Art in Print
Last week Sotheby’s and Christie’s demonstrated how, given the right selection of artists, the contemporary market, even when perceived to be weak, can look as strong as it ever was.
The series got off to a hugely positive start at Christie’s with the personal collection of the esteemed dealer Leslie Waddington who died last year. The sale, in which every lot found a buyer, exceeded estimates and totalled £28.3 million. This reflected partly the value of Waddington’s judgment – once he’d chosen a piece, he never wanted to sell it – partly the reasonable estimates which were agreed upon, and partly the weak pound, as a result of Brexit, which allowed American and Asian buyers to bid with impunity.
Via : Telegraph
Swarovski, Maker of All Things Bejewelled Tries on a Hoodie
In a village in the Austrian Alps, Swarovski, which has been making crystals for more than a century, is refashioning itself as a tech company. In light of competition and to avoid company complacency Swarovski is developing new crystals that also double as solar panels or that change colour when tapped with a finger. The company has also hired Silicon Valley advisers to add a little tech pizazz to a business in need of a makeover.
In 17th-century Amsterdam, where he was baptised in 1636, Van de Velde thrived in a notoriously competitive marketplace of artists jostling to flog pictures to wealthy, art-loving merchants. He was born into a family of artists – his father was the seascape painter Willem van de Velde the Elder, and his brother, Willem the Younger, followed in his dad’s footsteps and became a marine painter too.
During the 20th century, though, for reasons that Dulwich Picture Gallery’s otherwise immaculate catalogue does not make entirely plain, he dropped off the radar. This, apparently, is the first ever exhibition devoted to Van de Velde, mounted in collaboration with the Rijksmuseum in Amsterdam – and it is a quiet revelation.
The discovery of a flock of sheep hidden beneath the surface of an Old Master has yielded a windfall for a museum. Hidden by a bad restoration, the finding has confirmed that a pair of paintings previously thought to be copies of Peter Brueghal’s work The Younger were in fact completed by the master himself.
Brueghel’s spring and winter scenes had been valued by the Ulster Museum as being worth a few tens of thousands of pounds. They are now each considered to be worth at least £1 million after they were identified by art historian Bendor Grosvenor.
Via: The Times
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