September 8, 2025 • 32 mins
Could it be possible to acquire unique works by one of the world's most recognisable and renowned artists for less than $10,000? David Shrigley might be the art world's best-kept open secret. Find out why with Nordic Art Partners.
This episode takes you deep into the whimsical world and highly developed market of one of Britain's most beloved contemporary artists, whose childlike drawings paired with deadpan humor have earned him global acclaim while remaining refreshingly affordable. Host Jeppe Curth and art expert Nicholas Robinson explore how Shrigley's deceptively simple aesthetic—colorful, seemingly casual drawings with witty text observations—has captivated audiences from both gallery walls and public monuments.
What makes Shrigley truly remarkable is the striking disconnect between his impressive credentials and his artwork's accessibility. Despite being nominated for the Turner Prize, receiving an OBE, creating London's famous Fourth Plinth commission, and having work in collections at MoMA, Tate, and Centre Pompidou, large unique Shrigley works can be acquired for under €15,000. This paradox of prestigious recognition and affordable pricing creates a rare opportunity for new collectors to own pieces by a globally significant artist without the intimidating expenditure typically required for such.
Beyond his artistic practice, we discover Shrigley's advocacy for integrating art into education—championing the evolution from STEM to STEAM—mirroring his democratic approach to making meaningful art available to broader audiences. Whether you're drawn to his humorous animal characters with profound observations or his simple yet universal messages, Shrigley's work offers something increasingly rare: museum-caliber art that brings daily joy without requiring extraordinary wealth.
Ready to start collecting or simply curious about this unique artistic voice? Join us for an enlightening conversation about an artist who proves that significant art doesn't always come with a significant price tag.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Jeppe Curth (00:00):
Hi and welcome to the Collector's Edge from Nordic
Art Partners.
In today's episode we will diveinto the world of David
Shrigley, a British artist knownfor his humor and instantly
recognizable style.
With me in the studio is ourart expert, Nicholas Robinson,
and I'm your host, Jeppe Curth.
Let's get started.
It is with Alex Rotter at 400million Selling here at
(00:23):
Christie's.
Nicholas Robinson (00:24):
$400 million is the bid and the piece is sold
.
We've all heard about it.
Sometimes it's front-page newsImportant works of art are being
sold for incredible sums ofmoney.
But can you get involved andbecome a part of the exclusive
club yourself, and how do youget started while avoiding
(00:44):
buying the wrong things?
That's exactly what thispodcast is about.
This is the Collector's Edgefrom Nordic Art Partners, a
podcast for those of youinterested in the mechanics of
the art industry, want adviceabout putting money into art, or
simply want to buy somethingfor your walls, to beautify your
surroundings.
(01:05):
Whatever your objectives, it ispossible to put money into art
wisely, to be consideredthoughtful and well informed in
your choices and actions.
Welcome to the art ofcollecting with an eye for
curated beauty and practicalvalue.
Jeppe Curth (01:36):
Hi, Nick, good morning.
Good morning, how are you doing?
And practical value as anartist.
Nicholas Robinson (01:41):
Well, maybe, before we get into those details
, it's a little bit worthpointing out that this is a bit
different, maybe, than some ofthe other episodes we've done,
just for the reason that many ofthe artists that we discuss are
very established, and not thatShrigley's different in that
(02:05):
context, but very established,sort of iconic figures, having
been practicing for many years,many decades in some cases, and
we sort of recognize in themsome sort of underappreciation
of their output by the marketand, as such sort of sense, an
opportunity, um, in terms ofacquiring their work for what we
(02:28):
think are reasonable prices.
But but shrigley's a bitdifferent in that he is an
established artist, he is awell-known, iconic artist, but
he has a very particular kind ofaccessibility that's going for
him.
So so one of the things that welike about Shrigley's work is
that he is, you know, producesfantastic, instantly
(02:53):
recognizable work, is a, is a,is clearly and uh acknowledged
as a leading artist, and yetgetting really great pieces by
him is really within the reachof many, many people.
Now we can can dive into someof the, the, the biographical
details which you know.
They're not super, uh, relevant.
(03:14):
I suppose there's no, you know,incredibly compelling backstory
.
He's a English guy born in 1968,um in Macclesfield town, near
in town, in Cheshire, nearLiverpool, manchester, in the
sort of north northish east,sorry, northish west of England.
(03:35):
He took a art and design courseat Leicester Polytechnic in
1987, so he's in his mid to latefifties now.
Uh, and then he studiedenvironmental art at Glasgow
school of art, which is a veryfamous art school in Britain,
(03:55):
designed by Charles RennieMcIntosh in the end of the 19th
century.
He studied there at the veryend of the 1980s.
Um, and you know, before hebecame an artist, he worked as a
gallery guide at the Center forContemporary Arts in Glasgow
and his first forays into makingart took place there, where he
used their equipment toself-publish these little books
(04:19):
of his drawings which, as we'llcome to learn, are the sort of
fundaments of his practice okay,thanks, uh, so what kind maybe?
Jeppe Curth (04:31):
I think one of the thing and key thing with david
is his signature style, hishumor.
Could you maybe put some wordon that?
Nicholas Robinson (04:39):
yes, absolutely.
Um, I think that's really whateveryone associates with
shrigley.
When they think about his work,they think about his very
distinctive drawing style whichis, you know, it's casual, or
apparently casual, seeminglycasual, sort of naive, childlike
.
So it has a very kind of basicgraphic quality which is sort of
(05:04):
anti-precious in the way thatit's done.
And then the subjects that hemakes are, you know, it's a
certain kind of socialcommentary.
Sometimes it's satirical,sometimes there's sort of pathos
, but most often sort of humorand wit.
(05:25):
To make satirical comments oneveryday situations, to make
comments on sort of human nature, human interactions, um,
they're sort of curious andeccentric and they're often
absurdist and they're renderedmost often in bright colors, um,
in this very sort of simplisticstyle, and and then with text
(05:46):
to sort of explain the visualhumor or situation that he's
depicting.
Just to give you a few examples, Um, there's I mean he's made
very many over many years butjust to kind of set the scene
here, an example might be animage of a goose which seems to
(06:12):
be squawking and flapping, andthen a text will say stop
panicking, everything will befine.
Another example hand holding anice cream, and the text would
say life is fantastic.
So a lot of these observationsare sort of humorous and
entertaining, but there's somekind of, you know, recognition
(06:34):
in this very deadpan way of thesort of human condition that
sometimes the drawings are ofpeople doing these things.
