ArtWorld News

Art World NewsJANUARY 2016

Sorelle Gallery, located in New Canaan, CT.

With the art and framing industry so closely allied to the homefurnishings and fashion industries, trends in color and designcan have a considerable effect on retailers’ choices of mould-ings and open edition prints. Hence, for the New Year, we ex-plore the trends that finished the year strong, and those that areascending in 2016. We also asked members of the art andframing industry if there is an emerging or even continuing stylethat allows retailers to makemore revenue through bettermark ups. “If grey is a color,that is the one I hear most offrom my customers,” saysDale Holmgren, sales & mar-keting, Northern California, forValley/International Moulding.

Shades of grey in prints andphotographs play well withpost-modern interiors as people are keen to have alter-natives to Ford Model T black.It also affords an opportunity for creative design ideas.

COLOR & DESIGN TRENDSFOR 2016 IN ART & FRAMING

THE INDEPENDENT NEWS SOURCE

QUOTE OF THE MONTH:“Sometimes frameshops don’tgive customers credit that theywant to pay for high-end mat-board. They should not assume.There is a good, better, best storyframers can tell customers.”

Jack Dempsey, page 38.

VERUS ART LAUNCHEDBY LARSON-JUHL

Larson-Juhl announces thelaunch of Verus Art, providerof re-creations of Masterartworks, and is establishinga gallery program. With detail that ensures accuracywithin 10 microns, VerusArt’s re-creations enable artaficionados to experiencethe visual and tactile sensa-tion of an artist’s originalbrushwork. See page 16.

ERTE EXHIBITION ATTHE HERMITAGE

A major Erté exhibition is to take place at the presti-gious Hermitage Museum inSt. Petersburg in June, of which Martin Lawrence Galleries with 10 locationsacross the U.S. is a sponsor. Article, page 14.

LEGAL ISSUES: ARTAPPROPRIATION REDUX

Joshua Kaufman, a leadingattorney in art, copyright,and licensing law, discussesissues that anyone who creates or sells art that in-corporates third party intel-lectual property must dealwith: copyright, right of publicity, and trademarkclaims. His article, written incollaboration with Thai X.Nguyen, begins page 28.

PRINTING CAN GROWFRAMING SALES

Adding professional digitalprinting to a frameshop’smenu of services can openthe door to expansion ofthe retailer’s customerbase, as well as more custom framing jobs. Turn to article on page 22.

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ART WORLD NEWS

VOLUME XXIISSUE 1

DEPARTMENTSARTISTS & PUBLISHERS

Page 8

FRAMING Page 16

LEGAL ISSUESPage 28

ARTCLAIM DATABASEPage 32

CALENDARPage 36

NEW ARTPage 40

GALLERY LIGHTSPage 41

WHAT’S HOT IN OPEN EDITION

Page 42

OPEN EDITION PRINTSPage 44

CLASSIFIEDSPage 45

AD INDEXPage 46

Artwork featured is “ A New Day” by Myan Soffia, available as a

print on paper, canvas, wood, acrylic, and metal. Call Image Conscious,

San Francisco, at (800) 532-2333 or: www.imageconscious.com.

Art and Framing On the Runway

Fashion house Viktor&Rolfhas unveiled its Haute Cou-ture line of women’s clothingfeaturing wearable framed art created by the two design-ers and co-founders ViktorHorsting and Rolf Snoeren.

Page 20

ACC Takes on China Again

The four open edition printpublishers who visited fairs inChina in the fall found fewerinfringements. Those appliedmainly to their own images,and the ACC encouragesmore publishers to participate.

Page 18

Abbey Road Fine Art Established

Abbey Road Fine Art & Licens-ing, a new division of PennyLane Fine Art & Licensing, hasbeen established, featuring theopen edition work of 20 artistsaimed at the hospitality andfine home furnishings industry.

Page 12

INSIDE THIS ISSUEVerus Art LaunchedBy Larson-Juhl

Larson-Juhl has announcedthe launch of Verus Art,provider of re-creations ofMaster artworks with detailthat ensures accuracy within10 microns, and is establish-ing a gallery program.

Page 16

Global Fine Art SignsFrederick Phillips

Global Fine Art is now the publisher and distributor in North America of the work of Frederick Phillips, reintroduc-ing the artist known for hispost-Surrealist paintings andlimited edition prints.

Page 16

What’s Hot inOpen Editions

What’s Hot in Open Editionsfeatures a variety of the lat-est best selling open editionprints, some available asprint-on-demand images frompublishers, and includes con-tact information.

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ART WORLD NEWSPAGE 6

IN OUR OPINION

The new year hasstarted with a wave ofnew styles and trends

in art and framing that will nodoubt delight consumers onall levels. The speed anddepth of new looks comingto market is nothing lessthan amazing in their abilityto capture the mind and wallet of buyers on all levels.However, for the retailerforced to decide which op-portunities to invest in, allthat glitters may not be gold.

Most suppliers expect2016 to be a good year forthe art and frame industry, aswe continue the long marchfrom the depths of the re-cession. But one naggingcharacteristic of the marketwill continue—the intenseprice competition on all lev-els of the distribution chain.As a consequence, for theframeshop and gallery, thebuying decision to source

new art, products, services,and technology has becomeless subjective and instinc-tive while becoming moreanalytical.

Successful purchase deci-sions are rooted in the detailof the numbers. Over thelast several years, industryvendors have advanced theirability and sophistication toshare their value proposi-tions with retailers, helpingthem understand and re-frame their thoughts to evaluate purchases. Somecompanies have gone be-yond their immediate self-interest and have invested inthe education of the industryat a grass roots level. Theyare to be applauded. Thebiggest challenge resideswithin the individual retailerto elevate their skill-sets tothe point of maximizing the return on their decisions.

THE NUMBERSMATTER

John HaffeyPublisher

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photography, recording, or any information storage and retrieval system, without permission, in writing, from the publisher.

ART WORLD NEWS

Eastern U.S. & InternationalJohn Haffey, PublisherPhone (203) 854-8566Fax (203) [email protected]

Midwest & West CoastBrooks Male, Associate Publisher

Phone (203) 854-8566Fax (203) 900-0225

ADVERTISING SALES INFORMATION

Art World News (Volume XXI, Number 1) ISSN 1525 1772 is published 10 times a year by Wellspring Communications, Inc.: P.O. Box 129, Rowayton, CT 06853. Phone (203) 854-8566 • Fax (203) 900-0225; To order additional copies or back issues e-mail: [email protected] or fax to (203) 900-0225. Please indicate which month and year you are requesting. Single copy price is $10.00.

Editorial Advisory Board

Phillip Gevik, Gallery Phillip, Toronto, CanadaSteven Hartman, The Contessa Gallery, Cleveland, OH

Jeff Jaffe, POP International Galleries, New YorkHeidi Leigh, AFA, SoHo, NY

Ruth-Ann Thorn, Exclusive Collections Gallery, San Diego, CA

Editor in Chief Sarah [email protected]

Managing Editor Koleen [email protected]

Production Manager Sue Bonaventura

Editor at Large Jo Yanow-Schwartz

Columnists Todd [email protected]

Barney [email protected]

Joshua [email protected]

Contributing Writers Greg PerkinsCristi SmithZella Hannum

Publisher John [email protected]

Associate Publisher Brooks Male

Information Technologist Joe Gardella

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ARTISTS & PUBLISHERS

PAGE 8 ART WORLD NEWS

Vice PresidentJoe Biden andhis wife Dr. JillBiden choseto display atriptych by military artistSteve Alpertat their Wash-ington resi-dence duringthe Holidays.The oil paint-ing, “Portraitof a Woman,”each panel of which is 30 by 40 inches, shows three viewsof a woman dressed in the uniform of a marine lieutenantsaluting the American flag. The model for the portrait isCloteal Horne who played the part of a marine lieutenant inthe war drama The Steadfast, produced by Alpert. “It wasone of the highlights of my life,” says Alpert of his experi-ence of meeting the Bidens. For more on his work that in-cludes landscapes, as well as military paintings, visit hiswebsite: www.stevealpertart.com.

Bidens Display Alpert Military Work

Vice President Joe Biden, left, and his wifeJill, far right, with military artist SteveAlpert and his wife Dorothy.

Burton Morrispresented his“100 Coca-ColaBottles” installa-tion to celebrate100 years of theiconic Coke bot-tle at Soho Con-temporary Art,New York, in De-cember. Amongthe attendeeswere Real House-wives of NYCstars RamonaSinger and Dor-inda Medley, and well known figures from the horse racingworld. Earlier in the day, Morris appeared on Good Day NewYork to promote the show featuring his series of 100 paint-ings inspired by the Coca-Cola bottle. For information onthese paintings, contact Soho Contemporary Art: www.sohocontemporaryart.com. For more on Morris’ work, con-tact Burton Morris Studios at: www.burtonmorris.com.

Morris Marks Coke Bottle Centennial

Burton Morris with his wife Sara, left,and race horse syndicate owner SheilaRosenblum holding a painting by Morrisof one of her star horses, La Verdad.

There was a largeturnout and good en-ergy at Arnot Gallery,New York’s grand re-opening celebrationparty in Decemberthat coincided withLuigi Rocca’s per-sonal exhibition enti-tled “Flying.” Back inFebruary, when ArnotGallery began plan-ning its move, Roccarequested that thegrand opening exhibition be dedicated to his work, and hespent the next many months creating a substantive collec-tion of paintings, a number of which have already sold. TheArnot Gallery’s new location is on West 55th Street, Man-hattan, in the Cirkers Building among other art-related com-panies. To reach the gallery, and for more information onRocca’s work, call (212) 245-8287, www.arnotgallery.com.

Rocca Flying High at Arnot Gallery

“Fly Over the Big Apple” by LuigiRocca is an original painting measuring 39 by 31 inches.

