An interview with art gallery owner David Tunick
David Tunick Inc. is an art gallery located at 13 East 69th Street, specializing in fine prints and drawings from the 15th to the mid-20th centuries. The gallery boasts high quality and rare examples of works by Rembrandt, Dürer, Goya, Fragonard, Matisse, Picasso and many others. David Tunick, the gallery president, has been active in the field of works on paper since 1966. Mr. Tunick kindly agreed to answer email questions for Natural Selections.
BL: The information you provide for each Old Masters (and other) prints is detailed and exhaustive. Not only must you research the history of the physical print and the artist, but trace its provenance as well. How do you undertake such background work?
DT: We work at it, but some discoveries are luck. If by provenance, you mean its actual meaning, the history of ownership, we go about it carefully and methodically. We take note of every collector’s stamp, mark, notation, scribble, etc. on the recto and verso of the sheet. Can we identify them if we don’t know them? To do that we go to Lugt, Les Marques de Collections de Dessins et d’Estampes both in the old two volume hard copy and the augmented online version. If a mark is in there—there are thousands— we read about it, and that may lead to other sources. We want to add to our description of every print and drawing that comes in as much in the way of ownership history as possible. Sometimes that means looking in old gallery or sales catalogues, or correspondence with a museum, more often with a former owner or gallery owner, to see if there are further records in old files. Here’s an example of the luck part: recently a man unknown to us called me from France. He had seen an important 1950 Leger gouache on our website that had turned up on the wall of old master drawing collectors here in NY. It had been “missing” since 1971, when it was last seen in public in an exhibition at the Grand Palais in Paris. The NY collectors asked us to sell it for them, and we were thorough in researching the provenance, but there were gaps. The man from France said he remembered seeing this Leger on his aunt’s wall when he was a child. He filled in all the blanks, which we went on to verify. It felt good, as if we had fulfilled a responsibility, in a way, to the work of art.