A European collector won against several international bidders for Pierre-Auguste Renoir’s “La Baie de Villefranche-sur-Mer,” which set the high bar for the sale at $524,000 ($400/600,000). Review by Madelia Hickman Ring, Photos Courtesy Hindman CHICAGO – Hindman’s recent slate of three sales of fine art – American & European, Post War & Contemporary and Prints
by Zdenka Badovinac Edited by J. Myers-Szupinska Foreword by Kate Fowle Published by ICI, 2019 ISBN: 978-0-692-04225-0 $19.95 This is the third book in the PERSPECTIVES IN CURATING series, which offers timely reflections by curators, artists, critics, and art historians on emergent debates in curatorial practice around the world. Comradeship is a collection of essays
There was once a belief that only a certain type of individual had the knowledge, skill, and interest required to successfully invest in artworks. For too long, this stereotype limited access to the art world only to those of a certain class, education level, and economic status. Thankfully, this notion has diminished in recent years,
Museums periodically revamp displays of their permanent collections to freshen up the visitor experience and lure back audiences. With a new show, which opened in February, the Brooklyn Museum has done exactly that — and more. The museum, which has a permanent collection of about 6,000 works of European art, has redisplayed some of its
CHICAGO — Hindman’s May 10 American and European Art auction led with Pierre-Auguste Renoir’s (French, 1841-1919) “La Baie de Villefranche-sur-Mer,” a glimmering landscape done in oil on canvas in 1899. The 18-by-21¾-inch painting, which was from the Alexandria, Va., collection of Richard D. Simmons, attracted considerable interest, including from international bidders and the work sold
The art world descended en masse upon Manhattan during the first week of May for the inaugural edition of New York Art Week, the far-reaching partnership between museums, galleries, art fairs, and auction houses focused on highlighting “an unprecedented offering of global art market events and institutional exhibitions,” according to the initiative’s website. The weeklong
According to blockchain digitization provider Tokeny, on Monday, the Royal Museum of Fine Arts Antwerp (KMSKA) became the first European museum to tokenize investment in fine art, starting with Belgian painter James Ensor’s (1860–1949) painting, “Carnaval de Binche.” Investors can obtain fractional ownership of the work starting from 150 euros (or about $158). The venture is
The European Fine Art Fair (Tefaf) is aptly named. While walking down the aisles of the storied Park Avenue Armory words in French, German and Dutch flit about the air like bubbles jumping out of a generously filled champagne glass. The Armory’s old New York charm plays into the fair’s old-world ambiance, its prevalence of
THE TREND ISN’T limited to the French capital, either. Last summer, in response to an urge to return to Europe after feeling overwhelmed by both the Trump presidency and Brexit, Lucy Chadwick, the British-born former senior director of Gavin Brown’s Enterprise in New York, decided, with a few days’ notice, to move her family not
The 59th Venice Biennale opened against the backdrop of Russia’s brutal invasion of Ukraine and the continuing rise of authoritarianism in Eastern Europe, as Vladimir Putin’s close ally, Viktor Orban, had just won his fourth term as Hungary’s prime minister. At this moment, defined by war crimes and the oppression of minority groups, it seems