A recently discovered work by a long-overlooked Baroque painter didn’t attract the interest that Christie’s prestigious Old Masters auction seemed to expect.
This week, Christie’s announced that it would pilot blockchain technology to record its fall auction season, but will the digital ledger system solve the market’s transparency problems?
Critics call the recent sale, which shattered previous world records for Assyrian art sales, a callous example of the art market profiting from suffering in the Middle East. Experts speculate that ISIS’s destruction of cultural heritage sites may have boosted the value of the work.
Before the auction, Christie’s refused journalists’ requests for comment on the questionable attribution of the AI-generated artwork. Now, the code’s original creator, a 19-year-old working at Stanford, has publicly voiced concerns that the tech group misrepresented their moneymaking intentions.
Centuries before Wester Europe coined the term, “renaissance man,” artist Su Shi moonlighted as a pharmacologist, gastronome, and statesman for the Song Dynasty.
Matthew Landrus believes the painting, which Louvre Abu Dhabi bought at auction for $450.3 million in 2017, better resembles the work of Bernardino Luini, an assistant in Da Vinci’s studio.
The blockbuster auction set new records for works by Matisse and Monet and notched Picasso’s second-highest auction sum ever, $115 million for a Rose period painting.
Jerry Chun Shing Lee, who was arrested as he arrived at New York’s JFK airport on January 15, had been working as the head of security at Christie’s Hong Kong auction house.
La Salle University in Philadelphia has deaccessioned works from its Art Museum collection in hopes of raising $5 million at auction.
A Kerry James Marshall work originally donated to a museum’s benefit auction sold at Christie’s for a record-setting price.
The painting’s seller is part of the clique of billionaire oligarchs exerting an outsize influence in global affairs — and art.
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