The article reports the opening of a Stradivari-focused exhibition titled The Myth of Stradivari at Moscow's Glinka National Museum, in collaboration with the Cremona Museo del Violino and Friends of Stradivari. It highlights key Italian makers including Stradivari, Amati, and Guarneri, and mentions notable pieces such as a 1671 Stradivari once owned by Queen Elisabeth of Belgium and a 1715 viola by Oleg Kagan, along with loans from Cremona.
Leonardo da Vinci's Salvator Mundi fetched $450.3 million, surpassing expectations. Artprice explains this as the culmination of a logical price construction process within the Museum Industry, noting Artprice's role and forecasts prior to the sale.
Kerry James Marshall's Still-Life with Wedding Portrait, 2015, sold for $5.04 million with buyer’s premium, a new record for the artist at auction, at Christie’s alongside Leonardo da Vinci’s Salvator Mundi sale. Marshall donated the painting to a charity sale benefiting the Museum of Contemporary Art, Chicago, in 2015. The article discusses market activity and records surrounding Marshall and mentions Greenberg Rohatyn and related bidding dynamics.
Leonardo Salvator Mundi by Leonardo da Vinci sold for $450,312,500 (including fees) at Christie’s New York, after a battle among three phone bidders. The painting carried an estimate around $100m and was described as the last Leonardo remaining in private hands.
Leonardo da Vinci's Salvator Mundi sold for $400 million (total with fees $450.3 million). The buyer is unknown. Previously, Pablo Picasso's Les Femmes d’Alger (1955) held the record at $179.4 million with fees, and Willem de Kooning's Interchange (1955) is believed to be the top private-sale price at roughly $300 million.
Leonardo da Vinci's Salvator Mundi is discussed as it rose from a £45 auction price in 1958 to $450.3 million sale at Christie's in 2017. The article traces key moments: painted around 1500 for French royalty, 1625 commission and England journey, 1651 debt settlement, 1763 disappearance, late 19th century entry into Sir Frederick Cook's collection, 1958 Sotheby’s London sale for £45 ($72), 2005 estate sale purchase for $10,000, 2013 authentication and private sale to Yves Bouvier for $75–80 million, subsequent sale to Dmitry Rybolovlev for $127.5 million, and 2017 Christie’s sale for $450.3 million.
Leonardo da Vinci’s Salvator Mundi sold for $450.3 million at Christie’s postwar and contemporary art evening auction in Rockefeller Center, New York, setting a new record for the most expensive artwork sold at auction. The painting, titled Salvator Mundi, was purchased by an anonymous client on the phone with Christie’s department head Alex Rotter. The previous record was Pablo Picasso’s The Women of Algiers, which sold for $179.4 million at Christie’s in 2015.
Leonardo da Vinci's Salvator Mundi sold at Christie’s in New York for 450.3 million dollars, including auction house premium, setting a world record for any artwork sold at auction. The Christie’s sale followed tense bidding, with a final price that surpassed previous records.
Leonardo da Vinci's Salvator Mundi sold at Christie's in New York for $450.3 million, the highest price ever paid for a work at auction or privately. The painting, Salvator Mundi, was bought for $400 million after a premium was applied, with bidding opening at $75 million and lasting 19 minutes.
Leonardo da Vinci's portrait of Christ, Salvatore Mundi, sold for $450.3 million at Christie's in New York, a record auction price. The painting was purchased by an unidentified buyer via telephone, contributing to Christie's total of $785.9 million for the sale.
The page reports that Leonardo da Vinci’s Salvator Mundi sold for $450.3 million at Christie’s, surpassing the previous record held by Willem de Kooning’s Interchange. Kenneth C. Griffin previously set the record with a $300 million sale in 2015. The sale date was at Christie’s Post-War & Contemporary Art auction, with ongoing speculation about Abu Dhabi Louvre affecting the market.
Leonardo da Vinci’s Salvator Mundi sold for US$450,312,500 (£342,182,751/€380,849,402), setting a new auction record for any work of art. The winning bid was placed by Christie’s Alex Rotter on behalf of an anonymous client at Christie’s in New York on 15 November 2017.
Spotlight on Dubai and Abu Dhabi for Louvre Abu Dhabi opening and Sotheby’s inaugural Boundless: Dubai sale, with references to the Abu Dhabi Art Fair and notable works and galleries in Dubai and Abu Dhabi.
The Salvator Mundi, attributed to Leonardo da Vinci, sold in New York for a record $450 million (£341 million). Bidding began at $100 million and the final bid reached $400 million, with fees bringing the total to $450.3 million. The painting’s attribution and authenticity have been questioned, and the identity of the buyer was not disclosed.
