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Record Rise for Orientalist Paintings – artmarketblog.com

admin — Fri, 27 Jan 2012 18:19:10 +0000

Record Rise for Orientalist Paintings – artmarketblog.com

As the art market continues to rebound, and new buyers continue to emerge from the middle east, the demand for top orientalist paintings has risen significantly over the last twelve months. Exceeding the market high seen during the 2007/2008 boom, the prices being paid for the work of many orientalist artists have reached record highs. Christie’s 26 January 2012 Old Master & Early British Drawings & Watercolors held at the Rockefeller Plaza in New York saw the fifth highest auction price achieved for British/Italian artist Edward Lear whose orientalist watercolour painting Montenegro - a group of figures in a mountainous landscape – shot past the $120,000 – $180,000 estimate for a final price of $422,500. Previously sold by Christie’s for US$93,400 (excluding premium) in 1992, the painting then passed to the vendor through Artemis, London in 1996. Lear’s View of Gwalior, India, 1880 also sold well fetching $170,500 against an estimate of $50,000 – $70,000.

Over at Bonhams, a new auction record was set for Russian artist Vasilii Dmitrievich Polenov with an orientalist inspired painting titled He that is without sin from the artist’s The Life of Christ series. Estimated to sell for £1,200,000 – 1,800,000, this epic painting by one of Russia’s greatest artists sold for £4,073,250 during Bonham’s The Russian sale held on the 30 Nov 2011 in London. Earlier in the year, on the 6th of June, Sotheby’s achieved a new auction record for one of Polenov’s contemporaries, Vasily Vasilievich Vereschagin, whose orientalist painting of the Taj Mahal sold for £2,281,250 against an estimate of £250,000 – 450,000.

According to French auctioneers Artcurial, they were the world leader in orientalist paintings in 2011, posting a turnover total of 5 million euros for the year. Artcurial set four orientalist auction records during 2011 including:

La Kasbah rouge by Jacques Majorelle, 1924, sold for €1,315,818 on 9 June 2011;
A work on paper by Alexandre Roubtzoff, sold for €60,020 on 9 June 2011, reaching a record of €434,300, on 8 June 2010 for an oil painting from 1935, la Bédouine de Tunis;
La Tikka, l’heure du thé by Edouard-Léon-Louis Edy-Legrand, sold for €378,494 on 9 June 2011;
Les Beautés de Marrakech by Lucien Levy-Dhurmer, pastel on paper, sold for €297,900 on 18 December 2011.

image: Montenegro by Edward Lear

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications.

The Overlooked Italian Post-War Artist Domenico Gnoli – artmarketblog.com

admin — Tue, 08 Nov 2011 17:25:22 +0000

The Overlooked Italian Post-War Artist Domenico Gnoli – artmarketblog.com

See part one here:

http://www.artmarketblog.com/2011/11/01/rising-stars-of-italian-post-war-art-market-pt-1-artmarketblog-com/

When it comes to overlooked artistic talent, Italian born realist painter Dominico Gnoli (1933-1970) would have to be one of the most compelling. Born to an art historian father and artist mother, Gnoli never undertook formal training as a visual artist instead choosing to learn the art of drawing and printmaking from the Italian artist Carlo Alberto Petrucci. Best known for his known for his portrayal of details of dress and domestic objects, Gnoli’s work ranges from Escher like surrealist illustrations to richly detailed paintings of hair and clothing. An artforum article from 2001 suggests that one of the reasons that Gnoli’s work not have received the attention it deserves is that he spent much of his life away from his native Italy and has therefore been almost ignored by Italian museums which rarely revisit the output of this seminal postwar artist

Very little information is available on Gnoli, but that is likely to change very soon given the rapidly increasing desirability of Gnoli’s work. According to a book written in 1975 by Luigi Carluccio dedicated to the final period of Gnoli’s work that extends from 1954 to 1969:

“Gnoli’s work is rich and lucid in a super-realistic style with subtle colors that somehow radiate light. His elegant, almost enameled , perfection often has the luster we notice in Vermeer. Gnoli has created an intimate world that focuses on single details with an absorbed, uncanny attention that reveals a household in a rumpled bedspread, the story of a man’s life in the parting of his hair, the social values of an entire decade in a lady’s brassi re. Here are passive people and objects that quiver with life, boats that turn into towers and towers that seem to be siling: here are the humble and banal mass-products of daily life painted in the most accurate and realistic manner that somehow transforms them into a source of wodner, beauty and pleasure.”

