YouSaid · the spoken record

Brooke Lampley

lines on the record: 84
first: 2018-01-11
most recent: 2018-01-11
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“No, I think I could do what I do, but also connect. It's very difficult to connect authentically with collectors without speaking their language. And that makes perfect sense. And I respect that. But if I want to really help collectors in any other part of the world, I need to speak their language.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“I wanted to learn Japanese as a kid. And because I thought it was an interesting culture, not because I was so business-minded. But there are incredible opportunities in the art world right now in regional markets.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“So, I have that conversation a lot, and I always look forward to it because I try to be more candid than I feel either people were with me or actually I think I just didn't ask enough. And it's usually, you know what, this isn't any easier than any other field. You have to really love it. There's a scarcity of opportunity here. It's an oversubscribed career path. There are so many people coming out of school with art history degrees. And if you do love it, then take any job that you can get and keep going. And it will inform your next step.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“I have two kids, so that's pretty full time in my non working time. Two kids under the age of five, two boys. So I get a lot of exercise just hanging out with them. I also like to spin.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“I was challenged by working at a museum in my early career, and it was a surprise to me at the time because it wasn't that the work was hard. In fact, it was that I wanted to work harder, but there wasn't a place for it there at that moment. It was, I was really limited by the fact that I hadn't completed my PhD in terms of what type of work I was engaged to work on. And that was part of what motivated me to work in a more commercial, business-minded environment because it felt more meritocratic. I wanted to work hard and I wanted to work somewhere where that was innately valued.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“So many things. It's so much more global As a marketplace, and that's definitely a good thing. It puts it changes the way that we appreciate art. And we're now seeing or exposing and Publicizing great regional works almost to the same degree that we are great examples of the canon sort of overall. I think that there was a much more Western perspective in the past.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“The life of Picasso is pretty good. John Richardson, you can't beat the life of Picasso for being not only informative but saucy and gossipy and scintillating. Picasso's life is richly entertaining.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“I fear my answer won't be surprising enough then. I am a great lover of fiction, of great novels. I am, you know, the corrections, great meaty right now. What am I reading? I'm reading the NYX. If I could only remember, it's like a first time novelist, I think.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Lot of people I've worked with so many great people. I really enjoyed working with Stephen Murphy, the previous or recently previous CEO of Christie's. He was someone who was a really inspirational leader and created great opportunities for me at an important moment in my career.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“I was really fortunate, as I mentioned before, to not have a family where I was expected to follow a conventional career path. I would say that my father was an early influence. He is a sportscaster. He's had the privilege in his life to do something that he loves. And he really made me feel that it was possible to do something that I love as a career.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“This is always what I say. So, the reason I don't have an accent is because people would show up from like Austin and two days later have an accent and we'd say, who are you, Madonna?”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“You have any number of people who own Mediglianis today coming around, clamoring, saying, I have all of this information. This is a real Medigliane. And you have a bunch of experts in the art world or commercial experts saying, I'm really sorry, I can't help you because there is no universally recognized expert in the field for Medigliani right now. There are some people competing for that kind of status and position. And hopefully perhaps one day we will have someone who we all recognize. But right now there are a lot of people who own Mediglianis who can't be helped”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Hardly ever what is much more common rather than adding works into the canon is that there are works that are excluded from the canon that could potentially be real.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“What is most incredible in the story of this Da Vinci is that a work of this importance by such a famous artist would have been so recently rediscovered and reattributed to the artist. And the way that that happened was that there was an important exhibition at the National Gallery of Art in London in, I want to say 2010. But in addition to scholarship that was done by the purchaser and just generally in the field through this exhibition, a consensus was able to be established among leading scholars in the field and communicated to the world at large through this exhibition that this is now known as a da Vinci. That's essential. That's where the commercial and the academic worlds really converge. We do not rely on ourselves as a sole arbiter because clearly we have a commercial incentive.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“So all roads lead back to Da Vinci. The DaVinci is a great example. The DaVinci is a painting that in 2005, I believe, was purchased at a very small regional auction house. And after extensive research was reattributed to Da Vinci. It was not attributed to Da Vinci at that time when it was purchased for, I think, $10,000.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“There are authenticating bodies for a lot of these artists, particularly in the field, an impressionist and modern art. In France, the Droit Morale, it is a legal right, authentication on behalf of one of these artists is a legally appointed or given right in France. So when this changes hands, when different scholars take over and perhaps change the view that was given 10 years ago, that can be an issue that is brought back to an auction house.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Absolutely. It happens. And generally and hopefully not usually at the Da Vinci and Picasso Fam dalger level, but it happens when there are changes in scholarship or what we call in the industry expertise.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“It's either by the artist or not. That's the issue. And it's a five year warranty. But beyond that, there's significant reputational hazard. It would be a serious issue for either auction house in any case.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“The warranty is specifically on the attribution of the work. Pretty much not about anything else. It's not about the condition. It's not about Other specifics. I mean, surely, if we said the work was 51 by 30 inches and it turned out to be, you know, two by three inches, that would be included. But I mean, if it's all paddled, nobody cared.