{"id":1976,"date":"2021-10-29T10:43:58","date_gmt":"2021-10-29T03:43:58","guid":{"rendered":"https:\/\/vygallery.com\/?p=1976"},"modified":"2021-10-04T12:42:02","modified_gmt":"2021-10-04T05:42:02","slug":"essential-tips-for-collecting-work-by-anni-and-josef-albers-p-2","status":"publish","type":"post","link":"https:\/\/vygallery.com\/en\/essential-tips-for-collecting-work-by-anni-and-josef-albers-p-2\/","title":{"rendered":"Essential Tips for Collecting Work by Anni and Josef Albers (P.2)"},"content":{"rendered":"
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DON’T SUBSCRIBE THE TREND\u00a0<\/strong><\/span><\/h2>\n

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\"MMA<\/p>\n
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Josef Albers<\/a><\/span><\/strong><\/span><\/p>\n
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MMA Pillars (1928)<\/a><\/span>,\u00a01970<\/span><\/span><\/div>\n<\/div>\n
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Cristea Roberts Gallery<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\"Triangulated<\/p>\n
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Anni Albers<\/a><\/span><\/strong><\/span><\/p>\n
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Triangulated Intaglio II<\/a><\/span>,\u00a01976<\/span><\/span><\/div>\n<\/div>\n
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Cristea Roberts Gallery<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Anni and Josef had immense conviction in their practices and way of life, and were never swayed by the changing trends of the art world. Weber advised that collectors would do well to follow their lead by acquiring works that they feel a strong connection with, rather than basing their collecting decisions on what is trending at the moment.<\/div>\n
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\u201cBoth artists were very driven by the idea of experimentation and material diversity,\u201d said Laib. He advised that while the couple\u2019s paintings and weavings are quite well known and revered, collectors should also look to their drawings and editioned prints.<\/div>\n
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Cleaton-Roberts explained that both artists \u201chave become synonymous with particular images and so typically these \u2018signature\u2019 works command higher prices.\u201d While the artist\u2019s earlier and rarer works typically garner intense competition (the couple\u2019s historically significant works from their Bauhaus period are nearly impossible to acquire), both artists made many significant and important bodies of original editioned prints which just as well showcase their beliefs and technical skill. \u201cIn the case of both artists, what they achieved in their best prints could not have been realized in any other medium,\u201d said Cleaton-Roberts.<\/div>\n
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STUDY THE MARKET<\/strong><\/span><\/h2>\n<\/div>\n<\/div>\n<\/div>\n
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\"I-S<\/p>\n
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Josef Albers<\/a><\/span><\/strong><\/span><\/p>\n
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I-S VA 4 (from Six Variants suite)<\/a><\/span>,\u00a01969<\/span><\/span><\/div>\n<\/div>\n
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Robert Fontaine Gallery<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The respective markets for the Alberses\u2019 work are distinct, namely because Josef\u2019s body of work is broader and more widely available than Anni\u2019s. Josef created several different iterations of his seminal works such as his iconic \u201cHomage to the Square\u201d series, in which he explored how various juxtapositions of color and form impact the viewer\u2019s perceptions and emotions.<\/div>\n
Because his body of work is so extensive, John McCord, co-head of day sales of 20th-century and contemporary art at Phillips, advised that collectors take their time and pay close attention to what comes up for sale. \u201cYou don\u2019t need to jump at the first one that comes up,\u201d he said. \u201cYou can think about what is interesting to you in terms of color and composition in the series because you do have choices.\u201d<\/div>\n
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\"GR<\/p>\n
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Anni Albers<\/a><\/span><\/strong><\/span><\/p>\n
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GR I<\/a><\/span>,\u00a01970<\/span><\/span><\/div>\n<\/div>\n
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Cristea Roberts Gallery<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\"Triangulated<\/p>\n
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<\/div>\n<\/div>\n<\/div>\n
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Anni Albers<\/a><\/span><\/strong><\/span><\/p>\n
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Triangulated Intaglio IV<\/a><\/span>,\u00a01976<\/span><\/span><\/div>\n<\/div>\n
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Cristea Roberts Gallery<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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McCord said that \u201cthere are so many important works by Josef.\u201d He cited the artist\u2019s \u201cVariants\u201d (1947\u20131952) and \u201cFormulation Articulation<\/a>\u201d (1972) print series as being \u201cgenerally quite affordable, and incredibly expansive.\u201d<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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While the market has historically gravitated around Josef, in recent years, demand for Anni\u2019s works has also risen significantly. \u201cWith the growing recognition of their achievements and influence as artists, writers, and teachers, there has been a resurgence of market interest in both artists\u2019 work,\u201d said Cleaton-Roberts. \u201cWhilst there has been a significant amount of attention on Josef for many years, more recently Anni\u2019s work has undergone a necessary and much deserved reappraisal.\u201d<\/div>\n
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\"Multiplex<\/p>\n
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Josef Albers<\/a><\/span><\/strong><\/span><\/p>\n
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Multiplex C<\/a><\/span>,\u00a01948<\/span><\/span><\/div>\n<\/div>\n
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Cristea Roberts Gallery<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\"Introitus\"<\/p>\n
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Josef Albers<\/a><\/span><\/strong><\/span><\/p>\n
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Introitus<\/a><\/span>,\u00a01942<\/span><\/span><\/div>\n<\/div>\n
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Cristea Roberts Gallery<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Part of what has made Anni\u2019s market presence somewhat lesser known is that original and early works\u2014particularly her weavings and wall hangings\u2014are very scarce and almost never sold, as most are housed in museums or have been lost to time. However, Anni\u2019s original\u00a0prints<\/a>\u00a0and drawings do come to market, and many are quite affordable considering their quality.<\/div>\n
\u201cI would look very carefully at anything she did by hand,\u201d said Weber. \u201cHer works on paper are undervalued given how few of them there are and the quality of them.\u201d<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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CHECK FOR QUALITY AND AUTHENTICITY\u00a0<\/span><\/strong><\/h2>\n