A new world auction record was set for Gnoli by Christie’s on the 14th of October when the sold for Busto femminile di dorso (Female Bust from the Back) for £2,337,250 against an estimate of £500,000 – £800,000. The previous auction record for a work by Gnoli was also set by Christie’s who sold the artist’s Branche de Cactus for £1,049,250 against an estimate of £280,000 – £350,000 during their 28 June 2011 Post-War and Contemporary Evening auction. The third highest price at auction for a work by Gnoli was also set by Christie’s on the 14th of October 2011 with the artist’s Pelliccia (Fur) which achieved £881,250 against an estimate of £250,000 – £350,000. This work was previously offered by Sotheby’s in 2005 for £160,000 against an estimate of £180,000 – £250,000.

Given that so few of Gnoli’s works appear at auction, it may take a while for his reputation as an artist to receive the recognition it deserves. Nevertheless, the signs are positive that the work of Dominico Gnoli, an artist whose life was cut short by cancer at the age of 37, is on its way to becoming as popular as that of other famous post-war Italian artists.

image:

Domenico Gnoli (1933-1970)
Busto femminile di dorso (Female Bust from the Back)
signed, titled and dated ‘D. Gnoli “Busto femminile di dorso” 1965′ (on the reverse)
acrylic and sand on canvas
39 3/8 x 47¼in. (100 x 120cm.)
Painted in 1965

Art Market Blog Press Update – artmarketblog.com

admin — Tue, 27 Sep 2011 20:06:02 +0000

Art Market Blog Press Update – artmarketblog.com

The latest press coverage featuring Nicholas Forrest and the Art Market Blog:

Reconsidering the L.A. vs. New York Art Market Rivalry by Nicholas Forrest

http://www.fabrikmagazine.com/content/reconsidering-the-la-vs-new-york-art-market-rivalry/

5 Reasons the Chinese Art Boom May Not Buoy the Global Art Market After All

http://www.artinfo.com/news/story/38578/5-reasons-the-chinese-art-boom-may-not-buoy-the-global-art-market-after-all/?page=2

The ‘bubble’ and the ‘wobble’

http://www.artnewsnviews.com/view-article.php?article=the-bubble-and-the-wobble-&iid=23&articleid=609

After Gold: Eight Things Ron Paul Should Convince His Supporters to Buy Next

http://www.tnr.com/slideshow/95320/after-gold-eight-things-ron-paul-should-convince-his-supporters-buy-next?7

ArtMarketBlog | Top 10 PurePhoto Images

http://blog.purephoto.com/?p=3861

Six Super Art Investment Tips – artmarketblog.com

admin — Fri, 03 Jun 2011 08:34:54 +0000

Six Super Art Investment Tips – artmarketblog.com

1. Know what to expect

In recent times fine art has gained popularity as a hedge against the volatile fluctuations that have plagued the more mainstream financial markets such as the stock market. The fact that fine art is a tangible object and can be traded for money in any currency also appeals to investors who have large amounts of money in intangible products and markets that use virtual or electronic market places. As well as the financial benefits associated with the purchase of art as an investment, there is also the enjoyment you will get from purchasing and owning a piece of fantastic fine art, which is why it is important to purchase something that you actually like.

If you are expecting to score large and fast profits from investing in fine art then fine art is not the investment for you. If, however, you are looking for a long term investment in a tangible object that can be enjoyable, educational AND potentially profitable if approached in the right way, fine art is definitely something you should consider investing in. Before you whip out the credit card there are some things you need to know about the art market and art investment. First of all, the nature of the art market means that art investment needs to be approached as a long term investment that will usually require a minimum holding period of seven to ten years – but be prepared to sell sooner if market conditions are favourable. Secondly, the cost of selling fine art tends to be quite high so one needs to factor in those costs when deciding whether to sell or not. Thirdly, it is extremely important to remember that fine art should be approached as a way of diversifying an investment portfolio and should form part of a balanced portfolio.

