Danielle Orchard
DiscoveryEgon research · Artist market profile
The market, in context.
Explore Danielle Orchard’s auction history alongside the exhibitions, collections and gallery relationships behind the market.
Institutional research
Collections & exhibitions
Read holdings, exhibition history and their qualifications in context.
Read the institutional research →
Egon investment scores
Market position
Research updated
Auction record
Auction highlights
Scroll horizontally if needed →
| Work | Result | Venue and date |
|---|---|---|
| Untitled | $15,480 · premium-inclusive | Feb 2026 |
| Untitled | $36,120 · premium-inclusive | Sep 2025 |
| Untitled | $3,556 · premium-inclusive | Jun 2025 |
2 further auction entries on record for Danielle Orchard — inside Egon.
Pricing
By work type
- Lithographs
- Tamarind Institute editions following the 2024 Frederick Hammersley residency.
Print editions
Archival pigment prints in editions of 50 published by Avant Arte (Amsterdam), Art for Change (New York) and Exhibition A (New York), trading at the low end (low four figures) at Forum Auctions and Tiroche. Edition results must NOT be blended with unique-work pricing.
- Works on paper
- Roughly $8,000–$37,000 at auction across 2024-2026 on the records checked; reported works-on-paper high $36,999.
Major oil on canvas linen
Auction evidence is sparse and dated; the 2021 record of $287,500 is the only six-figure datapoint retrieved. Primary-market canvas pricing is gallery-controlled and undisclosed — contact Perrotin for current levels.
Historical vs current
- 2023 2024
- Secondary activity shifts toward works on paper, small canvases and print editions (Sotheby's, Christie's, Forum, Rago, Tiroche).
2021 2022 peak
Peak of the young-figurative-painting cycle: auction record $287,500 for 'Two Bathers' (Christie's New York, 2021), coinciding with her move to Perrotin. Works-on-paper high reported at $36,999.
2025 2026 current
EGON sample of five settled lots ranges $3,556–$36,120 premium-inclusive, averaging $19,391 — but every lot in that sample appears to be a small work, drawing or untitled sheet rather than a major canvas. This range is therefore NOT evidence that canvas prices have fallen from the 2021 record; it evidences that no major canvas came to market in this window in the records checked.
2018 2020 early market
Early-career primary pricing at Jack Hanley and V1 was modest; small works on paper from this period (e.g. 'Bored Portrait', 2018) circulated via Paddle8 and regional houses. Specific figures not published in the sources checked.
Primary market access
Gallery-controlled and price-undisclosed. Perrotin's New York director told Artnet News in 2022 that there was a waitlist for the work and that it was growing. Contact Perrotin (New York / Paris / Los Angeles) for current pricing; Levy Gorvy Dayan also placed new paintings made for its 2025 exhibition.
Liquidity
Market depth
Thin at the top end. The 2021 six-figure record has not been retested in the records retrieved, and recent turnover is concentrated in paper and editions. Liquidity exists but is shallow and skewed to small formats.
- Sell through
- High on the lots that do appear: 100% across 5 settled EGON lots; 90% per askART.
Annual volume
Roughly 5–10 lots per year across all houses and media (68 lifetime lots per MutualArt; 9 catalogued lots with 4 upcoming in the 2025-onward EGON record) — below the 10-lot threshold that would signal a deep secondary market.
Comparables
Peer set is the 2017-2022 cohort of women figurative painters working modernist idioms — e.g. GaHee Park and Genesis Belanger, both Perrotin-affiliated — whose markets similarly peaked in 2021-22 and have since normalised. The sources checked did not yield a quantitative peer-by-peer price comparison; this framing is analyst judgment, not a measured index.
Collector base
Pattern
Demand is primary-market and waitlist-mediated, with international distribution through Perrotin (New York, Paris, Los Angeles, plus its Asian network) and earlier exposure in Copenhagen and Chicago.
Observed
The Whitney holding entered as a gift from Jen Rubio and Stewart Butterfield (tech founders and prominent contemporary collectors), evidencing high-profile private ownership. The Phillips Collection purchase was funded by Marisol Binn. Artnet reported that Perrotin came to the work on the recommendation of collectors and artists already working with the gallery.
Auction history
Record
- Work
- Two Bathers
- Year
- 2021
- House
- Christie's New York
- Price USD
- $287,500
Source note
Reported by MutualArt and corroborated by Artsy, which lists a high auction record of US$287.5k at Christie's, 2021. Record is for a painting; MutualArt separately cites a works-on-paper high of $36,999.