3-D Pop artist CharlesFazzino created a com-memorative poster forVIPs attending the firstannual Giant Night ofComedy to benefit theRashad Jennings Foun-dation. Many of Jen-nings’ teammates,including Reuben Ran-dle and Prince Amu-kamara, as well as famous comedians,turned out for the eventthat was emceed by“Stuttering” John Me-lendez and NBC4 sportscaster Bruce Beck. The mission ofthe foundation is to inspire youth by making education fun, toprovide mentorship for individual success, and to promotehealth and fitness worldwide. For more on Fazzino’s artwork,represented by Museum Editions, visit: www.fazzino.com;for the foundation:www.rashadjenningsfoundation.com.

Fazzino Joins Comedy Night Benefit

Charles Fazzino, center, with TVpersonality Dr. Oz, left, and NewYork Giant Rashad Jennings.

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“After painting a variety of interesting subjects, I approached a homeless person on the streets of San Francisco and was deeply affected. Encountering this man ignited thoughts and feelings about my work that had previously eluded me. I was moved. Genuinely inspired. It was at that moment I knew I would paint people and pursue figurative realism.”~ Jay Johansen

Seeking Gallery Representation.

Introducing the oil on canvas work of figurative realist painterJAY JOHANSEN

831.233.1166 www.JohansenFineArt.com

Mujer Matadora 54 by 36 inches Heavenly 60 by 35 inches

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Different shades of grey lendthemselves well to comple-mentary earth and woodtones of all kinds—perfectcomplements to contempo-rary art and interior decor.”

Niki Colley of CanadianArt Prints & Winn Devon ArtGroup notes, “In 2015 wesaw blues and greys con-tinue to be strong and weexpect that to continue for2016. We have seen a shiftin blue from predominantlyturquoise and aqua to alsoincorporate darker hues,such as those in ‘PeacefulBeach,’” shown below right.Coastal scenes, she says,remain a strong category.

Jan Weiss of Image Con-scious adds, “The past 12months began with subtleorchid tones and thenflowed into indigo blue whichhas had tremendous stayingpower. The deep waterazure tones have been seenin textiles and wall decor.Sensations of the ocean andmarine life continue to be aformidable trend and morphinto a variety of productsproduced with driftwood andother ocean-inspired materi-als. Wall decor highlightingcalm ocean views with agentle surf or a quiet beachscene invite viewers to takea deep cleansing breath.”

Julie Holland of World ArtGroup agrees, adding thatgold and metallics will continue into 2016 and“brights” are on target forthe home decor trend ofwhite walls. “But we’re alsoseeing a shift to softer pas-tels for 2016. Watercolor inalmost any subject was atop trend in 2015 and contin-ues to be on trend for 2016.Natural elements such as

coral, seaweed, and agatescontinue to be best sellers.”Image Conscious’ Ms.Weiss adds, “If you have

been to any home decorstore lately it’s hard to missthe abundance ofshiny objects—from glass tableswith gold finishesto fine art printswith agate inspira-tion to glossy tex-tures in framedesign; clearly thislook isn’t goingaway soon. Imag-ine classic Holly-wood with FrankSinatra tunes play-ing in the back-ground; this isglam and glitz withmodern toucheslike pearlized fin-ishes. No doubt, these shim-mering looks that closed outthe year will continue into2016, and touches such asfoil looks on canvas andpaper will play a vital part; thismovement is already strongin wall decor and is continu-ing to evolve.” Fabrics withmetallic finishes used to ac-cessorize will be prevalent.Copper is particularly persua-

sive in metal textural wall art,canvas art, vases, and furni-ture; and copper plays an in-teresting role in 2016 homedecor—it brings together acomfortable rustic style withglamour. It has a way of invit-ing the outdoors in by wel-coming nature.”

Barbara Markoff, corpo-rate art consultant, Artra-geous!, says, While abstractsused to be extremely popu-lar, “with the ability to costeffectively print photogra-phy, we find photographs,particularly of nature andocean scenes, are extremelypopular and easy to sell.One trend I have noticed isthat the consumer is lookingfor art that is more ‘timeless’and with that in mind, pur-chasing photography is a per-fect solution.” On the framing

side, she says, “We are sell-ing a substantial number of‘gallery wraps’ which we dif-ferentiate ourselves by wrap-ping over deep bars, somewith a depth as much asthree inches.”

However, Mrs. Markoffattributes the success of

WEST COAST ART &FRAME EXPO HIGHLIGHTS

LAS VEGAS—With over 180exhibitors of art and framing-related products, the 17th edition of the West Coast Art& Frame Expo takes placeJanuary 25–27 at the ParisHotel & Casino. The NationalConference, offering morethan 100 seminars and work-shops, begins a day earlier,on Sunday, January 24, andruns through January 27. TheWCAF Expo, produced byHobby Publications and Picture Framing Magazine, isalso the setting for the PPFAAnnual Convention.

Highlights include:Sunday: 1:30 p.m.–3 p.m.PPFA annual member meet-ing. Information to be providedon new direction of PPFAunder new ownership ofMonarch Expositions.

5:30 p.m.–7:30 p.m.PPFA Welcome reception andvendor showcase.

Monday:6 p.m.–7:30 p.m.Design Star: Framing Editionawards ceremony hosted byLarson-Juhl. Winners will beannounced.

Tuesday:9 a.m.Art Copyright Coalition annualmeeting. Burgundy Room.

Wednesday:8 a.m.–10 a.m.Successful Retailing: A PanelDiscussion led by Jay Goltz.

Show hours:Monday and Tuesday:11 a.m.–6 p.m.Wednesday:10 a.m.–4 p.m.

To access an exhibitor list andNational Conference andPPFA schedule of seminars,visit: www.wcafshow.com.


TRENDS IN ART & FRAMING FOR 2016

“Peaceful Beach” by Tandi Venter fromCanadian Art Prints & Winn Devon ArtGroup illustrates the trend for bluesand greys to incorporate darker hues.The 36- by 24-inch image is availableon paper and canvas and also as Print-on-Demand on paper for resizing.

Michelle Oppenheimer’s“Never Grow Up” fromImage Conscious ties intothe trend of deep waterazure tones. The image isavailable on paper, canvas,metal, wood, and acrylic.


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Artrageous! in 2015, thesecond best year profit-wisein its 35 years in business,to sales of art that did not re-quire or use “conventional”framing. “New technologiesin digital output mean wecan produce images on a va-riety of substrates (wood,metal, ceramic) and also fin-ish them using framelesstechniques such as facemounting to acrylic—or at-taching a sub-frame behindthe art that is not seen butallows the art to appear to‘float’ off the wall. Tru Vuehas a new product calledTru-Life that is an anti-reflec-tive acrylic specifically de-signed for this purpose andlooks terrific.”

Floater frames remainpopular, she says, but arenot an “inexpensive” sell asthe moulding costs are usu-ally higher and the laborcosts to properly fit thepiece can be deceiving.“However, the consumer isusually thrilled with the printon canvas framed in a floaterframe design, when com-pared to the cost of an orig-inal painting on canvas. Theaesthetic achieved usingfloater frames with POD oncanvas allows for a cost ef-fective, scaleable art solu-tion for first-time art buyerswho otherwise could not af-ford to purchase art.”

Mr. Holmgren of Valley/International Moulding, seestwo trends in framing: One istoward gallery-style—verysimple wood-cap frameswith rag board, often 8-ply,and upscale glazing—time-less designs that let the artspeak for itself. At the otherend of the spectrum, hesays, is a sense of flamboy-ance and throwback to Popsensibilities, “You may see

an image that is campy, nos-talgic, tongue-in-cheek or ir-reverent, matted and framedin a wildly colorful, almost

garish way that makes theentire piece a work of art—the frame being the smile on the Mona Lisa, so tospeak.” Sometimes mirrorsare the best and craziest ex-amples (and the image thereis always outrageous). It isthe Dada answer to fram-ing’s established order, andperhaps to taking art too seriously.”

As for upgrading the sale,Mr. Holmgren says offeringthe customer high-end glaz-ing, such as Tru Vue’s Mu-seum or Optium, is a goodway to go. “Once a con-sumer takes that piecehome, none of the otheritems hanging in the home oroffice pass muster from thatpoint. Stories abound ofpeople who, once they takea Museum glazed piecehome, bring others back toget the same treatment, say-ing, ‘These were just notgood enough anymore.’ UV-blocking glass is now thestandard, as it should be

with anything of value, evenif just the heartfelt type.”Secondly, he points out thatmats offer many upscale de-sign opportunities, startingwith basic rag matboard, upto fabrics and specialty fin-ishes. “There is so muchmore than the consumerimagines.”

Larry Neuberg of FramingFabrics observes, “Theminute you add a fabric com-ponent, you enrich the per-ceived value (of a framingjob). Then you can theor-etically sell it for moremoney—fabric enriches the

retailer’s bottom line.” De-mand for fabric is strong, Mr.Neuberg says, noting thatmatboard companies suchas Crescent and Bainbridgehave been promoting theirtextured matboard collec-tions. “They are getting themessage out and there isproduct acceptance. It en-riches the whole industryvertically.”

PENNY LANE LAUNCHESABBEY ROAD FINE ARTAND LICENSING

BONITA SPRINGS, FL—Abbey Road Fine Art andLicensing, a new division ofPenny Lane Fine Art & Licensing has beenlaunched, featuring the openedition work of some 20artists geared toward the hos-pitality industry and fine homefurnishings retailers. The divi-sion will be run by StephanieJones out of the company’sFlorida office and presents adiverse collection of fine artand photography images fromartists such as DorothySiemens, Julie Beyer, TimDardis, and Tracy Cendoyawhose “White Scarf” isshown. “Abbey Road takesour 30-plus years in publish-ing and licensing with PennyLane, and combines it withthe artistic talents of our interior design-oriented team,”says Zachariah Jones, ownerand president.

Retail prices range from $10to $70, with images measur-ing 10 by 10 inches to 36 by54 inches and with an aver-age of $24 for an 18- by 24-inch image. A 36-page catal-ogue featuring 350 imagesfrom 18 artists is available.Call (239) 494-1146, www.abbeyroadfineart.com. Toreach Penny Lane Fine Art &Licensing, New Carlisle, OH,call (800) 273-5263, www.pennylanepublishing.com.