Sometimes the drawings are ofmonsters or fantastic creatures
and you're given a sort of asneak peek into their inner
(06:55):
thoughts and their fantasy life,and sometimes the sentiments or
the whatever subject of thedrawing is conveyed by an animal
and you are privy to maybe whatthis animal might be thinking,
and it's the whole drawing is.
It becomes a sort of a thoughtbubble, if you like.
(07:15):
Other examples there's one, afamous one, with a rabbit.
I'm listening, but you don'tmake any sense.
A drawing of an artist's palette.
Art will save the world.
So of course there's a certainidealism, an innocent idealism,
in these works, sometimes Animage of a bird.
(07:36):
You will not stop me fromsinging my song, I will sing it
forever.
And oftentimes it appears thatthese have been dashed off,
perhaps a little quickly, sothat they're very loose and very
playful and very immediate inthe way they've been rendered.
And sometimes then you willeven see mistakes in them, where
(07:56):
he's sort of crossed somethingout or he's misspelled a word
and then he's corrected himselfsomehow.
So there's something that'svery you know.
It's like the visual equivalentof a quick-witted thought
that's then committed to thepage in this playful, childlike,
gleeful, joyous fashion.
Jeppe Curth (08:17):
One of the things that make his works available is
, of course, when you justmentioned, the price.
It's not a price range.
One of the things is he must beevery gallery's dream because
he produced so much.
That's also why the price ismaybe a bit lower than many of
the other artists we are talkingabout, but his work spans many
(08:37):
forms.
He makes drawings, sculptures,animation, even public monuments
.
How do you think his practicehas been involved over time?
Nicholas Robinson (08:46):
Well, I think that as he's become more sort
of successful, he's obviouslyhad grander, more ambitious
opportunities afforded to him.
But I mean his first drawingsfrom the mid-90s, I think really
they're mostly monochromaticand they're a little bit more, I
(09:07):
suppose, technically formal, alittle more correct, a little
more academic in the way that Imean they're still playful and
they're still, I mean, there'sstill something about them
that's sort of intentionally baddrawing in inverted commas, um,
but they're a little bit moreproper than they are today and I
(09:27):
guess as his success hasincreased, as his confidence as
an artist has increased, he'sbeen able to loosen them up and
and make them sort ofprogressively worse technically
and still convey what he wantsto convey, um with, with, with
them.
But, um, but yes, his practicehas encompassed animations.
I mean he made a music videofor Blur in the early 2000s.
(09:49):
He's done.
He's published books on poetry,he's done musical
collaborations, even with, youknow, musical luminaries like
David Byrne, where he's beenresponsible for some of the
lyrics and music has been set tosome of his text.
(10:12):
So he's done some large scaleinstallations.
He's made some photographs andthen, as you mentioned, he's
done some monumental sculpture.
I mean he's been awarded somesignificant commissions and
probably the most notable orrenowned public monumental
(10:32):
sculpture commission that he'sbeen responsible for is the
Fourth.
Plinth is a public sculpturemonument that is allocated to a
contemporary art project.
(10:53):
In Trafalgar Square in London.
There's a big square just infront of the National Gallery
and there's the famous Nelson'sColumn with a number of bronze
lions on plinths around the baseof the column, but then on four
other corners of the squarethere are other public monuments
(11:16):
, monuments of significanthistoric figures, but there's an
empty plinth that's been theresince the middle of the 19th
century and this was originallyintended to have an equestrian
statue of the King William IVbut due to a lack of funds it
was never completed.
So it's been empty all thistime, until the early 2000s I
(11:41):
think, when the Mayor of Londontook over the management of
Trafalgar Square fromWestminster City Council and
they initiated this public artproject.
So there have been various sortof interesting celebrated
sculptures that have been placedthere, that have become
variously infamous orentertaining, or they've become
(12:04):
an iconic thing for the publicof London.
And Shrigley was awarded theFourth Plinth Commission in I
forget exactly when it was.
Um, anyway, that's perhaps notso important, but, uh, the work
anyway is an enormous thumbs up.
Now it's a sort of a, uh, aslightly ridiculous cartoony
(12:26):
thumbs up Uh, the, the.
The proportions of the, thethumbs up are very attenuated
and, and, and a bit comedic,cartoon-like.
Um and the.
The name of the sculpture is,is called Really Good.
So of course it's, you know, alittle bit of a um, uh, the, the
(12:47):
, the.
The title is is sort ofunderwhelming and a little bit
anemic given the positivity ofthe message.
But this again speaks to thissort of deadpan delivery that
Shrigley has become known for.
Jeppe Curth (13:06):
Let's talk a little bit about his market.
How do you see that have beendeveloped in the past 10 years?
Nicholas Robinson (13:17):
Well, it's been.
It's definitely accelerated inthat period, but I mean, he's
been very you know, we talkabout the importance of artists,
you know, developing their ownvoice and having a certain kind
of signature style and and ofcourse in that respect his
(13:40):
originality is no different.
I mean, he, he's, he has thetraits of other artists, who,
whose whose work has becomepopular, but there's no doubting
a work by David Shrigley, withthis combination of colorful
drawing combined with the textand then of course, this sort of
humorous, pithy, deadpansentiment that's attached to
(14:05):
them.
I mean they're unmistakable.
So he has a very clear visuallanguage that he's been evolving
but he's had more than 120 soloexhibitions over 30 years since
1995.
He's had numerous importantsolo museum exhibitions,
including CopenhagenContemporary, the Deste
(14:26):
Foundation in Greece, which isone of the greatest sort of
private collections developed inEurope in the last 30 years and
sort of template for a majorprivate collection that sort of
transitioned into becoming asignificant museum and public
venue.
(14:47):
He's had a solo show at theRose Art Museum at Brandeis, the
National Gallery of Victoria inMelbourne, the Pinakothek der
Moderne in Munich, haywardGallery, london Kunsthal in
Bergen in Norway.
So he's had a lot ofsignificant solo exhibitions in
museums as well as hislong-standing gallery career,
(15:07):
and his work is also now in manysignificant permanent museum
collections, including moma tateart institute of chicago,
museum, ludwig in cologne centre, pompidou um the tis and
bonamise here in denmark, thestate museum for kunst.
I mean his, his work is in many,many museums.
Um, he's involved with reallygreat galleries around the world
(15:31):
.
He he's showed with Anton Kernfor many years, which is a very
good, pretty sort of.