- Lifetime volume
- MutualArt lists 68 artworks at auction (all dates). askART shows 49 records to subscribers and reports 'Lots Sold: 90%'.
Bought in and unsold
askART reports 90% lots sold across its record set (roughly one lot in ten bought in), and the EGON database shows 100% settlement across its five settled 2025-26 lots. No specific bought-in lot was identified in the sources checked; that is a limit of the sources consulted, not evidence that none occurred.
Egon database 2025 onward
Note
From the EGON internal auction database (Christie's, Sotheby's, Phillips, Bonhams; 2025 onward) with work/house/date attached. Not merged with web-sourced figures and not cited as an external source.
- Upcoming lots
- 4
- Cached lot count
- 9
- Cached sold count
- 5
- Canonical sell through
- 100% across 5 settled lots (every catalogued lot at least 90 days old has settled)
- Recent sample range USD
- 3,556 - 36,120 (premium-inclusive)
- Recent sample average USD
- 19391
Investment outlook
Risks
Cycle exposure typical of 2021-vintage young figurative painters; a single top-of-market datapoint now five years old and untested; institutional depth limited to two works with no museum solo exhibition; a record price is not a price floor.
Trajectory
Primary market is strong and institutionally supported (two US museum holdings in 2024-25, seven Perrotin exhibitions, a Levy Gorvy Dayan pairing with Maillol). The secondary market is thin and currently prints well below the 2021 record because major canvases are not being consigned — not, on the evidence retrieved, because canvases have been marked down.
Analyst scenarios
SCENARIO (assumption-based, not measured behaviour): if a significant 2019-2023 canvas on the scale of 'The Pool in Palm Springs' were consigned to a New York day or evening sale, it would be the first genuine test of the six-figure level since 2021 — a result in the $100k-$250k band would corroborate current primary pricing, while a result under $100k would indicate the 2021 record was cycle-specific. Conditional upside from a first museum solo presentation or further institutional acquisitions belongs to a future scenario, not to today's opinion.
Institutional presence
Research updated
Upcoming
Four lots recorded as upcoming in the EGON auction database at the time of research. No forthcoming museum exhibition identified in the sources checked; 'Borrowed Chord' (Perrotin Paris) closed 18 April 2026.
Exhibitions
- Biennials
- None documented in the sources checked.
Solo gallery
Borrowed Chord
Note
Second Paris solo and seventh exhibition with Perrotin; new paintings. A COMMERCIAL GALLERY SOLO OF NEW WORK — not a retrospective (see critical_data classification correction).
- Dates
- 14 March - 18 April 2026
- Venue
- Perrotin, Paris (Marais)
Firstborn
- Note
- First solo with the gallery in Los Angeles; traces the transformative experience of early motherhood.
- Dates
- September 2025
- Venue
- Perrotin, Los Angeles
You Are a Serpent Who'll Return to the Ocean
- Note
- Listed among recent exhibitions by the Tamarind Institute; exact venue city and dates not established.
- Dates
- c. 2023-2024
- Venue
- Perrotin
Page Turner
- Note
- First solo exhibition with Perrotin Paris; new paintings and charcoal drawings.
- Dates
- 2022
- Venue
- Perrotin, Paris
A Little Louder, Love
- Note
- Reviewed in The New York Times.
- Dates
- 2018
- Venue
- Jack Hanley Gallery, New York
A Face for Every Season
- Dates
- date not established in the sources checked
- Venue
- Half Gallery, New York
At the Seams
- Venue
- venue and date not established in the sources checked
- Museum exhibitions
- No museum solo, survey or retrospective exhibition documented in the sources checked.
Two person and group
Danielle Orchard and Aristide Maillol
Note
Two-person exhibition of new Orchard paintings made for the occasion in dialogue with Maillol sculptures; the Musee Maillol and Galerie Dina Vierny describe it as the first exhibition devoted to Maillol in New York since 'Maillol and America' (Marlborough Gallery, 2004). Commercially significant art-historical framing by a blue-chip gallery — but a GALLERY exhibition, not institutional validation.
- Dates
- 14 March - 26 April 2025
- Venue
- Levy Gorvy Dayan, 19 East 64th Street, New York
- Museum tier
- Tier 1 — Whitney Museum of American Art (one work, first acquired 2024)
Publications
- Summary
- Independent art-historical scholarship has not yet accumulated; critical attention remains journalistic and gallery-adjacent.
