Gallerist Max Andrews
How long have you been running Ottocento?
I left Christie’s in 2014 to join my wife Louise at the helm of Ottocento, and we opened the gallery in Petworth in 2022. Being a permanent gallery provides us with the opportunity to build client confidence and return trade. There is no substitute for seeing the art in the flesh.
Is Petworth a good base?
It’s ideal, as the town blends a rich artistic heritage with a vibrant cultural atmosphere. Petworth House is renowned for its outstanding art collection and long-standing connection to artists like JMW Turner, and attracts art lovers from across the country. Petworth’s charming historic streets, strong community of independent shops, and steady flow of visitors create a welcoming environment where art can thrive. The term ‘ottocento’ is Italian for ‘nineteenth century’.
How does this reflect the type of work you show?
We used to sell 19th-century Italian pictures, but that market has contracted, and we have evolved toward 20th-century art.
Why do you tend to deal in non-contemporary works?
Many Modern British artists are already well regarded in art history. It is much easier for us to sell a Henry Moore or a Duncan Grant and reassure the client that the artwork will retain its value. Increasingly, clients are viewing purchases as investments, however much I try and persuade them to buy art for the love of it. What we are trying to do is satisfy both impulses.
Is 19th-century work currently undervalued? Is it a good time to buy?
Yes. Prices are very low, much like brown furniture. It is difficult to know when trends will change, but as I have already mooted, buy what you like, and not what is necessarily in season. Style will always endure over fashion.
What advice would you give an inexperienced collector who is interested in buying non-contemporary work?
1. Buy art for love. If you love it, the chances are that if you come to sell it, somebody else will.
2. Ask for as much background as possible. There are fakes out there so provenance and history are key elements to consider. Some may have exhibition history or prior ownership by friends of the artist. The closer you can trace the picture to the artist’s studio, the better.
3. If a dealer is being pushy, run a mile! Just imagine what they might be like if you want to return the picture.
4. Look at the back of the painting. There are often labels and important information that could have been missed.
5. Buy from an established dealer with a pedigree in the arts, not an amateur trying to make a fast buck. The latter will probably promise you that what they are selling is a great investment, whereas, in reality, nobody really has a crystal ball and most certainly not them.
6. Buying cheap doesn’t always pay off in the long run. Sure, you can get more for your money by spending less, but the chances are that the pictures will still be worth nothing when you come to sell them. Like most things, you get what you pay for, and they probably won’t look very nice on the wall either.
7. If you can’t afford to buy an oil by a famous artist, consider buying a smaller watercolour or print. Big names are more likely to hold their value.
8. Look at work by artists linked to major art movements, who haven’t been fully recognised yet. They will be more affordable and may be championed by the market in time.