Art Auction Quotes

Great, she didn't lie to me. "Mind if I tag along with you? I would love to have some company. Please don't say no. I don't know if I can take it if you turn me down, beloved," he spoke inaudibly. "Remember the last time we were at an art gallery together?" he asked. "Sure I do," she remarked, walking slowly. Wish I hadn't gone anywhere with you, Creepville!

Clocks with hands and sophisticated wheels have more art than a digital clock. Right? … Kusha beams when Rashad Gaumont praises her cars.

It is only an auctioneer who should admire all schools of art.

It is only an auctioneer who can equally and impartially admire all schools of art.

They live like beasts, sweetie. They slang, they bark, they rape. They kill for a solar panel or the copper ring they find in the junk. They don’t think about art and culture or how the universe exists as the High Grades do. They are lowly, earthly monsters … Meera never speaks such words aloud, but Magic Mama told her once what the High Grades think of anyone unevolved, no matter if they’re outside the walls or inside them.

The tremendous leisure industry that has arisen in the last few generations has been designed to help fill free time with enjoyable experiences. Nevertheless, instead of using our physical and mental resources to experience flow, most of us spend many hours each week watching celebrated athletes playing in enormous stadiums. Instead of making music, we listen to platinum records cut by millionaire musicians. Instead of making art, we go to admire paintings that brought in the highest bids at the latest auction. We do not run risks acting on our beliefs, but occupy hours each day watching actors who pretend to have adventures, engaged in mock-meaningful action.

Rapunzel rode to the city and rented a room in a building that had real stairs. She later established the non-profit Foundation for the Free Proliferation of Music and cut off her hair for a fund-raising auction. She sang for free in coffee houses and art galleries for the rest of her days, always refusing to exploit for money other people's desire to hear her sing.

What do you hope to acquire when you bid at a prestigious evening auction at Sotheby’s? A bundle of things: a painting of course, but hopefully also a new dimension to how people see you. As Robert Lacey described it in his book about Sotheby’s, you are bidding for class, for a validation of your taste.

Those industry-designed latest models, which hover in the air, are nothing compared to the story these cars have—Rashad, her adoptive father, encourages her. So what it’ll be slower? So what if it’ll soon rust? So what if machines age faster? Clocks with hands and sophisticated wheels have more art than a digital clock. Right? … Kusha beams when Rashad Gaumont praises her cars.

And in what business is there not humbug? “There’s cheating in all trades but ours,” is the prompt reply from the boot-maker with his brown paper soles, the grocer with his floury sugar and chicoried coffee, the butcher with his mysterious sausages and queer veal, the dry goods man with his “damaged goods wet at the great fire” and his “selling at a ruinous loss,” the stock-broker with his brazen assurance that your company is bankrupt and your stock not worth a cent (if he wants to buy it,) the horse jockey with his black arts and spavined brutes, the milkman with his tin aquaria, the land agent with his nice new maps and beautiful descriptions of distant scenery, the newspaper man with his “immense circulation,” the publisher with his “Great American Novel,” the city auctioneer with his “Pictures by the Old Masters”—all and every one protest each his own innocence, and warn you against the deceits of the rest. My inexperienced friend, take it for granted that they all tell the truth—about each other! and then transact your business to the best of your ability on your own judgment.

Buying is an extremely satisfying, macho act

In his early twenties, a man started collecting paintings, many of which later became famous: Picasso, Van Gogh, and others. Over the decades he amassed a wonderful collection. Eventually, the man’s beloved son was drafted into the military and sent to Vietnam, where he died while trying to save his friend. About a month after the war ended, a young man knocked on the devastated father’s door. “Sir,” he said, “I know that you like great art, and I have brought you something not very great.” Inside the package, the father found a portrait of his son. With tears running down his cheeks, the father said, “I want to pay you for this.ℍ “No,” the young man replied, “he saved my life. You don’t owe me anything.ℍ The father cherished the painting and put it in the center of his collection. Whenever people came to visit, he made them look at it. When the man died, his art collection went up for sale. A large crowd of enthusiastic collectors gathered. First up for sale was the amateur portrait. A wave of displeasure rippled through the crowd. “Let’s forget about that painting!” one said. “We want to bid on the valuable ones,” said another. Despite many loud complaints, the auctioneer insisted on starting with the portrait. Finally, the deceased man’s gardener said, “I’ll bid ten dollars.ℍ Hearing no further bids, the auctioneer called out, “Sold for ten dollars!” Everyone breathed a sigh of relief. But then the auctioneer said, “And that concludes the auction.” Furious gasps shook the room. The auctioneer explained, “Let me read the stipulation in the will: “Sell the portrait of my son first, and whoever buys it gets the entire art collection. Whoever takes my son gets everything.ℍ It’s the same way with God Almighty. Whoever takes his Son gets everything.