It's a very established gallerybut it's also, you know, has a
reputation for doing somewhatmore edgy things than some of
the more conservative,heavyweight galleries in New
York.
He shows with Stephen Friedman,which I suppose is somewhat
(15:52):
analogous in its taste.
In London His gallery hasbecome a real heavy hitter over
the last 20 years and he showshere in Copenhagen, I think
probably Nikolaj Valner, one ofthe best galleries here in
Copenhagen has has worked withhim perhaps longer than anyone
and the two of them even have acollaboration which sort of
(16:15):
continues to develop and play onthis highly popular, accessible
ideal that he has.
They have a store togethercalled the Schrig shop which
sells posters and prints andmerchandise, really All of which
is aestheticallyindistinguishable from his fine
art practice and means that youcan kind of have a piece of his
(16:37):
work for very little expenditure.
But the thing about his workalso that I think I should sort
of mention is that this veryintentionally kind of populist,
accessible ideal is very much inkeeping with his idea that art
also should be something forpeople in general to bring into
(16:57):
their lives.
For many years there was a kindof an overarching idea in
education which was called STEM,and STEM is an acronym for
science, technology, engineeringand Maths, and he's been a
strong proponent and a realactivist to change STEM to STEAM
(17:18):
.
So instead of just beingScience, technology, engineering
, math, it's now Science,technology, engineering, art and
Math, and he's been, you know,kind of crusading for
educational establishments tochange their curriculums to
include this and this is youknow.
(17:38):
This idea about a well-roundededucation has finally been
adopted by Birmingham CityUniversity in response to his
call School, and they havecreated the very first STEAM
teaching qualification so thatteachers teaching young people
can have much more advancedskills in computer-aided design,
(17:59):
3d printing, also emphasizingdesign and creative problem
solving, to bring that into theteaching for young children so
that they are much more exposedto a well-rounded art education
as well as these other essentialcomponents of an education.
So he's he's very much um, youknow, out there kind of fighting
(18:22):
the good fight, as well as justembodying this idea in in his
work okay, so.
Jeppe Curth (18:27):
so let's get started on talking a bit about
market prices, because he isaccessible for many people and a
meter tall work, maybe 75 wide,is around under I would say
under 15,000 euro on a uniquework.
(18:50):
Yep, which is quite incrediblewhen you also listen to his
provenance and his way to themuseum, institutions,
recognition, all these kinds ofthings.
What does that tell you?
Nicholas Robinson (19:04):
Well, I mean it answers.
It answers the point that youmade earlier that you know
there's, he's able to produce agood amount of work, he can be
considered prolific.
So you know there's, there's no, he's able to afford to and the
galleries are able to afford tomake them available to people.
(19:26):
And I suspect, given hisattitude about education and
about the accessibility of artfor a more sort of mainstream
population, I suspect that thatit's his preference to not make
the prices higher than they are.
Um, but when you say under 15,I mean, does that mean 14 500 or
is it possible to get something?
(19:47):
I mean, I think it's possibleto get a unique artwork by
shrigley for like ten thousanddollars.
Correct, that is correct I meanthe bigger size in euro and
these are the big ones, that'sone 12 by 75 and these are the
works that are basically a sortof a painted in acrylic on on
this heavy paper.
Jeppe Curth (20:05):
Yes, exactly and then you go lower in size, then
the price will be lower.
I think you could get it downto around three four000, 4,000,
5,000 euro.
Nicholas Robinson (20:14):
And then it's possible also to find or to
acquire black and white,sometimes black and white
acrylic drawings, but also inksort of pen drawings, even for
less correct, Correct.
Jeppe Curth (20:29):
Yeah, correct.
And the funny thing is here we,it's, it's, it's um.
When you look at the auction,it's a very liquid market.
It's just coming off auctionall the time.
Also, his edition works,sometimes the beat, even the
unique works yeah, I've noticedthat.
Nicholas Robinson (20:42):
I mean I I think it's sort of strange, I
think it's you know one.
He's one of these artists wherehis, his sort of print market
is a sort of a mini art economyunto itself, like we see with, I
don't know, we see with DamienHirst prints or Warhol prints.
I mean to a lesser extent thanthose artists, but there's a
certain sort of common currencyabout them where they're
(21:04):
cropping up for sale all thetime.
But just to look at his sort ofsort of history in the art
world, his record price atauction is $165,000.
Now that's for a largesculptural monument which of
course is a little bit of anoutlier in terms of his
day-to-day production.
But then the next highest pricethat he achieved is for
(21:29):
precisely this type of one ofone meter sized acrylic painting
on paper.
That made $44,000.
And this was for what we mightterm a sort of early-ish one of
these works and very sort ofsimple and iconic in its subject
matter.
It's simply a large pink field,so it's very sort of visually
(21:49):
appealing, with a sort of anempty circle in the middle with
the words it's okay, and that's,you know, very emblematic of
the kind of simple nail on headtype, thinking that he's able to
portray visually.
Um, but then.
But then I've also noticed that, uh, in his top 20 auction
(22:11):
results, eight of those top 20auction results are in fact for
a print.
So this sort of speaks to thepoint that you make where you
know there are certain printswhich probably are very
desirable and quite iconic inhis output and have a price
accordingly.
But then you can acquire uniqueworks by him, you know, for the
(22:31):
same or less, if you, you know,if you just reach out to any of
the galleries or look at any ofthese auctions that are taking
place online at any given point,you can find his work very
accessible.
But but again, to illustratethe the way that I was
describing his works earlier,this, this print that sold eight
times in his top 20 results, isan image of an elephant, a
(22:53):
seated elephant, and the textsays I must rest, my rampage is
over.
So again, it's silly and funny,but also there's a certain
poignancy in that as well.
Jeppe Curth (23:06):
Yeah, because most the these secondary market
prices below 50 000 um all ofthem almost so it is very
accessible.
Uh.
Also another thing when we lookinto these uh artists, we also
look at markets and where hisworks is still in the uk.
He's english, I guess that's.
Nicholas Robinson (23:22):
That's a key point, but I think there's
something that's a bit englishabout his humor actually true,
but the second biggest market isthe us and it's just half as
big as the uk market.
A key point, but I thinkthere's something that's a bit
English about his humor.
Actually, true.
Jeppe Curth (23:29):
But the second biggest market is the US and
it's just half as big as the UKmarket, so it's actually quite
big.
