Alex Katz, Ada x 2, 2020. Archival pigment ink on Innova Etching Cotton Rag, 32 x 48 in., edition of 150. The model is Ada Katz, the artist’s wife of over 60 years and muse.



Isabella Garrucho 
Has a Gift for Building 
Art Collections




by Benjamin Genocchio

All images courtesy of Iconica Fine Art 




Isabella Garrucho


Isabella Garrucho has spent 40 years building art collections for some of America’s largest corporations — General Electric, Pepsi, and General Reinsurance. These days she works with mostly private clients, balancing their budget, art preferences, and long-term goals to ensure they acquire the artworks that perfectly align with their needs and vision. Incollect spoke to her about helping clients build valuable and meaningful art collections.




When did you start advising corporate art collections?   

It was in the early 1980s. I recognized there was a unique opportunity for advisors at that point in time. Many large corporations had headquarters in Connecticut’s towns and cities, several of which already had substantial and serious art collections. However, there was a noticeable gap in the system — a lack of art consultants to help these corporations maintain, enhance, and build their art collections. I seized this opportunity by reaching out to the companies and, in doing so, carved out a niche for myself. 



Robert Motherwell, Barcelona Elegy to the Spanish Republic, 1991. Lithograph, 21 x 27.75 in., edition 43/50. 



What does an art consultant do for corporate art collections?

My work primarily focused on commissioning artworks from artists and sourcing pieces tailored to specific corporate spaces—tasks that were often challenging for in-house art curators, assuming the corporations had curators. Back then, before the internet, you couldn't search for an artist or artwork online and make a purchase. The process involved locating the artists, visiting galleries (if the artists had gallery representation), and seeing the artworks in person. It was a lengthy, meticulous endeavor. Over 40 years, I am proud to have assisted nearly 50 corporate clients in building collections.



Tell us about one of your most important art commissions.

One of the most remarkable commissions I undertook was securing a monumental painting by artist Robert Motherwell, a prominent Abstract Expressionist painter. The process began in 1989 with a phone call from General Electric's in-house curator. The task was to acquire a significant artwork for the new lobby of G.E.’s corporate headquarters in Fairfield, Ct. They said they wanted a painting by Motherwell. Large works by Motherwell were scarce and rarely came onto the market and the size of the painting needed was very large — 6 x 18 feet. I set out to find Motherwell, realizing the only option was to commission a piece. This was no small feat in the pre-internet era. 



Left: John Grande, Kate, 2015. Oil on canvas, 68 x 60 in. Right: John Grande, Ulysses 2022. Oil on repurposed board, 80 x 68.5 in.



So what did you do?

I discovered quite by accident that a friend of mine lived in the same building in Manhattan as Motherwell, even on the same floor, right across from the Metropolitan Museum of Art and so I slipped my business card and a note under his door. He was very hesitant when I finally spoke to him on the phone. He explained that he no longer accepted commissions due to his advanced age and then joked, “You’d have to pay me a million dollars to get me to agree to this.” So I returned to G.E. and presented them with his terms. They agreed right away! So I went back to Motherwell and I reminded him of his demand. True to his word he accepted the commission and the journey began. The result was “Arabesque,” 1989, a vibrant, rhythmic painting inspired by Henri Matisse’s “La Danse,” a 1932 mural made for the Barnes Foundation. This work turned out to be Motherwell’s last major painting and commission, marking the end of an extraordinary era in American Abstract Expressionism. 



Velka Edge-Olok, Gaia's Self Portrait, from the artist's series The Goddess Of Creation In The City Of Dreams. Oil on wood board panel, 24.5 x 45.5 in. 


Left: Alex Katz, Straw Hat Vivien, 2021. Silkscreen, 80 x 44 in., framed 85 x 60 in., edition 55/60, signed and numbered. Filmmaker Vivien Bittencourt is the artist’s daughter-in-law and frequent model. Right: Kenny Scharf, Big Flores x 3 Blue, 2021. Archival pigment ink print with silkscreened high gloss varnish and diamond dust, 53 x 42.5 in., edition of 19.



What inspired you to open your own art gallery? 

My career as an art consultant began with prominent corporate clients such as General Electric, General Reinsurance, and Pepsi. Corporations significantly reduced their art spending during the financial market turmoil of the 1980s and 1990s. To adapt, I re-branded my business as Art Services International and turned my attention to helping private clients while continuing to assist corporate clients as they needed. I began acquiring art for others while also building my own collection. Eventually, my collection grew so much that opening a gallery seemed like the natural next step. This led to the creation of Isabella Garrucho Fine Art in Greenwich, Ct., a community that is rich in wealth, with a thriving business environment and remarkable collectors. 