Some private treaty activity is initiated by dealers, who are forced to partner with auction houses to gain access to their client lists. Only Christie’s can identify the underbidders at most recent Francis Bacon auctions—and in a thin market, a seller needs access to this information.

instead of using our physical and mental resources to experience flow, most of us spend many hours each week watching celebrated athletes playing in enormous stadiums. Instead of making music, we listen to platinum records cut by millionaire musicians. Instead of making art, we go to admire paintings that brought in the highest bids at the latest auction. We do not run risks acting on our beliefs, but occupy hours each day watching actors who pretend to have adventures, engaged in mock-meaningful action.

I’m not exactly lying. Yes, I don’t have much in the way of options right now, but the idea of sleeping with Hades to ruin any chances of Zeus’s ring on my finger… It appeals to a very dark, very secret part of me. I want to twist the knife, to punish Zeus for acting like I’m a piece of art up for auction instead of a person with thoughts and feelings and plans. I want him to writhe in pain around a blade of my crafting, to undermine his authority by slipping through his fingers to take up with his enemy.

Perhaps the most avid user of Amazon’s auction site was Bezos himself, who began to collect various scientific and historical curiosities. Most memorably, he purchased the skeleton of an Ice Age cave bear, complete with an accompanying penis bone, for $40,000. After the company’s headquarters moved yet again over the summer, out of the deteriorating Columbia Building and into the Pacific Medical Center building, a 1930s-era art-deco hospital that sat on a hill overlooking the I-5 freeway, Bezos displayed the skeleton in the lobby. Next to it was a sign that read PLEASE DON’T FEED THE BEAR.

No! Who takes me, refuse that I am, and as I well deserve to be . . . shall take me, as this man does, with no art of mine put forth to lure him. He sees me at the auction, and he thinks it well to buy me. Let him! When he came to view me - perhaps to bid- he required to see the roll of my accomplishments. I gave it to him. When he would have me show one of them, to justify his purchase to his men, I require of him to say which he demands, and I exhibit it. I will do no more. He makes the purchase of his own will, and with his own sense of its worth, and the power of his money; and I hope it may never disappoint him.

I track pieces of Nazi-stolen art,” she said, after a moment. “And what I’ve noticed is just how far each object travels. Take Van Gogh’s Portrait of Dr. Gachet. It was painted in 1880 in Auvers-sur-Oise about a month before Van Gogh committed suicide. The work changed hands four times—from Van Gogh’s brother to his brother’s widow to two independent collectors—before it was acquired by the Städel in Frankfurt. When Nazis plundered the museum in 1937, it was seized by Hermann Göring, who auctioned it off to a German collector. But here’s where things get interesting: that collector sold it to Siegfried Kramarsky, a Jewish banker who fled the Holocaust for New York in 1938. It’s remarkable, isn’t it? That the painting wound up, after all that, in Jewish hands, and directly from a Göring associate?” Mira fingered her headphones. She seemed suddenly shy. “I suppose I think we need God for the same reason we need art.” “Because it’s nice to look at?” “No.” Mira smiled. “Because it shows us what’s possible.

