Marlborough Gallery, a stalwart in the post-war era, has announced the closure of its prestigious galleries in New York, London, Madrid, and Barcelona. This decision marks the end of a chapter spanning nearly eight decades. It comes amid a backdrop of leadership turmoil and financial uncertainty within the venerable institution, signalling a seismic shift in the art world landscape. Marlborough was once at the top of the gallery pecking order but seemed a bit pale beside the Gagosian and Hauser & Wirth gallery megachains.
Founded in London in 1946 by Frank Lloyd, a Jewish immigrant, and Harry Fischer, an Austrian rare books dealer, Marlborough Gallery quickly ascended to prominence as a beacon of avant-garde expression. Representing luminaries such as Francis Bacon, Lucian Freud, and the Jackson Pollock estate, the gallery became synonymous with groundbreaking artistic innovation on both sides of the Atlantic.
Marlborough has recently been embroiled in a web of internal conflicts and financial challenges. Reports emerged in June 2020 of a bitter family feud between Gilbert Lloyd, Frank Lloyd’s son, and Pierre Levai, Frank’s nephew and longtime manager of the New York gallery. Lawsuits filed by both parties revealed staggering financial losses totalling $18.7 million between 2013 and 2019, casting a shadow over the gallery’s once-impeccable reputation.
The root of these disputes lies in Marlborough’s ambitious expansion plans, which included acquiring the former Cheim & Reid (later Blain Southern) building adjacent to its New York premises. However, the gallery’s board vetoed these plans, leading to internal discord and a subsequent downturn in fortunes.
Despite efforts to resolve these conflicts and settle lawsuits, Marlborough Gallery’s financial woes persisted. UK Companies House filings for 2022 revealed a steep decline in turnover and gross profits, exacerbated by the departure of critical directors and artists. The gallery’s London operations saw turnover plummet by 35%, reflecting a turbulent period of instability and uncertainty.
Amidst these challenges, Marlborough Gallery’s closure reverberates across the art world, signalling the end of an era defined by artistic daring and creative exploration. The gallery’s extensive inventory, amassed over decades and estimated to be worth over $250 million, will be dispersed in the coming months and years, marking the end of a legacy that shaped modern art history.
Yet, amidst the sad reflections on Marlborough’s closure, questions linger about the future of its iconic Albermarle Street premises and other properties owned by the institution. With uncertainty surrounding ownership and ongoing negotiations for potential sales, the fate of these hallowed spaces hangs in the balance, serving as a poignant reminder of Marlborough’s enduring legacy.
As Marlborough Gallery bids farewell to the art world stage, its closure underscores the industry’s broader issues, from navigating familial conflicts to the perils of overexpansion and financial instability. Yet, amidst the tumult, Marlborough’s legacy endures as a testament to the transformative power of art and the indelible mark left by visionaries who dared to challenge convention and redefine the boundaries of artistic expression.
Marlborough Fine Arts Gallery represented diverse artists who made significant contributions to the art world. Some of the notable artists represented by Marlborough Fine Arts Gallery include:
Ad Reinhardt, Alexander Rodchenko, Barbara Hepworth, Clyfford Still, David Smith, Edward Hopper, Francis Bacon, franz Kline, Frank Auerbach
Henry Moore, Jackson Pollock, Kazimir Malevich, Lucian Freud, Lyubov Popova, Marc Chagall, Mark Rothko, Olga Rozanova, Paula Rego, Richard Diebenkorn, Robert Motherwell, Wassily Kandinsky
Over the years, the gallery has had its controversy. The Rothko estate scandal involving Marlborough Fine Arts was a significant chapter in the art world’s annals, marked by intrigue, legal battles, and financial improprieties. At the centre of this scandal were the renowned abstract expressionist painter Mark Rothko and his estate’s dealings with Marlborough Fine Arts Gallery, one of the world’s leading dealers in post-war art.
Mark Rothko, celebrated for his expressive and profound colour field paintings, entrusted the representation of his estate to Marlborough Fine Arts Gallery. The gallery, founded in London in 1946 by Frank Lloyd and Harry Fischer, had garnered a reputation for championing prominent artists such as Francis Bacon, Lucian Freud, and Jackson Pollock. However, the relationship between Rothko’s estate and Marlborough became contentious and led to legal strife.
The scandal erupted amid allegations of financial misconduct and exploitation by Marlborough Fine Arts Gallery. It was revealed that the gallery had engaged in unethical practices, including price manipulation, unauthorised reproductions, and sales misrepresentation. These actions compromised the integrity of Rothko’s estate and raised serious questions about the gallery’s ethical standards and fiduciary responsibilities.
One of the most egregious aspects of the scandal was Marlborough’s alleged role in undervaluing Rothko’s artworks to minimise estate taxes. This practice, known as “deathbed valuations,” allowed the gallery to acquire valuable pieces at deflated prices and subsequently sell them at significant profits. Such actions not only deprived the estate of its rightful value but also betrayed the artist’s trust and legacy.
The Rothko estate scandal prompted a series of legal battles and investigations, with allegations of fraud and breach of fiduciary duty levied against Marlborough Fine Arts Gallery. The gallery’s reputation suffered a severe blow as the scandal unfolded, tarnishing its standing within the art world and eroding public trust.
After the scandal, Marlborough Fine Arts Gallery faced mounting scrutiny from regulators and the art community. The gallery’s leadership was forced to reckon with the fallout, implementing reforms and transparency measures to address the misconduct allegations. However, the damage had been done, and the Rothko estate scandal was a cautionary tale about the perils of unchecked power and greed in the art market.
Ultimately, the Rothko estate scandal overshadowed the Marlborough Fine Arts Gallery and underscored the need for greater oversight and accountability in handling artists’ legacies. It served as a wake-up call for the art world, prompting renewed efforts to safeguard the rights and interests of artists and their estates in an industry often fraught with complexities and challenges.
Frank Lloyd, born Frank Levai, was a pivotal figure in the art world. He is best known for founding and shaping the renowned Marlborough Gallery. He was keenly interested in art from an early age. In 1946, Lloyd and his partner Harry Fischer established the Marlborough Fine Art Gallery in London. The gallery quickly gained prominence, becoming a leading dealer in post-war art.
In 1963, Marlborough Gallery expanded its operations to New York City, and then Canada marked a significant growth milestone. The New York branch became instrumental in promoting the work of Abstract Expressionists such as Jackson Pollock, Clyfford Still, and Robert Motherwell. Lloyd’s strategic vision and commitment to fostering artistic innovation propelled Marlborough Gallery to international acclaim, solidifying its status as a powerhouse in the art world.
Throughout his career, Frank Lloyd remained dedicated to championing artists and advancing the boundaries of contemporary art. His legacy lives on through Marlborough Gallery’s enduring impact on the art world and the countless artists whose careers were nurtured under its auspices. Though highs and lows may have marked the gallery’s journey, its contributions to the cultural landscape remain indelible, a testament to Frank Lloyd’s enduring vision and passion for the arts.
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