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Now, there's a warranty, there's a five-year warranty, and I believe that's standard in the industry, which says that this is...”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Wow, that is significant. That's shocking to me. I wouldn't know. I am fortunate that we're not really directly involved. We do see people bring us forgeries, but we don't, because we try to avoid them and refuse them and not price them. We're not really quantifying that space.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“I don't think it's necessarily outside of the auction houses. I think it's already happening. There are increasingly digital auctions taking place or sales online at both Christie's and Southey's as well as other auction houses as well as other online platforms. Yes, what I've seen is that there is a remarkable appetite to buy things online at much greater price points than I think people would fathom. And we should know because I buy everything else in my life online. So clearly we're all getting much more comfortable with buying online and that is now extending significantly into the luxury space.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“But it's a growing sector of the business. There's. Because really, what everybody's realizing is that while we all know the gross auction revenues of the auction houses year on year and they're Fluctuate, say, between Christie's and Sotheby's together in the last 10 years. It's been anywhere from 10 to 15 billion a year. But then there's a whole nother potentially $45 billion worth of art being sold every year that is outside of that. There's a lot more market to capture.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“While it's changing all the time, I think the last statistics For Christie's in 2016, were 25% were non-auction. non-auction, but I could, I'm not sure if I'm utterly correct about that.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“So everything that happens after the auction is variable and at the seller's discretion. The first thing that happens is we will generally accept offers after sale offers for things that didn't sell.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“So, I want them to be happy with their purchase because if they're going to sell it someday, I want them to come back and talk to me. But the other answer would be that there are lots of independent advisors in the art world who are full-time, who are consultants, who would love to make themselves available to people to advise them on transactions and how to work with an auction house. The only thing is As with any industry, they take a commission. And I take no commission to. So you're working for the”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“It is tricky that we work on both sides. My response to that would be that the market is repetitive and cyclical. Relationships are long. I'm not interested in a short-term relationship with a client. I'm not interested in overselling them on one object to the detriment of what our long-term relationship would be because I have so much art to sell more than four times a year. I have so much art to sell all the time. We have so much on offer. The market is so voluminous, so transaction heavy right now that it's really in my interest to help someone find the right thing and have them be happy. Also because In my line of work, I work, as you mentioned, with both buyers and sellers. So every prospective buyer is a future seller.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“I thought it was their own demonstration of determination. I thought it was really interesting. I thought the direct underbidder was even more interesting than the buyer because of their resilience in saying, you won't move me. I was a little...”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, with the Da Vinci, it was particularly unusual and very interesting. But yes, essentially the bidder can determine their own bid at the auctioneer's discretion. Then the auctioneer might try to control. The bid increment is their greatest control over the momentum. Of the auction. So the only reason they don't want the bid increment to break down is because they want, there's no reason if you have multiple bidders to work in very small increments. But with the Da Vinci, it was fascinating because the direct underbidder was always bidding $2 million and the next bidder, the eventual buyer bid $8 million each time and then eventually made like a $30 million bid.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“So the increments are fairly standardized They go in fives or ones between one and two, twos between two and three. Zero five eight ten between three and five and then fives above that between 5 and 10 in all iterations, in hundreds and thousands and hundreds of thousands. But the bidder can always request a smaller increment. They can always try to break the bid.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Does anyone want to bid 18? And everybody's just waiting and looking at each other to see if anyone will bid. That would discourage people from bidding. Because they would wait and let the work not sell and then try to make a cheaper offer after”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“So the auctioneer in New York State can legally bid on behalf of the auction house, so essentially fake bid up until the reserve. So that if someone comes in and bids $10,000 but the reserve is $18,000, the auctioneer will bid against them in an effort to entice them to bid up to $18,000.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“It's the confidential minimum below which the work will not be sold. But in addition to the reserve, the other information that they may be considering is how many phone bidders have signed up to been on the lot, how many internet bidders are registered for that lot. If somebody's left an absentee bid. So if you have a lot of competition on the lot, you would probably start higher and closer to the reserve. Then if you have nobody, you might start further away from the reserve and chandelier bid more or give yourself more room. What does that mean, chandelier?”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Great question because it's hugely variable. So, watching the DaVinci sale, I think it was actually 15 minutes of bidding, and that's a really long time in the auction room. And I'm not sure what the record is, but it may be up there for a single lot. Every lot is the auctioneer has a tremendous amount of discretion. Going into an auction, which is a live auction, which is its state. For the purpose of this conversation, live auctions, the auctioneer will sit down and look at something called the auctioneer's book before the auction and think about where they would like to start the bidding on each lot based not just on where the reserve price is because most lots offered at Christie's or Southey's say have reserves, which”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Evaluation that is really subjective about whether you think something is worth that value. Now, of course, you're welcome to ask the dealer and you should what the pricing history has been for the artist, what previous shows they've had, if they can give examples of other sales that can bolster the information that you have. But that market is essentially untested until someone tries to resell their work. So a challenge at the auction houses face very often is people, artists used to contact me all the time wanting to sell their works directly through the auction house. And I'd say, I'm sorry, this is a bit of a chicken and an egg. We don't really sell anything that hasn't already been sold. We need there to be a track record.