“Andaman II” by ReneeStramel, 27 1/2 by 39 1/4inches, is a hand-embel-lished print on coppermetallic paper that illustrates the metallic and texture trend.

This framed Mucha print of“The Lily” illustrates theuse of Crescent’s BullionGold Leaf from its CoutureMatboard collection to create a high-end look, as well as to protect the art. The hand-leafed goldshimmering surface of the matboard is accentedwith black veining.

TRENDS FOR 2016continued from page 10


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A major Erté exhibition is totake place at the HermitageMuseum in St. Petersburg in June, of which MartinLawrence Galleries with 10locations across the U.S. isa sponsor. All of these gal-leries held Erté shows in De-cember and are participatingin the lead-up to the Her-mitage exhibition. “We areall very excited that the Her-mitage has chosen to honorErté in this way,” says EricDannemann,president ofM a r t i nL a w r e n c eGalleries andChalk & Ver-milion FineArts. “Theactual exhibi-tion is notuntil June,but a numberof our Ertéc o l l e c t o r shave alreadyexpressed in-terest in at-tending theopening ceremony and see-ing the exhibition.” A largenumber of significant Ertéworks will be shipped to themuseum. “We will not havethe exact list for a couple ofmonths, but the value of theart is estimated in the tensof millions. The originalgouaches of the alphabetare $8 million alone,” notesMr. Dannemann, adding,“The numerals will be thereas well, and a host of Ertéartworks in virtually everymedium across the spec-trum that he worked in.”

The Erté exhibition marksthe first the Hermitage,counted among the world’sfinest museums, will curatefor the father of Art Decoand one of Russia’s mostcelebrated cultural native

sons. Erté, whose real namewas Roman de Tirtoff (R.T.),was born in 1892 in St. Pe-tersburg. In 1910, he movedto Paris to pursue a careeras a designer. Five yearslater he secured his firstsubstantial contract withHarper’s Bazaar magazineand thus launched an illustri-ous career that included designing costumes andstage sets. Between 1915and 1937, Erté designed

at least 200covers forH a r p e r ’ sBazaar, andhis illustrationsalso appearedin such publi-cations as Il-l u s t r a t e dL o n d o nNews, Cos-m o p o l i t a n ,Ladies’ HomeJournal, and Vogue.

Elegant Erté fashion de-signs captured the Art Decoperiod he founded. His deli-cate figures and sophisti-cated, glamorous designsare instantly recognizable,and his ideas and art still influence fashion into the21st century. Erté continuedworking throughout his life

and with the 1960s Art Decorevival, he began creatinglimited edition prints,bronzes, and other fine art.Martin Lawrence Galleriesgenerally sell his work in arange from $1,500–$15,000,but some gouaches sell formuch more, $60,000 to$80,000. Visit: www.martinlawrence.com or go to: www.chalk-vermilion.com.

KOLIBRI ART STUDIOAWARDED GOLD, SILVERAND BRONZE AT SGIA EXPO

LOS ANGELES—Kolibri ArtStudio was recently awardedwith the gold, silver, andbronze “Golden Image” prizeat the Specialty Graphic Im-aging Association’s Expo2015, chosen out of hundredsof submissions. The SGIAExpo identifies the best specialty printmakers in theworld. Kolibri’s wins includegold for Thomas Kinkade’s“Pinocchio Wishes Upon aStar,” shown above, a seri-graph on archival canvas with88 colors (edition of 550, 27by 18 inches) published bythe Thomas Kinkade Com-pany. Silver was awarded forEric Zhao’s “Emotion ofDaughter,” a giclée on canvaswith pigmented inks (editionof 50, 32.8 by 36 inches). Andbronze was awarded for Liud-mila Kondakova’s “Four Sea-

sons,” shown above, a gicléeon canvas with pigmentedinks (edition of 50, 48 by 24inches) published by Chalk &Vermilion Fine Arts. “We areproud to be recognized forour 25 years of fine art print-ing. We have strong commit-ment to quality and a reputa-tion for excellence to achievethe best match to any origi-nal,” says Bernard Fekete,Kolibri’s general manager.Call Kolibri Art Studio at (310) 538-4855, or visit:www.kolibriartstudio.com.


ERTE EXHIBIT AT HERMITAGE MUSEUM

Above: Erté’s “Bain deSoleil” (Harper’s BazaarJune 1930 cover). Thegouache on paper has a 9 3/4- by 13 1/4-inch imageand a paper size of 11 3/4by 15 3/4 inches. Left: “King’s Favorite” byErté, bronze edition of 462 measuring 15 by 16 by 5 inches.Below: “Samson & Delilah”by Erté, serigraph edition of 300 with a 20 1/2 by 15-inch image size, and a paper size of 24 by 19 inches.

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Larson-Juhl, the Atlanta-headquartered moulding sup-plier, has announced thelaunch of Verus Art, providerof re-creations of Masterartworks, and is establishinga gallery program. With de-tail that ensures accuracywithin ten microns, VerusArt’s re-creations of works bythe Masters enables mus-eum patrons and art aficiona-dos alike to experience thevisual and tactilesensation of anartist’s originalbrushwork.

Larson-Juhl isworking in part-nership with Océ,a Canon com-pany; and AriusTechnology, aleader in laser-based opticalscanning sys-tems for 3-D dig-itization. Throughan innovative 3-Dscanning processcreated by AriusTechnology and aproprietary ele-vated color print-ing process creat-ed by Océ, VerusArt’s goal is tobridge the gap between a fineart reproduction and an origi-nal. Textured re-creations willbe produced under licensefrom copyright holders andmarketed under the VerusArt brand name.

“This ground-breaking fu-sion of art and technologyopens the doors to infinitepossibilities for museums,galleries, and collectors,”says Paul Noble, vice presi-dent, business developmentat Larson-Juhl. “Verus Artwill initially focus on Impres-sionist masterpieces fromthe world’s greatest muse-

ums and will expand into con-temporary art.” The first mu-seum collaboration is with theNational Gallery of Canada.Verus Art will re-create andmarket a series of its master-pieces, beginning with VanGogh’s “Iris” and Monet’s“La Mer Agitée.”

Part of the thrust of this ini-tiative is to boost busi-ness for galleries. “We

find there is a sophisticatedbuyer who is looking forsomething better than a flatgiclée or poster, and that iswhat we are able to do forgalleries,” says Mario Maz-zone, business developmentmanager at Larson-Juhl.

An authorized gallery pro-gram with exclusive territoriesis being established in NorthAmerica and worldwide. TheVerus Art re-creations willbe released in editions of 950 and sell for $1,000 to$8,000, including the framingin Larson-Juhl’s watergildedSenelar Collection.

Stephen Gritt, director,conservation and technicalresearch at the NationalGallery of Canada, says, “Itis the richest reprographictechnology on the planettoday. The resolution is phe-nomenal. It gives you somuch more information thana flat image. It gives you aslice of some of the things

that stand for authenticity inthe object.”

Approximately two yearsago, Larson-Juhl acquiredthe assets of BrushstrokesFine Art LLC, a technologydesigned to create reproduc-tions with the look and feel ofan original. “With the en-gagement with Verus Art,”Mr. Mazzone says, “We arefully invested in being aworld leader in textured art.”

For more information, visit:www.verusart.com or con-tact Mr. Mazzone via e-mail:[email protected].

ART WORLD NEWS

VERUS ART LAUNCHED BY LARSON-JUHL

The original van Gogh“Iris” painting from the National Gallery of Canadais shown above, right; theVerus Art re-creation is immediately above; and aclose-up of the re-creationis to the right.

GLOBAL FINE ARTSIGNS BRITISH ARTISTFREDERICK PHILLIPS

SOUTH BEND, IN—GlobalFine Art is now the publisherand distributor in North Amer-ica of the work of U.K. artistFrederick Phillips, known forhis detailed romantic post-Surrealist paintings and limited edition serigraphs andgiclées. Global Fine Art is, ineffect, reintroducing Phillips’paintings and prints followinga hiatus, and will work withselect galleries in key marketsto reintroduce the artist to current and new collectors.Global Fine Art’s Del Blossnotes that Frederick’s art iswell known for its engagingprecision and subtle yet magical mystery presented inhis own highly personal andunique vision of Surrealism.It is this vision, he says, thathas intrigued his collectorbase throughout the years.

Originals will range from$12,000 to $40,000 and lim-ited editions of 99 will rangefrom $950 to $1,600, a rangethat is considered within thereach of established and newcollectors. Shown is his “Synthesis,” an oil on linencanvas, 24 by 26 inches.

For more information, contactDel Bloss at (574) 288-2738,ext. 3, or e-mail him at: [email protected], orvisit: www.gfafineart.com.

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Members of the Art Copy-right Coalition (ACC) re-turned to China to confront,as well as educate,copyright infringers.Representatives fromfour open edition printpublishing and licensing com-panies visited the Cantonand Jinhan Fairs in late fallwhere they found far fewerinfringements than when they first attended this show three yearsago. However,the improve-ment was re-lated to imagesfrom their owncompan i e s ,not necessarilythose fromother publish-ers and licen-sors. That iswhy ACCpresident JohnChester, co-owner with hiswife Laurie ofWild Apple, en-courages morep u b l i s h i n gcompanies tojoin the ACC.He invites any-one interested to attend theACC annual meeting thattakes place during the WCAFExpo on Tuesday morning at 9 a.m. in the BurgundyRoom. Currently, there are20 members, and its counselis Joshua Kaufman, a lead-ing attorney in art, copyright,and licensing law, and part-ner in the law firm of Ven-able LLP.