OPTIONS FOR REDUCING While thrift stores such as Goodwill or the Salvation Army can be a convenient way to initially let go, many other outlets exist and are often more appropriate for usable items. Here are some examples: • Amazon.com • Antiques shops • Auction houses • Churches • Consignment shops (quality items) • Craigslist.org (large items, moving boxes, free items) • Crossroads Trading Co. (trendy clothes) • Diggerslist.com (home improvement) • Dress for Success (workplace attire) • Ebay.com (small items of value) • Flea markets • Food banks (food) • Freecycle.org (free items) • Friends • Garage and yard sales • Habitat for Humanity (building materials, furniture, and/or appliances) • Homeless and women’s shelters • Laundromats (magazines and laundry supplies) • Library (books, CDs and DVDs) • Local SPCA (towels and sheets) • Nurseries and preschools (blankets, toys) • Operation Christmas Child (new items in a shoe box) • Optometrists (eyeglasses) • Regifting • Rummage sales for a cause • Salvage yards (building materials) • Schools (art supplies, magazines, dishes to eliminate class party disposables) • Tool co-ops (tools) • Waiting rooms (magazines) • Your curb with a “Free” sign

When I put together my early bands, usually some other singer who was short of one would take it away. It seemed like this happened every time one of my bands was fully formed. I couldn’t understand how this was possible seeing that these guys weren’t any better at singing or playing than I was. What they did have was an open door to gigs where there was real money. Anybody who had a band could play at park pavilions, talent shows, county fairgrounds, auctions and store openings, but those gigs didn’t pay except maybe for expenses and sometimes not even for that. These other crooners could perform at small conventions, private wedding parties, golden anniversaries in hotel ballrooms, things like that — and there was cash involved. It was always the promise of money that lured my band away. Truth was, that the guys who took my bands away had connections to someone up the ladder. It went to the very root of things, gave unfair advantage to some and left others squeezed out. How could somebody ever reach the world this way? It seemed like it was the law of life. It got so that I almost always expected to lose my band and it didn’t even shock me anymore if it happened. It was beginning to dawn on me that I would have to learn how to play and sing by myself and not depend on a band until the time I could afford to pay and keep one.

The tremendous leisure industry that has arisen in the last few generations has been designed to help fill free time with enjoyable experiences. Nevertheless, instead of using our physical and mental resources to experience flow, most of us spend many hours each week watching celebrated athletes playing in enormous stadiums. Instead of making music, we listen to platinum records cut by millionaire musicians. Instead of making art, we go to admire paintings that brought in the highest bids at the latest auction. We do not run risks acting on our beliefs, but occupy hours each day watching actors who pretend to have adventures, engaged in mock-meaningful action. This vicarious participation is able to mask, at least temporarily, the underlying emptiness of wasted time. But it is a very pale substitute for attention invested in real challenges. The flow experience that results from the use of skills leads to growth; passive entertainment leads nowhere. Collectively we are wasting each year the equivalent of millions of years of human consciousness. The energy that could be used to focus on complex goals, to provide for enjoyable growth, is squandered on patterns of stimulation that only mimic reality. Mass leisure, mass culture, and even high culture when only attended to passively and for extrinsic reasons—such as the wish to flaunt one’s status—are parasites of the mind. They absorb psychic energy without providing substantive strength in return. They leave us more exhausted, more disheartened than we were before. Unless a person takes charge of them, both work and free time are likely to be disappointing. Most jobs and many leisure activities—especially those involving the passive consumption of mass media—are not designed to make us happy and strong. Their purpose is to make money for someone else. If we allow them to, they can suck out the marrow of our lives, leaving only feeble husks. But like everything else, work and leisure can be appropriated for our needs. People who learn to enjoy their work, who do not waste their free time, end up feeling that their lives as a whole have become much more worthwhile. “The future,” wrote C. K. Brightbill, “will belong not only to the educated man, but to the man who is educated to use his leisure wisely.

