San Francisco in the ’60s brings thoughts of hippies and psychedelic rock, but the counterculture manifested itself in all the arts. Some of the rare 45 R.P.M. recordings from San Francisco bands have become valuable, but for collectors of the era’s artifacts, the greatest prizes are often original copies of the posters that promoted concerts in the Bay Area’s ballrooms and clubs. The best of those posters are magnificent examples of 20th century art and design and collectors are paying premium prices to own a slice of this era of American pop culture. Read More +
A painting by American artist Paul Cornoyer titled “A Spring Day, New York,“ depicting carriages in New York City, sold for $96,000 at a fine art auction held April 26. Read More +
Before movies and Hollywood, there was the theater and Broadway. Alfred Cheney Johnston (1884-1971), a young artist with an interest in the beauty of the female form, found his calling in the excitement of the enormously successful Ziegfeld Follies. Read More +
The covers of popular science fiction and horror pulps of the 1930s and ’40s were meant to leap at the eye from their perches in dime store magazine racks; few of the artists working in this field have hung on to the attention of aficionados as much as Hannes Bok. Read More +
Aldro Thompson Hibbard’s painting “Winter in New England” set the world record for the highest price ever paid at auction for a work by the artist. Read More +
>Show reports, auction results and research >>Get it all delivered for just a $1 an issue! Lucian Freud’s etching, Woman With an Arm Tattoo, (1996), sold at Sotheby’s Australia Aug. 23, 2011, one month after the artist’s death. Numbered 12/40 … Read More +
Former FBI agent and author Robert Wittman’s first-ever seminar June 13, 2011 on how the art business can protect itself against the growing threat of art crime attracted 13 attendees, including Antique Trader columnist Caroline Ashleigh. The week, consisting of five days of instruction and discussion with field experts, was a one-of-a-kind seminar in which each participant personally interacted with the material and presenters. The result was a seminar described by participants as unmatched in quality of topics, expert presentations, and atmosphere.
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The Paris discovered by Marc Chagall (1887-1985) when he arrived by train in 1910 was still the city of the art world’s dreams. It was a metropolis of broad boulevards and crooked cobbled alleys lined with ateliers and cafes where Picasso might be found sitting with Braque. Chagall was able to subsist in a city where credit was extended to artists as a matter of course, where meals could sometimes be paid for in sketches and intellectuals could occupy a corner table for an entire afternoon of animated discussion for the price of a cup of coffee.
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For the first half of the 20th century, images of industry were synonymous with progress. As assembly lines increasingly supplied the needs and wants of the world’s growing urban population, factory scenes became shorthand for the brave new world of modernity. Industrial art became an international genre, crossing political borders and economic systems alike. The scenes of laborers working within the shadows of enormous machines assumed similar form whether in the Soviet Union, Nazi Germany or the United States.
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Conquering armies have returned with booty from time immemorial, but in the 20th century, the Nazis organized what was probably the largest campaign of art theft in history. To call it organized, however, overlooks a rivalry among Nazi leaders that resembled gangsters fighting over their share of the loot.
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