Displaying items by tag: collector

Nicolas M. Salgo (1914-2005), a Hungarian native and former United States ambassador to Budapest, was fascinated by the art of the goldsmith in Hungarian culture and formed his own “treasury” by collecting pieces that are individual and unique. "Hungarian Treasure: Silver from the Nicolas M. Salgo Collection" will celebrate the gift to The Metropolitan Museum of Art of the major part of the silver collection assembled by this focused collector over three decades.

This large collection of silver—about 120 pieces, most dating from the 15th to the late 18th century—comprises a variety of types with especially refined appearance and high levels of craftsmanship, representing Hungarian silver at its best. The earliest works in the Salgo collection are medieval: seven objects, including two rare chalices with mastered filigree enameling.

In 2006, the art collector Ronald S. Lauder purchased Gustav Klimt’s “Adele Bloch-Bauer I” (1907) for $135 million, then the highest price paid for a painting, and made it the crown jewel of the Neue Galerie, the museum he founded in 2001. Since then other paintings have sold for considerably higher sums, adjusted for inflation, including those by Paul Cézanne and Paul Gauguin.

If some of the luster was lost from Klimt’s masterpiece as other works eclipsed its sale price, it is being renewed with the release of the movie “Woman in Gold.” It tells the tale of how Adele Bloch-Bauer’s niece, Maria Altmann (1916-2011), played by Helen Mirren, succeeded in gaining ownership of her aunt’s portrait from the Austrian government decades after it was looted by the Nazis and displayed by the Belvedere in Vienna.

On Thursday, April 2, 2015, at 4PM, Jay Robert Stiefel, a lawyer and well-known collector and historian of American decorative arts, will give a lecture entitled “Leather Apron Men: Benjamin Franklin & Philadelphia’s Artisans” at Yale University in New Haven, Connecticut. The event, which is under the auspices of Yale's History Department, is free and open to the public.

The illustrated talk will center on Benjamin Franklin’s work as an artisan as well as his role in fostering the public appreciation of his fellow craftsmen. One of America’s foremost founding fathers and the country’s first printing magnate, Franklin tended toward self-deprecation, writing in a 1740 issue of his “Pennsylvania Gazette” that he was no more than “a poor ordinary mechanick of this City.” But Franklin, who crafted witty editorial that promoted and encouraged his fellow artisans and founded such enduring cultural institutions as the Library Company of Philadelphia and the American Philosophical Society, served as a role model for his peers. In addition to encouraging many Philadelphia artisans to elevate themselves, Franklin provided them with opportunities for education that had previously been reserved for the privileged. Stiefel will illustrate Franklin’s profound influence with pieces of furniture and fine art, including “Handiworks” made by Franklin and other admired Philadelphia artisans.

A portrait of Rubens’ young daughter Clara Serena, recently deaccessioned by New York’s Metropolitan Museum of Art, is going on display at the Rubenshuis in Antwerp. In 2013, it was auctioned as by a “follower of Rubens”, with an estimate of $20,000-$30,000. Now upgraded as authentic, it will hang in the artist’s own house, in the exhibition “Rubens in Private: the Master Portrays his Family” (March 28-June 28).

The earliest certain provenance of the portrait goes back to a New York collector in the 1930s and it was considered authentic until the American specialist Julius Held downgraded it in 1959.

On March 17, Christie’s hosted its first-ever evening sale dedicated to Asian art in New York. The occasion was the first offering from the prized Robert Hatfield Ellsworth Collection, regarded as the most prestigious — not to mention largest — private collection of Asian art to hit the auction block. Thanks to the freshness of the material and the pedigreed provenance, the house had no trouble securing buyers for all 57 lots, and with a whopping $61,107,500, total, the results demonstrated strength across all areas of the market for Indian, Himalayan, Southeast Asian, Chinese, and Japanese art.

The sale began promptly at 6 p.m., with fierce participation from telephone bidders and individuals in the room for a superb gilt-bronze figure of a seated bear from China’s Western Han Dynasty (206 BC).

On Saturday, London’s Robilant + Voena sold one of the most expensive works so far noted at TEFAF, as Andy Warhol’s large-scale, 90 by 70 inch “Knives” from 1981-82, executed in synthetic polymer and silkscreen on canvas and blown up from a Polaroid taken by the artist, sold to a European collector in the region of the $3.2 million asking price.

Painted near the nadir of Warhol’s career, the group of three knives was sourced from a Bowery restaurant supply store and brought back to the artist’s studio to be arranged and photographed.

Of all the billionaires that come and go on the Forbes China Rich List, Liu Yiqian is certainly the one with the biggest appetite for art. Liu, who ranked No. 220 with a net worth of $ 1 billion, yesterday bought a 600-year-old imperial embroidered Tibetan tapestry at a Christie’s auction for $ 348 million Hong Kong dollars ($45 million), setting a record for any Chinese works of art sold by an international auction house.

For the art-savvy Liu, the magnificent piece is too important to miss. The silk tapestry, known as a thangka, is more than three meters tall and two meters wide.

Mark Rothko once said that his formula for a good painting included a dollop of hope – “10 percent to make the tragic concept more endurable.” When bidders gather on May 13 at Christie’s to do battle for the next big Rothko to come to auction – a blazing red and black work, “No. 36 (Black Stripe),” painted in 1958, a banner year for the artist – they will have to bring a lot more than hope.

The painting, being sold by the German collector Frieder Burda, who has given it pride of place in his museum in Baden-Baden for several years, is estimated to sell for $30 million to $50 million. But prime Rothkos have become so rare and sought-after that the competition is likely to be fierce. Rothko’s auction record was set at Christie’s in 2012, when “Orange, Red, Yellow,” another of his trademark horizontal color-slab paintings, from 1961, sold for almost $87 million.

A self-portrait by Van Dyck that was dismissed a decade ago as a copy is now hanging in the Minneapolis Institute of Arts, Minnesota, as an original work. The painting, which has been authenticated by experts, was quietly put on display in February, having been lent by a US collector based on the West Coast.

An unpublished paper on the self-portrait, prepared for the owner, dates the work to around 1629 and states that the attribution is accepted by four key experts: Susan Barnes, a co-author of the 2004 Van Dyck catalogue raisonné, Christopher Brown, the former director of the Ashmolean Museum in Oxford, David Jaffé, a former senior curator at the National Gallery in London, and Malcolm Rogers, the outgoing director of the Museum of Fine Arts, Boston.

The collector, scholar and legendary gossip Horace Walpole woke one morning in June 1764 in the extraordinary fantasy home he had created near the Thames, west of London.

Strawberry Hill had – and now has again after years of careful restoration – roof, battlement and mantelpieces bristling with spires and gargoyles, stairs and bookcases copied from the tombs of medieval kings. Its passageways and library ceilings were embellished with imagined ancestors, and windows glitter with stained glass collected by the crate load from across Europe.