The four companies thatwent to the recent shows inChina were Rosenstiel’s, TopArt, Wild Apple, and WorldArt Group. “It is in our owninterests to do this work andgo to the shows (in China),”says Mr. Chester. “I think

everyone supports the con-cept, but when it comes tothe practical choice of spend-

ing the money and putting theenergy into it, they can’t alldo it. As he says, it’s noteasy. “You arrive jet-lagged,and walk up and down theaisles of exhibitors, and when

you find problems, you areimmediately in a confronta-tion. What keeps me going isthat we are making progresseach time, and there arefewer companies infringing,and less copies per infringer.It is markedly different fromwhat it used to be, and wehave a reputation. I am suresome companies are nothappy to see us, exceptthose we are working with,and they treat us like celebri-ties.”

Mr. Chester is carefullytesting the waters, licensinga small number of images toone or two Chinese compa-nies that distribute into the

U.S. “There are some play-ers that want to be in theglobal market and, because

they have a legitimatelicense from us, it givesthem a competitiveedge.” Mr. Chester de-

scribes them as conversions.“Initially when we met them,they had taken our images. I think over the next decadeyou are going to see thismovement toward legitimate

licensing contr-acts.” He notesthat raids on fac-tories in China,some that havefound big namebrand apparelcompanies tobe the victim ofi n t e l l e c t u a lproperty theft,are receivingcons ide rab lemedia attentionin the U.S.

Mr. Chesteris passionateabout copyrightprotection andgenerated signif-icant awarenessof the issue last

summer when he made atongue-in-cheek bid to runfor President of the UnitedStates on that one issue,noting that copyright in-fringement has been plagu-ing the industry for years.Surtex, a major trade showknown as a marketplace forselling and licensing originalart and design, widely circu-lated an article on Mr.Chester’s fight for copyrightintegrity in its On the Sur-face e-mail newsletter tomembers of the art and de-sign community.

For more information onthe ACC, visit the website:www.artcopyright.net.

ARTNET COLLABORATESWITH CHINESE AUCTIONEERS ONMARKET REPORT

NEW YORK—In an effort tocreate a new transparency inthe marketplace, artnet, incollaboration with the ChinaAssociation of Auctioneers(CAA), has released the thirdedition of its Global ChineseArt Auction Market Report,providing an indepth look atthe Chinese art and antiquesauction market. In its pressrelease, artnet notes the Chinese art and antiques auction market is frequentlysubject to a great deal ofscrutiny, as concerns havebeen raised about the variousproblems concurrent with itsrapid growth through 2011.Amidst this uncertainty, dataanalysis on the Chinese artmarket has also been calledinto question. Hence, in an effort to present the most accurate representation of the market, artnet partneredwith the CAA.

Highlights of key findings include the fact that 2014marked another cooling period for the global auctionmarket of Chinese art and antiques, as worldwide salesfell to $7.9 billion, a 31.3%decline since the market’speak in 2011. The number oflots consigned globally in2014 was comparable to2013; however, demand waslower. In 2014 the sell-through rate dropped to48.1%, the lowest in fiveyears. Fulfillment of paymenthas long plagued the auctionmarket in mainland China. In2014, up to 63% of all lotssold for over ¥10 million wereleft unpaid or partially paid.The non-payment rate was up22% from 2013.

For a copy of the report, con-tact artnet at (212) 497-9700or visit: www.artnet.com.


ACC TAKES ON CHINA AGAIN

Art Copyright Coalition members at the Canton Fair inChina, from left: John Chester and Kat Gray, Wild Apple;Mauro Torre, Top Art; Nick Roe, Rosenstiel’s; LonnieLemco and Julie Holland, World Art Group; CassidyPang, translator; and a Canton Fair employee.

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by Koleen KaffanDutch fashion design houseViktor&Rolf unveiled its HauteCouture Autumn/Winter2015 line of women’s cloth-ing at the Mezzanine of thePalais de Tokyo in Paris fea-turing wearable framed artcreated by the two designersand company co-founders,Viktor Horsting and RolfSnoeren.

By combining fashion andart as a means of expres-sion, the collection features

dresses thatt r a n s f o r mfrom a pieceof art that canbe hung on awall and thenback into adress. To dem-onstrate howit is done,Horsting andSnoeren wereon the runwayto remove thedresses fromthe models and hang them

on the walls.The paintingsf e a t u r e dsp l a t t e r e dpaint on can-vas that wasexecuted in acomplex lay-ering ofl a s e r - c u tj a cqua rds ,embro ider-ies, and ap-pliqués. Thec u s t o mframes that

were developed and hand-crafted in-house by V&R at-elier garnered much mediaattention worldwide for its in-novation. Recognizing theartistry behind the collection,art collector and long-stand-ing collaborator of Viktor&Rolf, Han Nefkens, ac-quired an Haute Couture artpiece after the collectionwas shown which will be do-nated to the Museum Boij-mans Van Beuningen inRotterdam, Netherlands. Formore details, visit Viktor&Rolf at: www.viktor-rolf.com.

EPSON SPONSORS NATURE’S BEST PHOTOGRAPHY EXHIBITAT THE SMITHSONIAN

WASHINGTON—Epson, aleading supplier of inkjet print-ers and printing systems, is asponsor of the 20th anniver-sary “Nature’s Best Photogra-phy Windland Smith RiceInternational Awards Exhibi-tion” at the Smithsonian National Museum of NaturalHistory. The exhibit runsthrough August 2016, andshowcases award-winningphotographs selected overthe past 20 years from nearly500,000 images submitted byphotographers from aroundthe globe, and features morethan 100 large-format printsranging in size from 24 toover 60 inches, along with HDvideos. Shown is “EmperorPenguin Family, Weddell Sea,Antarctica” by Marcello Libraof Vercelli, Italy, who visitedthe colony of 4,000 penguins.

“This may very well beEpson’s finest work in match-ing print reproduction with thedeep passion from men andwomen in the field,” saysSteve Freligh, awards direc-tor. The prints were createdon Epson’s new 44-inch wideEpson SureColor P9000. For Epson, visit: www.pro imaging.epson.com. For themuseum: www.mnh.si.edu.


ART AND FRAMING ON THE RUNWAY

A model on the runway at the Viktor&Rolf HauteCouture Autumn/Winter 2015 show.

Designers Viktor Horsting and Rolf Snoerentransform a model’s dress into art that isthen hung on a wall.

Sotheby’s select-ed Lowy Frameand RestoringCompany of NewYork to framemore than 20works for theirNew York fallauctions. Amongthem was a starof its Impression-ist and Modernsales, Picasso’s“La Gommeuse”that fetched$67.5 million.

The rare 1901two-sided painting from Pi-casso’s Blue Period camefrom the collection of billion-

aire business-man William I.Koch.

“We werethrilled to havethe opportunityto design aframe for thisrare and veryspecial por-trait,” says LisaWyer, Lowy’svice presidentof sales. “Usinga traditional17th centurycassetta profile

for the recto, suitable forboth the architectural needsof the installation and sim-

plistic in its modernity, wewere able to achieve an idealframing solution to displaythe painting on the wall whilehighlighting the palette of thesubject’s face with a warmgold patina and allowing theverso to be viewed in amuted black surround.”

Lowy, founded in 1907, of-fers fine and decorative artconservation and restora-tion, along with a collectionof over 4,000 antique framesand artisanally-carved repro-ductions, as well as custom-designed contemporaryframes. To learn more aboutLowy, visit: www.lowy1907.com or call (212) 861-8585.

LOWY FRAMES RARE PICASSO, STAR OF SOTHEBY’S AUCTION

“La Gommeuse” by Picasso fetched $67.5million at Sotheby’sfall sales in New York.

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Adding professional digitalprinting services to a frame-shop’s list of options canopen the door for salesgrowth and expansion of itscustomer base, but it takesskill, money, and prioritiza-tion to work effectivelyalongside the business’ ex-isting art and framing serv-ices. Custom framers whooffer printing services sug-gest they should be mar-keted as high-end imagingwith customizable options insizes not offered by others.The equipment and mainte-nance can be costly, but thequality is superior and sizesmuch larger than what otherretailers may have to offer.Having samples on theshowroom floor is key.

Valerie Becker, co-ownerwith her husband John ofRed Wing Framing & Fine Art Printing, Red Wing, MN,says that printing has al-lowed them to expand theirbusiness andthat 50% of theirprojects includeboth printing andframing. “We tryto be a one-stopshop for all ofour customers,”she says.

“ P r i n t i n g ,mounting, andframing are ourthree core serv-ice offerings. We positionourselves as a premiumquality custom framer andfine art printer.” When theBeckers opened their doorsin 2002, they offered fram-ing and large format, fine artprinting. In 2010, they ex-panded by adding Print-on-Demand. In 2014, theyopened a second locationcalled Rochester Framing & Fine Art Printing in

Rochester, MN. “Originallywe thought the target mar-ket would be artists whowanted art reproductions,”Mrs. Becker says. “This partof the market never becamemore than 10% of our printsales. About half of our printjobs are personal projects

that also include customframing. For example, an oldwedding certificate scanned,reproduced, and framed foreach member of a family asa gift. Or a reproduction ofan original painting painted

by a grandparent and sharedwith the entire family. Theother half of our print proj-ects are corporate.” Thecombination sale helps to al-leviate the cost of offeringprinting. “It is a continuousinvestment. We don’t treatthe printing as an add-onservice for framing cus-tomers, but an equal busi-ness that complements theframing.” Mrs. Becker notes

that each printer costs about$15,000 with an averagecost of $300 per ink car-tridge and about $300 permedia roll.

Barbara Pelton, co-ownerwith her husband Mark ofArtfully Framed in Poplar

Bluff, MO, saysthat printing wasintroduced intotheir business on a limited basisto collectors ofMark’s fine artlandscape pho-tography. “Myhusband hasbeen selling hisphotography andprinting his ownprints since the

’80s, and I began framing inthe early ’90s, so it wasn’t a matter of ‘adding’ serv-ices, as much as it has beenan evolution of the photog-raphy business. It does in-crease revenue, but for us,it is nominal since it is not aportion of our business weadvertise. We are very par-ticular in the quality andthere is definitely a learningcurve if you are particularabout the results.”