- Institutional texts
- The Phillips Collection published a curatorial 'Phillips Collects' post on 'Sight Rhyme I' (10 April 2025) including a director's statement.
Monographs and catalogues
No monograph or catalogue raisonne identified. Exhibition texts in circulation are gallery-published (Perrotin leaflets for 'Page Turner' and 'Borrowed Chord'; Levy Gorvy Dayan for the Maillol pairing) and are therefore commercial rather than independent scholarship.
- Tier framework
- named-institutions-v1
Museum collections
Summary
Two documented US museum holdings, both entering 2024-25: one first-rank (Whitney, one work, donor gift) and one strong national modern-art collection (Phillips Collection, museum purchase). No museum solo exhibition documented. The checked museum APIs returned nothing, which is a coverage limit of those APIs rather than evidence of absence; holdings at institutions not searched cannot be ruled out.
Tier 1 museums
Sad Tulips, 2023, oil on linen, overall 54 1/8 x 50 1/4 in. (137.5 x 127.6 cm)
- Institution
- Whitney Museum of American Art, New York
- Status note
- The Whitney artist page states '1 work in the Whitney's collection' and 'First acquired 2024'; the work is listed 'Not on view'.
- First acquired
- 2024
- Accession number
- 2024.366
- Institution tier
- 1
Acquisition route
Gift route — no fund or acquisitions committee named in the published credit line, so curatorial initiation is UNRESOLVED, neither established nor disproved
- Credit line verbatim
- gift of Jen Rubio and Stewart Butterfield
Tier 2 museums
Sight Rhyme I, 2024, oil on canvas, 59 1/2 x 29 1/4 in.
- Institution
- The Phillips Collection, Washington, D.C.
- Institution tier
- 2
Acquisition route
MUSEUM PURCHASE — curatorial initiation supported; the museum's Vradenburg Director & CEO Jonathan P. Binstock is quoted at length on the reasons for acquiring the work, independently evidencing curatorial choice
- Credit line verbatim
- Museum Purchase with funds from Marisol Binn
- Acquisition announced
- 2025-04-10 (museum blog post)
Awards and recognition
Scroll horizontally if needed →
| Year | Award |
|---|---|
| 2013 | Dedalus Foundation MFA Fellowship |
| 2015 | Alma B.C. Schapiro Artist in Residence Award, The Corporation of Yaddo |
| c. 2024 | Frederick Hammersley Artist in Residence, Tamarind Institute, University of New Mexico |
Career & Biography
Research updated
Identity
- Gender
- Female
Studio
Described in an Indiana University alumni feature as a converted single-floor church in East New York, Brooklyn — high ceilings, paint-splattered concrete floors, doorframes widened to move large canvases.
- Full name
- Danielle Orchard
- Birth date
- December 2, 1985
Birth place
Michigan City, Indiana, USA (Wikipedia states she grew up in Fort Wayne, Indiana; an artnet gallery bio states she was born in Fort Wayne — birth-town sources conflict)
- Nationality
- American
Current location
Brooklyn, New York (Wikipedia and Whitney Museum artist record). One editions-publisher bio (Art for Change) lists 'Pelham, MA' — a possible recent relocation or an out-of-date record; unresolved.
Education
Scroll horizontally if needed →
| Year | Degree | Institution |
|---|---|---|
| 2009 | BFA, Painting | Indiana University (Bloomington) |
| c. 2007-2009 | Undergraduate study abroad; European field trips cited as formative | Study period in Florence, Italy |
| 2013 | MFA, Painting | CUNY Hunter College, New York |
Career timeline
- Year
- 2009
- Event
- BFA, Indiana University
- Year
- 2011
- Event
- Early works dated to this period later appear at auction (e.g. 'Barn Love', oil on linen, 2011, offered at Sotheby's)
- Year
- 2013
- Event
- MFA, Hunter College; Dedalus Foundation MFA Fellowship
- Year
- 2015
- Event
- Alma B.C. Schapiro Artist in Residence, The Corporation of Yaddo
- Year
- 2010s
- Event
- Co-runs Underdonk, an artist-led exhibition space in Brooklyn
View 6 more records
- Year
- 2018
Event
Solo 'A Little Louder, Love' at Jack Hanley Gallery, New York — reviewed in The New York Times; representation by Jack Hanley (NY) and V1 Gallery (Copenhagen)
- Year
- 2021
- Event
- Joins Perrotin. Auction record set the same year: 'Two Bathers', $287,500, Christie's New York
- Year
- 2022
- Event
- 'Page Turner', first Perrotin Paris solo; Artnet News market profile reports a growing waitlist
- Year
- 2024
Event
Frederick Hammersley Artist in Residence, Tamarind Institute, University of New Mexico (lithography). First museum acquisition recorded by the Whitney Museum.