2. Buy the best you can afford

When it comes to deciding what to buy it is important to remember that when purchasing art as an investment you should always purchase the best that you can afford. This means that it is better to purchase a really excellent drawing or limited edition print than to purchase a mediocre painting. At the end of the day, a top quality original work on paper or limited edition print will always be more desirable than a mediocre painting. It is also extremely important to purchase something that you would actually be happy to live with should the value of the work of art you have purchased fail to increase in value or, in a worst case scenario, go down in value. If have purchased something you like and it does go down in value, at least you can still enjoy the work of art.

There is really no minimum amount of money that one needs to spend to invest in art, however, the more money you spend, the more options you will have, and the more likely the work/s you are buying will increase in value. Limited edition prints or photographs by emerging artists can be purchased for as little as a few hundred pounds, but stand much less chance of increasing in value than a ten thousand pound drawing by a well known artist. Essentially, the more you spend, the less risky the investment, and the greater the chance of receiving a higher return. The more well known blue chip artists who have plenty of art historical and curatorial backing are going to be a much safer investment, but will also be require a considerably higher outlay to begin with. Less well known emerging artists who are at the beginning of their career require a much smaller initial investment, but are also a much more risky investment as they do not have a proven track record. To be honest, anyone can “invest” in art as long as they have extremely low expectations, but to stand a chance of actually seeing a proper worthwhile return on your investment I would suggest a minimum figure of ten thousand pounds. The reason I suggest ten thousand pounds is that ten thousand pounds will buy a good quality photograph, drawing or limited edition print by a desirable artist.

3. Get involved

The best way to find out where, when and what to buy is to get to know people who are involved in the fine art world. Go to gallery openings, visit museums, attend auctions and art fairs, befriend curators and engage with artists. Not only will you get advice from these art market insiders, you are also likely to get opportunities to purchase works from sources that would normally not be available to the average art buyer. Getting to know collectors and the artists they support can open the door to an artist’s studio where you may be able to purchase a work of art directly from the artist for less than you would pay in a gallery or at auction; befriending a curator or gallerist might get you access to works that are not usually made available to the general public; getting to know an auction house representative is a good way of finding out what the current trends are and which artists are worth investing in. There is no doubt that the most successful art investors are those who are able to use the knowledge and expertise of other people to make informed, rational and justifiable decisions.

4. Think outside the box

If you have a limited income that would not allow a ten thousand pound investment then you may have to look outside the box to find something worth purchasing. Artists often experiment with a range of different mediums even though they may be particularly well known for one medium in particular. By thinking outside the box and looking at alternative mediums that an artist may have worked in, one can find some interesting and highly desirable works of art by well known artists for relatively small sums of money. For instance, did you know that Picasso produced quite a number of limited edition ceramic objects that can be purchased for as little as a few hundred pounds? Picasso ceramic works are particularly desirable and present a rather interesting alternative for those who have a more limited budget.

5. Buy from a reputable source

Auction houses, galleries and art fairs are the best sources of investment quality fine art. Although it may be tempting to just jump on ebay, the high number of fake and fraudulent works of art sold online make going to a reputable dealer who will guarantee the authenticity of what you are buying well worth the extra effort. That is not to say that I would never recommend purchasing works of art online. If you are going to purchase online you need to make sure that you are purchasing from a reliable source that has an excellent reputation and will provide a written guarantee of authenticity. Regardless of whether you are purchasing from a dealer or online, it is well worth getting the opinion of a few experts before deciding what to purchase and where to purchase from.

6. Build a collection

Once you have purchased your first piece of fine art it is likely that you will be bitten by the bug and want to buy more. By building a collection based around a particular theme, movement, artist or medium, you can develop a certain level of expertise and knowledge that will help make future purchases much easier. Developing a collection is an enjoyable and rewarding process that also encourages a certain amount of discipline and connoisseurship that will help you make more rational and justifiable decisions – decisions that are more likely to result in the purchase of works that will increase in value.

