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Pietro and Gian Lorenzo Bernini, Autumn (1616), Fearless: The Collection of Hester Diamond, Sotheby’s, New York, 29 January. Estimate $8m-$12m The late art dealer, collector and interior designer Hester Diamond may have been birdlike in stature but she made up for it with big, bold taste. Her Manhattan home mixed bright contemporary furniture by the likes of Marcel Wanders and Dror Benshetrit with Renaissance paintings, 16th-century limewood sculptures and rare minerals. The star of Sotheby’s sale of her collection is this twisting, Baroque marble sculpture of autumn by Gian Lorenzo Bernini and his father Pietro. A precocious and inventive talent, Gian Lorenzo was only 18 years old when he carved Autumn, a commission for Prince Leone Strozzi. It is one of few Bernini father and son collaborations left in private hands (similar examples are in the J. Paul Getty Museum, Los Angeles, and the Metropolitan Museum of Art, New York). Berninis also rarely come on the market the l ....
Measuring just 16cm by 21cm, Rembrandt van Rijn’s Abraham and the Angels (1646) may be diminutive in size, but its price tag is anything but. Last publicly sold for £64 in 1848, the Old Testament oil painting is now expected to make $20m to $30m at Sotheby’s in New York in January. The picture has been consigned by Mark Fisch, a trustee of New York’s Metropolitan Museum of Art, a deal no doubt sweetened by the fact that Sotheby s has guaranteed the work, effectively purchasing it. A third-party backer may yet emerge. Fisch bought the work from Sotheby’s senior vice president Otto Naumann along with Alfred Bader in 2005 for an undisclosed sum, likely to be in the £5m range according to the Dutch dealer Jan Six, who has made several Rembrandt discoveries in recent years. ....
Jacob van Ruisdael’s ‘The Hekelveld’, in Amsterdam in Winter (around 1665-70), is in Agnews’ London Art Week exhibition, Landscapes and Cityscapes, from the 17th to 20th century Courtesy of Agnews The contemporary art market yo-yos with the stock markets and whims of speculators, the auction results of its young stars shoehorned into indexes that dress them up as investment material. But Old Masters are a more capricious beast. This is not a constructible market with a continuous supply from malleable young artists; instead, there are fallow years, offering only dull landscapes filled with depressed cattle, and ropey boss-eyed portraits, when dealers will tell you (from their second homes in Provence) that the end is nigh and supply has dried up once and for all. ....