“Long winter for Old Masters” headlined the Financial Times’ Collecting section this past weekend, referring to the bad performances of London Old Master auctions the previous week. Although Georgina Adam is right in making this statement, what isn’t mentioned is the serious lack of good quality paintings on offer, the ridiculously high estimates given by auction house experts, and a headline lot failing to sell because of authenticity concerns.
“Long winter for Old Masters” headlined the Financial Times’ Collecting section this past weekend, referring to the bad performances of London Old Master auctions the previous week. Although Georgina Adam is right in making this statement, what isn’t mentioned is the serious lack of good quality paintings on offer, the ridiculously high estimates given by auction house experts, and a headline lot failing to sell because of authenticity concerns.
London has two great Old Master exhibitions closing this week, the Moroni exhibition at the Royal Academy and the Rembrandt late works at the National Gallery. With Moroni we have the great portraitist of the Renaissance anticipating the realistic style of Caravaggio and later Manet; and Rembrandt, the undisputed star of the 17th century Dutch art scene.