- Year
- 2025
Event
Two-person exhibition with Aristide Maillol at Levy Gorvy Dayan, New York (14 March–26 April), new paintings made for the occasion reflecting new motherhood; The Phillips Collection announces purchase of 'Sight Rhyme I' (2024); 'Firstborn', first Perrotin Los Angeles solo (September)
- Year
- 2026
- Event
- 'Borrowed Chord', Perrotin Paris Marais, 14 March–18 April — second Paris solo and seventh exhibition with the gallery
Working methods
Oil on canvas/linen plus a substantial works-on-paper practice (charcoal, coloured pencil, ink, watercolour, chalk pastel). She has described working with very little hesitation in the studio, jumping in directly — consistent with the alla prima decisiveness in the work, though the mature canvases show flat, opaque, hard-edged surfaces rather than loose wet-on-wet. Extended into lithography via the Tamarind Institute residency (2024).
- Artist run activity
- Helps run Underdonk, an artist-led space in Brooklyn.
Influences and context
Art historical
- Pablo Picasso (neoclassical bathers, Cubist planar segmentation)
- Henri Matisse (odalisque, line economy, cut-out flatness)
- Amedeo Modigliani
- Pierre Bonnard (the domestic everyday, cited in a 2018 studio-visit account)
- Aristide Maillol (explicitly staged as a dialogue in the 2025 Levy Gorvy Dayan exhibition)
Contemporaries
- GaHee Park
- Genesis Belanger
- the wider 2010s-2020s cohort of women figurative painters reworking modernist idioms
Artistic context
Part of the post-2017 revival of figurative painting by women artists reclaiming the modernist nude from the male gaze; her figures are simultaneously art-historical quotations and contemporary women with cigarettes, phones, beer cans and paperbacks.
Personal events shaping work
Early experience as a figure model (foregrounded in Artnet's 2022 profile) informs her treatment of the posed female body. Motherhood: the 2025 Levy Gorvy Dayan paintings are described by the gallery as depicting insights gained as a new mother, with an infant in each composition; Perrotin LA's 'Firstborn' (2025) continues this.
Artistic Profile
Research updated
Style
Contemporary figuration built from Cubist-derived planar decomposition: bodies assembled from faceted, hard-edged colour zones; contour drawing overriding modelling; shallow, compressed interiors; flat matte saturated paint with little atmospheric depth.
Evolution
- Phase
- c. 2011-2015 (student / post-MFA)
- Character
- Representational oil painting on linen at larger scale (e.g. 'Barn Love', 2011); the signature vocabulary not yet consolidated.
- Phase
- 2016-2020 (Jack Hanley / V1 period)
Character
Signature style crystallises: angular bathers and loungers, cigarettes and drinks, saturated flat colour; NYT-reviewed solo in 2018; large canvases such as 'The Pool in Palm Springs' (2019).
- Phase
- 2021-2024 (Perrotin period)
Character
International expansion, more ambitious canvases, charcoal drawing series, still lifes in which the body is absent; entry into museum collections.
- Phase
- 2025-2026
Character
Maternal subject matter ('Firstborn', the Maillol pairing), explicit art-historical dialogue, and the continued Paris programme with 'Borrowed Chord'.
Influences
- Pablo Picasso
- Henri Matisse
- Amedeo Modigliani
- Pierre Bonnard
- Aristide Maillol
- the mid-century American figure tradition (Neel, Marcus, Sleigh) as contextual backdrop
Visual language
Angular, elongated female figures in states of undress or repose; overlapping limbs and averted gazes; warm ochres, corals and creams set against teal, violet and rose planes; pronounced figure-ground flatness; still-life props (wine glass, cigarette, paperback, telephone off the hook, birthday cake, animal bone, bottle, tulips) that pull art-historical bodies into contemporary time.