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\"Nippon<\/p>\n
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Josef Albers<\/a><\/span><\/strong><\/span><\/p>\n
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Nippon A<\/a><\/span>,\u00a01942<\/span><\/span><\/div>\n<\/div>\n
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Cristea Roberts Gallery<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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When acquiring an Albers work, Cleaton-Roberts advised that collectors \u201conly buy from well-respected print dealers or galleries who are experts in their field and can provide clear information, provenance, and condition reports.\u201d<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The Josef and Anni Albers Foundation has a committee dedicated to reviewing submitted works for authenticity and produces a printed catalogue raisonn\u00e9 with detailed information about editions. \u201cAnything that is at auction or sold by a gallery should have a definitive statement in writing that it will be in the catalogues raisonn\u00e9s,\u201d said Weber. If a work has not been cleared for authenticity, collectors should steer clear.<\/div>\n
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\"Do<\/p>\n
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Anni Albers<\/a><\/span><\/strong><\/span><\/p>\n
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Do – C<\/a><\/span>,\u00a01973<\/span><\/span><\/div>\n<\/div>\n
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Cristea Roberts Gallery<\/a><\/span><\/div>\n
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\"O_G<\/p>\n
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Josef Albers<\/a><\/span><\/strong><\/span><\/p>\n
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O_G 82\/200<\/a><\/span>,\u00a01967<\/span><\/span><\/div>\n<\/div>\n
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Galerie Denise Ren\u00e9<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Cleaton-Roberts also recommended that collectors check the condition of the work in person, as \u201cthe condition is absolutely vital with Albers prints and damage will reduce their value significantly.\u201d Specifically for the artists\u2019 works on paper, he advised that collectors should always see the work out of frame, as many of the artists\u2019 prints are made using fragile techniques which can be damaged easily if mishandled while framing or displayed.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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TRUST YOUR INTUITION\u00a0<\/strong><\/span><\/h2>\n

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\"Study<\/p>\n
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Anni Albers<\/a><\/span><\/strong><\/span><\/p>\n
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Study for nylon rug<\/a><\/span>,\u00a01959 -83<\/span><\/span><\/div>\n<\/div>\n
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Galleria Bianconi<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\"Untitled<\/p>\n
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Anni Albers<\/a><\/span><\/strong><\/span><\/p>\n
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Untitled\u00a0<\/a><\/span>,\u00a01948 -83<\/span><\/span><\/div>\n<\/div>\n
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Galleria Bianconi<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Both avid collectors themselves, the Alberses were driven by passion and inspiration on an aesthetic and technical level, but also on an emotional and philosophical level. \u201cAnni Albers loved the subject of collecting, because she felt that it was always possible to collect very well by buying the things that not everyone else was buying,\u201d said Weber. \u201cShe and Josef amassed a fantastic collection of pre-Columbian textiles, figurines, all sorts of pottery, and so on for very little money\u201d in their frequent and beloved travels to Mexico and South America.<\/div>\n
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He expressed that collectors would do very well in the long run by looking for works within each artist\u2019s oeuvre that are lesser known and to have faith in their own judgement and to allow emotion to guide them, rather than the prospect of financial gain. In a sense, collectors ought to abide by the same exuberance and passion for art that Anni and Josef themselves were so relentlessly compelled by. \u201cYou will end up with a better investment in every sense of the word\u2014an emotional investment, and something that will improve your life,\u201d said Weber.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Jillian Billard<\/div>\n
Source Artsy<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

DON’T SUBSCRIBE THE TREND\u00a0   Josef Albers MMA Pillars (1928),\u00a01970 Cristea Roberts Gallery Anni Albers Triangulated Intaglio II,\u00a01976 Cristea Roberts Gallery Anni and Josef had immense conviction in their practices and way of life, and were never swayed by the changing trends of the art world. Weber advised that collectors would do well to follow<\/p>\n","protected":false},"author":1,"featured_media":1957,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[57],"tags":[],"yoast_head":"\nEssential Tips for Collecting Work by Anni and Josef Albers (P.2) - VY GALLERY<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vygallery.com\/en\/essential-tips-for-collecting-work-by-anni-and-josef-albers-p-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Essential Tips for Collecting Work by Anni and Josef Albers (P.2) - VY GALLERY\" \/>\n<meta property=\"og:description\" content=\"DON’T SUBSCRIBE THE TREND\u00a0   Josef Albers MMA Pillars (1928),\u00a01970 Cristea Roberts Gallery Anni Albers Triangulated Intaglio II,\u00a01976 Cristea Roberts Gallery Anni and Josef had immense conviction in their practices and way of life, and were never swayed by the changing trends of the art world. 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