Declan had been told a long time ago that he had to know what he wanted, or he'd never get it. Not by his father, because his father would never have delivered such pragmatic advice in such a pragmatic way. No, even if Niall Lynch believed in the sentiment, he would have wrapped it up in a long story filled with metaphor and magic and nonsense riddles. Only years after the storytelling would Declan be sitting somewhere and realize that all along Niall had been trying to teach him to balance his checkbook, or whatever the tale had really been about. Niall could never just say the thing. No, this piece of advice--You have to know what you want, or you'll never get it--was given to Declan by a senator from Nevada he'd met during a DC field trip back in eighth grade. The other children had been bored by the pale stone restraint of the city and the sameness of the law and government offices they toured. Declan, however, had been fascinated. He'd asked the senator what advice he had for those looking to get into politics. "Come from money," the senator had said first, and then when all the eighth graders and their teachers had stared without laughing, he added, "You have to know what you want, or you'll never get it. Make goals." Declan made goals. The goal was DC. The goal was politics. The goal was structure, and more structure, and yet more structure. He took AP classes on political science and policy. When he traveled with his father to black markets, he wrote papers. When he took calls from gangsters and shady antique auction houses, he arranged drop-offs near DC and wrangled meetings with HR people. Aglionby Academy made calls and pulled strings; he got names, numbers, internships. All was going according to plan. His father's will conveniently left him a townhouse adjacent to DC. Declan pressed on. He kept his brothers alive; he graduated; he moved to DC. He made the goal, he went towards the goal. When he took his first lunch meeting with his new boss, he found himself filled with the same anticipation he'd had as an eighth grader. This was the place, he thought, where things happened. Just across the road was the Mexican embassy. Behind him was the IMF. GW Law School was a block away. The White House, the USPS, the Red Cross, all within a stone's throw. This was before he understood there was no making it for him. He came from money, yeah, but the wrong kind of money. Niall Lynch's clout was not relevant in this daylight world; he only had status in the night. And one could not rise above that while remaining invisible to protect one's dangerous brother. On that first day of work, Declan walked into the Renwick Gallery and stood inside an installation that had taken over the second floor around the grand staircase. Tens of thousands of black threads had been installed at points all along the ceiling, tangling around the Villareal LED sculpture that normally lit the room, snarling the railing over the stairs, blocking out the light from the tall arches that bordered the walls, turning the walkways into dark, confusing rabbit tunnels. Museumgoers had to pick their way through with caution lest they be snared and bring the entire world down with them. He had, bizarrely, felt tears burning the corners of his eyes. Before that, he hadn't understood that his goals and what he wanted might not be the same thing. This was where he'd found art.

A painting, as any other object, worth the price people are ready to pay for : from pennies to billions. Because an object has no price itself.

I can't pay you," I said then. "Not with money, anyway." That got his attention. "What will you pay me with?" "Well," I said, "I can't give you the portrait itself, because they're auctioning those off." "That's okay," Joe said, all deadpan. "I have too many portraits of myself already." "So," I went on, businesslike. "Let's just say you can have whatever you want." "Whatever I want?" he asked, like it was too good to be true. "Within reason," I said. "If you want me to paint something for you, or if you want me to buy you dinner or give you an art lesson, maybe. Whatever you can think of." "Are you giving me a blank check?" he asked. "No!" "Sounds like a blank check to me." "I'm saying you and I can find a mutually agreed-on form of payment at some point." "So in other words," Joe said, the delight of teasing me pretty clear in his voice, "a blank check.

I want to twist the knife, to punish Zeus for acting like I'm a piece of art up for auction instead of a person with thoughts and feelings and plans. I want him to writhe in pain around the blade of MY crafting, to undermine his authority by slipping through his fingers to take up with his enemy. A small thing, perhaps, but nothing is truly small when it comes to reputation. My mother has taught me that lesson well. Power is as much about perception as it is about the recourses one has at their disposal.

Morning's Serenade by Stewart Stafford Stirred by a magpie's auction bids, I opened up our curtained eyelids, To pale dawn's reverential blinking, Beyond my lady's distant inkling. Anointed by the infant sun's rays, I stand in regal morning’s praise; Surveying virgin domain’s expanse, Before the hatchling public dance. The early-risen owl hoots carried far, The songbirds played off fading stars, Cockcrow drew in a loping red fox, Scattering fawns and sheep flocks. My lady spent, sports a drowsy crown, Her chest rises, then slowly down, Cityscape visions to last night's desire, Golden tresses tossed in oriole fire. To the kitchen, a connoisseur's start, A lover's labour, a chef's work of art, Crack avian treasures, new life's motif. Ground coffee, perfumed weekend relief. © Stewart Stafford, 2024. All rights reserved.

he painted A View of Delft, The Girl with a Pearl Earring, The Milkmaid, and some thirty more. The work met a respectful welcome, but no one was bowled over. Certainly no one spoke of Vermeer as a genius. But his work commanded high fees, and it continued to do so in the years shortly after his death, in 1675. At an Amsterdam auction in 1696, for example, twenty-one Vermeers sold at an average price of 72 guilders apiece. The Lacemaker, now at the Louvre, brought only 28 guilders, but the Milkmaid brought 175 guilders, and A View of Delft the highest price of all, 200 guilders.

