We are proud to have curated “L’exception suisse: l’art contemporain dans les collections privées romandes” for Société Générale Private Banking Switzerland. This exhibition highlights the treasures nested in the collections of our region and the artworks depict the rich diversity of artists who have marked the Swiss contemporary art scene.

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Kennedy Fine Art is proud to curate the Dragonfly Collection. This extraordinary project, exploring the relationship between man and nature today contains more than a 1000 works and objects ranging from tribal art to astronomy, from illustrated manuscripts to Hergé, from modern art to emerging artists.

The collection is housed, for the main part, at the Domaine des Etangs, an exceptional site situated in the Charante limousine with other 1000 hectares of forest, land and water. The Domaine aims to practice permaculture and promotes biodiversity in its approach to the land. The Dragonfly Collection is currently developing a program of site-specific works with internationally renowned artists, each invited to dialogue with this exceptionally idyllic setting.

Katie Kennedy and her team manage the collection in harmony with the collector. Beyond the everyday management of logistics and acquisitions for such a large collection, Kennedy Fine Art has created a rich archive and communication program which will be rolled out over the next few years. All art commissions are documented by curated texts, video interviews, photo archives and the collection proposes a mediation program specially designed for kids at the Domaine.

We invite you to discover an interview with the French-Vietnamese botantical artist, Duy Anh Nhan Duc, whose work and philosophy is in perfect harmony with the values of the collection. Duy Anh was commissioned to create art for Le Moulin, a beautifully converted water-mill that houses the Domaine des Etangs wellness therapy.

To discover the Domaine des Etangs: click here.

To find out more about Duy Anh Nhan Duc: click here.

PRESS: The Belmond Grand Hibernian: a collection curated by Kennedy Fine Art

Kennedy Fine Art has been widely covered in the international press for curating the Belmond Grand Hibernian art collection. The project, titled Inspirations of Ireland, brings together a unique selection of emerging and established Irish artists.



Lifestyle Asia


Irish Property Developer Magazine


Obras de Arte

To learn more about this collection:
Real Business– Full steam ahead: All aboard the Belmond Grand Hibernian

Newscentral – A sleeper train in Ireland  now doubles as an art gallery

Voyager Magazine – Belmond Reid’s Palace, 125 ans d’histoire !

HotelNews– Belmond exibe coleção de arte a bordo do Grand Hibernian

Travelpedia – Conheça a primeira coleção de arte com curadoria da Belmond

Oтпуск – Первая арт-коллекция на новом поезде Belmond Grand Hibernian в Ирландии



Kennedy Fine Art has curated a unique art collection for the Belmond Grand Hibernian by bringing together both emerging and prominent artists, selected for their personal and often surprising view of Ireland and its landscapes. The collection provides a unique perspective on Ireland’s rich heritage, contemporary culture and dramatic scenery, through a series of evocative artwork celebrating the island’s wealth of creative talent.

Calling on her decade of experience, connections in the art world and knowledge of the destination, Katie explains, “It was important that the artworks have a strong sense of place, tell an interesting story and offer the guest an elevated understanding of the destination. I was delighted to be able to source artists from the rich pool of Irish talent that exists and showcase Ireland’s contemporary culture in such a unique way.”

Together, the diverse collection of photographs, oil paintings and watercolours aim to enhance the emotional connection between guest, journey and destination. Care has been taken to ensure the artworks help to ‘bring the outside in’ and perfectly complements the train’s interior design inspired by the island’s flora and fauna.

Some works take a magnifying glass to the dramatic scenery that can be seen along route. The series of analogue photographs by Samuel Laurence Cunnane depict unusual plants in extraordinary light and detail that can only be found in his home County of Kerry where the train visits. Amelia Stein’s black and white photographic ‘The Palm House Series’, which took two years to complete, captures exotic vegetation in the Victorian structure of the Glass House in the National Botanical Gardens in Dublin; the city from which the train departs.

Celebrated contemporary Irish artist Mick O’Dea paints landscapes from around his home at Portacloy on the north coast of County Mayo by positioning his easel close to nature as the weather causes the colours to evolve. Guests can experience some of these dramatic ever-changing landscapes as the train passes through County Mayo.

Dorothy Cross transports guests to unexpected places and Ireland’s hidden natural wonders with her striking ‘Wormhole I-VI’ photographic series. Based on a geographical phenomenon that can only be accessed by foot on the island of Inis Mor, she has photographed a rectangular water basin measuring 10 by 25 metres that is created by natural erosion.

Belfast-born Laurence Riddell’s oil painting Moon Cactus (III), which shows a blurred horse galloping, is inspired by Ireland’s rich and complex relationship and the essential role horses play in Irish rural life.

Each artist’s work has been assigned a carriage and is either on the walls of the en-suite cabins or displayed publically in the ‘Sligo’ and ‘Wexford’ dining carriages. The full collection can be viewed in the specially designed ‘Inspirations of Ireland’ booklet.



INTERVIEW: High-Tech Art Services: What You Need to Know

A discussion with Yan Walther, Managing Director at SGS Art Services.

1. Could you explain to us the range of services that SGS Art Services offers?

SGS is the world’s leading inspection, verification, testing and certification company, employing in 2015 over 85’000 people in the world operating from 1’800 laboratories and offices in 170 countries. We are active in most business and industrial sectors.

The mission of our art department, SGS Art Services, is to deliver reliable and independent data on artworks and cultural objects to the art community thanks to an objective and scientific approach.

