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Michelangelo Sketch Sells for $24 Million in Paris

May 19th, 2022

A recently unearthed Michelangelo sketch, considered to be the artist’s first nude, has sold  at Christie’s Paris for a record 23 million euros ($24 million). “Michelangelo has decided to make the figure into something that corresponded more to his aesthetic by making him much more robust and monumental, while at the same time keeping the fragility of the figure, who is exposed and shivering” as he awaits baptism,” says Christie’s Old Masters expert Stijn Alsteens.
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Basquiat Work Sells for $85 Million at Phillips $224.9 Million Night

May 19th, 2022

The Jean-Michel Basquiat work from the collection of Japanese billionaire Yusaku Maezawa had a strong return to auction last night at Phillips, where it achieved $85 Million, part of a total sale of  $224.9 million, the highest in the company’s history. 
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Independent Art Fair to Launch New Fair Around 20th Century Work

May 17th, 2022

The Independent Art Fair will launch a new fair in September this year that will focus on 20th Century Works. “Over the years, there has been a shift, with next-generation dealers showing a more diverse group of artists and territories, geographically, socially, politically,” says Independent director Elizabeth Dee. “They are looking forward and looking back, saying, ‘We need to have a canon that looks like our program.’”
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REFERENCE LIBRARY

Baroness Marion Lambert

Collector’s Birthdate: NALambert, wife of collector Baron Philippe Lambert of the prominent Belgian banking family, is one of the first collectors and patrons of contemporary photography.

Her photography collection Veronica’s Revenge was assembled thanks to her close relationships to artists as well as her keen collector’s sense. The exhibition was shown at the family-founded Bank Brussels Lambert in 1996 in Geneva. Subsequent protests from the bank director led to its removal and ultimate sale at auction in 2005.

Key works include Mike Kelley’s “Ahh… Youth”.

On collectors:

“Collectors are hoarders, and probably fodder for shrinks. I am no exception, although with the years I have learned to control myself while weeding out the mediocre and superfluous from the essential and best…Collectors often do not make an attempt to establish a discourse between the works, and do not build something coherent. They buy names, fashions, trends, and what their neighbor has.”

She adds, “people who only buy art to invest, sooner or later will fall flat on their faces.”

Lindemann, Adam. Collecting Contemporary: Los Angeles, Taschen GmbH 2006.