Innovation brings the old and new together; one gallery owner takes an historical approach to art to strengthen her collection. Can this strategy work for you? - strategy - Catherine Little Bert documents Rhode Island art history in her gallery - Brief Article

Visitors to the Bert Gallery in Providence, R.I., discover much more than artwork on its walls. If they dig a little deeper, they'll find hundreds of works of art and nearly two centuries of artistic heritage at their disposal.

Since 1985, gallery owner Catherine Little Bert has been exploring and documenting the rich history of Rhode Island's artistic community. Her gallery represents the estates of several 18th- and 19th-century painters and printmakers from the area while also showcasing the work of contemporary Rhode Island artists.

She houses it in her 1,000-square-foot gallery, which is divided into a front space for contemporary work and a rear space for the Studio Collection, which highlights examples from the artists whose estates she manages.

Bert has carved a special niche--a mix of gallery and museum and library. When clients buy from her, they get the peace of mind that the artist's place in history will be cemented.

"My mission has been to preserve and document regional artists," Bert said. "I was intrigued with the idea that there are layers of artists who have become involved in the community."

According to Bert, the Rhode Island School of Design became a creative magnet in the late 19th century. Many of the painters and printmakers the gallery represents came to Providence to teach and study at the industrial art school.

"I am always interested when I look at a work of art in knowing who created it," Bert said.

The gallery manages seven estates comprised of 500 to 700 pieces each and smaller collections of 50 or fewer pieces. Bert works with descendants of local artists to preserve their legacies and promote their artwork.

In addition to specializing in the work of regional artists, Bert has studied the records and accounts of area artists to learn more about their motivation and place in history, regionally and nationally. She has collected memorabilia and created scrapbooks that chronicle the lives of each of the artists the gallery represents.

"I view my management of estates as a partnership with the heirs," Bert said. "When an artist dies, the key is to make sure the collection stays together."

Bert advises relatives of artists to preserve a collection rather than devalue the work by flooding the market at once. Instead, she keeps the works of art together and researches the history of the artist through records from old galleries and diaries and letters from the estate.

"It's important to have a context for what you sell and why you sell it," Bert said. "Clients are very happy to acquire art that has a history. The more information I can provide about where the artist stands nationally or historically, the more they are informed to make their own decision."

Buyers can talk to contemporary artists to help understand the motivation for a specific piece. Similarly, understanding the historical perspective of an artist allows buyers to form a bond with a particular work of art, Bert said.

Before dividing her gallery space, Bert found it challenging to share the historical knowledge, along with exhibiting and promoting the expansive collection in a limited space. "If I did an exhibit, I could only focus on two or three artists," Bert said.

With an investment of only $1,500, she designed the Studio Collection, a permanent exhibit, where she can display samples of work from each estate throughout the year while dedicating the rest of the gallery to rotating exhibitions.

"It gives me flexibility," Bert said."It's a great opportunity to display the articles and scrapbooks I have and a sampling of all the artists I represent. It's an umbrella that gives me the versatility to include a variety of artwork."

Guests to the Bert Gallery first encounter temporary exhibits of contemporary New England artists in the bright and spacious Main Gallery. Through an archway, they discover a drawing room from the turn of the century, painted charcoal gray.

Nestled in the corner, customers can sit comfortably at a table and peruse the entire collection from the estate in Catalogs Bert created. Sculptures, scrapbooks and a set of antique bookends from the estate of artist James Herbert are displayed on shelves.

On some days, the walls may be covered in majestic seascapes and landscapes from Henry Newell Cady or Elijah Baxter. On other occasions, the room might be filled with prints by wood engravers, such as Grace Albee or Eliza Gardiner.

But if Bert acquires a few new pieces, she doesn't have to schedule an exhibition to highlight the new work; instead, she simply redesigns the Studio. She also can use exhibits of contemporary artists as a vehicle to promote the permanent collection.

"I have to commit my front space a year in advance, and those costs are fixed," Bert said. "The Studio Collection is a much more efficient way to target promotion to my sales."

The Studio Collection allows Bert to be more responsive to the times, such as the aftermath of Sept. 11. In an economic downturn, many galleries cancel shows or lose money on exhibitions. With the permanent room and a newly designed Web site, Bert can offer clients something new throughout the ups and downs of the market.

The permanent collection will be more cost-effective in the long run, Bert said. She can devote her time and advertising budget to promoting shows of contemporary artists in the Main Gallery, while showcasing the historical art for which she's known.

While Bert's passion is preserving and documenting the artistic heritage of the region, she identifies herself as a gallery owner.

"I have faith that the gallery has a very different role," Bert said. "Unlike a museum that is restricted, as a gallery you get to take a lot more risks and you get to discover art. Galleries take part in the art world by preserving what's going on today."

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