For two centuries after his death, Vermeer disappeared into obscurity. When he came back, he came roaring back. In 1881, for instance, a little-known Dutch collector named A. A. Des Tombe had picked up a Vermeer picture at an auction for 2.3 florins, roughly $ 200 in today’s dollars. The painting had suffered from grime and rough handling. It had not been deemed worthy of mention in the auction catalog, and its name, if it had ever had one, had been lost. Today we know it as The Girl with a Pearl Earring.

He confesses to dozens more thefts, though none that Von der Mühll doesn’t first prompt. Breitwieser generally hews to honesty, except about Anne-Catherine. He repeatedly describes her as an innocent bystander who was using the bathroom while he stole, or was in another gallery, and never knew what he was doing. He’s trying to minimize her potential punishment. In his cell, he keeps a sheet of notes, written in code and stashed in a book, recording what he has said about Anne-Catherine’s location in each museum or auction house. That way he won’t contradict himself in future interrogations or at a trial. His mother, he emphasizes, was completely unaware of his actions. “I’m the only one responsible,” Breitwieser says several times, throwing himself under the bus.

His remaining connection with the art world is through auction catalogs, which he scans each week in the faint hope that one of his lost pieces will turn up. Accounting for all of his stolen art that was found in the water and elsewhere, and assuming that all of his paintings and objects in wood were burned, Breitwieser is still missing about eighty of his stolen items, half of them silverworks. These pieces continue to be listed on international databases of stolen art, as do all of his paintings and wood items. No ash pile or remnants have been found, though none of the paintings or carvings have been seen since 2001.

My late mother knew absolutely nothing about cars, but had an eagle eye for people.* It would have been interesting to set her the task of buying ten cars based on her instincts about the people selling them, while at the same time tasking ten automotive engineers with acquiring ten cars at auction. I’m confident the cars my mother bought would have been every bit as reliable as the cars chosen by the engineers, perhaps more so.

The tables are moved by spirit - paintings and other works of art are are locked away. And the soul inside becomes ever more inspired as the auction price goes up!

I presume this is part of your erotic art collection?" she mused out loud. "It is most beautifully done; only look at the masterful brushwork and the lush, luminous colors. Curiously enough, it reminds me of Boucher, though I suppose it was done by a less well-known artist." He lifted a brow. "I am impressed, madam, since Boucher is exactly who painted the work. You do indeed know your art. The provenance says he did this painting as a private commission for a wealthy, anonymous patron. I acquired it at an equally private auction a few years ago and have enjoyed viewing it ever since." "Well, if this painting is representative of your collection, I would guess that all the works must have scandalous, clandestine origins due to the lurid nature of the subject matter." "Actually, this is one of the less provocative pieces," he informed her. "The majority of my collection is housed in a separate gallery devoted strictly to erotic art and literature. A couple of the maids won't even go inside to clean." Esme turned her gaze on him. "Is it really that bad?" "Or that good, depending on your point of view." He grinned. "I'll show it to you sometime, if you'd like. After all, you are an art lover. Come to think, perhaps I should frame the naked sketch you did of me and add it to the collection. Or would you prefer to keep it and hang it on your bedroom wall?" "I believe I will leave it exactly where it is, else the entire house know what you look like without clothing. Although knowing you, you'd likely be as proud as Bacchus here and every bit as shameless." His grin widened. "Yes, but only because certain parts of me actually do rival the gods.

1314h.: I am now seated back in Deck 8’s Rainbow Room watching “Ernst,” the Nadir’s mysterious and ubiquitous Art Auctioneer, 118 mediate spirited bidding for a signed Leroy Neiman print. Let me iterate this. Bidding is spirited and fast approaching four figures for a signed Leroy Neiman print—not a signed Leroy Neiman, a signed Leroy Neiman print.