Themes and subjects
- The female nude reclaimed from the male gaze
- Domestic interiority, leisure and lethargy
- Women's relationships with one another
- Intimacy and the gaze
- Vanitas and mortality (bones, bottles, wilting flowers — 'November 9 (Requiem)', 'Sad Tulips')
- Motherhood and the maternal body (from 2025)
- Presence registered through absence (figureless still lifes)
Movements and periods
- Contemporary figurative painting (2010-present)
- Post-Cubist / neo-modernist figuration
- Nabi-adjacent intimism (Bonnard lineage)
- Feminist re-reading of the modernist nude
Techniques and mediums
- Oil on canvas and linen
- Charcoal on paper
- Coloured pencil and graphite on cream paper with light directional hatching
- Ink, watercolour and chalk pastel on paper
- Lithography (Tamarind Institute, 2024)
- Archival pigment print editions of 50 (Avant Arte, Art for Change, Exhibition A)
Fingerprint verification
Confirmed
- Cubist-derived planar segmentation and flatness — corroborated by Ocula's description of forms rendered from multiple perspectives in solid lines and flattened planes of saturated colour
- Picasso / Matisse / Modigliani lineage — corroborated by Ocula, Artsy and The Phillips Collection
- Themes of domestic life, intimacy, the body and the gaze — corroborated across gallery and museum texts
- Warm, saturated, complementary palettes; easel-scale figure-ground compression
- Oil on canvas/linen plus a substantial works-on-paper practice (charcoal, coloured pencil)
- Intimate, contemplative, undramatic emotional register
Disagreements
No outright contradiction between the fingerprint and the sources. The gaps are of scope rather than error: the fingerprint under-represents scale range, the still-life/absence strand, maternal subject matter, and printmaking.
Extensions and corrections
- NABI/INTIMIST register is better supported than tag frequency suggests: a 2018 studio-visit account reads her explicitly through Bonnard's treatment of the everyday.
- SCALE: the fingerprint is derived from easel-scale and works-on-paper lots, but the practice includes large canvases — 'The Pool in Palm Springs' (203 x 173.4 cm) and the tall 'Sight Rhyme I' (59 1/2 x 29 1/4 in.). Easel scale is not her ceiling.
- SUBJECT - MOTHERHOOD: since 2025 the iconography has expanded; Levy Gorvy Dayan describes an infant sharing each composition, and Perrotin LA's 'Firstborn' (2025) traces early motherhood. A genuine recent addition absent from the fingerprint.
- SUBJECT - ABSENCE: the Phillips Collection's 'Sight Rhyme I' (2024) is a FIGURELESS still life (sink, toothbrush, soap, used razor) in which female presence is registered through absence. The fingerprint's assumption that the body is always present does not hold for this strand.
- MEDIUM: lithography entered the practice via the 2024 Tamarind Institute residency, and print editions (Avant Arte, Art for Change, Exhibition A) form a distinct commercial category not represented in the fingerprint.
- TECHNIQUE: 'alla prima' fits her own account of working with little hesitation, but the mature canvases show flat, opaque, hard-edged paint with minimal impasto rather than gestural wet-on-wet — read the tag as directness of decision, not looseness of surface.
Signature series and works
- Two Bathers (2021) — auction record
- Sad Tulips (2023) — Whitney Museum
- Sight Rhyme I (2024) — The Phillips Collection
- November 9 (Requiem)
- Beach Read (2017)
- The Pool in Palm Springs (2019)
- Nikki's Last Shower (2022)
Critical Reception
Research updated
Critical reception
Summary
Reception is substantial in general-interest and art-trade press but has not yet produced independent art-historical scholarship. Her 2018 Jack Hanley solo was reviewed in The New York Times, and an editions-publisher bio lists reviews in The New York Times, The New Yorker, The Cut and Juxtapoz. Artnet News ran a full market profile in September 2022 framing her as an artist whose demand had outrun supply.
Key pieces
- Date
- 2022-09-22
- Type
- Market profile
- Author
- Devorah Lauter
Substance
Traces her path from figure modelling to painting; quotes Perrotin New York director Ariel Kliegerman on a growing waitlist; notes Perrotin came to her through recommendations from its own collectors and artists.
- Publication
- Artnet News
- Date
- 2018
- Type
- Exhibition review
Substance
Reviewed 'A Little Louder, Love' at Jack Hanley Gallery; known secondhand via a studio-visit blog and an Indiana University alumni feature. The review itself was not retrieved.
- Publication
- The New York Times
- Date
- 2026-03-24
- Type
- Exhibition feature
Substance
Coverage of 'Borrowed Chord' at Perrotin Paris, describing new work that deepens her engagement with figuration, intimacy and the history of painting.