The Spectacle of the Art Market Part 3 – artmarketblog.com

artforprofits — Tue, 15 Dec 2009 04:27:05 +0000

The Spectacle of the Art Market Part 3 – artmarketblog.com

Natalya Goncharova's Linen

I am sure that many of you would agree that it has become the norm for people to approach fine art as consumers instead of as scholars or connoisseurs. If you were to ask me whether there is anything wrong with this I would say that there definitely is. Don’t get me wrong, I am obviously a strong supporter of the art market, but also recognise the need for a balance between the commercial and the cultural. Without that balance the art market becomes unstable and the art world becomes too closely connected to the art market. Whether you realise it or not, the art market requires a certain level of “infiltration” by scholars and connoisseurs. It is the scholars and connoisseurs who add value to works of art by generating information and knowledge that make works of art historically and culturally more significant. It is this information that is generated by scholars and connoisseurs that we should be using to justify the dollar value of a work of art because this information is usually based on intrinsic characteristics of the work of art that cannot be disassociated from the work of art or become obsolete, and therefore encourage more stable long term values. The contemporary art market, on the other hand, often relies on factors that have very little to do with the work of art its self such as social status, economic status, popular trends and financial gain. These factors can become obsolete very quickly which usually means that the dollar value that these factors generated also disappears causing the sort of correction that we have just experienced.

In February of 2008 Nicholas Penny, the curator of the British National Gallery, made a statement that he was going to put an end to the gallery’s blockbuster exhibition days. According to an article in the Guardian Newspaper, Penny said “The responsibility of a major gallery is to show people something they haven’t seen before. A major national institution should be one that proves a constant attraction to the public. What is important is encouraging historical and visual curiosity in the general public.” Ralph T. Coe, the former director of the Nelson Gallery-Atkins Museum in Kansas City, Mo., a former president of the American Association of Art Museum Directors and a former chairman of the Museum Committee of the National Endowment for the Arts, put the problem in even simpler terms when he said: “One of the saddest things museum connoisseurs like me have had to observe is the substitution of entertainment values for the intrinsic values incarnate in great works of art that alone can confer aesthetic authenticity.” This problem of the substitution of entertainment values (the spectacle) for intrinsic values that the cultural sector is experiencing is also a big problem for the art market as I have shown above. We need to stop the spectacularisation of the contemporary art market if we want to have a more culturally and historically significant period of art production. I believe that we need to be asking the following question on a far more regular basis: in one hundred years time will this work be able to be exhibited in a museum, and will people consider the work to be culturally significant and be historically important?

Do-Ho Suh at SculptureCenter – artmarketblog.com

artforprofits — Tue, 23 Jun 2009 16:10:55 +0000

Do-Ho Suh at SculptureCenter – artmarketblog.com

SculptureCenter Home Exhibitions Events Visit Join About Press Store Limited Editions Bookstore Event Tickets Search All content © SculptureCenter. All rights reserved. Limited Editions Do-Ho Suh Doorknob/Bathroom, 2003 Polyester fabric, lithograph on paper in acrylic box 12" x 18" x 7 3/4" Edition of 20 with 3 artist proofs $4,500.00

A new auction record was set for a limited edition work by the popular Korean artist Do Ho Suh at Philips De Pury’s June 2nd Editions sale where one of the artist’s limited edition lithographs, “Untitled, 1998″, sold for $7,500 against an estimate of $2000 – $3000. A far more interesting limited edition work by Do Ho Suh titled “Doorknob/Bathroom is available from the New York based SculptureCentre for $4,500.00. An edition of 20 with 3 artists proofs, “Doorknob/Bathroom” is “a full-scale reproduction of the doorknob of the artist’s Chelsea apartment. Do-Ho Suh often works with semi-transparent fabrics that he delicately sews together to represent – and defy – existing and functional spaces and objects. Doorknob/Bathroom exists as an isolated architectural element, separated from Suh’s apartment and therefore abandons its ties with a specific place and becomes a loose abstraction with a new-found flexibility and transparency”

The popularity of Do-Ho Suh’s work and the inclusion of his work in the collections of the NY Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum, and the LA Museum of Contemporary Art makes this limited edition a good investment.