Ann Shive, owner and cu-rator of Crestwoods FrameShop and Gallery, located in Roanoke, IN, offers her customer base high-quality,high-resolution digital printsavailable in large sizes, up to 36 by 72 inches. “Printinghas been a small add-on toour existing custom framingand gallery business,” shesays. “It does help to createrepeat business as it repre-sents a unique service to our customers because ofthe large size of the printsthat we can make.”

PRINTICULAR APP BRINGSANDROID PAY TO PHOTO PRINT ORDERING

NEW HAVEN, CT—The freeapp Printicular, created byMEA Mobile to provide photoprinting from smart phonesand tablets, now accepts An-droid Pay, having integratedGoogle’s secure paymentservice. “People need a wayto pay from their phones in amanner easier than payingwith cash. Google has doneexactly this, with AndroidPay,” says Bruce Seymour,managing director of MEA. �

Printicular makes it possibleto print photos from whereever they are stored. With afocus on simplicity, the app offers picture selection fromPicasa, Google+, Facebook,Instagram, and Dropbox inaddition to photos createdfrom a camera. It is estimatedthat more than 10 million pho-tos have been printed to dateusing MEA’s Printicular app. The app is part of MEA’s family of photo printing apps,which let users print ontocanvas, posters, and greetingcards, alongside traditionalphoto paper. To download the free Printicular app visit:www.zebroute.com/Printicular-Photo-Prints. For more information visit:www.printicular.com.

MEA Mobile recentlylaunched the iArtView app to help galleries close sales.iArtView places a gallery’sartwork to scale on walls, adjusts lighting, or rotates an individual piece, to providea better view of the art. Go to: www.iartview.com.

The company also offers contract design, developmentand marketing services. Contact: Vin Framularo:[email protected], call(203) 599-1111 or visit:www.we-are-mea.com.


PRINTING GROWS FRAMING SALES


Crestwoods Frame Shop & Gallery is located in Roanoke, IN.

Artfully Framed, established in 1991, is located in Poplar Bluff, MO.

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Frame Destination Inc. is in-troducing the GalleryPouchGold line of bubble bags de-signed to protect artwork andframed photographs, as wellas other items. The bubblebags are made from transpar-ent, heavyweight laminatedpolyethylene bubble that is3/16-inch thick. Becausethere are no exposed bub-bles, they areprotected, mak-ing it difficult topop. Both sidesof the productare smooth,making it easyto slip in artworkand pack it forshipping orother transport.

The pouch is available intwo options: GalleryPouchGold with Velcro and Gallery-Pouch Gold with a flap. TheVelcro edition has an ad-justable self-adhesive Velcrosealing option, allowing thecustomer to custom-tailor theheight of the bag. The flapedition is just the same, ex-cept it does not have a Velcroclosure. Instead, customerscan seal the bag with packingtape or another fastener.

GalleryPouch Gold wasdesigned by photographer,author, and consultant Andrew Darlow who says,“After completing a printingproject for a client comprisedof 10 40- by40-inch stre-tched canvasprints, I discov-ered it was a

nightmare to properly pro-tect the work for shipping. I ended up using 48-inch-wide bubble material with alot of packing tape, whichconcerned me due to thefragility of the canvas.

“I knew there must be abetter way, so I contactedFrame Destination and askedif they could produce large,custom-sized bubble bagsthat were re-sealable. After

many e-mails, phone calls,and prototypes, Gallery-Pouch Gold was born.”

Mark Rogers, founder andpresident of Frame Destina-

tion, a Dallasand Internet-based sup-plier of fineart and pho-t o g r a p h yframing sup-plies, adds:“ G a l l e r y -Pouch Goldfulfills a needvoiced bymany of ourcustomers.We believethis productis perfect for

our market segment, whichincludes galleries, photogra-phers, and other artists whoneed to protect and ship art-work for art shows and otherevents.” GalleryPouch Goldcomes in a wide range ofstock sizes, as well as customsizes up to 50 by 156 incheswith no minimum purchase.A 33- by 39-inch Gallery-Pouch sells for $24. Visit:www.framedestination.com/gp or call (972) 479-1188.

FRAMERICA DEBUTSNORTON GOLD

YAPHANK, NY—The Ameri-can Renaissance Collectionfrom Framerica just expan-ded with the introduction ofNorton Gold. Like others inthe collection, Norton Goldboasts a sophisticated leaf-like finish. It is available inprofiles from 1 to 3 inches.Call (800) 372-6422 or visit:www.framerica.com.

LARSON-JUHL’S NEW BIRCHWOODS COLLECTION BRINGS THE OUTDOORS IN

NORCROSS, GA—TheBirchwoods collection fromLarson-Juhl offers a luxelodge-inspired look with com-plex finishes mimicking au-thentic birch bark. Answeringthe nature-inspired trend, itfeatures roughhewn edgesand varying taupe and greytones. Birchwoods comes intwo widths of 1 1/2 and 2 1/4inches that are usable ontheir own, stacked, or as aliner. Visit the website at:www.larsonjuhl.com.


GALLERYPOUCH TO PROTECT ARTWORK

GalleryPouches are design-ed to protect artwork, fram-ed photographs, and more.

Ms. Shive mentionsthat while it does bring in sales, it comes with an investment in the print-ers and maintenance. Be-cause of this cost, shehas kept the printing sideof the business on asmaller, more controlledbasis. “It definitely hasits value with the addedrevenue and ability to ex-pand the customer base,but the ink and suppliesare expensive. Because of

this, we offer it more as a‘convenience’ for our clients,

but one that 50% of the time

results in a framing order.”

Marketing such servicesis made easier with the useof social media, and Ms.Shive has posted images ofher printer at work on thebusiness’ Facebook page.Educating customers hasbeen a challenge as manybring in images that are oftoo low a resolution. “Often-times, our clients do nothave images that are ‘printready’ or even capable ofbeing clearly printed. Tech-nology is great, but there canbe unavoidable restrictions.”

ADDING PRINTINGcontinued from page 22

Giclées of artwork by Utagawa Hiroshige printed at Red WingsFraming & Fine Art Printing.

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ART WORLD NEWS

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ART WORLD NEWS

LEGAL ISSUES

by Joshua Kaufmanand Thai X. NguyenArt appropriation is back inthe news. Artist Jeff Koons,Phillips auction house, andthe unnamed con-signer of a Koonsartwork are beingsued by photogra-pher Mitchel Grayfor the use of hisphotograph in theartwork withoutpermission. This isMr. Koons’ sixthlawsuit for claimsof copyright in-fringement based on the mis-appropriation of previouslyexisting works. Mr. Koons isone for five in the previouscases. In this case, Mr. Graytook a photograph of a cou-ple on a beach for a Gor-don’s Gin ad in 1986. Laterthat year, as part of his se-ries Luxury and Degradation,Koons reproduced the pho-tograph in its entirety andmost of the ad with someslight variations in his art-work entitled “I Could Go for Something Gordon’s.”

The Koons artwork, andthe case, raise three issuesthat anyone who creates orsells art which incorporatesthird party intellectual prop-erty must deal with, specifi-cally copyright claims, rightof publicity claims, and trade-mark claims. While the Graylawsuit is limited to copyrightclaims other questions thatare not raised are present in the Koons artwork: Did

Koons also violate Gordon’strademark rights and theright of publicity of the twomodels in the photograph?The suit provides us with an

opportunity to review thecurrent state of the law in re-gard to the appropriation ofother’s copyrightable art-work, trademarks, and like-nesses in a new work.

In the lastfew years, a re-view of copy-right casesshows that thependulum hasswung in favorof fair use, par-ticularly in New York and Cal-ifornia. There are two cases,in the Court of Appeals inNew York—one dealing withart and one not (the GoogleBooks case), which havetaken an expansive view to-wards fair use. The most ex-citing or troubling (dependingon your point of view) art lawcase is Cariou v. Prince, 714F.3d 694 (2d Cir. 2013). InCariou v. Prince, artistRichard Prince was sued forappropriating dozens of pho-

tographs by Patrick Cariou.Cariou had published black-and-white portraits and land-scapes that he took whileliving in Jamaica. Prince torephotos from Cariou’s bookand incorporated them intohis own artwork, alteringthem in varying degrees andpinning them to plywood.Prince’s work was subse-quently featured at a gallery,and Cariou sued.

To find fair use, the Sec-ond Circuit requires the newwork to be transformativethat is it “must alter the orig-inal with new expression,meaning, or message.” Thecourt found Prince’s workwas significantly different insize, color, and distorted na-

ture, that his works were“fundamentally different andnew.” The court also foundthat the law imposes no re-quirement that a work com-ment on the original, or itsauthor, in order to be consid-ered transformative; and asecondary work may consti-tute a fair use even if itserves some purpose otherthan those (criticism, com-ment, news reporting, teach-ing, scholarship, and resea-rch) identified in the pream-

ble to the statute. The courtalso held that the more trans-formative a new work is, theless important the other fourfair use factors become.

The court broke newground in finding fair usewhen it stated: “The districtcourt [whose decision of nofair use it overturned] basedits conclusion that Prince’swork is not transformative inlarge part on Prince’s depo-sition testimony that he‘do[es]n’t really have a mes-sage,’ that he was not ‘tryingto create anything with a newmeaning or a new message,’and that he ‘do[es]n’t haveany... interest in [Cariou’s]original intent.’ On appeal,Cariou argues that we musthold Prince to his testimonyand that we are not to con-sider how Prince’s worksmay reasonably be per-ceived unless Prince claimsthat they were satire or par-ody. No such rule exists, andwe do not analyze satire orparody differently from anyother transformative use.

“It is not surprising that,when transformative use is atissue, the alleged infringerwould go to great lengths toexplain and defend his use as transformative. Prince didnot do so here. However, thefact that Prince did not pro-vide those sorts of explana-tions in his deposition—which might have lent strong

ART APPROPRIATION REDUX


Joshua Kaufman. Thai X. Nguyen.

To find fair use, the Second Circuit Court

requires the new work tobe transformative.