- Publication
- Juxtapoz
- Date
- 2025-04-10
- Type
- Institutional text
Substance
Director Jonathan P. Binstock explains the acquisition of 'Sight Rhyme I', praising its humanism in the absence of a human figure and her chromatic handling of the mundane.
- Publication
- The Phillips Collection (curatorial blog)
Lists and covers
No tier-1 'artists to watch' / 'new talent' list inclusion or magazine cover feature was established in the sources checked. This absence is scoped to the searches performed and is not proof that none exists.
Scholarly attention
None established. Circulating texts are gallery-published or journalistic — the normal position at this career stage and the principal limit on the institutional score.
Publications and media
- Artnet News
- The New York Times
- The New Yorker
- The Cut
- Juxtapoz (multiple features)
- Observer
- ArtDaily
- HYPEBEAST
- Ocula
- Artsy Editorial
- Indiana University College magazine alumni feature
- Sortiraparis
Classification correction
Reasoning
The supplied quote itself says the exhibition brings together new works, and Perrotin's own listing plus Juxtapoz and Ocula describe 'Borrowed Chord' (14 March - 18 April 2026, Perrotin Paris Marais) as her second Paris exhibition and seventh with the gallery. A retrospective is a survey of past work, normally institutional. THE QUOTE WINS: the EGON category label is wrong and must not be read as institutional validation.
- Egon label
- Retrospective
- Our classification
- COMMERCIAL GALLERY SOLO EXHIBITION OF NEW WORK
Art historical positioning
Positioned within the contemporary reappraisal of the modernist nude: she works inside Picasso's and Matisse's pictorial vocabularies while relocating authorship and the gaze to women. The Levy Gorvy Dayan / Maillol pairing (2025) is the most explicit statement of that lineage to date — though it was made by a dealer, not a museum.
Gallery & Representation
Research updated
Fair presence
Distributed internationally through Perrotin's global fair programme; Artsy records past show and fair-booth activity. Specific booth-by-booth fair records were not itemised in the sources checked.
Representation
Galleries
Perrotin
Note
Primary global representation since 2021; seven exhibitions with the gallery through March 2026, including Paris solos (2022, 2026) and a Los Angeles solo (2025). Confirmed on the gallery's own exhibition pages and by the Tamarind Institute artist page and Wikipedia.
- Tier
- 2
- Since
- 2021
- Status
- current
- Location
- New York, Paris, Los Angeles, Hong Kong, Tokyo, Seoul, Shanghai
- Institution tier
- 2
Jack Hanley Gallery
Note
Earlier representation; hosted the 2018 solo 'A Little Louder, Love' reviewed by The New York Times. Some editions-publisher bios still list this representation, which appears out of date.
- Tier
- 1
- Since
- c. 2016-2020
- Status
- former
- Location
- New York
- Institution tier
- 3
V1 Gallery
- Note
- Earlier European representation per an Art for Change bio; superseded in practice by Perrotin.
- Tier
- 1
- Since
- c. 2017-2021
- Status
- former
- Location
- Copenhagen
- Institution tier
- 3
Half Gallery
- Note
- Hosted 'A Face for Every Season'; an exhibition venue rather than confirmed representation.
- Tier
- 1
- Status
- former
- Location
- New York
- Institution tier
- 3
Levy Gorvy Dayan
Note
Staged the 2025 two-person exhibition with Maillol and lists the artist on its artnet gallery page. A two-person show plus a dealer listing does not by itself establish representation; treated as a significant secondary/collaborative relationship alongside Perrotin.
- Tier
- 2
- Since
- 2025
- Status
- secondary
- Location
- New York
- Institution tier
- 2
Representation note
Perrotin is the current primary representative. Sales are waitlist-mediated with undisclosed pricing; secondary supply reaches auction only sporadically and mostly in small formats and print editions.
Geographic reach
United States (New York, Los Angeles), France (Paris), with earlier exposure in Copenhagen and Chicago; Perrotin's Asian network (Hong Kong, Tokyo, Seoul, Shanghai) provides further distribution.
Representation history
Jack Hanley (New York) and V1 (Copenhagen) in the late 2010s -> Perrotin from 2021 -> additional blue-chip secondary engagement via Levy Gorvy Dayan from 2025.
Sources & research notes
Egon’s artist research combines historical auction records, recent sales, institutional history, critical reception and gallery information. Researched auction records and auction highlights are identified separately.
