Displaying items by tag: michael hammer

In what has been termed a “document dump”, previously undisclosed information and inflammatory allegations in two of the Knoedler gallery art-forgery lawsuits are now public for the first time. Last Wednesday, Knoedler, its former director Ann Freedman, the head of a related holding company Michael Hammer, and a former employee Jaime Andrade filed motions seeking to dismiss the lawsuits. The next day, the collectors Eleanore and Domenico De Sole and John Howard struck back, arguing that their cases must go to trial and accusing Freedman of perjury “on multiple occasions, including before this court”, a charge she vigorously denies.

More than 500 pages of legal arguments and thousands of pages of exhibits are now before Manhattan’s federal court.

165 years ago, the Knoedler Gallery opened its doors in New York and went on to help create some of the country’s most celebrated collections including those of Paul Mellon, Henry Clay Frick, and Robert Sterling Clark. Throughout the years, top-notch works by artists such as van Gogh, Manet, Winslow Homer, John Singer Sargent, Louise Bourgeois, and Willem de Kooning passed through the gallery. When the Soviet government sold hundreds of paintings from the State Hermitage Museum in Leningrad in the 1930s, they chose to work with Knoedler to sell paintings by masters like Rembrandt, Raphael, and Velazquez.

Knoedler’s exemplary past is often forgotten as the gallery’s present has been mired in lawsuits and accusations that the company’s former president, Ann Freedman, was in the business of selling fakes. Last year, Knoedler Gallery closed its doors for good.

This week, Los Angeles’ Getty Research Institute announced that it had bought the Knoedler Gallery archive. Spanning from around 1850 to 1971, the archive includes stock books, sales books, a photo archive and files of correspondence, including letters from artists and collectors, some with illustrations. The Getty was interested in Knoedler’s archive because it offers an expansive glimpse into the history of collecting and the art market in the United States and Europe from the mid-19^th century to modern times.

The archive was purchased from Knoedler’s owner, Michael Hammer, for an undisclosed amount. Meticulously preserved, the archive will be available to scholars and digitized for online research after the Getty catalogues and conserves it all.

Domenico De Sole, chairman of the fashion powerhouse, Tom Ford International, is suing Michael Hammer, chairman of the disgraced Knoedler Gallery. De Sole and his wife, Eleanore, claim that Hammer sold the couple a fake Mark Rothko (1903–1970) painting (Untitled, 1956) for $8.3 million back in 2004. The allegation against Hammer is an amendment to a lawsuit that was originally filed against Knoedler on March 28.

De Sole’s suit is one of three against Knoedler and its former director, Ann Freedman. The suits all claim that Knoedler Gallery knowingly sold counterfeits. Between the three cases, the plaintiffs are seeking more than $70 million in damages.

Knoedler closed on November 30, 2011 after 165 years in the art world. A claim that the gallery sold a fake Jackson Pollack (1912–1956) painting for $17 million was the reason for Knoedler’s abrupt departure.

In addition to Hammer, the De Sole suit has introduced three new defendants to the ongoing Rothko/Knoedler case. Glafira Rosales, a Long Island art dealer who consigned artworks to Knoedler is newly involved as is as Jaime Andrade, a former Knoedler employee who introduced Rosales to the gallery. Jose Carlos Bergantinos Diaz, Rosales companion and business partner has also been added to the suit.

When Knoedler sold Untitled, 1956 to the De Soles, Freedman claimed that a Swiss collector had bought it directly from Rothko, and after the collector’s death, Knoedler was responsible for selling the work on his son’s behalf. The gallery had bought the painting from Rosales a year earlier for $950,000 and relied on her work about the painting’s provenance. Suspicions arose after Knoedler Gallery closed amidst the Pollack scandal and the De Soles’ lawyers hire a forensic conservator who found the painting’s marks and composition were inconsistent with Rothko’s technique.