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In a complex of dozens of studios and thousands of works of original art, the most impressive maker in the lot might be the proprietor himself, who happens to be the only one in the building who doesn’t call himself an artist.
A recent memoir by Patrick Bringley about his time working at the Metropolitan Museum of Art illustrates the intimate knowledge guards possess of the pieces they protect.
The dealer remains “cautiously optimistic” about the trade’s prospects this autumn
The gallery's new exhibition, a career retrospective of the late French master painter, needs to be seen in person.
They look at you from behind inscrutable eyes, aloof and moderately annoyed, jaw lines jutting like ice floes. The faces are at once classically famil