How I got banned from Sothebys.
February 16, 2010:
I decided to write this up as a record for myself. I wanted a reminder of a quite strange chain of events. Feel free to read on, or not :D
The idea to visit Sotherby’s was introduced to me the previous Thursday, by a friend who suggested he could get us in and that I’d enjoy seeing an art auction up close. So off I went, ever in search of adventures and excited by the prospect of this new environment, with its fabled stories of record breaking sales. As it happened we chanced upon a Francis Bacon triptych, an expertly painted set of three portraits of Lucien Freud against a deep red crimson background. The bidding had reached an incredible 10 million as we stepped in to the room. I absorbed the atmosphere and picked up a catalogue – this was already 3 million more than the catalogue had suggested. The bidding moved swiftly to the 20 million mark…we watched in awe as “20.5” was called out. I remember wondering how a painting could ever be worth this – save for the obvious financial benefits of Art investments, or as a means of circulating wealth. “Do I hear 21”? Somebody tried to bid 20.8 million and was strongly rebuffed by the auctioneer about the importance of seriousness, a phrase I’d later learn to be a very apt one.
A beautiful Richter painting, a large abstract filled with amazing textures and overlaying colours, hung on the opposite wall beside a poster for the next Contemporary Art Auction – the following Tuesday. I wondered if I’d be able to get in on my own, and put it to the back of my mind. A few days passed before I decided I would indeed try to visit Sothebys again. I attempted to entice my dad to come, thinking his love of art would encourage him. However when he couldn’t make it I tried a few friends whilst driving in to London, though in truth I felt it a very personal experience to do alone. Earlier I’d been looking through the catalogue and chanced upon a few paintings deeply inspiring to me, not least as some were by Artists whose work I’ve been learning more about. This left me excited by the prospect of seeing the paintings in person, experiencing the texture and deciphering the techniques used.
It took a while to find…I walked to the door of Sotheby’s, wondering how I’d be greeted. In front of me were two Oriental looking ladies, who walked in with a polite “hello” and nod to the bouncer. He was a short man, reminding me of a stocky Phil Collins! The bouncer assumed I was with the ladies and addressed us all at once about where to find the auction hall. Out of politeness I asked him if he wasn’t going to check my camera bag, with the thought that I should behave with formality and reserve. He smiled and off I went to experience the atmosphere, up the stairs only to stop at a beautiful (almost photographic) painting of some giant flowers – like an O’Keefe in its intricate detail.
I walked in to the auction hall and turned left (studies show most people do when entering a room). I went in search of the paintings I’d pinpointed previously, as they sometimes have them hanging on the wall – though I was aware that the exhibition of the paintings had already ended. The paintings were not hanging, only two that did not interest me as much. I went in search of the catalogue, stopping to ask a member of staff (in hindsight not a good idea, as I looked a complete novice) and then ventured to the reception where I knew the catalogues were kept. Watching the auction this time felt different, the room was much more crowded and it was almost impossible to catch a glimpse of the paintings at the front – I quickly became bored, visibly so. I went to reception and asked if the paintings were still hanging, they weren’t. I wandered, read the signs on the walls and observed the ‘clients’.
To be continued…
