all geographies. According to her data, the US and France fell the most, by 27 and 24 per cent respectively, followed by the UK, down 16 per cent. Auction sales in China fell 3 per cent, making it the second biggest market in this arena in 2023, after the US. Because of the Allen sale, Christie’s had the greatest fall at auction, of 30 per cent.

The highest price of 2023 came courtesy of Sotheby’s, which sold Pablo Picasso’s “Femme à la montre” (1932) for $121mn ($139.4mn with fees), in line with expectations. It proved the only work to hammer for more than $100mn this year, though a late Gustav Klimt, “Lady with a fan” (1917-18), sold for $108.4mn once Sotheby’s fees were added in, and Christie’s reports a private sale “well above $100mn”, says its chief executive, Guillaume Cerutti.

Disappointing sales included that of the Chinese billionaire couple Liu Yiqian and Wang Wei at Sotheby’s in Hong Kong. Here, works by David Hockney, Zao Wou-Ki and Yayoi Kusama were among the unsold artists, while Amedeo Modigliani’s portrait “Paulette Jourdain” (c1919), bought for $42.8mn in 2015, sold for the equivalent of $30mn in October.

This auction was an extreme example of how single-owner and estate sales, which have provided the market’s pizzazz in recent years, are beginning to lose their shine. “There is no perfect solution,” Cerutti says, though he adds that a shift in the timing of the highest-wattage sales, to spread supply through the year, could help. “Right now, 50 per cent of our value comes from just two months,” he says.

Bucking the trend in 2023, albeit from a smaller base, was Bonhams, an auction house that specialises in a broader range of lower-priced art and which has invested heavily in its online reach in the past few years. The auction house’s revenues grew by 14 per cent to $1.1bn, with “healthy margins”, says chief executive Bruno Vinciguerra. Helping growth, he says, is the fact that “the top end of the market, which is immensely competitive, is only a small part of our business.” Bonhams therefore can avoid overambitious estimates to win consignments and limit incentives such as guarantees and other profit-sharing sweeteners.

Its variety of categories seems to chime with broadening taste. Among Bonhams’ top 10 prices in 2023 were the 18th-century bedchamber sword of Tipu Sultan (£14mn), an early 15th-century figure of Virupaksha (HK$38mn, £4.1mn) and a 2014 painting by Yoshitomo Nara (“Three Stars”, HK$36.8mn, £3.9mn). Vintage cars proved winners at Bonhams and Sotheby’s during 2023 while luxury goods, including handbags and jewellery, had their best year ever at Christie’s.

One area that Vinciguerra and others cite as increasingly popular is celebrity sales, where the owner proves more persuasive than the art — “this is the world we live in today,” he says. Bonhams’ star-studded offerings in 2023 included the personal collection of actor Roger Moore and the estate of broadcaster Barbara Walters. Sotheby’s provided the top-billing celebrity sale of the year, with its £40mn auction of 1,406 items that belonged to the late Queen frontman Freddie Mercury. The biggest gains were made for personal items, notably a silver Tiffany moustache comb, estimated at its retail price of £400-£600 and selling with Mercury added value for £152,400. Next up is the offering of 120 guitars and amps from the Dire Straits singer and songwriter Mark Knopfler (Christie’s, January 31) and, at Bonhams, costumes and props from The Crown (February 7).

The most surprising news of the year was that Endeavor, owner of Frieze, bought the Armory Show and Chicago Expo fairs. The move doubled Frieze’s events in the US, showing a commitment to this dominant region, while also pointing to the need to consolidate to find economies of scale as prices to build and run these temporary events rise. For gallery exhibitors, already stretched financially and physically, there is a difficult balance to strike between doing art fairs — which bring in about a third of their sales on average (though this is falling, according to the latest Art Basel & UBS report) — and sticking to their day-to-day business of putting on shows.

“We used to do a lot [of art fairs], some have been very good for us, but now we can’t do them all,” says gallerist Sundaram Tagore. For 2024, though, he has added the Aotearoa Art Fair in Auckland, New Zealand — acquired in March by the growing Art Assembly Group — to his roster.

Commercial galleries managed the cooler climes of 2023 by adopting seemingly opposing strategies. Smaller outfits, such as London’s Taymour Grahne and Roman Road, decided to abandon the traditional, single-venue, six-weekly exhibition programme in favour of more nomadic, advisory and pop-up businesses, while a new gallery, Akoje — co-founded by the England rugby star Maro Itoje — has adopted this model from the outset. Others, including Anat Ebgi, White Cube, Stephen Friedman, Alison Jacques and Selma Feriani, took advantage of the availability of real estate since the pandemic to grow their global footprints. 

