Legal Dispute Over Authenticity of Sam Gilliam Drape Painting
A legal battle is unfolding over the authenticity of a Sam Gilliam drape painting, with Drax Fine Art, LLC, claiming that it holds a genuine work by the late artist. The dispute involves David Kordansky Gallery, the Sam Gilliam Foundation, and the artist’s widow, Annie Gawlak. Drax Fine Art filed a lawsuit in the Supreme Court of the State of New York on July 16, seeking $6 million in damages.
In the summons, Drax Fine Art accused the gallery and foundation of “concerted efforts to disavow and defame an authentic ‘drape painting.'” The entity claims that the artwork in question is an untitled piece from 1972, which was originally acquired by an architectural firm from Carl Solway Gallery in Cincinnati. The painting was later installed in the firm’s lobby before being acquired by Drax Fine Art. According to Drax, the piece was purchased directly from Sam Gilliam in 1989.
David Kordansky Gallery and the Sam Gilliam Foundation have responded to the allegations, calling the claims “absolutely frivolous.” They stated that they would address any formal complaint if one is submitted. The gallery and foundation also highlighted that the painting in question is unsigned and undated, which does not align with Gilliam’s known practices. They pointed out issues with the composition and scale, suggesting that it may not be an authentic drape painting from the period.
Drax Fine Art claims that it attempted to sell the painting at auction but faced resistance from the gallery and foundation. The entity alleges that David Kordansky and the Sam Gilliam Foundation blocked the sale by asserting that museum-quality restoration efforts constituted irreparable damage. A forensic analysis reportedly confirmed that the piece could be restored, leading Drax to question the true intentions of the defendants.
According to a lawyer representing Drax Fine Art, the company is an entity formed to manage a private art collection. However, details about whose collection it manages remain unclear. The summons listed an address on Manhattan’s Upper East Side as the plaintiff’s residence.
Sam Gilliam, who passed away in 2022, was renowned for his drape paintings—unstretched canvases splashed with color and often suspended from walls. These works are celebrated for their unique aesthetic and have become highly valuable in the art market.
In a 2020 Bloomberg article, David Kordansky mentioned that he sold Gilliam’s Street (1970) to the San Francisco Museum of Modern Art for just under $2 million in 2019. This highlights the significant value of Gilliam’s works, both critically and commercially.
The lawsuit was filed exactly two months after Gilliam’s auction record was broken. On May 16, during a contemporary art day sale, Ray II (1970), a stretched canvas from the same period, sold for $2.43 million, surpassing its high estimate by more than $600,000.
This legal dispute underscores the complexities surrounding the authentication and valuation of artworks, particularly those by influential artists like Sam Gilliam. As the case progresses, it will likely draw attention from collectors, art historians, and legal experts alike.