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ART WORLD NEWS


ART WORLD NEWS

LEGAL ISSUES

support to his defense—isnot dispositive. What is criti-cal is how the work in ques-tion appears to the reason-able observer, not simplywhat an artist might sayabout a particular piece orbody of work. Prince’s workcould be transformative evenwithout commenting on Car-iou’s work or on culture, andeven without Prince’s statedintention to do so. Ratherthan confining our inquiry toPrince’s explanations of hisartworks, we instead exam-ine how the artworks may‘reasonably be perceived’ inorder to assess their trans-formative nature... The focusof our infringement analysisis primarily on the Prince art-works themselves, and wesee 25 of them as transfor-mative as a matter of law.”In essence, the court heldthat even if the artist doesnot claim the work is trans-formative if the judges thinkthe public will, that is enough.The Second Circuit’s analy-sis, as a result, greatly broad-ens judges’ discretion ofwhat is transformative andthus what is a fair use.

In California there is an in-structive case of an artist,Derek Seltzer (Seltzer v.Green Day Inc., 725 F.311170 (9th Cir, 2013)). TheNinth Circuit found that therock band Green Day’s useof the artist’s drawing in itsvideo backdrop was pro-tected by fair use. In GreenDay, artist Derek Seltzer cre-

ated an art work entitledScream Icon and arrangedposters of it on walls acrossLos Angeles as street art.Green Day’s set designerhappened to come acrossthe artwork, photographed it,and later used it in the band’svideo backdrop. The ScreamIcon was modified for thevideo, and other artists werefeatured further altering it, as the video played. Seltzersued for copyright infringe-ment. In ruling for Green Day,the court emphasized that

the band’s use was suffi-ciently transformative be-cause different colors,contrast, a brick back-ground, and a superimposedred crucifix were added tothe artwork. Moreover, thevideo’s message of religioushypocrisy had nothing to dowith the Scream Icon’s origi-nal meaning. Even thoughthe Scream Icon was concur-rently used with the band’sconcerts, this was only “inci-dentally commercial,” be-cause it was not used to pro-mote the concerts or mer-chandise. Because GreenDay’s use conveyed “new in-formation, new aesthetics,new insights, and under-standings,” it was trans-formative and fair.

In Wisconsin there is an-

other case, Kienitz v. Scon-nie Nation LLC, 766 F.3d756 (7th Cir. 2014), wherethe court took a different ap-proach to fair use than didthe Cariou and Green Daycourts. In Kienitz, the Sev-enth Circuit openly criticizedthe Second Circuit’s inter-pretation of the Fair UseDoctrine in Cariou. Here,Michael Kienitz photograph-ed Madison, WI, mayor PaulSoglin, and subsequentlyposted that photograph onthe city’s website. Apparel

c o m p a n ySonnie Na-tion LLCdownloadedthe photo-graph, al-tered itscolor and de-tails, and

printed the new image ontoT-shirts with the phrase“Sorry for Partying.”

Relying in part on Cariou,the district court ruled infavor of Sonnie Nationbased on the T-shirt’s trans-formative nature. The Sev-enth Circuit affirmed, but ondifferent grounds. It warnedthat the Second Circuit’s interpretation of fair usecompromises, and possiblyeliminates, a copyright hol-der’s statutory right to pre-vent others from makingderivative works. Instead,the Seventh Circuit opted to“stick with the statutory list,of which the most importantusually is the fourth [factor](market effect)” to find fairuse. The court did find fairuse but looked at all four fac-

tors in the statue to arrive at its conclusion. The takeaway is if one is going to ap-propriate someone’s artworkNew York and California arethe places to be sued in.

The article will continue in a fu-ture issue of Art World News.

Images referred to in this arti-cle can be viewed at: www.venable.com/files/Publication/09e7bfb3-1b1f-44a3-8d8f-80fa8c434457/ Presentation/Pub l i c a t i onA t t achmen t/35452365-1ba5-4a94-a0f2-897e42d9bcba/Art_Appropriation_Redux.pdf

Joshua Kaufman is a partnerin the law firm of Venable,LLP, and chair of its copyrightand licensing group. Based inWashington, DC, he special-izes in technology/online mat-ters, anti-counterfeiting, art,media, publishing, entertain-ment, copyright, licensing andtrademark law, with clientsthroughout the U.S., Europeand Asia. He assists clients intransactions, as well as litiga-tion. He is an adjunct profes-sor at American UniversityLaw School. He successfullyargued a landmark copyright/artist rights case before theU. S. Supreme Court; is a fre-quent speaker on IP topicsand has published over 150articles on legal and techn-ology issues. His e-mail is: [email protected].

Thai X. Nguyen is an intellec-tual property associate atVenable LLP who focuses herpractice on copyright andtrademark matters.

ART APPROPRIATIONcontinued from page 28

In the question of fair use,what is critical is how thework in question appears tothe reasonable observer.

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ART WORLD NEWS


ART WORLD NEWS

ARTCLAIM DATABASE

by Jerome HaslerIn the years since the finan-cial crisis the art market hassteadily been grabbing theattention of an audienceoutside its traditional catch-ment zone. Sales are nowjust as likely to appear onthe finance pages towardsthe front of major newspa-pers as they are in the artspages towards the back.

The art trade has neverbeen more moneyed andwhere money goes, disputesinvariably follow. And, withthe market’s international na-ture thrown into the mix,these disputes now carrywith them far more serious,complex, and expensive con-sequences.

Yet one persisting criti-cism of the art market is itsnotorious lack of regulationand the prevalence of a setof mysterious principles thatcloud business practice atevery turn. Is it time for thebusiness of art to be takenseriously, or will the markethave to take itself a littlemore seriously first?

The key issue here is duediligence. In spite of an illus-trious history, due diligencehas only really been a con-sideration for the last 25years or so, in the post-Isabella Stewart GardnerMuseum theft era when artbecame recognized as acredible stolen propertyrisk. From then on, due dili-

gence efforts were primarilyconcerned with two issues:determining whether or nota painting is stolen propertyand determining whether ornot a painting was lootedduring World War ll. Littleoutside these parameters,regardless of its impact on a work’s cleartitle, was con-sidered.

Taking ad-vantage of thei n f o rma t i onstorage possi-bilities of theearly Web eraand the soft-ware revolu-tion of the1990s, thefirst due dili-gence data-bases wereintroduced to keep basicrecords of theft and looting.Little has changed in theyears that followed. Veryfew, if any, technological re-visions to the databasemodel were introduced. Norwas the original focus onstolen and looted works up-dated to reflect the newly-established and emergingthreats introduced by the art boom: from ownershipdisputes and financial liensto authenticity risks and insurance fraud, numerousissues can affect the cleartitle of a work of art andpresent liability for dealers,buyers, banks, and insurersalike.

With this in mind, Art Re-covery Group launched theArtClaim Database in Janu-ary 2015 to bring art marketdue diligence into the 21stcentury. For a number ofyears now the possibilitiesfor the cataloguing and in-terpretation of complex data

have presented an interest-ing opportunity for art-mar-ket due diligence. When welaunched our system wewanted to revise both thedatabase model, as well asthe due diligence philosophy,to create a resource thatwould be as relevant for theart market today as it will be for whatever the marketlooks like in two decades’time.

To ensure this, we under-took a year-long “listeningtour” both to understandbetter what the marketwanted and to build into oursystem the recommenda-tions of professionals who

are working with art on adaily basis. As a result, theArtClaim Database was builtby software developers rec-ommended by two majorlaw enforcement agencies,incorporates image-recogni-tion technology recom-mended by a third, and

contains over 500different data fieldsall suggested byprofessionals inthe trade. It is atool built by the artmarket, for the artmarket and repre-sents the mosttechnologically-ad-vanced art due dili-gence resource forthis century.

In spite of theseefforts, there is noescaping the fact

that the appearance of anew due diligence databasein an historically monopolis-tic service area presentedchallenges. Chief amongthem was the quantity ofrecords that our databasecontained. We have alwaysheld it to be self-evident thatdatabases must prioritizequality over all else.

Our experience hasshown that the quantity ofrecords is only really usefulif they can be interpretedquickly and efficiently: a sys-tem that cannot accuratelyinterpret the information in

DUE DILIGENCE & THE ART MARKET


A screenshot of the ArtClaim Database homepage.To visit the website, go to: www.artclaim.com.

JAN16-Dpt-ArtClaim-pg1-K_Layout 1 1/15/16 11:42 AM Page 1

ART WORLD NEWS

ARTCLAIM DATABASE

100 records will be of littleuse when searching through1,000,000.

When entering a compet-itive field, however, statis-tics can be very compellingso it has been our missionto ensure that our databasenot only includes the largestnumber of records in theworld but that those recordshave been entered to meetthe highest possible stan-dard. At the moment, weare adding around 3,500new records to the ArtClaimDatabase every week andwe have hundreds of thou-sands of records filed andin-line for registration.

The technological im-provements that have al-lowed our database to be socomplex in its interpretationof written and descriptivedata have also allowed us to innovate in the way im-ages are recognized in oursearching process. The Art-Claim Database is the firstresource of its kind in theworld to introduce image-recognition technology intoevery search we undertake.Of course, we have not sub-stituted the human eye alto-gether: all potential matchesare also analyzed by ourteam of researchers.

Good relationships arealso important for disputeresolution and it is essentialto us that we build goodpartnerships with the institu-

tions, companies, and indi-viduals from whom we sou-rce our records. As an “allclaims” database, our rec-ords are provided by law enforcement agencies, banks,insurers, dealers, and pri-vate individuals, so the dis-putes are often both com-plex and confidential.

Our approach has yieldedsome very productive re-sults and we have been priv-ileged to receive exclusive

records of important historicand contemporary lossesfrom a number of govern-ments and sources aroundthe world.

Our focus on qualitydoesn’t just apply to thedata we record, it also ap-plies to the relationships

that govern howthat data can beused now and in thefuture.

Identifying claim-ed works of art isonly one part of thestory, we also re-cover objects whichpresents a very dif-ferent series ofchallenges. We al-ways offer ourclients the opportu-nity to use our recovery expertisebut it is by nomeans obligatory—recoveries are deli-cate matters andsome clients mayfeel more comfort-able using pre-exist-ing relationships.