Meredith Etherington-Smith Meredith Etherington-Smith became an editor of Paris Vogue in London and GQ magazine in the United States during the 1970s. During the 1980s, she served as deputy and features editor of Harpers & Queen magazine and has since become a leading art critic. Currently, she is editor in chief of Christie’s magazine. She is also a noted artist biographer; her book on Salvador Dali, The Persistence of Memory, was an international bestseller and was translated into a dozen languages. Her drawing room that morning was much like any comfortable, slightly formal drawing room to be found in country houses throughout England: the paintings, hung on pale yellow walls, were better; the furniture, chintz-covered; the flowers, natural garden bouquets. It was charming. And so was she, as she swooped in from a room beyond. I had never seen pictures of her without any makeup, with just-washed hair and dressed in jeans and a white T-shirt. She looked more vital, more beautiful, than any photograph had ever managed to convey. She was, in a word, staggering; here was the most famous woman in the world up close, relaxed, funny, and warm. The tragic Diana, the royal Diana, the wronged Diana: a clever, interesting person who wasn’t afraid to say she didn’t know how an auction sale worked, and would it be possible to work with me on it? “Of course, ma’am,” I said. “It’s your sale, and if you would like, then we’ll work on it together to make the most money we can for your charities.” “So what do we do next?” she asked me. “First, I think you had better choose the clothes for sale.” The next time I saw her drawing room, Paul Burrell, her butler, had wheeled in rack after rack of jeweled, sequined, embroidered, and lacy dresses, almost all of which I recognized from photographs of the Princess at some state event or gala evening. The visible relics of a royal life that had ended. The Princess, in another pair of immaculately pressed jeans and a stripy shirt, looked so different from these formal meringues that it was almost laughable. I think at that point the germ of an idea entered my mind: that sometime, when I had gotten to know her better and she trusted me, I would like to see photographs of the “new” Princess Diana--a modern woman unencumbered by the protocol of royal dress. Eventually, this idea led to putting together the suite of pictures of this sea-change princess with Mario Testino. I didn’t want her to wear jewels; I wanted virtually no makeup and completely natural hair. “But Meredith, I always have people do my hair and makeup,” she explained. “Yes ma’am, but I think it is time for a change--I want Mario to capture your speed, and electricity, the real you and not the Princess.” She laughed and agreed, but she did turn up at the historic shoot laden with her turquoise leather jewel boxes. We never opened them. Hair and makeup took ten minutes, and she came out of the dressing room looking breathtaking. The pictures are famous now; they caused a sensation at the time. My favorite memory of Princess Diana is when I brought the work prints round to Kensington Palace for her to look at. She was so keen to see them that she raced down the stairs and grabbed them. She went silent for a moment or two as she looked at these vivid, radiant images. Then she turned to me and said, “But these are really me. I’ve been set free and these show it. Don’t you think,” she asked me, “that I look a bit like Marilyn Monroe in some of them?” And laughed.

A murder victim hung like art? That threw him back and flooded his gut with something akin to nausea, though the feeling faded quickly once he started to examine the crime scene. The man was suspended from a six foot marble statue right of the Troubadours auctioneer’s podium, facing a large room with fifty chairs, twenty-five on each side.

I’m amazed at how this has snowballed into such a media event. It began last week when I saw a national news report by Tom Brokaw about this adorable little lady from Georgia, Mrs. Hill, who was trying to save her farm from being foreclosed. Her sixty-seven-year-old husband had committed suicide a few weeks earlier, hoping his life insurance would save the farm, which had been in the family for generations. But the insurance proceeds weren’t nearly enough. It was a very sad situation, and I was moved. Here were people who’d worked very hard and honestly all their lives, only to see it all crumble before them. To me, it just seemed wrong. Through NBC I was put in touch with a wonderful guy from Georgia named Frank Argenbright, who’d become very involved in trying to help Mrs. Hill. Frank directed me to the bank that held Mrs. Hill’s mortgage. The next morning, I called and got some vice president on the line. I explained that I was a businessman from New York, and that I was interested in helping Mrs. Hill. He told me he was sorry, but that it was too late. They were going to auction off the farm, he said, and “nothing or no one is going to stop it.” That really got me going. I said to the guy: “You listen to me. If you do foreclose, I’ll personally bring a lawsuit for murder against you and your bank, on the grounds that you harassed Mrs. Hill’s husband to his death.” All of a sudden the bank officer sounded very nervous and said he’d get right back to me. Sometimes it pays to be a little wild. An hour later I got a call back from the banker, and he said, “Don’t worry, we’re going to work it out, Mr. Tramp.” Mrs. Hill and Frank Argenbright told the media, and the next thing I knew, it was the lead story on the network news. By the end of the week, we’d raised $40,000. Imus alone raised almost $20,000 by appealing to his listeners. As a Christmas present to Mrs. Hill and her family, we’ve scheduled a mortgage-burning ceremony for Christmas Eve in the atrium of Trump Tower. By then, I’m confident, we’ll have raised all the money. I’ve promised Mrs. Hill that if we haven’t, I’ll make up any difference. I tell Imus he’s the greatest, and I invite him to be my guest one day next week at the tennis matches at the U.S. Open. I have a courtside box and I used to go myself almost every day. Now I’m so busy I mostly just send my friends.