Nicholas Robinson (23:35):
Now, is that volume of sales at auction?
That's how you're able todetermine that.
Jeppe Curth (23:38):
Yes, exactly Turnover on auctions Okay, it's
um, um in.
It was $4.5 million in 2023.
Nicholas Robinson (23:49):
Wait, that's a lot of prints.
Jeppe Curth (23:51):
Yeah, and 2.5 in the US.
So the 4.5 was only in the UK,and then Japan, and Hong Kong is
third and fourth.
So yeah, so above 2,000 lotssold just in the UK.
That's a lot.
Nicholas Robinson (24:09):
But a wide sort of global appeal
illustrating the kind of simple,attractive, playful nature I
mean.
These are really lovely,uplifting things to have.
Yes exactly yeah, yeah.
Jeppe Curth (24:37):
So for a new collector that's listen to this
episode, um, where should theygo?
Looking as quickly his works,maybe where can they buy?
Nicholas Robinson (24:40):
it.
Well, they can.
They can see the work in in anyof these significant museums
that I've mentioned.
I mean, that's the first placeto kind of be able to, to see
the work.
But, of course, if you'relooking to acquire work and you
wish to see a selection of of ofworks, then you can look online
(25:02):
, where you can find manyoptions in the secondary market.
But but I think, prior to that,you know, the first port of call
should be the, the galleries, Imean.
I mean, uh, nikolai Valna alwayshas a nice inventory of
available works, and I expectthat Stephen Friedman and Anton
Kern um do so similarly, um, youknow, there's, no, there's not
(25:23):
really a shortage of them, whichmeans that, of course, it's
able, you know able to to tokeep the, the prices reasonable,
as we've mentioned.
But because they're so, soreasonably priced and because
he's such a a well-known andincreasingly iconic figure is
very difficult to imagine themever being worth less.
Now, this is not, you know,we're not so suggesting oh,
(25:46):
acquire David Shrigley works,and you know you'll be able to,
you know, make a.
So, suggesting oh, acquiredavid trigley works, and you
know you'll be able to, you know, make a lot of money by turning
them over in the near futurefor a substantial profit.
This is not the kind ofsituation that we're talking
about.
We're talking about accessing,collecting, acquiring really,
really good artwork by aglobally renowned, leading
(26:06):
artist for an incrediblyaffordable price, the price
being sufficiently affordablethat it's largely inconceivable
that you'll ever sort of losemoney.
So it's a very stable, it's avery solid and very liquid thing
to put money into, to enjoy andto, to be able to have, you
know, a really top thing for agood price.
Jeppe Curth (26:28):
But if a new collector comes and see his many
motives, is there somethingspecifically that you go for in
terms of a good or maybe a badSwigley work?
Nicholas Robinson (26:36):
Well, I think , I mean, I think that the sort
of the simplicity of the messageis perhaps important.
Sometimes there's a real kindof almost sort of profundity
with the message.
I mean, there's a really greatimage where he's made this sort
(26:57):
of.
It looks like a sort ofpastiche of an abstract painting
.
The surface is covered inbrushstrokes, it's largely grey
and there's a little space, andin the little space there's a
text that says a gap in theclouds.
Now, of course this is a reallynice metaphor for lots of things
.
So something like that that hasthat very sort of distilled
(27:18):
message, which of course is alsoa positive message, that kind
of thing is very nice to have.
And then I would say you knowthe ones with the animals, you
know they're proven time andtime again to be the most
popular ones where you have thissort of cutesy little colorful
animal character and then a funmessage, a life message if you
(27:39):
like, that sort of comes fromthe animal communicated to you.
I would say things like thatare are the best ones to go for.
Some of them are a bit moresurreal, some of them are a bit
more obscure, some of them arevery I don would say the sort of
simplicity and universality of,or, if that's even a word, the
(28:11):
universal nature of the message?
Um, probably would be the idealtype of thing to go for.
Jeppe Curth (28:17):
Well, I have to confess, I love his humor and I
have also works at him at home,um, but do you think that's more
lifestyle oriented um?
Sometimes we have artists thatis very also like an assets.
But is he becoming an asset oris it more a life oriented taste
?
Nicholas Robinson (28:37):
Well, of course, I mean, as with anything
, I mean people, people buythings that they like and when,
when artwork is affordable, it'svery easy to say yes, I'll have
one of those because I like it.
I mean, um, I mean, do I thinkthat his, his work is an asset?
I mean in, in a way, I do, justbecause I think that is
something that holds its value.
(28:57):
Um, they've cost more or lessthe same price for a long time.
They sell for more or less thesame price at auction.
I don't think that.
I don't think that it'ssomething that is some
particularly, you know, strikinginvestment type play, but I do
think that, um, it's very stable, uh, very liquid, very safe
(29:21):
repository of, you know, amodest chunk of money, chunk of
money, okay, so, before we end,um, is there anything we are
missing?
I don't think so.
(29:41):
I mean, I think it's really,you know, it's it's, it's it's
work that is reallyintentionally sort of simple in
many ways, or it's deceptivelysimple.
His messaging is entertaining,but it's also, you know, a
little bit sort of sophisticatedin the way he combines these
elements to create such apowerful sort of visual rhetoric
.
(30:09):
Very good galleries all aroundthe world.
So we know that he's got, youknow, a long exhibition history,
a good, solid, stable future tolook forward to, where he could
continue to develop hisaesthetic, his market, and we
can see that he's over manyyears, has significant career
milestones, which makes usunderstand that there's a strong
consensus about his work.
In 2013, 13 years ago, he had amajor mid-career retrospective
(30:34):
at the Hayward Gallery calledBrain Activity.
He was a Turner Prize nomineein 2013.
In 2016, he had the fourthplinth commissioned for
Trafalgar Square with a bigthumbs up.
This then traveled in 2023 toMelbourne where it was included
in the National Gallery ofVictoria Triennial.
And in 2015, the BritishCouncil organised a big
(30:58):
travelling exhibition of hiswork which went to six different
venues globally, includingmuseums in Shanghai, seoul,
mexico, and then, as recently as2020, he was awarded the Order,
the Officer of the Order of theBritish Empire, so an important
distinction in the UK,otherwise known as an OBE.
So you know, obviously there'sa strong consensus about the
(31:24):
fact that David Shrigley is animportant artist who's made a
significant contribution for along time, and there are no
other artists with thesecredentials where one can buy a
work for the kind of reasonableprice that we're talking about.