Since its devel-opment, the Art-Claim Database hasalready made someimportant matchesthat led to recover-ies including identi-fying a trove ofpaintings valued atnearly $20 million

stolen from a house in LosAngeles and matching a Duc-cio painting subject to a com-plex, multi-party dispute in

time to halt its sale at a majorNew York auction house.Many smaller and less-valu-able works have been mat-ched as well, but these casesrarely make the news!

The art market and therisks to which it is subjectare changing and due dili-gence process must evolveto reflect that. We have builta new model that gives buy-ers, sellers, lenders, and un-derwriters an unpreceden-ted opportunity to identifyany claim that could impactupon a work’s clear title. Alllosses can be registered forfree on the ArtClaim Data-base and searches cost $90each. Reductions are avail-able with our subscriptionsand due diligence certifi-cates are issued within twoto five working days.

For more information onsearching and registration,visit: www.artclaim.com ore-mail: [email protected].

Jerome Hasler is Head ofCommunications & Strategyfor Art Recovery Group.Based in London, he ad-vises the company’s clientson their engagement withthe media and oversees allcorporate communications,outreach, and external af-fairs. Founded in 2013, ArtRecovery Group providesdue diligence, dispute reso-lution, and recovery serv-ices to the international artmarket through its two divisions, ArtClaim and ArtRecovery International.

DUE DILIGENCEcontinued from page 32

This Henri Martin painting, “VueGénérale de Saint-Cirq-Lapopie,”was stolen from a private residenceoutside London in 2012 whilst thehome was being renovated. Yearslater, it surfaced at a flea market andwas bought by an art dealer, who assumed it was a fake, and hung iton his office wall. In November 2014,he was informed by another dealerthat a very similar painting had beenadvertised as stolen in the AntiquesTrade Gazette. The dealer ran asearch with the ArtClaim Databasewhich confirmed the active claim andthe work was immediately returnedto Art Recovery Group.

JAN16-Dpt-ArtClaim-pg2-K_Layout 1 1/15/16 11:48 AM Page 1

New Oil on CanvasWork from Daniel Del

Orfano“A Touch of Red”

40” x 30” “The Love Letter”

36” x 24”“Bare Rendezvous”24” x 40”

(631) 651-5899WWW.LYRICALFINEART.COM

Lyrical-SEP15_Layout 1 9/24/15 2:13 PM Page 1

ART WORLD NEWS

CALENDAR

January 24– 28: LasVegas Market, World Mar-ket Center, Las Vegas. Visit:www.lasvegasmarket.com.

January 24–27: PPFAAnnual Convention, ParisHotel & Casino, Las Vegas.For attendee registration,visit: www.wcafshow.com.

January 25–27: WestCoast Art & Frame Expo,Paris Las Vegas Hotel &Casino. (National Confer-ence begins on January 24.)Visit: www.wcafshow.comor for questions on the tradeshow, e-mail: [email protected], and the nationalconference, [email protected].

February 11–14: PalmSprings Fine Art Fair, PalmSprings Convention Center,Palm Springs, CA. Urban Ex-positions. Visit: www.palmspringsfineartfair.com.

February 11–15: ArtWynwood, The Art WynwoodPavilion, Midtown, Miami.Produced by Art Miami LLC.Visit: www.artwynwood.comor call (305) 517-7977.

February 12–14: South-eastern Wildlife Exposition,Charleston, SC. Visit: www.sewe.com, (843) 723-1748.

February 25–28: Art NowFair, Miami Beach Conven-tion Center, Miami Beach,

FL. Curated by Jane Sauer:www.artnowfair.com.

March 2–6: The Art Show,Park Avenue Armory at 67thSt., New York. Art DealersAssociation of America.Visit: www.artdealers.org.

March 2–6: Volta NY, Pier90, New York City. Pro-duced by Merchandise MartProperties Inc. For details,visit: www.voltashow.com.

March 3 –6: The ArmoryShow, Piers 92 and 94, NewYork City. Visit the website:www.thearmoryshow.com.

March 3 –6: Pulse NewYork, Metropolitan Pavilion,

125 W. 18th St., New York.Visit: www.pulse-art.com.

March 3 –6: Scope NewYork, Metropolitan WestPavilion, 639 W. 46th St.,New York. For details, visit:www.scope-art.com.

March 3 –6: art on paper,Pier 36, New York City. ArtMarket Productions. Visit:www.thepaperfair.com.

March 16–20: SpectrumIndian Wells, RenaissanceIndian Wells Resort & Spa,Indian Wells, CA. RedwoodMedia Group. For details,visit: www.spectrum-indianwells.com or call Rick Bar-nett, (831) 747-0112.

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Coming to the industry in February...

The most efficient, hassle-free, economical picture frame hanging

solution—EVER!

SecureHang-JAN16revised_Layout 1 1/15/16 10:06 AM Page 1

ART WORLD NEWS

TRENDS FOR 2016

For instance, Crescentoffers the Couture Mat-board collection. These arti-san-created matboards withrichly textured surfaces,shimmering metals, organictextures, and 100% cottoncore and backing to protectartwork, are designed totake custom framing to thenext level of “custom.”Jack Dempsey, creative dis-ruptor at Crescent, says,“Some designers andframeshops are using it likecrazy, and many have exper-imented.” He adds, “Some-times frameshops don’t givecustomers credit that theywant to pay for it (a high-endmatboard). They should notassume. There is a ‘good,better, best’ story framerscan tell the customer.”

Roy Saper of Saper Gal-leries and Custom Framingfinds that galleries sellingprints that are customprinted win no matter whatis selected by the client.“Giclées on paper or oncanvas will have to beframed to provide a perfectpresentation, and frame de-signers have many optionsto enhance the projects.Just as some retailers have‘add-ons’ such as selling atie with a suit, framers havethe same possibilities.When appropriate only (andnever just to enhance a sell-ing price) framers can sug-gest a double or triple mat,a wider mat margin, spacersor a lift under the art along

with a deeper frame, spe-cialty glass such as Tru-Vue’s Mus-eum Glassor similaracrylic prod-ucts, higherprice mould-ings or sta-cked mould-ings—all toimprove thef r a m i n g presentationwhile alsogenerating ahigher-pricedsale (andpresumably ahigher profit sale if pricedproperly). We always sellspecialty glass as it practi-cally sells itself when the

reasons are presented tothe clients. “But Mr. Sapersays that pricing is key.“The best way for a

frameshop to earn morerevenue is to evaluate costs

and adjust prices to ensurethey are covering theircosts-plus.” He also ad-vises custom framers adver-

tise whatthey do, es-p e c i a l l ywhen it isparticularlycreative oru n u s u a l .“We do soon our web-site wherewe display28 examplesof recentframing or-ders. Thatsmall effortbrings inmany spe-cial orders.For exam-ple, we re-ceived a boxof sports jer-

seys in the mail from In-donesia. The sender sawsamples of our jersey fram-ing on our website and

knew we could do what hewanted, so he paid in ad-

vance to have usframe them as hewished. And then hesent more! We havealso had artists fromaround the countrysend us their artworkto be framed after see-ing examples and read-ing the testimonials onour website.” Framers,he says, who do notprovide samples ofwhat they can do on-line, are giving theirbusiness to others.

Mrs. Markoff concludes,“I think the key to a framer’ssuccess is diversification tooffer other methods of dis-playing art that do not re-quire conventional framing.There are many suppliers topartner with where all that isrequired is a phone call andthe uploading of an image.The ‘finished’ piece is re-turned ready to hang, oftencreated using a process be-yond the capabilities of theaverage frameshop. Ven-dors such as Colorplak orStudio EL produce excellentturnkey imagery. Obtainingsamples of these design solutions is quite beneficialfor customers who cannotenvision the final product. I strongly suggest thatframers add samples ofthese techniques (print onmetal, face mount to acrylic,etc.) to their wall in 2016.

Sarah Seamark is Editor inChief of Art World News.

Bella Moulding’sPrisma Frameadds a “pop” tothe illustration it houses. The frame wasbuilt at Saper Galleries andCustom Framingwhere RoySaper findsPrisma mouldings canprovide an opportunity for higher revenue from a frame sale.

TRENDS FOR 2016continued from page 12

Canvas prints in floater frames were chosenfor this setting by Barbara Markoff, corpo-rate art consultant, ArtrageousI Digital out-put on canvas, framed in a walnut floaterframe, gives a high value aesthetic within a cost effective budget, and looks more expensive than it costs.

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Art World News203.854.8566

[email protected] Book Publishing

Art books are vital to expand your collector base. By sharing your story and the visionbehind your art, collectors’ attraction to your work is validated, and it is increased,

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ART WORLD NEWS

NEW ART

Arnot Gallery,New York,d e b u t s“Sabrett” byLuigi Rocca.The acrylicpainting hasan imagemeasur ing27 by 27i n c h e s .Price is avai-lable uponrequest. Forinformation,call (212) 245-8287 or (917) 570-7910; e-mail: [email protected] or visit: www.arnotgallery.com.

SabrettTwinFlamesLyrical Fine Art,Hauppauge,NY, presentsDaniel del Or-fano’s “TwinFlames,” anoil on canvasmeasuring 30by 40 inches.The retail priceis $7,350. Forfurther infor-mation, call(631) 651-5899 or go to the websiteat: www.lyricalfineart.com.

The Morning WalkTina PalmerStudios Inc.,Washington,DC, presents“The Morn-ing Walk” byTina Palmeras an acrylicon canvasmeasuring 48by 48 inches.The retailprice is$5,200. Forfurther infor-mation, tele-phone (703) 798-1240 or visit the artist’s website located at:www.tinapalmerart.com.

Goddess of the HuntSwan King Interna-tional, Montara, CA,introduces “God-dess of the Hunt,” athree quarter life-sizebronze sculpture byMichael Parkes. Partof the artist’s Renais-sance Collection, thesculpture is in an edition of 24, meas-ures 18 by 52 by 36inches and retails for $60,000. For fur-ther information, call(650) 728-1400 or go to the website located at: www.theworldofmichaelparkes.com.

