Tell me about your time at Christie’s. What did you learn and how has it influenced your advisory?

Both attending Christie’s Education and then working at Christie’s as a Specialist in two departments, Prints and then Impressionist and Modern were foundational experiences and led me to what I’m doing today.

It is where I had hands-on training, how to catalog, write condition reports, and examine artwork. I was researching the history of the piece – the provenance – who had owned it previously, what exhibitions or books it had been published in. All of these pieces of information pulled together help us tell the story and history of a work of art.

Also, in addition to advising clients who were interested in buying and selling at auction - I worked with framers, art installers, shippers, and conservators – all of which have been instrumental in helping my clients as a private advisor.

What’s a specific project you worked on at Christie’s that was particularly impactful?

Cataloging and working on the Collection of Mrs. Sidney F. Brody which sold in May 2010 was one of the many highlights of my time at Christie’s. Valued at over $150 million, and ultimately resulting in a total of $335.6 million - it was the highest single-owner sale in auction history. One major painting in that collection was Picasso’s Nude, Green Leaves, and Bust from 1932 – a particularly prolific year – where he painted his lover Marie-Therese Walter, this painting alone sold for over $106 million, which at the time was the most expensive artwork sold at auction.

I actually was reunited with this painting two summers ago in London when it was exhibited at the Tate as part of the EY Exhibition: Picasso 1932 – Love Fame Tragedy. It was a thrill to be back in front of this picture almost a decade later with my husband on holiday.

What is an art advisor?

Simply, I help people buy, sell, and maintain their artwork.

When someone is interested in buying a piece of artwork, but not sure where to start, I help identify artwork that would be of interest to them – either purchasing from a gallery, at auction, or from the artist directly.

I organize studio visits or other in person experiences, like attending art fairs which helps provide access to seeing the artwork that they are interested in. After someone has purchased a piece of artwork, I help them with shipping, framing, installation, lighting, appraisals and collection management. I’ve helped a lot with moves or renovations – organizing, having artwork packed and stored in a fine art storage facility.

Sometimes clients have an existing collection – but just want a refresh, so I will reframe (which can do wonders), reinstall and help them edit the collection, either selling or gifting pieces that no longer appeal to them.

How do you work with clients?

It is an incredibly personal relationship – I’m in my client’s most intimate spaces, their homes, meeting their families – talking about how they want to live and what inspires them.

I always start by listening, I want to hear from my client about what they are thinking – have they looked at art their whole lives and now feel ready to start buying – or maybe they feel like they want to own art, but aren’t sure how to begin. Everything starts with the client and what they need. And those needs change – clients evolve and change over time, they grow and their tastes grow as well. That is a really fun thing to watch.

There are some clients I’ve been working with now for a number of years and it is exciting to see them sharing artists and artwork with me – I learn so much from my clients.

Where are your clients located – do you do remote projects and do you travel?

I have clients throughout New England, the Midwest and the West Coast. Yes, I travel – it usually starts with an initial site visit – see where the art is going – have a sense of what the scope of the project will be. And I also travel with my clients – to visit museums, art fairs or studio visits.

What kinds of clients do you work with - is it okay for someone to be less familiar with art?

My clients range from experienced collectors to someone just starting to think about buying art. Each client has a range of goals and budgets, and I try to accommodate all of those.

I also have corporate clients, finding artwork for office spaces.

What kind of guidance do you provide to art novices?

We spend a lot of time looking and learning in the beginning. I think it is so important for someone to start being able to articulate what they like or don’t like about a work of art. We often learn more from what someone doesn’t like, so we spend time looking at art together, either in person at galleries, art fairs or museums – or also virtually, from presentations that I prepare for them and we review over Zoom.

Why is it important to seek the help of an expert when immersing yourself in the art market?

When making a significant purchase, it is always useful to bring in an outside expert to help guide you through the process. I think a comparable thought process would be working with an interior designer or architect if you are making changes to your home. They can help guide you to ensure that you are buying from reputable sellers and in an opaque market, paying the correct price for the piece of artwork.

An advisor can help you get up to speed quickly. My decade of experience enables you to narrow your focus or point you in the right direction, saving time.

Relationships and access are a major part of acquiring artwork. I have relationships with galleries, auction houses and artists, which can help when we want to see artwork – they reach out to me before artwork becomes publicly available.

What’s a favorite recent artist you’ve been intrigued by?

I love the work by Boston artist Lavaughan Jenkins. I did a studio visit with him last year leading up to his exhibition at the ICA Boston and was so impressed by how he spoke about his work – the myriad of influences; fashion, art history, his own family – his work really spoke to me both aesthetically and intellectually.

I brought a client to that studio visit and we both purchased works that day. Since then I’ve followed his career, going to his exhibitions and art fairs where he is exhibiting. His work is evolving and it is exciting to watch where he will go next.

You are also Chair of the MFA Museum Council Steering Committee. Tell me about the work you’ve done at the MFA?

I joined the Museum Council, which is the young patron group at the MFA, Boston when I moved from NYC to Boston now just over 6 years ago. I immediately found a community of art enthusiasts that have become some of my best friends. I’m a great champion of the MFA, it is one of the most important encyclopedic collections in the world. Boston is so lucky to have the collection and the curators in our city.

I Chaired the Museum Council Steering Committee, which is a two-year term. I also sit on the Advisory Board. I’ve found that at the MFA if you give 20% of your energy, you get 150% back. I’ve learned so much and met so many wonderful people. I can’t imagine it not being a part of my life.

Why is it more important now than ever before to support the arts in our communities?

What has always drawn me to the arts is the ability for art to convey an idea or message that is different from the spoken or written word. I find that an artist can express a feeling, experience, memory through art in a way that can be immediately observed.

We need to be telling the stories of other cultures and communities. It is how we grow and learn. I love creative problem solving and often feel so inspired after seeing an exhibition and bring those ideas and ways of seeing back to how I live my life.

Everything you always wanted to ask an art advisor