100 Years of Collecting in America: The Story of Sotheby by Thomas Elliot Norton

By Thomas Elliot Norton

The background of good paintings auctions in the US is an indelible list of public opinion within the realm of aesthetics and flavor. In each public sale, the murals that has the best charm instructions the top cost, and a analyzing of the roster of gadgets and artists most often chosen provides a transparent and interesting photo of the evolution of favor and flavor in America.

The historical past of Sotheby Parke Bernet and its predecessor agencies in the United States offers us a short synopsis ot the place we have been and the way now we have replaced and what sort of we loved ourselves within the strategy. the various illustrations of artworks bought over the process a century, we're mesmerized via the variety of items that experience undergone their public sale rooms.

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Slave. 1843. Height, Yale University Art Haven, Connecticut. Olive Dann Fund. Lot 916 collection auction, in the managed by A. the T. Stewart American Art Association and held at Chickering Hall and the American Art Galleries on March 23-25 and 28, 1887. Hiram Powers's best-known work, one ot the most celebrated sculptures of the early ninewas accepted by the pubhc teenth century, despite its nudity because it "chastely" por- trayed a Christian captive and because it was accepted as an antislavery allegory in prc-Civil War America.

Henry Lee Higginson. Lot auction of Old Masters belonging to admission to the painters' guild of Brussels, in about 1435. Henry Lee Higginson (1834-1919), Museum who gave of Fine Arts, was Gift of Mr. and Mrs. the painting to the 67 Brahmin financier and founder of the Boston Symphony. Saint Luke was the first major Flemish painting to enter an American public in the His Highness Durcal, ciation Don Pedro de Borbon, managed by and held 10-11, 1889. The at Duque de American Art AssoChickering Hall on April the painting had been in the Span- collection, fittingly the gift factor whose of a generous bene- favorite motto, taken Duke of Devonshire's ish royal collection since the 1830s.

Milliken, held under the women, optimistically attributed to the biggest names in the history of art. Whenever Blakeslee got into financial difficulty, which was quite often, he would consign another group of pictures until, after a particularly bad period during which he was stuck with a Blue Boy claimed by him to be the original Gainsborough canvas, he committed suicide. All that was far in the future, however, and the 1902 group was on the whole a rather impressive one. Even so, The Trellis, catalogued asjeune Femme Ciieillant des Fleurs, did not bring a very high price in spite of its important size and subject matter.

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