Continuo a vender alguns quadros através da galeria de Nice, é certo, mas tenho sempre dificuldade em desfazer-me das telas e sobretudo àquele preço exploratório… mas enfim, um quadro tem de seguir a sua viagem! Talvez os volte a encontrar. Quanto ao meu futuro? A verdade é que não sei o que quero fazer a partir de agora…

Admirael de Mans that were of sufficient quality. Seys, at the center of a variety of tulip deals, knew what a good Admirael de Man looked like. It was likewise an excuse for Susanna Sprangers (sister of the important Amsterdam art collector Gommer Spranger), when trying to extricate herself from a bad deal with Lambert Massa (buyer of art at auction, connected with various art dealers, and brother of an important Muscovy merchant who was painted by Hals), that she knew nothing about tulips: "having no knowledge of the flowers nor knowing the worth of them....

A wealthy man and his son loved to collect works of art. They had in their collection works ranging from Picasso to Raphael and Rembrandt. When the Vietnam War broke out, the son was drafted and sent to fight in ’Nam. He was very courageous and died in battle. The father was notified and grieved deeply for his only son. About a month later, a young lad appeared at the door to his house and said, “Sir, you don’t know me, but I am the soldier for whom your son gave his life that fateful day. He was carrying me to safety when a bullet struck him in the heart. He died instantly. He used to often talk about you and your love for art. Here’s something for you,” he added, holding out a package. “It is something that I drew. I know I am not much of an artist, but I wanted you to have this from me as a small measure of memory and thanks.” It was a portrait of his son, painted by the young man. It captured the personality of his son. The father’s eyes welled up with tears as he thanked the young man for the painting. He offered to pay for the picture, but the man replied, “Oh! No, sir. I could never repay what your son did for me. It is my gift to you.” The father hung the portrait over his mantel and showed it proudly to all his visitors along with all of the great works of art he possessed. Some time later, the old man died. As decreed in his will, his paintings were all to be auctioned. Many influential and rich people gathered together, excited over the prospect of owning one of the masterpieces. On a platform nearby also sat the painting of his son. The auctioneer pounded his gavel. “Let’s start the bidding with the picture of his son. Who will bid for this picture?” There was silence. A voice shouted from the back, “Let’s skip this one. We want the famous masters.” But the auctioneer persisted. “Ten dollars, twenty dollars, what do I hear?” Another voice came back angrily, “We didn’t come here for this. Let’s have the Picassos, the Matisses, the van Goghs.” Still the auctioneer persisted. “The son. Anyone for the son? Who’ll take the son?” Finally a quavering voice came from the back. It was the longtime gardener of the house. “I’ll take the son for ten dollars. I am sorry, but that’s all I have.” “Ten dollars once, ten dollars twice, anybody for twenty dollars? Sold for ten dollars.” “Now let’s get on with the auction,” said a wealthy art aficionado sitting in the front row. The auctioneer laid down his gavel and spoke. “I am sorry, but the auction is over.” “But what about the other paintings? The masters?” “The auction is over,” said the auctioneer. “I was asked to conduct the auction with a stipulation, a secret stipulation that said that only the painting of the son would be auctioned. Whoever bought that painting would inherit the entire estate, paintings and all. The one who took the son gets everything.