Read prices with their work, sale date, currency and stated basis. Egon’s market assessments are distinct from reported auction results.
Reference: Egon, “Danielle Orchard: Market Intelligence & Investment Profile.”
Evidence & qualifications
These notes preserve the sources, status and qualifications recorded in the research.
Auction record is $287,500 for 'Two Bathers', Christie's New York, 2021
Market · Reported · Event: 2021 · Source retrieved: 2026-09-20
Aggregator record, independently corroborated by Artsy's artist page (high auction record US$287.5k, Christie's, 2021). The specific lot and sale date were not opened; the premium-inclusive basis is assumed, not verified.
https://www.mutualart.com/Artist/Danielle-Orchard/86FB63871846C41DApproximately 68 lots have been offered at auction across the artist's career
Market · Reported · Source retrieved: 2026-09-20
Aggregator count, media-inclusive (prints and works on paper); may lag or double-count re-offerings.
https://www.mutualart.com/Artist/Danielle-Orchard/86FB63871846C41D2025-26 settled auction results range $3,556-$36,120 premium-inclusive across five lots, all settled
Market · Documented · Event: Jan 2025 - Feb 2026
Internal EGON auction database (partial, 2025 onward) — not an external source. Media are not stated in the record, but titles and price levels are consistent with works on paper and small formats rather than major canvases; do not read this band as a canvas price level.
'Beach Read' appears at Sotheby's on two differently-dated records
Market · Contradicted · Event: Jul 2024 (Invaluable) vs Jan 2025 (EGON database) · Source retrieved: 2026-09-20
Both records reported with their own provenance and not merged; may be two offerings of the same 2017 panel or an aggregator date artefact.
https://www.invaluable.com/artist/orchard-danielle-ztqmli9n3v/sold-at-auction-prices/Perrotin reported a growing waitlist for the artist's paintings
Market · Reported · Event: 2022-09-22 · Source retrieved: 2026-09-20
Attributed to Perrotin New York director Ariel Kliegerman in an Artnet News profile — a dealer statement from 2022, not an independently verified current condition.
https://news.artnet.com/market/danielle-orchard-profile-2180218Whitney Museum of American Art holds 'Sad Tulips' (2023), oil on linen, accession 2024.366, credit line 'gift of Jen Rubio and Stewart Butterfield'
Institutional · Documented · Event: 2024 (first acquired) · Source retrieved: 2026-09-20
Credit line taken verbatim from the museum's own collection page text as indexed; a direct page fetch failed on a tool retrieval limit, so the page was not opened in session. Gift route with no fund or committee named — curatorial initiation NOT established. The Whitney artist page separately states '1 work in the Whitney's collection' and 'First acquired 2024'.
https://whitney.org/collection/works/68600The Phillips Collection acquired 'Sight Rhyme I' (2024) as 'Museum Purchase with funds from Marisol Binn'
Institutional · Documented · Event: announced 2025-04-10; accession date not separately stated · Source retrieved: 2026-09-20
Credit line reproduced verbatim from the museum's own blog caption as indexed; direct fetch failed on a tool retrieval limit. A museum purchase evidences curatorial initiation; the announcement date is not necessarily the accession date.
https://www.phillipscollection.org/blog/2025-04-10-phillips-collects-danielle-orchard'Borrowed Chord' at Perrotin Paris ran 14 March - 18 April 2026 and is the artist's seventh exhibition with the gallery
Institutional · Documented · Event: 2026-03-14 to 2026-04-18 · Source retrieved: 2026-09-20
Gallery's own listing; dates independently corroborated by Ocula's Perrotin calendar and Sortiraparis. A commercial solo of new work, not a retrospective.
https://www.perrotin.com/en/events/borrowed-chord-2026-parisTwo-person exhibition with Aristide Maillol at Levy Gorvy Dayan, New York, 14 March - 26 April 2025
Institutional · Documented · Event: 2025-03-14 to 2025-04-26 · Source retrieved: 2026-09-20
Gallery announcement, corroborated by Ocula and the Musee Maillol. A commercial gallery exhibition: it establishes neither institutional validation nor representation by Levy Gorvy Dayan.
https://www.levygorvydayan.com/exhibitions/danielle-orchard-and-aristide-maillolAwards: Dedalus Foundation MFA Fellowship (2013), Yaddo Alma B.C. Schapiro residency (2015), Tamarind Institute Frederick Hammersley residency (c. 2024)
Institutional · Reported · Event: 2013 / 2015 / c.2024 · Source retrieved: 2026-09-20
Tamarind confirms its own residency and Perrotin representation; the Dedalus and Yaddo years derive from an editions-publisher bio (Art for Change) and an artnet gallery bio — secondary sources that are demonstrably out of date on representation.