Jeppe Curth (31:38):
Okay, so let me give you the last question.
Is Shrigley underrated orperfectly priced for where he is
in his career?
Nicholas Robinson (31:45):
I think, underrated.
I mean I don't know of anotherartist Even these relatively
sort of simple works on paper.
I mean, as you said, you canget a colourful, beautiful
painting on paper for almost ametre in size for like 15, less
than 15,000 euros.
I mean, find me an artist wherethat is possible.
Jeppe Curth (32:09):
Well, I'll try to do that, but thank you for this
time, nick.
Thanks, that was it for thisepisode of the Collector's Edge.
If you are looking for expertinsights, want to make informed
decisions and would like advicefrom independent advisors, send
us an email or maybe just callus.
You can find all the info onour website nordic art
(32:31):
partnerscom.
Thank you for listening and wehope to have you back for
another episode.
Bye.
Hi and welcome to the Collector's Edge from Nordic
Art Partners.
In today's episode we will diveinto the world of David
Shrigley, a British artist knownfor his humor and instantly
recognizable style.
With me in the studio is ourart expert, Nicholas Robinson,
and I'm your host, Jeppe Curth.
Let's get started.
It is with Alex Rotter at 400million Selling here at
(00:23):
Christie's.
Nicholas Robinson (00:24):
$400 million is the bid and the piece is sold
.
We've all heard about it.
Sometimes it's front-page newsImportant works of art are being
sold for incredible sums ofmoney.
But can you get involved andbecome a part of the exclusive
club yourself, and how do youget started while avoiding
(00:44):
buying the wrong things?
That's exactly what thispodcast is about.
This is the Collector's Edgefrom Nordic Art Partners, a
podcast for those of youinterested in the mechanics of
the art industry, want adviceabout putting money into art, or
simply want to buy somethingfor your walls, to beautify your
surroundings.
(01:05):
Whatever your objectives, it ispossible to put money into art
wisely, to be consideredthoughtful and well informed in
your choices and actions.
Welcome to the art ofcollecting with an eye for
curated beauty and practicalvalue.
Jeppe Curth (01:36):
Hi, Nick, good morning.
Good morning, how are you doing?
And practical value as anartist.
Nicholas Robinson (01:41):
Well, maybe, before we get into those details
, it's a little bit worthpointing out that this is a bit
different, maybe, than some ofthe other episodes we've done,
just for the reason that many ofthe artists that we discuss are
very established, and not thatShrigley's different in that
(02:05):
context, but very established,sort of iconic figures, having
been practicing for many years,many decades in some cases, and
we sort of recognize in themsome sort of underappreciation
of their output by the marketand, as such sort of sense, an
opportunity, um, in terms ofacquiring their work for what we
(02:28):
think are reasonable prices.
But but shrigley's a bitdifferent in that he is an
established artist, he is awell-known, iconic artist, but
he has a very particular kind ofaccessibility that's going for
him.
So so one of the things that welike about Shrigley's work is
that he is, you know, producesfantastic, instantly
(02:53):
recognizable work, is a, is a,is clearly and uh acknowledged
as a leading artist, and yetgetting really great pieces by
him is really within the reachof many, many people.
Now we can can dive into someof the, the, the biographical
details which you know.
They're not super, uh, relevant.
(03:14):
I suppose there's no, you know,incredibly compelling backstory
.
He's a English guy born in 1968,um in Macclesfield town, near
in town, in Cheshire, nearLiverpool, manchester, in the
sort of north northish east,sorry, northish west of England.
(03:35):
He took a art and design courseat Leicester Polytechnic in
1987, so he's in his mid to latefifties now.
Uh, and then he studiedenvironmental art at Glasgow
school of art, which is a veryfamous art school in Britain,
(03:55):
designed by Charles RennieMcIntosh in the end of the 19th
century.
He studied there at the veryend of the 1980s.
Um, and you know, before hebecame an artist, he worked as a
gallery guide at the Center forContemporary Arts in Glasgow
and his first forays into makingart took place there, where he
used their equipment toself-publish these little books
(04:19):
of his drawings which, as we'llcome to learn, are the sort of
fundaments of his practice okay,thanks, uh, so what kind maybe?
Jeppe Curth (04:31):
I think one of the thing and key thing with david
is his signature style, hishumor.
Could you maybe put some wordon that?
Nicholas Robinson (04:39):
yes, absolutely.
Um, I think that's really whateveryone associates with
shrigley.
When they think about his work,they think about his very
distinctive drawing style whichis, you know, it's casual, or
apparently casual, seeminglycasual, sort of naive, childlike
.
So it has a very kind of basicgraphic quality which is sort of
(05:04):
anti-precious in the way thatit's done.
And then the subjects that hemakes are, you know, it's a
certain kind of socialcommentary.
Sometimes it's satirical,sometimes there's sort of pathos
, but most often sort of humorand wit.
(05:25):
To make satirical comments oneveryday situations, to make
comments on sort of human nature, human interactions, um,
they're sort of curious andeccentric and they're often
absurdist and they're renderedmost often in bright colors, um,
in this very sort of simplisticstyle, and and then with text
(05:46):
to sort of explain the visualhumor or situation that he's
depicting.
Just to give you a few examples, Um, there's I mean he's made
very many over many years butjust to kind of set the scene
here, an example might be animage of a goose which seems to
(06:12):
be squawking and flapping, andthen a text will say stop
panicking, everything will befine.
Another example hand holding anice cream, and the text would
say life is fantastic.
So a lot of these observationsare sort of humorous and
entertaining, but there's somekind of, you know, recognition
(06:34):
in this very deadpan way of thesort of human condition that
sometimes the drawings are ofpeople doing these things.
Sometimes the drawings are ofmonsters or fantastic creatures
and you're given a sort of asneak peek into their inner
(06:55):
thoughts and their fantasy life,and sometimes the sentiments or
the whatever subject of thedrawing is conveyed by an animal
and you are privy to maybe whatthis animal might be thinking,
and it's the whole drawing is.
It becomes a sort of a thoughtbubble, if you like.
(07:15):
Other examples there's one, afamous one, with a rabbit.
I'm listening, but you don'tmake any sense.
A drawing of an artist's palette.
Art will save the world.
So of course there's a certainidealism, an innocent idealism,
in these works, sometimes Animage of a bird.
(07:36):
You will not stop me fromsinging my song, I will sing it
forever.