If you have a keen eye for arts and crafts and Disney, be careful putting your unlicensed creative works up on eBay or Etsy. Disney is known to scour those websites and have auctions and listings removed with an accompanying “cease and desist” letter.

We need beauty now more than ever before. But I have grown impatient with the beautiful art of galleries & museums, with auctions & collections & commissions, with curators & prizes & award galas. They operate in a world where beautiful things are made & sold & that transaction is final & enough.

The meal was an epicurean extravaganza, the Michelin chef outdoing himself with his nine courses, each richer than the last. Maya nibbled at the fare as first-growth Bordeaux flowed like water, ten cases of Chateau Petrus from a stellar year purchased at auction in New York and shipped to Nahir’s temperature-controlled, eight-thousand-bottle wine cellar for the party. After salad, lobster bisque, and curried shrimp, a small piece of seared pork belly was followed by ostrich in a truffle reduction, which in turn was trumped by poached Chilean sea bass, bluefin tuna, fugu prepared by a master Japanese chef skilled in the art of preparation of the poisonous pufferfish, and the final entrée course of Kobe beef filet.

The value of story—of creator reputation—was vividly demon- strated in a social experiment conducted by the street artist Banksy during a 2013 New York residency. This is an artist whose work has sold for as much as $1.87 million at auction. Banksy erected a street stall on a sidewalk bordering Central Park and had a vendor sell his prints for sixty dollars each. He then posted a video of his experi- ment. Footage from a hidden camera captures some of his most iconic images displayed on a table. Tourists and locals meander by. His first sale doesn’t come for hours. A woman buys two small works for her children, negotiating a fifty percent discount. Around four in the afternoon, a woman from New Zealand buys two more. A little over an hour later, a Chicago man who “just needs something for the walls,” buys four. With each sale, the vendor gives the buyer a hug or kiss. At 6 p.m., he closes the stall, having made $420. In June 2015, one of these stenciled prints, Love Is in the Air—an image of a masked protestor throwing a bouquet of flowers—sold for $249,000. How much of the value of Banksy’s art is tied up in his name, his global brand?

In the decades that followed, a succession of schools—Impressionism, Post-Impression, Fauvism, Expressionism, Cubism, Surrealism—developed theories as far removed from Manet as Manet had been from Alberti. The idea of the artist as a Bohemian outsider came out of this revolution, as did the contempt that artists would develop for the public, an obsession with self-expression and iconoclasm, and the rejection of classical standards of beauty as an objective of art. Abstraction is a meta-invention that has much to answer for. But in its first flush and at its best, it produced works from 1850 to our cutoff point of 1950 that have so far survived the test of time as judged by the opinions of experts, prices in the auction room, and popularity in the museums. The

Reversing Hegel's famous maxim, I noted as long ago as 1967 that 'in a world that has really been turned upside down, truth is a moment of falsehood'. In the intervening years, this principle has encroached upon each specific domain, without exception. Thus in an era when contemporary art can no longer exist, it becomes difficult to judge classical art. Here as elsewhere, ignorance is only created in order to be exploited. As the meanings of history and taste are lost, networks of falsification are organised. It is only necessary to control the experts and auctioneers, which is easy enough, to arrange everything, since in this kind of business - and at the end of the day in every other kind - it is the sale which authenticates the value.

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For sacrifices of money and time as well, [57]the approval of audiences matters. Philanthropists who write eye-popping checks to arts organizations or universities tend to do so to ones favored by their social circle. Greenpeace holds fundraising galas with celebrity guests and public auctions because their supporters will pledge more money when other environmentalists are watching. Visitors to a donation-optional park give more when they arrive in groups than when they arrive alone.

Auction houses are generally very helpful if you do not have friends or siblings to help you.

These are the letters which Endymion wrote To one he loved in secret, and apart. And now the brawlers of the auction mart Bargain and bid for each poor blotted note, Ay! for each separate pulse of passion quote The merchant’s price. I think they love not art Who break the crystal of a poet’s heart That small and sickly eyes may glare and gloat. Is it not said that many years ago, In a far Eastern town, some soldiers ran With torches through the midnight, and began To wrangle for mean raiment, and to throw Dice for the garments of a wretched man, Not knowing the God’s wonder, or His woe?

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