Connecticut has always been your home in the United States. How did you first get into art consulting and art dealing?

I returned to the United States in 1978 after four years of living in Brazil. I settled in Westport, where I initially focused on raising three young children. I had always had a passion for art, and wanting something else to do for my mental stimulation I was inspired to take my interest to the next level. I began to deal in art—initially as a private dealer with friends and then corporations. This led to the establishment of my first official art company, Corporate Art Unlimited. That is how I got started. 



Left: Malù Cruz Piani, Six Golden Heads. Oil on canvas, 59 x 32 in. Born in São Paulo, Brazil, Malù Cruz Piani draws upon the Latino-Brazilian-African culture of her origins in her symbolic and expressive imagery. Right: Tim Holstrom, Shades of Icarus. Mixed media, oil on canvas, charcoal dust, and photograph, 48 x 60 in.



Tell us about your background.

I was born in Spain and grew up in a cultured family. I studied art history at the Catholic University in Rio de Janeiro during my years living in Brazil. While I value the foundation that a college art education provides, I believe true knowledge and expertise come from direct engagement with the art world and with artworks. This engagement involves visiting museum exhibitions and fairs, exploring artist studios and gallery shows, attending major auction house sales, and continuously conducting research. I think hands-on experiences are the most direct and meaningful ways to become a true art expert.



What are your thoughts on art as an investment?

Art is a compelling investment. Art not only appreciates over time but provides daily visual enjoyment and greatly elevates your surroundings. The art market has shown consistent growth in many categories over the past 40 years, notably for Old Masters, Modern Masters, and Impressionist works. Pop Art, led by icons such as Andy Warhol, has been particularly lucrative. For instance, Pop artworks have increased in value by 300 – 400% over the past 20 – 30 years. The New York School of Abstract Expressionist Art has also shown that art can outperform traditional stock market returns. These examples illustrate art’s potential as a financial investment. But art’s value goes beyond numbers; it enriches environments and serves as a tangible expression of culture and creativity, making it a unique addition to any kind of portfolio.



Left: Velka Edge-Olok, The Lucid Realm of the Cosmic Navigatrix, from The Navigatrix Series. Oil on wood board panel, 48 x 48 in. Right: Alice Neel, Jar from Samarkand, 1982. Lithograph, 38 x 28 in. Numbered and limited to 175 copies, hand-signed.


 

Do you work with interior designers and architects?

Absolutely! Interior designers and architects play a vital role in the world of consultants, galleries, and artists. Collaborating with them is seamless and rewarding, as they are often highly knowledgeable and have an established client base. Working together ensures that we find and deliver exactly the client's needs. I appreciate this approach because it combines professionalism with a sense of genuine collaboration.



What makes your services different and even unique?

I specialize in understanding each collector’s unique taste and investment objectives. I balance a client’s budget, preferences, and long-term goals to ensure they acquire the artworks that perfectly align with their vision. For those interested in art as a financial investment, I offer insights into emerging artists whose work holds potential for future appreciation. This reflects my commitment to helping clients build valuable collections.



Costas Picadas, Biophilia 2, 2022. Print on archival paper or Dibond, various sizes. Edition of 8 of each size. Costas Picadas grew up in a family of doctors in Greece, and he mixes an interest in medical science with a personal, experiential study of nature. Overlaying natural imagery taken from forests with cell imagery from labs, he draws both a comparison and a connection between the two life forms. 



What is the key to success as an art dealer and consultant?

The truth is, there is no single secret to success. It’s about conducting business with transparency, integrity, and honesty. Protecting clients from art fraud is crucial, as is maintaining fair market pricing and offering support to a collector and their collection over many years, often without payment for these additional services. By prioritizing the client's choices and needs I have found that building trust leads to long-lasting relationships and friendships.



Which artists are you especially excited about right now?

This is a million-dollar question! To get excited about Modern Masters is a fairly normal reaction. Buying upcoming artists is however the way to discover your next great investment. Then there are those markets that just blew up: I was excited about what was happening with painter Alex Katz. His market had been going up with each auction so I jumped into that market and bought seven pieces for myself. I am excited about him and his market. The way I look at things is that I am a dealer, I buy and sell, so I look for value for myself and my clients.



Which artists do most like to present to clients? 

I am constantly and consistently impressed by the work of John Grande, Velka Edge-Olok, MalùCruz Piani, and certainly, Alex Katz. All these artists have integrity about what they make and how they make it and I respect their commitment to being professional, working artists.  




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