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Copyright © 2026 All Rights Reserved
The gavel falls in a cathedral-like silence. 12.4 million dollars. That was the record price reached in 2022 for Man Ray’s Le Violon d’Ingres, a unique print made in 1924. In Christie’s auction room, collectors hold their breath. What changes hands is not just a photograph, but a fragment of history
The slanting light of an autumn afternoon filters through the gallery windows. On the easel, a yellowed sheet of paper bears the marks of a hesitant pencil, then a more assured one: it is the preparatory study for Delacroix’s Liberty Leading the People, acquired for nearly two million euros at aucti
The Sotheby’s auction room that July evening in 2023 hummed like a hive before a storm. Beneath the crystal chandeliers, a seventeenth-century canvas awaited its fate: Artemisia Gentileschi’s Judith Beheading Holofernes. The gavel fell at $24.2 million—a record for a female artist of the Baroque era
Dusk was falling over the Montforts’ old house when the art expert pushed open the attic’s creaking door. Between dust-covered trunks and frames stacked like forgotten books, a canvas emerged, half-hidden under a yellowed sheet. Time seemed to have stopped on that face with piercing eyes, framed by
The slanting light of an autumn afternoon filters through the windows of a Parisian office. On the walnut desk, the slender fingers of an expert carefully turn the pages of a document yellowed by time. The certificate of authenticity for Picasso’s La Femme qui pleure, signed by the artist’s own hand
The slanting light of an autumn afternoon filtered through the windows of Sotheby’s auction room in New York. On the rostrum, a small, brightly coloured painting—Untitled (1982) by Jean-Michel Basquiat—awaited its moment. Bought for $20,000 in 1984 by an anonymous collector, it would sell that day f
On October 5, 2018, in a Sotheby’s auction room in London, a work of art self-destructed before the stunned eyes of bidders. Girl with Balloon, Banksy’s iconic stencil, had just sold for £1.4 million. The moment the hammer fell, a hidden mechanism in the frame sprang to life: the piece slowly shredd
Paris, an autumn morning in 1945. In Fernand Mourlot’s printshop on rue de Chabrol, the air is thick with the scent of damp stone and greasy ink. Pablo Picasso, sleeves rolled up, watches as a sheet of Arches paper emerges from the press. On the limestone slab, barely visible beneath the traces of l
The night had fallen over Florence when the truck stopped in front of the Palazzo Pitti. Inside, carefully wrapped in polyethylene foam and strapped down like a patient in intensive care, a Botticelli painting awaited its fate. This was not the first time The Birth of Venus had left Italy—back in 20
Picture the scene: a Christie’s auction room in New York, on an autumn evening in 2017. The dimmed lights cast long shadows across the panelled walls, while a hundred pairs of eyes fix on a painting mounted on an easel, guarded like a relic. Salvator Mundi, attributed to Leonardo da Vinci, awaits it