To purchase or inquire about this SculptureCenter Limited Edition, please contact Mary Button at mbutton@sculpture-center.org or 718-361-1750 x111

For more information go here:
http://www.sculpture-center.org/storeLimitedEdition.htm?id=10159

Art Market Blog in the News – artmarketblog.com

artforprofits — Wed, 08 Apr 2009 03:37:53 +0000

Art Market Blog in the News – artmarketblog.com

Hi Art Market Blog readers, I thought you might be interested in seeming some of the press that the Art Market Blog has received over the last few weeks. Enjoy !!

http://www.tmcnet.com/usubmit/-bay-area-sculptor-gains-recognition-combining-classical-art-/2009/03/25/4081341.htm

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article5981759.ece

**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com,
writes the art column for the magazine Antiques and Collectibles for
Pleasure and Profit and contributes to many other publications.

Mai-Thu Perret Edition from Parkett Art – artmarketblog.com

artforprofits — Tue, 24 Feb 2009 03:31:21 +0000

Mai-Thu Perret Edition from Parkett Art – artmarketblog.com

Mai-Thu Perret is a rather interesting Swiss artist who I was not really aware of until recently when I came across a rather intriguing limited edition of Perret’s work being sold at Parkett Art. An exhibition of Perret’s work titled “New Work: Mai-Thu Perret” is currently on show at the San Francisco Museum of Modern Art (SFMOMA) in San Francisco, California. The exhibition includes works that have been influenced by a fictional narrative that Perret has created called The Crystal Frontier which the SFMOMA website describes as a “a fictional account of a group of women who found a small utopian community in the desert of southwestern New Mexico in an attempt to escape the impositions of capitalism”. Perret started The Crystal Frontier in 1999 and has since produced films, posters, mannequins, furniture, paintings, wallpaper, sculptures, ceramics, banners and performances most of which Perret exhibits as having been made by members of the fictional Crystal Frontier community.

Parkett Art are currently selling a limited edition work by Perret titled “A Portable Apocalypse Ballet (Red Ring), 2008″ which is a model of a girl holding a red ring that lights up. A brief description of the work is provided which states that “The purity of the circle, unassailable with eyes closed in order to see”. This work appears to have been created in conjunction with a film that Perret produced called “An Evening of the Book” in which female dancers performed movements in group formation along with simple acts, like cutting through a black banner, manipulating white fluorescent tubes, opening a book, or playing with hula hoops. According to the text by Julien Fronacq that is part of the feature on Perret in the latest edition of Parkett Art “The film
itself takes its inspiration from Varvara Stepanova’s set designs for an agit-prop play of the same title. Viewing the piece in the gallery’s three-projection installation, one can’t help but think of modernism’s most emblematic objects (the monochrome, the
neon tube) or of Yvonne Rainer’s everyday gestures, like walking or sitting, that play down the pathos of dance.”

The body of work that has been produced by Perret as part of “The Crystal Frontier” is eclectic and complex which makes explaining the symbolism and meaning behind “A Portable Apocalypse Ballet (Red Ring)” rather difficult to do in a single blog post. What I can tell you is that Mai-Thu Perret’s has been receiving plenty of attention over the last six months and with current exhibitions of her work at the SFMOMA and Aspen Art Museum there is no doubt that Perret is an emerging contemporary artist well worth keeping an eye on.

A Portable Apocalypse Ballet (Red Ring), 2008 is an edition of 45 and is available from Parkett Art for US$2500. For further information or to purchase the item go to http://www.parkettart.com/index3.htm

and you can read more about Perret’s work here: perret-21

Image: “A Portable Apocalypse Ballet (Red Ring), 2008″
sculpture, opaque non-toxic polyurethane resin, color cast with instant polyurethane pigments, clothing designed by Ligia Dias, beige viscose fabric with white accents and metal buttons, black leather belt, modacrylic light brown wig, solid cast polyurethane resin base, painted, neon ring powered by 12 V CE and UL approved universal wall adapter, 14 3/4 x 7 x 7″ ( 37,5 x 17,8 x 17,8 cm) production by Gamla Model Makers, Feasterville, PA, USA, Ed. 45/XX, signed and numbered certificate.

Private Collections and the 09 Art Market – artmarketblog.com

artforprofits — Thu, 29 Jan 2009 03:15:18 +0000

Private Collections and the 09 Art Market – artmarketblog.com

Mr and Mrs Warner

There have not been any major auctions of art yet this year but the auctions that have been conducted are already giving clues as to what to expect in 2009. Two auctions of single owner private collections were conducted in January both of which were very successful considering the art market correction and financial downturn. These two auctions were not dedicated art auctions as the people who owned each of the collections collected a range of antiques and other objects but they did include some art. Even though the auctions were not dedicated art auctions, the similarities in the market for antiques, collectibles and art means we can quite often use a sale of items from one market as an indicator of buyer behavior, buyer sentiment and market trends in another market. Two January sales – one at Sotheby’s and one at Christie’s – gave good indications of what characteristics are attracting buyers at the moment.

