Whole Collections
Take a deep dive into some of La Finca’s Case Studies and how our expertise has created a concise selling strategy that has proven to make a measurable difference in the return for its clients.
Key success stories:
The market difference with curatorial thinking
This collection was carefully assembled by a Brazilian ambassador to Germany in the 1960s. It contained exceptional and rare examples of Brazilian and European artists who were working in Geometric Abstraction, a global movement combining abstraction, minimalism and Op art beginning in the mid-1950s.
Dane brought this to market using several specialized auctions and capsule sales within larger, premier auctions in New York and London. These initiatives were assembled from a curatorial and art historical lens which excited the collectors in the US, Latin America and Europe by emphasizing the importance of each practice, piece on offer and with insights into the larger art movement and how those ideas from the 50’s and 60’s still resonate today. As a testament to this strategy the works were 100 percent sold and achieved incredible results including the sale of a rare lightbox from 1950s that Dane located in the closet of the late collector’s home.
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Abraham Palatnik (B. 1928). Untitled (Prototype for Kinechromatic device), Circa 1955
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Abraham Palatnik (B. 1928). Progressao, Circa 1964, Progressao, Circa 1964, BR 8158, 1981
Almir Da Silva Mavignier (B. 1925). Gelb, Weiss, Orange Auf Schwarz, 1964
Images © of the artist’s
“Collectors are naturally obsessive, excited by the possibility of adding rare and important artworks and new artists to a collection to elevate its overall experience--artworks they didn’t know they were missing it until the found them. That is the power of presentation and curatorial thinking within the market.”
Dane Jensen
The power of a good story.
The story of an artwork can often transcend its very edges. When you bring a collection for sale you want to somehow tell the story of those pieces, the collector who assembled them and what they meant on a personal level (in addition to their understanding from standpoint of aesthetics, meaning and historical context).
When researching Robert and Margrit Mondavi’s collection, their personal friendship with artists Wayne Thiebaud and Helen Frankenthaler stood out. It tells the story of legendary figures in their field—wine—connecting with their counterparts from art. They clearly loved spending time, dinners, laughs, wine and art together. That story, told through photographs, letters and drawings added to the allure and desirability of the works on offer with the strategic goal of creating value.
NET RETURN FOR THE ESTATE $1,412,800
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Wayne Thiebaud (1920-2021) Pencil sketch of Mr. Mondavi.
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Magrit Modavi and Helen Frankenthaler
Helen Frankenthaler (1928-2011) Summer Angel, 1984. Acrylic on canvas. 91 1/8 x 114 1/2 inches (231.5 x 290.8 cm.)
Magrit Modavi and Wayne Theibaud
Wayne Thiebaud (1920-2021) Camellia Cake, 1995. Oil on panel. 11 x 14 inches (27.9 x 35.6 cm.)
Images © of the artist’s
Taking care, when doing business.
Norman Zammitt (1931-2007) was an exceptional artist. His career at the end of his life, however, was overlooked and receded further after his passing in 2007. In 2020, I was asked by the heirs of his estate to sell the entire contents, and so began an epic, three-year project.
In the end, the estate—containing over 800 paintings, sculptures and prints—found a new home with a top tier gallery, Karma, who has spaces in multiple cities. While this an unusual project, it required the same fundamentals as any other estate.
One must start with square one and understand the work, its art historical significance, the market (and its potential) and the goals of the clients/beneficiaries.
If you bring something to market incorrectly, there are deep value implications that are very difficult or, in some cases, almost impossible to recover from.
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Norman Zammit Exhibition at the Palm Springs Art Museum
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Norman Zammit (1931-2007) One, 1973. Acrylic on canvas. 96 x 182 inches
Norman Zammit Exhibition at the Palm Springs Art Museum
Norman Zammit (1931-2007) Green One, 1975. Acrylic on canvas. 99 x 144 inches
Norman Zammit Exhibition at the Palm Springs Art Museum
Images © of the artist’s
The value of knowledge.
This sculpture by Claes Oldenberg, “Inverted Q” (1976)—one of the most important sculptures of his time—was almost decommissioned and headed for the scrap pile.
A family that owned this work in Atherton, CA had owned this piece for years. However, over time it had developed a split in the seem of the resin which ran right down the center of the work. The only way to bring it market was to restore it, however, the original production facility the artist used to make it would only repair it for more than the value of the piece, potentially leaving the family with nothing.
After reaching out to the Oldenberg studio, a solution was agreed to that allowed the work to live on and be brought to market. Artworks, of course, can be made from experimental material that can age over time and different environments. Having an expert advisor to handle this correctly is key to realizing and retaining its value for all those invested in the longevity of an artwork.
Claes Oldenburg (B. 1929)
Soft Inverted Q, 1976.
Cast resin and laquer
18 x 17.5 x 15.75 in. (45.7 x 44.5 x 40 cm)
© 2024 Claes Oldebnurg
Difficult decisions made easy with proper guidance.
How do you know you are making the best decisions throughout the selling process? Objective, experienced advice is at the core of La Finca, your trusted partner in making the right decisions.
This large-scale sculpture by UK artist Lynn Chadwick, had lived its life at a family home by the ocean in San Diego, California. Over time the patina had suffered being nearby the ocean. So, the owner of this work needed to move out of her home and into assisted living this bronze needed to be sold. This successful sale was the result of a strong network and research to identify the best-selling plan. This involved shipping the work overseas to a UK bronze foundry recognized by the artist’s estate as the venue to give the work a new patina.
It became clear, if one uses the wrong foundry, the market will not accept it. If one chooses not to restore it, one reduces the potential buyer pool significantly as many collectors do not want to take a rigorous restoration.
The best pathway forward was strategically selling it in a leading lot in a specialized British Modern auction with a major auction house. With the right questions answered in the pre-selling phase, the strategy produced excellent results, minimal costs, and peace-of-mind for the owner as she transitioned to a new phase of her life.