And oftentimes it appears thatthese have been dashed off,
perhaps a little quickly, sothat they're very loose and very
playful and very immediate inthe way they've been rendered.
And sometimes then you willeven see mistakes in them, where
(07:56):
he's sort of crossed somethingout or he's misspelled a word
and then he's corrected himselfsomehow.
So there's something that'svery you know.
It's like the visual equivalentof a quick-witted thought
that's then committed to thepage in this playful, childlike,
gleeful, joyous fashion.
Jeppe Curth (08:17):
One of the things that make his works available is
, of course, when you justmentioned, the price.
It's not a price range.
One of the things is he must beevery gallery's dream because
he produced so much.
That's also why the price ismaybe a bit lower than many of
the other artists we are talkingabout, but his work spans many
(08:37):
forms.
He makes drawings, sculptures,animation, even public monuments
.
How do you think his practicehas been involved over time?
Nicholas Robinson (08:46):
Well, I think that as he's become more sort
of successful, he's obviouslyhad grander, more ambitious
opportunities afforded to him.
But I mean his first drawingsfrom the mid-90s, I think really
they're mostly monochromaticand they're a little bit more, I
(09:07):
suppose, technically formal, alittle more correct, a little
more academic in the way that Imean they're still playful and
they're still, I mean, there'sstill something about them
that's sort of intentionally baddrawing in inverted commas, um,
but they're a little bit moreproper than they are today and I
(09:27):
guess as his success hasincreased, as his confidence as
an artist has increased, he'sbeen able to loosen them up and
and make them sort ofprogressively worse technically
and still convey what he wantsto convey, um with, with, with
them.
But, um, but yes, his practicehas encompassed animations.
I mean he made a music videofor Blur in the early 2000s.
(09:49):
He's done.
He's published books on poetry,he's done musical
collaborations, even with, youknow, musical luminaries like
David Byrne, where he's beenresponsible for some of the
lyrics and music has been set tosome of his text.
(10:12):
So he's done some large scaleinstallations.
He's made some photographs andthen, as you mentioned, he's
done some monumental sculpture.
I mean he's been awarded somesignificant commissions and
probably the most notable orrenowned public monumental
(10:32):
sculpture commission that he'sbeen responsible for is the
Fourth.
Plinth is a public sculpturemonument that is allocated to a
contemporary art project.
(10:53):
In Trafalgar Square in London.
There's a big square just infront of the National Gallery
and there's the famous Nelson'sColumn with a number of bronze
lions on plinths around the baseof the column, but then on four
other corners of the squarethere are other public monuments
(11:16):
, monuments of significanthistoric figures, but there's an
empty plinth that's been theresince the middle of the 19th
century and this was originallyintended to have an equestrian
statue of the King William IVbut due to a lack of funds it
was never completed.
So it's been empty all thistime, until the early 2000s I
(11:41):
think, when the Mayor of Londontook over the management of
Trafalgar Square fromWestminster City Council and
they initiated this public artproject.
So there have been various sortof interesting celebrated
sculptures that have been placedthere, that have become
variously infamous orentertaining, or they've become
(12:04):
an iconic thing for the publicof London.
And Shrigley was awarded theFourth Plinth Commission in I
forget exactly when it was.
Um, anyway, that's perhaps notso important, but, uh, the work
anyway is an enormous thumbs up.
Now it's a sort of a, uh, aslightly ridiculous cartoony
(12:26):
thumbs up Uh, the, the.
The proportions of the, thethumbs up are very attenuated
and, and, and a bit comedic,cartoon-like.
Um and the.
The name of the sculpture is,is called Really Good.
So of course it's, you know, alittle bit of a um, uh, the, the
(12:47):
, the.
The title is is sort ofunderwhelming and a little bit
anemic given the positivity ofthe message.
But this again speaks to thissort of deadpan delivery that
Shrigley has become known for.
Jeppe Curth (13:06):
Let's talk a little bit about his market.
How do you see that have beendeveloped in the past 10 years?
Nicholas Robinson (13:17):
Well, it's been.
It's definitely accelerated inthat period, but I mean, he's
been very you know, we talkabout the importance of artists,
you know, developing their ownvoice and having a certain kind
of signature style and and ofcourse in that respect his
(13:40):
originality is no different.
I mean, he, he's, he has thetraits of other artists, who,
whose whose work has becomepopular, but there's no doubting
a work by David Shrigley, withthis combination of colorful
drawing combined with the textand then of course, this sort of
humorous, pithy, deadpansentiment that's attached to
(14:05):
them.
I mean they're unmistakable.
So he has a very clear visuallanguage that he's been evolving
but he's had more than 120 soloexhibitions over 30 years since
1995.
He's had numerous importantsolo museum exhibitions,
including CopenhagenContemporary, the Deste
(14:26):
Foundation in Greece, which isone of the greatest sort of
private collections developed inEurope in the last 30 years and
sort of template for a majorprivate collection that sort of
transitioned into becoming asignificant museum and public
venue.
(14:47):
He's had a solo show at theRose Art Museum at Brandeis, the
National Gallery of Victoria inMelbourne, the Pinakothek der
Moderne in Munich, haywardGallery, london Kunsthal in
Bergen in Norway.
So he's had a lot ofsignificant solo exhibitions in
museums as well as hislong-standing gallery career,
(15:07):
and his work is also now in manysignificant permanent museum
collections, including moma tateart institute of chicago,
museum, ludwig in cologne centre, pompidou um the tis and
bonamise here in denmark, thestate museum for kunst.
I mean his, his work is in many,many museums.
Um, he's involved with reallygreat galleries around the world
(15:31):
.
He he's showed with Anton Kernfor many years, which is a very
good, pretty sort of.
It's a very established gallerybut it's also, you know, has a
reputation for doing somewhatmore edgy things than some of
the more conservative,heavyweight galleries in New
York.
He shows with Stephen Friedman,which I suppose is somewhat
(15:52):
analogous in its taste.
In London His gallery hasbecome a real heavy hitter over
the last 20 years and he showshere in Copenhagen, I think
probably Nikolaj Valner, one ofthe best galleries here in
Copenhagen has has worked withhim perhaps longer than anyone
and the two of them even have acollaboration which sort of
(16:15):
continues to develop and play onthis highly popular, accessible
ideal that he has.
They have a store togethercalled the Schrig shop which
sells posters and prints andmerchandise, really All of which
is aestheticallyindistinguishable from his fine
art practice and means that youcan kind of have a piece of his
(16:37):
work for very little expenditure.