The main services provided by SGS Art Services are:

–       Condition reports: an accurate and detailed documentation, supported by photographs and sketches, of an art object or painting during a sale or a logistic operation (transport, art fair, exhibition, etc)

–       Technical (forensic) analyses: scientific analyses allow to characterize materials and techniques or date an art object. As they offer objective material information, technical analyses are more and more often used as a complement to expert opinion in the due diligence when acquiring an artwork of a certain value

–       Digitalization of art collections: we provide hi-tech digital photography of art collections with color monitoring and systematic technical description

–       Carrier services

–       Anti-money laundering training and auditing

2. What kind of technology do you use?

In order to provide systematic, thorough and standardized condition reports, we have developed a proprietary software, templates based on museum best practices and rigorous inspection procedures. We have selected experienced and accredited paintings conservators in key locations (New York, London, Paris, Geneva, Bruxelles and Luxembourg for the moment) and are training them to our processes and methodology in order to deliver standardized reports that ensure coherence and traceability of artworks and their state of conservation globally.

As for technical analyses, they are performed with state-of-the-art imaging and scientific methods such as infrared reflectography (allowing to see underdrawings under certain conditions), digital x-ray radiography, x-ray fluorescence (non invasive characterization of inorganic pigments), stereomicroscopy, UV fluorescence and many other analytical techniques. We have a state-of-the-art laboratory in the Geneva Freeport and are planning to open new mobile laboratories in other locations in the upcoming months.

3. What would be a typical process with a new artwork to analyse? Is there a standard procedure?

Each artwork is different, and the questions of our clients vary a lot (dating, presence of past restorations, coherence of the materials and techniques found in a given artwork with what is expected from a particular painter, school or period, fragility and degradation processes, etc). We therefore establish a tailor-made analytical plan for each project.

Still, we often start the examination of a painting by a careful surface observation under stereomicroscope and UV light in order to determine the areas of retouching. It is indeed crucial to understand which materials are original and which are later additions before performing pigment analyses. Looking at the back of a painting is also essential and often provides crucial information. Infrared reflectography and X-ray radiography may reveal under-drawings, underlying compositions or more generally give us insights about the technique of an artist.

However, even if the analytical plan is not standard, we perform and document each analysis and record each result according to the most stringent scientific standards. It is essential in the scientific methodology that each analysis is described in such terms and details as to make possible for any other competent researcher to cross-check its result. That is the reason why we use exclusively analytical methods that are acknowledged by the scientific community. It is also fundamental that no information is lost in the process. These are probably the reasons why SGS Art Services is often called in to litigations as an expert witness or for counter-expertise.

4. Do you have an example of a case study you could share with us?

We are very limited in the number of case studies we can show as we are committed to a very strict confidentiality regarding the works we analyse and our findings. However there are two interesting cases that we are allowed to present.

Case 1 – Infrared reflectography reveals a very spontaneous and free underdrawing

Three versions of this painting attributed to Adam van Breen are well known. Two are in major museums and one is in a private collection. This beautiful underdrawing is certainly a sign that we are in presence of the first of the three versions, which was very good news to the owner!

Image en lumière visible Réflectogramme infrarouge

Case 2 – UV fluorescence

In that case UV florescence shows very clearly the extent of past retouching (darker zones) on this work after van Dyck. It is perfectly normal for an old painting to be retouched. But it is also perfectly normal, when you acquire an artwork, to be aware of the extent of the retouching.

Image en lumière visible-2 Image UV

5. How would this expertise be useful to KFA’s clients?

Our expertise is complementary to KFA’s services. As an independent inspection company with no involvement in the market we can provide KFA’s clients with objective information about the state of conservation of an artwork they are thinking to acquire, which in its turn, may have an important impact on its value.

Also, the art market is unfortunately very impacted by fakes and forgeries or works with uncertain attribution. Scientific analyses are a powerful tool to complement the due diligence already put in place by a professional art advisor such as KFA in order to detect fraudulent works or to discover previously unknown masterpieces!

6. How can your art analysis help inform an artwork’s valuation?

Authenticity is of course the key factor in the valuation of a painting. In most cases, a fake work will be worth only the canvas it has been painted on. More subtly, as in the case study above, it is crucial to determine if an artwork has been painted by the Master, his workshop, a follower or if it is a more recent copy. It will of course have a strong impact on the value. Everybody knows in the Art Market that a work from Rembrandt or his workshop have values that may vary from one to ten… or more! Such important attributions – from a financial as well as from an art historical perspective – have to be supported by scientific evidence.

Collectors often forget that the state of conservation of an artwork, its fragility and the amount of retouching, have a direct correlation with its value. Strangely enough, what is perfectly evident to anybody when buying a second-hand 3 year old car becomes a taboo when buying an artwork that is 10, 50 or 300 years old! It is therefore essential for the buyer to request an independent condition report on any important artwork he is thinking of buying.

7. Finally, how did you come to work for SGS Art Services?

In 2009, I had the chance to be involved in the creation of FAEI – Fine Arts Expert Institute, one of the first private laboratories in the world specializing in the technical examination of artworks. In 2014, we started discussing with SGS for the creation of a global project on the basis of FAEI’s expertise and we launched SGS Art Services in 2015, which I have managed since the inception.

To find out more about SGS Art Services:

WEBINAR: A Conversation with Kennedy Fine Art Founder: Tackle Art Fairs Effectively

Please listen to the conversation between Katie Kennedy, Founder and Director of Kennedy Fine Art, and Boris Pevzner, Founder and CEO of Collectrium. In this webinar, Boris and Katie cover how Collectrium tools and features, like advisory referrals, are secret weapons amidst a busy fair. They also discuss on the benefits of having an art advisor during art fairs.

Click here to listen to the Webinar.