Those gallerists who report a good year of sales are aware of the fragility of the market in which they operate. “The reality we face is that certain areas do well, others don’t,” says Tagore, who marks his 25th year in business in 2024. “Our gallery has not suffered too much but you never know if we will be next.” The sweet spot for prices in the primary market seems to sit between $65,000 and $125,000: speculation has cooled below this level while the willingness of buyers to overpay in the hope of a rising tide has also lost its appeal.

The London gallerist Lyndsey Ingram finds that the key to success now is to have “a really tight, focused model, predicated on the understanding that people actually want what we are selling”. It is a far cry from the boom-period practice of creating indiscriminate desirability out of thin air.

Going into 2024, how best to represent living artists in a fragmented field looks likely to dominate the primary market. On the rise are artist agencies, which act more like sports management companies rather than as partners, who share in the upside — and sometimes downside — of their wards. It’s a nuanced change to the naked eye, but younger outfits such as London’s Guts Gallery talk of “championing instead of representing”, marking the shift in business models for the next generation of gallerists.

For the secondary market, the challenge will be how to manage the softening of the top end, which has masked problems lower down the food chain since the economic crash of 2008. Market observers note that even without any more surprise geopolitical crises, there are plenty of known distractions to come, including elections in the US, Russia, India, Germany and almost certainly the UK.

The auction houses point to the growth of new buyers this year — representing 35 per cent of clients at Christie’s, with a high proportion of millennials and Gen Z — as a source of cautious confidence going into the next season. Cerutti says: “2023 was a year of paradox. But we have made good business decisions and are well prepared for the future.”

French architect and artist Emmanuelle Moureaux unveiled a vibrant, seemingly infinite room in Tokyo by to celebrate the 75th anniversary of Bulgari’s iconic coiled jewelry designs. The 50th work in the artist’s 100 colors series (previously), “SERPENTI” reflects timelessness and eternity through elaborate repetition and eternity through elaborate repetition, gradient hues, and a mirrors that transform a single corridor into a never-ending view.

Reflecting the brand’s roots in Rome, Moureaux installed more than 347,000 Roman numerals from 1 to 100—or I to C—onto 100 large, transparent panels, which are cut out in the middle so visitors can walk inside. The numerals are meticulously laid out on a grid to create an endless effect, increasing and changing color the further one ventures into the artwork.

See more on Moureaux’s website and Instagram.

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Elegant petals, scalloped fans, and seed-like textures coat the Kaori Kurihara’s whimsical ceramic sculptures (previously). She incorporates delicate botanical details with eccentric forms, melding realism with fiction. “I try to associate imaginary plants with a more realistic feeling, so I observe more consciously the environment in which they grow,” Kurihara tells Colossal. She also grows different types of plants from seed in order to observe and record details as they grow. “The aim is to create something that looks more alive and closer to life,” she adds.

Kurihara’s work is featured in the forthcoming book Ceramic Artists on Creative Processes, scheduled for release in February from Prestel. Pre-order your copy on Bookshop, and explore more on the artist’s website and Instagram.

Detail of “Clown verdoyant”

“Collectionneur de silence” (2023)

“En réponse au claire de lune” (2023)

Detail of “En réponse au claire de lune”

“Hug Me Quick” (2023)

Left: Detail of “Collectionneur de silence.” Right: Detail of “Hug Me Quick”

“Danseuse de boîte à musique” (2023)

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Ready to take your practice and creativity to new heights? The Division of Continuing Education at the School of Visual Arts (SVACE) has the resources and expertise to help you go to the next level. With a diverse range of more than 200 courses and 10+ artist residency programs, you’ll find everything you need to achieve your goals and actualize your potential. Whether you’re looking to advance your career, explore new artistic avenues, or simply deepen your practice, our experienced faculty will provide the guidance and support you need to grow. 

Head to sva.edu/ce to explore our offerings and get started.

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• Advertising
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If you need advice or have questions, please email ce@sva.edu to connect with one of our course advisors.

About the School of Visual Arts
School of Visual Arts has been a leader in the education of artists, designers, and creative professionals for seven decades. With a faculty of distinguished working professionals, a dynamic curriculum, and an emphasis on critical thinking, SVA is a catalyst for innovation and social responsibility. Comprising 6,000 students at its Manhattan campus and 35,000 alumni in 100 countries, SVA also represents one of the most influential artistic communities in the world. For information about the college, please visit sva.edu.

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