JAN16-NewArt-pg1-KK_Layout 1 1/15/16 11:37 AM Page 1

ART WORLD NEWS PAGE 41

GALLERY LIGHTS

Celebrating artist David Goodman’s “On the High Line” show at Chelsea, NY-based Rooq Chelsea are, from left, collector Rich Jachetti, actress and collector Julie Halston,and collector Michael Colby.

Artist Susan Mikula, second from left, at George LawsonGallery, San Francisco, with owner George Lawson, and on herleft, collector Elaine Carpenter, and Susan’s partner MSNBChost Rachel Maddow during the artist’s opening reception.

Photo by Harold HutchinsonArtist and recipient of the Hallie Ford Fellowship, Tom Prochaska,center, is pictured with Portland, OR-based Froelick Gallery di-rector Rebecca Rockom and assistant director Wilder Schmaltz.

At Liberty Fine Art Gallery, Reno, NV, are, from left, artistRachael Holton, actress and collector Veronica Frazer, andartist Natacha Sperka, whose mixed media artwork titled, “Transition” is in the background.

Disney Fine Art by Collectors Editions’ artist Trevor Carlton,seated, is pictured at Art Partners Collectibles, Schaumburg, IL, with gallery owners, from left, Val Maron, Mark Maron, and Rosa Rottar.

Photo by Ryan MoorePictured at Tripoli Gallery, Southampton, NY, are artists DariusYektai and Annika Connor celebrating during the opening nightreception for “Yung Jake | Twisted Metal III.”

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ART WORLD NEWS

WHAT’S HOT IN OPEN EDITIONS

Hidden Pier“Hidden Pier” by Patricia Pinto meas-ures 27 by 27 inches, retailing for$32. Telephone SunDance Graphics,Orlando, FL, at (800) 617-5532 forfurther information, or visit the web-site at: www.sdgraphics.com.

2016 Winter Classic“2016 WinterClassic” byphotographerRob Arrameasures 39by 13 1/2inches. Fourversions ofthe image are available. The retail price is $29.95. For further information, telephone Everlasting Images, located in Cape Neddick, ME, at (800) 937-0987 or go to the company’s website at: www.robarracollection.com.

Here are the best selling prints from the month of

December

USA V

“USA V” by Pela Studio measures 36 by24 inches and retails for $27. Phone WildApple, located in Woodstock, VT, for fur-ther information at (800) 756-8359 or go to: www.wildapple.com.

Evergreen Lowlands

“Evergreen Lowlands” by PaulDuncan measures 48 by 24inches and retails for $76. Alsoavailable in a variety of sizes.Telephone Rosenstiel’s, Lon-don, at (011-44) 207 352

3551 for further information, or go to the website: www.felixr.com.

Cocktail“Cocktail” by Monica Martin meas-ures 12 by 12 inches and retails for $10. For further information, tele-phone Gango Editions, Portland, OR,at (800) 852-3662 or go to the company’s website located at: www.gangoeditions.com.

Sail Boat Blues“Sail BoatBlues” byE d w a r dSelkirk mea-sures 24 by36 inchesand retailsfor $40. Tele-phone PICreative Art,T o r o n t o ,Canada at(800) 363-2787 for moreinformation,or visit the

website located at: www.picreativeart.com.

JAN16-noe-pg1_Layout 1 1/15/16 12:01 PM Page 1


Believe Arrow

“Believe Arrow” by Marla Rae measures 36 by 6 inches and retails for $22.For more details, call Penny Lane Publishing, New Carlisle, Ohio, at (800) 273-5263 or visit: www.pennylanepublishing.com.

Radiant Dawn

“Radiant Dawn” by Chuck Burdick meas-ures 36 by 24 inches and retails for $35. Alsoavailable to resize and print on canvas. Forfurther information, telephone Image Con-scious, San Francisco, at (800) 532-2333,or go to: www.imageconscious.com.

A Spring Day inParis“A Spring Day in Paris” by TreSorelle Studios measures 36 by 24 inches and retails for $35. Phone Roaring Brook ArtCompany Inc., Tarrytown, NY, at(888) 779-9055, or go to: www.roaringbrookart.com.

Watercolor Cow“WatercolorCow” byGrace Poppis an openedition gicléemea s u r i n g26 by 35inches, retail-ing for $105.Call WorldArt Group inR i c hmond ,VA, at (804)213-0600 or

visit: www.theworldartgroup.com.Santa and the Snowman“Santa and the Snowman” bySusan Comish measures 27 by 27inches and retails for $40. Tele-phone Sagebrush Fine Art, SaltLake City, Utah, at (800) 643-7243for details or visit the website:www.sagebrushfineart.com.

Clemson University No. 4

“C lemsonUnivers i tyNo. 4” byJ a m e sB l a k ew a yhas an imagethat meas-ures 40 by 13 1/2 inches and a retail price of $30. Call Blakeway Worldwide Panora-mas Inc., located in Minnetonka, MN, at (800) 334-7266 for more informa-tion, or go to the company’s website at: www.panoramas.com.

Here are the best selling prints from the month of

December

JAN16-noe-pg2_Layout 1 1/15/16 12:04 PM Page 1

“Be Different Flamingo I”

by Tiffany HakimipourImage Size: 12” x 12”

$10

OPEN EDITION PRINTS


E-MAIL: [email protected] Delegates Dr. Orlando, FL 32837

SunDance Graphics

E-MAIL: [email protected] Halleck Street, Emeryville, CA 94608

“Technicolor Trees 1”(One of a set of three) by E. Loren Soderberg

Image size: 24” x 24”Retail price: $35 Available as

Print On Demand on paper and canvas.

Editions Limited

800.852.3662www.gangoeditions.comE-MAIL: [email protected]

2187 NW Reed St., Portland, OR 97210-2104

“Casa Blanc II”

by Jeni Lee

Image Size: 48” x 24”

Gango Editions

“Above the Clouds” by

Lina AlattarImage Size: 24” x 24”

Image Conscious

800.532.2333 www.

imageconscious.com

“Asian Elephant” by Britt Fredo

Image Size: 18” x 24”

Image Conscious

www.haddadsfinearts.comE-MAIL: [email protected]

3855 E. Mira Loma Ave., Anaheim, CA 92806

“Repose”by E. JarvisImage Size: 26” x 26”

Also available as a custom size giclée.

800.942.3323Fax: 714.996.4153

Haddad’s Fine Arts Inc.

800.532.2333 www.imageconscious.com

407.240.1091www.sdgraphics.com

www.sundancegraphics.com

Available as POD and multiple substrates.

Available as POD and multiple substrates.

800.228.0928www.editionslimited.com

JAN16-OE-K_Layout 1 1/15/16 12:19 PM Page 1

CLASSIFIEDS


SERVICES

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JAN16-Classified_Layout 1 1/14/16 2:49 PM Page 1

ADVERTISERS


Art World News, (ISSN 1525 1772) Volume XXI, Number 1, is published 10 times a year by Wellspring Communications, Inc., PO Box 129, Rowayton, CT 06853. (Phone 203.854.8566) (Fax 203.900.0225). Single copy price $10. Send address changes to: Art World News, P.O. Box 129, Rowayton, CT 06853.

COMPANY LISTING PHONE PAGE COMPANY LISTING PHONE PAGE

Abbey Road Fine Art ............................................................7www.abbeyroadfineart.com 239.494.1146

Bon Art ............................................................................27www.bonartique.com 203.845.8888

Crescent ..........................................................................13www.crescentpro.com/couture 888.293.3956

Frame Destination ..............................................................17www.framedestination.com/gp 972.479.1188

Framerica ....................................................................1, 21www.framerica.com 800.372.6422

Gango Editions..................................................................44www.gangoeditions.com 800.852.3662

Haddad’s Fine Arts Inc. ......................................................44www.haddadsfinearts.com 800.942.3323

Image Conscious ........................................................44, 48www.imageconscious.com 800.532.2333

Johansen Fine Art ................................................................9www.johansenfineart.com 831.233.1166

John-Mark Fine Art ............................................................31www.johnmarkgleadow.com 540.416.4529

Larson-Juhl ......................................................................2, 3www.larsonjuhl.com 800.438.5031

Lyrical Fine Art ..................................................................35www.lyricalfineart.com 631.651.5899

Max Art Productions LLC ....................................................45www.maxartpro.com 702.478.3305

Park West Gallery..............................................................25www.parkwestgallery.com 800.521.9654

Parrot Digigraphic Ltd. ..................................................6, 45www.parrotcolor.com 877.727.7682

Pease Pedestals ................................................................26www.peasepedestals.com 847.901.4440

POD Exchange ................................................................29www.podexchange.com 888.406.2858

Progressive Fine Art............................................................11www.progressivefineart.com 800.487.1273

Redwood Media Group ....................................................33www.redwoodmg.com [email protected]

Road Show Company ........................................................29www.roadshowcompany.com 305.458.3000

Rosenstiel’s........................................................................15www.felixr.com (011-44) 207 352 3551

Richard Boyer....................................................................25www.richardboyerart.net 801.359.4650

Sagebrush Fine Art ............................................................26www.sagebrushfineart.com 800.643.7243

SecureHang ......................................................................37www.securehang.com 203.247.6009

Spinnsoft ..........................................................................31www.spinnsoft.com/tools 877.568.0707

SunDance Graphics ..........................................................44www.sundancegraphics.com 407.240.1091

Ten Plus Inc. ......................................................................23www.tenplusframes.com 888.944.8899

Todd Bingham Fine Art ......................................................36www.toddbinghamfineart.com 760.806.7699

Tru Vue Inc. ......................................................................19www.tru-vue.com 800.621.8339

Wellspring Communications ................................................39e-mail: [email protected] 203.854.8566

Wild Apple ......................................................................47www.wildapple.com 800.756.8359

World Art Group ................................................................4www.theworldartgroup.com 804.213.0600

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