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Here are the ten most expensive lots sold around the world at auction in February

AN ODDITY IN THE OPENING CREDITS for Pier Paolo Pasolini’s Mamma Roma (1962) has gone largely unremarked, probably because it is so cursory. A minute or so into the credit sequence, which is accompanied by the stately largo from Vivaldi’s Concerto for Viola d’Amore and Lute in D Minor, a fly suddenly enters at the lower right-hand side of the frame, meanders a bit before pausing on the name of an actor (Giulio de Stephanis) as if to inspect it, and then skitters off as quickly as it had emerged, its time on-screen totaling three seconds. Was the intrusion of the insect an accident—most...

What changing artistic depictions of women’s alopecia tells us about hair loss today.

An artist’s tortured past yields glittering traumas in high relief

Explore the profound legacy of Thomas Aquinas, whose ideas have shaped Western thought and had an enduring influence on Catholic theology.