The first sale was the sale of the private collection of the late Roger Warner by Christies on the 20th and 21st of January. According to Christie’s, Warner was one of the most renowned and admired British antique dealers of the 20th century as well as a major collector. What makes Warner’s collection even more enticing is the fact that he kept a meticulous record of the provenance of each item that he purchased. The best items from Warner’s collection which amounted to 640 lots were included in the sale and were expected to fetch a total of around 800,000 pounds. When all was said and done the sale had generated more than double it’s estimate reaching a total of over 2,0000,000 pounds .

The second sale was the single-owner sale of the Property of Dr. and Mrs. Henry C. Landon III which took place on the 24th of January at Sotheby’s in New York. Dr. and Mrs. Henry C. Landon III’s collection had been profiled in several publications and had been the subject of an exhibition at the University of Virginia Art Museum. The sale, part of Sotheby’s Americana Week Sales, comprised of American furniture, objects of decorative art as well as some paintings but it was the rare and important pieces of furniture that attracted the most interest. The auction was a big success with 95% sold by lot.

These two sales prove once again that the market for antiques and art is still very receptive to provenance, rarity, quality and market freshness. The same trend was evident towards the end of 2008 with several single owner collections going under the hammer and achieving excellent results that defied the generally poor results being experienced all over the world. You can read the two posts that I wrote on the single owner collection sales at the end of 2008 here:

Single Owner Auctions Defy Downturn:
http://artmarketblog.com/2008/12/15/single-owner-art-auctions-defy-downturn-artmarketblogcom/

Single Owner Art Sale Success Part 2:
http://artmarketblog.com/2008/12/17/single-owner-art-sale-success-part-2-artmarketblogcom/

Sigmar Polke at Editions Schellmann – artmarketblog.com

artforprofits — Sun, 25 Jan 2009 11:49:51 +0000

Sigmar Polke at Editions Schellmann – artmarketblog.com

German artist Sigmar Polke is undoubtedly one of the most important and influential artists of the post-war generation. Polke is often grouped with other important German artists such as Keifer, Penck, Richter and Immendorf all of whom were part of the Neo-Expressionist movement. The Neo-Expressionist movement developed in the late 70′s as a reaction to the minimalist and conceptual art that had been a dominant force in the art world during the 70′s. The Guggenheim website defines Neo-Expressionism as: “Rejecting the restrictions against imagery and gestural treatment set by their Minimalist and Conceptual teachers and contemporaries, the Neo-Expressionists revived the formal elements of German Expressionism and Abstract Expressionism”

The market for Polke’s work has risen significantly since 2004 and, according to artprice.com, continues to rise. The artprice.com price index shows that 100 EUR invested in 1998 in a work of Sigmar POLKE would have an average value of 330 EUR in December 2008. The auction record for a work by Polke is (GBP2,708,000 / US$5,321,220) which was set in February 2007 for the work “Strand” against an estimate of GBP800,000 – 1,200,000. A major exhibition of Polke’s work that was held at the Tate Modern in London in 2004 may well have contributed to the increase in desirability of Polke’s work at a time when the art market boom was just beginning to really take hold. To own a work by Polke is a privilege that not many people have the opportunity of experiencing so the opportunity to be able to own a work by Polke for less than US$1000 would be too good to pass up. The prestigious Edition Schellman gallery has provided such an opportunity by offering one of Polke’s limited edition silkscreens for half price. “Oase” 1998 is an edition of 70 that measures 70x50cm and is signed and numbered by the artist. A mere 600 EUR (around US$770) plus shipping will secure this fantastic work by an extremely important and desirable artist. If you are interested in owning your very own work of art by Polke you can find the contact details for Edition Schellman here. There is only one work available at this special price so if you are interested you had better get in quick!!

Art Market Blog - artmarketblog.com » art blog

Record Rise for Orientalist Paintings – artmarketblog.com

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