But the thing about his workalso that I think I should sort
of mention is that this veryintentionally kind of populist,
accessible ideal is very much inkeeping with his idea that art
also should be something forpeople in general to bring into
(16:57):
their lives.
For many years there was a kindof an overarching idea in
education which was called STEM,and STEM is an acronym for
science, technology, engineeringand Maths, and he's been a
strong proponent and a realactivist to change STEM to STEAM
(17:18):
.
So instead of just beingScience, technology, engineering
, math, it's now Science,technology, engineering, art and
Math, and he's been, you know,kind of crusading for
educational establishments tochange their curriculums to
include this and this is youknow.
(17:38):
This idea about a well-roundededucation has finally been
adopted by Birmingham CityUniversity in response to his
call School, and they havecreated the very first STEAM
teaching qualification so thatteachers teaching young people
can have much more advancedskills in computer-aided design,
(17:59):
3d printing, also emphasizingdesign and creative problem
solving, to bring that into theteaching for young children so
that they are much more exposedto a well-rounded art education
as well as these other essentialcomponents of an education.
So he's he's very much um, youknow, out there kind of fighting
(18:22):
the good fight, as well as justembodying this idea in in his
work okay, so.
Jeppe Curth (18:27):
so let's get started on talking a bit about
market prices, because he isaccessible for many people and a
meter tall work, maybe 75 wide,is around under I would say
under 15,000 euro on a uniquework.
(18:50):
Yep, which is quite incrediblewhen you also listen to his
provenance and his way to themuseum, institutions,
recognition, all these kinds ofthings.
What does that tell you?
Nicholas Robinson (19:04):
Well, I mean it answers.
It answers the point that youmade earlier that you know
there's, he's able to produce agood amount of work, he can be
considered prolific.
So you know there's, there's no, he's able to afford to and the
galleries are able to afford tomake them available to people.
(19:26):
And I suspect, given hisattitude about education and
about the accessibility of artfor a more sort of mainstream
population, I suspect that thatit's his preference to not make
the prices higher than they are.
Um, but when you say under 15,I mean, does that mean 14 500 or
is it possible to get something?
(19:47):
I mean, I think it's possibleto get a unique artwork by
shrigley for like ten thousanddollars.
Correct, that is correct I meanthe bigger size in euro and
these are the big ones, that'sone 12 by 75 and these are the
works that are basically a sortof a painted in acrylic on on
this heavy paper.
Jeppe Curth (20:05):
Yes, exactly and then you go lower in size, then
the price will be lower.
I think you could get it downto around three four000, 4,000,
5,000 euro.
Nicholas Robinson (20:14):
And then it's possible also to find or to
acquire black and white,sometimes black and white
acrylic drawings, but also inksort of pen drawings, even for
less correct, Correct.
Jeppe Curth (20:29):
Yeah, correct.
And the funny thing is here we,it's, it's, it's um.
When you look at the auction,it's a very liquid market.
It's just coming off auctionall the time.
Also, his edition works,sometimes the beat, even the
unique works yeah, I've noticedthat.
Nicholas Robinson (20:42):
I mean I I think it's sort of strange, I
think it's you know one.
He's one of these artists wherehis, his sort of print market
is a sort of a mini art economyunto itself, like we see with, I
don't know, we see with DamienHirst prints or Warhol prints.
I mean to a lesser extent thanthose artists, but there's a
certain sort of common currencyabout them where they're
(21:04):
cropping up for sale all thetime.
But just to look at his sort ofsort of history in the art
world, his record price atauction is $165,000.
Now that's for a largesculptural monument which of
course is a little bit of anoutlier in terms of his
day-to-day production.
But then the next highest pricethat he achieved is for
(21:29):
precisely this type of one ofone meter sized acrylic painting
on paper.
That made $44,000.
And this was for what we mightterm a sort of early-ish one of
these works and very sort ofsimple and iconic in its subject
matter.
It's simply a large pink field,so it's very sort of visually
(21:49):
appealing, with a sort of anempty circle in the middle with
the words it's okay, and that's,you know, very emblematic of
the kind of simple nail on headtype, thinking that he's able to
portray visually.
Um, but then.
But then I've also noticed that, uh, in his top 20 auction
(22:11):
results, eight of those top 20auction results are in fact for
a print.
So this sort of speaks to thepoint that you make where you
know there are certain printswhich probably are very
desirable and quite iconic inhis output and have a price
accordingly.
But then you can acquire uniqueworks by him, you know, for the
(22:31):
same or less, if you, you know,if you just reach out to any of
the galleries or look at any ofthese auctions that are taking
place online at any given point,you can find his work very
accessible.
But but again, to illustratethe the way that I was
describing his works earlier,this, this print that sold eight
times in his top 20 results, isan image of an elephant, a
(22:53):
seated elephant, and the textsays I must rest, my rampage is
over.
So again, it's silly and funny,but also there's a certain
poignancy in that as well.
Jeppe Curth (23:06):
Yeah, because most the these secondary market
prices below 50 000 um all ofthem almost so it is very
accessible.
Uh.
Also another thing when we lookinto these uh artists, we also
look at markets and where hisworks is still in the uk.
He's english, I guess that's.
Nicholas Robinson (23:22):
That's a key point, but I think there's
something that's a bit englishabout his humor actually true,
but the second biggest market isthe us and it's just half as
big as the uk market.
A key point, but I thinkthere's something that's a bit
English about his humor.
Actually, true.
Jeppe Curth (23:29):
But the second biggest market is the US and
it's just half as big as the UKmarket, so it's actually quite
big.
Nicholas Robinson (23:35):
Now, is that volume of sales at auction?
That's how you're able todetermine that.
Jeppe Curth (23:38):
Yes, exactly Turnover on auctions Okay, it's
um, um in.
It was $4.5 million in 2023.
Nicholas Robinson (23:49):
Wait, that's a lot of prints.
Jeppe Curth (23:51):
Yeah, and 2.5 in the US.
So the 4.5 was only in the UK,and then Japan, and Hong Kong is
third and fourth.
So yeah, so above 2,000 lotssold just in the UK.
That's a lot.
Nicholas Robinson (24:09):
But a wide sort of global appeal
illustrating the kind of simple,attractive, playful nature I
mean.
These are really lovely,uplifting things to have.
Yes exactly yeah, yeah.
Jeppe Curth (24:37):
So for a new collector that's listen to this
episode, um, where should theygo?
