Specialist Spotlight: Monica Brown

Join us as we spotlight Monica Brown, Managing Director, Fine Art | Head of Department, Prints and Multiples, ahead of our Prints and Multiples auction, to be held live in Chicago on September 26. Learn about her journey in the world of fine art and prints, notable achievements at Freeman’s | Hindman, personal collection favorites, and highlights of our upcoming sale.

Freeman’s | Hindman: What originally attracted you to the world of fine art and specifically prints? What about editions appealed to you? 

Monica Brown: Coming out of undergrad, I really wanted to work in a museum.  I started working at the Newberry Library in 2001 and began to pursue my MA in Art History (hoping someday to land at the Art Institute of Chicago). Through that process, I was introduced to auctions, and I was hooked. I took a break from my MA program in Chicago to attend Sotheby’s Institute of Art in London for an MA Art Business with the aim of working in an auction house. I wrote my dissertation on the auction market for English Private Press books and became very interested in art objects created in multiples. With my strong background in paper and printing from the Newberry Library, and my market knowledge gained from my MA programs, Prints and Multiples was a logical fit and one that I became even more passionate about after working at Coskun Fine Art in London, where I focused on American Pop Prints, specifically Andy Warhol. I find that the intersection of art history and economics is most apparent in the market for Prints and Multiples, and that is where my passion lies.

FH: What are some of your favorite prints and multiples that you own?

MB:  My husband and I tend to acquire works by artists whose printmaking we feel is undervalued either in the market or in cultural discourse. My favorite is currently a monoprint by Mark Bradford. He is not a prolific printmaker, and I feel that this work shows the subtlety of his eye in any medium. Other favorites in our collection include works by Ed Ruscha (a few of our first acquisitions were by Ruscha), Harland Miller (from one of our favorite publishers), Robert Indiana, and John Buck.

FH: What drew you to becoming a specialist and translating your passion into your career?

MB: I find that I am most satisfied in my day when I can use my knowledge to help others. I’ve come to understand that knowing paper, prints, and their market is a pretty niche thing! When a collector comes to me, not knowing how to handle the condition on their print or wanting to sell their parents’ collection and not knowing where to start, being able to guide them in the process is rewarding in itself. I was also drawn to the fast pace of the auction world – I was able to handle more artworks in my first 6 months in auctions than I did during my four years in a museum. I feel lucky to be able to pursue my passion for prints and collectors in such a fast-paced environment.

FH: Tell us about some trends in the world of fine art that you are most excited about.

MB: Excitingly, there has been a strong uptick in demand for Prints and Multiples.  Many are drawn in by the realization that you can collect blue-chip artists for a fraction of the price, but there is also a strong trend towards education in the Print market, which has driven demand for certain printing processes, publishers, printers, and even overlooked artists. When paired with the global increase in online sales, the market is becoming increasingly accessible. There are opportunities for entry at all price points, and buyer confidence in online transactions has made this very easy for collectors to access.

FH: Describe a typical workday for you at Freeman’s | Hindman.

MB: I absolutely cannot! There is no typical workday. The only common theme in everyday life is being in constant communication with my teammates across our 18 offices in Chicago, New York, Philadelphia, Denver, Palm Beach, St. Louis, Milwaukee, and Scottsdale. My day might involve visiting a client in their home to discuss honing their collection or working on a proposal for an institutional partner.  It may involve telephone bidding in an auction in Chicago or giving a lecture in Atlanta for a group of collectors. It may involve cataloging an Old Master print or blacklighting a Picasso ceramic. I could be having lunch with a curator or dinner with an art advisor.  No day is the same, and that is the beauty of this career.

FH: Can you describe a collection of prints that you are proud to have brought to auction?

MB:  I tend to be most proud of moments where I can help clients maximize value in their collection, no matter the size. It isn’t always about the flashiest Warhol or the largest estate, but in the moments where I can use my knowledge to push the market to its full potential. In 2019, a consignor from one of our regional offices came to us with a collection of Alexander Calder prints and Picasso Ceramics that he acquired directly from Mourlot and Madoura just after they were published. He had kept them carefully wrapped, never framed or displayed, and they were in perfect condition. He came to us with a plan to begin selling them slowly over time, to avoid flooding the market. I advised him that a collection with this sort of condition is so incredibly rare that selling them together will boost the provenance and overall value of the collection. Our pre-sale estimates on the collection were completely in line with the market at about $73,000. It ended up bringing $195,000, setting multiple records for Calder and Picasso at that time. He was absolutely thrilled. It was a perfect example of how condition will speak in the market for Prints and Multiples, how provenance and being fresh to the market will drive demand, and is an example that I still use in speaking to clients about what drives the final hammer in the market.

FH: Freeman’s | Hindman’s Prints and Multiples sale will take place this September 26 in Chicago. Can you tell us about some of your favorite lots in this sale?

Julian Opie (British, b. 1958) | Walking in London II (set of 5), 2014 | Estimate: $60,000 - 80,000

I am a huge fan of Julian Opie, and I love that we have such dynamic works in this sale. Lot 8, Walking in London is a particular favorite of mine as I feel that having the complete set really gives you a feel of the action, a feeling of walking on a busy London street – it could be Hampstead, Green Park, or Angel. The Keith Haring session is also incredible and one that I certainly could not leave out of a list of favorites!  Our marketing team’s reel for social media featuring the prints is one that I will never forget.