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh, it's incredibly difficult. And this is why people love auction. Auction and the secondary market provides the security of... Comparables of a market history and some parameters for pricing that are based on historical data. But when you go to a gallery, there is no data. There is no context. It's just what they're pricing it at. And you have to make”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Periods Art from The 1950s, whatever it may be. Dedicate themselves to some Of theme, and they by the virtue of collecting in that theme are already, they are working in tandem with their collection. They're enhancing the value They are creating.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“For that, I think the people who have been most successful are people. Had some kind of Governing Philosophy Whether that be I'm buying. German photography from the 1980s. I'm buying.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, that will prove valuable time and again if you were able to go out today and buy. Mid career examples by already established artists. You sell that in 50 years. Believe in that value There's no question in my mind. But I think the greater question is. How you buy. Truly contemporary art.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“But I think we still need to recognize that even when. Rockefellers were acquiring, so it's interesting. It was a mix of historical and contemporary. I think those. Prescient Picasso and Matisse choices that people made when these people were still actively producing works. We're incredibly wise and wonderful selections, but they were pretty much they were already established artists. This is like buying a Richard Sarah. Okay, this isn't buying, you know, an artist down in Chelsea who is having their first gallery show. This is buying a very well regarded Jeff Coon. Someone who has already been shown in museums. And already has a commercial. Following and established collecting base. So I believe what the Rockefellers did, and there are many other examples, though not to the same degree, yes.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“With a passion and that passion stood the test of time. I think Time and again, you hear and see that people who really cared about what they were looking at and collected with a view to that level of quality, that the market rewarded them because at the end of the day, that's what we all care about and that's also what drives the market is the quality so how”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“So I'm doing That to some degree myself. I'm interested in that, but I really believe I can't help but be wooed in the stories, in the people I've met, by the people who collected with their hearts.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“It's a funny thing. You know, hindsight is always 2020. So I think we look back at our view of the art market of era's past and the works that we're still selling today is defined by a selection process that's already happened. Today, we're faced with how we make that selection process in real time. Surely. A great number of the artists working today will be valuable in the future. But if I had a crystal ball to know exactly who those would be and who they wouldn't be, then I would, you know, I would quit what I'm doing and just do that full time.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“And then, of course, we sold in my time at Christie's the marquee Medigliani, the bass Medigliani you're ever going to get a reclining female nude. And what did that?”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, and you never perhaps got to see their fully realized greatness. We can only imagine how much we got to see Picasso live a full life and see what his art changed decade over decade. And there's a great fascination in that. But there is an equally great fascination in the curtailed genius. In the genius that never came perhaps to complete fruition, where would his art have gone? And with Medigliani, you have beautiful portraits, stately portraits. We've sold a range. We've sold great male portraits and that exceeded our expectations because the market is so impoverished of Medigliani that people are truly thrilled or excited by any examples that come up and really will chase them.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, they're medigliani remains one of the most fascinating artists to bring to market today because of the profound scarcity of his production. He died young and really at the peak of his artistic power. So you'll never know his biography really fits into the mythology that people, much like Van Gogh as well, like to associate with great artists. The torture.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“I was on the phone with the direct underbidder and it was a fight. It was a real duel till the end and they were very disappointed because it was a staggeringly beautiful picture that not only really bridges this important period of art impressionism, but also can be situated perfectly in a contemporary or modern collection.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“But there hadn't been one on the market for 15 years. And in that time In that intervening 15 years, there had been a huge surge in prices for water lily paintings. And that had essentially moved the market, the modern market or the contemporary market from Monet is all about the profundity and abstraction of the serial pictures, whereas the market for Monet 20 years ago was all about the classicism and clarity and beauty of the 1870s Impressionist pictures. So the market for Monet Completely changed over 20, 30 years. And during this course of time, we have a 15-year gap between the last haystack coming to market and this one. We knew that there was an opportunity here. We did not know exactly what the market tolerance or the benchmark price would be for a haystack.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“The only thing about that is the painter and model was a very popular series or a series that Picasso pursued for a period in the 60s. So there are a number of them. How”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source
“This is unlike the painting we were previously talking about. This is a seminal painting. This is a fully realized, complex, multifigure. Rich abstraction, it is balancing, it is walking the fine line in Picasso's work between abstraction and figuration perfectly. It's incredibly colorful, dense. It just really shows off both his painterly prowess and his tight draftsmanship because it is a very architecturally designed fractured painting. It's just Picasso. It's the epitome of Picasso. And what you have in those intervening years is you no longer have a largely Western driven market for great Western art. You have a global market for great Western art. You have people from every part of the world competing for the best.”
2018-01-11 · Masters in Business · Brooke Lampley Illuminates the Business Side of Art · IDENTIFIED FROM THE TRANSCRIPT · source