Recent Acquisitions
A running record of pieces we’ve sourced, bid on, and delivered. Every entry carries the price we paid and the month we bought it, because it’s hard to know what this work actually costs, or whether anyone is still doing it, until you see real numbers and real dates.
Fine Watches

A birth year piece, made the same year as its owner, that surfaced in a Koller catalog in Zurich. It is the Day-Date Moon Phase that collectors affectionately call “The Owl,” and we confirmed box and papers before setting a bidding plan with a hard ceiling. Comparable examples turn up without their original papers and trade closer to $40,000, so this was a deliberate decision to pay up for a complete, honest example rather than save money on a thinner one. It landed inside our ceiling. Two weeks from the hammer in Switzerland to the wrist in San Francisco.

The no-date Sub is the quiet pick of the sport models, and you generally cannot walk into an authorized dealer and buy one without a long relationship, so almost everyone pays up on the secondary market. Against a retail of about $7,500, clean examples were trading around $10,500. We tracked down a private seller here in the Bay and negotiated to $8,300, roughly 20% under the going secondary price. The handoff happened in person, so no shipping, no customs, no waiting.
Fine Art

Nagai originals do not come up often, and SBI Art Auction in Tokyo is one of the few places they reliably do. SBI tends to set estimates low to get early bidding going, so the printed number is not the real number. We ran the comps ourselves, set a fair market ceiling, and won this 2016 acrylic without chasing it.

Originals are only half of a Nagai position. Keeping an eye on galleries and social channels worldwide turned up Sato Gallery in Paris, which works directly with the artist. We bought this archival pigment print straight from the source, signed and numbered by Nagai, one of an edition of just ten.

The second print from the same Sato Gallery find, also signed and numbered from the edition of ten. Buying directly from a gallery that works with the artist means no bidding war and no buyer’s premium. Between the prints and the original, that is coverage of Nagai’s market at several different price points.

Classic Nagai, the pools and blue skies that ended up on all those city-pop album covers. This one came up at Mainichi Auction in Tokyo and we landed it for under two thousand dollars. Worth being precise here, because most giclées are open-run reproductions with no resale market to speak of: this one is signed by the artist and numbered in an edition of 100, which is exactly the line between a collectible edition and a poster. Editions like this are the most approachable way into an artist whose originals now run well into five figures.

Ruscha came up alongside Warhol and is still one of the most collected living American artists. This large 1986 silkscreen surfaced at Martini Studio d'Arte in Italy right around our number, and winning the lot turned out to be the easy part. We arranged the wooden crate, insurance, freight, and customs, and it arrived in San Francisco with no damage and no surprise fees.

We had been watching the European auction calendars for Ruscha and this lithograph came up at Artcurial in Paris. It is number four from an edition of forty, signed and dated. We registered, set a ceiling before the sale, and won it inside our number.

This one started with a trip to SFMOMA, where Kelly’s color work would not let go. A few months later this 1964 lithograph, published by Maeght in Paris, came up in the print section at Koller in Zurich. We bid it carefully and won at a genuinely competitive price.

Same museum trip, same sale. LeWitt was the other name that stuck with us at SFMOMA, and Koller had this 2005 linocut series in the very same print session. Two artists we love, one auction, both won at our numbers.

Not every acquisition is a blue-chip name. Laeh Glenn is a working painter with a strong gallery track record, and this 2013 oil on panel came through Altman Siegel in San Francisco. We fell for it in the catalog and negotiated a fair discount off the gallery price.
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