Looking as quickly his works,maybe where can they buy?
Nicholas Robinson (24:40):
it.
Well, they can.
They can see the work in in anyof these significant museums
that I've mentioned.
I mean, that's the first placeto kind of be able to, to see
the work.
But, of course, if you'relooking to acquire work and you
wish to see a selection of of ofworks, then you can look online
(25:02):
, where you can find manyoptions in the secondary market.
But but I think, prior to that,you know, the first port of call
should be the, the galleries, Imean.
I mean, uh, nikolai Valna alwayshas a nice inventory of
available works, and I expectthat Stephen Friedman and Anton
Kern um do so similarly, um, youknow, there's, no, there's not
(25:23):
really a shortage of them, whichmeans that, of course, it's
able, you know able to to tokeep the, the prices reasonable,
as we've mentioned.
But because they're so, soreasonably priced and because
he's such a a well-known andincreasingly iconic figure is
very difficult to imagine themever being worth less.
Now, this is not, you know,we're not so suggesting oh,
(25:46):
acquire David Shrigley works,and you know you'll be able to,
you know, make a.
So, suggesting oh, acquiredavid trigley works, and you
know you'll be able to, you know, make a lot of money by turning
them over in the near futurefor a substantial profit.
This is not the kind ofsituation that we're talking
about.
We're talking about accessing,collecting, acquiring really,
really good artwork by aglobally renowned, leading
(26:06):
artist for an incrediblyaffordable price, the price
being sufficiently affordablethat it's largely inconceivable
that you'll ever sort of losemoney.
So it's a very stable, it's avery solid and very liquid thing
to put money into, to enjoy andto, to be able to have, you
know, a really top thing for agood price.
Jeppe Curth (26:28):
But if a new collector comes and see his many
motives, is there somethingspecifically that you go for in
terms of a good or maybe a badSwigley work?
Nicholas Robinson (26:36):
Well, I think , I mean, I think that the sort
of the simplicity of the messageis perhaps important.
Sometimes there's a real kindof almost sort of profundity
with the message.
I mean, there's a really greatimage where he's made this sort
(26:57):
of.
It looks like a sort ofpastiche of an abstract painting
.
The surface is covered inbrushstrokes, it's largely grey
and there's a little space, andin the little space there's a
text that says a gap in theclouds.
Now, of course this is a reallynice metaphor for lots of things
.
So something like that that hasthat very sort of distilled
(27:18):
message, which of course is alsoa positive message, that kind
of thing is very nice to have.
And then I would say you knowthe ones with the animals, you
know they're proven time andtime again to be the most
popular ones where you have thissort of cutesy little colorful
animal character and then a funmessage, a life message if you
(27:39):
like, that sort of comes fromthe animal communicated to you.
I would say things like thatare are the best ones to go for.
Some of them are a bit moresurreal, some of them are a bit
more obscure, some of them arevery I don would say the sort of
simplicity and universality of,or, if that's even a word, the
(28:11):
universal nature of the message?
Um, probably would be the idealtype of thing to go for.
Jeppe Curth (28:17):
Well, I have to confess, I love his humor and I
have also works at him at home,um, but do you think that's more
lifestyle oriented um?
Sometimes we have artists thatis very also like an assets.
But is he becoming an asset oris it more a life oriented taste
?
Nicholas Robinson (28:37):
Well, of course, I mean, as with anything
, I mean people, people buythings that they like and when,
when artwork is affordable, it'svery easy to say yes, I'll have
one of those because I like it.
I mean, um, I mean, do I thinkthat his, his work is an asset?
I mean in, in a way, I do, justbecause I think that is
something that holds its value.
(28:57):
Um, they've cost more or lessthe same price for a long time.
They sell for more or less thesame price at auction.
I don't think that.
I don't think that it'ssomething that is some
particularly, you know, strikinginvestment type play, but I do
think that, um, it's very stable, uh, very liquid, very safe
(29:21):
repository of, you know, amodest chunk of money, chunk of
money, okay, so, before we end,um, is there anything we are
missing?
I don't think so.
(29:41):
I mean, I think it's really,you know, it's it's, it's it's
work that is reallyintentionally sort of simple in
many ways, or it's deceptivelysimple.
His messaging is entertaining,but it's also, you know, a
little bit sort of sophisticatedin the way he combines these
elements to create such apowerful sort of visual rhetoric
.
(30:09):
Very good galleries all aroundthe world.
So we know that he's got, youknow, a long exhibition history,
a good, solid, stable future tolook forward to, where he could
continue to develop hisaesthetic, his market, and we
can see that he's over manyyears, has significant career
milestones, which makes usunderstand that there's a strong
consensus about his work.
In 2013, 13 years ago, he had amajor mid-career retrospective
(30:34):
at the Hayward Gallery calledBrain Activity.
He was a Turner Prize nomineein 2013.
In 2016, he had the fourthplinth commissioned for
Trafalgar Square with a bigthumbs up.
This then traveled in 2023 toMelbourne where it was included
in the National Gallery ofVictoria Triennial.
And in 2015, the BritishCouncil organised a big
(30:58):
travelling exhibition of hiswork which went to six different
venues globally, includingmuseums in Shanghai, seoul,
mexico, and then, as recently as2020, he was awarded the Order,
the Officer of the Order of theBritish Empire, so an important
distinction in the UK,otherwise known as an OBE.
So you know, obviously there'sa strong consensus about the
(31:24):
fact that David Shrigley is animportant artist who's made a
significant contribution for along time, and there are no
other artists with thesecredentials where one can buy a
work for the kind of reasonableprice that we're talking about.
Jeppe Curth (31:38):
Okay, so let me give you the last question.
Is Shrigley underrated orperfectly priced for where he is
in his career?
Nicholas Robinson (31:45):
I think, underrated.
I mean I don't know of anotherartist Even these relatively
sort of simple works on paper.
I mean, as you said, you canget a colourful, beautiful
painting on paper for almost ametre in size for like 15, less
than 15,000 euros.
I mean, find me an artist wherethat is possible.
Jeppe Curth (32:09):
Well, I'll try to do that, but thank you for this
time, nick.
Thanks, that was it for thisepisode of the Collector's Edge.
If you are looking for expertinsights, want to make informed
decisions and would like advicefrom independent advisors, send
us an email or maybe just callus.
You can find all the info onour website nordic art
(32:31):
partnerscom.
Thank you for listening and wehope to have you back for
another episode.
Bye.
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