https://tamarind.unm.edu/artist/danielle-orchard/The EGON news item labelled 'Retrospective' is in fact a commercial gallery solo of new work
Critical · Contradicted · Event: 2026-03-14 to 2026-04-18 · Source retrieved: 2026-09-20
Explicit correction of the supplied provisional label, corroborated by Perrotin's own event page and Ocula's exhibition calendar.
https://www.juxtapoz.com/news/painting/danielle-orchard-borrowed-chord-perrotin-paris/Reviews in The New York Times, The New Yorker, The Cut and Juxtapoz
Critical · Reported · Source retrieved: 2026-09-20
Claim originates in an editions publisher's artist bio — a commercial secondary source whose representation data (Jack Hanley, V1) is out of date. The individual reviews were not retrieved; attributed, not documented. The 2018 NYT review is separately referenced by an Indiana University alumni feature and a 2018 studio-visit blog.
https://artforchange.com/collections/danielle-orchard
Research bibliography · 25 sources
Sources recorded for this artist’s research. This bibliography does not assign every source to an individual claim.
- Danielle Orchard's Art For Sale, Exhibitions & Biography | Ocula Artist
- Danielle Orchard - Tamarind Institute
- Page Turner - Danielle ORCHARD | Perrotin
- Danielle Orchard - Art & Prints for Sale | Artsy
- Danielle Orchard Went From Figure Modeling to Painting Women Who Stare Back | Artnet News
- Danielle Orchard | 68 Artworks at Auction | MutualArt
- Danielle Orchard Sold at Auction Prices | Invaluable
- Danielle Orchard Auction Records & Pricing | askART
- The Phillips Collects: Danielle Orchard | The Phillips Collection
- Danielle Orchard | Whitney Museum of American Art
- Danielle Orchard | Sad Tulips | Whitney Museum of American Art
- Danielle Orchard - Wikipedia
- Danielle Orchard - ART FOR CHANGE
- Studio Visit with Danielle Orchard | One River School
- Portrait Mode: Alumni Spotlights | Indiana University Bloomington
- Danielle Orchard 'Borrowed Chord' @ Perrotin, Paris | Juxtapoz
- Danielle Orchard, Borrowed Chord - Perrotin
- Exhibitions at Perrotin | Ocula
- Exposition Danielle Orchard a la galerie Perrotin : Borrowed Chord | Sortiraparis
- Juxtapoz Magazine - items tagged Danielle Orchard
- Danielle Orchard and Aristide Maillol | Levy Gorvy Dayan
- Exhibitions at Levy Gorvy Dayan | Ocula
- Orchard and Maillol at the Levy Gorvy Dayan Gallery | Galerie Dina Vierny
- Aristide Maillol and Danielle Orchard at the Levy Gorvy Dayan Gallery, New York | Musee Maillol
- Levy Gorvy Dayan on artnet - Danielle Orchard
Research updates by section
These dates show when Egon’s research sections were updated. Source retrieval dates, where supplied above, refer to individual evidence notes.
Ranking updated . Research sections follow their own update dates.
Early signals like these are where collectors build advantage. Egon matches emerging opportunities to your collection strategy, aesthetic preferences, and investment goals.
Get personalized analysisActive market signals
Inside Egon
Signal timeline & strength analysis
Gallery moves, auction records, institutional acquisitions, price milestones — tracked over 90 days
Full signal timeline, strength analysis, and alert configuration for Danielle Orchard.
Collector demographics & buyer analysis
Geographic distribution, institutional vs. private buyers, collector profiles, and secondary market activity
Who is collecting Danielle Orchard? Geographic distribution, institutional vs. private buyers, and collector profile analysis.
Personalized acquisition strategy
Optimal entry points, comparable pricing analysis, timing recommendations, and portfolio fit assessment
Personalized acquisition strategy for Danielle Orchard based on your budget, timeline, and collection goals.
Go deeper with personalized intelligence
You now have Egon's market assessment of Danielle Orchard. The next question is personal: does this artist belong in your collection? Egon analyzes collection fit based on your aesthetic thesis, existing holdings, budget, and investment goals — delivering acquisition strategies no public index can provide.