Leonardo da Vinci, Salvator Mundi, sold for $450,312,500 (including buyer’s premium) at Christie’s New York on 15 November 2017, becoming the most expensive painting ever sold at auction. The Post-War and Contemporary Art Evening Sale totaled $785,942,250.
The article reports Christie’s Impressionist and Modern evening sale in New York achieving a total of $479.3 million (with fees), the second-highest for the category, with Van Gogh’s Labourer dans un champ selling for $72 million ($81.3 million with fees) and Léger’s Contraste de formes selling for $62 million ( $70.06 million with fees). Additional artist records were set for René Magritte, Jean Crotti, Suzanne Duchamp, Emil Nolde, Man Ray, and Edouard Vuillard.
Vincent van Gogh’s Laboureur dans un champ, St Remy (1889) sold for $81.3 million with premium after an opening bid of $42 million and a final hammer price of $72 million; the work was the star painting of the Christie’s Impressionist and Modern sale at Rockefeller Center, which totaled $479.3 million. The buyer's premium brought the price above presale estimates, and additional works in the sale brought totals for other artists including Renoir and Chagall. The buyer’s premium is included in the final price.
The piece discusses Kim Kashkashian performing Berlioz’s Harold in Italy with the Boston Philharmonic, conducted by Benjamin Zander, highlighting the viola’s role and the historical context including Paganini, Primrose and the 1944 first recording.
The article recounts how opera singer Don Pasquale, visiting Riverside in January 1917, disappeared with an Amati Cremona violin valued at $14,000; the violin was traced to a pawn shop in Los Angeles and recovered. Emma Kretschmann and her father Adolph/August Kretschmann are introduced as local residents connected to the violin's history in Riverside.
The Bass family of Fort Worth is auctioning a private collection of 36 masterworks valued at over $120 million through Christie's in New York on November 13 and 15. The lineup includes works by Vincent van Gogh, Henri Matisse, Camille Pissarro, Pierre-Auguste Renoir, Marc Chagall, and Mark Rothko, with leading piece Van Gogh's Laboureur dans un champ highlighted by Christie's. Other notable pieces include Kees van Dongen's Portrait de Madame Malpel, Matisse's Les régates de Nice, and Joan Miró's Peinture, each with generous estimated ranges.
Sotheby’s documents the market development behind First-Ever Auction of Artworks from Artist Pension Trust. Its account reports that artist Pension Trust® (APT), which offers long-term financial security to select artists around the world, is to offer a selection of artworks from its vast holdings at auction for the first time.
Sotheby’s documents the market development behind An Evening of Record-Breaking Masterpieces in London. Its account reports that sotheby’s Evening Sales of Impressionist and Modern Art and Actual Size totalled a combined £148,877,000/ $187,719,009, with three works selling for over £20 million for the first time in any London auction.
Sotheby’s documents the market development behind Property from the Collection of Samuel J. & Ethel LeFrak. Its account reports that a native New Yorker, Samuel J.
The page reports that the Max Stern Restitution Project in Montreal recovered two Dutch Old Masters, Ships in Distress on a Stormy Sea by Jan Porcellis and Landscape with Goats by Willem Buytewech the Younger, and announced a method to provide German tax receipts for the market value of recovered art to compensate owners or heirs. It references broader context of Nazi-looted art, including Cornelius Gurlitt, and quotes Wesley Fisher and Clarence Epstein on restitution complexities and the project’s unprecedented approach.
Planet Hugill article about Guy Johnston’s Tecchler cello birthday present, discussing the 300th birthday journey of the instrument and the eclectic CD programme featuring Ola Gjeilo, David Matthews, Beethoven, Mark Simpson, Jean-Baptiste Barriere, Charlotte Bray and Respighi with Johnston, Tom Poster, Magnus Johnston, Sheku Kanneh-Mason and Carlo Rizzari, recorded with the Orchestra dell'Accademia Nazionale di Santa Cecilia.
The article discusses an NZSO concert directed and violin soloed by Aisslinn Nosky at St Andrew’s on The Terrace, Wellington, featuring 18 NZSO players including violins Ursula Evans, Vesa-Matti Leppänen, Haihong Liu, Anne Loeser, Simon Miller, Megan Molina, Gregory Squire, Rebecca Struthers, Anna van der Zee, Beiyi Xue; violas Michael Cuncannon, Victoria Jaenecke, Lyndsay Mountford, Belinda Veitch; cellos Eleanor Carter, Robert Ibell, Ken Ichinose; bass Malcolm Struthers; harpsichord Douglas Mews, with works by Vivaldi, Handel, Telemann, and Geminiani.