Ellie Rines, who runs 56 Henry, a small gallery on the Lower East Side, told me, “What I can do that the big galleries can’t is that I spot someone who has potential. He has said plainly that an artist must achieve certain sales metrics before he’ll consider getting involved. Under the mega-gallery model that Gagosian pioneered, the top dealers don’t even bother with nascent artists. Traditionally, the model for dealers has been to bet on raw talents, and support these artists until work by some of them sells well enough to cover the bets made on all the others. He’s been known to observe, with the satisfaction of Alexander the Great, “The sun never sets on my gallery.” All told, Gagosian has more exhibition space than most museums, and he shuttles among his outposts on his sixty-million-dollar Bombardier Global 7500 private jet. The business-which he owns without a partner or a shareholder or a spouse or children or anyone, really, to answer to-controls more than two hundred thousand square feet of prime real estate. He represents more than a hundred artists, living and dead, including many of the most celebrated and lucrative: Jenny Saville, Anselm Kiefer, Cy Twombly, Donald Judd. With nineteen galleries that bear his name, from New York to London to Athens to Hong Kong, generating more than a billion dollars in annual revenue, Gagosian may well be the biggest art dealer in the history of the world. He has always favored a certain macho bluntness, and calls himself a dealer without apology. He is dubious of art dealers who refer to themselves as “gallerists,” which he regards as a pretentious euphemism that obscures the mercantile essence of the occupation. Gagosian is not a household name for most Americans, but among the famous and the wealthy-and particularly among the very wealthy-he is a figure of colossal repute. On a coffee table before him was a ceramic Yoshitomo Nara ashtray the size of a Frisbee, decorated with a picture of a little girl smoking and the words “ too young to die.” Gagosian sat down on a leather sofa in the living room, his back to the ocean view, and faced a life-size Charles Ray sculpture of a male nude, in reflective steel, and a Damien Hirst grand piano (bright pink with blue butterflies) that he’d picked up at a benefit auction some years back, for four hundred and fifty thousand dollars. A pair of French bulldogs, Baby and Humphrey, waddled about, and Gagosian’s butler, Eddie, a slim man with a ponytail and an air of informal professionalism, handed him a sparkling water. 22 slug to the back of the head.It was the Friday afternoon of Memorial Day weekend on Further Lane, the best street in Amagansett, the best town in the Hamptons, and the art dealer Larry Gagosian was bumming around his eleven-thousand-square-foot modernist beach mansion, looking pretty relaxed for a man who, the next day, would host a party for a hundred and forty people. And the rich grain of the equine leather will just get better with age – unlike poor Herbie himself whose career ended with a. With four full-sized card pockets hand-crafted in Horween Leather’s world-renowned Shell Cordovan, your cash and plastic will finally get the digs they deserve.
Our belts are measured true to size, meaning the listed length is the true length in inches from the bucks bar to the middle adjustment hole. Take off your belt and measure from the buckle bar to the hole you wear.
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How To Measure: The best way to get your correct size is to measure your current belt. Resin Coated Back for Smoothness and Comfort.A single layer of 1.5" wide Horween leather, accented with simple, tasteful detailing like seven tear-drop adjustment holes, a solid brass buckle, double-stitched and coated with resin to stay strong and comfortable forever. Worn casually or hard at work, Ashland's Horween Leather Belt is the most comfortable, durable and long-lasting belt you'll ever own. Sizing: Order 2" larger than your jean size.
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